When the going gets tough, Ted Cruz gets going. Sometimes to Cancun. But if United isn’t running a super-saver deal, he’ll often just stay in Texas and flap his trap about any damn thought that enters his mind. And right now, in the midst of a surge that Austin-Travis County health authority Dr. Desmar Walkes called “critical,” Cruz appeared on Fox News to share his dangerous opinion that “there should be no mandates—zero—concerning COVID.” Unfortunately, he didn’t end there:
“That means no mask mandates, regardless of your vaccination status. That means no vaccine mandates. That means no vaccine passports. And I’ve introduced legislation — a bill to ban vaccine passports. This week I’m introducing a bill to ban vaccine mandates. And this week I’m introducing a bill to end mask mandates.”
Cruz did, however, want to make it clear that he’s got nothing against vaccines. He thinks they’re great. So great, in fact, that he and his family have gotten them. “But I believe in individual choice, individual responsibility. You can make the choice for your family.”
It’s worth noting that, according to Texas Tribune, “around 87.1 percent of all hospital beds in Texas are in use — the highest level since the start of the pandemic — with 14.1 percent of those beds occupied by COVID-19 patients.” Yet on Monday, Insider reports that Cruz and fellow senator Kevin Cramer (R—ND) introduced that previously mentioned No Mask Mandates Act, and Cruz issued a statement that serves as pretty clear proof that he’s not living in reality:
“Thanks to vaccinations and the natural immunity of Americans who have recovered from COVID-19, America is reopening. America is recovering, our kids are going back to school, and small businesses are returning as our nation’s economic heartbeat. At the same time, President Biden is imposing unscientific and burdensome mandates to control Americans’ lives.”
The messages that we’re all recovering and life is just dandy must not have made its way to Texas governor Greg Abbott who, according to the AP, “has directed the Texas Department of State Health Services to use staffing agencies to find additional medical staff from beyond the state’s borders as the delta wave began to overwhelm its present staffing resources. He also has sent a letter to the Texas Hospital Association to request that hospitals postpone all elective medical procedures voluntarily.” Yet he still hasn’t rescinded his ban on mask mandates.
The Weeknd’s 2020 disco-twinged album After Hours was an all-around success. Though it was notably snubbed by the Grammys, the LP earned several other awards and achieved chart success, hovering at No. 1 for several weeks. But The Weeknd is already looking towards his new era of music, which he officially announced last week with the dance-ready track “Take My Breath.”
Now taking his music to new heights, The Weeknd has returned with an extended version of “Take My Breath.” The original single clocked in at just over three-and-a-half minutes, but the latest version of the track tacks on an extra two minutes of trance-like synths. The extended version of “Take My Breath” is fit for the dancefloor, drawing out the song’s pulsating intro and euphoric bridge.
Though The Weeknd has yet to announce his upcoming fifth studio album’s title, the singer did describe the upcoming LP’s sound in an interview with Rolling Stone from last September. “I’m guilty of wanting to outdo my last album, but it’s never like, ‘I’ve got to do the same type of song.’ I’m so happy I’m not like that,” he said. “My palette is so wide. […] I’m trying to find a perfect balance with the film and the music, and so far it’s going really well. I think I might have cracked the code.”
Listen to The Weeknd’s “Take My Breath (Extended Version)” above.
Olivia Rodrigo has been not only music’s biggest surprise of 2021, but just flat-one one of the year’s most successful artists overall. Sour topped the charts, and so too did the singles “Drivers License” and “Good For You,” while “Deja Vu” topped out at No. 3. Now Rodrigo has added another impressive feat to her resume: “Drivers License” has become her first some to reach a billion streams on Spotify. As Pop Crave notes, this is the least amount of time it has ever taken for a song to eclipse a billion Spotify plays: The single was released a bit over 7 months ago, on January 8.
