text:
The venue Lunchbox was really hard to find. We drove past it twice, walked into a random bar that was the wrong place and then realized that the tiny building in the parking lot behind the bar was the venue. The venue was a very small and intimate space. You walk in to a front desk area and make a right to a strange little hallway with diner-like booths and tables and then into the room with the small stage.
There were only about 15 people total present including the band members. The show was so intimate that the bands were joking around on stage saying, "Who's next? Did we decide an order for tonight?" and "I could call out everybody by name in this crowd." They had a projector playing imagery on the back wall of the stage, but since the room was so tiny the light from it was pretty blinding to the singers. It was funny to watch them squint as they were trying to talk to us.
The band Emotional from California took the stage. They had a very pop sound, but at the same time had a jam band quality to them. The lead singer had very dry, deadpan humor — making random jokes in between songs: "This song is dedicated to our other guitarist who couldn't make it. He moved to Japan once," and "We're gonna bring it up a notch. Just one notch." Another quote was, "The next song is called The Ballad of the Band. It's a ballad… about a band… that broke up. And all bands."
You could see that they were having a good time and it was a relaxed vibe. There was even some improvisation with their set list. The lead singer looked like he was coming up with what songs to play on the fly. He even picked an older song of theirs and one of the band members couldn't remember what that song was. That was pretty funny. They reminded him, and the set continued on.
In between bands, we were sitting at a little booth in between the front desk and the stage — and all the sudden there was a black cat right over my shoulder. I'm allergic to cats, so I tried to ignore him (which only made him more intrigued and fascinated with me). He had a fixation with my bracelets; I tried putting my hands in my pockets to hide them, but apparently cats are way smarter than I thought and he knew exactly what I was doing. After much persistence on his part, we became friends… Even if the friendship ended in an allergy attack.
All in all, it was a very interesting night!
Luna Aura
San Diego-born, Arizona-raised artist Luna Aura created small but powerful ripples in the industry when she released her debut self titled EP in 2014, causing enough friction to latch listeners onto her next EP act, Supernova. She didn't stop there, however. This fall has only gotten her moving at a faster pace… With the release of her latest work, Madhouse, she has been forcing radio-active waves around the web and in venues across the nation.
Throughout the years, her image and inspiring content hasn't changed per se, but has morphed in a mature and modern fashion with the authenticity of her character and the elasticity of her workmanship still as evident as the stars.
During a special interview with the young lady, I was able to get a clearer outlook on the chrome-covered starlet/producer/singer and what she thinks about this process that has spun her into a world apart from our own.
MusicUG: You just released your third EP, your single "Madhouse" is on multiple radio stations and you're on tour! How surreal is life right now?
Luna: Life is insane right now! I never thought this EP would have the effect that it does, and it's only growing. I'm really proud of what Evan Gartner, Josh Li, Justin Hergett and I created, and being able to be on the road performing these new songs for people has been such an incredible experience. I can't believe people actually know every word already!
MusicUG: You began writing when you were only ten… At what age was it that you decided to blast off and turn it into a career? What did your family think?
Luna: I don't think I ever pictured myself doing anything other than music. My family felt the same way. My parents and relatives have been supportive of me following my dream my whole life and still push me to work harder and be a better performer every day.
MusicUG: How has your skill set evolved since you first started making music?
Luna: I'm doing WAY more now than I was doing when I first started performing. My focus is not only on making and playing music anymore. I'm building a brand and a business that will hopefully afford me the life I've always wanted, and as a performer, I push myself to do more and more every time I'm on stage. I'm just as much a business woman as I am a struggling artist and performer.
MusicUG: Your style and sound is very unique, like a mirror to your soul.. What influences your art and how do you stay true to it all?
Luna: Everyday life influences my art. I want to tell a story with the music… I write and I don't think people really take the time to look around at all the inspiration that surrounds them every day. I'm inspired by people I don't even know walking down the street. Life is incredibly beautiful and so full of twists and turns. I want to capture that and share stories that people can relate to.
MusicUG: What advice can you give to kids these days trying to express themselves through their own art, but are afraid of criticism?
Luna: You will always be criticized. No matter how good you are, no matter how much you change yourself for others, no matter how hard you try… Somebody will have a problem with it. So, just do what I did three years ago and just say "F*** it." Because life is not about the opinions of others, and you're certainly not made to make other people happy. Your art is your art, the ones who understand and appreciate you will gravitate towards you and make you a better person. Everyone else is just everyone else. I promise the sky doesn't fall when somebody doesn't like you.
MusicUG: The ball is really rolling for you and a lot is going on! So what's next?!
Luna: I'm just pushing Madhouse, and having a blast performing all the new music for all my fans, new and old. It's been an amazing year so far, and I look forward to everything growing.
It was an honor being able to get to know Luna Aura more! Check out her new EP, Madhouse, and stay tuned for more! No one knows a wave will turn into a hurricane until it hits.
The emergence of singer-songwriters has been getting stronger over the past few years. There's truly a plethora of artists around today that write, create and arrange their own music. Sure, there are engineers and producers that help craft what you would hear on the radio, but the soul and personification of the songs are from the person who will be performing them. Sadly, if you read the liner notes, you would see that a lot of the more popular performers do not write their own material. For me, this makes the songs very hard to swallow.
…But this is not about the performers. This is about an artist.
Saydi has been cutting her teeth in the industry for a little while. She's been working in a studio and playing with an extremely talented group of artists in a party cover band. She's also been using YouTube as a forum from time to time to share with the world her voice, lyrics, and musicianship.
Saydi has recently released "Lavender Ghost." This is her first official song and will also be on an EP that she will be putting out in the fall. The EP has not yet found its name. But, with this release, Saydi herself is making a name.
The song is light and sensual; at the same time, it is thoroughly dramatic. Saydi's distinct emotion in her voice swallows your heart when she does her runs and light vibratos. The music is tranquil and even ghostly. The essence of the music and the sincerity of the vocals hold your attention until the last word.
I recently was able to sit and have a conversation with Saydi. "Lavender Ghost" was just released the previous week. With the new song and working on her upcoming EP, I felt privileged to get a chance to ask her a few questions.
"Lavender Ghost" came out last week. How has the response been?
Saydi: Good. Hopefully, I can keep it growing. But right now the numbers and streams are increasing steadily.
What is your inspiration for "Lavender Ghost?"
Saydi: I don't know. When somebody asks me what a Lavender Ghost is, I don't really know what to say. But the writing process of that song came very quickly. It was just the right moment. The right time.
When you are writing do you segregate yourself?
Saydi: I am usually by myself when I write. I have done a couple of group writing sessions and they are so much fun. But I think my favorite material has come being by myself. I just pick up an instrument and start messing around with different sounds and ideas.
