By Maureen
Here’s what I know: I saw Brave on its opening night and enjoyed the hell out of it. My boyfriend and I were in a theater full to the max with a good mix of children and their parents and groups of people both our age (27 and 29, respectively) and teenagers. We had a great time. Everyone was a-buzz leaving the theater, both about the film and about other Disney/Pixar endeavors.
Here’s what I don’t know: why everyone on the Internet suddenly seems to have issues with this adorable film. (more…)
New this week on Popshifter: Thoughts On: THE BAND, Music From Big Pink; reviews of Silver Jews, Early Times and Harry Howard and The Near Death Experience; new Robyn Hitchcock song “There Goes The Ice;” Theresa Andersson in Cambridge MA; an interview with author A. Jay Lee; and that burning question: Are The Originals The Best?
New on Popshifter this week: musings on Rock Of Ages; reviews of Dent May’s Do Things and Unsane’s Wreck; mixtapes and compilations; and Prometheus: A Call For Positivity.
By now, you’ve probably heard about Ridley Scott’s latest sci-fi epic, Prometheus, and possibly even seen it. Hopefully, you have not based your enjoyment of the film on what critics are saying. Although there are several who have embraced Prometheus, flaws and all (Roger Ebert, The Guardian, HuffPo, The New Yorker, Screen Rant, and David Chen from /Film), there seems to be an overwhelming majority who are trashing every aspect of the movie.
A couple of weeks ago, Community fans rejoiced when the ratings-challenged show was renewed for a fourth—albeit truncated—season, but the relief was tempered with concern, as by May 17, it was still not confirmed whether showrunner and creator Dan Harmon would be returning.
On May 18, Deadline reported that David Guarascio and Moses Port would be the new showrunners. It was disappointing for fans of the show, admittedly a group of people more aware of and invested in the behind-the-scenes goings-on than your average TV viewer.
New on Popshifter this week: reviews of the recently reissued Beginnings, Rick Springfield’s 1972 US debut album; Theresa Andersson’s latest album Street Parade; Beatles documentary Strange Fruit; The Apples in stereo’s Chris McDuffie’s solo release as Whitejacket, titled Hollows and Rounds; and The Ian Hunter Band’s Rockaplast concert on DVD.
I never even heard of Lana Del Rey until I saw this posted on a friend’s Facebook wall on January 14: “What is this Lana Del Rey shit?”
It was, of course, a reference to that infamous, scandalous, controversial, polarizing (pick one or come up with your own) Saturday Night Live performance. I don’t watch SNL so I didn’t see it.
The next day, January 15, another Facebook friend posted a link to Lana Del Rey’s video for “Born To Die.” I listened to it. I loved her voice and I thought the song was rather intriguing and different. Del Rey was certainly beautiful, with a distinctive look and sound. I watched a few more videos of hers “Blue Jeans,” “Video Games,” and “Mermaid Motel.” They were all good.
Then I started reading online about the backlash before the SNL backlash. How Del Rey was an indie poseur, blah blah blah. I felt bad for the poor girl. I felt like if everyone was going to hate on her, I was going to like her just to spite people. (I can’t help it; it’s what I do.)
Other than posting a link to the “Born To Die” video on my own Facebook wall and a link to the January 16 Brian Williams email article on Gawker, I have not posted much about her online. Yet I couldn’t escape the haterade that everyone on the Internet seemed to be drinking. It was everywhere I looked and I wasn’t looking for it. Within about a week, she came up in a real-life conversation and that’s when I started Googling her.
New York Magazine‘s Entertainment section has a nice timeline of events that you can check out here. I admit it looks like I’m copying them with my own timeline below, but mine is a bit different.
Rather than try to dissect and comment on each and every blog post I’ve read about Lana Del Rey (which would surely require at least a week and I do have other things to do) or even the ones I’m linking below, I’m just going to include some salient quotes and let you be the judge.
At this point, you’re going to think what you want to think about Lana Del Rey so maybe you’re thinking “why bother?” I will point out that these links are available to everyone with a computer and an Internet connection. It seems like people (including music blogs and others) are content to follow the meme of the moment without questioning it (or the biases of the blogosphere, much less their own biases) or even doing their own research. I wanted to do my own research and decide for myself. So here you go.
Over the last few weeks, the blogosphere was in an uproar over SOPA and PIPA, two pieces of proposed legislation set to appear before the House and the Senate in January. While the alleged intention of the legislation was to thwart online piracy of movies and other media, opponents expressed concern that the actual effects of the bills would be far more insidious and damaging to the Internet, claiming that it would drastically change not only the structure of the Internet, but the way people use it. Although both SOPA and PIPA are US legislative proposals, there was an overwhelming fear that they would cripple Internet usage on a global scale.
By Paul Casey
“We were somewhere around Barstow, on the edge of the desert when the drugs began to take hold.”
Coupled with Bruce Robinson’s Withnail & I, there is no more cherished catharsis for the teenage crowd than the work of Hunter Stockton Thompson. Or the drunk crowd. Or the drugged crowd. Or the drunk and drugged teenage crowd. Hunter Thompson’s Fear and Loathing in Las Vegas, and the wonderful Terry Gilliam adaptation starring Johnny Depp and Benicio Del Toro, are the blueprint for so much debauchery and casual destruction. Apart from the compelling joys and miseries of sucking from the Gonzo cock of hyperbolic substance use, Thompson is one of the most emulated crusaders in the truth game.
“Why? What’s you mean, ‘Why?’ Because you’re different, that’s why. You know, you’re like me. You want different things. You got somethin’ better than bein’ a waitress. You and me travelin’ together, we could cut a path clean across this state and Kansas and Missouri and Oklahoma and everybody’d know about it. You listen to me, Miss Bonnie Parker. You listen to me.”
—Bonnie and Clyde, 1967