Sky Ferreira is hitting the road. This fall, the elusive singer-songwriter will embark on a North American tour.
It’s been almost a decade since Ferreira released her debut album, Night Time, My Time, and fans are starving for her follow-up album, Masochism. Though she’s released a few standalone singles between now and then, and rumored release dates have come and gone, fans haven’t lost hope that Ferreira’s Masochism era is underway.
Before the tour announcement, Ferreira has performed at various festivals and standalone shows this past summer. Though Ferreira herself has not commented on the tour, nor shared any further information on any of her social media pages, many of the venues where she’ll be performing have shared announcements on their pages, and Ferreira has shared these venue’s posts on her personal Instagram Story.
Tickets will be available for purchase through each of the venues, beginning at 10 a.m. local time this Friday (September 22), according to Brooklyn Vegan.
You can see the list of tour dates below.
11/25 — Pomona, CA @ The Glass House
11/29 — Dallas, TX @ Trees
11/30 — Austin, TX @ Emo’s
12/03 — Atlanta, GA @ The Masquerade – Heaven
12/04 — Madison, TN @ Eastside Bowl
12/06 — Chicago, IL @ Metro
12/09 — Philadelphia, PA @ Theatre Of Living Arts
12/10 — Boston, MA @ Paradise Rock Club
12/11 — New York, NY @ Webster Hall
If you think accusing Howard Stern of going “woke” bothers him, think again. The shock jock proudly accepted the label while responding to a fan video complaining about his politics. In the clip, the fan claims that he still regularly tunes into Stern’s show, but he doesn’t love that Howard has “gone woke.”
“I hear that a lot that I’m not good anymore because I’m woke,” Stern said. “By the way, I kind of take that as a compliment.”
The veteran radio host then proceeded to profanely rattle off the reasons why people can call him “woke” all damn day. Via Mediaite:
“To me the opposite of woke, is being asleep. And if woke means I can’t get behind Trump, which is what I think it means, or that I support people who want to be transgender or I’m for the vaccine, dude call me woke as you f*cking want,” Stern declared.
“I’m not for stupidity, you know. I ran out Friday morning. I was over at CVS. Thank you, CVS. I went over there 9 a.m. and got myself that new vaccine for Covid. F*cking science. This f*cking country is so great,” Stern celebrated.
Not quite finished yet, Stern declared that he “loves” the label.
“I am woke, motherf*cker, and I love it,” Stern said. “Here’s how woke I am. I believe the election was not rigged. I am woke. I think that’s a compliment.”
In the simplest terms, a dark lager is exactly what the name suggests. First brewed in the Czech Republic and Germany, it’s a broad category of lagers known for its darker, maltier, bready, and lightly sweet flavor profile that’s well-suited for fall weather (although some of us drink it all year long). They are often brewed with Pale, Munich, or Vienna malts. Brewers have been known to use chocolate malt, black malt, roasted barley, and other specialty malts to add flavors.
While you might run into a beer that’s labeled simply as a “dark lager,” there are a number of beers that fit into this category including dunkels, schwarzbier, Czech dark lagers, bocks, and more. And while these beers might be maltier and breadier than some of their lager counterparts, they’re still usually fairly easy to drink thanks to the use of lager yeast and the generally low alcohol content.
With the category including so many beers, it might seem a bit daunting to find the right one for you. Fear not. We’ve once again turned to the professionals for help with this endeavor. We asked a handful of well-known craft beer experts, brewers, and beer professionals to tell us the best dark lagers to drink this fall. Keep reading to see all of their selections.
Cedar Springs Küsterer Schwarzbier
Cedar Springs
Anthony Kisscorni, USBG bartender at Stella’s Lounge in Grand Rapids, Michigan
ABV: 6.1%
Average Price: Limited Availability
The Beer:
Küsterer Schwarzbier from Cedar Spring Brewing is damn near perfect. It’s the brewery’s take on the classic Czech-style dark lager. It lives up to its European ancestors with the use of pilsner malt, chocolate wheat malt, black malt, and a smattering of Spalt hops.
Tasting Notes:
The roasted nose and long chocolaty finish just says fall to me. As does drinking it in either of their beer hall-style locations.
Sacred Profane Dark Lager. Everything about this dark lager is worth exploring. From the team behind it and their stories to the time-honored origins of these styles, worthy of massive consumption, this lager pushes the bounds of darkness.
Tasting Notes:
Striding in confidence with a noticeable noble hop presence, creamy tan head, and assertive roasty character that’s kept in check by the crisp and delicate lager attitude. It’s exceedingly drinkable, and excitingly dark.
