Sophie Allison's second new song this year comes to terms with the dissociation of life on the road.
Sophie Allison has experienced a whirlwind in the two years since her momentous debut Clean struck the indie rock world.
Her career might still be in its early stages, but Allison knows firsthand the crushing side effects of ceaseless touring. She hints at them on "yellow is the color of her eyes," Soccer Mommy's second new single of the year. The seven-minute epic is Allison at her dreamiest, her featherlight vocals backed by hypnotic, descending guitar riffs that feel more detached than the grungy spirit that permeated Clean. These aesthetics are a fitting backdrop for the story of "yellow," in which her fears of losing time culminate as she misses her mom back at home. As Allison sings of time escaping her, "yellow" invokes a similar lapse in time as its spellbinding pace drifts on.
Allison is proficient in catchy melodies and couplets, of which "yellow" contains plenty: "I'm falling apart over a memory / And the weight in my heart is getting too heavy / 'Cause every word is a nail that slips in slowly / And I can't hammer it down enough to keep holding." But even with her poppy roots guiding her, Allison still often embraces the grim and grotesque. She blatantly alludes to her mother's eventual death here—"Loving you isn't enough, you'll still be deep in the ground when it's done"—the type of sudden, wide-eyed realizations that comprise the best Soccer Mommy songs.
Allison is an endlessly sharp and stirring songwriter; and as the extended coda of "yellow" gives way to beguiling electric guitar and harp solos, it invites us to think about where time and life have escaped us, even at home.
The classic He-Man meme video stands the test of time as an iconic example of queer-coded art.
In December of 2005, Brokeback Mountain shifted queer-coded cinema into the mainstream.
Prior to 2005, "New Queer Cinema"––a term coined by film scholar B. Ruby Rich in Sight & Sound to define the queer-themed independent film movement, which focused on rejecting heteronormativity and concentrated on LGBTQ protagonists––existed on the fringe of the film world. It's worth noting that while the movement primarily refers to the boom in independent LGBTQ films from 1992 onwards, queer cinema existed for many years prior, albeit without a proper name. But regardless of nomenclature, New Queer Cinema was typically designated for niche audiences, relegated to arthouse showings at best.
There's a big problem with the trailer for Morbius, Sony's upcoming Marvel outing that is definitely not part of the Marvel Cinematic Universe even though it has Michael Keaton reprising his role as Vulture (please let us keep our license, Disney!).
See if you can spot it.
MORBIUS - Teaser Trailer www.youtube.com
If you answered, "Sampling Beethoven's 'Für Elise' to line up with blue-tinted action shots is the absolute lowest effort, brain-dead attempt to signify 'gothic vampire movie' in the entire history of movie trailers," you're correct, but that's still not the biggest problem with Morbius. No, the biggest problem is that Morbius is played by Jared Leto.