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Music Music Blog

Justin Timberlake Charged in D.W.I. Incident

When local police in Sag Harbor, New York saw a BMW run a stop sign, then weave between highway lanes in Tuesday’s early hours just past midnight, they were duty-bound to pull the driver over, according to a CBS News report. Little did they suspect that the culprit was Millington, Tennessee native, onetime Disney Mouseketeer, and pop phenom Justin Timberlake. In any case, he was charged with driving while intoxicated.

The CBS story notes that “when Timberlake was pulled over, the officer said he was ‘in an intoxicated condition’ and that ‘his eyes were bloodshot and glassy, a strong odor of an alcoholic beverage was emanating from his breath,’ and he ‘performed poorly on all standard field sobriety tests.'” 

But the musical superstar had something to say about that. “I had one martini and I followed my friends home,” Timberlake allegedly told the officer, according to CBS. “He also allegedly refused to do a chemical test,” continued the report.  

The singer/songwriter/producer/actor was last seen in Memphis this January, as reported by Samuel X. Cicci, where he debuted a new song, “Selfish.” That foreshadowed the release of his sixth album in March, Everything I Thought It Was. In April, he launched The Forget Tomorrow World Tour, which is scheduled to carry on internationally through this year. He has shows scheduled in Chicago this weekend and at New York’s Madison Square Garden next Tuesday.

Those shows will likely go on as planned: after being formally charged, the former Mouseketeer was released without bail on his own recognizance, with a virtual court appearance scheduled for July 26th. In other words, concertgoers are encouraged to not forget tomorrow.

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Film Features Film/TV

Music Video Monday: “No Angels” by Justin Timberlake

Every week on Music Video Monday, we bring you a video by a Memphis musician or filmmaker — usually both. These can range from relatively simple imagery to complex visions. But they are, for the most part, handmade, grassroots productions.

Today on Music Video Monday, we have something special. Justin Timberlake is the biggest star to come out of Memphis in the last twenty five years. His new album Everything I Thought It Was just dropped after a spectacular soft opening show in Memphis at the Orpheum. Timberlake tapped director Ti West to make a visual for the first single “No Angels,” and it’s something special. West is the director behind modern horror classics X and Pearl, and his hand is evident in this super creepy video. It’s got blood, doppelgängers, and lotsa sexy ladies. Timberlake sings “there’s no angels on the dancefloor,” but there’s no shortage of demons pulling shapes in this supernatural banger. Take a look, if you dare!

If you’re not Justin Timberlake (and maybe if you are) and you’d like to see your music video on Music Video Monday, email cmccoy@memphisflyer.com.

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Music Music Blog Music Features Opinion

Justin Timberlake Brought the Heat With Classics, New Music at Orpheum Show

If I wrote you a symphony …

Wild shrieks ring out through the Orpheum, the high-pitched, gleeful wails emanating from an audience brimming with barely-restrained enthusiasm.

Just to show how much you mean to me …

The woman two chairs over from me nearly collapses, heaving herself forward onto the railing, breathless. The lady sitting behind me is dancing so wildly that her cup of wine flies out of her hand and completely spills onto the back of my sweater. On stage, Justin Timberlake launches into the chorus of “My Love,” and the crowd bays out the lyrics alongside him. The hometown son had returned, and Memphis was ready to welcome him back with open arms.

That people were out at all last week rockin’ to hits from Justified, FutureSex/LoveSounds, and The 20/20 Experience was a bit of a surprise. The January 19th concert, surprisingly announced just a week prior, was threatened by freezing temperatures, snow and ice that the city was ill-equipped to handle, plus low water pressure and a boil water advisory that ultimately rendered the Orpheum bathrooms unusable for the evening. 

Eager fans were able to request up to two tickets through a Ticketmaster lottery, with demand far exceeding the limited supply of around 2,500 seats at the Orpheum. Many users on social media bemoaned their ill luck, blaming out-of-town sharks for snatching up most of the available stock for a show they may not even be able to attend thanks to the inclement weather. Other, more intrepid fans decided to show up to the theater anyway, spending a lengthy wait in the cold in the hopes of snagging any leftover spots. And many were rewarded with tickets.

