Dusty Wright's Culture Catch - Smart Pop Culture, Video & Audio podcasts, Written Reviews in the Arts & Entertainment http://www.culturecatch.com/node/feed en A Bohemian's Rhapsody http://www.culturecatch.com/node/3769 <span>A Bohemian&#039;s Rhapsody</span> <span><a title="View user profile." href="/user/460" lang="" about="/user/460" typeof="schema:Person" property="schema:name" datatype="">Robert Cochrane</a></span> <span>September 22, 2018 - 19:10</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/film" hreflang="en">Film Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/553" hreflang="en">celebrity obit</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><p> </p> <div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/bm5GgY3PGFs?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>Fenella Fielding  (17th November 1927 - 11th September 2018)</p> <p>Few actresses can have sabotaged their seriousness via one role, but such was the fate of Fenella Fielding. Her accomplished portrayal of the outrageously slinky Valeria Watt in <i>Carry On Screaming</i> became both her meal ticket and her millstone. She realized the dangers implicit in a job well executed in a red velvet dress so tightly fitted she couldn't bend, when she sadly refused the title role in the next film <i>Carry On Cleo</i> for fear of being typecast as a comedic turn. It remains a staggeringly lost opportunity, although Amanda Barrie played it wonderfully, Miss Fielding would have brought an extra frisson to the part with that fabulous voice, implicitly suggestive of sin and other things. An instrument that served her well for seventy years of performing, instantly recognizable as a cross between a purr and a beckoning growl. Although she played Wilde, Ibsen, Chekhov and Coward to tremendous acclaim, her natural sense of mischief saw her equally at home on the <i>Morecambe &amp; Wise Show</i>, she was also the voice of the announcer in Patrick McGoohan's cult series <i>The Prisoner</i> and appeared in episodes of the <i>The Avengers</i>.</p> <p>Fenella Marion Fielding was born to a Lithuanian father and a Romanian mother, both Jewish, in London in 1927. Her relationship with them was fraught. He proved abusive and violent to her, sometimes at the mother's instigation, and although she won a scholarship to RADA, her parents disapproval saw her leave after only a year, taking a secretarial course, but also studying at St Martin's School Of Art. She had an abortive suicide attempt around this time, such was the toxicity of their parental control. Fielding still hankered after a career in the theatre, much to her father's chagrin and gradually she became a regular on the night club circuit. By 1959, having proved a tremendous success the previous year as Lady Parvula de Panzoust, a brazen devourer of men's affections in Sandy Wilson's adaptation of Ronald Firbank's louche novel <i>Valmouth</i>, which had earned her the tag "England's first lady of the double entendre," she was appearing at the Apollo with Kenneth Williams in the revue <i>Pieces Of Eight</i> written by Harold Pinter and Peter Cook.</p> <article class="embedded-entity"><img src="/sites/default/files/styles/width_1200/public/2018/2018-09/pieces-of-8.jpg?itok=Tafq8csW" width="1200" height="1200" alt="Thumbnail" title="pieces-of-8.jpg" typeof="foaf:Image" class="img-responsive" /></article><p>It was, a far from easy professional relationship, Williams being vindictive of her favorable reviews. She later recalled:</p> <blockquote> <p>"Kenneth came out of the wings and had the paper in his hand and he had the most terrible temper about it. I thought 'God! I can't help it if they've said something nice about me!'"</p> </blockquote> <p>When she revived the role of Lady Parvula fourteen years later the critic Sheridan Morley wrote that Fielding was "so far over the top as to be almost out of sight."</p> <p>Fielding had large screen success most notably in <i>Drop Dead Darling</i> with Tony Curtis and Zsa Gabor in 1966 and also in comedies like <i>Doctor In Clo</i>ver with Leslie Phillips, but her off screen relationship with the diminutive comedy actor Norman Wisdom was difficult to negotiate. "Hand up your skirt first thing in the morning, not a lovely way to start a day's filming" and she loathed the actor Warren Mitchell who she described as "horrible" whilst Tony Hancock was mostly "drunk."</p> <p>Although she was always associated with the <i>Carry On</i> series of bawdy films, she only appeared in two, <i>Carry On Regardless</i>, a minor but tarty part played perfectly, but it was the Hammer Horror spoof <i>Screaming</i> that she made her own. When she huskily asks Harry H. Corbett "Do you mind if I smoke?" as she writhes suggestively on the sofa, sensually consumed by clouds of dry ice, a moment of comedy gold had just been minted. In 1969 her performance in Ibsen's Hedda Gabler at Leicester's Phoenix Theatre was described by <i>The Times</i> as "among the theatrical experiences of a lifetime." And on it went, a talent to amuse and another to be serious, played equally well and effortlessly so.</p> <p>The legendary director Federico Fellini was transfixed by her, reputedly offering her a film directed by him in which she would play all six parts of various elements of women that men desire. This over a dinner at Claridges in the late 1960s, but as she'd signed to do a play at Chichester she refused him, and a great opportunity was lost.</p> <p>There were other more difficult twists and turns. An agent swindled her and she lost her home. Reduced to signing on for benefits, a humiliating experience for her when her name was called, she invariably soldiered back doing radio, voice-overs and guest appearances on TV. She even made an album where she tackled, and makes her own contemporary songs like New Order's "Blue Monday," Kylie's "Can't Get You Out Of My Head," and amazingly 'Rise' by 'Public Image Limited' which she conquers by virtually dismissing it. The liner notes were effusive and from the pen of Kim Fowley.</p> <div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/36m2jLl0Me4?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>Age did not wither her. The voice remained as alluringly beguiling as ever. The wigs became bigger, more Warhol-like in scale, the aphorisms more honed like a female Quentin Crisp, the lips continued to be red and the eye lashes resembled expired tarantulas showing their legs to the sun, and there was still a deliciously naughty aspect to the twinkle in her beady eyes. At 90 she was tirelessly promoting her autobiography <i>Do You Mind If I Smoke</i>. Capable of accepting that it had become her legacy, she promoted it, though frail, with exquisite grace and charm. She could have been her generations Joanna Lumley, had her times been more kind to maverick, breathy and eccentric ladies. In her own way she became a petite, immaculately attired, cultural icon. As Robert Chalmers rightly observed in <i>The Independent</i> in 2008 "that Fenella Fielding, whose wit and distinctive stage presence captivated figures such as Kenneth Tynan, Noel Coward and Federico Fellini should have drifted into obscurity rather than being celebrated... as a national treasure was a travesty."