The prolific and secretive street artist has brought his unique social commentary to streets around the world. Take a look back at a number of his works from throughout his career, up to his latest mural that parodies the painting ‘Girl with a Pearl Earring.’
The singer-songwriter celebrates 20 years of Bloodshot Records
The woes of the music industry are well documented, so it’s always nice to hear about an independent record label that’s thriving.
This year, Chicago’s Bloodshot Records — who has released albums by artists like Ryan Adams, Neko Case, the Old 97s, Justin Townes Earle, Ben Kweller and many more — is celebrating their 20th anniversary. To mark the occasion, they’re releasing an compilation album with tunes from artists like Andrew Bird, Blitzen Trapper, Chris Shiflett (of Foo Fighters), Frank Turner, Into It. Over It., Nicki Bluhm, and Ted Leo, all covering songs from the respected label’s storied back catalog. The album, While No One Was Looking: Toasting 20 Years of Bloodshot Records, hits retailers Nov. 18th.
Today, TIME premieres a track by Andrew Bird. Here, he’s teamed up with Chicago singer Nora O’Connor, best known as a member of the band for both Neko Case and Iron & Wine, for a rousing cover of alt-country singer Robbie Fulks’ “I’ll Trade You Money for Wine.”
In turn, Fulks recorded an Andrew Bird’s 2001 song “Core and Rind.” Bloodshot will release both songs on a limited edition 7″ single, which will be available at independent record stores on Black Friday (11/28) of this year.
Listen to Andrew Bird’s take on “I’ll Trade You Money For Wine” here:
Plus, he talks about gun control!
Matthew McConaughey has offered his two cents on the Redskins controversy. In an interview with GQ, the Interstellar actor compared the controversy over the team’s name to the gun control debate. Yes, really:
What interests me is how quickly it got pushed into the social consciousness. We were all fine with it since the 1930s, and all of a sudden we go, “No, gotta change it”? It seems like when the first levee breaks, everybody gets on board. I know a lot of Native Americans don’t have a problem with it, but they’re not going to say, “No, we really want the name.” That’s not how they’re going to use their pulpit. It’s like my feeling about gun control: “I get it. You have the right to have guns. But look, let’s forget that right. Let’s forget the pleasure you get safely on your range, because it’s in the wrong hands in other places.”
Confused? Same here. And why is McConaughey, who hails from Texas, a Redskins fan, anyway? “First, four years old, watching Westerns, I always rooted for the Indians,” McConaughey, who once played a football coach in We Are Marshall, said. “Second, my favorite food was hamburgers. The Redskins had a linebacker named Chris Hanburger.”
The interviewer asked McConaughey if he would be hurt to see the logo gone. “It’s not going to hurt me. It’s just… I love the emblem,” the Oscar winner said. “I dig it. It gives me a little fire and some oomph. But now that it’s in the court of public opinion, it’s going to change. I wish it wouldn’t, but it will.”
Alright. Alright. Alright.
Singer-songwriter Lorde called upon some influential friends when putting together the soundtrack for the newest Hunger Games installment
If you need further proof that Lorde is one of the most influential teens of 2014, look no further than the soundtrack she curated for The Hunger Games: Mockingjay Part 1.
The highly-anticipated soundtrack for the highly-anticipated film features a song from Lorde with a remix from Kanye West, a collaboration between Duran Duran’s Simon Le Bon and pop’s It Girl Charli XCX, a new track from the reclusive Chemical Brothers featuring Miguel and Lorde, and an unlikely collaboration between Belgian superstar Stromae and Lorde, Pusha T, Q-Tip and HAIM. Even Grace Jones is in the mix.
Lorde — the 17-year old singer born Ella Yelich-O’Connor — used the soundtrack to feature many emerging talents, including Tove Lo, Raury and Tinashé. Indie superstars CHVRCHES and Bat for Lashes also have contributions alongside Lorde’s three tracks, including “Yellow Flicker Beat,” she released earlier this month and “This Is Not A Game,” which is the first Chemical Brothers track in two years.
The only mystery on the soundtrack is track #5, which will apparently be revealed later.
