In June of 2022, Baz Luhrmann’s Elvis biopic was released and took theaters by storm across the nation.  Both loved and criticized by many, the movie received a 77% on rotten tomatoes and made $151 million at the box office.  Luhrmann’s directing and Austin Butler’s acting joined in depicting the fantastical and abominable Presley, cutting and splicing his story to create a work that is undeniably doting of the “King of Rock and Roll”. Regardless of whether you found Luhrmann’s depiction of Elvis admirable or absurd, the soundtrack certainly was something to turn over in your mind a few times hours after watching the movie. Along with the expected original Elvis tunes in the soundtrack, a jumble of featured artists, many of which who’ve been made famous or gained a resurgence through Tik Tok, are strewn around the tracklisting. From the likes of Doja Cat and Eminem to Stevie Nicks and Kacey Musgraves. Baz Luhrmann called, he said to leave your expectations at the door.

Elvis, or more so his ghost, enters the building with a drowned-out clip of “Suspicious Minds”, which comes and goes throughout the movie. Just as the viewer is getting ready to travel back in time and immerse themselves in the era of Elvis, Doja Cat’s “Vegas” sounds off to remind you that nothing is safe from the Tik Tok effect; not the music industry, nor the film industry, and definitely not even you. I love “Vegas” just as much as the next guy, the song itself is catchy and dynamic, but the song is sloppily forced into the Beale Street scene.

Take Big Mama Thornton’s original “Hound Dog”, which starts off slow and sultry but quickly picks up, put it in “Vegas”’s place, and it makes for a much more fitting and cinematic scene. After all, a big portion of the movie is about the great blues and soul musicians that influenced Elvis, so including material written and performed by artists like Big Mama Thornton, BB King, Fats Domino, and Little Richard would seem to create a more authentic soundtrack to the storytelling of Elvis Presley’s life. However, while initially watching this movie and being slightly annoyed by the lack of relevant music, I had to remind myself that not every biopic can be the clean-cut period piece that I wish it would be.

Followed by Doja Cat’s “Vegas” is “The King and I” by Eminem and CeeLo Green, which was the exact moment that I went from slightly annoyed to just disappointed. The irony of including a white artist who benefited from black music and culture in a soundtrack dedicated to a white artist who from black music and culture singing about just that; benefiting from black music and culture. More than the irony of it all, I just didnt like the song, plain and simple.

I did, however, really like a lot of the remixed Elvis originals that followed in the movie like the “Dont Fly Away” PNAU remix, “Product of the Ghetto” which features Nardo Wick, “Summer Kisses/In My Body”, and the Tame Impala “Edge of Reality” remix, all of which contributed to the cinematography and were seamlessly inserted into the film. Though, I do stand by the fact that I found some modern touches unnecessary, like the remastering of “I Got a Feelin’ in My Body”, which is already a banger on its own. I enjoyed the haunting effect that the “Craw-Fever” mashup brought to the already stress-ridden and crazed scenes showing the rise of Elvis.

Kacey Musgraves’ rendition of “Can’t Help Falling in Love” is lovely yet somber, certainly bringing weight to the scenes depicting the trials and tribulations of Elvis and Priscilla Presley’s marriage which the original never could’ve. Being that Musgraves plays Priscilla Presley, it also adds perspective and further contextualizes the scene. Its a great touch and feels like a natural addition.

Lastly, I enjoyed the renditions of originals by Big Mama Thornton, Little Richard, and Sister Rosetta Tharpe, performed by Shonka Dukurah, Les Greene, and Yola, respectively. I thought these reproductions maintained the authenticity of the roles they contributed to while providing great opportunities to modern talent.

There’s more to say both positive and negative, after all it is a movie with a playtime upwards of two and a half hours. I’d rather end this review off on that final high note though. Overall, I found that the soundtrack lent more to recent trends within the music industry rather than the influences of Elvis and the music relevant to his rise to fame. Sure, this could push the message of what a great mark Elvis left on the music industry. The movie wasnt about who his music would go on to influence, though, it was about his life and his rise to fame. The Elvis soundtrack wasnt the worst soundtrack Ive ever heard, but it definitely was all over the place and did not live up to the hype.

The post The Elvis Movie Soundtrack: Disappointing and Underwhelming appeared first on SCAD Radio.

