Martin Cid's Blog: Martin Cid Magazine, page 157

PRISMA’s Debut Album and New Single Bring a Refreshing Sound to Turbulent Times

Everything can seem incredibly unsafe, unmanageable and confusing living in times of war and political and economic instability while nature continues to suffer. But amongst the youth, conversations have become deeper, more meaningful and honest. As a riot of thoughtfulness in the midst of chaos, new music sparked between sisters, Sirid and Frida Møl Kristensen – 11 new PRISMA-songs with a narrative of identity, about courage and wonder but most of all about restoring belief in a brighter future.

“The different states we wanted to portray resonate with the album’s genesis. Through alternating soundscapes and tempos every song became a small intimate short story – adventurous or personal letters to an unknown recipient. They are musical fragments, gut feelings, snapshots, intuitions and at the same time the album has a shared mantra; how every movement and energy is connected to the bigger picture and affects the world we live in. It’s quite complex yet very simple,”Sirid and Frida tell about the making of ‘Something To Respond To’.

In many ways, PRISMA echoes the Greek meaning of the word: something with a sharp edge! It’s multicolored noise pop – like a reinvention of new rave with angelic vocal harmonies on top of fuzzy electric guitars!

Their unique sound is literally something to respond to and songs like ‘I Never Wanted To Meet You’, ‘Villians of the Night’ and ‘Kingdom’ have been praised by numerous influential media outlets around the World. In Denmark, PRISMA has become one of the most renowned new acts claiming a Danish Music Award as “Best New Live Artist” in 2022and the prestigious Carl Prisen as “Best Rock Composers” of 2023.

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Late Night with the Devil (2024) Movie Review: A Nightmarish ’70s Late Show

Late Night with the Devil is a horror movie directed by Cameron Cairnes and Colin Cairnes. It stars David Dastmalchian and Laura Gordon.

Straight from Australia comes this original film, shot on a shoestring budget, yet through creativity, it manages to yield impressive results. It may not be the movie of your lifetime, but it executes well with the limited resources at its disposal.

Plot

Unusual events occur during a Halloween night talk show, leaving viewers baffled.

About the Movie

Intriguing, to just the right extent. This film lasts the same duration as a late-night show, and during the commercial breaks, it reveals what happens behind the scenes, beyond the televised spectacle.

“Late Night with the Devil” is an original horror movie in which David Dastmalchian guides us through this spectacle that, outwardly, is an outright comedy. It’s amusing in terms of its time-loop element and evokes memories of those inaugural late shows whose formats were so successful they continue to this day.

About the movie: it has an original concept, which is more than we can say about almost any other film. This alone makes it worth a watch. Yes, other movies with this format have been made (I recall one starring George Clooney about selling stocks), but never before applied to the horror genre.

Horror? It won’t be the film that leaves you gripping your seat, but it adeptly blends commonplace settings like the media frenzy over the Amytville crime with exorcisms and other supernatural elements of the era. It’s more interesting in this regard than as a typical horror flick, where it certainly doesn’t aim to behave like a classic shriek-and-shock movie.

Our Opinion

The film surprises more with its idea than its execution. It manages to maintain its original perspective and its footing as a film that is almost TV-like: without setting out to be much, it delivers an honest and unique horror movie by virtue of its format and concept.

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Discover an Imaginary Realm in “blood compass” – New Exhibition by Diedrick Brackens at Jack Shainman Gallery in NYC!

Jack Shainman Gallery is pleased to present blood compass, a solo exhibition of new work by Diedrick Brackens spanning both New York City locations, opening April 25 in Chelsea, and April 26 in Tribeca. In these weavings, the artist maps an imagined place — visualizing the internal mechanisms and symbols that animate his work while removing the anchor of direct narrative. The scenes depicted in each weaving exist out of time, suspended between a distant past and a world to come. The works in this series are set at dusk, twilight, and deep night — hours that become vehicles for ritual and interiority. The silhouetted inhabitants of this in-between realm are archetypes that Brackens once described as ciphers, or “needles through which I slip the threads of biography and myth, and pass through a mesh of history and context.”

