Minggu, 06 Oktober 2019

Legendary Cream drummer Ginger Baker dies at 80 - CNN

"Dad passed away peacefully," his daughter Nettie Baker told CNN in a statement. "He was in no pain and had recently been able to see and speak to his children, close family and special friends."
Psychedelic rock band Hawkwind, which worked with Baker, tweeted their condolences on his death Sunday.
"Fly high Ginger! You were a one off and and a true legend...We were honoured to work with you...RIP," the band's Twitter page said.
Spandau Ballet songwriter Gary Kemp and film director Edgar Wright also paid tribute to a musician who inspired countless others.
Baker grew up in Lewisham, south London, son of a bricklayer. His father was killed in World War II when Baker was only four years old. Bullied at school, he began playing drums at the age of 16, and, and was earning a living as a professional musician a year later, becoming a fixture of London's 1950s Soho jazz scene.
He learnt about African rhythms from his hero, another British jazz drummer Phil Seaman -- who also introduced Baker to heroin, a habit that scourged much of his life.
In 1962, Baker replaced Charlie Watts as drummer in the blues band Alexis Corner's Blues Incorporated when the latter left to join the Rolling Stones.
Baker then joined the Graham Bond Organization, a blues band that quickly became popular in the UK with Bond and bassist Jack Bruce with whom Baker had a legendary tumultuous relationship. The Graham Bond Organization ended when Baker fired Bruce at knifepoint.
Baker decided to form his own band and invited guitarist Eric Clapton to join him. Clapton agreed to join with Baker to form Cream in 1966 -- if Bruce came too -- and the world's first rock supergroup formed by already established musicians was born.
"He saw something about me that I never thought before, he would say it is about time," said Clapton in the acclaimed 2012 documentary about Baker "Beware of Mr Baker."
"Ginger was pretty dismissive and anti-social, seriously anti-social but he had the gift, he had the spark, the flair, the panache ... he had it in spades."
Ginger Baker pictured at home with his children in December 1974.

Jazz was Baker's first love

After just two years Cream split, due largely to the tension between Bruce and Baker, having trail-blazed musical techniques that led many to call it the first ever heavy metal band. Baker also played the first ever long on-stage drum rock solos. Baker and Clapton continued with the group Blind Faith but only for a year.
His next venture was Ginger Baker's Airforce -- band that fused rock with jazz and African influences. Again, that only lasted just a year.
But jazz was always Baker's first love, and during this period he also played alongside some of jazz's greatest drummers such as Max Roach and Elvin Jones before deciding to put his drumsticks where his heart was and drove his Range Rover across the Sahara Desert to Nigeria.
There he hooked up with the father of Afro-beat, the legendary Fela Kuti, and for a while the two men were inseparable. Baker set up Nigeria's first 16-track studio and stayed there for several years.
Ex-Beatle Paul McCartney recorded his classic 1973 album "Band On The Run" there with his band Wings. Baker also learnt to play polo in Nigeria, a passion that remained with him forever, but led to a fall-out with Kuti as many of the members of the Lagos Polo Club were Kuti's enemies.
After he left Nigeria Baker moved to Italy where he ran a wine ranch and then he moved to the US. He continued to play with some of the great names of rock 'n' roll including Public Image Ltd, the band of former Sex Pistols front man Johnny Rotten.
From left, Jack Bruce, Ginger Baker and Eric Clapton at London Airport on their way to Los Angeles in 1967.
Cream first reunited in 1993 at the Rock & Roll Hall of Fame in Cleveland, Ohio. Twelve years later, they played their first full reunion shows at New York's Madison Square Garden and the London's Royal Albert Hall. Jack Bruce died in 2014.
Baker spent his last years on a ranch in South Africa with his polo horses.
His daughter said he suffered "from many long term conditions" notably chronic obstructive pulmonary disease, which "he spoke of in many more recent interviews," she said in a statement Sunday.
Cream was inducted into the Rock and Roll Hall of Fame in 1993. In 2006 the band received a Grammy Award for lifetime achievement. Baker was also nominated for a Grammy in 1968 as Best New Artist.

