Category Archives: A & E

Sunday Music | Azure Ray | 2001 | Dream Pop Artists

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Dream pop duo Azure Ray — composed of Orenda Fink and Maria Taylor — employ graceful harmonies, patient folksy song structures, and touches of electronic production to create otherworldly songs that balance tranquility and intensity.

The pair met at the age of 15 while attending the Alabama School of Fine Arts in Birmingham. Together, they fronted a band called Little Red Rocket, which released two CDs, Who Did You Pay (1997) and It’s in the Sound (2000), with the band breaking up shortly after the release of the latter album.

Orenda Fink and Maria Taylor decided to head out to Athens, Georgia, striking out to find a career, forming Azure Ray soon after arrival in their new home.

“My boyfriend had just died and we had written all of these songs that were helping us cope with everything. We had a night where all of our friends and family got together. We played those songs, which later would turn into the songs on our first Azure Ray record, which we released shortly thereafter,” says Taylor.

Their self-titled début album is a quiet, gentle set of lovely and soul-searching songs that incorporate elements of folk, pop, and light electronica.

Following the unexpected death of Taylor’s boyfriend, the two musicians used songwriting as a method of coping with their grief. The intensity of that loss informed the mournful tone of the group’s earliest work in 2001, and would carry through in their sound to some degree from that point on.

The song Sleep was later featured in the 2006 Academy Award-nominated movie The Devil Wears Prada, featuring Anne Hathaway. In February 2015, Taylor Swift included Sleep on a six-song “breakup playlist” made for a fan via her official Tumblr account.

Camilo Arturo Leslie in Pitchfork had this to say about the début album …

Their album cover is simple: just an old, sepia-toned photograph of a little girl. She looks like my grandmother as a child. Nostalgia and melancholy rub off the liner notes and stain your fingertips. The little girl clutches her palms to her ears and wears an inscrutable expression that vacillates from pouty to fearful to verge-of-tears, depending on what mental angle you hold it at.

Azure Ray’s indie music aesthetic is built on pretty, easy-on-the-tympanum pop acoustic guitar strumming. No fuzz, no indigestible chords, just polished production and evocative arrangements. Lap steel guitar, cello, violin, church bells, piano, brass, and tape loops make appearances on these 11 tracks.

The draw of their music is, of course, the duo’s vocals, Azure Ray’s gentle trills offering a haunting balance between the ethereal and corporeal, as well as an understated,  yet distinct feminine strength, not unlike the early music of Linda Ronstadt.

Indie label-ghetto obscurity has kept Azure Ray from attaining massive popularity.

But an indie-ghetto habitué such as yourself shouldn’t have any trouble digging up a copy of Azure Ray’s début CD, or maybe a vinyl copy.

Red Cat Records on Main Street, or Zulu Records on West 4th Avenue, if they don’t have it in stock, could certainly order it for you.

Beautiful, expertly crafted pop songs keep a room in your heart’s hotel (under an assumed name, naturally).

You could also listen to Azure Ray on Spotify, or Apple or Amazon Music, or purchase their music from either of the two latter providers of digital music.

#Cinema | The Slow, Excruciating Death of Hollywood, and Cinema

A & E, Arts Friday, Cinema, Diversions, Essay, Media, Pop Culture,

Every three decades, or roughly once a generation, Hollywood experiences a seismic shift. The transition from silent films to talkies in the 1920s. The rise of broadcast television in the 1950s. The raucous cable boom of the 1980s.

It’s been happening again, for some while now, as most folks have observed.

The long-promised streaming revolution — the next great leap in how the world gets its entertainment — is finally here in all its glory.


Warner Bros. Discovery studio in Burbank, Califoria, one of the oldest and largest Hollywood studios

In the 115-year history of the American film industry, never has so much upheaval arrived so fast and on so many fronts, leaving many writers, directors, studio executives, agents and other movie workers disoriented and demoralized. These are melodramatic people by nature, but talk to enough of them and you will get the strong sense that their fear is real this time.

“The last four years have shaken the movie business to its bones,” Jason Blum, the powerhouse producer whose credits range from The Purge series to Get Out and the BlacKkKlansman.” recently told Los Angeles Times film writer, Justin Chang.