When you think country music, you probably think of redneck, middle of nowhere, dudes singin’ about beer, trucks, and girls. Yes, that seems to be a big trend amongst male country artists as a whole. If that’s your taste, far be it from me to tell you not to listen. However, some of us avoided listening to or even acknowledging the more favorable side of country music because of our initial impression of the genre.

I grew up on the Maryland-West Virginian border, so my childhood was a challenge to avoid country music. Every town event, local restaurant, or sports game was a typical place for those rootin’ tootin’ tunes to be heard. In my efforts to be “different”, I proudly announced my disdain for the sound. However, I’ve done some self-reflection since then and made a few discoveries.

What is considered country music? There is a huge divide among opinions. Some believe that hybrid genres, such as country-pop, isn’t country while others stand firm that country is anything with a southern twang to it. I want to raise the idea that country music is a much more diverse genre than we have expected it to be in the past.

I have a firm belief that there is at least one song for everyone in every genre. So, in a dry spell of new music and a nagging for curiosity, I decided to do some exploration into the one I previously despised.

By no means am I claiming to be well-versed in country as a whole, however, I’d like to say that I’ve officially dipped my toe into the waters. Let me get this out of the way: I am a Swiftie. I started there, with Blondie herself. On a normal day, I stuck exclusively to her stuff post-Speak Now era. I heard her earlier albums before, but never paid them any mind and decided I’d do a close listen of them.

It was then that the door opened for me to Kacey Musgraves’ older work, Dolly Parton, and The Chicks. I understand these are the more widely accepted artists in country music since they double with pop, but it was all completely new to me. There are plenty of musicians out there who go beyond our standard idea of the genre.

I understand that my week of venturing out into this genre is limited to the artists I felt were a safe bet when I gave them my first listen. I’m not a connoisseur of country, not by a long shot. However, I tested my theory and proved myself correct in one regard: there is something for everyone in every genre. Now, I ask you to do the same. What is one genre you have avoided? The one you claim to loathe or simply have a disinterest in? Go listen to a few songs, pick an artist, and hit shuffle. You never know if you don’t try.

Who knows, you might even buy your first pair of cowboy boots because of it.

The post A Retrospective: Everything AND Country Music appeared first on SCAD Radio.

The third track was the first that stuck with me most: “Hold Me Tight or Don’t”. It has this very funky reggae dance style, making it an interesting tune for the band. I interpret it as a song about being hooked on someone while high. The song that comes on right afterward is “Wilson (Expensive Mistakes)”, which is probably the most pop-sounding track in the collection. It’s about living the rich expensive life of a rockstar, but still not getting the attention from that one girl you want.

The 6th track “Heaven’s Gate” is a wonderful jazzy love song. I can see this as a perfect slow dancing song you would play at your high school’s winter formal. As I previously mentioned, the band’s main demographic is teens and I’m surprised it took them this long to write a love ballad like this.

Although the rest of the album is interesting to listen to, and I enjoy most of it, “Young and Menace” is possibly my favorite. It’s an ethereal track that starts off with a very mysterious tone and evolves into this mix of boisterous mix of shouts, dubstep and rock and roll that makes you want to start a protest. I don’t even know what to protest, but I’m too pumped to just sit there, I have to protest something. The best line is on the bridge: “Oops I did it again, I forgot what I was losing my mind about (…)”. It almost seems like he’s parodying the youth of today: constantly getting angry and often not knowing what we’re arguing about. Some other great catchy tunes in this album are “The Last of the Real Ones”, “Champion”, and “Sunshine Riptide”.

I’ve noticed this album seems to have a lot of mixed reviews, from fans and critics alike. As I said, it has very different mixing of sounds from the band that may or may not be appealing to their regular audience. I, however, find it to be a refreshing new take from a band I thought had lost their touch.

The post Has Fall Out Boy Sold Out? Not yet. appeared first on SCAD Radio.

Fortunately, one of Twin Fantasy’s many brilliant qualities is that it indulges and hints towards both readings, as it’s an album about both the joy and heartbreak of aligning yourself too closely with another person.