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https://www.cnn.com/2019/10/06/entertainment/ginger-baker-obituary-intl-gbr/index.html

2019-10-06 11:55:00Z
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Taylor Swift Owns the 'SNL' Stage With Moving Performances of 'Lover' and 'False God' - msnNOW

Taylor Swift, Phoebe Waller-Bridge are posing for a picture© Rosalind O'Connor/NBC/NBCU Photo Bank via Getty Images

Taylor Swift hasn't lost a beat since the last time she stepped out onto the Saturday Night Live stage.

Swift served as the SNL music guest over weekend -- marking her fifth time performing on the sketch series -  and the songstress absolutely slayed with two powerful, emotional sets.

For her first performance, Swift sat alone on stage rocking a green ensemble, sitting behind a green piano and in front of an emerald backdrop, surrounded by fluttering sheets of music in the air, which seemed to be suspended in time.

Delicately playing the piano, Swift delivered a touching acoustic rendition of "Lover," that captivated the audience with it's beautiful simplicity and raw emotion.

For her second set of the night, Swift donned a black blazer and dark ensemble and walked out into a dim set filled with Edison bulbs on stands for a performance of her sultry, saxophone-infused tune "False God."

Joined by SNL bandmember and long-time sax star Lenny Pickett -- as well as her keyboardist and two back-up dancers, Swift instantly made "False God" a song worth worshipping.

On Thursday, Swift sat down with Jimmy Fallon on The Tonight Show, and teased what songs she'd be performing during her appearance on SNL, while still remaining, appropriately, "a little cryptic."

"I'll do 'Lover,' but in a way I haven't performed it before," Swift revealed. "And then I'm going to do a song that I have never performed before at all, live." Hopefully, we'll get to see her perform it more often in the future.

SNL airs live, coast-to-coast on Saturdays at 11:30 p.m. ET, 8:30 p.m. PT on NBC.

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https://www.msn.com/en-us/tv/humor/taylor-swift-owns-the-snl-stage-with-moving-performances-of-lover-and-false-god/ar-AAIlu7p?li=BBnb4R7

2019-10-06 08:40:00Z
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'SNL': Taylor Swift shows off her voice with performances of 'Lover' and 'False God' - USA TODAY

Taylor Swift used her performances on "Saturday Night Live" to showcase her voice. And her numerous green articles of clothing.

The pop star served as musical guest for the second episode of the season, which meant she got to play two songs.

First up: "Lover." After she had a much flashier rendition of the title track of her new album at the VMAs, Swift sat solo at the piano for the song on Saturday. The singer was decked out in a green turtleneck, green pants, green earrings, green nail polish and at a green piano with a green floor and green walls to look like a scene out of her kaleidoscopic "Lover" music video. Sheet music appeared as if it were frozen midair while Swift tickled the ivories and sang her romantic tune, smiling while cooing lines like "I take this magnetic force to be mine, lover."

She ended the song with a huge grin and a little, celebratory shimmy from her (green) piano bench.

Song No. 2: "False God." Swift's live debut of the song was vibey, with a saxophonist, drummer and background singers. Swift and her voice were front and center, though, as she sang and snaked her mic-free arm while wearing black sequined pants and an oversized black blazer. All around her, bare lightbulbs shone and smoke rose from the floor.

The stripped-down songs had Twitter buzzing: The hashtag #TaylorOnSNL continued to trend even after "SNL" ended.

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https://www.usatoday.com/story/entertainment/tv/2019/10/06/taylor-swift-snl-lover-false-god/3889769002/

2019-10-06 06:14:00Z
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Taylor Swift Sings Stripped-Down Version of 'Lover' & 'False God' on 'SNL': Watch - Billboard

It ain't easy being green -- unless you're Taylor Swift playing a technicolor piano on Saturday Night Live.

No stranger to the SNL stage, Swift -- who made her first appearance on the late night mainstay in 2009, and returned for her fifth round on Saturday (Oct. 5) -- opted for a simple yet stunning starter. From her turtleneck to her hoop earrings to the piano and the stage behind her, everything popped in various shades of spearmint as she eased into slow burn of "Lover," the title-track from her latest No. 1 album. 

Sheets of music were suspended as if they were frozen mid-twirl in the air around the piano, and the performance threw to the whimsy and pops of color from the romantic music video while keeping things sweet and spare -- but just as potent as the original. 

For her second song, Swift went darker -- both with the mood and her aesthetic. She made a quick costume change into black sequined slacks and an ebony oversized jacket, and made her entrance from the back of the smoke-strewn stage.