Negra Modelo is a great choice for an easy-to-find, well-made dark lager. From a brewer’s standpoint Technically it’s one of the best dark lagers out there but doesn’t get any love because it’s a macro.
Tasting Notes:
It’s subtly malty and crushable, it has notes of caramel, roasted malts, and still manages to have a nice, crisp hop presence.
One of my favorite Czech dark lagers is Ten Crowns by Off Color Brewing. This beer is very true to style. At 5.5% it has enough flavor for those cooler fall days but remains sessionable enough to have a couple.
Tasting Notes:
It has a nice roasted malt character complemented with cocoa and hints of dark bread crust that is complemented by the earthiness of the hops.
I have to go with a local favorite, Death and Taxes lager from Moonlight Brewing in Santa Rosa, California. This is another classic dark lager that has been around for decades.
Tasting Notes:
Labeled as a San Francisco-style Dark Lager, Death and Taxes has rich flavors of cocoa, roasted malt, and iced coffee but with a surprisingly light body.
Ayinger Altbairisch Dunkel
Ayinger
Duncan Kral, innovation brewer at Half Acre in Chicago
My dark lager pick is Ayinger Altbairisch Dunkel. Munich Dunkel is my favorite style of dark lager when I’m craving a malty beer with less roast character. Ayinger produces the gold standard of the style.
Tasting Notes:
A blend of German malts provides flavors of fig and fresh baked bread, with just enough German noble hops to balance the experience with subtle spice and bitterness.
I love a good dark lager. I like to say they are, ‘dark beers for people who don’t like dark beer.’ My choice for best dark lager is Köstritzer Schwarzbier from Bad Köstritz in Germany. The brewery opened in 1543 and is one of the oldest producers of schwarzbier (which means “black beer” in German) in the world.
Tasting Notes:
It’s a medium-bodied, malt-accented dark beer, opaque and deep sepia toned with a chewy texture and creamy, long-lasting head. Despite it being very dark in color, Köstritzer Schwarzbier drinks softly and elegantly and comes across as rich, mild, and surprisingly balanced.
Ayinger Celebrator Doppelbock
Ayinger
Chad Henderson, head brewer and co-owner of NoDa Brewing Company in Charlotte, North Carolina
Ayinger’s Celebrator Doppelbock is a classic from one of my favorite German breweries. This bottom-fermented dark lager is known for its rich, sweet flavor. It’s a memorable beer you’ll want to drink all year long.
Tasting Notes:
It has a rich, full-bodied profile with lots of malt notes and caramel accents. The well-rounded finish is complemented by the beer’s signature goat ornament, adding a fun touch.
Czech Dark Lager from Whistle Punk in Spokane. It’s brewed with a mix of specialty hops and gets its hop presence from the use of Saaz hops. It’s well-known for its roasted malt, chocolate, and gently spiced flavor.
Tasting Notes:
Served on a traditional side pull faucet, this beer is light, creamy, and has a note of roast. Also, one of the coolest taprooms in the Northwest.
When it comes to a dark lager around an autumn bonfire, I reach for Troegs Troegenator. It’s malty and warming without being syrupy. There’s a reason this beer is an autumnal favorite.
Tasting Notes:
Notes of dark chocolate and mocha. The only downside is it slides down a little too easily. Although that’s not such a terrible problem to have.
As much as we’d like to pretend every phrase we utter is a lone star suspended in the space of our own genius, all language has a history. Unfortunately, given humanity’s aptitude for treating each other like shit, etymology is fraught with reminders of our very racist world.
Since I have faith that most of you reading want to navigate the world with intelligence and empathy, I figured it’d be useful to share some of the everyday phrases rooted in racist etymology.
Knowledge is power, and the way we use and contextualize our words can make a huge difference in the atmospheres we create.
1. Thug
According to Meriam-Webster’s dictionary definition, a thug is “a violent criminal.” Obviously, this definition leaves the word open to define people of all ethnicities.
When you consider the people who are called thugs — groups of black protesters, victims of racist violence, teenagers minding their own business, and flip the racial element, you’d be hard-pressed to find examples of white people being called thugs in earnest by the media (or really by anyone).
let me get this straight. Marshawn Lynch is “thug” because he doesn’t talk enough, & Richard Sherman is a “thug” because he talks too much?
— Coach Ray Hubbard (@Coach Ray Hubbard) 1422371279
“The reason it bothers me is because it seems like it’s an accepted way of calling somebody the N-word now. It’s like everybody else said the N-word and then they say ‘thug’ and that’s fine. It kind of takes me aback and it’s kind of disappointing because they know,” Sherman said.