</p> <p>Still working up until the stroke that stilled her a few weeks ago, she was an intellectual, a lover of philosophy and ancient poetry. Her frivolity was a foil, a coy defense mechanism that masked a steely and determined wit. She once remarked that car manufacturers could allow the likes of her to dispense with contacts and glasses if they cut the windscreens to become like giant lenses! At an evening a few years ago when she introduced an event for her friend, the artist and designer Andrew Logan in Stoke Newington Town Hall, she was a tiny bag of nerves, a small kabuki doll being comforted and consoled before she effortlessly strode onto the stage and introduced him with tremendous aplomb, without any evidence of her prior hesitancy. She never married but managed to maintain simultaneous affairs with two men for twenty years without either ever discovering the truth. She late explained "I think it's just an art!" Of her affair with the journalist Jeffrey Barnard she admitted: "It wasn't a serious thing; he was always so pissed."</p> <p>Fenella Fielding died peacefully in London (with her lashes on!)</p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3769&amp;2=comment_node_story&amp;3=comment_node_story" token="IAO0EYMoP_1fA_rlkCZWG3YhPgp9dgIxOakLdALlNTA"></drupal-render-placeholder> </section> Sat, 22 Sep 2018 23:10:37 +0000 Robert Cochrane 3769 at http://www.culturecatch.com http://www.culturecatch.com/node/3769#comments Harmony In Your Head http://www.culturecatch.com/node/3768 <span>Harmony In Your Head </span> <span><a title="View user profile." href="/users/millree-hughes" lang="" about="/users/millree-hughes" typeof="schema:Person" property="schema:name" datatype="">Millree Hughes</a></span> <span>September 18, 2018 - 09:56</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/art" hreflang="en">Art Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/62" hreflang="en">art review</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><article class="embedded-entity"><img src="/sites/default/files/styles/width_1200/public/2018/2018-09/0ff49827-1a7c-4db7-9afc-518859a2b749.jpeg?itok=V1ODZAWA" width="1200" height="1200" alt="Thumbnail" title="0ff49827-1a7c-4db7-9afc-518859a2b749.jpeg" typeof="foaf:Image" class="img-responsive" /></article><p>“It's a harmony in my head.”*</p> <p>Charlene Von Heyl has a new show at Frederich Petzel. It’s Modern Painting full pelt.</p> <p>The knowledgable critic will “read” the references and discern the content of the work. The artist can understand the technique, how the paint went down. And the punter can stand back and let the whole thing wash over them, like a stoical penguin.</p> <p>The Art expert will thrill to her overlapping and interlacing of Contemporary Painting movements — Pattern and Decoration, Post Painterly Abstraction and Neo Geo. There are obvious comparisons to artists like Peter Schuyff, but i also see Nina Bovasso’s use of comically cute pattern as field and Ellen Birkenblit’s adoption of black to represent both line and shadow and fill. And how she lets all three co mingle in her painting.</p> <p>Occasionally Charlene Von Heyl is everyone all at the same time.</p> <p>Each of these styles requires different techniques. Von Heyl knows all of them. She uses masks to create areas of flat against organic movement. She has a groovy, loaded black brush line that can be tears and a telephone and the outline of an unraveling laurel wreath. It’s so New York to make something technically difficult look so easy. In the phone painting in particular a cloud of completely dissipated oily pink flesh hovers over it. It looks like a dollop of Francis Bacon sizzling in the pan.</p> <article class="embedded-entity"><img src="/sites/default/files/styles/width_1200/public/2018/2018-09/09c80224-2b52-42e3-8a11-a48983503431.jpeg?itok=V1wyuUjL" width="1200" height="1236" alt="Thumbnail" title="09c80224-2b52-42e3-8a11-a48983503431.jpeg" typeof="foaf:Image" class="img-responsive" /></article><p>For the “washed over” there are many pleasures. Unexpected colors, breaks and repetitions. Scratchings, scribblings, scuffs, hardline, drips, printed paint-gesture, spray can lines and what looks like a potato print.</p> <p>I used to wonder if non-representational art was meaningful to people who did not know their “art” who’s who. But I’ve been co-curating a Facebook page called “Involuntary Painting” with the poet/artist Paul Conneally for a number of years. It’s about seeing painterly events in the most random surfaces. Apparently a lot of people all over the world love abstract art and see it everywhere they look.</p> <p>This show says Abstraction is for everyone! It’s for “the Swots and the Blots”**. It’s jam filled with references to other art and at the same time has an every-people feel. Like the wall of a rundown lot that got half painted, postered and tagged. At the same time it can read like a mashed up version of one of those history of punk maps where you can see who influenced who.</p> <p>To bowdlerize St Paul:</p> <p>“I have become all things to all people so that by all possible means I might save some. I do all this for the sake of (Modern Abstract Painting) that I may share in its blessings.”</p> <p>1 Corinthians 9. 19. 23 (partly)</p> <p>*“Harmony in my Head” - The Buzzcocks</p> <p>**<a href="http://lewstringer.blogspot.com/2017/03/leo-baxendales-swots-and-blots-smash.html?m=1">The Swots and the Blots</a> Leo Baxendale’s UK comic strip about the smart kids and the dumb (but cool) kids at school.</p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3768&amp;2=comment_node_story&amp;3=comment_node_story" token="IuzXA-_zqjVoAKOoB5Brn7IKhTixzXUkJwnqSOQVQoo"></drupal-render-placeholder> </section> Tue, 18 Sep 2018 13:56:18 +0000 Millree Hughes 3768 at http://www.culturecatch.com http://www.culturecatch.com/node/3768#comments A Modernity of Touch http://www.culturecatch.com/node/3767 <span>A Modernity of Touch</span> <span><a title="View user profile." href="/user/460" lang="" about="/user/460" typeof="schema:Person" property="schema:name" datatype="">Robert Cochrane</a></span> <span>September 17, 2018 - 09:36</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/literary" hreflang="en">Literary Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/112" hreflang="en">book review</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><article class="embedded-entity"><img src="/sites/default/files/styles/width_1200/public/2018/2018-09/b057962f-7dc6-416c-a215-1092219c2eec.jpeg?itok=yP6X9tmT" width="700" height="467" alt="Thumbnail" title="b057962f-7dc6-416c-a215-1092219c2eec.jpeg" typeof="foaf:Image" class="img-responsive" /></article><p><span style="-webkit-tap-highlight-color: transparent; -webkit-text-size-adjust: 100%;">The Adults</span></p> <p><span style="-webkit-tap-highlight-color: transparent; -webkit-text-size-adjust: 100%;">Caroline Hulse (Orion)</span></p> <p><em>The Adults</em> is the adroitly named debut novel by Caroline Hulse. Wise, forensically observant and darkly funny, it begins like a light piece of social comedy, encapsulates elements of a tightly paced thriller before concluding with moments of magic realism and Jacobean tragedy. It also has an intense and claustrophobic tone which makes it more than a chattering classes piece of fluff, or a drawing room, comedy of modern manners, affair. </p> <p>Its premise, though promising, and terribly sensible, a blended family holiday at a forest park over Christmas, is the perfect recipe for disaster. The reader senses this from the outset, but the six main characters, who include Matt and Claire, divorced but with their daughter Scarlett and her imaginary friend, a colossal toy rabbit named Posey, and their respective new partners, Patrick and Alex, are so obliviously playing at being nice, all caught up in the compliments of the season, they really are as deluded as they are oblivious. It is a book that is imbued with a air of thunder in the distance. Things possibly could go awry as they are all skating on the thinnest of ice.</p> <p>As perfectly nice and educated people trying to do the right thing, attempting to ignore the impact of the past on their present, they have a chance of seasonal success. Claire is “uber” efficient and organised, Matt has a difficulty with telling a whole story, Alex is a likeable recovering alcoholic, whilst Patrick, an action man on the borders of middle or muddle age, who despite his qualifications, is something of a “himbo” and a square. Add to this Scarlet and her appeased and rather meddlesome imaginary rabbit, and the scene is set for a less than restive, festive vacation. They all suffer elements of what could be called emotional woodworm, have all the little anxieties attached to dealing with someone their old partner has rejected or dealing with someone they would have never chosen, the inevitable comparisons, and emotional measuring up, of doing well or better than via the proving of real or imaginary points.</p> <p>Hulse is a kindly but brutal narrator of their respective angst and failings. She rests her all too observant eye on her literary off-spring, and we can all recognize someone they resemble, and indeed are likely to be as guilty as them, of their inadequacies and conceits. As the proceedings slide like a car with the brakes off down the hill and over the cliffs it reminds me of the late Kathleen Farrell's (1912-1999) neglected master-stroke novel of the early 1950's <i>Mistletoe Malice</i>, again about people marooned together at Christmas. There may be no internet nor mobile phones in her book, but the tone of the emotions, riven and exhausting, are as much to the fore. The things around us may change, but the thoughts within remain the same.</p> <p>It’s easy to see why there is such a fanfare around this book. It is being published in fifteen different countries, and deserves to find an audience in them all. People in love, people who once were in love, or people simply trying their best and usually failing, are suffering from a global condition. Hulse has a certain Barbara Pym mischief about her observances, but is seldom cruel. I can see why the book will likely find a greater readership amongst women, but it is universal in its understanding of the sexes, and will reward accordingly by observing, annotating, but never judging.</p> <p>A democratic and audacious debut, it doesn't read like a debut at all.</p> <blockquote type="cite"> <p> </p> </blockquote> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3767&amp;2=comment_node_story&amp;3=comment_node_story" token="4DeFd-CcZvKioQ1nGib45h9IBk-ujxZQ2EtIBiviqDI"></drupal-render-placeholder> </section> Mon, 17 Sep 2018 13:36:45 +0000 Robert Cochrane 3767 at http://www.culturecatch.com http://www.culturecatch.com/node/3767#comments Album of the Week: Music From Big Pink http://www.culturecatch.com/node/3765 <span>Album of the Week: Music From Big Pink</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>September 14, 2018 - 10:00</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/music" hreflang="en">Music Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/441" hreflang="en">music</a></div> <div class="field--item"><a href="/taxonomy/term/417" hreflang="en">vinyl</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/sWNgvsv243A?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>Can you imagine the shock waves that this album caused upon its release in 1968? At the height of the psychedelic rock era? Some critics have suggested that it spawned the "Americana" music movement. George Harrison and Eric Clapton even cited The Band and this album as steering their future careers via their/its "roots" sound. In fact, Clapton was so knocked out by them, he wanted to join them.</p> <p>"I was given an acetate of <em>Big Pink</em> back in England and it shook me to the core," he said during a press conference at the Toronto International Film Festival to promote his doc, <em><a href="http://www.tiff.net/tiff/eric-clapton-life-in-12-bars/?v=eric-clapton-life-in-12-bars">Eric Clapton: Life in 12 Bars</a></em>.</p> <blockquote> <p>"I was in Cream at the time with already the notion that it wasn't going in the right direction, and I thought, well this is what it is. I knew who (guitarist) Robbie Robertson was but I didn't realize that was their group. I thought they just appeared. I thought they were all from the Mississippi Delta."</p> </blockquote> <p>Clapton even went as far as traveling to Woodstock to "jam" with The Band, but alas they were quite happy with Robbie on lead guitar. Clapton was so inspired that he wold quit Cream and begin his own solo career odyssey.</p> <p>As far as debut albums, it doesn't get much better than this for any act. Certainly helps to have had the opportunity to tour, play and record with Bob Dylan prior to recording this masterpiece. The opening track, the epic and ragged love ballad "Tears of Rage," co-written by Dylan and Richard Manuel, sets the tone for what is to follow. It's easy to get lost in the ramshackle vibe and synergy that was created by Robbie Robertston (guitar), Rick Danko (bass, vocals), Richard Manuel (keyboards, vocals), Levon Helm (drums, vocals) and Garth Hudson (keyboards and accordion).  