So does the music come first?
Saydi: Yeah. Actually, when I wrote Lavender Ghost I was working on a different track. I had the session up and was trying to find a cool synth pattern… I found one. I started playing some chords on it and was like, 'This is beautiful. Why don't I just hit record and play around with it?" I recorded this two and a half minute synth thing. At the end of it I heard in my head that beat. That was the beat for Lavender Ghost. But I was supposed to be working on a different song and I just went along with it. I spent the rest of the night on it.
So it usually comes when you are not expecting it?
Saydi: I just try to make sure I am prepared for when things like that happen. You want to be in a good environment and in a good place. You want to have your computer near you so that when it happens you can easily write it down and move on to the next thing. I try to make my music work flow as easy as I can.
You have an EP coming out in the fall. Are those songs already written?
Saydi: They are written. They are not recorded. Two of them will be recorded this week.
So they could change a little?
Saydi: Probably.
Do they always change in the recording studio?
Saydi: I change my mind a million times. So…yeah. I'm still writing every day so there could be something where a month from now I will be like, "This has to go on the EP." But right now I have a set list.
How many songs will be on it?
Saydi: Five.
Do you hold on to the ones that don't make the EP?
Saydi: Yeah. I definitely want to use them for something. I don't know if I will record them and send them to other people… Maybe save them for another project. It might be a different style. But I definitely still have them all.
You recorded "Lavender Ghost" on your own and had someone engineer it?
Saydi: Yes.
…But that's not how the EP will be done?
Saydi: It might. We'll see (laughs). I've been wondering. The song came so effortlessly and the mix came so effortlessly. Ryan Johnson was the mixing engineer on "Lavender Ghost." When I sent it to him, I was like, "I was really inspired. I did this in a couple of hours. Don't fine tune it… Whatever. Just spend three days on it and give it back. We'll be done."
Three days later, he sends it back and I'm like, "That sounds like a pop song." If we could do that, what more could we do? If I'm in my apartment recording…for free. He's in his apartment mixing…for free. Can we do that again and have the same effect? I hope we can. Because it was cool.
Do you like your music to be more stripped down?
Saydi: I don't know because I live all of it. I used to not really be a fan of electronic music. Now I love it. But I still love that raw, gritty feel. I wonder, too, if I could make […] my music is starting to go towards a digital, synth and electronic and hip-hop background. But I would still like to incorporate live instruments and the grittiness of that analog feel of raw music.
Kanye West versus The Roots?
Saydi: Maybe! I would love to put on the next track a strings section and a horns section. Another track would be entirely computer based. But I love to be able to take any of my songs to a live session and it be all acoustic and still sound good… To have it still sound like my songs.
You talked about a potential tour. Is that something you are nervous or excited about?
Saydi: I'm excited for the experience… Nervous financially. Money is hard to come by in the music industry. As much fun as it would be to get that experience to broaden my fan base, it's expensive. So, hopefully things can work out in the future.
Who are your influences?
Saydi: I would say for this album, I have been extremely influenced by alternative R&B like Lana Del Ray. But then I love alt/rock guys like The Heavy. When I wrote "Lavender Ghost," the song I was listening to that inspired me to do the choir-synthy feel was a song called "Midnight" by Coldplay.
Other than that I grew up listening to Fiona Apple, Tori Amos, Sade, and Sinead O'Connor. My dad listened to Weezer and the Violent Femmes — kind of the other side of the spectrum. Then I of course listened to a lot of pop and Top 40 music. But I hope to take everything that I have learned and listened to and incorporate it into something new. New is hard to come by because there are so many people out there.
Despite the obvious answers, where do you see yourself in ten years?
Saydi: I think success looks a lot different than what we think it does. I don't really need to know how to measure success besides paying the bills and loving your life. In ten years, I would love to be a way better musician. I would love to have tons of songs out there, whether or not it's me as an artist or as a writer. I see myself […] this is a hard question. I'll always live my life doing music. Hopefully in ten years I will feel more fulfilled than I do now… Even in five years. Yes, I would love to make a steady income. But anybody who tries to do music for money is an idiot. I would just love in ten years to have put out some really great music.
So far, that goal is off to pretty good start. "Lavender Ghost" is out there and waiting to for you to listen to it and fall in love. With a little sense of humor, a dash of humility and a whole lot of passion, Saydi could get more than she bargains for.
I have been a fan since the first time I heard her play. She is a secret that I have not been hiding… She just needed the right moment to introduce herself to the world. This first release, hopefully, is her moment and the first of many defining moments. Enjoy!
Marianas Trench, the Hey You Guys!! Tour
Tonight was an exciting night, not only because I had been waiting for Marianas Trench to come to AZ for years, but also because my mom, younger brother and I were going to experience it all together.
I love that my brother is at that age where we share music we find with each other, and he comes to shows with me. In this case, I had shown him the video for "Celebrity Status" a while back and had him at "Pomegranate?!" It has turned into somewhat of an inside joke between us — those crazy Canadians.
We managed to get the last parking spot left in the Marquee Theatre lot, and headed to the box office to get my photo pass. There was a little blip, but Jeff, the real MVP, worked his magic and we got in with plenty of time before the "Special Guests" took the stage. I looked into it a little bit before the show, but couldn't discover the identity of said special guests, so I decided it would just be a fun surprise.
Boy, do I love being pleasantly surprised! Looking at the drum set, the guests were to be known as Mainland. The word 'mainland' was one I heard all the time used by locals when I was in Hawaii, so I wonder what the connection is there. They also have an obsession with pineapples. Though the band is residing in New York City, their music gives off a retro, California vibe which makes sense now, because they are all technically from California. They have a debut EP titled Shiner, and their most recent, which I snagged for myself, titled Outcast.
They are so explosive and full of energy on stage. It's one of those moments when you know they are loving every moment, soaking it all in, and you can't help but feed off of it — which leads to a full-circle good time for all. Their last song was "Leave the Lights On." As frontman Jordan Topf strummed the last chord, he held it high in the sky as it rang through.
They may have left the stage after playing for a good 45 minutes, but the energy remained with the crowd. There is a lot of pressure being the sole opening act each and every night, but they did it with style and vim… Try walking around without swagger while listening to "Not As Cool As Me," I dare you.
I adored them and their sound before I got to talk to them a little after their set — and when I did, it left no doubts in my mind they were genuine guys. The general theme was that they were completely overwhelmed by the amount of love they received that night. They signed every shoe, every album and random item from new fans placed in front of them. Check out their tour blog written by their bassist Alex Pitta. They are currently on tour with Jukebox the Ghost.