“drivers license” by @Olivia_Rodrigo has reached 1 BILLION streams on Spotify. It becomes the fastest solo song by a female artist to achieve this milestone. pic.twitter.com/EAQgPh0f5V
Rodrigo has become a major celebrity this year, and she had a noteworthy brush with fame and the fans that come with it. She told GQ recently, “Someone came up to me the other day and was like, ‘Sorry if this is weird, but I had sex to the entirety of your album.’ And I was like, ‘What the f*ck? That’s crazy.’ That was the weirdest experience I’ve ever had. I was flattered, of course. […] I appreciate that she was bold enough to come up to me and tell me that, too. I was like, ‘You want to have sex to the breakup songs?’”
Annette, a movie that received an ovation so long at the Cannes Film Festival that Adam Driver started smoking a cigarette during it, is one of the most insanely padded works of art I’ve ever seen.
A musical written by Ron and Russell Mael of Sparks, Annette opens with a song about how the movie is about to start — “So May We Start?” — which goes on for about five minutes, rhyming “So may we start?” with “it’s time to start” (arguably the only catchy song of the film). Annette, the title character, doesn’t show up until minute 41. To illustrate Adam Driver and Marion Cotillard’s characters falling in love, the two sing a song in which they repeat the refrain “We love each other… so much…” roughly 37 times.
In The Sparks Brothers, Edgar Wright introduced us (well, me) to Ron and Russell Mael, the clever and prolific songwriters behind Sparks, who famously once opened a song with the line, “I’ve got a snapshot of your Aunt Maureen.”
It’s that kind of cheeky humor and theatrical pop-rock that you’d imagine would make Sparks the ideal choice to write a musical for Holy Motors director Leos Carax. Yet nothing in Annette is as funny, clever, or catchy as the opening of “Tips For Teens.” The cleverness is all drowned out by the art; everything so puffed up, stretched out, and annoyingly repeated that even things that seem funny on paper in practice end up dull or tedious.
For instance, you may have heard that Adam Driver sings while performing cunnilingus in Annette. Which is true, sort of — he performs his half of a duet live on set, with his head between Marion Cotillard’s bare legs in a posture of pantomimed oral sex. Yet even the act of singing into a vagina comes off like just another camp musical number in a movie full of them. Carax is so busy doing art, with elaborate stage sets, green screens, and choreographed dances, that he never gets around to telling us what this movie is about. Where is this oral sex even taking place? What does it mean to the characters? What time of day? Where in the world? Annette exists only in Artland, a place where details and emotions don’t matter, only the act of being self-consciously artistic.
Driver plays Henry McHenry, a famous comedian who shadowboxes in a robe while eating bananas before performing his one-man show, “The Ape Of God.” Again, this sounds like it would be funny on paper, yet we don’t get any sense of what his act is supposed to be or why audiences enjoy him. He doesn’t seem to do anything humorous. He enters the stage in a fog of smoke, which he complains about while the crowd laughs. He either gets annoyed with, or feigns annoyance with their laughing (unclear) and asks rhetorical questions about why he does comedy. This is all delivered in Annette‘s signature style, of brief, vague declarations repeated dozens of times in song.
UGC
Cotillard, meanwhile, is Ann Defrasnoux, a world-famous opera singer who mostly sings haunting, wordless melodies onstage between death scenes. That’s about as much characterization as anyone gets in Annette, whose characters all seem like a grade schooler’s idea of “serious artist.” There’s a famous opera singer, a famous comedic thespian, and the opera singer’s accompanist, played by Simon Helberg from Big Bang Theory, helpfully introduced in a song called “I’m An Accompanist.”
When Ann and Henry fall in love through song, the only clues we get as to how they relate to each other or to the root of their attraction comes in the form of these lyrics, sung between the 37 refrains of “we love each other so much”:
counterintuitive, baby, and yet we remain. so hard to explain it, so hard to explain…
Hard to explain, eh? Well, do you think perhaps you could perhaps try, given that this relationship is the central story element of the film?
Ann and Henry soon give birth to a daughter, Annette, who is depicted as a sinister living marionette, a papier-mache creature that looks a little like the wing gremlin in the original Nightmare at 20,000 Feet. At some point, Henry realizes that the doll baby can sing, and he takes her out on an exploitative concert tour that makes her a worldwide sensation. Meanwhile, all we, the movie’s audience, get to see of the singing doll-baby is Annette humming a haunting wordless melody while floating above the stage. This is a movie so incapable of communicating anything beyond “we’re doing art!” that it resorts to narrating itself through repetitive song.