His figures are accompanied by an ecosystem of symbols and shapes that have recurred over the course of his practice. The animals, natural elements, and man-made objects, accrue significance every time they are cast in this ever-evolving mythology. The characters in this series are placed in dialogue with lightning bolts, waning suns, and sourceless orbs of light — open-ended devices of orientation. In these distilled arrangements, footholds for straightforward interpretation dissolve — inviting viewers to parse the compositions and uncover meaning.  

Brackens’ semiotic language emerges from lived experience, but also through revisiting books, poems, and legends. In blood compass, some of these references — alluded to in his titles — include the novel Mind of My Mind by Octavia Butler, the poem “How you might approach a foal” by Wendy Videlock, and the Bible’s parable of the prodigal son. These stories, though dramatically diverse in genre and subject, speak to Brackens’ inclination to loop, lose, and locate oneself in that which is known, but also to shape-shift, forming new meaning from that which is “familiar.” He approaches these symbols — weighted with memory, context, and history — with fresh eyes or, as Videlock’s poem concludes, ”like you / are new to the world.”  

Diedrick Brackens (b. 1989, Mexia, TX; lives and works in Los Angeles, CA) is best known for his woven tapestries that explore allegory and narrative through the artist’s autobiography, broader themes of African American and queer identity, as well as American history. Brackens employs techniques from West African weaving, quilting from the American South and European tapestry-making to create both abstract and figurative works. Often depicting moments of male tenderness, Brackens culls from African and African American literature, poetry and folklore as source. Beginning his process through the hand-dyeing of cotton, a material he deliberately uses in acknowledgement of its brutal history, Brackens’ oeuvre presents rich, nuanced visions of African American life and identity, while also alluding to the complicated histories of labor and migration. Brackens utilizes both commercial dyes and atypical pigments such as wine, tea and bleach to create his vibrant, intricately-woven tapestries that investigate historical gaps, interlacing the present with his singular magical realist worldview. Brackens’ scenes intentionally lack any sort of moralizing tone, allowing his subjects the freedom of living life on their terms. Jack Shainman Gallery is proud to represent Brackens in collaboration with Various Small Fires, Los Angeles, CA / Dallas, TX / Seoul, KR.

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PLATINUM-certified Anne Wilson Releases Powerful 16-Song Album ‘REBEL’ – A Testament to Faith, Family, and Country Music

NASHVILLE, Tenn. –  PLATINUM-certified, GRAMMY-nominated artist and songwriter Anne Wilson proudly unveils her new 16-song album REBEL, available everywhere today. A co-writer on each of the 16 tracks, Wilson boldly stamps her love of Jesus, Country music and family into one cohesive record. 

Wilson commemorated the groundbreaking release this morning with a performance of her loud-and-proud title track “REBEL” on The 3rd Hour of TODAY, where she also announced her headlining REBEL Tour with special guest Jordan Rowe, kicking off on Sept. 12. Tickets for the 28-stop tour will be available for presale at 10 a.m. local on Tuesday, April 23, and general on-sale will begin on Friday, April 26 at 10 a.m. local on www.annewilsonofficial.com.

“I have worked so hard on this record. I poured my heart and soul into every single song,” shares Wilson. “I’m so thankful for my co-writers diving deep with me on this project and partnering with me to create these songs. This writing process was the most freeing experience I’ve ever had. I enjoyed every moment so much and will never forget that season of my life. When I think about this new album and this set of songs, all I see is the faithfulness of God. He called this little 15 year old girl from Kentucky out of the tragic loss of her brother and has brought me on the most incredible journey. I would be nowhere without Jesus. My hope is that you all absolutely love these songs and that you feel Jesus in all of them. I pray this record impacts your life for the glory and honor of Jesus. That it brings you JOY and peace. That it inspires you to be a REBEL.”