Streaming, of course, has been disrupting the entertainment business for some time. Netflix started delivering movies and TV shows via the internet in 2007.

In 2024, however, the shift towards streaming has greatly accelerated, with Netflix, Disney+, Apple TV, Crave/HBO, Prime Video, YouTube Premium, CBC Gem and Kanopy, among other streaming platforms, competing for your movie attention.

Adding to Hollywood’s misery is the abrupt changing of the guard in Hollywood’s highest ranks. Nine of the top 20 most powerful people in show business have left their jobs, including Universal’s Ron Meyer, whose 25-year Universal career ended in 2021. David Zaslav is now in firm control of Warner Bros. Discovery, with Kevin Tsujihara exiting his role as chairman and CEO of Warner Bros. Entertainment, a job he held for six years. Paramount Global CEO Jim Gianopulos was removed, in favour of Bob Bakish, also now on the way out, with the company up for sale.

“It’s not clear that full normal will return even well into the fourth quarter of 2024,” Warner Bros. Discovery Chairman David Zaslav, told Chang in an interview on how Hollywood is faring against the streaming wars, and the slow recovery from the pandemic.


An empty cinema with no patrons. Is this picture an indication of what presages cinema in the future?

Will young people — trained during the pandemic to expect instant access to new movies — get into the habit of going to the movies like their parents and grandparents did? Generation Z forms a crucial audience: About 33% all moviegoers in 2023 were under the age of 24, according to the Motion Picture Association.

“Cinema as an art form is not going to die,” Michael Shamberg, the producing force behind films like Erin Brockovich and The Big Chill” told the New York Times’ Manohla Dargis in a recent interview. “But the tradition of cinema that we all grew up on, falling in love with movies in a theatre, is over.”

In other words, the art may live on, but the myth of big screens as the be-all and end-all is being dismantled in a fundamental and perhaps irreversible manner.

Sunday Music | Tracy Chapman | 1988 |
Most Auspicious Début

A & E, Music, Politics, , ,

Arriving with little fanfare in the spring of 1988, Tracy Chapman’s eponymous début album emerged as one of the most important and top-selling records of the late 1980s, providing a touchstone for an entire progressive movement of change, while reviving the singer / songwriter tradition.

As with most promising singer-songwriters, comparisons are prone to discussion, and Tracy Chapman’s début garnered mass amounts of media attention.

Of course, Joan Armatrading’s name is frequently mentioned (Tracy Chapman, however, shares little more than race and gender). Her vocal delivery is reminiscent of Joni Mitchell’s folk period; her sensitivity parallels that of Suzanne Vega. Yet Tracy Chapman is not quite so detached from her listener as these influential forebearers were and are (even today).


Tracy Chapman and Luke Combs playing to a rapturous audience at the 2024 Grammy Awards

Tracy Chapman is a fascinating storyteller, her world unlittered by pretense or façade. Consequently, much of the journey often overwhelms with sheer fidelity.

On June 11th 1988, a concert was held for Nelson Mandela’s 70th birthday who was still imprisoned at the time for his anti-apartheid beliefs and activism.

Tracy Chapman, a largely unknown artist who had just released an album, and prior to playing on the stage at Wembley Stadium had played only clubs holding no more than 40 patrons, or as a street musician had performed in front of crowds of no more than 200 hundred, was asked to play Wembley as a “fill in” artist.

Stevie Wonder was scheduled to perform, too, despite not being officially announced, with the Superstition superstar arriving in London early in the morning of the concert. Heading straight to Wembley Stadium after his plane landed, his band were already rehearsing for his set which was due to take place after UB40 had finished their set. But disaster struck, with Stevie refusing to come on stage, leaving the organizers in panic — Wonder realized a crucial piece of his equipment was missing as he walked up the ramp to take the stage.

Although Tracy Chapman had already performed a brief set earlier in the day to a relatively sparse audience, with concert organizers pleading with her to fill the gap left by Stevie Wonder’s absence, a legend was born.

Behind the Wall was the second of what was supposed to be a three-song set.

As the legend goes, serendipity gave the world another glimpse of this commanding artist when Stevie Wonder’s team took their time to ready the stage for his concert, extending Chapman’s set to include almost the entirety of her début album.