In hindsight, any questions about the show’s potential turnout were foolish. By the time Timberlake took to the stage around 9:30 p.m. – his first show in Memphis since a 2019 stop on his second Man of the Woods tour, and first ever set at the Orpheum – the crowd was ready to party. And as the opening brassy synth waves of the live rendition of “SexyBack” cascaded from the speakers and over the audience, it lit the fuse on what would be an exuberant, pop-fueled hour-and-a-half performance.

Justin Timberlake speaks to the crowd between songs at his January 19th free Orpheum Theatre concert. (Credit: Mark Nguyen)

The Orpheum setting created a much more intimate environment than the floor tickets I’d nabbed for his last two tours, but the smaller venue didn’t sacrifice any of the verve or energy his fans are accustomed to. Timberlake, backed by his exceptional Tennessee Kids band, ran through the hits to a wild crowd, throwing it back to the slick call-and-response of “Señorita,” slowing things down with the pop ballad “Mirrors,” and luring everyone in with the moody, spiteful “Cry Me A River” (which really dials up the suspense live). He even paid tribute to Al Green with a rendition of “Let’s Stay Together.” Notably, not a single track from the somber, Americana-tinged Man of the Woods made it onto the setlist at any point.

Fueling the crowd’s anxious delirium was a sense that they’d get to see something new. In the days leading up to the concert, Timberlake’s label RCA Records posted a graphic teasing “Big News,” conspicuously made with the same design, color scheme, and fonts as the initial concert announcement. The announcement of subsequent Timberlake bookings with Jimmy Fallon (January 25th) and Saturday Night Live (January 27th) only added fuel to the fire, and sure enough, he teased a few snippets from his upcoming sixth album, Everything I Thought It Was, set for a March 15th release.

There was a full reveal for new single “Selfish,” a slowed-down R&B track that provided several minutes of calmer head-bopping.

Midway through the show, when Timberlake jumped off stage and danced through the crowd to various hits from both his catalog and other (some local) artists, DJ Hypes played about 90 seconds of a second track, “No Angels.” The pulsating, bass-thumping beat harkened back to Timberlake’s early-aughts pop roots, when every song he slung from his repertoire had people ready to rock their bodies on the dance floor. (Short snippets of a third song, “Sanctified,” can be heard over ESPN promos). It’s a welcome return to form for the pop star, whose output since 2018 has mainly consisted of his work on DreamWorks’ Trolls series and an NSYNC reunion track, “Better Place.”

All indications are that the rest of EITIW will showcase Timberlake embracing his charming, hip-hop-inflected pop chops that made his early albums so popular. “It’s fun Justin,” longtime Timberlake collaborator Timbaland told Variety last April. “It’s like FutureSex/LoveSounds but nothing too heavy, just giving you what you expect from us. Music is a young sport — of course, we’ve both seen a lot of life, but you have to bring out the 13 year old kid again, you know? We had songs that maybe were too complicated, so we said we want it to feel like FutureSex part two, so we did songs that will fit that.”

In between the singing, the dancing, and the grooving, Timberlake paused several times to thank fans for braving the inclement weather, and to muse on how much he appreciated being back in Memphis. There was even time to lead the crowd in singing happy birthday to his mother, who was in attendance, and to shout out former NSYNC member Chris Kirkpatrick (also in attendance, but alas, no duet). 

If the mixed reception to Man of the Woods saw Timberlake’s star fade a little bit, he looks poised to bring it roaring back brighter in a couple months. After my own Covid-induced break from live shows, this performance reminded me why I enjoy excursions like this so much, and it has me excited to see what local Memphis musicians have in store for the rest of the year. 

As for Timberlake: “See you on tour,” he quipped as the curtain dropped for a final time.

Justin Timberlake performs ahead of the Tennessee Kids at his January 19th Orpheum Theatre show. (Credit: Mark Nguyen)
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Music Music Blog

Justin Timberlake to Play Free Orpheum Concert

Yes, you read that right.

Fans of both Tennessee son Justin Timberlake and free concerts should be licking their lips at the chance to see the pop star at a free, one-night-only show at the Orpheum Theatre on Friday, January 19th.

The Orpheum shared details of the event with a link to sign up for tickets on its website. Fans can get in a queue to request up to two tickets for the concert via Ticketmaster. Tickets are not guaranteed, and requests must be made by Monday, January 15th, at 10:59 p.m.

There have surely been plenty of requests made already, but it’s still worth throwing your hat in the ring. You can request tickets here.