John Simon's production has so much breathe that you feel like you're literally sitting in the middle of the studio. The new remix and remastering adds additional subtle tonal hues that draw the listener in. Their inter-band harmony vocals have never sounded more ragged or more beautiful. The interweaving of the keyboards, guitar, bass, and drums from song to song hangs together like master paintings inside a national art gallery. </p> <p>Can you imagine what it must have been like hearing any of these songs on the radio back in the day? Robbie Roberston's beloved classic "The Weight" — a traveling song about Robbie visiting the Martin guitar factory in “Nazareth” Pennsylvania and written on a Martin guitar — has stood the test of time as one of the greatest songs ever committed to vinyl. And the album closes with two majestic Dylan tracks -- "This Wheel's on Fire" by Dylan and Danko and another Dylan timeless classic, the redemptive gospel-fueled ballad "I Shall Be Released." These two tracks, along with others on The Band’s debut, were born during <i>The Basement Tapes</i> rehearsals and recordings that gave birth to this majestic album.</p> <p>It was no happy accident that <em>Music from Big Pink</em> would usher in a new sound. Moreover, it would be the first of many extraordinary albums they would record and share with the world. With the release of this remixed and remastered two-LP set on 180-gram 45 r.p.m. vinyl, Capitol may usher in a whole new generation of singer-songwriters, musicians, and bands to follow suit. Music should be inspirational, and music this well conceived and executed should continue to inspire and inform musicians and listeners alike. </p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3765&amp;2=comment_node_story&amp;3=comment_node_story" token="U8xqhkL9A401sLGCMil4_P7btevhuRvQ64EqZzyMFRs"></drupal-render-placeholder> </section> Fri, 14 Sep 2018 14:00:00 +0000 Dusty Wright 3765 at http://www.culturecatch.com http://www.culturecatch.com/node/3765#comments 9/11 http://www.culturecatch.com/node/3766 <span>9/11</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>September 10, 2018 - 17:20</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/music" hreflang="en">Music Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/566" hreflang="en">9/11</a></div> <div class="field--item"><a href="/taxonomy/term/127" hreflang="en">music video</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/8QvGfCOqSy8?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>From my friend <a data-hovercard="/ajax/hovercard/user.php?id=564037016&amp;extragetparams=%7B%22fref%22%3A%22mentions%22%7D" data-hovercard-prefer-more-content-show="1" href="https://www.facebook.com/daniel.schneider.3532?fref=mentions&amp;__xts__%5B0%5D=68.ARDkTU7UnQXXPcZduiTJovjxaU24Ahxn1pQaxs_Cdv72p9CfPAO3PBtbb4loqED0aDojtRh_7MKJXIkKRGwaxzYzAB_OkDy5-oLc-gGbUi7ySVCWZFH1C0k9Xb6LUXL3m8_hi_tgvO6-7KOAMO1zYT4rRvRkDBFx85uU8VWCbtYmuqjHD7bwb2Y&amp;__tn__=K-R">Daniel Schneider</a>'s son Max -- one talented young man -- and Joey Bada$$. Tonight on ESPN from 7-8 PM EST, their 9/11 Memorial video of "Still New York" will be premiered as part of a new documentary. It should be on approximately 7:50 PM. Please set your DVRs if you can't see it live.  </p> <blockquote> <p>"On the 17th anniversary of the 9/11 attacks, ESPN will explore how sports helped the nation heal following one of the darkest days in US history.”</p> </blockquote> <p>Produced in conjunction with the National September 11 Memorial &amp; Museum in New York, the E:60 presentation of <em>Comeback Season</em>: <em>Sports After 9/11</em>. Anchored by Mike Greenberg, it will include interviews, features and memories from athletes, coaches, families and others whose stories marked key emotional milestones in sports following the 9/11 attacks.</p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3766&amp;2=comment_node_story&amp;3=comment_node_story" token="3vjtRjVxVglrJ5rZnE6cRmnjdLYEW19pxMFO8m6l-tg"></drupal-render-placeholder> </section> Mon, 10 Sep 2018 21:20:29 +0000 Dusty Wright 3766 at http://www.culturecatch.com http://www.culturecatch.com/node/3766#comments Through The Sails of the Past http://www.culturecatch.com/node/3105 <span>Through The Sails of the Past</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>September 7, 2018 - 10:00</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/literary" hreflang="en">Literary Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/290" hreflang="en">James Lyons</a></div> <div class="field--item"><a href="/taxonomy/term/291" hreflang="en">Manchester</a></div> <div class="field--item"><a href="/taxonomy/term/292" hreflang="en">poet</a></div> <div class="field--item"><a href="/taxonomy/term/293" hreflang="en">Do You Remember</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><article class="embedded-entity"><img src="/sites/default/files/styles/width_1200/public/2018/2018-08/jameslyonscoverproof.jpg?itok=JlsyvAez" width="1079" height="1688" alt="Thumbnail" title="jameslyonscoverproof.jpg" typeof="foaf:Image" class="img-responsive" /></article><p><em>Do You Remember: The Selected Poems of James Lyons</em></p> <p>Edited by Robert Cochrane (<a href="https://www.thebadpress.co.uk" target="_blank">Bad Press</a>)</p> <p>Some artists languish in the dusty bins of used bookstores waiting for their moment. For the Manchester-based poet James Lyons (1896-1918) the wait is finally over albeit 100 years after his passing. Sadly his life was all to brief. Had it not been, perhaps he would have gone on to pave a literally road of greater magnitude. Regardless, fellow Mancunian poet/critic/Mancunian Robert Cochrane has taken on the task of editing and sharing his work with the world in a new book entitled <em>Do You Remember</em>. His simple, but evocative imagery is best captured in this poem appropriately entitled "A Fragment":</p> <blockquote> <p>"The angels keep their ancient places</p> <p>Turn but a stone and start a wing!</p> <p>'Tis we, with our estranged faces,</p> <p>That miss the many splendored thing!"</p> </blockquote> <p>It's not wonder that Mr. Cochrane has wisely decided that Mr. Lyons poetry as well as been seen should be heard and be set to music. One might ponder what music Mr. Lyons might have listened to in his short life, what might have inspired his prose. It requires no leap of faith to appreciate how said prose lends itself to musical melodies. To that end, Mr. Cochrane's produced an extraordinary album of his poetry performed by some of the UK's most beloved singer-songwriters including Bill Fay, Sharon Lewis, John Howard, The Children of Rain, etc. The limited edition CD with book, limited edition vinyl album, and standard issue compact disc are scheduled for release in late summer/early fall. -<em> Dusty Wright</em></p> </div> <section> </section> Fri, 07 Sep 2018 14:00:00 +0000 Dusty Wright 3105 at http://www.culturecatch.com http://www.culturecatch.com/node/3105#comments Get Your Claws Out! http://www.culturecatch.com/node/3762 <span>Get Your Claws Out!