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Some may dismiss it as an attempt at musical time travel, but it is not so much the present returning to the past as the 1970s being dragged into the 2020s with runs in its stockings and curlers in its hair.
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Like all great narrators, Nightjars’ vocal performance is soft and sophisticated when it needs to be, but it is the sheer rhetorical craft behind their songwriting that makes the EP truly sing.
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One thing was evident from the evening’s discussion. Regimes can be abandoned, nationalities jettisoned, but stories are impossible to leave behind.
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“Solemn Anthems” lacks cohesion and connective tissue, but it holds a great deal of thought, and a great deal burns.
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The songs that inspired “Daddy’s Home” represent more than just a musical epoch; they are the sound of a generation, a culture cut loose from the 1960s but not yet thrown into the conformity of the 1980s.
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His “Call Me By Your Name” is more than just a coming-out story — it is an audacious step into the public eye as an unapologetically queer Black man.
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In an interview with The Daily Californian, Marsha Reid, the director of Kindred Arts, discussed what it’s like to go on tour with three statues.
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“Mirror Effect” rests upon seductive combinations of glass, light and negative space — suggestive of a state in which everything is fluid and all views are unobstructed.
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In an email interview with The Daily Californian, Wiedel recalled the events of the 1969 protests in People’s Park, now more than fifty years ago.
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From the opening credits, Daniels’ film demands a diegetic performance of the standard, a vocalization of the unusual bond between singer and song that drives the entire narrative forward. And Day delivers.
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