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Cover Feature News

Free at Last: The Story of FreeSol

FreeSol is a free soul again.

After getting his musical start as lead singer of the alternative soul band also known as FreeSol, which formed in 2003, “Free” moved back to Memphis two years ago after several years of ups and downs.

FreeSol was originally signed to Justin Timberlake’s production company, Tennman Records, in 2006. After then signing with Interscope Records, the band debuted its first single,”Fascinated,” on American Top 40 with Ryan Seacrest, and appeared on Late Night with David Letterman. The band was also presented the Memphis Sound Award at the Blues Ball in Memphis. The future looked bright.

Courtesy of FreeSol

FreeSol appeared on Late Night with David Letterman.

Then, in 2012, everything stopped.

“As soon as we got dropped from Interscope Records I bounced to California,” says Free, now 42. Trying to “re-find himself,” he worked in real estate and became involved with the legal marijuana industry. “I was on the verge of opening my own brand, Sweet Cali,” he says. “We’d been in business since 2014 and we were looking for investors. It’s a marijuana THC/CBD edible brand and street apparel brand.”

But in late 2019 Free decided to move back to Memphis. “I wanted to use some of my new hustle, and the things I learned about business and put that with music. I want to be an inspiration and a motivator for the city. I want to be a personality here. I had only been seen here in a dark, thuggish, rough, sexual light. I came to Memphis to get busy.”

Free, a native Memphian whose real name is Christopher Anderson, is now vice-president of Elite Home Flippers and wants to open a restaurant.

“I’m a hustler, man. I like food and I’m from Memphis. I have always felt I was going to come home and do something for Memphis. And one of those things needed to be Memphis food. Growing up, I loved good Southern food.”

There will be music along with the food, Free says. “If I’m going to be in the business, we’re going to have music there.”

Courtesy of FreeSol

Free

Free says he also will be bonding with young, local musicians. “I really want to connect myself to up-and-coming cats and do whatever I can. And do what I did with FreeSol, just trying to build a network — be connected and throw events and collaborations. If you remember the rise of FreeSol — how we played often at different events.”

Free says the late California rapper Nipsey Hussle was the inspiration for his moving back to Memphis and getting involved here. “He died in 2019. He was shot outside of his store. The cool thing about him was that he had rented out a store in this building and he sold T-shirts, sold suits, while he was building up his music. He ended up buying the whole building. Then he owned a restaurant. He became a local entrepreneur, but he also was a national rapper.

“As soon as he was murdered, it was like his spirit was released and a lot of people built up a Nipsey Hussle mindset. I knew I had to build up an empire, a business, and be an inspiration and motivation in my city. I see myself as a Nipsey Hussle. He made me want to come home, basically, to be here to be an entrepreneur while opening up a restaurant, putting on shows, eventually starting a record company. We can do it all and we can inspire and make friends. And do it all with a smile on our face.”

Free says art was his first creative outlet, but when he was 12, he began rewriting lyrics to the music of Boney James and the Yellowjackets in his mother’s record collection. He began writing his own rhymes when he was 14. “Fourteen was a big year for me. I started smoking weed, lost my virginity, and started rapping — all in the same summer.”

Courtesy of FreeSol

FreeSol was ahead of the curve in rapping over music by a live band.

He gave his first performance during an overnight lockdown at Bishop Byrne High School. His friend, a DJ, told him he was going to get him on stage. “I was so nervous. I’ll never forget. The crowd went crazy.”

Rap music was all he wanted to do after that, he says. “They talk about that ‘drug’ of being on stage. That addiction. That was it. I had 100 kids screaming, having a good time. After it was over it was like I just invented the cure for cancer.”

Free then started his first band, Sol Katz, with two other rappers. Their agent signed them to do talent shows in Atlanta and Texas. A little later, while going to school at Clark Atlanta University, he got a call from Beyoncé’s father, Mathew Knowles. “He heard about us and he called Orin Lumpkin at Elektra, who wanted to work out a deal. But it all fell through. When that didn’t work out, the band kind of broke up.”

FreeSol says he got his name when he was 21. He was teaching Bible class at his church when he came across Galatians 5 verse 1, which “talks about freedom. So that was the birth of me wanting to be called ‘Free.’ Never being held by the yoke of slavery. I lost all religion and became ‘Sol,’ son of light. It just came to me. It had to do with wanting to follow the light. From the darkness comes the light. To be the son of light, the son of goodness, is the highest form of energy.”