Annette feels like a series of the broadest broad strokes, none of which got fleshed out, only embellished. It feels like the Mael Brothers had a plot outline, but rather than create any connective tissue for it, the characters simply sing the chapter headings out loud, repeating the same basic phrases over and over until they lose all meaning through semantic satiation. Leos Carax, in turn, rather than give the Mael Brothers’ outline scenes or context, just added distractions — cunnilingus! a fake baby! flying! green screens! It’s just embellishment upon embellishment until we don’t know what we’re watching anymore, other than ART.
It’s all meaningless bloat. It’s a testament to the attention spans of the Cannes-goers that they still had the energy to stand and applaud after almost two and a half hours of this. Then again, what else was there to do? Annette doesn’t give us the space to ponder its characters, to dissect its dialogue, to discuss its themes. It merely works hard at creating the appearance of working hard. What else is there to do but applaud all that work? Bravo! You did an art!
‘Annette’ is currently available in select theaters. It hits Prime Video August 20th, 2021.Vince Mancini is on Twitter. You can access his archive of reviews here.
As Marvel’s What If…? gets ready to premiere its first episode on Disney+, writer A.C. Bradley has been sharing all kinds of behind-the-scenes details about the MCU’s first major foray into animation.
Bradley had previously disclosed that she was forced to scrap a What If…? episode that she wrote that inadvertently predicted the plot of Guardians of the Galaxy Vol. 3. In a new interview with The Post Credit Podcast, Bradley reveals another episode that had to be scrapped, but this time, it was because the series got a little too carried away in the “body horror” department for a Spider-Man story. Via Collider:
Talking about episodes that never got beyond pre-production, Bradley said that “there were a couple of episodes that were just a little too dark.” As Bradley explains it, in one of these scrapped episodes, “Spider-Man turns into a real spider, and that was just too dark and too body horror for their PG-13 [rating].”
Marvel is betting big on the ambitious animation series that imagines alternative reality scenarios, like Peggy Carter taking the super-soldier serum or Tony Stark being saved by Killmonger instead of being forced to build his Iron Man suit in a cave. Last month, Marvel announced that What If…? will be the first of many animated projects coming from its new “in-house” studio as the MCU continues to rapidly expand beyond its blockbuster presence in theaters.
Saweetie’s long-awaited debut album Pretty B*tch Music has been in the works for several years. It was originally set for a June release, but was pushed back after speaking to Cher gave Saweetie an epiphany about her sound — not to mention that she has her hands full with McDonald’s and Tesla partnerships. But, according to the rapper, the album is now complete and deserves to be taken seriously.
“I went to Paris to finish my album [and] now I’m just living with it to ensure it’s perfect. A new album is something serious. I need to know that when I release this kid of mine because as artists we feel our products are our babies, that no matter what anybody says, I’ll know that it’s my best work. I’m really challenging myself and I just want to ensure that I put out a body of work that [will] symbolize art.”
Stop! Before you click on that checkout button and pay way too much for shipping from your favorite store, ask yourself — is this really the best summer fit your money can buy? Because if it’s mass-produced and sold at the mall, we’re going to go ahead and guess no. If you really want to stand out, turn heads, and find a way to express yourself in a way that is uniquely you, and not just whatever the fashion powerhouses of the day want you to be, you should consider cobbling your next fit together from the thrift store.
There are a number of reasons you should look to your local thrift store for great fashion. For one, you’ll find truly one-of-a-kind pieces that nobody on the street will be wearing. You’ll also save some money, which means you’ll end up picking up a bigger and better haul. And perhaps most importantly, it’s way more sustainable. The fashion industry produces a ridiculous amount of waste every year. With the state of our climate, we need to totally overhaul the way we do everything and that includes the way we shop.