Touring in support of Marianas Trench's new concept album Astoria, which is an homage to fantasy adventure films in the 80s , the 80s parallels started when Michael Jackson's "The Way You Make Me Feel" was played over the sound system minutes before their set… Funny too, because their song "Shut Up and Kiss Me" is definitely a shout out to Michael with a Jackson 5 vibe and the lyric, "Don't sound like Mike did, no. but it's all right for a white kid." Their VIP guests dressed in their 80s best, as did the band — especially lead singer Josh Ramsay in his skin-tight, jaw-dropping, eye-popping leopard print pants that were playing truth or dare with his hips. How they stayed up the whole concert is almost as astounding as his hitting high notes as if he was Freddie Mercury.
The band came out dramatically as silhouettes — drummer Ian Casselman taking his spot first, accenting his instrument with the deep, echoing drum beats of the intro to "Astoria." As the tempo of the music increased, the rest followed and took their places. With black knee-high buckled platform boots, Ramsay took charge of the entire stage, letting his persona and love of pageantry and presentation travel to every edge of the theater to sing to each section of the crowd.
They primarily played songs from Astoria, but they played a handful of other favorites from Ever After. I felt a little bad that I was still in the photo pit for "Celebrity Status" because that is the song I first introduced to my brother, but I knew we would both be singing along to all the words anyway. Plus, I couldn't give up an opportunity to soak up the love from bassist Mike Ayley and guitarist Matt Webb.
One of the reasons I haven't had enough of their music is not just how they cleverly weave a concept through the lyrics and musicality of an album, but also the way they harmonize with each other. Now that I have heard them sing together live, nothing will quite compare to the chills I got when they played "Who Do You Love," the music becoming my heartbeat for the night as the drums reverberated through my chest.
Marianas Trench Set List:
- Astoria
- Celebrity Status
- Burnin' Up
- All the Myself
- Who Do You Love
- Fallout
- Stutter
- One Love
- This Means War
- Desperate Measures
- Shut Up
- Pop
- While We're Young
- Cross My Heart
- Josh?
- Haven't Had Enough
- End of an Era
At times, Ramsay would stop and talk to the crowd like when someone was asking him for an autograph on stage and he sassily retorted with "I'm working here!" and hopped off stage to sign anyway. In another instance, he explained that he wrote this album during some of his most challenging years, but also lightened things up a bit with his story about Lindsey the tiny horse, which he impulse-purchased at seven in the morning after too much tequila after his engagement had been called off. He ended up canceling the purchase, but dedicated "One Love" this night to Lindsey the tiny horse.
They also had a slideshow of photos sent in by fans playing in the background, which was a great way to include their fans and make it a special night.
The crowd was half the size of a lot of shows I have been to, but were so much louder that the screaming around my ears sounded warped as he came through the crowd during "Haven't Had Enough." Ramsay said, "To think we have never been here before, and there were so many of you here waiting for us. Well, you are going to have a hard time getting rid of us now!"
They finished off the night with an almost eight-minute whopper of a song, "End of an Era," that starts out as a ballad as they all sing together and ties song lyrics from previous albums together with the new — like the ending credits of a film. The song ended with battling guitars and explosions of light, with guitars held high.
Ramsay vowed to come meet everyone after the show, and he stayed true to his word. I wouldn't doubt that they would be able to sell out the Marquee their next time around. From the giant screen in the background bursting with colorful projections of lips and fire, to Ramsay's vast array of guitars (one even shaped like a maple leaf), it was quite the production — as well as an invigorating musical experience with all of the emotional ups and downs. No, I'm not stuttering when I say this night was a happily-ever-after.
Clara-Nova – The Bronze Age
So, if we're being real… I didn't choose this EP; this EP chose me. Let's just say it was a happy accident.
Just as unique as the name sounds, Sydney Wayser's newest project, Clara-Nova, is just incredible, and something I can honestly say is 100% its own style. The EP, titled The Bronze Age, and has four tracks. After listening to it all the way through, I had this overwhelming feeling of, "Oh, my goodness. This is my new favorite thing."
Clara-Nova could best be described as "electro-textured pop that manages to somehow still stay sophisticated, exotic and accessible" as stated on her Facebook page.
The unconventional combination of electro-style instrumentals and very raw, uncut vocals blew me away. It worked incredibly well for her… In such a way that I couldn't picture these songs being constructed in any other way.
Another thing that I'd noticed throughout this EP was her song writing: The way she puts words and phrases together and pairs them with the instruments is spot on. I don't have even one negative critique… But on the off chance that Clara-Nova doesn't take off, I could see Sydney Wayser making a comfortable living being a songwriter for just about anyone.
Anyway, back to the review.
The first track on the EP is "An Island," and it definitely has one of the most unique sounds I'd heard in a while. It's kind of like when Lana Del Ray popped out of nowhere and the world just wasn't ready? Yeah, it was like that. I most certainly was not ready. I gave it a shot, though, and by the end of it I realized it was a really good tune. It was overall very calming, yet had some swing at the same time. If something could be coffee shop, road trip and dance worthy, it would be this song. Just picture a bunch of hippies dancing around elegantly, and that's pretty much the image I get while listening — completely mood changing.
Track two, "Badlands," had similar vibes — which isn't a bad thing. Personally, I dig it when all of the tracks on an album mesh together like that. So, even though they have similar vibes, this one had significantly more pop influences… More of that "electro-textured pop" she described herself as. I could most certainly see this song being played at a coffee hang-out in Bloomington or Nashville, Indiana, and no one would second guess it… But if it were played in a club in Indy, no one would know what to think.
The third track is called "Quicksand." The lyrics to this one got to me a little bit. Her songs are written like poetry and with such elegance. That's really the only comment I have on this song.
And finally, we have the final track titled "This Side of Paradise," and it is hands-down my favorite song on the EP. Personally I feel like she should do more songs like this one. It has a very mystical sound, too. Well, the whole album does, really… This song in particular, though… The vocals were absolutely flawless. I know these are very cliché terms to use, but the song is truly perfection and should be described as nothing less. Basically, if you had to listen to just one song by her, I would strongly advise you take the three minutes and 30 seconds to listen and absorb this song.
In conclusion, I'd be on the look out for more involving Clara-Nova and the lovely Sydney Wayser… Be it in the background of your new favorite show or movie, at your local coffee shop or on the radio. Keep her in the back of your mind.
You can download all four tracks here — and if you just want a snippet, there's a free download for "An Island" on her website.
Nekokat – Communication
For all you electropop enthusiasts, today is your lucky day! If you are a fan of Jordan Witzigreuter's solo work with The Ready Set, you will be even more excited to know that he is now collaborating with Cameron Walker as well as The Summer Set drummer, Jess Bowen. They were all ready for something new, and together formed Nekokat.