As she strolled in between glowing Edison light bulbs, she weighed the pros and cons of fighting for a difficult relationship while rolling through the lyrics of "False God." Swift paused to take in Lenny Pickett's saxophone solo in between her verses, and immediately threw out her hand at the end of the song to divert her spotlight to the seasoned player and encourage some well-deserved applause.


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https://www.billboard.com/articles/news/8532265/taylor-swift-snl-lover-false-god

2019-10-06 04:53:13Z
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Sabtu, 05 Oktober 2019

Box Office: ‘Joker’ Tops Friday With Record $40 Million Opening Day - Forbes

Joker earned a bigger opening day than Logan, Wonder Woman, Venom and, yes, Justice League.

Once again, the various controversies and hand-wringing that makes up much of online entertainment media discourse, be it on social media or in actual online posts and articles, do not matter to the general consumer. If general audiences think that splashy Freddie Mercury biopic looks like a good time at the movies, then they won’t care about whether Bohemian Rhapsody is appropriately LGBTQIA-friendly, why the director got fired from the movie or what he may have done in his free time. If audiences want to see Captain Marvel, it won’t matter if online YouTube video folks flood the Internet with “Brie Larson is evil because… diversity!” videos which rack up copious views from like minded folks. If audiences want to see a grimdark origin story about the Joker, then they’ll damn well show up.  

It doesn’t matter how much arbitrary outrage is ginned up concerning an R-rated Joker movie, including rumors and speculation about its ability to turn its viewers into mass murderers, a month prior to its release. The Todd Phillips flick had two strong theatrical trailers which played with the likes of It Chapter Two and Once Upon a Time in Hollywood (two big adult-skewing releases), and it’s based on the most popular fictional supervillain in recent history. It’s part of DC Films, a once-ridiculed brand that’s been on a streak (Wonder Woman, Aquaman and Shazam!) of well-liked and well-received solo superhero movies. Even the poorly reviewed flicks (Man of Steel, Batman v Superman: Dawn of Justice, Suicide Squad, Justice League) pulled in $93-$166 million opening weekends. Audiences like these characters, at least on opening weekend.

Even if the critical consensus didn’t match the hoopla of its Golden Lion-winning Venice Film Festival debut in late August, the reviews were mostly positive right up until opening night. Moreover, audiences wanted to see a dark, grimy, occasionally violent Joker origin story, featuring a prestigious actor (Joaquin Phillips) in the title role, and nothing was going to stop them. Yes, the film scored a $39.9 million opening day gross, $13.3 million (32%) of which came from Thursday previews. That’s a bigger opening day than Venom ($32 million Friday/$10 million Thursday), Logan ($33 million/$9.5 million) and Justice League ($38 million/$13.5 million). An R-rated, action-lite Joker flick aimed at older fans and adult moviegoers had a bigger opening day (with or without inflation) than Zack Snyder and Joss Whedon’s heavily retooled Justice League movie.  

Joker is a slow, fx-lite, occasionally violent and generally nihilistic character study that plays like a period piece update on The King of Comedy, Taxi Driver and Observe and Report, so, a B+ from Cinemascore notwithstanding, the weekend may be comparatively frontloaded compared to a conventional superhero movie. But with a $60 million budget and a $39.9 million opening day, Warner Bros. and friends can afford to have the film flame out like (for example) Watchmen or Green Lantern. That said, the word of mouth is at least somewhat positive thus far. Even a multiplier on par with Batman v Superman ($166 million from an $81 million Friday), Suicide Squad ($133 million/$65 million), The Dark Knight Rises ($160 million/$75 million) or Man of Steel ($128 million/$56 million) positions the opening weekend between $81 million and $92 million.  

Anything over $80.226 million puts it past Venom and gives it the third-biggest September/October launch behind only WB’s September debuts of It ($123 million in 2017) and It Chapter Two ($91 million in 2019). If it legs out this weekend like Venom, Justice League or Guardians of the Galaxy (around 2.45x), it’ll end Sunday night with between $96 million and $99 million, which will be the third-biggest (sans inflation) R-rated opening behind It, Deadpool ($132 million in 2016) and Deadpool 2 ($128 million in 2018). If you’re wondering about inflation, Hannibal’s $58 million opening in 2001 or 300’s $70 million debut in 2007 would both be around $92 million today. Anything over $92.5 million would pass the Fri-Sun frame of Sony’s Spider-Man: Far From Home (which opened on a Tuesday) for the biggest non-Disney debut of the year.