If a 1400 SAT score and a degree from Stanford makes you a “thug” then I want my kids to be thugs. @RSherman_25pic.twitter.com/MWuWWPNSWh
If you’re talking about an actual criminal, there are so many descriptive words to invoke besides “thug.” Given its current use as a negative, racially-coded word, avoiding its use seems like an easy and obvious move.
2. Grandfather Clause
When most of us hear the term “grandfather clause” we just think of the generalized description: a person or entity that is allowed to continue operating over now expired rules. But the literal meaning reveals the “grandfather clause” was a racist post-Reconstruction political strategy.
“Grandfather clause, statutory or constitutional device enacted by seven Southern states between 1895 and 1910 to deny suffrage to African Americans. It provided that those who had enjoyed the right to vote prior to 1866 or 1867, or their lineal descendants, would be exempt from educational, property, or tax requirements for voting. Because the former slaves had not been granted the franchise until the adoption of the Fifteenth Amendment in 1870, those clauses worked effectively to exclude black people from the vote but assured the franchise to many impoverished and illiterate whites.”
In modern speak, this basically meant the Grandfather Clause let white people off the hook for new voting requirements because their ancestors were already registered voters. Meanwhile, black people were required to fill out impossible literacy tests and pay exorbitant poll taxes to vote. This in turn, meant many black people were unable to vote, while white people weren’t held to the same standard.
3. Gypsy or “Gyp”
The word “Gypsy” was (and is) a racial slur referring to the Roma people. The Roma people are descendants of Northern India who, due to severe marginalization and threats of violence by others, lived a nomadic lifestyle of forced migration for centuries.
During a fraught history, Roma people were taken as slaves in Romania and were targeted for genocide by the Nazis.
The word “Gypsy” is a slang word perpetuating stereotypes of Roma people as “thieves, rowdies, dirty, immoral, con-men, asocials, and work-shy” according to the Council of Europe.
In a similar vein, the term “Gyp” or “getting gypped” means to cheat or get conned, and many connect this meaning as another racist extension of Gypsy.
4. No Can Do
The saying u201cno can dou201d and u201clong time no seeu201d came from Westerners mocking Chinese immigrants https://twitter.com/trashyewest/status/995768305003610112u00a0u2026
According to the Oxford Dictionary, the very common phrase “no can do” was originally made popular as a way to make fun of Chinese immigrants.
“The widespread use of the phrase in English today has obscured its origin: what might seem like folksy, abbreviated version of I can’t do it is actually an imitation of Chinese Pidgin English. The phrase dates from the mid-19th to early-20th centuries, an era when Western attitudes towards the Chinese were markedly racist.”
5. Sold Down The River
“The phrase ‘sold down the river’ came from Louisville, Kentucky, where the enslaved were traded in one of the largest slave markets of the 19th century.”https://www.citylab.com/equity/2017/02/louisville-confronts-its-redlining-past-and-present/517125/?utm_source=twbu00a0u2026
Upon first hearing, many people associate the phrase “sold down the river” with the notion of being betrayed, lied to, or otherwise screwed over. While these definitions all technically apply to the origin, the root of this phrase is much more bleak.
According to a report from NPR, being “sold down the river” was a literal reference to slavery, and the families that were torn apart in the south.
“River” was a literal reference to the Mississippi or Ohio rivers. For much of the first half of the 19th century, Louisville, Ky., was one of the largest slave-trading marketplaces in the country. Slaves would be taken to Louisville to be “sold down the river” and transported to the cotton plantations in states further south.
This heavy connotation sadly makes sense, but also makes casual use of the phrase feel way more cringe-inducing.
6. Welfare Queen
The GOP argument on Obamacare has more than a whiff of Reagan-era racial “welfare queen” politics —> http://www.nationaljournal.com/politics/a-brutal-translation-of-the-disincentive-to-work-20140206u00a0u2026
This straw woman in Reagan’s campaign served as a racially-charged exaggeration of one minor case of real welfare fraud used to pedal his platform for welfare reform.
Needless to say, the term has sadly lived on as a racially-charged vehicle used to undermine the importance of welfare programs, while peddling gross stereotypes about black women.
On top of all the other offenses, this stereotype is of course ignoring the fact that poor white Americans receive the most welfare out of any economically-disadvantaged demographic.