</span> <span><a title="View user profile." href="/users/leah-richards" lang="" about="/users/leah-richards" typeof="schema:Person" property="schema:name" datatype="">Leah Richards</a></span> <span>September 5, 2018 - 11:16</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/theater" hreflang="en">Theater Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/235" hreflang="en">Broadway</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="800" src="/sites/default/files/styles/width_1200/public/2018/2018-09/worse_than_tigers_photo_courtesy_of_the_mill.jpg?itok=Gs-AVCrl" title="worse_than_tigers_photo_courtesy_of_the_mill.jpg" typeof="foaf:Image" width="1200" /></article><figcaption>Photo credit: The Mill</figcaption></figure><p><i>Worse Than Tigers</i></p> <p>Written by Mark Chrisler</p> <p>Directed by Jaclyn Biskup</p> <p>Presented by The Mill Theatre and New Ohio Theatre at New Ohio Theatre, NYC</p> <p>August 24-September 8, 2018</p> <p>The opening tableau of Mark Chrisler's<i> Worse Than Tigers </i>neatly and economically establishes the state of the relationship between its married protagonists. When we see them first, Olivia (Shannon Marie Sullivan) and Humphry (Braeson Herold) are sitting side by side on a loveseat, physically together but otherwise disconnected, each individually absorbed in a smart phone (perhaps some of you are reading this review in such a situation right now). When they do begin to speak to each other, their conversation takes a Beckettian turn, with the couple asking if and how they can entertain themselves, like a Vladimir and Estragon whose outfits subtly coordinate with their tastefully if impersonally appointed surroundings; and when one tries to tell each other a joke, the other interrupts repeatedly in taking every element too literally. While for the audience this is a very funny production, for the characters, jokes often fall into the paradigm of humor as aggression. Humphry and Olivia's snappy, barbed exchanges, simmering repression, and psychosexual conflict results in a play that might be described as Noël Coward meets Edward Albee meets a ravenous tiger.</p> <p>In the opening of the play, Humphry and Olivia are waiting not for Godot but for Jeff, an old friend of Humphry's whose visit has been scheduled out of a desire to be reminded of happier times. Olivia bemoans the loss of surprise and the unknown in their lives, and as if response to her lament, their houseguest, seeking refuge from an escaped tiger, turns out to be not Jeff but police officer Kurt Patrick (Zach Wegner), who arrives with his flask, gun, and an unexpected connection to Olivia. Kurt could charitably be described as a bit manic and is imposingly uninhibited, but paradoxically, that dearth of inhibition functions as a means of evading the existential dread that creeps into his thoughts if he lacks "a bit of danger, a bit of blood in the water" to distract him. Kurt's contrast to the outwardly milquetoast Humphry is comedically crystallized in the way that Kurt pointedly pronounces "vase" as "vayse" to Humphry's "vahse" while they argue over the meaningfulness of the condo's décor. The minimalist aesthetic to which Kurt is reacting, composed almost entirely of grays and whites, reflects the repression and absences of feeling that have overtaken Humphry and Olivia's lives and relationship. Olivia, though, has some Hedda Gabler-ian DNA in her character, asking, for example, whether nostalgia is really an attempt at remembering what fear feels like,  and arguing that <i>not</i> feeling is <i>not</i> a form of bravery, while Humphry defaults to rationalization and therapy-speak. The clashing couple's reaction to early misfortune prepares narratively and thematically for the later, climactic hashing out of a part of their past that is neither desperate nostalgia nor yet truly relegated to the past.</p> <p>While the tiger remains an offstage presence, her voice, which we hear with impactful volume, functions as both a reaction to and an amplification of the human characters, especially Olivia, who shares a symbolic association with the big cat. Under different circumstances, she could be this powerful, keenly alive animal, not the purring kitten that Humphry recalls from their lost past, although even that would be preferable to her present state—although purring is also a mechanism by which, as Olivia points out, cats in pain soothe or comfort themselves. Humphry, meanwhile, a bit like <i>Rhinoceros</i>' Berenger bemusedly watching everyone around him choose to transform into horned ungulates, can't help but wonder why people are going towards the tiger, or even worse (if it is worse), letting her in.</p> <p>The play's tagline, a "comedy (until it's not)," elegantly sums up <i>Worse Than Tigers</i>, and a great final twist on the recurring joke "What is worse than tigers?" embodies the production's ability to pull off its tonal shifts. Wegner's performance invites us to laugh at Kurt's id-driven brashness, but he also brings a palpable sense of danger to the role. All three actors skillfully play off one another as fast-paced comic sparring partners, but Herold and Sullivan also effectively ground the more intimate, serious moments between their characters, building to a cathartically emotional monologue by Sullivan; and both find different ways to suggest what's roiling beneath their characters' self-imposed suppression.</p> <p>Olivia asks how we experience our own emotions in an era when relationships have adopted the pace of the social media that enables them and when a person's sustained engagement with significant life and emotional experiences is received by others, she posits, like telling an old joke. Luckily, we don't have to brave an enormous feline predator in order to find out how <i>Worse Than Tigers </i>answers. - <em>Leah Richards</em> and <em>John Ziegler</em></p> <p><em>Dr. Richards is an English professor in NYC, and spends her free time raising three cats and smashing the patriarchy. When not writing reviews, Dr. Ziegler spends a lot of his time being an Assistant Professor of English in NYC and playing guitar in a death metal band.</em></p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3762&amp;2=comment_node_story&amp;3=comment_node_story" token="8tNr15D8ZTkNkb-ltRrEY6iODMJeIf4weqSuyUnqaXY"></drupal-render-placeholder> </section> Wed, 05 Sep 2018 15:16:30 +0000 Leah Richards 3762 at http://www.culturecatch.com http://www.culturecatch.com/node/3762#comments Lines Intersecting With Art http://www.culturecatch.com/node/3761 <span>Lines Intersecting With Art</span> <span><a title="View user profile." href="/user/349" lang="" about="/user/349" typeof="schema:Person" property="schema:name" datatype="">Dom Lombardi</a></span> <span>September 3, 2018 - 10:15</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/art" hreflang="en">Art Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/281" hreflang="en">art</a></div> <div class="field--item"><a href="/taxonomy/term/62" hreflang="en">art review</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="1682" src="/sites/default/files/styles/width_1200/public/2018/2018-09/image_1.jpg?itok=fntVB_TY" title="image_1.jpg" typeof="foaf:Image" width="1200" /></article><figcaption>Stephen Cook, My Disease My Infection (2017), charcoal, oil stick and aluminum paint on paper, 77 ¾ x 61 ½ inches</figcaption></figure><p><i>Where to Draw the Line</i></p> <p>OneWay Gallery, Narragansett, RI</p> <p>It was one year ago that I first became acquainted with the work of Stephen Cook and OneWay Gallery. Being in Narragansett, I was not expecting to see much beyond the stereotypical sails and sunsets in any "art gallery," so I was completely taken aback by Cook’s versatility and vigor as a contemporary painter. His one-person exhibition featured a number of varied principles and directions, and I instantly read his art as having been created by an energetic and reactive young mind inundated with expressions of socio-cultural information and imagery. So I began to take notes for a review seeing that moment as a great opportunity to get to know the artist and his work.