The album’s subject matter oscillates between the life-affirming and soul-shattering moments of a relationship, as singer-songwriter Will Toledo jumps back and forth in time to give us the full picture of its formation and subsequent destruction. The number of layers in this thing is truly astonishing, as the album pulls you in further and further with each listen. First off, there’s the title: Twin Fantasy. This clearly alludes to the act of being in a relationship – but also the unlikeliness of relationships between young people ending in anything other than heartbreak – in other words, a fantasy. It also pokes holes in what people look for in relationships – some look for a friend, while others consciously or subconsciously look for a reflection of themselves – their twin.

Then there’s the tracklist, with all of its diametrically opposed couplets (the first track, “My Boy (Twin Fantasy)” is reflected by the last track “Twin Fantasy (Those Boys),” as are “Sober to Death” and “High and Death”). In “Stop Smoking,” the narrator implores his boyfriend, “Stop smoking, I love you.” By the time “High to Death” rolls around, the narrator is so hopelessly broken he tells him to “Keep smoking, I love you.” This combination of genuine sweetness and self-destruction is what makes this album such an unnerving, intoxicating and emotionally cathartic listen.

Plenty of artists have tried their hand at adapting adolescent confusion into a song, but few have ever done it quite as successfully as Toledo does on Twin Fantasy. When I listen to it, one of the many things that stand out to me is its maturity and wisdom – in that Toledo is wise enough to know that he’s completely out of his depth. There aren’t many motivational platitudes here. In their place is a full-blown account of someone grappling with their identity, their sexuality and the amount of cruelty they are willing to either receive or inflict on another person. Toledo’s just as confused as the rest of us, which is demonstrated by the fact that he wrote this album while in a relationship. This potent mixture of autobiographical and universally relatable storytelling is what gives this album its soul, and makes it more than just a futile exercise in witnessing someone’s self-destruction.

Few albums contain anything approaching the ecstasy of the chorus of “Bodys” or “Famous Prophets (Minds),” the nerve-shattering dread of “Beach Life-in-Death” and the precocious naivety of “Nervous Young Inhumans.” If you love this album, you’ll know that this is a piece of work that is truly felt and absorbed on a deeper level than pure sonic appreciation. Yes, it is just an album, but boy does it feel like a lot more than that.

Luckily for those of you who haven’t listened to Twin Fantasy before, now is the perfect time to experience this indie rock classic. It’s not currently available to stream, but for a very good reason. Car Seat Headrest has re-recorded the album and are releasing it on February 16th, after which the original album will again be available on streaming services and as a Record Store Day-only limited edition vinyl in April. In the meantime, you can listen to it on both YouTube and Bandcamp.

From the sound of the new versions of “Beach Life-in-Death” and “Nervous Young Inhumans,” they sound like the songs that Will Toledo always wanted to make but didn’t have the resources for. Time will tell whether the new version can live up to its predecessor’s legacy. I for one am anxious that the glossy re-recording will rob the album of some of its intimacy, yet some songs really do suffer from washed-out vocals (an effect that Toledo admits to using in order to hide his lyrics out of insecurity), and now we’ll be able to absorb them in real time as opposed to having to read his beautifully frank and literary lyrics on the internet. To which they are absolutely worth seeking out. Some speak to the universality of the need to avoid conversation (“As long as we move our bodies around a lot / We’ll forget that we forgot how to talk”), others suggest that the problems we attribute to the actions of others were a part of us from the beginning (“We were wrecks before we crashed into each other”), but each and every song is densely packed with texture, feeling and catharsis, either through the prompting of laughter or sadness.

All in all, Twin Fantasy is the album that every teenager with a bottomless well of ambition and a cheap setup dreams of making. Amazingly, its reach never exceeds its grasp, which is even more remarkable when you consider that Will Toledo wrote this album at the ripe old age of 19. I’m happy that with this re-release more people will be exposed to this great album (as I was just under a year ago), but please do yourself the favor and listen to the original version for yourself. I vacillate constantly on whether I prefer this album to Car Seat Headrest’s other indie rock classic Teens of Denial (2014’s excellent How to Leave Town is firmly in third), but it’s an hour of your time that’s extremely well spent.