7. Shuck And Jive
Obama’s Shuck and Jive Ends With Benghazi Lies http://fb.me/1m3q5c2IR
“The fact that black slaves sang and shouted gleefully during corn-shucking season, and this behavior, along with lying and teasing, became a part of the protective and evasive behavior normally adopted towards white people in ‘ traditional’ race relations.”
Likewise, the modern usage of this phrase refers to pandering, selling out, or instances in which black people go along with racist white people’s wishes. Again, not a phrase to be thrown around lightly.
8. Long Time No See
The very commonly used greeting “long time no see” first became popular as a way to make fun of Native Americans. The phrase was used as a way to mock a traditional greeting exchanged between Native Americans.
“Long Time No See was originally meant as a humorous interpretation of a Native American greeting, used after a prolonged separation. The current earliest citation recorded in the Oxford English Dictionary (OED) comes from W.F. Drannan’s book Thirty-one Years on Plains (1901): ‘When we rode up to him [sc. an American Indian] he said: ‘Good mornin. Long time no see you’.”
The act of committing genocide is not limited to human lives, but also translates to a normalized cultural violence. Deconstructing, mocking, and erasing someone’s language contributes to this pattern of colonialism.
9. The Peanut Gallery
Did you know the phrase ‘peanut gallery’ has racist origins?nnIt was the cheapest and worst part of the theater, and the only option for Black attendees. No one wanted to sit in the peanut gallery and today, no one wants to hear from the peanut gallery. #RewriteBHM #BHMpic.twitter.com/vwHHHWLeVP
— Nat’l Urban League (@Nat’l Urban League) 1518542600
Most modern uses of the term “the peanut gallery” is in reference to a group of people who needlessly criticize or mocking another person. However, the historical roots of this term are much more racist and painful.
Originally, this term referred to the balconies in segregated theaters where black people were forced to sit. The nickname “peanut” was given due to the fact that peanuts were introduced to America at the same time as the slave trade. Because of this, there was a connection drawn between black people and peanuts.
10. Uppity
MINORITIES MUST STAND UP TO ABUSE:nKneeling to protest at games is tasteful yet effective. But white owners and racists think blacks are too uppity. n”UppitynWord used by racist old white Southerners to refer to any black person who looks them in the eye.” –URBAN DICTIONARYpic.twitter.com/CrRQJqTyTl
As of now, the word “uppity” is often used as a synonym for “stuck up” or “pretentious” or “conceited.” But the roots of the word are far more specific and racist.
The word Uppity was first used by Southerners to refer to slaves who did not fall into line, or acted as if they “didn’t know their place.”
So, basically, any black person who overtly stood up to racism. Given the heaviness of this origin, it seems best to leave this word at home when looking to describe a pretentious acquaintance.
Sadly, given our ugly history, there are many more words and phrases I could add to this list. In the meantime, hopefully this list is helpful for navigating the racism innate in our language.
When it comes to furniture, the essence of true value transcends mere affordability. It’s also about the craftsmanship, the meticulous attention to detail, and the rich stories behind the finished piece. And with dining room furniture from Plank+Beam, every grain of wood, every finish, and every design element is a vivid testament to an unwavering commitment to quality and excellence.
Now, think about the furniture that graces your dining spaces. Does it elevate every meal, every gathering, every moment shared? In an era where dining and entertaining are central to our lifestyles, there’s a growing emphasis on selecting furniture that stands as a testament to quality and timeless elegance. A truly modern dining space is as much about the experience as it is about aesthetics. And with brands like Plank+Beam setting the gold standard, curating that perfect dining ambiance has never been more attainable.
At the heart of Plank+Beam lies a simple yet profound belief that it’s entirely possible to meld the allure of solid wood furniture with unmatched value. This isn’t just about crafting a piece of furniture; it’s about creating art that’s accessible. Every curve, every finish, every texture is a testament to their commitment to quality without the exorbitant price tag. With Plank+Beam, you’re not just buying furniture; you’re embarking on a journey where every step, from browsing to delivery, is crafted with you in mind.
When you think of Plank+Beam, imagine a dance between German precision and Danish artistry. It’s a blend that brings forth the meticulousness of German engineering and the flair of Danish design. This European influence isn’t just a nod to the past; it’s a forward-thinking approach to furniture crafting, ensuring each piece is both functional and a work of art.
But the story doesn’t end in Europe. Charleston, a city renowned for its legacy of artisans and craftsmen, plays muse to Plank+Beam. Drawing from Charleston’s rich tapestry of design and craftsmanship, the brand weaves a narrative that’s as much about honoring tradition as it is about setting new standards in furniture design.