</p> <p>After the review was published in <a href="https://www.huffingtonpost.com/entry/59af29fce4b0bef3378cdc21" target="_blank">The Huffington Post</a>, I took a close look at the gallery’s roster of artists and found a contemporary culture that was pertinent and energizing to me in these crazy times. Also at that time, I was beginning to work on a series of curated shows that focus on the powerful presence of line in contemporary art. Line has defined many an art movement: Automatism in Surrealism and Abstract Expressionism; the planes and passages in Fauvism; and what would Picasso’s <i>Guernica</i> (1937) be without the texture and enhanced dynamics that his lines created?</p> <p>In a few brief emails I proposed my exhibition idea to Cook, incorporating a few of his artists with artists I was considering for the second installment of the exhibition and we quickly found common ground. The series of exhibitions are collectively titled <i>Where to Draw the Line</i>, with the first opening last March at the Walter Wickiser Gallery in New York City.</p> <figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="1631" src="/sites/default/files/styles/width_1200/public/2018/2018-09/image_2.jpg?itok=dpF8wZdR" title="image_2.jpg" typeof="foaf:Image" width="1200" /></article><figcaption>Don Doe, Studio Portrait #1 (2018), pastel on paper, 43 x 33 inches</figcaption></figure><p>For this second iteration of <i>Where to Draw the Line</i> at OneWay Gallery I have selected the art of thirteen artists beginning with the work of<b> Stephen Cook</b>. For this exhibition, my focus was on his mixed media paintings that had the greatest emphasis on line to either suggest form, or in certain instances move the viewer’s eye slowly and deliberately through the picture plane, thus adding the element of time. Another artist in the exhibition is <b>Rebecca Mason Adams</b>. She utilizes a black and white palette to present her near photographic paintings of what looks to be unsuspecting subjects. While capturing those quiet moments of sleep or daydreaming, Adams uses line as a bold pattern adding a graphic element to punctuate the immediacy of the moment. <b>Don Doe </b>offers two works on paper that are heavy with gestural line projecting a very surreal brand of Cubism. By employing obvious references to the painter’s physical process with somewhat kitschy symbolism, Doe shows us the lone creator in the confines of the studio that can corral the body but not the mind. Similarly,<b> Cecilia Whittaker-Doe </b>breaks down landscape painting with a sort of Cubist approach, only here we see more sweeping changes in the emotional or spiritual content. Whittaker-Doe also is sending us a message about the fragility of the landscape, the history of  the changes and the power of that perception with her distinctive use of line.</p> <figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="1175" src="/sites/default/files/styles/width_1200/public/2018/2018-09/image_3.jpg?itok=KgSPf3kF" title="image_3.jpg" typeof="foaf:Image" width="1200" /></article><figcaption>D. Dominick Lombardi, CCAC-19 (2018), ink on paper and acrylic on album cover, 12 1/2 x 12 ½ inches</figcaption></figure><p><b>S. W. Dinge </b>uses line to punctuate any given composition. In so doing, his work speaks to us directly and intensely as it projects its terms and conditions. This personification by way of language gives his work its distinctive quality of animation and movement while the buoyancy of the forms is the first thing that attracts us. <b>Grant Hargates </b>compositions are filled with line. They form shapes, create patterns and define intimate settings with a boldness and honesty that is universally cross-cultural in its references. In a way, his symbolic gestures vacillate between  a complex codex and rapid representation giving his work its timeless immediacy. <b>Tom Huck</b>’s raucous representations are reminiscent of the early days of underground comics like ZAP. As he inks in line with great skill and boldness, Huck brings us to the persistent underbelly of human nature and frailty where the rougher side of reality wreaks with loose libidos and relentless ruination.</p> <figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="1438" src="/sites/default/files/styles/width_1200/public/2018/2018-09/image_4.jpg?itok=t1XboLsi" title="image_4.jpg" typeof="foaf:Image" width="1200" /></article><figcaption>Don Keene, Kicks Coming (2018), oil on canvas, 36 x 30 inches</figcaption></figure><p><b>Don Keene</b>’s paintings are bold Expressionistic renditions of a ‘Red Light’ district that lurks in the subconscious. Evading time, place and definition, these vignettes represent a freedom of will from judgment while the colors and lines that portray unabashed passions saturate the composition with frenzied force.</p> <p><b>Sarah Jacobs </b>creates art<b> </b>that celebrates the cultural spectrum that covers our planet. Despite trends toward homogenization, gentrification and modernization we can still revel in the fact that we have a wealth of history and heritages that can both blend and contrast as seen in the lines and layers of Jacob’s art.</p> <p><b>In my work </b>I use line by way of one-of-a-kind- stickers to represent ubiquitous trends in popular culture. Each of the stickers are done as automatically as possibly, while their inevitable placement on a subtly over painted vintage album jacket or freshly constructed sculpture is meant to be a sort of crossover contamination.<b> </b></p> <figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="800" src="/sites/default/files/styles/width_1200/public/2018/2018-09/image_5.jpg?itok=fNPizzcR" title="image_5.jpg" typeof="foaf:Image" width="1200" /></article><figcaption>Creighton Michael, Split Infinitive 717 (2017), graphite and paper coated rope, 17 ½ x 23 x 12 inches</figcaption></figure><p><b>Creighton Michael </b>takes line to a far more physical level in the third dimension, literally making the line sculptural.  Michael is able to expand the language of line in space where shadows create form and volume. As a result, we see line as subject: distinct, dimensional and dynamic.