“I remember there was one gig on that tour at Penn State, and it looked just like “Children of the Corn” — these penetrating blue Anglo-Saxon eyes staring at me from beneath identical corncob-colored crew cuts.”—Iggy Pop, talkin’ bout the ’80s. Can’t say I noticed the Hitler Youth coming out for Penn State alt-rock shows in the ’90s, but I’ll take his word for it.
Nora Ephron wrote at least THREE comedies about the criminal underworld
I just want to point out that, when people treat the “Nora Ephron film” as a genre, they ignore that she wrote Cookie - in which an old mobster (Peter Falk) tries to bond with his illegitimate daughter (Emily Lloyd), My Blue Heaven - in which a federal agent (Rick Moranis) struggles to keep a mobster in the Witness Protection Program (Steve Martin) from revealing his whereabouts, and Lucky Numbers (which she also directed) - about a weatherman (John Travolta) who gets tangled up with some violent lowlifes (Tim Roth & Michael Rapaport) and has to rig the Pennsylvania Lottery. None of these films have the fan-base of her more familiar Meg Ryan films, and I’m not discussing quality per se. I just think that if we’re going to talk about the Ephron oeuvre, we need to acknowledge that Nicholas Pileggi’s wife clearly had a thing for mob comedy as well as rom-coms.
We—or at least I—don’t like to think of our singer-songwriters, or at least our singer-songwriters coming out of whatever can at this late date be called the indie tradition, as actors (it’s why Lana Del Rey will have to wait another album or two for a fair critical shake). For twenty years Mark Kozelek has, through hundreds of hypnotic odes to women friends and places he used to love, crafted a singular persona, singular not necessarily in its uniqueness but in its cohesiveness. Kozelek is—we/I thought—caring, lovelorn, reflective. Patient and generous, both in his songs and in their quantity. And yet here, on an album no one really had any expectations for, at a time when most of his peers have either retreated back into obscurity or begun to supplant dayjobs with reunion tour earnings, Mark Kozelek has decided to reveal to us all that he’s a total fucking dick. Sort of…
This is my favourite Tumblr post about music so far this year. You really need to go read the whole thing.
Only listened to it once, but the new Sun Kil Moon album is awesome. Pretty songs about how he’s a jerk and you don’t impress him, but he gets to travel a lot and you likely don’t. It’s darkly humorous from a guy whose humor is often missed and he’s definitely running the risk of people getting uptight that he doesn’t put in some “just kidding/actually I’m a great guy/this is a character, not where the guy who wrote Katy Song is 20 years later” caveat. But my favorite artists are the ones who can write songs about contradictory feelings and emotions and make them equally true, because they can be, and I’m glad to see Mark Kozelek solidify his place in that pack. Hopefully everyone who liked this post will check the album out for themselves.
Well, it was kind of cold that night She stood alone on the balcony Yeah, she could hear the cars roll by Out on four forty one like Waves crashing on the beach And for one desperate moment there He crept back in her memory God, it’s so painful when something that’s so close Is still so far out of reach
With a chorus like:
Oh yeah, alright Take it easy, baby Make it last all night
“Most recently, Jimmy Fallon hosted the 26-year-old ex-Canadian Idol finalist on Late Night last Thursday, and as a little internet-only aside, he, Jepsen and the Roots performed the song using only toy classroom instruments. Again, pretty amusing little video, but there seemed to be a distinct scent of “What the fuck do we do with this thing now?” swirling around that tiny dressing room.”—Zach Kelly, hitting my biggest sore spot with pro bloggers - the moments where they go “guys, what are WE doing?” as if everyone has to watch memes and write recaps all day. Personally, I thought the Roots just looked like they were amused.
“Better than Ezra performed the song on May 5, 2012 at the New Orleans Jazz & Heritage Festival, shortly after Mavis Staples and her band played the song in the gospel tent across the fairgrounds, drawing an over-capacity crowd to the tent.”—The peculiar pathos of Wikipedia (via leilacohanmiccio)