Here’s the full tracklist for The Hunger Games: Mockingjay – Part 1:
01 Stromae – “Meltdown” (Feat. Lorde, Pusha T, Q-Tip, And HAIM)
02 CHVRCHES – “Dead Air”
03 Tove Lo – “Scream My Name”
04 Charli XCX – “Kingdom” (Feat. Simon Le Bon)
05 [Track 5]
06 Raury – “Lost Souls”
07 Lorde – “Yellow Flicker Beat”
08 Tinashé – “The Leap”
09 Bat For Lashes – “Plan The Escape”
10 Grace Jones – “Original Beast”
11 Lorde – “Flicker (Kanye West Rework)”
12 XOV – “Animal”
13 The Chemical Brothers – “This Is Not A Game (Feat. Miguel And Lorde)”
14 Lorde – “Ladder Song”
The Hunger Games: Mockingjay – Part 1 Original Soundtrakc is out 11/18 via Republic.
It's not that every new show is a hit. It's just harder to figure out what a hit is nowadays.
We’re a month into the official fall TV season, and the big news so far is… nothing. As in: nothing has yet been canceled. (I realize, of course, that I may shake loose the season’s first cancellation simply by typing these words.)
What’s happened? Have the broadcast networks finally perfected their art, discovering the unerring secret of delicious, addictive entertainment? No. As usual, there have been some out-of-the-box hits (How to Get Away With Murder, in particular). And there have been a few thundering disappointments (at Fox, especially, where Mulaney just had its episode order trimmed back while vultures are circling above the Utopia compound).
Yet the Reaper has been pokier this season than last year, when, for instance, Lucky 7 had already come up snake eyes by now. Part of the reason may simply be that networks had been so quick to reach for the hook over the past several years–when cancellations after two or three episodes became common–that the slightest restraint looks like mercy. And at NPR, Eric Deggans offers a few explanations–for instance, that networks have done better at protecting new shows with better scheduling.
But a big part of the explanation goes back to something you should keep in mind when following any TV-biz news today: Nobody knows what is a hit anymore. At least not right away, and maybe not for a long time.
There are different kinds of hits: shows that a lot of people watch, and shows that make a lot of money (two factors that can be, but are not automatically, related). For the purposes of cancellation, a hit means the latter. If a show makes money, or is likely to, it stays on the air.
But how a show makes money, and how can you tell, are more complicated questions than they used to be. You need to know the ratings, of course–specifically, the ratings in the age demographics that advertisers will pay for.
That’s not so easy anymore–even if Nielsen doesn’t screw up the ratings for months as it did earlier this year. With DVRs, viewers may watch a show live, or later the same night, or later that week. So you may not know how popular a show is for weeks after it airs, once you get the DVR ratings such as “live plus seven”–the number of viewers who watched a show within a week of its airing. Now advertisers don’t pay for all those viewers; generally, they pay for what they call “C3″–not the measure of viewers within three days but the measure of commercials watched within three days. (If you have any sense, you skip the ads on DVR, and if advertisers have any sense, they know that.)
And all that assumes the relatively simple world of broadcast TV. It’s even more complicated on cable (where revenues like carriage fees from cable providers factor in), pay-cable (where HBO and Showtime make money from subscriptions, not ads) and streaming (where Netflix will never tell you how many people watch its “hits”).
So we wait longer for the ratings. In the meantime, networks–to counter the impression that a show’s a bomb from its live ratings–have begun issuing “projected” time-shifting ratings, which you should no more take seriously than you would fill out an insurance form giving your “projected” blood pressure six months from now after you finally give up French fries and start going to the gym.
But wait, there’s more! TV ads are still the main way broadcast shows make money, but they’re not the only way. There’s also the smaller but growing amount of online streaming, which shows up nowhere in those DVR numbers. And besides possible future syndication, there’s also the possibility of the sale of a show to Netflix down the road–a potentially lucrative deal that can make a relatively low-rated show like New Girl stick around. DVR ratings a week later may not be worth anything for ad sales, but maybe they indicate a fanbase that can be monetized later through streaming sales, or overseas sales, or… something else someone will invent soon.
For now, we wait, deciding whether to commit to new shows, while the networks wait and parse a growing mound of data, trying to decide whether to make the same commitment. For some shows, this more complex TV business could mean a longer life, as they get a second season to prove their worth. For others, it may just mean a slower death. Bottom line, the more ways TV has to turn viewership into money, the more complicated it becomes to turn new shows into old memories.
Grisham's new novel Gray Mountain hits shelves on Oct. 21
"What a weird and wonderful compliment," said the Sherlock and Imitation Game star
Benedict Cumberbatch’s beautiful, waxy figure debuted at Madame Tussauds London on Tuesday, and we have to admit that we’re a little concerned. After all, less than a year ago, Justin Bieber’s replication went into early retirement due to excessive groping — and with Cumberbatch’s die-hard following, it’s easy to assume that the Sherlock and Imitation Game star could suffer a similar fate.
