During this month’s Super Bowl and Oscar ceremony, Quibi finally unveiled their first advertisements ushering us into a new world of mobile content. The commercials didn’t show too much, only a teaser of what was to come. But even based off the advertisements, I still don’t think the public is aware of what Quibi actually is.
Another year, another post trying to make sense of this bull shit ceremony that more often than not disappoints instead of transcends. There were some surprises upon announcement day (Florence Pugh, The Lighthouse’s cinematography nomination, Rian Johnson’s writing nomination), but at the end of the day, you and I both know none of these has a shot in hell in winning.
The pace at which music has changed this past decade has been almost rapid. Ten years has seen the death of rock as a popular genre, Soundcloud rap as the rising beast, and synthwave as the new punk rock. Many genres have come and gone, styles have melded into each other. So then, what’s next for music in the next decade? Well, the answer is, everything. These past ten years have arguably been the most turbulent ten years in the industry’s history. We’ve now entered an era where a new generation of musicians have not known a world without the internet, where everything is available to everyone. Nothing is off limits, everyone has the same resources (if everyone has super powers, how can anyone truly be super?). But like I say every year, we live in a world where everyone is allowed to like everything. There is no old music or new music, but music we have heard, and music we have not. Here are our top 20 albums from this past decade.
I’ve only been doing this blog thing for a couple years now. Yet, it’s been much longer than that since I’ve dived into filmmaking. 2010 was the year I started getting serious about the craft from watching flicks on my laptop in a Berklee College of Music dorm room. Back then I was studying jazz and still trying to pursue music as a career (somehow I thought film was a smarter choice instead.) Nonetheless, one passion culminated into the other. I know these lists have all been subjective, and that’s the point – these lists were never supposed to be the best thing, they were supposed to be my thing. But I still strive to find the greatest common denominators. The 2010s for film probably won’t be as iconic or memorable as films from the 70s, or even the 90s, but leading into this new decade where we’re inundated with new streaming services and content more than ever before, it’s the best time to be a young writer with fresh, new ideas. Here are the top 20 films from this past decade.
Deep in the east side of downtown L.A., Slamdance’s DIG Showcase took place at Wisdome LA’s immersive art park. Filled with interactive art installations by emerging visual artists and indie game developers, it took up a whole square block with giant domes, taking us a second to find our subject for the evening – Hayk Matevosyan, director of his film Art in Motion, which is playing on display here as a featured exhibit.
Last month, a topic began trending on Twitter that seemed just a little out of the ordinary. It wasn’t a celebrity’s name, or the name of a place, or a natural disaster, or “Happy National Whatever-the-fuck” day. No one was sure exactly what it was, the specifics being so vague and the tweets just as confusing. It wasn’t until Phoebe Bridgers tweeted “five hundred twenty-five thousand six hundred gecs” when I discovered the phrase for the first time.
Living in the local L.A. music scene, it’s easy to notice the inundation of new, local hip-hop talent coming out of the woodwork almost every day. It gets to a point where the kitchen becomes so cluttered, you can’t tell who is who or who’s making what anymore. The aim for the window to become groundbreaking and noticeable just feels like it’s ever-shrinking, also due to the fact that all these artists and producers have the same tool sets. They’re all using the same equipment and software, but it’s their approach that will ultimately determine if they’re filtered out among the significant ones.
Nestled deep inside a garden in Echo Park, an almost half-greenhouse, half-house cottage sits comfortably among what looks like an oasis. On a hot July Sunday afternoon, Carlos Ramirez, known as synth-wave artist Auragraph, takes us into what legit could be a hidden room of secrets: his studio.
The film starts with an interview of Rick Dalton (DiCaprio) and Cliff Booth (Pitt) on the set of the NBC show Bounty Law. The image of the two actors in the same frame alone is already worth hundreds of millions of dollars. The exuberance jumps off the screen, which is precisely what separates Once Upon a Time… in Hollywood from today’s blockbusters – its extravagant vision is one that is not necessarily done anymore (save maybe for franchises), but one that truly feels out of its time, and also feels like it’s of the time the film depicts. That’s what, essentially, is at the soul of this film: a time that has long died off where personality and name were enough for movies to make a buck.
Upon the announcement of their NTS Radio take over this past weekend, Warp Records scheduled certain hours of exclusive remixes, live performances, and unreleased material from just about every artist on their roster. Some artists curated mixes, others played exclusively new material. However, one name on that schedule did catch the attention of every Warp Records enthusiast.