In 2001, Free got a $25,000 loan from his cousin and recorded his first solo record, FreeSol

“I got in my car and drove all over the country and sold that record.”

He then ran into drummer James “Kickman Teddy” Thomas at Applebee’s on Union. “He was drinking this big ass beer at 12 on a Monday,” he remembers. He offered his headphones to Thomas and asked him if he’d listen to his record. “He loved it.”

Bass player and keyboardist Daniel “Primo Danger” Dangerfield joined them that afternoon. “That Thursday we had our first rehearsal,” Free says. “Three to six months later we had our full band.”

Songwriter/co-producer Elliott Ives, longtime studio and touring guitarist with Timberlake, recalls how impressed he was with FreeSol when he saw the group perform at Automatic Slim’s. “There were not many rappers performing with bands,” he says. “And not just that, but also having auxiliary members of the bands singing hooks.”

When he joined the band, Ives says, “I pretty much sang every hook. You’ve got this white boy Memphis guitar player singing these hooks and this Memphis rapper with a live band. A few years later, people started doing that. Now you rarely see a hip-hop artist without a band.”

FreeSol “was just different,” Thomas says. “We were on a different vibe at the time. There weren’t too many bands doing what we were doing. We were breaking down so many boundaries and breaking down so many doors as far as being new, energetic. For me, it was special, man. From the day I met Free, there was something special about what he was bringing, what he was trying to do at the time. It was a brotherhood as well as being a band. It was fun times, man.”

Describing their music, Free says, “I don’t believe in race. I don’t believe in labeling music. I think we think too much about things and try to divide things and put things in boxes. I take a little bit of Islam, atheism, Christianity, Buddhism, and find truth in my own lane. I took rock, rap, hardcore rap, hardcore rock, jazz music, pop music, and never tried to label it. And in all our songs I put elements of what we love. We tried to create something new for everyone to fit into.

“Everyone came to our shows, from ‘hood, straight-up crack dealers to the silliest of the white girls. I had everybody included. We were able to wrap it up because we had pieces of everything people wanted and respected in music and art. The real strength we had was our versatility.”

FreeSol’s most popular songs included “Busy Watching Me,” “Don’t Give a Damn,” and “Crazy.”

Lightning struck when they met Timberlake at a private showcase and were subsequently signed to Tennman Records and then, Interscope Records. Between 2006 and 2011, the band released Role Model and Hoodies On, Hats Low. One of their songs “Fascinated,” was co-produced by Timberlake and featured Timbaland.

Timberlake, who also appeared in the video, produced an album with FreeSol for Interscope. But in January 2011, FreeSol was dropped by Interscope.

“The politics of the major label music business got in the way of the actual talent and the music, and had nothing to do with the success we were having or the success we were about to have,” Ives says. “It was pure politics.”

Everybody in the band “took it really hard,” Free says. “We had made it — and to have all it taken from us right then and there, everybody was heartbroken. We did everything we were supposed to do. We had a fan base. We had a work ethic. But things didn’t work out.” 

Courtesy of FreeSol

Christopher “Free” Anderson with his wife, Melissa Anderson

Free and his wife, Melissa, moved to California. They were married three years later. 

In California, Free says his “main bread and butter” was real estate, but that he was also “figuring out how to learn the game with [legal] marijuana and how to get your own brand, your own farm, your own store. My passions have been weed and music. I always cared about those two things a lot. I wanted to be involved.”

But he reached a point when he felt it was time to move back home.

Free says he continues to write music but his subject matter has changed. “A lot of songs in my past are about sex, women, being a player — a young, childish perspective on life. Now I’m an older man. My lyrics are more mature. I’m a prouder. I love a lot of the music I made, but I hadn’t seen anything, and that’s apparent. I was just pulling things out of my head and was trying to make them sound cool.

“Now, I can talk about life. I’m a business owner, a father of two, a husband. Everything I eat comes from my own hustle, my own inventions. I haven’t worked for anybody since I was 21 years old. I take care of myself and my family.”

One recent song is called, “Is It the Way?” It’s about “how I thought I’d never get married. How I met my wife. How it feels after losing the record deal with Interscope and taking that fall. A lot of people lost jobs, chased dreams, weren’t happy, or came up short. I know how you feel. You don’t know how it feels until you walk in those people’s shoes.”