Charging onto the scene three years ago with her debut single “My Jesus,” Wilson made the powerful declaration to cling firmly to her faith after finding God’s healing following the tragic loss of her brother. Now, as she remains steadfast and unwavering in her commitment to her faith-filled message, Wilson delivers an album in REBEL that “hits the bullseye between contemporary Christian and Country twang” (GRAMMY) in an ode to Wilson’s Lexington, Ky. roots that honors two genres who share a deep rooted history. 

REBEL acts as a page turning autobiography into who Wilson is at her core, “a genre-blender in the truest, most artistically satisfying meaning of the word” (Holler). People.com further praises it “as entertaining as it is nourishing,” filled with “lively, often sassy melodies delivered by one of contemporary music’s freshest new voices, regardless of genre.” Wilson combines much-needed encouragement, vulnerability and transparency into a perfect balance that footholds the space between the dead-end road paved in dirt and the church pew of redemption on Sunday morning. Produced by Jeff Pardo and Jonathan Smith, REBEL emerges as a powerful message of faith.

Highlighted on today’s record is “the upbeat banger” (GRAMMY) “Songs About Whiskey,” released with an all-new music video. Wilson unashamedly walks the line of her strong faith and Country roots, resulting in a lyrical redemption that swerves typical vices of whiskey, nicotine and one-night stands to place exclamation on her heavenly fix. Wilson also joined forces with some of Christian and Country music’s biggest names on REBEL, tapping reigning CMA Entertainer of the Year Lainey Wilson for “Praying Woman,” GRAMMY-Award winner Chris Tomlin for “The Cross” and the previously released “breezy ode to the riches found in the simplicity” (Billboard) with Jordan Davis titled “Country Gold.”

Last month, Wilson landed her first CMT Music Award nomination for Breakthrough Female Video of the Year for her Country radio single “Rain In The Rearview.” Meanwhile, her Christian radio single “Strong” has climbed to No. 2 across multiple Christian radio charts. Despite only being three years into her burgeoning career, Wilson has already amassed an impressive list of accolades, including winning a Billboard Music Award, multiple DOVE and K-LOVE Fan Awards, in addition to being a GRAMMY and American Music Award nominee. Recognized as Apple Music’s Country Riser for April, an artist to watch by Spotify, Pandora, the Grand Ole Opry, CMT and more, and over 900M career streams, Wilson’s trajectory knows no bounds. 

Wilson’s new album will take her back to her roots as she prepares for her sold-out hometown album release show this Sunday, April 21 at the Lexington Opera House (available to stream here) followed by a performance on Tuesday, April 23 at the Grand Ole Opry. The album events continue as she hosts an in-store signing event on Wednesday, April 24 at the Walmart in Cool Springs-Franklin, Tenn. With her first Country tour as direct support on Scotty McCreery’s Cab In A Solo Tour under her belt, she will grace the stages of both Country and Christian music’s most sought-after festivals this summer before taking her new album on the road for the REBEL Tour. Stay up to date with Wilson at www.annewilsonofficial.com

REBEL  Track List:

1. “REBEL” (Anne Wilson, Jeff Pardo, Matthew West)

2. “Rain In The Rearview” (Anne Wilson, Matthew West, Zach Kale, Jaren Johnston)

3. “Strong” (Anne Wilson, Jeff Pardo, Matthew West)

4. “God & Country” (Anne Wilson, Jeff Pardo, Matthew West, Trannie Anderson)

5. “Praying Woman” (with Lainey Wilson) (Anne Wilson, Jeff Pardo, Matthew West, Lainey Wilson, Trannie Anderson)

6. “Songs About Whiskey” (Anne Wilson, Jeff Pardo, Matthew West, Lauren Hungate)

7. “Sinner’s Prayer” (Anne Wilson, Jeff Pardo, Matthew West, Lauren Hungate)

8. “The Cross” (with Chris Tomlin) (Anne Wilson, Jeff Pardo, Matthew West, Jonathan Smith)

