Five Years Since Scott Walker’s Gone
The story of Scott Walker is the story not of making it big, but making it big the right way across an entire career, including even the long breaks in between.
The story of Scott Walker is the story not of making it big, but making it big the right way across an entire career, including even the long breaks in between.
It is in Motherwell’s complete and utter lack of direct representation that we might find room to discover the heart of his “Elegies.” He assumes, graciously, that we also have the heart and intelligence to triangulate history, painted images, and varying titles on the theme of Spain’s self-inflicted suffering.
While most proponents of marriage frame the problem correctly—as if it was not already obvious that married people are less likely to be lonely—they grab this thorny dilemma by the wrong end of the stick.
Humor in the face of depictions as seemingly bleak as Kiefer’s is not far off the mark. There is no punch-line in “Burning Rods.“ Look carefully enough, though, and it is clear there is no distinct vanishing point, either.
The flip side of Kurosawa’s great film, revealing a murder mystery to solve, is also a world in which the search for truth, however difficult or naïve, must never be abandoned.
(Courtesy of Empirical) Andy Warhol once said he loved Coca-Cola because regardless of who bought a bottle, it remained the same product for everyone. “A Coke is a Coke and no amount of money can get you a better Coke than the one…
The fact that a composer such as Steve Hackman has folded Radiohead’s music into that of Brahms successfully enough to land in a performance hall is probably proof that time, alas, has at last caught up with Radiohead.
The film’s strategic map already has commentators in conniptions. If Texas and California are not more disparate than cheese and chalk, what brand of politics even motivates this movie, let alone motivations for our second civil war?
“Neuro Blooms” shows us how mental states might be projected outside our innermost thoughts, out into the physical world, so that they might be drawn back into our consciousness and reinterpreted in new ways.
“The Chimes” is not likely to be adapted for the screen any time soon, uneven as it is when stacked against “A Christmas Carol.” But Toby Veck can be counted among Dickens’s great, undiscovered characters. And the story’s warning, amidst our own ongoing sour times, rings as true as its namesake.
“White Man’s Burden” is the belated lesson of empathy taught by a substitute teacher with one message and 90 minutes of time to fill. Its most valuable lesson is that, having watched it, we are reminded that millions of people endure not just 90 minutes of condescension, oppression, and racism projected on a movie screen, but a lifetime of all three.
There is no reason to suffer through another holiday of musical clichés and battle-ax standards better heard by children. All it takes is a few clicks, and a few risks, to find yourself a new set of Christmas music standards.