Ives is producing two of Free’s recent songs — “Quit Playin'” and “Money Magnet” — at Ives’ Domination Station studio at Young Avenue Sound. 

Would FreeSol ever reunite? “Absolutely,” Free says. “We talk about it all the time.”

In addition to his music and business ventures, Free also hosts a podcast, Ice to Eskimos, with comedian Rob Love and artist Frances Barry Moreno.

“I’m an extremely happy man,” Free says. “I realized life is what you make it. Your thoughts, your perspective matters a lot. No one is in control of your happiness, your days. I’m where I need to be.”

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Music Music Blog

For Inauguration, Justin Timberlake & Ant Clemons Drop Video Shot at Stax

The music video begins inconspicuously, with a city cross section at night, a lonely train horn in the distance. Though, if you’re not in Memphis when you see it, you’ll do a double take, so familiar and distinctive is that sound. But when the image cuts to a dim recording studio and the guitar begins the song, only those who noted the street signs in the opening shot will guess what studio it is.
Mark Nguyen

Justin Timberlake & Ant Clemons

By then a listener will be focused on the powerful, earnest vocal delivery of Ant Clemons. It was his idea to make the video happen in the first place. And for a while, the significance of where Clemons is singing is not obvious. For so many who are watching the video premiere, the words that ring so true are what matter.

Cause we’re on our way to better
Better’s ahead
It gets worse before it gets better
But better’s ahead

Better days are coming

Clemons and Memphis homeboy Justin Timberlake originally created the song, “Better Days,” for “Rock the Runoff,” a virtual fundraiser held last December 3rd for Stacy Abrams’ organization, Fair Fight. Clemons began the composition months before last year’s presidential election and brought it to Timberlake, who also contributed to the songwriting. As fate would have it, Timberlake recorded his vocal track on election night as he watched the returns rolling in.

But last night’s video was a re-imagining of the song. And the makeover made it both more universal, as part of the prime time broadcast special, “Celebrating America,” honoring the inauguration of Joe Biden and Kamala Harris, and more local, as expressed in the street signs you see when the video starts: East McLemore Avenue and College Street.

As the video goes on, and Timberlake takes a verse, you see more of the room they’re singing in as they walk along. When they walk out the front door, it’s unmistakable: They are at Stax. Clemons and Timberlake wing and walk down the empty street at night, the better to see the marquee and signs of the Stax Museum of American Soul Music and the Stax Music Academy, in all their neon glory. But as they stroll along, and the song’s intensity builds, others gather around them at  the crossroads. And many of those faces may have been familiar to Memphis viewers.

As it turned out, Clemons and Timberlake invited students and alumni of Stax Music Academy to perform alongside them in the new video, with a band led by Emmy-nominated musical director Adam Blackstone. The end result was a powerful moment in the history of Memphis music, and the history of America.

“The fact that the Stax Museum and Stax Music Academy were chosen by Justin Timberlake, Ant Clemons and the Presidential Inaugural Committee to represent Memphis, Tennessee, in the 2021 presidential inauguration, speaks not only volumes about the power, magic, and timelessness of soul music, but also casts a bright light on the work we have been doing here at the Soulsville Foundation for more than 20 years now,” said Soulsville Foundation President and CEO Richard Greenwald. “We are grateful to our friend Justin Timberlake for embracing our mission and genuinely caring about the young people with whom we work every day.”

Timberlake began his relationship with Stax Music Academy in 2019, when he partnered with Levi’s for their Levi’s Music Project, surprising students with a two-day songwriting workshop with Timbaland, Danja and Rob Knox and Elliot Ives. Levi’s and Timberlake also equipped the school with a new room called “The Song Lab” — a remodeled facility meant for songwriting workshops. Timberlake also brought attention to Stax Music Academy during a taping of Ellen’s “Greatest Night of Giveaways,” holiday special where he surprised one of the students with tickets to the Grammys, a full scholarship to the Grammys camp and $50,000 on behalf of Green Dot. In addition, Green Dot also gave Stax Music Academy $250,000.

