Joan Baez: I Am a Noise—A documentary about the American folk singer
I Am a Noise sheds relatively little light on Baez’s artistic and social development, and what light it sheds on her inner life seems distorted.
I Am a Noise sheds relatively little light on Baez’s artistic and social development, and what light it sheds on her inner life seems distorted.
“The Palestinians have been caught up in a struggle against colonialism, imperialism, so that we are talking about class, the class interests of the capitalist class—oil and finance—and opposition from the working class.”
On its second album without the drummer who helped define it, Sleater-Kinney seems enervated and uninspired.
Steve Hackett, the internationally acclaimed progressive rock guitarist and former member of the band Genesis, performed Foxtrot at 50 with his band at the Kalamazoo State Theater on Saturday night to an enthusiastic audience.
Their overriding message is that the critical experience of class struggle in post-war Britain was essentially a tragic misunderstanding. However heroic and self-sacrificing the miners’ actions over their year-long strike, the escalation was regrettable, and moderation could have ensured the industry’s managed decline.
Creator/director Christopher Storer based the film’s setting on a childhood friend’s restaurant, Mr. Beef, in Chicago’s River North neighborhood.
The real relationship of forces, above all the role of the working class, is missing from this account.
The sustained effort to avoid any reference to traumatic events, such as the ongoing genocide in Gaza, degrades and demeans the artists and their efforts.
I Am a Noise sheds relatively little light on Baez’s artistic and social development, and what light it sheds on her inner life seems distorted.
“The Palestinians have been caught up in a struggle against colonialism, imperialism, so that we are talking about class, the class interests of the capitalist class—oil and finance—and opposition from the working class.”
The recent Berlinale presented a series of German films from the postwar period as part of its annual Retrospective with the title: “An Alternate Cinema—From the Archives of the German Cinematheque.”
Nolan’s work has now been seen by well over 100 million people in dozens of countries, resulting in some $1 billion in box office revenue. It has collected 333 film awards internationally.
I Am a Noise sheds relatively little light on Baez’s artistic and social development, and what light it sheds on her inner life seems distorted.
On its second album without the drummer who helped define it, Sleater-Kinney seems enervated and uninspired.
Steve Hackett, the internationally acclaimed progressive rock guitarist and former member of the band Genesis, performed Foxtrot at 50 with his band at the Kalamazoo State Theater on Saturday night to an enthusiastic audience.
More than 100 music acts have withdrawn from SXSW, the largest music festival of its kind, in opposition to sponsorships by the US military and defense contractors responsible for the Gaza genocide.
Perhaps half the pieces are coming-of-age stories, that lyrical standby now usually written in a gritty but still rhapsodic voice.
David Marr’s Killing for Country documents many mass killings of indigenous people but falsely blames the entire population, not the ruling class and Australian capitalism.
The documentary follows the writer from his boyhood in the 1930s through his service during World War II and throughout his tumultuous literary, journalistic and personal life.
No doubt Kundera bore responsibility for his own art, his own development and his own mistakes. However, the greater, deeper blame for his unhappy trajectory and fate lies above all with Stalinism.
One of his most accomplished works is Omar, a 2013 film about a young Palestinian baker (Adam Bakri) who becomes involved in complex political and moral matters.
“I strongly denounce state-sponsored witch-hunt and prosecution against artists and activists who have come forward against Israel’s genocide.”
Department of Defense interventions into American entertainment media is to “get people acclimated to the presence of military personnel, military bases, military operations, and weapons… normalizing the presence of the military in almost every aspect of life.”
The WSWS recently spoke to filmmaker Nadav Lapid, director of Ahed’s Knee, on a video call.