They hit the studio earlier this year with producer Eric Palmquist, who also brought us work from Night Riots, to create a 4-song EP, Communication, which was released on June 23rd.
Jordan has always favored Japanese pop art, including the maneki-neko (or lucky cat, a common Japanese figurine thought to bring good luck to the owner), so it was no surprise he came up with the name. Just last November, when The Ready Set was on tour with Metro Station and I saw them at Joe's Grotto, part of his stage setup included the giant blow-up cats, and could also be found on some of his merch.
Their debut EP, Communication, is a clever mix of whimsy, rock 'n roll, and programming to create eccentric layers of sound, perfect to put a pep in your step as you sing along in the summer heat, with your feet hitting the pavement to the beat. Like most relationships, it starts out slow and reserved and then starts to open up to its true potential as the tracks go on, all quirks included. It is meant to follow the concept of communication, so it enables you to really listen to the lyrics and find how the music speaks specifically to you, or what the writer is trying to tell himself.
The title track is very ambient with whispered and distorted vocals, as if you have your ear to the door trying to listen in. Then, with powerful drums towards the end, it takes your hand, coaxing you down the rabbit hole.
The next song picks up the pace and is titled "Don't Be Loud," yet it makes you want to disregard the statement, slide the volume closer to the max and bob your head back and forth. Listening to the lyrics, "loud" could be in reference to something other than volume… It's up to you to find out.
"The Reckless" seems to speak to everyone as a collective, and is one that makes you want to sing along with someone. The drum beat sets the pace along with jamming guitar flourishes and peppy background harmonies. In the chorus, narration says to "take me as an anti-depressant, do you feel better now?" This upbeat song makes it difficult to respond with anything but a resounding "Yes!"
"Gimme a Break" is almost impossible to listen to without smiling. I could easily see it as background music to adorable baby animal videos spammed all over the Internet. The use of the xylophone really makes this track sound free-spirited and stand out. The message behind this song it to be true to yourself, and not be afraid to be different.
This EP goes by really quickly, leaving you with no choice but to hit replay, as you are left with the feeling of wanting more. Not to worry, Jordan is also continuing to make more music for The Ready Set, and Nekokat just recently played their first two shows in L.A., with more in the works.
In fact, they even made a cover of The Cure's "Boy's Don't Cry," which you can listen to here to hold you over. I'm a big fan of the original, and it is intriguing to see electropop and gothic rock collide to create a more up-beat, fast-paced creation.
Communication is available through their website as a digital download for $5, and on iTunes.
My ears are ears open and ready to listen to what they come out with next. I'm ready, they're set, let's go!
This Century, The Technicolors
Bottom of the Hill is a small venue tucked away in the Potrero Hill neighborhood of San Francisco. It has a funky vibe with the wonky-shaped window on the back wall of the stage and curved chimneys coming off the walls throughout the space. The venue had a cool patio out back to catch some air in between sets.
I was particularly excited about this show because I lived in Arizona for over 10 years, and I had seen both of the main bands many times while I lived there. It was nice to have a piece of home here in the Bay Area. It felt like seeing old friends.
Julia Lauren was the first act. She was originally from Brooklyn, and was a lot of fun to watch. She had a really cool personality and a great voice. She told us that she didn't have any music recorded yet and hadn't even officially decided on a band name, but that she would let us know the minute she had any updates if we signed up for her email list. I definitely put my email down.
The Technicolors have a special place in my heart. I make sure to see them every single time they are playing anywhere close to where I live. Brennan Smiley has one of the most amazing and unique voices I've ever heard, and I have a crush on his unreal guitar skills. He was funny and just kept awkwardly saying, "Hi, guys," between songs. He had a moment where he mistook his microphone for his water bottle, saying, "I just tried to take a drink out of my microphone."
My favorite songs of the set were a cover of "Wicked Game" and "Hollywood." These guys always put a smile on my face and put on a great show, and it was great to see them again and talk to them again — I will definitely be seeing them in October when they are back in San Francisco.
This Century had announced they would be breaking up after finishing this last stretch of shows, and that this was going to be their final show as a band in San Francisco. They had also just released a brand new album as sort of their final gift for their fans to enjoy.
I interviewed Joel before the show and got to catch up on what was going on with the band currently and what their future plans as individuals were. It was fun to chat with him about previous shows of theirs I'd been to when I used to live in AZ. Like I mentioned before, this all just felt like I was catching up with old friends.
This Century started their set off with "Soul Sucker" from their new album. A few songs into their set, Joel said they were going to do something that wasn't planned and play "Money Honey." They were all awkwardly stalling on stage when Joel mentioned, "Sean doesn't know how to play this song and I might know the words," so there was a hilarious couple minutes where they were just trying to figure out how to play the song. "When in San Francisco play songs you don't know how to play," he said. At the end of the song, Joel laughed as he said, "Nailed it!" He then said, "All right, clean slate — here's 'Night Owl.'"
They then invited Brennan Smiley and Julia Lauren on stage to accompany them for the song "Talk to Talk." I think that was the coolest part of seeing these bands play together at the same show because they are all on the same label and you could tell they are all really close buddies. Finally, they got to their final song and said their farewells as a band, saying, "Fine, have it your way! If we play one more song, we want you to lose your minds on this one… This is the last time in San Francisco EVER!" They finished with the song "Running."
This show was a nice way to say goodbye to the band, and I'm sad I missed the final hometown Arizona show because I'm sure that was amazing, as well.
LIGHTS, Saint Motel
I get home from tarnishing my life resume after getting a few cavities filled, my face feeling like an elephant put on some boxing gloves and then sat on my face victoriously. In the middle of my mental turmoil of wanting to satisfy my desert of a mouth, but knowing the whole left side of my face would betray me if I tried, it suddenly dawned on me that I actually had a show to go to!
Photos and drool, here I come. Luckily, the numbness in my face had no effect on my ears and the lovely LIGHTS is drool-worthy, so I would fit right in.
This candid Canadian has been on my radar since about 2008. Since then, she has married and had the most adorable player 3 with frontman Beau Bokan of Phoenix metalcore band Blessthefall (BTF) that I have been following from their beginning. The talented pair even finish each other's songs: BTF with "40 Days" and LIGHTS with "…And Counting."
Speeding through a handful of awards, including winning the Juno Award for "Pop Album of the Year" in March of 2015 for her album Little Machines, and she's not slowing down. Both names on the ticket played Coachella only days before.
As the lights went down, Saint Motel took the stage to take us back in time with their eclectic indie pop, especially with a suave tune titled after the American jazz and swing musician, "Barry Goodman."