There is so much truth to this album. It’s about how we can disassociate from ourselves and look for little fragments of our personality in other people. It contains the single most accurate lyrical depiction of depression (“It should be anti-depression / As a friend of mine suggested / Because it’s not the sadness that hurts you / It’s the brain’s reaction against it”). It acknowledges the inherent creepiness and romance of dedicating yourself to another person. But most importantly, it’s about the irrepressibility of feeling, and that no matter how definitively you move on from your past you will always be a scarred, altered version of the person you used to be. It’s through this universality that the album achieves its replayability. The narrative never really ends, as it folds back in on itself – trapped in a fantasy of its own making. The last repeated refrain – “When I come back you’ll still be here / When you come back I’ll still be here” – is a direct contradiction to words said earlier in “Beach Life-in-Death. Our protagonist is forever trapped searching for the very thing he knows is unobtainable. And so the cycle continues.

The post Revisiting Car Seat Headrest’s Twin Fantasy appeared first on SCAD Radio.

Known for her “no filter personality”, Bronx native Cardi B rose to fame through the varieties of social media, including Instagram and Vine. She then became a regular cast member on VH1’s Love and Hip-Hop reality show franchise.  There, she gained connections for her music and released several mixtapes and singles like “Foreva”, “Washpoppin” and “Lick” in 2015 respectively. It wasn’t until February 2017 when Belcalis Almanzar, (Cardi B’s legal name) got the recognition she deserved and had the number one single on the charts “Bodak Yellow”, which is arguably the most played song here at SCAD.

Appearing on talk shows like Jimmy Fallon and Wendy Williams, this Trinidad-Dominican made a name for herself in the music industry. Since then, she’s been seen on the cover of magazines, nominated and won several music awards, and featured in other artist’s songs like G-Eazy’s, “No Limit”.  Not only has Cardi B had a great year on the charts, but in the love department as well. As of October 2017, Cardi B and her rapper boyfriend, Offset, are engaged to be married!

Cardi B was doubted by many because of her lifestyle of being an exotic dancer and “no-nonsense” attitude. However, she has shown everyone that it doesn’t matter where you come from, you can still be the “biggest thang poppin’” if you stay true to yourself and your art.

The post Cardi B: The Year Of Accomplishments appeared first on SCAD Radio.

Regardless of your personal taste, everyone can appreciate a strong movie score. Different from the soundtrack, the score is the original music composed to set the mood. And there aren’t many genres that allow the freedom for experimental scores the same way horror does.

So whether you’re looking to get pumped for Halloween, something to listen to while reading a Stephen King novel, or something to fall asleep to—no one’s judging—here’s a list of top 10 horror movie scores that might be of some use.

10. Insidious (2010)

Composer: Joseph Bishara

The pluck, pluck, pluck, the distant whining—Insidious sets out to make you uncomfortable, afraid of what’s behind you,  (it’s probably that red-faced demon.) Its experimental cacophony of frantic strings and ghostly whaling dipping in and out is a textbook example of a score that supports whats on screen without distracting from the terror of the story.  It is both atmospheric and wildly entertaining on and off screen.

9. We Are What We Are (2013)

Composer: Philip Mossman & Darren Morris, Nick Garrie and Jeff Grace

A slow burn movie about a disturbed family of cannibals, We Are What We Are doesn’t require anything flashy. It excels at building dread.  With a gentle whirring, crickets, whispers, and a tragic piano, the soundtrack as a whole has such a strong sense of place. Where are you? You don’t know, but you’re standing in a field, overcast just after rainfall. Something’s wrong, but you can’t say what.  Less is absolutely more.

8. Nightmare on Elm Street (1984)
   Composer: Charles Bernstein 

A classic for a reason, Nightmare on Elm Street’s soundtrack posses all of the terrifying fun of the movie.  It’s 80’s synth-flare never stopped being blood-pumping, and—in today’s age of 80’s nostalgia—creepily charming, for the lack of a better word. Filled with surprises, you’re not sleeping. Which, of course, is the point.

7. The Exorcist (1973)

Composer: Various Artists

While some may say, “the scariest movie of all time” doesn’t hold up—which is arguably not true—The Exorcist soundtrack absolutely does.  It makes you wait,  playing with your anticipation. Every track ebbs and flows, confusing you. Understanding that the scariest part of horror is the unexpected, The Exorcist exploits it. Serving as inspiration for many of the scores on this list, The Exorcist simply does it best.