Last night, the video for “Better Days” was a fine capstone to a day that positively blossomed with artful expressions of hope and determination, such as National Youth Poet Laureate Amanda Gorman’s recitation, or the Benediction by the Rev. Dr. Silvester Beaman. And it immersed viewers in a tableaux that rings true and familiar to many Memphians. At the song’s height, as people gather and sing, the gently lilting tune has risen to a wave of gospel fervor out in the streets. And then, suddenly, it ends, and we’re left standing there at the crossroads a while longer, back to the quiet, and the casual laughter of friends, and the train wailing in the distance.  

For Inauguration, Justin Timberlake & Ant Clemons Drop Video Shot at Stax

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Film Features Film/TV

Wonder Wheel

I was a huge Woody Allen fan for years but haven’t watched his movies since Dylan Farrow published her letter detailing memories of abuse. Until I was assigned Wonder Wheel this week, I avoided his films. Having an object of intense identification (whom I aspired to imitate as a writer-filmmaker) suddenly designated for intense ostracism resulted in alienation: You just don’t think about who you formerly idolized. I loved him; now, I associate him with rape.

,p>His later, hackier works are often pale shadows of movies from the height of his talent. (Instead of watching them, I now periodically consume Farrow family testimony.) Any online discussion of new work instantly becomes a battleground over the specific history of his case. His movies lay the groundwork for many other romantic comedies and dramas, and their association with child rape is an incredibly uncomfortable piercing of the pop-culture bubble.

The bubble should pop. Nevertheless, the first two-thirds of Wonder Wheel has the attributes of a dramatic product that is consumable. We open on Mickey (Justin Timberlake) in a 1950s Coney Island lifeguard tower, addressing the audience. He is a playwright who wants to write a great melodrama in the style of Eugene O’Neill

The beach he surveys is fully realized: a million bright bathing suits in Edward Hopper light. We follow Carolina (Juno Temple) and Ginny (Kate Winslet) as they meet there. Ginny is an actress turned waitress, and Carolina is her stepdaughter, on the run from a Mafioso ex-husband, in search of her estranged father, Humpty (Jim Belushi). They go back to Ginny’s house, and it is a proper stagebound set with the eponymous Ferris wheel in the window, always flooded with artificial golden light. The trio emote in their cramped, fake quarters with screaming and monologues, but the framework saves it.

The O’Neill and Tennessee Williams pastiche forgives the tendency of Allen’s characters to state their thoughts and feelings too plainly. Temple and Winslet are pros; Belushi never quite leaves the quotation marks of his character, an abusive husband who wears a wife-beater. Timberlake pulls double duty as both self-proclaimed author of this world and Ginny’s secret lover. He gives one too many speeches commenting on the action, but there is a coldness to his eyes and a willingness to deceive in his delivery that make him interesting.

Justin Timberlake and Kate Winslet (right) star in Woody Allen’s new film Wonder Wheel.

Ginny and Mickey discuss fatal flaws in tragedy. Humpty threatens to hit Ginny. Winslet’s pyromaniac son (Jack Gore), the only openly comedic character, sets things on fire. Ginny dreams of starring in Mickey’s play and running away with him to Bora Bora. As she begins to obsess over him, Winslet does a great soliloquy swathed in unnatural red light. When things get more melodramatic, her scenes are soaked in neon blue, then harsh white.

Unfortunately, the artificiality that sold the beginning of the movie handicaps emotional connection at its end. Simple moments like a birthday party have no real life. The pauses between lines among minor characters there have the rhythm of an amateur stage production where the timing is flat. What made Allen’s delivery as an actor special was the sense he was both doing a comedian’s routine and reacting authentically to the world he had constructed around him. His anger and fear seemed real.

Without Allen, everyone is Margaret Dumont. The only characters that seem alive are the two female leads. Temple mainly fuels the plot, but Winslet has a great American accent that is best used in cutting anger and brutal sarcasm. The movie should have built toward that, turning her self-hatred outward toward those around her. Instead, at the finish line it fumbles a final monologue by heading toward an emotional state similar to Cate Blanchett’s in Blue Jasmine: denial. 

As with everything, Allen’s biography leaks in. Ginny seems to be a stand-in for Mia Farrow, Timberlake for Allen. The movie is arguably a multimillion-dollar protestation of innocence. Last week, Dylan Farrow wrote a second letter, realleging the abuse and demanding Allen’s removal from the world of prestige filmmaking as the only punishment available (after previous contradictory legal episodes). Her question is not of separating the art from the artist, but of public safety. If Allen is a predator in a position of power, he is able to commit crime and avoid both justice and rehabilitation. Such questions make Allen’s art inconsequential to his nonfiction.