First Elliphant, then Smallpools and Magic Man, now Saint Motel. It appears that I am slowly checking off a list of bands that have their songs featured on FIFA soundtracks. Whoever puts those together is a legend — there isn't one band that has not impressed me live yet.
The band is a four piece, but it appears that they tour with both a trumpeter and saxophonist, which makes their lineup look quite impressive. The group coalesced when lead singer A/J Jackson and guitarist Aaron Sharp were in film school. They have combined their music with the art of film, so many of their songs have a video visual directed by Jackson himself.
Jackson was illuminated behind his tube-lighted keyboard, using it in turn with his guitar. I really enjoyed watching Dak, their bassist, play because he was really feeling the music.
Their sound is a mixture of sophisticated grooves, upbeat horns and velveteen vocals. Even when the music is buoyant, the lyrics do not always share the sentiment. For example, when they played "Puzzle Pieces," if hearing it for the first time, it isn't evident that it is talking about plastic surgery. You have to listen to the songs more than once to grasp the concept and catch clever lyrics. Another trick they use for their lyrics is finding parallels in topics one originally would not think have similarities.
Some of my favorite songs were "Cold Cold Man" with its jaunty keys in the beginning and wailing sax piece at the end.
Last but not least, the song from the FIFA soundtrack that I guarantee will be stuck in your head for weeks: "My Type." With its irresistible horns and seductive vocals, you can enjoy it anywhere from clapping along, or pretending you can play the trumpet, to making up your own dance moves to go along with the cowbell.
The only opening band on the bill, they kept the audience's attention and left them on a high. For a man who's got very specific taste, I am glad they played for us.
Saint Motel are currently playing across the U.S. until late October, so see if they are playing near you!
Saint Motel Setlist
Feed Me Now
Benny Goodman
Puzzle Pieces
Ace In The Hole
Cold Cold Man
My Type
People came from all over for this show – Salt Lake City, Germany, El Paso… Being back on stage in Arizona from Canada for the first time in three years, the amplitude of the screams as LIGHTS took the stage in her signature combat boots made up for the lost time. With how long-awaited this show was, I was very surprised I was the only photographer. It is actually a little intimidating to have the entire pit of the Marquee to yourself, but I was grateful for the opportunity!
She started her set with energy as vibrant as her stage lighting. "Toes" captured our attention early in the set, making sure we weren't going to miss a thing that night. Using every inch of the front of the stage, she kneeled down to sing into the faces of the crowd.
After the first few songs, she stopped to talk to the audience about how you see things differently as a kid then we do now, and to live in the moment. Originally, she wanted to be an astronaut, a NASA patch displayed proudly on her shirt, but if she couldn't do that then she wanted to be a musician. This transitioned into "Running With The Boys," a fun song for a girl's night out.
I am going to go on a limb here and say when people think of female pop singers, the general consensus is that the actual music lacks and looks pick up the slack. This is nowhere near the case with LIGHTS. With the voice of an angel and the ferocity of a Valkyrie, she's bound to slay any doubts. Even better live, she is truly the whole adorable, talented and humble package. Throughout her set, and especially during "Peace Sign," she sang with a fierceness and wholesomeness live that you don't quite hear on the CD.
After rocking out center stage at the mic and on her keyboard, she asked the audience if it was ok if she slowed it down a little. She picked up her guitar for an acoustic version of "Don't Go Home Without Me," playing on our heartstrings with sentimental lyrics. The crowd sang along, and after the song finished she said it was music to her ears and bashfully said she would love to hear more.
Such a strong voice resonates from her petite frame. Her voice in "Portal" gives the lyrics wings, transporting us elsewhere. You almost want to listen with your eyes closed. Wondering which, if any, songs from her 2009 EP she would play, I was excited she sang "Drive My Soul," sending me back into nostalgia. Others in the crowd were as enthusiastic as I, and she felt the love.
Placing down her guitar, she picked up the pace a little with "Muscle Memory," which started out hauntingly under the deep purple hues as she hit long vibratos and transitioned from her seated piano back to the mic as the synth quickened its pace. Being considered a solo artist, her touring band — consisting of drums, guitar and quite the both impressive and complicated looking keyboard/synth setup — do a great job of setting the pace and the mood of each song with the layers of sound they can create. The spotlights looked like twinkling stars afloat in the universe, which fit right in with her love of space.
After thanking the sound guy for being on point, she sang "Banner" and then exited as the crowd called for an encore. She returned, asking how many songs as everyone held up varying amounts of fingers. She teased us, holding up a number of her own and decided she would play two for us since we had been such a great crowd. The crowd erupted as she began the popular tune "Up We Go," everyone pointing to the sky singing the chorus. The night concluded with "Oil and Water" and the crowd dispersed just so. Although I am not 100% sure of the whole setlist, she played most of her Little Machines album, as well as a handful from Siberia.
If you weren't able to catch this show, the good news is, you won't have to wait another three years. LIGHTS will be a special guest for Lindsey Stirling during The Music Box Tour on August 13th at Comerica Theater. Those two talented women sharing the same stage is a special night you won't want to miss!
Milo Greene – Control
Milo Greene is a band from Los Angeles made up a four lead singers and a drummer.
The group's sophomore effort, Control, differs from their self-titled first album in a way that shows the group's maturation and growth. In the first album, the four vocalists mostly harmonized with a pop/folk vibe. In Control, each of the vocalists gets their own songs and moments to shine, allowing us to hear them as individuals. This album has more of a pop/synth vibe.
I listened to this album the first couple times when I was on a 7-hour overnight bus ride to Los Angeles right after I had seen the band live at The Independent in San Francisco. So, it was interesting to sit in the dark and listen to the album on repeat for hours with nothing to distract me.
One of the things that's interesting about this album is that during the first listen, you feel like it's happy music — but on the second listen, you actually hear the lyrics and realize it's just the opposite. It's basically a break-up album that you can dance to.
I also bought this album on vinyl… And I was happy that I did because I can hear a lot more of the instrumentation than I could just through headphones. It made me appreciate more how talented they were as musicians on top of singers.
Control opens up with an instrumental prelude, which set the perfect tone for the rest of the album, that leads into "White Lies" — which is an up-tempo song with dark lyrics with Marlana as lead vocal.
In "On the Fence," you can hear each of their voices distinctly — and it's one of my favorite songs on the album for that reason. It's also one of the more light-hearted, up-beat songs on the album that you can't help but dance to.
Andrew is lead vocal on "Parent's House," which feels like the darkest song on the album because it's more downbeat than the other songs. Also, the raw tone of Andrew's voice takes the song to a deeper, darker place.