Cumberbatch himself, however, appeared unconcerned about melting, and was instead excited at the prospect of finally being able to photobomb himself.
“What a weird and wonderful compliment… I’ve been accused of being wooden in my work but never waxy!” he said in a statement. “Also my agents will be thrilled, they’ve wanted a clone of me for some time!”
We just hope that, given Madame Tussauds’ open-door policy allowing visitors to “get up, close and personal… in a fully interactive experience” that the Cumberbabes will be more gentle than those fiesty Beliebers were.
LaBeouf was arrested in June and later pleaded guilty to disorderly conduct+ READ ARTICLE
Alan Cumming finally dished about Shia LaBeouf’s wild night at Cabaret during a sit-down with Conan O’Brien on Monday.
Cumming, who starred in the Broadway performance this summer, was onstage when LaBeouf was removed from the theater for erratic behavior and arrested. (He later pleaded guilty to disorderly conduct.)
“He was just wasted, and he was wasted from the second he walked into the thing, so there was an atmosphere when I went to go down onstage and start the show everyone’s freaking out because there was, you know, somebody seemed to be a crazy person shouting,” Cumming recalled.
LaBeouf is currently promoting Fury, and Cumming is starring as Eli Gold in CBS’ The Good Wife.
"The Death of Klinghoffer'' is about the murder of a disabled Jewish man by Palestinian extremists
The Metropolitan Opera House’s opening night of 1991 opera The Death of Klinghoffer received a standing ovation in New York City Monday. But the noise made by crowds outside of Lincoln Center before the curtain rose may have rivaled the cheers inside the opera house.
Hundreds of protesters, including former New York City Mayor Rudy Giuliani, railed against the John Adams opera about the 1985 murder of disabled cruise passenger Leon Klinghoffer by four members of the Palestinian Liberation Front, on charges that it is anti-Semitic and glorifies terrorists who shot a 69-year-old Jewish man in his wheelchair and then pushed him overboard.
“If you listen, you will see that the emotional context of the opera truly romanticizes terrorism,” Giuliani told crowds across the street from Lincoln Center. “And romanticizing terrorism has only made it a greater threat.”
The Met disagreed that the opera, which premiered in Brussels more than 20 years ago, glorifies terrorism.
“There’s no doubt for anyone who sees this opera that… it’s not anti-Semitic,” Peter Gelb, the Met’s general manager, told the BBC. “It does not glorify terrorism in any way. It is a brilliant work of art that must be performed… At the end of the day, anyone with any sense of moral understanding knows this opera is about the murder of an innocent man.”
The AP reports that there were a some orchestrated disruptions, including shouts of, “The murder of Klinghoffer will never be forgotten!” from the balcony, during the show, though the heckling was muffled by cheers when the cast took a bow.
Think it's a sexist relic? Think again
I know what you’re going to say about Eliza Doolittle and Henry Higgins. A snobby British guy in a Sherlock suit tries to “improve” a working woman by teaching her to talk pretty and look bangin’ in necklaces?! Screw you, Henry Higgins! Lean in to the flower business, Eliza! There’s nothing “loverly” about misogynistic woman-shaping narratives! Put My Fair Lady in a folder with all the other movies that “send bad messages,” like Grease and Gone With the Wind!
Screw Henry Higgins, indeed, but please do not underestimate My Fair Lady, a movie that, on Tuesday, celebrates the 50th anniversary of its premiere. And although it may be easy to dismiss the 1964 movie musical as an outdated rom-com from the shady period before feminism got rolling, it’s much more than just a relic of a sexist time. The movie itself isn’t misogynistic– it’s about misogyny.
First, a little history: The 1964 Audrey Hepburn movie version of My Fair Lady is based on the Broadway musical (starring Julie Andrews) with songs written by Alan Jay Lerner and Frederick Loewe. The musical was based on George Bernard Shaw’s 1912 play, Pygmalion, which was itself based on the part in Ovid’s Metamorphosis when a sculptor named Pygmalion falls in love with his statue of the perfect woman. That part of Metamorphosis was based on every guy who ever thought he could create the girl of his dreams (specifically, Freddie Prinze Jr. in She’s All That, of which Ovid was reportedly a mega-fan).