Every Plank+Beam creation is a testament to unparalleled craftsmanship. The heart of their work lies in the solid New Zealand pine wood, chosen for its enduring strength and captivating grain patterns. This wood forms the canvas upon which the brand paints its masterpiece.
Beyond the wood, the brand’s dedication to durability shines through in the metal-on-metal connections, ensuring each piece stands firm through countless gatherings and celebrations. The finishing touch? A meticulous multi-step process that not only accentuates the wood’s inherent beauty but also guarantees its longevity.
For Plank+Beam, quality is more than just a benchmark—it’s a narrative woven into the very fabric of their brand. It’s evident in the precision engineering, the thoughtful design, and the promise that each table, chair, or bench will not only be a visual delight but also a lasting companion for memorable dining experiences. In every detail, from the choice of materials to the final delivery, Plank+Beam commits to elevating the essence of dining, one exquisite piece at a time.
Imagine a dining set that’s more than just a place to eat; it’s a statement, a conversation starter. The Modern Solid Wood Dining Table Set with 2 Benches from Plank+Beam is precisely that. Its textured wire-brush finish exudes a contemporary charm, while the knot-free New Zealand pine wood ensures durability and a premium feel. But what truly sets it apart is its transformative power. Whether it’s a casual family dinner or a festive gathering, this set elevates any dining space, making every meal feel like an event.
There’s something timeless about a classic, and the Classic Solid Wood Dining Table is no exception. Crafted with meticulous attention to detail, its solid pine wood construction stands as a testament to Plank+Beam’s commitment to quality. But it’s not just about looks. This table is a chameleon, seamlessly fitting into a cozy breakfast nook, a bustling kitchen, or even a chic office space. Its versatility ensures that no matter where it’s placed, it becomes the room’s centerpiece, drawing admiration and compliments alike.
Chairs are often the unsung heroes of a dining space, but with Plank+Beam’s Solid Wood Dining Chair set, they take center stage. Marrying modern neutral finishes with a sleek, minimalist design, these chairs epitomize understated elegance. But they’re not just about aesthetics. Designed with comfort in mind, they offer a seating experience that’s as delightful as the meals you’ll enjoy on them. Whether paired with a Plank+Beam table or standing alone, they bring a touch of style and sophistication to any dining area.
Plank+Beam stands out, not just for its exquisite pieces but for its unwavering commitment to the customer. They’ve reimagined the entire process, putting you, the customer, at the forefront. Gone are the days of endless browsing and uncertainty. With Plank+Beam, you’re in control, choosing pieces that resonate with your style, all at your own pace. It’s a refreshing take on furniture shopping, where your needs and preferences take center stage.
But it’s not just about selection; it’s about getting your chosen pieces to you with minimal fuss. Plank+Beam has revolutionized the shipping process, ensuring that from the moment you click ‘buy’ to the moment your furniture graces your space, the journey is smooth and swift. Compact packaging, fast deliveries, and a commitment to getting it right the first time mean you spend less time waiting and more time enjoying your new pieces.
And if ever you’re in a quandary, wondering which piece would best suit your space, Plank+Beam’s US-based Expert Team is just a chat away. These folks live and breathe furniture, ready to guide you, offer suggestions, and ensure that your Plank+Beam experience is nothing short of exceptional. It’s not just about selling furniture; it’s about building relationships, one happy customer at a time.
In the quest for furniture that truly transforms your dining experience, Plank+Beam emerges as the clear choice. Delve into their curated collections and witness firsthand the fusion of artistry and engineering. Let each piece not just adorn your space, but also narrate tales of impeccable craftsmanship. Because with Plank+Beam, it’s not just about furniture—it’s about creating moments, memories, and milestones. With Plank+Beam, you’re choosing timeless elegance. Dive in and redefine your dining narrative. Click here to explore more.
The Taylor Swift-ification of The National is complete.
The process began many years back, when Swift was just making playlists in her post-1989 era and including songs from The National, Bon Iver, and others who would go on to intertwine themselves with the pop star. And it peaked this last weekend, as The National returned to their hometown for the appropriately named Homecoming Festival. It was not the first time they’d thrown such an event, though this one was in some way a makeup for their canceled 2020 edition that was meant to celebrate 10 years of High Violet, one of their most beloved releases.