6. The Witch (2015)

Composer: Mark Koven

A slow burn in the style of We Are What We Are, albeit more successful, The Witch does not require anything flashy either. With inspiration from many of the scores before it, The Witch finds a way to seamlessly combine them while simultaneously fusing a historical sense of place with modern familiarity. Feeling as if something is toying with you, the soundtrack is haunting with its sudden clacking, melodies, and chanting. Somehow, it’s terrifying and beautiful.

5. Halloween (1978)

Composer: John Carpenter

Absolutely iconic, the score itself feels like October, trick-or-treating, watching horror movies in the dead of night. We can all recognize the theme, but every track shines. It begs to be listened to with it’s building dread, frantic melodies. And while its tropes are very familiar, its sound is so closely tied to the late 70s-80s style of filmmaking and the fun of slashers, it is uniquely its own. Nothing says Halloween like Halloween.

4. The Omen (1976)

Composer: Jerry Goldsmith

The Omen will instill the fear of God into you.  Something evil, stronger than us brews beneath every track. Frightening, twisted and demented, the score grows and grows to terrifying heights. Rightfully so, the Catholic motifs of the movie are infused into its score. With the occasional gentle track, the score itself flows like the calm before the storm, only to damn you to hell.

3. Amityville Horror (1979)

Composer: Lalo Schifrin

Possessing some kind of child-like quality, Amityville Horror’s score feels very much of its time. With almost playful ghostlike voices and piano, there is a dreadful curiosity. The entire score feels like the feeling in your gut as you descend the stairs to a dark basement. You know you need to investigate, but it just might kill you.  It is the musical embodiment of yelling at the screen, “Turn around!  Go back home!”

It’s a surprising choice for a haunted house movie, but perfectly fitting.

2. Suspiria (1977)

Composer: Goblin

Composed by Italian prog-rock group, Goblin, Suspiria morphs the Tubular Bells melody of The Exorcist with the disturbed whispers, chantings and the screaming of “Witch!” to create something uniquely horrifying.  It is an assault, frightful and demented. You are being dragged to hell as the skies open up to the heavens.  It is the cornerstone of horror scores. You simply do not feel safe.

1. It Follows (2014)

Composer: Disasterpeace

It’s hard to pick a score better than Suspiria, and while It Follows may not be “better,” it is most definitely different.  And in this case, different goes a long way.  While there isn’t anything revolutionary, It Follows stands out from the crowd of horror scores. It doesn’t set out for the scares–although it does excel–but instead captures a haunting coming of age. Feeling painfully familiar and odd, Disasterpeace has somehow managed to exploit a shared nightmare. It is a score absolutely worth listening to and picking apart.

The post Top 10 Horror Movie Scores appeared first on SCAD Radio.

The first show at The House of Strut was on October 6^th, headlined by relatively newcomer band Solo Collective. They actually played a show the night before at T.J. Tavern that I couldn’t go see, as it was a 21 and older show. Unfortunately, the night got cut short because it rained. On the bright side though, House of Strut bounced back on the following Friday of the 13^th of October for their first annual Psychedelic Night.

Some of the bands that played are as followed:

Solo Collective: consists of Regan Slater on bass, Terrance Boston on drums, Garrett Albury on guitar and singer-songwriter/virtuoso Morgan Lewis.  The band got their start last spring, playing a unique blend of soul, indie rock and contemporary hip-hop, which affectionately coined “Alternative Soul-Hop.”

Ranging in very diverse influences such as Otis Redding, Chicago, Nat King Cole and Kendrick Lamar. Due to some inconsistent weather on Savannah’s part, the bands set ultimately got cut short, as well as having to remove their opening act, but they made most of the time they had and put on a killer show filled with consistent grooves and oozing with sexual charisma.  We all got wet, but hey the gig was a splash! Be sure to hit up the band on Facebook.

The Sound Experiment:  A six-piece group based on Tybee Island, the band comes from years of individual training in music.  Their music has roots in classic American jazz standards but throw in mixes classic rock, funk and fusion. Lead guitarist Alex Bazemore, jokingly described their sound as “Acid Jazz”, stating that “It’s all about intelligence and recognizing your own intelligence so you can choose what to abandon creatively.”