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Film/TV Film/TV/Etc. Blog

Music Video Monday Special Edition: Jonathan Demme

Music Video Monday was saddened by the news last week that director Jonathan Demme passed away at age 72.

Jonathan Demme (1944-2017) with Denzel Washington on the set of Philadelphia.

Demme was a 22 year-old film publicist when he had a fateful run-in with Francois Truffaut, in which the legendary French New Wave director encouraged him to switch careers and go behind the camera. In 1971, he got a break from Roger Corman’s low-budget production unit to direct movies about bikers and women in prison (the infamous Caged Heat). Over the course of a 46-year career, he would become the first director to ever win Best Picture for a horror movie with Silence of the Lambs (which is also one of only three films to complete the Best Picture, Best Actor, and Best Actress trifecta.) His next film, Philadelphia, won Tom Hanks his first Best Actor Oscar.

Demme’s love for film was only equaled by his love for music. The movie that first brought him mainstream recognition was 1984’s Stop Making Sense, a documentary about the Talking Heads’ tour that today is recognized as the greatest concert film ever made. Unlike Woodstock, which split the focus between the multitude of performers on the stage and the cultural revolution going on in the crowd, Stop Making Sense is an intimate portrait of a band at work. In the film’s celebrated opening, David Byrne wanders out onto an incomplete stage and declares “I’ve got a tape I want to play.”

Music Video Monday Special Edition: Jonathan Demme (4)

The Talking Heads’ most famous song “Once In A Lifetime” was named as one of the most important musical works of the Twentieth Century by NPR and the Rock and Roll Hall of Fame. But upon its initial release in 1981, it baffled American audiences, and didn’t even crack the Billboard Hot 100. Byrne’s vocals were inspired by listening to AM radio preachers as the band toured America, and in Stop Making Sense, Demme expertly revealed the song’s origins. In a single, unbroken 4 minute 34 second shot, the camera starts out on keyboardist Bernie Worrell before panning down to Byrne, who sings in an ecstatic, Pentecostal trance. Then Demme cuts to a slightly different angle, revealing a five-shot of Byrne, Worrell, Jerry Harrison, Lynn Mabury, and Ednah Holt arranged against black like a Caravaggio portrait. In all, there are four shots in five and a half minutes. No other moment in his storied career reveal Demme’s deft touch, his loving fascination with the human form, and his unerring instinct for marrying music and image. It was this performance, one of the greatest ever captured on film, that made “Once In A Lifetime” the classic it is today.

Music Video Monday Special Edition: Jonathan Demme (3)

in 1985, Demme directed two music videos. The first was for postpunk standard bearers New Order. Like Stop Making Sense, it concentrated on the process of musical creation, but instead of a thousand-seat theater in Los Angeles, the band is gathered in an anonymous studio recording “The Perfect Kiss” while only the director and the engineer looks on.

Music Video Monday Special Edition: Jonathan Demme (2)

Demme’s other 1985 video was “Sun City”. The fight against apartheid in South Africa was on top of the mind for many young people in the mid-80s, and E-Street Band guitarist Stephen Van Zandt helped organize an artist’s boycott of the South African resort Sun City. To call attention to the protest, he produced a star-studded song along the lines of “We Are The World”. Rarely heard these days, the hip hop inflected “Sun City” is clearly the best of the big benefit singles of the era, featuring verses from Run DMC, Grandmaster Flash, Afrikka Bambaataa, as well as Eddie Kendricks and David Ruffan from the Temptations, Hall and Oates, Lou Reed, Bob Dylan, and, of course, the ubiquitous Bono. Demme’s video is a great little slice of 80s analog video cheese.

Music Video Monday Special Edition: Jonathan Demme

Demme would continue to work with his favorite musicians throughout his career, including making three documentaries about Neil Young. His final film has a Memphis connection. Justin Timberlake + Tennessee Kids, a chronicle of the last night of the singer’s latest tour, earned a rare 100% Fresh on Rotten Tomatoes. It’s been a huge hit for Netflix, who produced it, and is currently for offer in its entirety on the streaming service. It’s a fitting epitaph for Demme, who, more than any other director of his or any other era, understood musicians and loved the music.