The influence could be seen among the fans, particularly those who made friendship bracelets spelling out songs from High Violet and Trouble Will Find Me, the other album whose anniversary would be honored over the weekend. And while there weren’t fans dressing up like song lyrics — cherry trees? alligators? a swarm of bees? — fans of all ages did adorn their favorite National merch representing the 20+ year history of the band. And, mirroring what Taylor Swift managed to do a couple times on her Eras Tour, The National let the IRL fans be the first to know that they had an album of new material dropping. (The National didn’t simply announce, either, they even had autographed vinyl copies of Laugh Track ready to be purchased days before the record was set to hit streaming, giving their diehards a first-listen opportunity and a chance for rare merch.)
It’s not surprising that The National’s influence on Swift, which includes Aaron Dessner working as a songwriting and production partner on her last three albums and the band guesting on the track “Coney Island,” has been mutual. Swift, for her part, appeared on songs for both The National and their offshoot Big Red Machine. When The National were canceling their own Homecoming Festival in 2020, Swift was having to squash plans for her Lover Festival. Heck, even The National’s speedy succession of First Two Pages Of Frankenstein and Laugh Track this year recalls Swift’s pandemic prolificacy with her offerings of Folklore and Evermore.
Philip Cosores
The scale is obviously not the same and the differences between the artist are plentiful, but there is something to say about how Taylor Swift has transformed the music industry and how artists going forward can borrow from her learnings. But the biggest parallel comes from the fan service that each provides. Regardless of the size of the audience, creating experiential, unique opportunities for those diehard fans is the most lasting and impactful way to maintain them. It’s the kind of move that will cause devotees to spend their free time crafting letters onto string, or spend their vacation money for a flight to the midwest to see not only their favorite band, but likeminded artists like Patti Smith, Pavement (playing the final show of their reunion tour), The Walkmen, Weyes Blood, Julia Jacklin, Bartees Strange, Snail Mail, and many others.
Philip Cosores
For their part, the moment was not lost on The National. Those hoping to hear the band wax poetic about how High Violet and Trouble Will Find Me impacted their lives on an emotional or spiritual level were left wanting, but that also isn’t typically how the band expresses themselves. Where they did not hold back was in expressing their love of their home city, using their two nights of headlining sets to shout out all sorts of Cincy-centric references, and even receiving the key to the city from the (surprisingly hot?) mayor.
They also made sure to discuss the significance of the other bands on the bill, be it talking about how seeing The Walkmen in their NYC heyday inspired the writing of “Available,” which they then performed for the first time in a decade, or dedicating “Lemonworld” to Bartees Strange, who they noted has his own excellent cover of the song. They spoke about their heroes Pavement before playing “So Far Around The Bend,” a rarity that references a desire for the California band to reunite, released shortly before they actually did in 2010. And they spoke about playing “Afraid Of Everyone” for the first time in 2009 in front of Patti Smith and R.E.M. leader Michael Stipe (who traveled to the festival with Patti and took in many acts side-stage), noting how important it was to get their crucial approval in 2009 and then welcoming Patti to the stage to duet “I Need My Girl.” Many of the acts there felt not just curated as artists their fans might like, but ones whose stories are intertwined with their own, parts of an extended family that Weyes Blood and Snail Mail and the others were now invited to.
Philip Cosores
Some other rapid-fire highlights:
The Walkmen proving just how sturdy and timeless their catalog is, and while “The Rat” rightfully gets its due as one of the best songs of this century by anyone, I nominate “In The New Year” as the peak of their achievements, which is the perfect song to ring in January 1st with, 15 years running.
Snail Mail yelling “Pavement” between songs, encapsulating the still-confounding appeal of the MOST Gen-X band appealing to a wide swath of Gen-Z women.
Pavement ending their reunion 2.0 without the fatigue that seemed to come at the end the last time around. They said it will be a long while until they perform again, but their commitment to celebrating their whole catalog and virtually delving into jam-band territory on this incarnation should be used as a playbook for how band reunions can thrive and remain special.
Patti Smith just being Patti Smith, complete with Ginsberg readings, tributes to her departed friends, and a few genuine festival-ready hits in the form of “People Have The Power,” “Gloria,” and “Because The Night.”
Weyes Blood ending her set in the same way that Babylon ends. Both rule, don’t @ me.
Philip Cosores
And while The National’s two performances were notable beyond the full-album plays — only repeating a handful of tracks each night — it was the many little details that made the event feel like a true gift. The “American Water” branded sparkling water cans; the archival shirts and posters on sale; the First Two Pages Of Frankenstein mannequin head selfie station. Even some dude who kept emerging from backstage with random catering food to pass out, including PB&Js, bags of chips, and pickles. In all, there was little to take the focus away from the music and community, with everything striking as a solid 20% nicer and more thoughtful than it had to be. (I would be remiss to not mention my only major gripe with one of The National’s tour photographers: It’s not good to stand on stage and obstruct the audience’s view. People were getting very upset in the crowd because of this. Just a note I hope someone passes along. Whatever shot you are trying to get, it’s not worth it if it ruins someone’s favorite song for them.)