Sound Experiment’s stage presence was quite remarkable, within the first two minutes of their set they managed to get the crowd moving and grooving.  The band had a surprise guest and fellow local musician Max Crisbin who played drums so that drummer/vocalist Timmy Brown could let his voice ring.  Needless to say, Mr. Brown was an excellent front man who channeled bits Michael Buble and at times a rap delivery similar to Matt Schultz of Cage the Elephant.  The standout section of their set however was the challenging energy that horn players Jeremy and Noah Prince brought, akin to the playing of Lou Marini and Steve Madaio members of Stevie Wonders’ original brass section.  Overall, The Sound Experiment were a warm welcome into what was to be a night of great music, check them out on their social media pages.

Partials:  I knew this band were something special when they kicked off their set with a cover of LCD Soundsystem’s “Us V Them”.  I became absolutely entranced by their set, it was filled with standout dance numbers both originals and covers.  They hail all the way from Athens, Georgia. Their current incarnation has existed for a year, with a degree of lineup changes.  Their influences range from Blondie, Talking Heads, New Oder, Radiohead and primarily tip their hats to LCD Soundsystem. Guitarist Jeff Porter explained that they band’s mission was to trace dance music back to its roots in genres such as afrobeat.  Their stage show consisted of mostly synth driven EDM, accompanied by driving bass-lines and the occasional cowbell, because we all know that’s the way Will Ferrell likes it.  Singer Adriana has a hypnotic and angelic quality to her voice, I don’t think of heard anything quite like it before, simultaneously she adds flavor to the rhythm section via cowbells and bongos.  I think it’s fair to say that Partials had a majority of the crowd dancing during their 15-20-minute set as well as a sense of festivity in the crowd.  Partials are releasing an EP on January 26^th. In the meantime, you can monitor their activities on the bands official Facebook page.

Xulu Prophet:  These guys could be considered veterans of the current Savannah music scene. Bassist Oisin Daly explained that the local scene goes through change every four years, due to the nature of Savannah being a college town, “There’s at least an entire summer where we’ve been one of the only live groups.”

Daly, the band’s lead singer, and drummer Rhett Coleman were all accomplished musicians in their own respect but they officially came together in early 2013. Ever since then they’ve been working hard and touring around country playing some very intense but insightful shows.  Xulu Prophets play diverse range of punk rock, reggae, jazz and 70’s funk influenced, kind of like a trippy Rage Against The Machine.  The bands live set was nothing short of awesome, bringing with them a healthy dose of energy and heavy instrumentation, as well as Xulu himself commenting on the importance of live music saying, “It’s a unique experience where it can change mentalities and break boundaries.”

If Xulu Prophet sounds like a group that excites you, then be sure to give their Facebook page a like.

Kilroy Kobra: Initially starting out as a solo project written and composed by lead singer Thomas Uribe, they’ve now become fully fledged touring band. Probably the only group to explore a more theatrical aspect and that’s no coincidence, as Kilroy Kobra had recently completed shooting a short film called Man of the World, in which the group constructs a visual narrative using a few songs off their latest release. The band’s sound is electrifying, playing of mix of 90’s r&b, with funk and fuzz rock tones. Their also open to more traditional Americana influences like Bruce Springsteen and Bob Dylan. But during my discussions with the group they lamented on the fact of having to put a label on their music, in fact Keyboardist Josh Seckman jokingly described it as being GENRE-lized!  For them it doesn’t warrant the creative freedom that they’ve been working towards for the past year, but Kilroy Kobra seem determined to overcome that struggle in whatever way possible, personally I can’t wait to see what that looks like. These have an awesome EP and film out called Man of The World, so be sure to give it a listen (and a watch). Also don’t be stranger, send the band some love on social media!

The post Rocking the House…of Strut appeared first on SCAD Radio.

At this time in my life, Tom Petty was not a significant figure. He was someone my parents listened to, not someone that graced my playlists that consisted of super indie bands and pop punk. Despite my ignorance of Tom Petty and basically all rock music during this time period, I was still very largely aware of his songs and his sound. Hearing a Tom Petty song at some point in your life is a guarantee. They are played over speakers in bars, drunkenly sung at karaoke, or blasted through our radios during throwback hour.

When I saw Tom Petty and the Heartbreakers, it was pouring rain. I was wearing a giant tarp poncho, trying to stay covered under a small pavilion. The stage seemed miles away, his figure barely recognizable through the rain and the blackness of the night. Still, there were thousands of people there. Everyone showed up for his performance. It was the last night of the festival, leaving him to be the very last act. Even with all of the rain and people there, everyone just had to see Tom Petty.