Graham is the lead vocal on "When It's Done." He has a very rock 'n roll tone to his voice — sort of a Brandon Flowers sound. It was nice to rock out and have a little fun mid-album. The interlude leads perfectly into this song, almost making them more one-track instead of two separate ones.
"Lie To Me" is definitely my favorite song of the record. I love Robbie's voice in particular on this one, and I'm also into the kind of '80s vibe of this song. I said this in my last article and I will say it again… I have a big crush on this guy's unique voice. I also ended up finding a video of this song done acoustically so I could hear Robbie's voice better, and it only made me appreciate his talent even more.
The closing track, "Royal Blue," was the perfect ending to this album for me because it brings back the essence of Milo Greene's self-titled first album by slowing things down and bringing back their calling-card harmonies and folk sound. Something about that felt right to me, and I think it's an interesting decision that Milo Greene fans will appreciate. It's like an encore at a concert, when the band plays the perfect song that everyone wants to hear.
Milo Greene, Zella Day
I walk everywhere living in the San Francisco Bay Area because BART makes it easy to not own a car… Cheaper, too.
I had a mile-and-a-half walk to get to the venue from the BART station, in which I experienced the Tenderloin (San Francisco ghetto), trendy bars on Hayes, the Painted Ladies (tourist attraction), a residential area… And then an El Pollo Loco and finally the music venue all within a 30-minute walk.
…San Francisco is weird like that. Not to mention half of the walk was uphill. Again, #SanFranciscoProblems.
Milo Greene did an in-store acoustic performance at a record store in the Haight-Ashbury before the show, so I had to wait for them to get to venue before I would be let in. That was fun and not stressful at all *wink*.
The Independent was the cleanest venue I've ever been to. It was a large room with a bar in the back, a decent-sized stage, and raised seating/standing room on either side of the room for better vantage points. They only allow you to take photos for the first 3 songs of each set with no flash – and there were no barricades which made it hard to take photos because I got kind of stuck in one area, which didn't allow for multiple angles for my photos. At least I was at the front and didn't have to deal with people's heads getting in the way of my pictures: #ShortGirlProblems.
I have to admit that I knew pretty much nothing about the opening act Zella Day before the show. I only listened to her stuff on Spotify just hours before the show to try and get a feel for what I was about to hear and see. I found out that she is from Arizona, which is cool because I lived in Arizona for about 15 years, myself. Her music is described as pop with a bohemian flair.
I really liked Zella Day's performance. She did a cover of "Time of the Season" by The Zombies, which was awesome because I'd never heard that song with a female vocal, and Zella's haunting voice was a perfect fit for the song. It's also just a really good song, in general. "East of Eden" was my favorite song of her set, so go download it… Now. I also loved her outfit – she looked like an adorable hippie. Her hippie vibe was solidified by the fact that she burned homemade incense throughout her whole set. I really liked her jewelry because I have quite an obsession with bracelets and rings, so I couldn't stop staring.
I would definitely listen to more Zella Day after watching her perform; she definitely made me into a fan.
I only started listening to Milo Greene about a month ago and really liked their pop/folk vibe, so it was exciting to discover how talented this band was, and getting to see them only weeks after first hearing them was a lot of fun. They are from L.A. and consist of four lead singers – which made for a unique and exciting sound. Especially because, even though they were a group of lead singers, they were also all talented musicians and the instrumentation of each song is really good. They have a new record "Control," which was just released at the end of January.
Milo Greene Set List:
White Lies
Save Yourself
Don't You Give Up On Me
Parent's House
Not Enough
On The Fence
Take Me Home
Cutty Love
Perfectly Aligned
When It's Done
Lie To Me
What's The Matter
Autumn Tree
Lonely Eyes
I absolutely loved Milo Greene's performance. I was blown away, actually. It far exceeded what I expected. Robbie's unique voice and cute dance moves were my favorite part. After looking through the photos I took at the show, it's quite obvious I had a bit of a crush on him… He's in most of the photos. He also wore bright orange socks, which he claims was to show a little SF Giants pride.
One of the things I most liked about Milo Greene was that they swapped around instruments often and each of them took turns with singing the lead vocals in different songs. This gave their set variety while keeping the same vibe throughout. My favorite songs were "1957" because they all harmonize and sing as one voice, and "On the Fence" because it's the one song where you can hear each of them distinctly as individual voices. Also, I found myself singing, "What's the Matter" for the next few days after, so that one obviously stuck as well. They also did a cover of Phil Collins' "Take Me Home," which was pretty sweet.
I'll admit that I hardly remembered Zella Day's set after experiencing Milo Greene live because they were just that good. I haven't stopped listening to Milo Greene since the day I saw them, and I already can't wait to see them again.
Stephen Taylor of Superjoint - interview
Emotional - concert-review
VIVA PHX 2017 - concert-review
Hunter Thomsen of We The Kings - interview
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Thursday, August 6, 2015
4 comments:
Seems like you've got a bit of an editing error there; second half of the blog (starting at "What About Video Games") is all blocked out similar to spoiler warnings.ReplyDelete
Cool to see you post again! Always love reading these.Replies
...what the heck blogspot. No idea why it thought I wanted this. Thanks for letting me know!Delete
- AnonymousMarch 9, 2016 at 6:44 AM
Thanks for your blog, Wobbles. Please keep posting.ReplyDelete
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Home > News > Harvard Is Licensing More Than 50 Patents to a Nanotechnology Start-Up
June 3rd, 2007
Harvard Is Licensing More Than 50 Patents to a Nanotechnology Start-Up
George M. Whitesides, a Harvard University chemist, is a renowned specialist in nanotechnology, a field built on the behavior of materials as small as one molecule thick. But there is nothing tiny about the patent portfolio that Harvard has amassed over the last 25 years based on work in his lab.
Today, Harvard and Nano-Terra Inc., a company co-founded by Professor Whitesides, plan to announce the exclusive licensing for more than 50 current and pending Harvard patents to Nano-Terra. The deal could transform the little-known Nano-Terra into one of nanotechnology's most closely watched start-ups.
"It's the largest patent portfolio I remember, and it may be our largest ever," said Isaac T. Kohlberg, who has overseen the commercialization of Harvard's patent portfolio since 2005. Nano-Terra, based in Cambridge, Mass., said that the patent filing and maintenance costs alone top $2 million.
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Three-dimensional graphene: Experiment at BESSY II shows that optical properties are tuneable May 24th, 2017
Zap! Graphene is bad news for bacteria: Rice, Ben-Gurion universities show laser-induced graphene kills bacteria, resists biofouling May 22nd, 2017
Sensors detect disease markers in breath May 19th, 2017
Graphene-nanotube hybrid boosts lithium metal batteries: Rice University prototypes store 3 times the energy of lithium-ion batteries May 19th, 2017
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NREL�s Advanced Atomic Layer Deposition Enables Lithium-Ion Battery Technology: May 10th, 2017
Forge Nano 2017: 1st Quarter Media Update April 20th, 2017
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Tendai Buddhism... i.e. Tiantai Buddhism as it developed in Japan.
