Sunday, February 27, 2011

Oscars 2011 Liveblog Coverage

Ah yes, here we are again: the celebrity feeding frenzy, the fever pitch of self-congratulatory back patting and grand professions on the nature of "the craft", the Super Bowl of awards shows:  The Academy Awards.  Can you feel the anticipation building?  Or are you already bored?  Are you as excited as I am that the biggest possible upset is some grand coup in which James Franco somehow sneaks ahead for the one nominated film I've grown to truly hate (yes, my feelings have solidified on 127 Hrs.).  Here we are: already an hour into the 90-minutes of red carpet coverage, repeating celebrities over and over with nary an interesting moment.  Thus far:  I choose Cate Blanchett as my sartorial favorite.  Then again, the television is cycling through the same celebrities over and over and over again.  They really don't give me much choice...  
7:15: I hate Matthew McConaughey.  He just drives me crazy.

7:18: Oh wait: True Grit's Hailee Steinfeld has a most excellent Marchesa princess gown. 

7:34: Alright, thus far the opening montage is pretty spectacular.  Dance of the brown duck?  Not bad...
also, Anne Hathaway's gown is the third in excellent sartorial choices.
     Also, that grandma bit was cute.  James Franco, it's too bad my grad school rejected you...

Achievement in Art Direction: Alice in Wonderland  (too bad the film sucked)
Achievement in Cinematography: Inception 


7:47: This man just referred to Christopher Nolan as "his master."  While I understand the context, imagining Nolan as anyone's "master" is a bit terrifying.  The nose, the hair, the jaw, the accent.  Please imagine Christopher Nolan wielding a bullwhip.

7:51: Kirk Douglas: the man, the myth, the earlobes!

It's taken over five minutes to get to this.  Finally:
Best Supporting Actress: Melissa Leo, The Fighter


7:59: Melissa Leo is freaking out wicked haaad, right?  Man, that's one way to guarantee she gets thrown on every memorable moment montage for the next century of film making.  Enough already.  You're going to knock over Kirk Douglas...one of those damn MTV video girls...Melissa...wash your mouth out with soap...

(Sidenote: M would like you to know that she is not pleased with the Art Direction/Cinematography awards.  Meanwhile, I would like you to know they knocked off 2 wins on my ballot...)

Best Animated Short: The Lost Thing
Best Animated Feature: Toy Story 3  -- big surprise.  big f*cking surprise.  yes, yes, it's an excellent film...but I'd honestly have preferred to see a non sequel score today.  Specifically: How to Train Your Dragon.  Ahem.  MM:  hush.  (Other M would like you to know that she's very displeased about this as well: "ugh Toy Story, I hate this shit")

8:09: I now can't shake this image of Christopher Nolan with a bullwhip and a Ben-Hur get-up lashing Leonardo DiCaprio and Christian Bale with the Inception score blaring and him screaming that "this isn't a dream! They can't escape!"  Then, Michael Caine walks up and says "Anne Hathaway isn't Catwoman, not a lot of people know that..."

Best Adapted Screenplay: Aaron Sorkin, The Social Network
Best Original Screenplay: The King's Speech


8:23: Does Anne Hathaway have to sing?  Oh wait, Franco is in a Marilyn dress, this just got good.  Too bad he didn't go with this classic:

8:25: DAME HELEN MIRREN.  Bow down.

Best Foreign Language Film (in which somehow I Am Love is not nominated, automatically making this category null and void):  In a Better World

Best Supporting Actor: Christian Bale, The Fighter  -- here comes the bloody huntsman, up to the stage, glad Charlie Sheen has caused everyone in Hollywood to completely forget his little Terminator outburst....wait....did he just forget his wife's name?

8:38: Let's talk about something more interesting while the Academy president does a lame PSA about how they're basically sucking face with ABC. Lemurs?  I've heard they're actually more closely related to humans than monkeys, which I choose to believe, because I can't stand monkeys...

Best Original Score: Social Network  (yeaaaaaaah Trent Reznor)


8:45: ScarJo's hair is dreadful.  Also: Matthew McConaughey is the worst. Ass hat.  Look at his ass hat face.