With the crew setting up behind her for Stevie Wonder, alone on the massive stage at Wembley Stadium, guitar in hand, she allowed the echoing mic and the screaming of the initially inattentive crowd to amplify the quiet of the song. At first, a little insecure on the biggest stage of her career, as she sang with magnetic calm she built an atmosphere as intimate as each listener’s childhood bedroom, by the end of her first song, Fast Car, the entire crowd was listening in rapt attention.

The low verses mix bleak recognition with quiet hope before building to a chorus so wistful, so joyfully tender it can transport you to a time in your life when you were younger and maybe a little less scared. Most of the people watching her performance at Wembley did not arrive knowing Chapman’s power, and most likely had never heard of her before. But they experienced in real time her ability to lift hearts into people’s throats. She performed her songs the same way she had on the streets for years: alone and brilliantly exposed.

Not only was the Wembley crowd gobsmacked with Tracy Chapman’s performance — with the noisy crowd quietened by Chapman’s compelling presence on stage, and the strength of the songs she played — but playing two sets on the day offered her far more exposure, with an estimated global audience of 600 million for her second performance watching the concert on their televisions at home.

Over the years, we’ve witnessed the worst this world can throw our way, Chapman suggests on her début, at times through her working-class characters. But her music creates a world where no force exists without a counter. The worst of what we’ve endured, she also offers, makes righteous justice inevitable. It’s a worldview that many could appreciate.

By the end of the summer of 1988, a few months after the Nelson Mandela tribute, Tracy Chapman had a platinum selling album, and the singer was a major star.

Before the Wembley Stadium concert, Chapman had sold roughly 250,000 albums. In the two weeks following her performances, she had sold over two million.

In 1989 at that year’s Grammy Awards, Tracy Chapman won Best New Artist, Best Contemporary Folk Album and Best Female Pop Vocal Performance, and had been nominated — and perhaps should have won — for Album of the Year and Record of the Year for Fast Car, which was nominated as Song of the Year, as well.

In time, Tracy Chapman added a backup band. By then, however, Tracy Chapman was on her way to becoming a global phenomenon. The rest is history.


The wondrous Tracy Chapman and Eric ‘slow hand’ Clapton, 1999, performing Give Me One Reason

Sundance 2024 | Nostalgia Loomed Large in Park City

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There were a smattering of big sales and buzzy premières at this year’s 40th edition of the Sundance Film Festival, held each January since 1984 in Park City, Utah.

Even so, it’s impossible to ignore the fact that the independent film business Sundance has so long championed is suffering from an identity crisis.

The box office for art-house movies has yet to regain its pre-COVID stride.

Desperate for content, streaming services once paid inflated prices for films débuting at Sundance . Now they’re conservative in their spending.

In this era of economizing, the all-night bidding wars that made Sundance sizzle are a thing of the past, not a great sign of the financial health of the industry.

Yet there was still plenty to celebrate.

Movies like Super/Man: The Christopher Reeve Story and Will & Harper received emotional standing ovations, while A Real Pain and It’s What’s Inside defied the odds to score multimillion-dollar deals.

As it enters its fifth decade, Sundance hasn’t lost its ability to excite audiences.

But, clearly, Sundance needs to make adjustments to the way it conducts itself in order to keep up with the changing times, if the indie festival is going to survive.

Actor / Oscar nominee, first time director Jesse Eisenberg and Kieran Culkin star in A Real Pain

A Real Pain, starring Jesse Eisenberg and Kieran Culkin as cousins who travel to their grandmother’s native Poland to partake in a Holocaust tour, scored rave reviews and won the Waldo Salt Screenwriting Award for Eisenberg, the film picked up by Searchlight for a whopping $10 million early on in the Festival. A Real Pain will receive a theatrical release later this year, and may be Oscar bound next year.

Focus Features snatched up Sundance favourite Dìdi, directed by Academy Award nominee Sean Wang, the film telling the story of a 13-year-old Taiwanese American boy (Izaac Wang) who spends his last summer before high school learning how to flirt, skate, and get along with his mom (Joan Chen). Dìdi, set in 2008, won Sundance’s Audience Award and the Special Jury Prize drama award.