If there’s a lesson there, beyond the whole “audiences will show up for superhero/supervillain movies no matter what form they take if they like the characters in question” variable, is that DC Films, like Marvel, does best when it colors a little bit outside the lines. Captain Marvel and Black Panther both opened bigger than Spider-Man: Far from Home and Thor: Ragnarok. Guardians of the Galaxy and Captain America: The Winter Soldier (both of which opened with over/under $95 million in 2014) showed that Marvel could apply its formulas to almost any character and genre and audiences would show up. Aquaman ($1.155 billion) nearly doubled the global grosses of Justice League ($659 million) while Wonder Woman earned $413 million domestic, showing it had more to offer to fans than just Batman and Superman.

Marvel’s one bomb, The Incredible Hulk, was heavily structured (in response to Ang Lee’s Hulk) to be as conventionally mainstream as possible. WB’s expensive efforts to refashion Justice League into, in terms of structure and tone, into Diet Avengers, was a fatal error as the film just resembled second-hand super heroics. This goes for other franchises as well, be it Star Wars (where the painfully conventional Solo: A Star Wars Story was ignored) or Fantastic Beasts (which may have fatally wounded itself by emphasizing worldbuilding and sequel set-up over character). Heck, Fox’s most successful X-Men movies have been the “everybody into the pool” sci-fi spectacular (Days of Future Past) and the three R-rated spin-off flicks (Deadpool, Logan and Deadpool 2). When you already have the audience’s attention, you can afford to challenge them.

Joker exemplifies what Warner Bros. does best. The Todd Phillips-directed flick is a comic book movie within an established brand. However, it’s also (sans IP) a deeply uncommercial movie with limited appeal. As such, its (thus far) success puts it alongside Magic Mike, The Conjuring, American Sniper, It and A Star is Born as the Dream Factory turning something that isn’t quite a stereotypical tentpole into a genuine event movie. Considering their successes last year with stand-alone biggies (The Meg, Crazy Rich Asians, Ready Player One) versus their struggles this year with franchise flicks (Godzilla: King of the Monsters, The LEGO Movie 2, Detective Pikachu), I’d argue WB should look to what worked last year and comparatively what is working this year. Or maybe they really should have added Pennywise to The LEGO Movie 2.

While Joker was the only new wide release in North America, there were a few notable platform openings. Specifically, Fox Searchlight released Noah Hawley’s poorly-reviewed Lucy in the Sky into 37 theaters on Friday to poor results. The Natalie Portman/Jon Hamm drama, about an astronaut who has trouble adjusting to life on Earth after she returns from space, earned just $19,000 on Friday for a likely $54,000 opening weekend. That is a poor $1,468 per-theater average and doesn’t bode well for either awards glory (Portman is dynamite, per usual) or further expansion. I liked the movie just enough to recommend it as both an acting treat and as a “regular person descends into madness through happenstance” character study not unlike the killer clown movie.

Pedro Almodóvar’s critically-acclaimed Pain and Glory opened four theaters on Friday courtesy of Sony Pictures Classics. The Antonio Banderas/Penelope Cruz drama, about an aging filmmaker coming to terms with his legacy. In that sense, it seems to be a kind of “subtext made text” alternative to Once Upon a Time in Hollywood and The Irishman, but I digress. It has earned awards buzz for all the major players, especially the inexplicably never-nominated (for an Oscar) Banderas. It grossed $40,000 yesterday. That positions the Spanish-language drama for a $135,000 opening, and a promising $33,793 per-theater average. I’m seeing Gemini Man on Monday night and my wife promised that she will pick up the kids so I can catch an afternoon showing of this one at the Landmark.