Music Video Monday Special Edition: Jonathan Demme (5)

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News News Blog

Craig Brewer Helms Film to Retain Mike Conley for Grizzlies

The Grizzlies have released a short film by Memphis-based director Craig Brewer that’s aimed at Mike Conley — with the specific goal of getting the point guard to re-sign with team. It’s called “Our Conductor,” and features an introduction by Justin Timberlake, and the voices and images of Marc Gasol, Tony Allen, and Zach Randolph, also known as the other three members of the Grizzlies’ “core four.” Watch it HERE.

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Film Features Film/TV

Popstar: Never Stop Stopping

In 2005, Andy Samberg, Akiva Schaffer, and Jorma Taccone, collectively known as Lonely Island, were the right guys in the right place at the right time. The second comedy short they produced for Saturday Night Live, a parodic rap video called “Lazy Sunday,” came along just a few months after YouTube’s debut signaled the beginning of the web video era. When people started getting the hang of uploading and sharing videos, “Lazy Sunday” was among the first links passed around, making the Lonely Island guys the template for YouTube celebrity.

The group’s latest venture into cinematic comedy, Popstar: Never Stop Never Stopping, is true to the group’s roots in that it features a passel of new, funny, pop hip-hop songs performed by Samberg as Conner Friel, aka Conner4Real, the former boy band frontman who has gone solo and blown up to Justin Bieber levels of celebrity. But the film also sees Lonely Island acknowledging their influences. Popstar is a mockumentary that applies the Spinal Tap equation to the contemporary music biz.

And I’ll have to say, it’s about time somebody did this. The Biebers and Kanyes and Katy Perrys of the world long ago elevated themselves to the same level of mockable self-importance as arena rockers circa 1983. That was when first-time director Rob Reiner gathered some former sitcom stars, including Michael McKean from Laverne & Shirley and SNL member Harry Shearer, to make a real-seeming documentary about a fake band. This Is Spinal Tap was not hugely successful upon release (partially because people, including Ozzy Osbourne, weren’t clear that it was fake), but it became a cult classic that inspired a generation of comedians. The improvisational style pioneered by Reiner and later perfected by Tap member Christopher Guest in Best In Show, has been hugely influential on modern comedies, including those created by Popstar executive producer Judd Apatow.

Popstar: Never Stop Never Stopping starring Andy Samberg

Handing Lonely Island $20 million and unleashing them onto the pop music landscape is a no-miss proposition. As you would expect from the guys who put Justin Timberlake’s dick in a box, they have the setting and references down cold. Conner starts off as a member of a trio called the Style Boyz who look a lot like the Beastie Boys. But fame goes to their heads, and a dispute over the authorship of a verse leads to Lawrence “Kid Brain” Dunn (Schaffer) leaving the group and retreating into seclusion at a Colorado farm. Owen “Kid Contact” Dunn stays on as Conner’s DJ, whose job is reduced to pressing play on the iPod while Conner preens in front of an arena full of screaming girls.

Following the Tap template, Conner’s new album is not good, despite the fact that he hired more than a hundred producers to make it for him, and what was envisioned as a triumphant world tour is slowly smothered under a blanket of public fiascos. But that’s where the Spinal Tap comparisons cease to be useful, because where Reiner’s film was a strictly vérité affair with only minimal scripting, Popstar‘s screenplay has clearly been honed through several drafts. Spinal Tap plays out like a D.A. Pennebaker documentary, with long, single takes producing laughs by revealing character quirks. Popstar is a more conventional comedy, resorting to over-the-shoulder dialog shots and a throw-it-all-against-the-wall approach to gag delivery.

The supporting cast is a who’s who of comedy in 2016. Sarah Silverman nails the Fran Drescher role of put-upon publicist, while SNL legend Tim Meadows is Conner’s conniving manager. Imogen Poots and Bill Hader both create memorable characters as Conner’s girlfriend and roadie, but there’s not enough time to get to know them amid a flurry of cameos. The movie’s first big laugh comes courtesy of a bit of effortless schtick from none other than Ringo Starr, who leads a cast of musical luminaries including Questlove, Snoop Dogg, Mariah Carey, Pink, RZA, and Seal, who steals the show when he is attacked by wolves.

Befitting our current cultural condition, Popstar is brash and direct where Spinal Tap was sly and stealthy. It may not be groundbreaking, but it’s consistently funny, and it proves that in the music biz, the more things change, the more they stay the same.