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Tag: Things We Love (71-80 of 97)

'Say Anything' turns 20: Cameron Crowe's crazy story behind 'In Your Eyes' and Lloyd Dobler's boom box

Prepare yourselves, hopeless romantics: To commemorate today’s 20th-anniversary edition Blu-ray and DVD re-release of Say Anything…, Twentieth Century Fox will be “Mobler”-izng (apparently “mob” + “Dobler” = “Mobler” — and yes, I agree it’s a stretch) a veritable army of Lloyd Dobler lookalikes to descend upon New York City’s Times Square later today, boom boxes outstretched and hearts worn proudly on their trench-coated sleeves. Clever? Yes. Original? Hardly!

In last week’s issue of EW, I wrote of my own life-imitating-Lloyd moment to get my high school girlfriend back, which coincided with the original release of the movie two decades ago.

Today’s publicity stunt will also have over-the-emo-top-named band the Lloyd Dobler Effect playing an acoustic version of Peter Gabriel’s “In Your Eyes.” What it will not have, but which I have here, is the full story from Say Anything‘s writer and director Cameron Crowe on how the scene and song came together to create the iconic John Cusack moment (and, um, eventual shameless PR stunt).

ENTERTAINMENT WEEKLY: How did the scene come about? It’s something that could have gone terribly awry, but instead is incredibly endearing and iconic and lasting. Did you just write “lifts boom box overhead”?

CAMERON CROWE: Yeah, and the music wafts down the hillside, I think was what it was. I was supposed to, not that it’s such an epic event, but I just remember the day that I was waiting to go somewhere; we were in Seattle and Nancy [Wilson, Heart guitarist and Crowe’s wife of 23 years ] and I were late to go someplace and I was ready to go and she needed some more time. I had been writing, and it’s that great thing of like, “Thank goodness I don’t have to work on this any longer and try and solve this problem because I’ve got to go.”


Florence + the Machine in concert: The Brit sensations turn Bowery into church of rock 'n' roll

You know you’re at a great rock show when there’s a harpist reeling and rocking onstage just as hard as the guitarist.

Such was the mood of wild-child artiness last night at New York’s Bowery Ballroom when Florence + the Machine pummeled the audience with their forceful brand of indie soul.

Even before the British buzz band took the stage, opening act Holly Miranda thrilled the crowd by bringing out surprise guests Nada Surf (yeah, all three members) to be her backing band. The alt-rock favorites provided some easy-going muscle to Miranda’s mournful sound, contributing vocals on some numbers and even playing their own “Killian’s Red” with Miranda’s support.

Excitement levels stayed high between sets thanks to celebrity fever: Someone in the crowd noticed Penn Badgley from Gossip Girl (seriously, omfg), and the sight of him hiding in the wings incited a flurry of iPhone picture-taking activity.

When Florence Welch herself finally glided onstage, her ethereal presence transformed everything. Wild red hair stood out in stark contrast to her wispy white gown, and her whole countenance gave everything a vaguely spiritual quality. The plastic Christmas lights strewn around the stage suddenly brought to mind vocational candles in a cathedral, and the granny drapery behind the band suddenly seemed elegant and baroque.

She basically covered Lungs in its entirety, including takes on “I’m Not Calling You a Liar,” “Hurricane Drunk” and “Dog Days Are Over,” and by the time she dove into the crunchy rave-up “Kiss with a Fist,” it was obvious Welch was just as adept as playing the rock and roller as she was the gospel diva. Flailing around—or as she called it, “wigging out”—and conducting her band with lithe hand motions, Florence Welch gives the impression that she is as much a force of nature as she is an artist.

Not to say she ever truly let loose—actually, her McCartney-esque goofball charm wouldn’t be out of place in a British music hall. But her art—her commanding voice, her yearning songs of redemption—is as elemental as it is exciting, leaving one with the feeling that Florence + the Machine is a band that will be with us for a while.