But where to start? We hit up vintage fashion influencer Emma Rogue for a guide to her ten favorite thrift shops. Rogue has taken her keen eye for vintage threads and built something bigger out of it, amassing a huge following on TikTok and even opening up her own vintage clothing store of the same name. So she’s about as big an expert as we could hope to find on all things vintage.
So whether you’re looking for a new summer fit or seeking out some furniture to transform your home, Rogue’s got you covered. Let’s dive in.
If you’re looking for a good mix of hidden designer gems and novelty vintage pieces, Beacon’s is the spot. They have something for everyone, catering to all prices ranges and age brackets. I once found these insane Phat Farm jeans for $13 that fit me like a glove. Also scored these crazy Camper x Gosha Rubchinsky snow boots for $50.
L Train is the spot to hit if you’re in need of vintage basics. They’ve got a great selection of vintage denim, tees, and flannels — not to mention their size range is super inclusive. In the winter, I always pick up a few new jackets for a great price. They’ve got about five locations throughout Manhattan and Brooklyn. So no matter where you are, they’re never too far away.
If you’re into archival designer pieces and ready to drop a stack, Procell is the spot for you. They cater to collectors and carry the rarest pieces you’ll come across. From vintage Gaultier to crazy rap tees, you’ll definitely fall in love with that one special piece. My favorite piece from them is a 1995 Tank Girl tee that had the perfect fade — it was too good to pass up.
My good friend Frank just opened Leisure Centre in the Lower East Side and it is the best hidden gem around. Frank is a master curator and has the coolest vintage sportswear pieces in the City. He also stocks a sick selection of knick-knacks and home decor that’ll level up your living space. He’s got a rotating selection of vendors that sell in his shop, so the stock is always fresh.
FPN is by far the cutest spot in Soho. Go there and create your preppy, Hamptons dream fit. They’ve got a great selection of sizes as well as price ranges. They have the sweetest selection of Y2K purses on their handbag wall as well as jewelry. FPN just opened their second location in Connecticut, so no matter where you are on the East Coast they are super accessible and worth the visit.
Bowery Showroom was opened up by my good friend Matt (we both used to sell at Hester Street Fair back in the day). His shop features a great selection of streetwear and designer finds as well as goods from their CBD company, Potion. The showroom also houses new and upcoming NYC-based brands. No matter what your vibe is, you’ll undoubtedly find something you like.
Elona and Ledi are the great girls behind Tired Thrift. They opened their shop mid-pandemic and have been killing it ever since. They cater to a younger audience, housing super cute collections of Y2K era pieces, minibags, and shoes. They’ve even got a killer sale bin at the front of their shop with loads of gems. Definitely stop by if you’re ever in Greenpoint, they won’t disappoint.
Awoke Vintage is an NYC staple. They have three Brooklyn locations that are jam-packed with the best vintage Levi’s, tops, and accessories. No matter how hard it is for you to find that perfect pair, the Awoke girls will be able to fit you. You’ll also find the perfect vintage tee to go with them!
Housing Works has a few locations throughout the city. They have home decor as well. You can score designer gems on their website. They have a bidding system set up similar to how eBay works. Your money will be going to a great cause as they donate their proceeds to AIDS and homelessness. Next time you’re in, don’t be afraid to spend!
And last but not least, my very own vintage shop in the Lower East Side, Rogue, should be at the top of your NYC destination lists. As soon as you walk in, you’ll be hit with a hefty dose of ’90s and 2000s nostalgia. We’ve got a wild selection of vintage tees, archival grails, and true vintage from the 1960-2000s. On Saturdays, we host pop-ups and launch events with local NYC designers and brands, not to mention free snow cones. Come say hi and jam out to 2000s hits with us while you try on your Y2K dream fit<3
Okay, if you didn’t believe us when we wrote about it yesterday, we’re once again here to say the COVID-19 vaccine will not turn you into a zombie. Promise. And hey, if that’s not enough, this time we’ve got the words of one of I Am Legend’s co-writers to back us up.