Richard Roundtree and June Squibb star in director Josh Margolin’s ode to his grandma, Thelma

Magnolia Pictures snagged the elderly-buddy comedy Thelma, the tale of a 93-year-old grandma (June Squibb) who endures a harrowing journey across Los Angeles after she’s conned by a phone scammer pretending to be her grandson (Fred Hechinger). The film also stars Richard Roundtree as her companion, as the two seeking retribution. Parker Posey, Clark Gregg, and Malcolm McDowell co-star.

The documentary Super/Man: The Christopher Reeve Story, which sold for $15 million to Warner Bros. Discovery, follows Christopher Reeve on how he found his life’s purpose after he suffered from an equestrian accident that left him paralyzed.

Maisy Stella and Aubrey Plaza star in Canadian director Megan Park’s new film, My Old Ass

Director Megan Park’s My Old Ass will head directly to Amazon’s Prime Video this spring, the film telling the story of high-school senior (Maisy Stella), who meets the adult version of herself (Aubrey Plaza) right before she heads off to college.

Skywalkers: A Love Story, directed by Jeff Zimbalist, was acquired by Netflix. The documentary follows Angela Nikolau and Ivan Beerkus, a couple from Moscow, who saved their careers and relationship by climbing really tall buildings, specifically the world’s last super skyscraper, to perform an acrobatic stunt.

The Will Ferrell documentary Will & Harper was also picked up by Netflix, the road trip film about two Saturday Night Live alumni, Ferrell and former SNL head writer Harper Steele, who reconnect after Steele comes out as a trans woman. The duo set out together for a cross-country trip, during which they talk in depth about their friendship and the experience of being trans in America.

Sundance hasn’t been a Festival that’s been synonymous with Academy Awards attention, though recent iterations have churned out Oscar favourites like Best Picture winner CODA, Lee Isaac Chung’s semi-autobiographical Minari, and Korean-Canadian director Celine Song’s wistful dramatic début, Past Lives.

Although A Real Pain and Super/Man were critically embraced, there’s a question as to whether they have enough buzz to stay in the conversation until next year.

What Sundance may have lacked in stature this year, it made up for in scares.

Steven Soderbergh’s twisty thriller Presence, which Vulture critic Bilge Ebiri wrote is “the best thing Soderbergh’s done in ages,” is a haunted-house movie seen through the eyes of the ghost. Neon picked up the film’s distribution rights.

Zombie slasher movie In a Violent Nature and other movies about things that go bump in the night were all the rage in Park City.

It’s What’s Inside, a horror story about a pre-wedding party from hell, landed at Netflix in a massive $17 million sale. Along with the haunted psychodrama I Saw the TV Glow — which arrived at Sundance having secured theatrical distribution from A24 — both films became this year’s conversation starters on Main Street.


Justice Smith and Brigette Lundy-Paine star in writer-director Jane Schoenbrun’s I Saw the TV Glow

Nothing beats a good fright.

In the Summers, an independent film about two sisters navigating fraught summer visits with their father, won the Grand Jury Prize at this year’s Festival, as well as Best Director for Alessandra Lacorazza.

Shuchi Talati’s début feature, Girls Will Be Girls, about a mother’s intervention in her teenage daughter’s budding romance that creates an unexpected emotional love triangle, landed the Audience Award for World Cinema, as well as the World Cinema Dramatic Special Jury Award for Acting, for Preeti Panigrahi.

Porcelain War landed the award for U.S. Documentary Grand Jury Prize for Brendan Bellomo and Slava Leontyev, the film an intimate reflection on making art in wartime Ukraine.

The U.S. Documentary directing award was awarded to Julian Brave NoiseCat and Emily Kassie for Sugarcane, an enlightening and infuriating look into systematic abuse at an Indian Residential School.

The World Cinema Documentary directing award went to Benjamin Ree for Ibelin, which focuses on Norwegian gamer Mats Steen. Steen’s parents mourned what they thought had been a lonely and isolated life after their son died of a rare, degenerative muscular disease at age 25. They later received messages from online friends all around the world who knew Steen for his beloved World of Warcraft avatar, Ibelin Redmoore.

All the films mentioned in today’s VanRamblings column will find their way onto your local multiplex screen at some point this year, or are scheduled to air on Netflix, Prime Video or another streamer.