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https://www.forbes.com/sites/scottmendelson/2019/10/05/joker-friday-box-office-40m-justice-league-venom-logan-wonder-woman-dc-films-joaquin-phillips-todd-phillips/

2019-10-05 14:24:47Z
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Miley Cyrus Is Fully Committed To #HotGirlFall And Wants People To Not "Make It Awkward" - BuzzFeed

Miley Cyrus Is Fully Committed To #HotGirlFall And Wants People To Not "Make It Awkward" back to top

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https://www.buzzfeed.com/adeonibada/miley-cyrus-acai-bowl-dating-divorce-cody-simpson

2019-10-05 10:56:00Z
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Why Liberal Media Hates 'The Joker' - The Federalist

Why does woke media have against “Joker”?

When it premiered at the Venice Film Festival last month, Time magazine’s Stephanie Zacharek slammed the film for a supposedly sympathetic portrayal of its protagonist, who could “easily be adopted as the patron saint of incels.” A flood of similar comments followed from critics who worried its morally ambiguous depiction of a psychotic mass murderer would incite real-world violence—that lonely and alienated young men would, like the riotous mobs in the film’s closing scene, see the Joker as a hero. As if to validate these overwrought concerns, the New York Police Department even deployed undercover police officers to opening-night screenings.

None of it has stopped “Joker” from a projected weekend debut of $90 million-plus. Part of what’s made it a box-office success is doubtless that we were all warned it was a dangerous and problematic film that some people might take the wrong way, and we can’t have that.

The film, as most everyone knows by now, is about Arthur Fleck, a mentally ill clown who lives with his mentally ill mother and dreams of becoming a standup comic. Played by a rail-thin (and very disconcerting) Joaquin Phoenix, Fleck has serious problems and is very much in need of real help, which he doesn’t get. Instead, he suffers a series of setbacks and humiliations and gradually slips into a violent psychosis.

By the film’s end, amid a violent city-wide riot, he has become a folk hero to the disgruntled rabble of Gotham. Amid random mob violence and societal breakdown, the Joker is born.

What critics have objected to above all is that Fleck is not portrayed as pure evil. He has actual reasons behind his violence. Simply put, he’s taking revenge on an unjust world that showed him too little kindness and no love at all.

In recent interviews director Todd Phillips has expressed his disgust with liberal Hollywood and “far-left” woke culture. But the objections of these woke critics notwithstanding, “Joker” isn’t really all that political. To the extent there’s a political analogy at work, it’s an indictment of the coarseness of civic life. There’s even a subtle anti-Antifa feeling to the masked Gothamites holding up signs that read “Wayne = Facist” and “Kill the Rich.”

The character of billionaire industrialist Thomas Wayne isn’t quite a Trumpian figure, but he is an unapologetic elite who’s entirely correct when he says there’s “something wrong with Gotham” and that the city needs help. He’s also telling the truth about Arthur’s mother, Penny, and her disturbing history of mental illness and abuse. In the end, he and his wife are killed not directly by the Joker, but by a random rioter inspired by the Joker’s psychotic violence.

At the risk of reading too much into what is, at bottom, a comic-book supervillain origin story movie, “Joker” is on some level an indictment. But not quite in the way liberals critics suppose. What “Joker” indicts is moral relativism.

Consciously or not, the film makes some implicit arguments, including an argument for compassion and community and against moral relativism and indifference. Here we have a profile of a disturbed man sliding into psychosis who gets no help from anyone—not least the government social worker who’s supposed to be helping him. It’s set in a city simmering with hatred and violence, where basic government services like trash collection have broken down.

A pop culture professor told the Washington Post that all the talk about potential real-world violence around the film is distracting from a great opportunity “to use the movie for a dialogue about questions like alienation, toxic masculinity and the fragility of whiteness.”

But “Joker” is really an opportunity for an altogether different dialogue about the role of families, about what people need most in life, about what makes for civic comity and solidarity. What it suggests, however unintentionally, is that maybe the best way to fend off the kind alienation and frustration that beset Arthur Fleck is with an intact family, a loving mother and a father.

Maybe the thing people need most in life is friendship and love and community. Maybe we need to rethink the way we’ve torn down the institutions and traditions that used to support these things. Maybe the radical atomization and isolation and autonomy of modern life doesn’t foster prosperity and happiness. Maybe we need to start taking these things seriously.

If we do, that will mean rethinking a half-century of progressive thought, and questioning whether it has all been a pack of lies. And maybe that’s the real reason woke media hate “Joker.”

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https://thefederalist.com/2019/10/05/why-liberal-media-hates-the-joker/

2019-10-05 12:12:55Z
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