"Template:Confused Enryaku-ji (延暦寺, Enryaku-ji) is a Tendai monastery located on Mount Hiei...Enryaku-ji
"Samantabhadra (Wylie: Kun-tu bzang-po, Mongolian: Qamugha Sain, Chinese: 普賢菩薩; ||pinyin...Samantabhadra
"Sōhei (僧兵, literally "monk warriors") were Buddhist warrior monks of feudal Japan. At certain...Sōhei
"Tendai (天台宗, Tendai-shū) is a Japanese school of Mahayana Buddhism, a descendant of the Chinese...Tendai
"The Record of a Pilgrimage to China in Search of the Law (入唐求法巡禮行記, nittō guhō junreikōki) is a...Ennin's Diary: The Record of a Pilgrimage to China in Search of the Law
"Vajrabodhi (671-741) was an Indian buddhist monk and Esoteric Buddhist teacher in Tang China. He...Vajrabodhi
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Cafe Batavia, Jakarta Indonesia :)
Sunda Kelapa Harbor
Dock workers near Marina Batavia, Jakarta, Indonesia
IBUKOTA - Jakarta, Indonesia #PINdonesia
On the top of Jakarta, Indonesia
Panorama of Jakarta capital of Indonesia with its tallest building Wisma 46. Before coming to Jakarta I did some research about places which were supposed to have nice panoramic views of the city. They did have a couple of rooftop bars/restaurants but none of them really had good views - they were either too high or obstructed by other buildings. However Google Maps and GPS proved to be much more valuable in locating promising viewpoints and I spotted a big mall which according to its…
Monas Monumen National Jakarta Cetak Kartu Nama Murah di Jakarta http://kartunama.co/ atau di website kartu nama lainnya di http://namakartu.com/ http://cetakkartunama.com/ http://cetak.kartunama.co/ Atau di Blog Kartu Nama: http://cetak.kartunama.co/jakarta/ http://cetak.kartunama.co/di-jakarta/ http://cetak.kartunama.co/murah-jakarta/ http://cetak.kartunama.co/murah-di-jakarta/
The old harbour, Jakarta, Indonesia
Antique Market - Jakarta - Indonesia
Jakarta, Indonesia


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- Srinivas Nagaraj, Kapil Gupta, +6 authors Dmitry I Gabrilovich
- Nature medicine
- 2007
Antigen-specific CD8+ T-cell tolerance, induced by myeloid-derived suppressor cells (MDSCs), is one of the main mechanisms of tumor escape. Using in vivo models, we show here that MDSCs directly disrupt the binding of specific peptide-major histocompatibility complex (pMHC) dimers to CD8-expressing T cells through nitration of tyrosines in a T-cell receptor… (More)
- Matthew J. Delano, Philip O. Scumpia, +19 authors Lyle L. Moldawer
- The Journal of experimental medicine
- 2007
Polymicrobial sepsis alters the adaptive immune response and induces T cell suppression and Th2 immune polarization. We identify a GR-1(+)CD11b(+) population whose numbers dramatically increase and remain elevated in the spleen, lymph nodes, and bone marrow during polymicrobial sepsis. Phenotypically, these cells are heterogeneous, immature, predominantly… (More)
- Donna L. Herber, Wei Cao, +16 authors Dmitry I. Gabrilovich
- Nature medicine
- 2010
Dendritic cells (DCs), a type of professional antigen-presenting cells, are responsible for initiation and maintenance of immune responses. Here we report that a substantial proportion of DCs in tumor-bearing mice and people with cancer have high amounts of triglycerides as compared with DCs from tumor-free mice and healthy individuals. In our studies,… (More)
- Sergei Kusmartsev, Srinivas Nagaraj, Dmitry I Gabrilovich
- Journal of immunology
- 2005
T cell tolerance is a critical element of tumor escape. However, the mechanism of tumor-associated T cell tolerance remains unresolved. Using an experimental system utilizing the adoptive transfer of transgenic T cells into naive recipients, we found that the population of Gr-1+ immature myeloid cells (ImC) from tumor-bearing mice was able to induce CD8+ T… (More)
- Srinivas Nagaraj, Je-In Youn, +12 authors Dmitry I Gabrilovich
- Clinical cancer research : an official journal of…
- 2010
PURPOSE Myeloid-derived suppressor cells (MDSC) are one of the major factors responsible for immune suppression in cancer. Therefore, it would be important to identify effective therapeutic means to modulate these cells. EXPERIMENTAL DESIGN We evaluated the effect of the synthetic triterpenoid C-28 methyl ester of 2-cyano-3,12-dioxooleana-1,9,-dien-28-oic… (More)
- Srinivas Nagaraj, Je-In Youn, Dmitry I Gabrilovich
- Journal of immunology
- 2013
Myeloid-derived suppressor cells (MDSCs) are a heterogeneous group of myeloid cells that play a major role in the regulation of immune responses in many pathological conditions. These cells have a common myeloid origin, relatively immature state, common genetic and biochemical profiles, and, most importantly, the ability to inhibit immune responses.… (More)
- Srinivas Nagaraj, Allison Nelson, +5 authors Dmitry Gabrilovich
- 2011
Author manuscripts have been peer reviewed and accepted for publication but have not yet been edited. Abstract Myeloid-derived suppressor cells (MDSC) play a major role in cancer-related immune suppression, yet the nature of this suppression remains controversial. In this study, we evaluated the ability of MDSC to elicit CD4+ T cell tolerance in different… (More)
- Pingyan Cheng, Cesar A. Corzo, +9 authors Dmitry I. Gabrilovich
- The Journal of experimental medicine
- 2008
Accumulation of myeloid-derived suppressor cells (MDSCs) associated with inhibition of dendritic cell (DC) differentiation is one of the major immunological abnormalities in cancer and leads to suppression of antitumor immune responses. The molecular mechanism of this phenomenon remains unclear. We report here that STAT3-inducible up-regulation of the… (More)
- Srinivas Nagaraj, Adam G Schrum, Hyun-Il Cho, Esteban Celis, Dmitry I Gabrilovich
- Journal of immunology
- 2010
Ag-specific T cell tolerance plays a critical role in tumor escape. Recent studies implicated myeloid-derived suppressor cells (MDSCs) in the induction of CD8(+) T cell tolerance in tumor-bearing hosts. However, the mechanism of this phenomenon remained unclear. We have found that incubation of Ag-specific CD8(+) T cells, with peptide-loaded MDSCs, did not… (More)
- Srinivas Nagaraj, Dmitry I Gabrilovich
- Cancer research
- 2008
T-cell nonresponsiveness is a critical factor in immune escape and myeloid-derived suppressor cells play a major role in organizing this phenomenon. Recent findings indicate that myeloid-derived suppressor cells can induce antigen-specific CD8(+) T-cell tolerance through a posttranslation mechanism which involves modification (nitration) of CD8 and the… (More)


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ZS1 Display Problem
Started Jun 6, 2009 | Discussions thread
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barkal • New Member • Posts: 2
ZS1 Display Problem
Jun 6, 2009
Maybe my ZS1 is defective but the LCD has a serious problem. In order to see what the exposure is going to look like you have to tilt the camera forward about 20 degrees. This is true in LCD modes, OFF, AUTO POWER LCD, and POWER LCD. Adjusting the MONITOR brightness doesn't help. If you hold the camera at eye level the image is somewhat washed out. If you hold it below eye level it is very washed out. Looking at the screen in playback is the same. The net result for me is that I have to check each exposure in AUTO REVIEW and make adjustments after the fact.