9. “My Father’s Daughter” (Anne Wilson, Jeff Pardo, Matthew West, Emily Weisband)

10. “Red Flag” (Anne Wilson, Jonathan Smith, Casey Beathard)

11. “Country Gold” (with Jordan Davis) (Anne Wilson, Jeff Pardo, Matthew West)

12. “Southern Gospel” (Anne Wilson, Jeff Pardo, Matthew West, Lauren Hungate)

13. “Dirt Roads In Heaven” (Anne Wilson, Jeff Pardo, Nicolle Galyon, Matthew West)

14. “3:16” (Anne Wilson, Jeff Pardo, Matthew West)

15. “Milestones” (Anne Wilson, Nicolle Galyon, Lauren Hungate)

16. “Out of the Bluegrass” (Anne Wilson, Nicolle Galyon, Emily Weisband)

REBEL Tour  with Jordan Rowe:

Sept. 12, 2024 in Tulsa, Okla. at Mabee Center

Sept. 13, 2024 in Fort Worth, Texas at Will Rogers Auditorium

Sept. 14, 2024 *TBA

Sept. 19, 2024 *TBA

Sept. 21, 2024 in North Charleston, S.C. at North Charleston Performing Arts Center

Sept. 25, 2024 in Nashville, Tenn. at Ryman Auditorium

Sept. 26, 2024 in Charlotte, N.C. at Ovens Auditorium

Sept. 27, 2024 in Birmingham, Ala. at BJCC Concert Hall

Oct. 3, 2024 in Melbourne, Fla. at King Center for the Performing Arts

Oct. 4, 2024 in Jacksonville, Fla. at Florida Theatre

Oct. 5, 2024 in Tampa, Fla. at Straz Center

Oct. 10, 2024 in Newark, N.J. at Calvary Temple International

Oct. 11, 2024 in Reading, Pa. at Santander Performing Arts Center

Oct. 12, 2024 in Washington, D.C. at Warner Theatre

Oct. 17, 2024 in Minneapolis, Minn. at State Theatre

Oct. 18, 2024 in Chicago, Ill. at Willow Creek – South Barrington – Lakeside

Oct. 19, 2024 in Indianapolis, Ind. at Reardon Auditorium

Nov. 1, 2024 in Phoenix, Ariz. at Orpheum Theatre

Nov. 2, 2024 in San Diego, Calif. at Faith Chapel

Nov. 3, 2024 *TBA

Nov. 8, 2024 in Boise, Idaho at Morrison Center

Nov. 9, 2024 in Sacramento, Calif. at SAFE Credit Union Performing Arts Center

Nov. 10, 2024 in Bakersfield, Calif. at The Historic Bakersfield Fox Theater

Nov. 12, 2024 in Salt Lake City, Utah at Kingsbury Hall

Nov. 13, 2024 in Denver, Colo. at Paramount Theater

Nov. 15, 2024 in Tacoma, Wash. at Pantages Theatre

Nov. 16, 2024 in Spokane, Wash. at Fox Theater

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Experience the intense drama of A24’s THE IRON CLAW, streaming exclusively on Max starting May 10th

A24’s THE IRON CLAW, written and directed by Sean Durkin, will make its streaming debut on Max on FRIDAY, MAY 10. The film will be available on HBO and will make its linear debut on SATURDAY, MAY 18(8 p.m. ET). The film stars Zac Efron, Jeremy Allen White, Harris Dickinson, Stanley Simons, Maura Tierney, with Holt McCallany and Lily James.

The true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s. Through tragedy and triumph, under the shadow of their domineering father and coach, the brothers seek larger-than-life immortality on the biggest stage in sports. 

Written and directed by Sean Durkin; produced by Tessa Ross, Juliette Howell, Angus Lamont, Sean Durkin, and Derrin Schlesinger.

