Originally published on Sat February 23, 2013 11:31 am
Film scores are, by and large, manipulative. They do their work at the periphery of the senses, signaling danger, heralding victory, prodding us toward fear and joy in time with the unfolding story. Crucially, they are also empathic, letting us in on what the actors' words or faces may not convey. And when things get unpleasant, the score can step in as an emotional buffer — a layer of unreality between us and the action that lets us know we're safe. Sunday night at the Oscars, Hollywood will honor a film whose music manages to get all these things right.
Originally published on Fri December 27, 2013 11:08 am
Writer and critic Stephen Holden has covered everything from film to cabaret for The New York Times, as well as for TV programs such as 60 Minutes and 20/20. While he'd hoped to become a pop singer in his adolescence, Holden later embraced poetry and was published in The New Yorker.
Music remained a passion for Holden and became a key subject of his writing. He covered the singer-songwriter explosion of the 1970s, and his 1980 satirical novel Triple Platinum was based on his experiences as a journalist and executive with RCA.
In 2010, Lights made Ellie Goulding a star. The British singer-songwriter's debut topped the U.K. albums chart that year, and became a stateside hit over the course of the next 18 months. Goulding has performed at the White House, the wedding of the Duke and Duchess of Cambridge and the Nobel Peace Prize concert.
Juke-joint bluesmen Robert "Bilbo" Walker and Anthony "Big A" Sherrod know how to rock a party. Sherrod, 29, wrote the title song to the blues documentary We Juke Up In Here, while Walker (his father-in-law) is one of the most charismatic 76-year-olds you'll ever meet.
Waldemar Vinovskis talks with David Ruhf, member of the Bach Choir about their performance of Mendelssohn’s fiery Oratorio “Elijah” on Sunday, March 10th at the First Presbyterian Church of Bethlehem at 4pm.
Originally published on Fri February 22, 2013 5:39 pm
At some point, a long string of colorful adjectives doesn't accomplish much for any band. "Hypnogogic math-pop," "blackened uber-popadelica," "avant seapunk-rap" — it all gets a little silly. Metal, or at least the folks who describe it, often falls into this trap, present company included. Exhibit A: the second album from Richmond's Inter Arma. Sky Burial ingests several forms of metal, but the goal is demonstrable heft. Maybe you should just listen to its opening track first; it's called "The Survival Fires."