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A full feature with a storyline that an enterprising six-year-old might have thought was a little too rudimentary.
A full feature with a storyline that an enterprising six-year-old might have thought was a little too rudimentary.
A remarkable tale of immigrant success, wrapped around a crime story.
Roger Ebert on James Ivory's "Howards End".
"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…
A report on the latest from Naomi Kawase and the last from Abbas Kiarostami.
John Cameron Mitchell explains "How to Talk to Girls at Parties." Claude Lanzmann remembers the time he talked to a (Communist) Party girl.
An article about the reissue of "Two Weeks in the Midday Sun."
Pure metal.
PBS' American Masters has a special four-hours for foodies, with docs on James Beard, Jacques Pepin, Alice Waters and Julia Child.
A report on the L.A. Riots and the many documentaries looking back on it 25 years later.
No, they don't make 'em like they used to … but they're not shy about remaking them.
A tribute to the late Roger Moore.
* This filmography is not intended to be a comprehensive list of this artist's work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
• Grace Wang of TorontoChinese documentary films are important because they reflect, from the closest distance possible, in the most direct way possible, the rapid social, political, and cultural changes happening in China right now.
I'm sitting on a plane that is about to take off for Hong Kong. Looking out on the tarmac at Beijing, I can't quite believe my first two weeks here are already over, and Hong Kong International Film Festival is just around the corner.
The past week has been a whirlwind of food, work and discovery, not always in that particular order, but always an interesting combination of sorts.
Let's start with my favorite indulgence while traveling: Food. Fresh food, persevered food, homemade food, street vendors food, gourmet food... you name it, I love it. Gastronomic adventure is, in my opinion, one of the greatest pleasures in life, and I've never shied away from its waters. I don't just dip my toes, I jump in headfirst and splash around like a five year old.
Documentaries became a box office factor with the rise of such films as "Hoop Dreams" and "Roger & Me." Before then, there were hit music documentaries like "Woodstock" but most other nonfiction films could expect short runs in few theaters before dutiful audiences. What a small but growing minority of Friday night moviegoers is beginning to discover is that there's a good chance the movie they might enjoy most at the multiplex is a doc.
In alphabetical order, these were the best documentaries I saw in 2010:
Above: Best supporting actress winner Olivia Williams, "The Ghost Writer."
"The Social Network" has swept the major critics' groups honors (following NY and LA) with its best picture award from the National Society of Film Critics. From the NSFC website:
The Society, which is made up of 61 of the country's most prominent movie critics, held its 45th annual awards voting meeting at Sardi's Restaurant in New York City. 46 members voted. Scrolls will be sent to the winners.
BEST PICTURE *1. The Social Network 61 2. Carlos 28 3. Winter's Bone 18
BEST DIRECTOR *1. David Fincher 66 - The Social Network 2. Olivier Assayas 36 - Carlos 3. Roman Polanski 29 - The Ghost Writer
BEST ACTOR *1. Jesse Eisenberg 30 - The Social Network 2. Colin Firth 29 - The King's Speech 2. Edgar Ramirez 29 - Carlos
BEST ACTRESS *1. Giovanna Mezzogiorno 33 - Vincere 2. Annette Bening 28 - The Kids Are All Right 3. Lesley Manville 27 - Another Year
According to the Los Angeles Film Critics Association and the New York Film Critics Circle, the two best films of 2010 are David Fincher's "The Social Network" and Olivier Assayas's "Carlos." I've no quarrel with that. In fact, those two movies are at the top of a list I made for a critics' poll that will be published any day now because they're both masterful, multi-layered works that I found as stimulating to think about as they are engrossing to watch. Both the LA and NY groups chose "The Social Network" as best picture and "Carlos" as best (and most) foreign-language film -- all five and a half hours and 11 languages: English, French, German, Spanish (with a Venezuelan accent), various dialects of Arabic, Russian, Hungarian, Italian... LAFCA left no doubt about its esteem for both movies, with "Carlos" coming in as first runner-up for best picture and Fincher and Assayas sharing the director's prize. (Both groups also gave "Black Swan" their best cinematography prizes.)
Complete lists of the winners are below, but I wanted to take this opportunity to make some comparisons between these two movies. No, I don't think either of them has much to do with "realism," but both build their disputed nonfictional narrative webs around rather opaque, fictionalized central characters who are seen as heroes by some, villains by others, and neither by the movies themselves. Both "Carlos" (the revolutionary alias of Ilich Ramírez Sánchez, played by Edgar Ramirez) and "Mark Zuckerberg" (the Facebook founder played by Jesse Eisenberg) are projections -- like profiles compiled by intelligence agencies or... Facebook pages. Either film could begin with a version of these words, which preface each of the three parts of "Carlos":
This film is the result of historical and journalistic research.
Because of controversial gray areas in Carlos' life, the film must be viewed as fiction, tracing two decades in the life of a notorious terrorist.
His relations with other characters have been fictionalized as well.
The three murders on Rue Toulier are the only events depicted in this film for which Ilich Ramirez Sanchez was tried and sentenced.
The Drugstore Publicis bombing is still under investigation.


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Explore Yellow Kitchens, Small Kitchens and more!
Pretty pretty
Thinking of using the 2nd color, "Buttercup" in the new kitchen, to play off cherrywood cabinets.
Break up areas of grey with co-ordinating pattern and colour - a yellow, geometric rug underfoot does the trick.
Jim & Sarah's paint colors, Income Property, HGTV
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Bit of striped carpet for the stairs.