Johnny Oleksinski When Tina Fey’s film “Mean Girls” came out in 2004, the comedy was lauded as a silly, satirical excoriation of modern high-school life and its cliques, cafeteria antics and materialism. “Mean Girls” was a “Clueless” for the millennial age. And it was so fetch.
Fast forward to 2018. “Mean Girls” is about to begin a new life as a Broadway musicalin March. But some Broadway watchers believe the subject matter is too mean for these kinder, gentler times.
“It just might not be the moment for ‘Mean Girls,’ ” one Broadway insider told me on the condition of anonymity. “It might feel stale and tone-deaf to the critics. And while this is something that could be critic-proof, maybe not.”
The fear of offending audiences isn’t limited to musicals about bratty teens. In this oversensitive era, TV shows, Oscar-worthy movies and pop music are all under pressure to be as nice as Betty Crocker. For millennia the best art has offended, tantalized, frightened, riled up and, of course, been life-affirming. But today the American public, looking more than ever like Soviet Russia, has just one rule for entertainers: Don’t rock the boat.
During last Sunday’s Super Bowl halftime show, singer Justin Timberlake barely rocked his hips. The former boybander is responsible for the most famous sex stunt in the history of the event — Janet Jackson’s 2004 nipple-baring “wardrobe malfunction.” Read the rest of this entry »
He was 90 years old.
The St. Charles Police Department said on its Facebook page that cops responded to a report of a medical emergency at Berry’s home at 12:40 p.m.
“Inside the home, first responders observed an unresponsive man and immediately administered lifesaving techniques,” the police posting said.
“Unfortunately, the 90-year-old man could not be revived and was pronounced deceased at 1:26 p.m.”
Police confirmed Berry’s identity and said his family requested privacy.
Berry was a major influence on generations of musicians, particularly on early rockabilly stars such as Jerry Lee Lewis and British Invasion bands such as The Beatles and The Rolling Stones. Read the rest of this entry »
[VIDEO] John McLaughlin, Chick Corea, Lenny White, Victor Wooten, at the Blue Note: ‘Miles Beyond’, December 19, 2016Posted: January 5, 2017
[VIDEO] ‘You Know, You Know’, John McLaughlin & Chick Corea at the Blue Note in NYC, December 8, 2016Posted: January 4, 2017
Here’s the original:
[VIDEO] John McLaughlin & the Fourth Dimension LIVE: With Mark Mondesir, Gary Husband, Etienne MbappePosted: November 29, 2016
With unaffordable Progressive Disneyland hell-hole cities like San Francisco’s predictable cost-of-living increases and perverse real estate inflation driving out all but the wealthy and well-connected, the bright lights don’t beckon young punks like they used to.
Shows like that are increasingly common in Santa Rosa, and it has a lot to do with the prohibitive cost-of-living in nearby San Francisco. “I had every intention of moving down to the city,” said Ian O’Connor, 23, who organized the gig.
“But when the time came, it was too expensive.” Instead, in the last three years, he has booked dozens of all-ages gigs in Santa Rosa, mostly at unofficial venues: detached garages, living rooms, lobbies of sympathetic businesses. The scene thrives on the participation of people like him, area natives in their early 20s who, not so many years ago, would’ve likely moved an hour south to Oakland or San Francisco.
O’Connor stressed that though Santa Rosa is relatively affordable, the local punk scene faces challenges that cities with established reputations lack. “If you’re in the big city, you can sort of just jump into the stream,” he explained. “If you’re in a small town, you have to get down on your hands and knees and dig a ditch so that the water can run.”
“I had every intention of moving down to the city. But when the time came, it was too expensive.”
— Ian O’Connor
One hallmark of punk’s inception in the Bay Area and throughout the Pacific northwest was the notion of cities as places of possibility, so hollowed out by eroding tax bases and selective civic neglect that they seemed “deserted and forgotten”, as music journalist Jon Savage wrote of his 1978 trip to report on San Francisco punk bands such as Crime and the Dead Kennedys. “It was there to be remapped.”
But with the same cities stricken by intensifying affordability crises – premiums on space that make somewhere to live, let alone rehearse and perform, available to a dwindling few – they don’t beckon young punks like they used to. And though reports of music scenes’ deaths tend to overstate, news of shuttering venues (see eulogies for The Smell, The Know, and LoBot) deters some of the intrepid transplants needed for invigoration. Dissipating metropolitan allure, however, helps account for the strength of scenes in outlying towns.
“The people who before just came to the shows are now setting them up. It’s been pretty astounding in terms of genuine participation…We could move and struggle somewhere else, but I think there’s a lot of people who’d like to see Santa Rosa become something like Olympia.”
— Ben Wright
In Santa Rosa, Acrylics are at the center of things. The five-piece, which recently announced a forthcoming record on leading west coast punk label Iron Lung, boasts a lashing and cantankerous sound, with staccato turnarounds and nervy guitar leads. They share members with a constellation of groups, including tightly wound punk outfit Fussy; sturdy hardcore units Rut and Service; and the dynamic noise-rock band OVVN.
“People in Olympia don’t think moving to a bigger city would be daunting – just dumb. Why pay five times the rent?”
“The people who before just came to the shows are now setting them up,” said Ben Wright, 24, who recorded recent releases by most of the aforementioned groups and plays guitar in Acrylics. “It’s been pretty astounding in terms of genuine participation… We could move and struggle somewhere else, but I think there’s a lot of people who’d like to see Santa Rosa become something like Olympia.”
Scott Young, 28, grew up in the Pacific northwest and moved to Olympia, Washington, in 2006. Until recently, he played bass in Gag, a winkingly scabrous hardcore band that’s lately influenced the genre significantly. Corey Rose Evans, 23, moved to Olympia from the Bay Area in 2010 to attend Evergreen State College and eventually joined both Vexx, a raucous foursome composed of inventive, tactile instrumentalists and a mightily expressive singer; and G.L.O.S.S. (“Girls Living Outside Society’s Shit”), a blistering and bold hardcore outfit that foregrounds transgender issues and skewers reformist politics. The scene is decidedly autonomous, centered around small labels and self-organized gigs. Read the rest of this entry »
Shake Your Pants – CAMEO 1980 Album ‘CAMEOSIS’
Live at Namm show 2016 (may be incomplete)
This duet between the infamous Rat Packer and the voluptuous actress would still be weird if it happened when Martin was still alive…Surprisingly, posthumous Christmas duets aren’t unusual, with Kelly Clarkson and Martina McBride teaming up with Elvis for “I’ll Be Home For Christmas” and “Baby It’s Cold Outside,” respectively.