Philip Cosores
We live in an era where most festivals feel like you are fighting the elements, be it weather or crowds or ticket agencies or whatever else — just ask Taylor Swift fans. Swift in turn gave her fans the show of a lifetime with the last tour, as a thank you for the difficulty in being a fan in 2023, an honoring of the wealth of material she has released, and an acknowledgment for all that we’ve been through in the past few years. For its part, Homecoming also felt like this, living up to its name even for those who traveled to be there. It had a level of comfort that doesn’t exist at most events, where the audience reveled in like-minded solidarity and the curators put the audience’s needs at the forefront. So, it is here that I present my alternate headline for this article, which was scrapped because, well, it looks psychotic: There Is No Place Like (The National’s) Home(coming Festival).
Check out some exclusive photos of The National’s Homecoming Festival 2023 below
It’s hard to have a prequel that hits the same mark as the core material, but a few have done it. House of the Dragon is a recent hit, while Yellowstone has all types of prequels. Unfortunately, the John Wick universe has not yet had such luck.
TheJohn Wick prequel The Continental debuts on Peacock this weekend, though, without Keanu Reeves as the leading hitman, it seems like the franchise doesn’t have the same magic. The series, starring Colin Woddell, Ayomide Adegun, and Mel Gibson (yeah, that guy) follows the early days of the titular hotel and Cormac’s rise to power in New York way back in the 70s. Early reviews call the prequel series a bit misguided, which is a lot to say about a series revolving around so, so much violence.
Of the many (negative) reviews, most were centered around Mel Gibson’s spotty history, which seemed to affect the rest of the viewing experience, as brought up by Alan Sepinwall at Rolling Stone:
Yes, Mel Gibson was once one of the biggest stars in the world. But that was a long time ago, before he exposed himself as a virulent hater of women, Black people, and Jews. And where once he was a tremendous physical presence whose facility with on-screen would have made him a perfect fit for this franchise, he’s now in his late 60s and not as fluid of motion. Mostly, he’s here to speak in a cartoonish Noo Yawk accent and bug his eyes out a lot as Cormac grows more and more furious about each failure of his men to stop Winston’s plans. Given that the last hit movie where he was the primary onscreen draw was Signs, which came out 21 years ago, there are any number of actors who could do what Gibson does here without the baggage
For the most part, McShane has been able to get by playing Winston as essentially a heightened, more melodramatic version of himself. But Gibson’s attempt at taking the same approach to Cormac consistently falls flat both because of the actor’s personal scandals and because of how The Continental frames Cormac as the kind of villain who sees other people — particularly people of color — as beneath him or things to be owned and traded
The Continental’s table is set quite nicely and filled with a series of performances that would have been more than strong enough to carry each of the miniseries’ three hour-and-a-half-long episodes without his assistance. But rather than doing the sensible thing and steering clear of any unforced errors The Continental puts a big one front and center to stunningly disastrous effect.
While there were qualms with the casting, it seems like the plot is just as unlikable. Deadline:
The story is daft and the resolutions often neglect their own setups, but that’s bullseye on-brand for Wickworld. There are some moral dilemmas encountered in the hallways as a younger and vengeance-seeking Winston Scott (Colin Woodell) tries to take over the iconic establishment, but The Continental is primarily a gritty and swagger-filled romp, as it should be.
There are flashes of Wickian irreverence here and there, though setting a violent beatdown to an upbeat pop song loses its charm the umpteenth time around. But The Continental still comes off like a grave misunderstanding of what enthusiasts might want from a “John Wick” without John Wick.
The Continental significantly miscalculates the scope it needs to tell its David and Goliath story. Even four movies deep, the John Wick films keep most of the action tied to John’s perspective, making room for occasional check-ins with Winston or the villains’ camps to keep the plot moving. The Continental features no less than five focal point characters, which the narrative bounces between with the intention of deepening the bench of those with grievances against the erratic Cormac and providing Winston a crack squad to take him down. But few of these satellite storylines feel truly important or emotionally resonant
Unfortunately, as The Continental progresses, it rarely reaches the highs of that opening scene. The show quickly falls into explosion-heavy scenes with brief fights sprinkled throughout until we reach a finale that cranks things up to eleven. It’s an intentional approach to how the narrative is crafted, but it leads to lulls throughout. Thankfully, there are plenty of other things to keep your attention.