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“Big Brother” has already arrived

As you may already know, Orwell’s novel 1984 was penned in 1948. The name itself is a clever play on numbers, with the story predicting a dystopian future centered around communism, complete with a “Big Brother” overseeing and knowing everything.

Moving beyond the state systems, which seem to be becoming somewhat obsolete regardless of their remaining power, it appears the real threat now comes from AI and its ability to analyze the vast amounts of Big Data collected from users through numerous systems. This data is shared amongst various systems thanks to conglomerates of tech companies we’re all familiar with (though for obvious reasons, I’m hesitant to name them).

These corporations track and collect user data, claiming its use for advertising purposes and sometimes more (I can assure you). Some search engines have supposedly changed their policies for the benefit of users, making their lives easier. Meanwhile, they accrue information from news media and specialist magazines and process them according to their liking. Ultimately, they end up controlling and managing—thanks to their policies—how these media outlets present information.

In simpler terms, these tech companies have gained so much power that they’ve become filters between the user and the media. If they don’t provide the information, the user doesn’t get informed because nowadays many users only access information through these technological filters.

This means that if you don’t play by their rules, they won’t distribute your information, allowing it to get lost in the vastness of the internet, unread. You might think this only affects small media outlets, but it’s far from true. I conduct daily studies on the changes major media outlets make to comply with the standards of these tech giants because without them, the information simply doesn’t reach the audience.

I’m not going to mention any names (so I’m aware I won’t appear anywhere), but I’m referring to the most prominent international newspapers that hold immense global influence. Yes, they too abide by the rules set by these tech companies.

Words like monopoly and abuse flutter across everyone’s minds, with lawsuits found at every turn and a simple, unarguable response: they force no one to be there nor impose anything. They set their criteria and if they’re not met, they’re simply left out.

Thanks to this mix of observing user trends and setting media rules, these tech corporations transform into powerful giants that select what goes into the user’s mind and what doesn’t.

I’ll save the real horror story for last: this system is further bolstered by AI, working to select and arrange this information according to preselected criteria.

Directly for the user, they claim.

Meanwhile, they simultaneously earn commissions for acting as intermediaries.

Aided by a vast surveillance system that controls what information we should have access to and what we should not.

The long-lasting battle of the media has always been freedom: of thought and dissemination, of speech and opinion. If this freedom is filtered through technology, if this freedom is skewed by this complicated filter of interests, then the freedom of the press and thought is severely compromised.

Martin Cid, founder of this tiny media outlet attempting to survive, doesn’t know for how much longer.

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Queer the Ballet Unveils Groundbreaking Production: Dream of a Common Language Premieres in 2024

Queer the Ballet presents the world premiere of Dream of a Common Language from Friday, June 21 to Sunday, June 23, 2024, with performances at 7:30pm on June 21 and 22, and 2pm matinees on June 22 and 23. Performances will take place at Baruch Performing Arts Center, 55 Lexington Avenue, NYC. Tickets are $40, with student tickets available for $25, and can be purchased online at https://ci.ovationtix.com/36678/production/1194112?performanceId=11435956.

Dream of a Common Language is a new evening-length ballet inspired by lesbian writer and activist Adrienne Rich’s 1978 poetry collection by the same name. Directed by Adriana Pierce, founder of Queer the Ballet, the program includes choreography by Adriana Pierce, Minnie Lane, Rosie Elliott, and Lenai Alexis Wilkerson with dramaturgy by Emily DeMaioNewton. The story follows six dancers’ journeys through community, friendship, romance, and heartbreak, bringing to light the similarities between Adrienne Rich’s yearning for queer community in the 70s and queer ballet dancers’ current struggles to find each other. From mountaintops to dimly lit bars, this new ballet illuminates the struggles and joys of LGBTQ+ people through history and queer dancers today: all dreaming of a common language to connect them.

All performances are presented in partnership with Baruch Performing Arts Center, with support by CUNY Dance Initiative performance residency grant.