More from EW’s Music Mix:
‘New Moon’ soundtrack outsells Tim McGraw on the albums chart
‘Juno’ director Jason Reitman’s ‘Up In the Air': Hear his hand-picked soundtrack star here

Norah Jones’ ‘Chasing Pirates’ video: Oh captain, my captain
Adam Lambert’s outre-space ‘For Your Entertainment’ cover

CMJ Music Fest: Indie's 'next big thing' bands do NYC

CMJ’s Music Marathon wrapped up late this Saturday night, marking a soggy end to a thrilling week that featured hundreds of up-and-coming indie bands playing the New York City concert circuit.

Britain’s minimalist pop quartet the xx were the reigning buzz champions of the festival, and their live shows did nothing to quell the fervor surrounding them. This group of lovelorn 20-year-olds specializes in a quiet brand of pop that eschews typical indie sonics in favor of quiet storm R&B production sheen. The co-ed lead vocalists— Romy Madley Croft and Oliver Sim—straddle the line between lo-fi breathiness and Top-40 soul.

In spite of the softness of their music, the xx’s unexpectedly gorgeous genre-alchemy is one of the more exciting things on the scene today and audience reactions backed this up: the crowd’s whoops of approval easily exceeded the volume of anything on stage. Check out some fan footage of the xx playing the Music Hall of Williamsburg below (as well as more CMJ coverage after the jump):


Paloma Faith: Don't cry 'Amy Winehouse rip-off!' just because she's awesome

paloma-faith_lUpon hearing smoky-voiced British import Paloma Faith, it’s a natural first reaction to want to compare her to Amy Winehouse. Much like her beehive-wearing colleague, Paloma’s got that woeful, soulful style that—unlike so many artists out there today—makes you actually feel something. But I’d urge you to ignore the whole Amy Winehouse allegory. This j’adorable chic stands on her own.

You see, thanks to a mix a friend put together (thanks again, Ru!), I recently happened upon Paloma’s haunting single “New York,” and it simply blew me away. This lady can sing, wailing through this tune that seems to chronicle a lover choosing the world’s greatest city over her. The opening and closing of the song are fairytale sweet with their childlike music-box chords. But it’s her soaring voice that made my hair stand on end. Her delivery is, in a word, intoxicating.

The first time I listened to “New York,” I was walking down bustling Seventh Avenue here in NYC, so I thought maybe the in-the-moment circumstances were altering my experience, and, thus, making me love it. But I tested the song elsewhere: “New York” stands up on the subway, in my apartment, and waiting in line at Uniqlo. Basically, everywhere.

One thing that surely sets Paloma apart from Winehouse is her delicious style, which finds her donning everything from bunny ears to the flirty get-up above. And her video for “New York,” which you can find after the jump, illustrates that even further, with her in the most gorgeous, strapless bowling-inspired dress. Her hair, too, while also an attribute comparable to Winehouse, sure is divine.


Steve Martin wants you and your dog to make a music video

What’s up with musicians and dogs this week? Yesterday we found out Ryan Gosling is using his balloon-hungry hound to promote his indie band’s tour, and now Steve Martin enters the celebrity-canine-music marketing triangle with a contest challenging fans to make a video for one of the songs off his latest bluegrass album The Crow: New Songs for the Five-String Banjo.

Martin—who has been playing the banjo for over 40 years—wants you to film an amateur music video starring your pup(s) set to his song “Wally on the Run,” an instrumental hoedown he wrote in honor of his furry labrador friend Wally. Whoever he decides has the best video gets 1000 clams and the respect of the mutt-loving, banjo-pickin’ community. Check out this one-of-a-kind offer after the jump:


Raw and rare gospel: An EW exclusive from the Mississippi Nightingales

Mississippi-Nightingales_lOctober 27 marks the release of Fire in My Bones, a three-disc box containing nearly four hours of rare post-WWII gospel music, much of it previously unreleased — with proceeds going in part to benefit the New Orleans Musicians Relief Fund.