Even studio execs are always trying to cultivate the perfect girl, and that led to a bit of behind-the-scenes drama when it came to casting Eliza Doolittle. Julie Andrews had played Eliza on Broadway, and had already mastered the character and the vocals, and her stage co-star Rex Harrison was going to play Higgins in the movie. But studio head Jack Warner didn’t think Julie Andrews had the name recognition or glamor to carry a major motion picture. “With all her charm and ability, Julie Andrews was just a Broadway name known primarily to those who saw the play,” Jack Warner wrote in his 1965 autobiography My First Hundred Years in Hollywood. “I knew Audrey Hepburn had never made a financial flop.” But Andrews got the last word — losing the My Fair Lady role allowed her to make Mary Poppins, for which she won a Golden Globe and Oscar for Best Actress.
Audrey herself was still pretty good, even if she had to have her songs dubbed by another singer. As TIME wrote after the movie came out in 1964:
The burning question mark of this sumptuous adaptation is Audrey Hepburn’s casting as Eliza, the role that Julie Andrews had clearly been born to play….after a slow start, when the practiced proficiency of her cockney dialect suggests that Actress Hepburn is really only slumming, she warms her way into a graceful, glamorous performance, the best of her career.
From Ancient Greece to Edwardian England to 1960s Hollywood, the narrative remains the same: an overbearing male “genius” who transforms a pliable (read: vulnerable) woman from her meager, inadequate self into his personal ideal of womanhood. But thanks to Lerner and Loewe’s songs, My Fair Lady critiques that narrative as much as it upholds it. Their musical is not about a genius attempting to transform a weak woman. It’s about a strong woman attempting to retain her identity in spite of the controlling machinations of a small-minded man.
Take, for example, the undisguised misogyny in nearly all of Henry Higgins’s songs (spoken, with droll irony, by Rex Harrison). This is from a song near the end, fittingly titled “A Hymn to Him,” in which Higgins asks “Why can’t a woman be more like a man?”:
Why is thinking something women never do?
Why is logic never even tried?
Straightening up their hair is all they ever do /
Why don’t they straighten up the mess that’s inside?
This comes shortly after he says women’s “heads are full of cotton, hay and rags” calls men a “marvelous sex.” That’s not the only song where he drones on about how amazing he is compared to women: in “You Did It,” he takes complete credit for everything Eliza does, and in “I’m an Ordinary Man,” he idealizes his woman-free “bachelor” life.
Now, it’s entirely possible that Lerner and Loewe were themselves misogynistic jerks, and these songs were meant as appreciative bro-anthems. Maybe if they had been alive today, the music videos would have featured naked models on leashes. But more likely, they wrote these songs to humiliate Henry Higgins, to show the audience that he’s a jerk and they know it.
And Eliza Doolittle has plenty of songs that demonstrate she is anything but a statue; after all, the entire musical is written largely from her perspective. By far the best is “Without You,” which is pretty much the Edwardian-showtune version of Beyoncé’s “Irreplaceable:”
Without your pulling it, the tide comes in
Without your twirling it, the Earth can spin
Without your pushing them, the clouds roll by,
If they can do without you, ducky, so can I.
There’s also “Show Me” (where she tells her loser boyfriend Freddy that actions speak louder than words) and “Just You Wait” (where she fantasizes about leaving Henry Higgins for him to drown in the ocean while she goes to meet the King). Lerner and Loewe could easily have made Eliza into a love-sick ingenue, just by writing a few more songs like “I Could Have Danced All Night” (where she’s crushing on Higgins because they danced for a hot second, remember it’s 1912.) But they didn’t.
Of course, the whole Eliza-is-a-strong-woman argument gets compromised by the ending. Because after all her proclamations that she can “stand on her own,” Eliza comes back to Higgins. And when he asks “where the devil are my slippers?” she brings them to him. It’s an ending with the same ashy taste as the ending of Grease, because it seems incongruous: Eliza has no business being with Higgins, and it’s clear she’s independent-minded enough to know it.
Except, it’s 1912. And Eliza has no family connections, no money and no formal education, which means she has nowhere to go but back to the streets (or away with the insipid and financially dubious Freddy). She isn’t brainwashed or stupid — when given the choice between an emotionally abusive man and destitution, she chose the man. Choosing the man doesn’t make My Fair Lady a sexist movie; it makes it a movie about a sexist time.
Of course, 50 years later, there’s another version of My Fair Lady: Selfie, on ABC, is the newest to take up the Pygmalion mantel, when a male marketing exec “rebrands” a girl who has fouled up her social media presence. Let’s see how they do it without Lerner and Loewe.
Read TIME’s 1964 review of My Fair Lady, here in the archives: Still the Fairest of Them All