About the Performers

Lenai Alexis Wilkerson hails from Washington, D.C. where she attended the Baltimore School for the Arts, under the direction of Norma Pera. She graduated from the inaugural class at the University of Southern California as a Glorya Kaufman scholar with a BFA in Dance and a minor in Political Science.

Upon graduation, Wilkerson became a company artist with Ballet Hispánico, where she toured internationally for three seasons. With the company, she delved deeper into community engagement opportunities and has taught youth at institutions around the world. For the last two seasons, she was a corps de ballet dancer with Cincinnati Ballet, expanding her community engagement in organizations such as Black Art Speaks. Wilkerson has performed works by choreographers including George Balanchine, William Forsythe, Jiří Kylián, Martha Graham, Barak Marshall, Azure Barton, Annabelle Lopez Ochoa, Gustavo Ramirez Sansano, d.Sabela Grimes, and Dwight Rhoden. Additionally, she has assisted Patrick Corbin in setting a Paul Taylor work for Miami City Ballet.

She has trained seasonally with Hubbard Street Dance Chicago, Bolshoi Ballet, Complexions Contemporary Ballet, Miami City Ballet, Jacob’s Pillow and with legendary ballerina Suzanne Farrell. Wilkerson was awarded the JarriTODOS dance artist grant in 2022, was a YAGP Top 12 finalist and was one of the seven 2016-17 dance scholars to be awarded a scholarship from Nigel Lythgoe’s Dizzy Feet Foundation. With aspirations to achieve more in life, she currently is in graduate school at The George Washington University to receive her Master’s of Arts degree in Organizational Leadership.

Annia Hidalgo began her training in the province of Holguín and continued at the Cuban National Ballet School in Havana under Professor Ramona de Saa. In 2004, she was awarded the Gold Medal in the International Ballet Competition. That same year, she joined the Cuban National Ballet as a soloist under Alicia Alonso. Her repertoire includes soloist and principal roles in La Fille Mal Gardée, Coppélia, Giselle, Swan Lake, Don Quixote, Paquita, The Nutcracker, The Sleeping Beauty, La Bayadère, Scheherazade, and Prince Igor. Hidalgo has performed as a principal with Media City Ballet and a soloist at Los Angeles Ballet. 

During her career as a Principal Dancer with the Milwaukee Ballet, Hidalgo danced as Alice in Septime Webre’s ALICE (in wonderland) and nearly every featured role in Michael Pink’s ballets, including Musetta in La Bohème (created for Hidalgo), Odile in Swan Lake, both Lucy and Mina in Dracula, Snow White in Mirror Mirror, Clara, Marie, and the Snow Queen in The Nutcracker, Belle in Beauty and the Beast, and the title roles in Giselle and Cinderella. She also appeared in the winning pieces from Genesis 2013 (Gabrielle Lamb’s Manifold), 2015 (Garrett Smith’s Mortal Form), 2019 (Aleix Mañé’s Exilio), and 2022 (Price Suddarth’s Aftermath).  

Hidalgo has danced as a guest artist with Rockford Dance Company, Traverse City Dance Project, Madison Ballet, Engage Dance Academy, Ballet Juvenil Costarricense in Costa Rica, Alma Dance Theater, Dawn Springer Dance Projects and was proud to appear in the premiere performance of Refuge Foundation for the Arts. She enjoys sharing her knowledge of classical ballet as a teacher in various summer programs and schools around the country.

Kiara Felder began their ballet training at age 6 in Cary, N.C., at Cary Ballet Conservatory. After graduating from the University of North Carolina School of the Arts, they continued their training as a Professional Division student at the Pacific Northwest Ballet School. Kiara joined Atlanta Ballet in 2012. In 2017, they joined Les Grands Ballet Canadiens. Kiara was promoted to demi-soloist in 2022. Kiara had the pleasure of dancing Juliet in Ivan Cavalari’s world premiere of Romeo and Juliet and the role of Olympe in Peter Quanz’s Dames aux Camelias.