So many sloppy splits from what made the films special dooms The Continental. It stumbles toward an inept, non-ending, where there’s plenty of story still to tell if a successful run demands more seasons, yet not enough resolution to make what you just saw feel meaningful. While anything could once again happen, a Wick-less John Wick may just be too crazy to work.
Is the series worth your time? Maybe not. The good news? You can stream the other John Wick installments on Peacock instead!
Troye Sivan is less than a month away from dropping his third studio album Something To Give Each Other. The album’s lead single, “Rush” proved to be a summer hit, notably on TikTok and at Pride events. Today (September 20), Sivan has given us the latest taste of Something To Give Each Other.
The song features a prominent sample of Bag Raiders’ “Shooting Stars,” over which Sivan details intoxicating newfound bliss.
“You just got me started / And I don’t think I can stop it / And I don’t wanna go home alone, alright,” he sings on the song’s chorus.
When the song came together, Sivan wasn’t sure if he’d be able to get the “Shooting Stars” sample.
“When we were writing this song, I was emphatic about using ‘Shooting Stars’ — I just kept humming it in the studio,” said Sivan in a statement. “It’s a huge sample and was a big ask; and I knew that they had never approved it in the past. So I’m over the moon about the opportunity to sample that track because this song is iconic to me. And then we have Ian Kirkpatrick on production, who is a genius. I love his work – he had this plan to record the vocal at a slower speed and then speed it up, and ultimately that’s what you hear in the chorus. I instantly loved the way it sounded.”
In the video, Sivan is seen dancing throughout Bangkok, and is later joined by drag performers, as he holds onto a romantic high as long as he can.
You can see the video for “Got Me Started” above.
Something To Give Each Other is out 10/13 via Capitol. Find more information here.
The Chicago Bears have gotten off to an awful start to the 2023 NFL season, as the team is 0-2 with losses to the Green Bay Packers and the Tampa Bay Buccaneers. They have the second-worst point differential in the NFC, and in what seems to be a perpetual issue for the Bears, the team’s offense has been especially rough. There have been a total of four designed runs for third-year signal caller Justin Fields, while the passing game has been a mess, too.
Fields spoke to the media on Wednesday afternoon and expressed that he “wasn’t necessarily playing my game” against the Bucs, saying that he felt “robotic and not playing like myself.” He promised to change things on Sunday before throwing in an interesting line: “That includes thinking less and just going out there and playing off of instincts, rather than just so much info in my head, data in my head, and literally just playing football.”
After getting asked what was causing him to think too much, Fields did not hold back.
“Could be coaching, I think,” he said. “But at the end of the day, it makes it … they’re doing their job when they’re giving me what to look at, stuff like that. But at the end of the day, I can’t be thinking about that when the game comes. I prepare myself throughout the week, and when the game comes, it’s time to play free at that point. Just thinking less and playing more.”
After making clear that he doesn’t think there are “too many coaching voices,” Fields talked about getting fed too much info and how a player will think about these things while they’re playing.
“It doesn’t let you play like yourself,” he said. “You’re trying to process so much information to where it’s, like, if I just simplify it in my mind, I would have did this. I saw a few plays on Sunday to where, if I was playing like my old self, we would have had a positive play. There would have been a few more third-down conversions. I think that’s the biggest thing for me, is just playing the game how I know how to play it, how I’ve been playing it my whole life. So, that’s what I gotta get back to doing.”
The Bears will travel to Kansas City to play the Chiefs on Sunday.
Boygenius is back with a new video for their song “Cool About It,” off their recent record, The Record. Directed by Lauren Tsai, it marks the band’s first animated visual and it is emotionally centered around a dog and their toy.
As each of the members tackles a verse, it matches the somber nature, opening with an image of a girl playing at a park with the dog, too.
“‘Cool About It’ is a beautifully melancholic and piercing song that puts words to feelings often unexplained,” Tsai shared in a statement. “It is an absolute dream to collaborate with the genius that is boygenius. I made animated videos on YouTube when I was 11 and I cannot imagine something I’d lose my mind over more if I could go back in time and tell myself. I will always be grateful to the band for the many ways in which their work has affected my life.”
Next week, Boygenius will kick off their fall tour with two sold-out nights in Boston starting on September 25. They will then play additional shows in NYC, Philadelphia, and more, as artists like Muna and Samia join them as special guests. A complete list of dates and more information can be found here.
Check out Boygenius’ video for “Cool About It” above.
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