The crowd that night was fantastic. No song he performed went without the chorus of the crowd screaming along. Even with the worst of the conditions, with the rain and the mud and the darkness, nobody was miserable. It was a pure moment of happiness for all. I stood with one of my best friends and her family, singing along to the songs that I didn’t even know that I knew.

I miss that moment, I miss Tom Petty, and I miss the feeling of happiness he didn’t even know he was giving to me.

The post A Face In The Crowd: My Tom Petty Experience appeared first on SCAD Radio.

When a group of strangers witness a car wreck, they learn from the dying man of a treasure buried under a “W.”  The next three hours follows the ensemble racing each other to reach the money first.  So, here’s a map to help you follow the many storylines of It’s a Mad Mad Mad Mad World.

“Smiler” Grogan (Jimmy Durante)

It all begins with Smiler, a thief who crashes his car at the beginning of the movie.  As he lies on the rocks, surrounded by the strangers who witnessed his wreck, he tells them of $350,000 buried beneath a “W” in Santa Rosita Park.  Unknown to the witnesses, he’s wanted for a tuna factor robbery, and had been tailed by the police for years.

The Highlight

He literally kicks a bucket when he dies.

Captain T.G. Culpeper (Spencer Tracy)

At the end of his career, he’s leading the search for Smiler Grogan.  While trying to keep tabs on the witnesses as they lead him to the buried treasure, he struggles with keeping the peace between his angry wife and daughter.

The Highlight

With an exasperated and exhausted look, he holds two phones up to each other.  One line is his angry wife, the other is his crying daughter.

J. Russell Finch (Milton Berle), Emmeline Marcus-Finch (Dorothy Provine), and Ms. Marcus (Ethel Merman)

As great as Milton Berle is as the timid, “bad driver,” Russell, Ethel Merman steals every scene as his loud-mouthed mother-in-law, Ms. Marcus.  She can be summed up in a single Buddy Hackett line as Benjy, “May you just DROP DEAD!” Ms. Marcus is obnoxious, loud, forceful, and cutting. They hitch a ride with Lt. Col. J. Algernon Hawthorne (Terry-Thomas) who’s studying desert fauna, and together, the four make up what is possibly the funniest pairing of the movie.

When Ms. Marcus and Emmeline leave the men to go off on their own, they enlist the help of Emmeline’s brother and Ms. Marcus’ son, the mama’s boy, speedo-sporting, Sylvester (Dick Shawn).

The Highlights

Sylvester, speeding down a hill, his car soaring, wiping away tears and crying, “I’m coming Mama!”

Russell and Lt. Col. Hawthorne’s fist fight.  It’s not often that you see two people who have never been in a fight before fight each other.  Here’s a sneak peek: Milton Berle accidentally kicks a rock instead of kicking Terry-Thomas.

Melville Crump (Sid Caesar) and Monica Crump (Edie Adams)

On their second honeymoon, dentist Melville Crump and Monica Crump are the couple you would hate to meet on a cruise.  Flaunting his dentist credentials, Melville Crump is always trying to be in charge. Whether it’s creating a convoluted system of splitting the money between the witnesses, or trying to break out of a basement, Melville Crump is never the hero he wants to be.  At least he has a doting wife. I guess.

The Highlight

After paying a man to fly them to Santa Rosita in a rickety plane, Melville Crump nearly destroys the plane mid-flight while trying to kill a bug.  It starts out funny, but when his feet fall through the floor, it’s hilarious.

Dingy (Mickey Rooney) and Benjy (Buddy Hackett)

A pairing for the ages, the two friends were on a trip to Vegas when they got side tracked.  Their downfall? They decide to fly to Santa Rosita in a drunk millionaire’s plane. When they accidentally knock out the millionaire, it’s their job to keep the plane in flight.  Both Rooney and Hackett are comedy geniuses as they try to land the plane for what feels like—and probably is—the majority movie.

The Highlight

Air Traffic Control struggling to explain how to land the plane.  With the mic cable wrapped around him, the controller falls out of the tower, dangling by the cord, still trying to direct Dingy and Benjy to the runway.