Ayla O’Day began her ballet training at the age of 3. She trained at Central Pennsylvania Youth Ballet under Marcia Dale Weary starting at age 13. In 2016, she became a trainee at Boston Ballet and in 2018, she became a trainee at Carolina Ballet. She was promoted to corps de ballet in 2019 and soloist in 2022. Throughout her time at Carolina Ballet, Ayla has performed roles in ballets choreographed by Robert Weiss, Zalman Raffael, George Balanchine, Adriana Pierce and Lynne Taylor-Corbett.

Mia Domini began training at the School of Ballet Arizona with Nancy Crowley. She later continued her training at Ballet Etudes in Gilbert, Arizona before being invited to the winter term at The School of American Ballet in New York City. There she studied for five years under Kay Mazzo, Susan Pilarre, and Suki Schorer. At SAB, she performed featured roles in Workshop performances as well as in the New York Choreographic Institute. She also spent summers training at Pacific Northwest Ballet, Boston Ballet, Carolina Ballet, and Miami City Ballet. She joined Carolina Ballet in 2020 and was promoted to the rank of Soloist in 2023.

Demi Trezona is from Eugene, OR and began her training at the Eugene Ballet Academy under the direction of Sara Lombardi. She performed and toured extensively with the Eugene Ballet Company, directed by Toni Pimble. Demi attended summer programs on scholarship at Pacific Northwest Ballet School, International Dance School, San Francisco Ballet School, and was a part of Boston Ballet’s inaugural Choreographic Intensive. Demi attended Pacific Northwest Ballet School’s Professional Division program, training and performing with the company in numerous ballets. She guested with Grand Rapids Ballet under the direction of Patricia Barker performing George Balanchine’s The Four Temperaments in spring of 2013 before joining the company that fall. During her four years at Grand Rapids Ballet, Demi danced many soloist and principal roles, including Sugarplum Fairy in Val Caniparoli’s The Nutcracker and the lead in Gerald Arpino’s Light Rain. Demi danced with Czech National Ballet in Brno, Czech Republic during the 2017-2018 season and has worked with Eugene Ballet, Quixotic Fusion, and Aspen Santa Fe Ballet. She joined Boston Ballet in the fall of 2021 and danced numerous works by Mikko Nissinen, George Balanchine, William Forsythe, among others. She is currently based in New York City as a freelance artist.

About Queer the Ballet

Choreographer Adriana Pierce created the initiative Queer the Ballet, along with Patricia Delgado, to broaden the scope of classical ballet to authentically include lgbtq+ voices and narratives. Focusing on queer cis women, trans people of all genders, and nonbinary dancers in ballet, Queer the Ballet seeks to “queer” our ballet spaces and explore choreography often absent from ballet stages. By developing and producing works by queer artists, providing community support for lgbtq+ dancers and creators, and facilitating outreach and education, Queer the Ballet hopes to expand ballet partnering and choreography, offering a genuine representation of queer and gender-diverse ballet dancers.

For more information, visit https://www.queertheballet.com/.

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Rebel Moon – Part Two: The Scargiver (2024). Your Netflix Friday Night Film: An Epic Battle Culminating in an Anticipated Finale

Rebel Moon – Part Two: The Scargiver is a movie directed by Zack Snyder starring Sofia Boutella. With Michiel Huisman, and Ed Skrein.

“Rebel Moon – Part Two: The Scargiver” takes us to the end of this tale of humble farmers and oppressive lords who demanded more than the townsfolk could provide, sparking a revolution.

This sequel presents us with a film divided into two clearly defined parts: the preparation for the battle and the battle itself. Both parts are captivating, filled with the exaggerated epic spirit of Zack Snyder – a style he’s unwaveringly maintained.

This film certainly won’t disappoint its fans, particularly those dedicated to Snyder’s ostentatious, unique, and dramatic style which is showcased in this intergalactic battle – yet another chapter in Snyder’s ongoing style guide.