Following the circulation of an New York Times article noting the growing number of anti-vaxxers citing I Am Legend as a reason to be skeptical of the vaccine, I Am Legend co-writer Akiva Goldsman took to Twitter to shut down the dangerous (and absurdly stupid) misinformation. In response to a conversation about the article, Goldsman offered a brief and blunt response:
Oh. My. God. It’s a movie. I made that up. It’s. Not. Real.
On top of I Am Legend being indisputably “Not. Real,” it’s also worth noting the film Goldsman and fellow co-writer Mark Protosevich wrote and adapted from Richard Matheson novel of the same name isn’t even abouta mutated vaccine. In I Am Legend, the zombie apocalypse is brought on when a pathologist, portrayed by Will Smith, attempts to create a cure for cancer by re-engineering the measles virus, a fact the New York Times even mentioned in the aforementioned article:
One employee said she was concerned because she thought a vaccine had caused the characters in the film “I Am Legend” to turn into zombies. People opposed to vaccines have circulated that claim about the movie’s plot widely on social media. But the plague that turned people into zombies in the movie was caused by a genetically reprogrammed virus, not by a vaccine.
Listen, we know we’re in the middle of a pandemic and there’s a lot to be scared about, but zombie apocalypses should be about forty spots down on your list and well after COVID-19 itself. Since last February, over 600,000 Americans have died from the virus and its complications. As of right now, 166.7 million Americans have been fully vaccinated, according to the CDC, and not but one of them has turned into a zombie. Once again, it’s a movie, folks. Please get vaccinated.
Lil Baby has multiple chart-topping projects and songs, and he’s apparently working on something else that will generate some attention: a collaboration with Drake. He and Drake have linked up on some tracks before, and this time, Baby says he’s actually going to put effort into his lyrics, which he admits he tends not to do.
In a video of him chatting with a jewelry store associate, he said:
“I ain’t gonna lie, I got a song for him right now. I done went to the studio like two times. I ain’t feel it yet. But it’s like a slow song. All the slow songs, they really — and then it takes me longer to rap ’cause like, I don’t really care what I say on a song, you feel me? I just freestyle. But with Drake, I be trying to think about it. And that’s what makes it harder for me ’cause like, I’m thinking. When I don’t even think, I just rap. So then like, ’cause it’s Drake, I get kind of like, damn… So I gotta make sure. Now it’s kind of like, eh. But my next album, I’m writing it. Every song, I’m writing it. So it’s gonna be more detailed. Right now, I freestyle, only the top of my brain comes out.”
That’s not the only collaboration Baby has coming: he and The Weeknd seem set to appear on Kanye West’s first Donda single, and he seems to be working on something with Andre 3000 as well.
Earlier in the summer, Sufjan Stevens and Asthmatic Kitty labelmate Angelo De Augustine announced their collaborative album, A Beginner’s Mind, which is set for release on September 24. The indie-folkies also released two lovely tracks, “Reach Out” and “Olympus.” Today, they have two more for us, “Back To Oz” and “Fictional California,” the latter of which is based on the 2004 straight-to-DVD sequel to Bring It On, titled Bring It On Again.
Check out the trippy single art below.
Asthmatic Kitty
In a statement, De Augustine had this to say about “Back To Oz,” which is based on the 1985 film starring Fairuza Balk:
“This was a song that I had written mostly at home in California. We finished its lyrics after watching Return To Oz. The words reference an erosion of a central character’s internal reality. A loss of innocence is the impetus for a journey to find inner truth. In the film, Dorothy returns to the world of Oz to find its landscape in ruins and its citizens frozen in stone. Only she can find the ruby slippers and return peace to Oz. Only we can save ourselves, but we first have to remember who we truly are.”
Stevens added:
“Angelo is mostly known for his intimate home recordings; his music is quiet and confessional/ So for ‘Back To Oz,’ we decided to go for something flashier. The song has a fun guitar groove, so we gave it some bass and drums, and Angelo even recorded his first electric guitar solo. It’s a sad song — being mostly about disillusionment — but it has a great party vibe too.”
Check out both singles above.
A Beginner’s Mind is out 9/24 via Asthmatic Kitty. Pre-order it here.
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