The set aims, according to its release, “to address and collect more neglected sounds from that era (and on to the present day) … Field recordings and studio tracks are all mashed together, with solo performances next to congregational recordings, hellfire sermons next to afterlife laments. This is gospel, which we must always remember translates as ‘the good news’ — as it has been sung and performed in tiny churches and large programs, from rural Georgia to urban Los Angeles.”

Listen to the Mississippi Nightingales‘ “Don’t Let Me Ride,” below:

More from EW’s Music Mix:
Melissa Etheridge on writing ‘Come to My Window': Exclusive ‘Chicken Soup for the Soul’ excerpt

Brian Wilson to complete unfinished Gershwin songs

Radiohead ‘definitely’ planning new album in 2010, says guitarist
Vampire Weekend give away new song

Los Campesinos!, 'There Are Listed Buildings': New single brings twee pop thrills

A new, beautiful Los Campesinos! song and video premiered today on the Welsh indie-pop group’s blog. The band says “There Are Listed Buildings” is the first single from their “forthcoming as yet untitled (as far as you know) album,” which will put them at three albums in about two years.

This single is a far more inviting than the last song they teased fans with—the spoken-word, avant-pop tune “The Sea is a Good Place to Think of the Future”—and brings back the life-affirming marriage of punk energy and twee songcraft from their 2008 debut, Hold On Now, Youngster…


Animal Collective take on Phoenix: Remix mania!

Remix fever—typically a contagion afflicting the realm of Top 40 radio—has gripped indie music. French disco-pop outfit Phoenix’s 2009 album—the acclaimed (and modestly-titled) Wolfgang Amadeus Phoenix—gets the remix treatment from some of the biggest names in underground music in a digital-only album due October 20 and includes reworked versions of album tracks by Animal Collective, Passion Pit, Friendly Fires, Chairlift, Devendra Banhart and Yacht.

Yeah, you heard right: Animal Collective. The band with one of the most-acclaimed indie releases of the year have taken on the biggest breakthrough band of 2009. Be sure to have a towel ready when you tell your hipster friend.


Bruce Springsteen to perform 'Born in the U.S.A.,' 'Born to Run,' and 'Darkness on the Edge of Town' in their entirety at last ever Giants Stadium shows

Bruce-Springsteen_lBruce Springsteen and the E Street Band will perform an entire album at each of their five Giants Stadium shows, according to Rolling Stone. Tomorrow Springsteen is set to play Human Touch, followed by Lucky Town on October 2 and then…

Ha! I jest, of course—though not about the Boss’ intention to run through an album on each night. In fact, Springsteen and crew will play Born to Run tomorrow, then Darkness on the Edge of Town (October 2), Born in the U.S.A. (October 3), Born to Run (October 8), and finally Born in the U.S.A. (October 9). These will be the last rock shows at Giants Stadium, which is set for the demolition at the end of the current football season.

Are you going to the shows? Or just bummed that you’ll be missing them? Is there anyone out there who actually would like to see Springsteen perform Human Touch from beginning to end? Let us know!

More from EW’s Music Mix:
Thom Yorke’s new band
Radiohead on the Music Mix
Britney Spears’ NSFW new single
Fool’s Gold: The Music Mix recommends
The Beatles’ “Lucy” dies at age 46

Photo credit: Solarpix/PR Photos

Wildbirds & Peacedrums: The Music Mix recommends

Last night, Wildbirds & Peacedrums—a married couple from Sweden who make folk music weird enough to match their band’s name—played New York’s Bowery Ballroom. Although they were the openers for Britain’s Fanfarlo, who performed a set of thumping Arcade Fire-esque anthems that justified their growing buzz, W&P were the evening’s focal point.

Like Björk or Kate Bush, it’s hard to imagine anyone else touching the strange, fantastic place these two Wildbirds tap for inspiration. And crazily enough, they relay their weird world using not much more than Mariam Wallentin’s soulful vocals and her husband Andreas Werliin’s tribal drumming. Check out one of their vids after the jump.


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