The conclusion, however, holds no great surprises given the premises, and everything pans out as expected in this archetypal futuristic adventure climaxing in the grand battle.

About the film

Great icons of art, be it in painting, writing, or film, run the risk of repetition, continually seeking that moment of glory and brilliance, which, when constantly repeated, ceases to impress. This is the case for its creator, Zack Snyder, who, despite his ongoing genius as demonstrated in “300”, is falling into this pattern. What once were innovative framing and technical features, have now become unmistakable hallmarks of his personal yet previously innovative style.

Indeed, he has evolved, but the grand discourses and epic element of 300 remain, as does the unbridled force and comic-like style. Does “Rebel Moon – Part Two: The Scargiver” reveal anything new regarding Snyder’s established style? Absolutely not. There’s no search for a new language, nor is the plot sufficiently innovative. What promised in the first film to be the new Star Wars (already established) ends up delivering the most traditional ending possible.

Spectacular? Yes, without disappointing in the least as each and every one of its visuals are stunning. However, the unique style of its creator remains what we’ve already seen and admired, what struck us a few decades ago, and seems to persist in repetition, a brilliance to which we have become accustomed.

The stories change, but the style does not.

In “Rebel Moon – Part Two: The Scargiver,” nearly everything is saved for the end, except for a few spectacular flashbacks from the first film. All the firepower, development, and characters lead to a final battle that decides everything. It couldn’t be any more classic, as the film doesn’t intend to reinvent the principles of the epic genre.

In this regard, it’s flawless – technically marvelous and exactly what its creator intended: traditional futurism in a story of heroes and villains, rich and poor, and the unfair empire against the noble farmers.

Our Opinion

Without disappointing, it does not quite impress or bring a new twist to the established style. While it is magnificent in all technical aspects, it leaves us craving for a new flavor, either aesthetically or narratively.

It’s perfect, but lacks the novelty factor.

Where to Watch “Rebel Moon – Part Two: The Scargiver”

Netflix

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The song Bling-Bang-Bang-Bang-Born, by the duo Creepy Nuts, number 1 in Japan this week

“Bling-Bang-Bang-Born” is a high-octane hip-hop track that took the world by storm in January 2024. This electrifying song, created by the Japanese hip-hop duo Creepy Nuts, gained immense popularity both in Japan and internationally.

Released on January 7, 2024, as a digital single and later as a double A-side CD single with “Nidone”, “Bling-Bang-Bang-Born” quickly captured the hearts of fans with its catchy beats and powerful lyrics. It also served as the opening theme song for the highly anticipated second season of the popular anime series “Mashle: Magic and Muscles”. The combination of Creepy Nuts’ unique sound and its association with an anime series led to an explosion of hype for the song.

The success of “Bling-Bang-Bang-Born” didn’t stop there. It became a massive hit, topping the iTunes hip-hop charts in over 30 countries and reaching #2 on Apple Music’s Global Chart. This unprecedented achievement solidified Creepy Nuts’ status as rising stars in the hip-hop industry.

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The song “Fate” by the group (G)I-DLE is Top#1 this week in Korea

K-pop group (G)I-dle took the world by storm with their second studio album, “2,” which was released on January 29, 2024. Among the many tracks on the album is “Fate,” a unique and infectious song that showcases the group’s versatility and creativity.

Written and produced by (G)I-dle’s leader Soyeon, with additional composition and arrangement from Pop Time, Dailly, and Likey, “Fate” stands out as one of the standout tracks on the album. Its genre can be described as a fusion of pop-punk and funk, with hints of inspiration from 2000s J-pop. The result is a catchy and dynamic sound that will have you dancing along in no time.

The Korean title of the song is “나는 아픈 건 딱 질색이니까,” which translates to “Because I hate being sick.” This title reflects the lyrics’ theme of rejecting negative emotions and embracing positivity in life. In Korea, it is also sometimes referred to as “아. 딱. 질,” which adds a playful element to the title.

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