</p> <p><b>T. Michael Martin </b>incorporates line in his multi-media compositions in various ways. They might create recognizable shapes, define boundaries or edges or create texture and movement depending on their placement, position or prominence. His work has references to astrology, mathematics, physics and even transcendence bringing a certain level of otherworldliness to the fore.</p> <figure role="group" class="embedded-entity"><article><img alt="Thumbnail" class="img-responsive" height="774" src="/sites/default/files/styles/width_1200/public/2018/2018-09/image_6.jpg?itok=5BWveLHx" title="image_6.jpg" typeof="foaf:Image" width="1200" /></article><figcaption>Michael Zansky, Flatland Series (individual panel) (2015-2018), burnt paper, 26 ¾ x 40 inches</figcaption></figure><p><b>Michael Zansky </b>literally burns his lines directly into paper with a propane torch. Using ancient history and cultures as his guide, Zansky brings forth commonalities that will both enlighten and alarm, while his narrative combinations create mystery, mayhem and an all out assault on the senses and sensibilities of the viewer’s mind and memory.</p> <p>The <i>Where to Draw the Line</i> exhibition that runs through October 14<sup>th</sup> at <a href="http://www.onewaygallery.com/" target="_blank">OneWay Gallery</a> will hold an artist reception on Friday, September 14<sup>th</sup> from 5-8pm. The gallery is located at 140 Boon Street in Narragansett, RI.</p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3761&amp;2=comment_node_story&amp;3=comment_node_story" token="5bzy2ixzqAx3UzwKwlQSuY_7ZNmwfFUehMQd42eqNgw"></drupal-render-placeholder> </section> Mon, 03 Sep 2018 14:15:29 +0000 Dom Lombardi 3761 at http://www.culturecatch.com http://www.culturecatch.com/node/3761#comments Shiny and Oh So Billy http://www.culturecatch.com/node/3760 <span>Shiny and Oh So Billy</span> <span><a title="View user profile." href="/users/c-jefferson-thom" lang="" about="/users/c-jefferson-thom" typeof="schema:Person" property="schema:name" datatype="">C. Jefferson Thom</a></span> <span>August 30, 2018 - 17:53</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/music" hreflang="en">Music Review</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/556" hreflang="en">Billy Corgan</a></div> <div class="field--item"><a href="/taxonomy/term/557" hreflang="en">Smashing Pumpkins</a></div> <div class="field--item"><a href="/taxonomy/term/413" hreflang="en">music review</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/mjs3_Kkn05w?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>I am, and have been for multiple decades now, a fairly ardent fan of The Smashing Pumpkins. For years they maintained a constant home in my CD player and I listened to their catalog religiously throughout my twenties, ruining their music for one of my college roommates by overplaying his initial affinity into irritation. I finally got to catch The Pumpkins live back in 2000 on the tour for <i>Machina, </i>and the very next day they announced on the radio that they were breaking up. I thought I would never get to see The Smashing Pumpkins again and, though I have been to two of their concerts since...I was correct.</p> <p>The Smashing Pumpkins have toured a number of times since their initial break-up, each time presenting a rotating cast of band members with Corgan as the only constant. One of those times I caught them at Terminal 5 in NYC with Billy Corgan as the only original member. That show wasn't worth talking about, but this current tour is.</p> <p><em>Shiny and Oh So Bright</em> is a serious endeavor of impressive production quality: multiple costume changes, sharply coordinated light shows, original videos displayed on towering, moving screens. Corgan even brought back original bandmates Jimmy Chamberlin (drums) and James Iha (guitar), though bassist D'arcy Wretzky wasn't included (there are stories that she was initially invited and then had her invitation rescinded; Billy's version differs). Both Chamberlin and Iha were excellent as always; Jimmy remains one of the best drummers I have ever had the privilege of seeing perform live. However, even with all these pieces in place, something didn't match up to that first Pumpkins concert I vividly remember. I would have much preferred to have seen Wretzky on bass, but she had already left the band by the <i>Machina </i>tour when I saw them, so that wasn't it...</p> <p>While it isn't uncommon for a band to pull from a consistent selection of songs on a tour with only moderate variations in order and tunes played, it is unusual for them to play a three-hour set of the same songs in the same basic order night after night. The latter is the case with this tour, making it feel more like following the song list in a program for a musical than the set list for a band. Not a real complaint, but it was odd to be able to know with almost 100% certainty which song was coming next. These Pumpkins work their way through an extensive list of fan favorites, from their debut release <i>Gish </i>to the final release of their original manifestation, <i>Machina</i>. They played each song with conviction and intensity and their musicianship was tight, so no complaints there. They are not going through the motions on this tour but rather giving the music its due respect, and if you're eager to engage in some legitimate '90s nostalgia and want to hear the songs on their recurring set list, then buy a ticket and go -- but there was still something strange about the experience. It didn't hit me at first, but slowly the thought occurred to me. Underneath the very professional surface of a finely tuned and smoothly running performance was the nagging realization that this feels less like seeing a band in concert and more like catching a Vegas revue of a once popular act, starring Billy Corgan.</p> <p>While it is undeniable that Billy was always the key and most contributing figure of The Smashing Pumpkins, there was a time when they were much more of a genuine band. In some ways D'arcy isn't the only band member who has been left behind -- while Jimmy and James were certainly present on stage, it felt as though they were relegated to the role of guest artists rather than fellow band members. Sure, James got to sing his well-known Pumpkins love song, "Blew Away," but even this seemed like a bit of a concession, as Billy left the stage for this moment ,then returned to get back to playing his music. If there's any question about this being a frontman's vanity project, just look to the new video content created for this show and you will notice that it is extremely Billy-centric. There are brief moments where Jimmy and James appear in clips from old videos (again, absolutely no D'arcy), but all the new material is pure Billy: childhood Billy pictures, Billy-like cartoons, current-day Billy in videos with attractive younger women -- the one unifying component is always Billy.