It’s not surprising that a biopic about National Lampoon founder Doug Kenney (played by Will Forte) would come out right now. With Netflix’s dedication to weekly comedy specials, the importance of SNL, and the evolution of social-media to share comedy, of course, it’s timely to release a movie about one of the most influential forces in comedy. A Futile and Stupid Gesture is both hilarious and dramatic, bringing to life both the excitement and burden of living in the comedy world. While easily watchable and very entertaining, there are certain aspects that leave the audience a little confused and unsure of how they’re supposed to feel.
Spoilers[i]: Continue reading
Andrea Gibson is a very good poet. Their album Hey Galaxy made a pretty large personal impact, and their previous books have generally been pretty good. This is why Take Me With You feels like such a lazy cash in. It’s an attempt to sell a very pretty book to an audience that won’t digest poetry in a more traditional form. Continue reading
I didn’t really like Andrea Gibson’s Hey Galaxy on first listen, because it didn’t seem like an album that was meant for me. Gibson is one of the most famous performance poets in the world, and they’ve written a number of books and albums that are leagues more popular than other spoken word artists. Gibson tackles a number of women’s and queer issues in their work, which is why it hadn’t really impacted me, but upon listening to this album again and again, I realized that this is an album that is just as much to inform cis, straight men as it is to give voice to the community Gibson comes from. Continue reading
About three minutes into awakebutstillinbed’s debut album, lead vocalist Shannon Taylor sounds like she’s about to breakdown. Her voice cracks as she screams, and it’s not pretty. She doesn’t have the sort of aesthetic screams that blend in with a song cleanly. She sounds like she’s ugly crying screaming along to the radio. Awakebutstillinbed channel Taylor’s songs into the type of palatable indie emo that’s probably too intense for the Sorority Noise crowd, and that’s probably for the better. She doesn’t dress her sadness in longwinded metaphors or interesting instrumentals. It’s bare. Continue reading
The Grammys are usually predictable, but not painfully so, like this year. This has been a year with a lot of heartache, and after the Grammys have blown it in nominating rock artists of consequence or giving the album of the year to an undeserving pick two years in a row, it’s hard not to get a little cynical, but here are my best guesses of who will win and should win:
Album of the Year
Will Win: Lorde-Melodrama Continue reading
I think one of my favorite things about Fall Out Boy is the way the songs bring people together. “Thnks fr th mmrs” and “Sugar, We’re Going Down” are catchy as all hell, but if you’ve ever screamed them in a car with your best friend, you get this feeling like you could push every bad feeling you’ve ever felt out of your mouth into that moment. Save Rock and Roll certainly had songs for car rides, and although American Beauty/American Psycho wasn’t my cup of tea, I’m sure somebody is screaming it somewhere. Continue reading
Released almost exactly one year after her debut album, Sidney Gish’s new No Dogs Allowed marks a significant step forward for the Boston singer-songwriter. Gish’s debut marked the scope of her ambition by having her play every instrument, mostly with just her guitar and voice. Dogs sees Gish venturing with different guitar tones, more drum loops, and real bass. Gish also keeps with her writing of catchy songs withs, somewhat random lyrics, although she seems a little bit more thoughtful this time around. With the increased popularity, Gish is placing herself in league with the likes of Waxahatchee, Julien Baker, and other indie-pop songstresses that have taken the music industry by storm so much in the past year. Continue reading
After the first two songs of The Killers’ set on their Wonderful Wonderful tour, frontman Brandon Flowers quotes Evil Knievel: “People don’t pay for the perfect landing; they pay for the attempt.” Unlike Knievel, The Killers don’t land as much as they attempt, and their performance at Brooklyn’s Barclays Center left me wondering if I’d pay for another attempt. Continue reading
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