Lennie Pike (Jonathon Winters)

The only witness working alone, he was driving a moving truck when the race began.  With the greatest character arc of the movie, we watch him transform from a reserved driver looking for some cash into a raving lunatic.  His first mistake was asking for the help of Otto Meyer (Phil Silvers), who abandoned Lennie after he was told of the treasure. His second mistake was confronting Otto Meyer at the gas station.

The Highlight

What started as an attempt to beat up Otto Meyer, quickly turns into a maniacal tirade as Lennie Pike destroys an entire gas station while trying to catch up to the two geeky attendants.  It’s entirely unmotivated with no context. It makes no sense. But oh God, it’s side-splitting funny. Just watch it, because you will never see a man lose it as badly as Lennie Pike.

It’s a Mad Mad Mad Mad World is a classic because it’s still, after all these years, it’s still a riot.  The cameos might not hold the same thrill as they once did, but that doesn’t matter. (Although, The Three Stooges cameo still gets me.)  It’s a farce, a comedic look at greed. Everyone’s insane, and everyone wants the money, but most importantly, there’s a little bit of all of us in the characters.  It gives us a chance to laugh out ourselves, which is a good thing.

The post A Map Map Map Map to “It’s a Mad Mad Mad Mad World” appeared first on SCAD Radio.

4 Things that Excited Me

1. La La Land, with 14 nominations, equalled the record previously shared by All About Eve and Titanic. It deserves every single one and even though it won’t win all of them, I wouldn’t be surprised if it equals or breaks the record of 11 wins held by The Lord of the Rings: Return of the King, Ben Hur and Titanic.

Here’s my review: http://scadradio.org/2016/11/04/la-la-land/

2. Hooray for diversity! While I’m not really a proponent of tokenism (as I feel that it can ultimately hurt the integrity of the very people that seek representation), it’s become incredibly evident over the past few years that the Oscars fail to recognize the diversity of voices and stories that are currently being told. 4 out of the 9 Best Picture nominees either starred or were directed by POC (and in the case of Fences and Moonlight, both), and 7 out of 20 acting nominees were POC. That’s a huge step in the right direction. #OscarsSomewhatDiverse, I guess?

Here’s my review of Moonlight: http://scadradio.org/2017/01/16/moonlight/

3. Although Arrival wasn’t in my top 5 films of the year (it’s hovering somewhere around the #10 spot), it’s wonderful to see an intelligent sci-fi film earn 8 nominations. I’ll touch on this film later when I talk about the snubs, but Denis Villeneuve is one of the most promising up-and-coming directors working today. I also would love to give a somewhat biased shoutout to its screenwriter Eric Heisserer, who I had the immense privilege of interviewing at the Savannah Film Festival.

Here’s my interview: https://www.youtube.com/watch?v=UvBW0iItlIk

Here’s my review: http://scadradio.org/2016/11/20/arrival/

4. Amazon made history as the first streaming service to have a film nominated for Best Picture with Manchester by the Sea. It’s a great film, equal parts darkly comic, tragic and heartwarming. Amazon also committed to giving the film a sizeable theatrical release (this strategy directly contrasts that of their closest rival, Netflix), and they’ve reaped the benefits as a result. Props to Amazon for identifying a quality piece of non-commercial film and giving it the push it deserves. They took a gamble by marketing the film based on spoiler-free trailers and positive word of mouth. It worked.

4 Things that Bummed Me Out

1. As far as I’m concerned, the biggest snub of the night was the Academy’s decision to not nominate Amy Adams for her stellar work in Arrival. Yes, the Best Actress field was stacked this year, but aside from Emma Stone, Adams was arguably the favorite to win. She gave one of the best performances of her career in Arrival, and has still somehow never won an Oscar, despite being nominated five times.

2. Another notable snub was Joel Edgerton for Loving, despite being up against far less stiff competition than Amy Adams. The film works because of Ruth Negga and Edgerton’s quiet, understated chemistry, and Edgerton expertly portrays a man trying to stay strong for his family in the face of unconscionable prejudice and hatred. He also sounds and looks completely unrecognizable.

Here’s our review of Loving: https://scadradio.org/2017/01/16/loving/

The post My Thoughts on the Oscar Nominations appeared first on SCAD Radio.