</p> <p>Finding a balance between accepting Billy for who he is as a person and the amazing music he has created is something that long-term Pumpkins fans have to make their own peace with at some point. While there are few songs penned by Corgan from his 1991-2000 releases that don't betray the touch of his musical brilliance, I have almost never heard anything but negative and horrifying stories about him otherwise. These dark tales would have one believe that he is a self-absorbed, difficult prick, and the underlying impression from this present tour doesn't contradict the theme that it's all about him.</p> <p>Without a doubt the weirdest and most off-putting moments of the evening were the videoed guest appearances made by Mark McGarth as vaudeville-styled interludes, leaving audience members to ponder "Is that 'Sugar Ray' and what the hell is he doing here?!"  Aside from the overlap of both artists performing in the early '90s, these interjections seem random at best. Either way, these clips drag on with an obnoxious energy, only working to conjure memories of songs better left forgotten.</p> <p>All this raises the question: What is the purpose of this tour? Was it really for us, the fans, to take a moonlit stroll together down memory lane and revisit a time when Rock was still king? Was Billy feeling lonely, is he looking to revitalize his performance career and pave the way for a new album, or is it just about the money?  I actually in some ways hope it's the latter; at least that would be relatively honest. All that being said, it was an enjoyable experience, just not nearly as meaningful as the one from my younger years. Maybe I'm just getting old.  Maybe Billy's getting even older.  Or maybe, like an enraged rodent in captivity once said, "time is never time at all, you can never ever leave without leaving a piece of youth"...or significant parts of the band that once meant so much to you.</p> <p>The nightmare rides on with tour dates in the U.S. through September 5th, then moves on to Canada and Europe, wrapping up in Bologna, Italy on October 18th.  For more information visit: <a href="http://www.smashingpumpkins.com/" target="_blank">http://www.smashingpumpkins.com/</a></p> <p>Set list from the Seattle, Key Arena performance (virtually identical to all other set lists I've seen from this tour): <a href="https://www.setlist.fm/setlist/the-smashing-pumpkins/2018/keyarena-seattle-wa-73e8cafd.html" target="_blank">https://www.setlist.fm/setlist/the-smashing-pumpkins/2018/keyarena-seattle-wa-73e8cafd.html</a></p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3760&amp;2=comment_node_story&amp;3=comment_node_story" token="Es-EIe3Z7E5XJZEGVoJLc5UrqNOCNgWF_xLDB0cU0as"></drupal-render-placeholder> </section> Thu, 30 Aug 2018 21:53:29 +0000 C. Jefferson Thom 3760 at http://www.culturecatch.com http://www.culturecatch.com/node/3760#comments Dusty Wright - "Mellow Yellow" http://www.culturecatch.com/node/3756 <span>Dusty Wright - &quot;Mellow Yellow&quot;</span> <span><a title="View user profile." href="/users/dusty-wright" lang="" about="/users/dusty-wright" typeof="schema:Person" property="schema:name" datatype="">Dusty Wright</a></span> <span>August 24, 2018 - 21:08</span> <div class="field field--name-field-topics field--type-entity-reference field--label-inline"> <div class="field--label">Topics</div> <div class="field--items"> <div class="field--item"><a href="/vidcast" hreflang="en">Vidcast</a></div> </div> </div> <div class="field field--name-field-tags field--type-entity-reference field--label-inline"> <div class="field--label">Tags</div> <div class="field--items"> <div class="field--item"><a href="/taxonomy/term/269" hreflang="en">Mellow Yellow</a></div> <div class="field--item"><a href="/taxonomy/term/268" hreflang="en">Donovan</a></div> <div class="field--item"><a href="/taxonomy/term/127" hreflang="en">music video</a></div> </div> </div> <div class="field field--name-body field--type-text-with-summary field--label-hidden field--item"><div class="video-embed-field-provider-youtube video-embed-field-responsive-video form-group"><iframe width="854" height="480" frameborder="0" allowfullscreen="allowfullscreen" src="https://www.youtube.com/embed/pS1cKbnN-3Q?autoplay=0&amp;start=0&amp;rel=0"></iframe> </div> <p>Donovan-approved cover of his 1966 hit "Mellow Yellow." Produced by Dusty Wright for PetRock. Co-directed by Dusty Wright &amp; Matt Dehoff. Edited by Matt Dehoff. Smiley Grin by Ron English. Anxious Man T-shirt by Rashid Johnson. Custom Hat by Bunn.</p> <p>Available on iTunes: <a href="https://www.youtube.com/redirect?q=https%3A%2F%2Fitunes.apple.com%2Fca%2Fartist%2Fdusty-wright%2F75369250&amp;redir_token=sLszrnJXmCIgiyAc3bCGLSvmg-98MTUzNTI0NTgzNEAxNTM1MTU5NDM0&amp;event=video_description&amp;v=pS1cKbnN-3Q" spellcheck="false" target="_blank">https://itunes.apple.com/ca/artist/du...</a></p> <p>Dusty Wright - vocal/acoustic guitars/percussion, Donovan - background vocals, Brandon Wilde - bass/harmony vocals, Howie Halpern - snare.</p> <p>Available on: Spotify: <a href="https://www.youtube.com/redirect?q=https%3A%2F%2Fopen.spotify.com%2Fartist%2F3olwByDOWyjPEdkFEoQF2r&amp;redir_token=sLszrnJXmCIgiyAc3bCGLSvmg-98MTUzNTI0NTgzNEAxNTM1MTU5NDM0&amp;event=video_description&amp;v=pS1cKbnN-3Q" spellcheck="false" target="_blank">https://open.spotify.com/artist/3olwB...</a></p> <p>Amazon: <a href="https://www.youtube.com/redirect?q=https%3A%2F%2Fwww.amazon.com%2FDusty-Wright%2Fe%2FB000APAJ92&amp;redir_token=sLszrnJXmCIgiyAc3bCGLSvmg-98MTUzNTI0NTgzNEAxNTM1MTU5NDM0&amp;event=video_description&amp;v=pS1cKbnN-3Q" spellcheck="false" target="_blank">https://www.amazon.com/Dusty-Wright/e...</a></p> <p>Google Play: <a href="https://www.youtube.com/redirect?q=https%3A%2F%2Fplay.google.com%2Fstore%2Fmusic%2Fartist%2FDusty_Wright%3Fid%3DAl2kgju24jpyjym5kcyo7rbwq74&amp;redir_token=sLszrnJXmCIgiyAc3bCGLSvmg-98MTUzNTI0NTgzNEAxNTM1MTU5NDM0&amp;event=video_description&amp;v=pS1cKbnN-3Q" spellcheck="false" target="_blank">https://play.google.com/store/music/a...</a></p> <p>BandCamp: <a href="https://www.youtube.com/redirect?q=https%3A%2F%2Fdustywright.bandcamp.com&amp;redir_token=sLszrnJXmCIgiyAc3bCGLSvmg-98MTUzNTI0NTgzNEAxNTM1MTU5NDM0&amp;event=video_description&amp;v=pS1cKbnN-3Q" spellcheck="false" target="_blank">https://dustywright.bandcamp.com</a></p> <p>Song produced by Dusty Wright, mixed by Brandon Wilde, and mastered by Aria Analog Mastering. Recorded at Straus Park Studio, NYC. Mixed at Studio 76, Brooklyn. This arrangement by Dusty Wright with Donovan's blessings. BMI. ©1966 Donovan P. Leitch/Sony Music Publishing.</p> </div> <section> <h2>Add new comment</h2> <drupal-render-placeholder callback="comment.lazy_builders:renderForm" arguments="0=node&amp;1=3756&amp;2=comment_node_story&amp;3=comment_node_story" token="0Spf0RASGFDFG5o3m3h96NpCshj0YqpO_57da6SId80"></drupal-render-placeholder> </section> Sat, 25 Aug 2018 01:08:45 +0000 Dusty Wright 3756 at http://www.culturecatch.com http://www.culturecatch.com/node/3756#comments