by Jess on March 12, 2010
This week I’m featuring the new single off of the second album by She & Him (made up of artists Zooey Deschanel and M. Ward)– which is called (surprise! surprise!) “Volume Two” and due out on March 23.
“In the Sun,” which includes guest vocals from Tilly and the Wall, leaves just the sort of sweet aftertaste that She & Him fans will expect from this second helping of their musical combination. It’s hard not to use the word “cute” when describing any song produced by the pair, because any given track — “In the Sun” included — relies heavily on playful indie charm. For this new song, that means a choral echo, the occasional whistle, and repetitive piano notes trailing Deschanel’s voice, which feels like it’s seeping out of a delightfully retro dream. The track is still more She than Him — though M. Ward is perhaps the more talented musician, Deschanel gets the spotlight as the vocal darling and movie star. She has a fairly limited singing range, but she works the sound she’s got.
You can watch the video for “In the Sun” here. The hula hooping and subsequent wink get to be a little too much for me personally, but it’s clear that the clips are decidedly, almost self-consciously, twee — right down to the little hop-skip that Deschanel throws in at the end as she walks down the hallway.
Photo: sheandhim.com
by Charissa on March 12, 2010
The other day I was at the Daily office looking through all of the random stuff we get sent to us. I wish I were kidding when I tell you there’s actually a book out there called, “Seventeen Things To Do While Waiting For Mr. Right, the Single Girl’s Handbook for the 21st Century Bride-To-Be!” (Author and Reverend Marcy Ann Cheek, I’ll have you know that this is exactly why people make fun of America. Please stop embarrassing us.) But getting back to my story…
Among the piles of papers and books I came across a promo CD for AM Taxi’s “We Don’t Stand A Chance.” I’ve never heard of this band and was just about ready to put the CD down when something caught my eye: Track 4 “Charissa.” What?!! Sorry if this is a little self-indulgent, but this is kind of a big deal for me. My name is never in anything. I was always the kid who hated those plastic key chains and souvenirs with names on them, because I either had to settle for “Clarissa” or go home empty handed. But now I have a song?? This is just too much.
When checking out their myspace page, I found that AM Taxi is a Chicago-based band started in 2007 that’s known for its mix of pop, beats and old-school punk edge. The band will also be part of this summer’s Warped Tour lineup, which will coincide with the release of the new album this June. After blasting “Charissa” in the office, we all decided that while it was catchy and more promising than we’d expected it to be, there was also too much screaming going on for our taste.
But on my walk back home I listened to the track again, and I actually started to like it! Okay, yeah, so the title automatically makes me a little bias, but the song definitely grew on me. While the hook may be uninspired (”Charissa, I don’t want to hurt you/ I don’t want to let you down”), I do appreciate the bit of self-deprecation in the line, “Just trying to make you a fortune by ripping off The Ramones.” AM Taxi’s “Charissa” may never be as good as The Rolling Stones or The Police with classics like “Angie” and “Roxanne,” but at least now I can say I’ve got a song to my name…
Photo: AM Taxi Myspace
by Adam on March 12, 2010
This week’s work of art isn’t the most grand, nor the most famous of the paintings displayed in the magnificent William I. Koch Gallery at the Museum of Fine Arts, Boston (MFA). However, with its virtuoso technique and quiet presence, it commands a sense of elegance that seems to befit the stately gentleman depicted almost 500 years ago.
Titian’s “Portrait of a Man Holding a Book” (about 1540) is one of my favorite paintings in the MFA because of the way it demonstrates one of the techniques by which the famed Venetian painter was so well known.
Titian (1488/1490 – 1576) was one of the most influential painters of the Italian Renaissance and amassed, during his long career, a list of patrons that included popes, kings, and numerous noble families. As a result of his long career, he also trained some of the most well known Venetian painters of the next generation.
Among other techniques, he became particularly famous for his use of “open brushstrokes,” where-by he rendered certain parts of his paintings with less detail and, literally, more open brushstrokes then the polished finishes and exacting detail of other parts of his works. This technique is visible in “Portrait of a Man Holding a Book,” particularly in the figure’s protruding black and white striped garment, and this technique is what I like most about this painting.
Situated amongst other grand canvasses, “Portrait of a Man Holding a Book” may seem easily overshadowed. But, it has a unique presence that makes it quite captivating and it quietly exhibits one of the most famed techniques of one of Art History’s most celebrated painters.
Photo: mfa.org
by Jess on March 11, 2010
…I’d give one to the beginning of “Up in the Air” (2009). A well-constructed title sequence can really pull audiences into a film right off the bat with sharp montages or graphics, and this one does just that.
I subscribe to a blog called “The Art of the Title Sequence” and was PUMPED to see that the newest sequence featured was for Jason Reitman’s film. When I say pumped, I mean ECSTATIC. And here’s why.
The blog entry features an interview with designer Gareth Smith of Shadowplay Studio, who spliced together the beautiful shots that introduce the movie, and shows some samples of scrapped sequences from the design process. It also goes into a great deal of depth regarding the way the aerial shots were done, and details the inspiration behind the snazzy text (postcards from the 60s and 70s). You can even watch a clip from an earlier version of the credits.
