Oscars 2011: Who Should Win (even if I didn’t see all the movies)

By Jesse Roth

I like to think of the movie awards season like American politics: Millions all over the country offering up their baseless, uneducated opinions on various candidates and platforms, supporting them for all the wrong reasons and then bitching about the outcome, even when their candidate is declared the winner. As a dedicated fan of the moving picture, I figured it was time to throw my hat into the ring, writing my own pointless article regarding the upcoming Oscars. Throughout the year, I’ve had the chance to see many (but not all) of the nominated films and performances, and base my picks on a myriad of criteria, ranging from the educated to the downright irrational. Then again, I’m only following some of the same rationale used by those who are actually mailed official Academy ballots.

*Movies I have seen are denoted with an asterisk.
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America’s Music Legacy: Blues (DVD)

By Danny R. Phillips

The series America’s Music Legacy, with installments on Dixieland Jazz, Folk, Country, Soul, and others has the goal of documenting the foundations of America music. And with this chapter, “Blues,” they do a fine job.

Though it can seem slightly hokey and the performances painfully staged (the performances are set in “clubs” with “customers” in the audience; when the audience does get movin’, it still seems like they’re just playing a role), the real saving grace is the fact that this DVD focuses on the music. Despite the lack of energy and wildness that the blues should inspire and a spontaneous feeling of excitement that the genre can sometimes generate, there are some great performances by great players to be found.
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Floating Action, Desert Etiquette

By Less Lee Moore

Although the name Floating Action is derived from a vintage Gretsch drum pedal, it’s perfect metaphor for multi-instrumentalist singer/songwriter Seth Kauffman’s latest release. Desert Etiquette‘s ten twangy, trebly tunes are like sugar crystals floating on a stream of golden honey, dewdrops sparkling in the sunrise of a chilly spring morning, or the embers flaring from a campfire in the clearing of the dark, snowy forest. Everything is as natural and comfortable as being outdoors.
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Frank Sinatra: Best of Vegas

By Emily Carney

Frank Sinatra’s unique brand of machismo and swagger may seem obsolete in 2011. However, his vocal influence is still very much felt; Austrian electro lounge crooner Louie Austen has been known to mix some old Sinatra classics into his current sets. Although big band music has lost its cult luster in the last few years (remember the “swing” revival in 1999, and the Tony Bennett popularity explosion of the mid-1990s?), Frank Sinatra’s voice and legend elevates him far above mere novelty status.
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PJ Harvey, Let England Shake

By J Howell

If there’s one thing that can be said about Polly Harvey, it’s that she is full of surprises.

While a detailed discussion of the breadth of Harvey’s compelling body of work is beyond the scope of this review, it’s fair to say that while her music has always been inhabited by an often harrowing multitude of characters, the protagonists are generally embattled on an intensely intimate level. Just as often those same characters could arguably be described as victims.
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Top Ten Romantic Comedies: A Valentine’s Day List

By Lisa Anderson

I Love You Phillip Morris

The romantic comedy: it’s the most reviled of genres, and yet also the most resilient. There’s an assumption that men only go see them out of obligation . . . although men are likely to enjoy the good ones, and women are likely to dislike the bad ones. Too many rom-coms rely on mutually insulting stereotypes (the commitment-phobic man, the miserable career woman), predictable plots (boy meets girl, boy does something stupid), and problematic supporting characters (Sassy Black Friend, Sassy Gay Friend).

Nevertheless, they keep getting made, and they keep making money. This is because among the scores of bad rom-coms, there are gems. Almost everyone can think of a few that have actually made them laugh, and managed to resonate with their feelings and experiences. Here are a few of mine, in no particular order.
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Letters To An R&B Contrarian, or: Why R. Kelly Matters

By Paul Casey

Dear _____,

How are you? I was pleased to receive your last letter. I am glad that you are proceeding well with your descent into the mire of popular music and that you no longer scoff at the genre of R&B in such an ill conceived and self-satisfied manner. That you can acknowledge you were mistaken to hold that Keane album above “any R&B album of the last twenty years” is something.

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Over the Rhine, The Long Surrender

By Magda Underdown-DuBois

I was introduced to Over the Rhine when they opened for Ani DiFranco a few years ago. The girlfriend who bought us the tickets explained to me that the married duo of Karin Bergquist and Linford Detweiler had begun making music in the arena of Contemporary Christian, but had then broadened their reach to incorporate the deeply personal mundane that dominates the singer-songwriter genre these days. When I picked up The Long Surrender, I expected something similar to what I heard onstage so long ago. Their press release and the Notes within (a preface to the duo’s musical story written by their producer Joe Henry) argued against these preconceptions.
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Anna Waronker, California Fade

By Less Lee Moore

Singer/songwriter Anna Waronker has surrounded herself with talented musician friends for her second full-length album, but no voice rings as clear as Anna’s own. Her lovely alto is the shining star in this collection of tunes on which she also plays piano, guitar, synths, and more. Waronker has a real gift for harmonies and melodies; these skills become particularly gratifying in the way she crafts the endings of her songs, as they transcend the typical fade out or repeated chorus, and transform the entire song into something better than the sum of its parts. Additionally, Waronker’s vocal and string arrangements are beautifully crafted.
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Everything In Between: The Decemberists

By Maureen

Beacon Theatre, New York NY
January 25, 2011

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larger image.

I have to steal a quote I overheard from a fellow fan at the merchandise table: “I’ve seen them many times, and every time it’s like, totally different.” The Decemberists played a three-show block at the historic Beacon Theatre this January. I attended the “middle” show, which was originally the only show, as the other days were added to accommodate incredible ticket demand. This is my third experience with seeing the band live, throughout more than five years of being a fan. This current “Popes of Pendarvia” Tour follows the release of their newest album The King is Dead.
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