If that wasn’t enough, the post revealed that the credits were inspired in part by the images of one of my favorite artists ever – Andy Goldsworthy – and that the jazzy version of “This Land is Your Land” playing through the spectacular shots is none other than one of my favorite funk groups -Sharon Jones and the Dap-Kings. Maybe I’m just a super-geek when it comes to all of those things combined, but WOW.
Check out the title sequence here if you didn’t catch it in theaters!
Photo: artofthetitle.com
by Chelle on March 11, 2010
Last week when I was reviewing “Paradise Lost” at the A.R.T. I overheard a conversation behind me between two women. One was telling a story about how they had been sitting in the theater watching the previous performance onstage at the A.R.T. when a woman’s telephone rang.
While not an altogether uncommon thing at the theater it remains to be the most hated. It takes guts to withstand the ice cold glares you’ll receive the rest of the night.
But two things make this story a little different. One was that when the woman’s telephone rang, instead of a regular ring tone, the phone had been programmed to repeatedly say “your phone is ringing, your phone is ringing.”
And of course the play she was attending, “Gatz,” is a six hour long play. That only makes things worse.
The other difference is that the phone belonged to the guest of the New York Times reviewer. In reading the New York Times ArtsBeat online the woman behind me had discovered the owner of the annoying ring tone, and found it terribly exciting that she had been there when it had happened. What had been an annoying interruption to the theater production was now an event in the Times blog. Sympathy came with association, however deflected, to the New York Times.
In reading the reader’s comments online its quickly apparent that unlike the women behind me, few have any sympathy for the guest whose phone went off, or for the writer Ben Brantley who came to her defense in his blog post. You can read Ben Brantley’s account of the experience and the reader’s comments here.
by Zach on March 10, 2010
I am not a fan of Facebook pages. I think they are asinine (that should show my disdain for them, since I never use the word “asinine”) considering there are so many things that I am “a fan” of, that I could never fit them into one Facebook profile. Sure, I think fan pages like “Can this onion ring get more fans than Miley Cyrus?” are mildly amusing. And I am definitely a fan of Megan Fox, but I feel no need to proclaim that love on Facebook… especially since I have a rather large poster of her hanging above my bed. What? That’s what God put her on earth for.
But, I digress. I am a fan of two pages, and only two. The first is Stick Figure Productions. This was a former employer of mine that made pretty cool documentary movies. They asked me to raise publicity by creating a fan page and inviting some people to join. So I did, and I kept my fan-ship because–who knows?–I might come there for a job someday. Anyway, the second page of which I am a fan is iTunes. Now, I know what you’re thinking: “Jesus, here’s this toolbag preaching non-fanship, but he’s such a hypocritical douche that he’s a fan of iTunes.” Frankly, if these thoughts we’re going through your head, you’re right. And you also need some new insults.
I do feel like a sellout that I am a fan of iTunes. Yet, I have my reasons. About once every month or so, iTunes sends their fans an update. Contained within this update is a link to redeem a free song sampler. Some of these past sampler playlists have included “Artists to Watch,” “Indie Spotlight” and “Songs from the House of Soul.” Though you don’t get to pick the songs nor the artists you download, the fact of the matter is that you get free music! And I have never heard of anyone ever getting free music! Like, ever!
Furthermore, the music is pretty good. My free samplers have turned me on to indie artists like Dawes, White Rabbits, Mishka and Fleet Foxes. So, yeah I’m a fan of iTunes. And you should become a fan too.
by Rebecca on March 7, 2010
When Britney Spears’ fourth studio album In The Zone was released in 2004, the pop tart was almost past her prime. She was less than two years away from her head-shaving, umbrella-wielding, K. Fed-fueled breakdown, and her days as a musical icon had more or less jumped the shark after “I’m A Slave 4 U.” But that kind of career limbo didn’t stop her from releasing what was then and still is the best song of her career: “Toxic,” which won her her only Grammy (for Best Dance Recording) and was named the 4th best song of the decade according to a recent Rolling Stone reader poll.
It’s hard to deny that “Toxic” accomplishes everything it tries to do: it’s catchy, it’s sexy, it’s just a little ridiculous, and that shrill synth line is pure genius. Most of its success can’t really be attributed to Spears, whose robotic vocals are, as always, in service to the dance beat. But it’s that kind of busy-ness that makes songs like this so ripe for reinterpretation within genres as diverse as hip hop, bluegrass, alt-rock, and polka. Here are only six of the many, many cover versions that exist:
Mark Ronson f. Tiggers & Ol’ Dirty Bastard
Producer-wunderkind Ronson’s breakthrough was his horn-rich, retro, soulful work on Amy Winehouse’s Back to Black. In 2007, he made my cover-nerd heart sing with Version, an album chockfull of retro, soulful remakes. This hip hop take on “Toxic” – with an incredible rap verse by the late ODB – has, of course, amazing horns and a great groove.
Nickel Creek
What if all the instruments on Spears’ original weren’t synthesized? Alt-bluegrass group Nickel Creek answers that question with their tongue-in-cheek live cover, which features a fiddle playing the synth line and real, acoustic bass. And the male vocalist really gives it his all.
Yael Naim, remixed by 16-Bit
Naim, former iPod-commercial darling, first released her own bare, eerie cover, which relies on her Fiona Apple-esque voice. Then dubsteppers 16-Bit got their hands on it and remixed it, keeping the eeriness but adding some wicked drums.
Or, the Whale
The token downbeat, acoustic cover, sweetened by some slide guitar, moody background vocals, and a Calexico vibe. This is the version of this song you listen to on a lonely nighttime drive.
Metronomy
What you’ve been waiting for: a cover of “Toxic” with accordion. Sure, this is basically polka, but it’s got a cool feel, and it’s instrumental, so nothing can distract from the string line and the oom-pa percussion.
Molly Lewis
And here it is on ukulele. Lewis, a minor internet sensation, rocks the song with surprising deftness and sincerity. If you’re like me, it’ll make you want to pick up a uke, too.
by Chelle on March 6, 2010
Believe it or not there is talk of the next Disney Broadway musical being a reinvention of the 1941 animated film “Dumbo.” Check it out here on the New York Times.
I have mixed feelings about this. I’m a Jumbo so therefore must love elephants, but all I can remember from watching “Dumbo” as a little kid is that 1.) He can fly because he has enormous ears and 2.) that all the other elephants are bullies and make fun of him. That actually might be all that happens in the movie. So, what’s the inspiration for the musical? Will Dumbo sing?
But I have to admit that Dumbo is super cute. Really who cares whether or not he can fly (or sing?) when he is just so adorable. But can Dumbo’s endearing simplicity and cuddliness be captures on stage? Good Question. Maybe Jumbo can lend a hand and audition. Who hasn’t hugged Jumbo at a sports event? He’s so huggable. Disney needs to get on this. Pronto.
Photo: hollywoodstandups.com
Jumbo at Community Day. Look at the guy - kids love him! Photo: www.insidemedford.com
by Josh on March 4, 2010
Your faithful music editor here, with a tip for the teeming masses who clearly read and appreciate the incredible diversity of awesome entries on this blog. All two of you. Way to be teeming, masses. Anyways, enough with the fluff. Listen to this band right the f*** now! For those of you who cannot grasp the myriad complexities of YouTube, the band in question is The Fratellis, from Glasgow, Scotland, who first began playing shows in bars in their home city in 2005. Their debut album, Costello Music, came out in September of the following year, unleashing an unabashedly Scottish, powerfully raw garage-rock bombardment. The singles of note, (for us U.S. listeners), were “Flathead,” which you might have heard in an iPod commercial, and “Chelsea Dagger,” which you might have heard in an Amstel Lite commercial. The album quickly achieved breakthrough success in the U.K., launching the trio on a world-wide tour, and landing The Fratellis a 2007 BRIT Award. Not too shabby, eh? Enter sophomore album, Here We Stand in 2008. Although it received mixed reviews from critics, Here We Stand showed remarkable progress and maturity for the band, steering them away from the Scot-punk tones of Costello towards a more majestically sprawling rock aesthetic. Notably, Stand adds some incredible keyboard work and a slightly smoother vocal tone from guitarist/lead singer Jon Fratelli, a.k.a. John Lawler. The sum: an across-the-pond version of Springsteen disciples like the Hold Steady or the Gaslight Anthem. Only now, they earn the praise of their U.K. rock forebear, Roger Daltrey of The Who, who said, “If Scotland had produced The Who, we would have been called The Fratellis.” Get on this pronto.
For this week’s entry, I’d like to share some of the images that didn’t make it into the paper with last week’s review of the Museum of Fine Arts, Boston’s (MFA) exhibition, “Luis Meléndez: Master of the Spanish Still Life.” These paintings, which are now on display with over 20 other canvasses by the artist, demonstrate how Meléndez’s exacting detail and thoughtful arrangement of objects turned images of everyday items into extraordinarily compelling artistic compositions.
Image © The Metropolitan Museum of Art
Still Life with Pears, Grapes, Peaches, and Receptacles, about 1772
Kimbell Art Museum, Fort Worth/Art Resource, NY; photographer Robert LaPrelle
Still Life with Oranges, Honey Pots, and Boxes of Sweets, about 1760–1765
© Museo Nacional del Prado, Madrid
Still Life with Oranges, Honey Pots, and Boxes of Sweets, about 1760–1765
As is the case with other special exhibitions at the MFA, several of the paintings displayed are on loan from some of the world’s most famous museums including Musée du Louvre in Paris and the Museo Nacional del Prado in Madrid. Others are on loan from prestigious private collections, including that of Teresa Heinz (wife of Massachusetts Senator, John Kerry), and thus this exhibition provides visitors a chance to interact with artwork that is normally an ocean away or, with private collections, rarely seen by the general public.
“Luis Meléndez: Master of the Spanish Still Life” is on view through May 9 in the Torf Gallery at the MFA.
For more information about the exhibition, click here.
To read the Daily’s review of the exhibition, click here.