Best Sound Mixing: Inception
Best Sound Editing: Inception

8:53: James Franco kind of looks like a constipated wax figure sometimes.  Like, just really uncomfortable.

8:54: Text from the outside: "Kirk Douglas does a fantastic Dick Clark"

Best Achievement in Make-Up: The Wolfman.
Best Costume Design: Alice in Wonderland --this woman is big on personality, isn't she?  This is awkward.  Helena Bonham Carter looks like she's having flashbacks to The King's Speech.

9:01: I would much prefer if Dr. Spaceman (that would be Kevin Spacey for all those who don't live in my head) sang all the songs instead of letting Anne Hathaway or Gwyneth Paltrow or Randy Newman invade the stage.
     9:03: I really don't understand the appeal of Randy Newman.  This is just like "You've Got a Friend" the remix, right?

Best Documentary Short Subject: Strangers No More
Best Live Action Short Film: God of Love  
9:20: For the record, I've not seen any of these shorts, but I got both right on my at home Oscar ballot.  Take that Jake Gyllenhaal...

9:17: This montage might be the best use of autotune in a very long time...does he own a shirt? Why would he own a shirt?  I cracked up...



9:19: Please please please let Banksy go ape shit on Oprah....

Best Documentary Feature: Inside Job  (LAAAAAAME)


9:26: When did Billy Crystal become a Hollywood legend?  Whenever I see him, I just think: "Waiter, there's too much pepper on my paprikash..."
    9:28: Not that there's anything wrong with Billy Crystal.
     9:29: HOLODECK TECHNOLOGY.

9:32:  M. were you in that hotel in 2001 with Robert Downey Jr.?  In your Wonder Woman costume?  I mean, I never wanted to ask, I just sort of assumed...but now seems like a good time...

Best Visual Effects: Inception
Best Film Editing: The Social Network


9:42: I don't remember this song in 127 Hrs.
9:43: Is it some sort of requirement this season that Gwynnie has to sing at every live event?  She sounds like crap.  Seriously. Like the drunk, jilted girl who's went out because she's depressed and stumbled up to the karaoke stage when her friends weren't paying attention...

Best Original Song: Randy Newman, "We Belong Together"


9:55: When was the last time Halle Berry changed her hairstyle?  Also, am I the only one really bored by Halle Berry?

10:01: Anne Hathaway's newest costume change makes her look like a very elegant tube of gift wrap.

Best Director: Tom Hooper, The King's Speech
WHAT!?  UPSET!  No, seriously, are you kidding me?  How the hell does Tom Hooper sweep in an swipe that from David Fincher!?  Good lord that's so wrong...


10:06: I forgot all about that thing where Godard was like "I don't need you Academy..."  and he was, of course, right.  Why would Godard want a lifetime achievement award?

10:10: Wait, does this mean we don't get a montage lifetime achievement award?  I kind of like those...
    10:12:  I have this feeling like Annette Bening is just psychotic most of the time.
     ---- I'd kind of like to give the award to Michelle Williams, actually.
      -----But we all know that won't happen...

Best Actress: Natalie Portman, Black Swan  --- Wow, she's really going to thank everyone who worked the craft services table, isn't she?

10:19: I hate when actor types talk about their craft.  It's the most insanely pretentious thing I've ever heard.

Best Actor: Colin Firth, The King's Speech  --- In all seriousness: this should have been the second year running for him. He's experiencing stirrings...

10:31: Michael Caine says, "Steven Spielberg is actually the Supreme Dance Commander Emperor of Hollywood, not a lot of people know that..."

Best Picture: The King's Speech

There go my high hopes of a sneak attack by The Social Network.  Well, at least it's my second runner up.  Hey guys, an excellent film actually won this year....

Sleep.

Tuesday, February 22, 2011

Mixtape: Hello, Pretty Pretty...




In which we galaxy trip beside a blind angel and coyly lose bits of our spacesuit on a mission to find Durand-Durand.  20-songs to put your psychocardiograms in perfect harmony.  Your name ain't pretty pretty, it's Barbarella


Saturday, February 19, 2011

The Day the Movies Died

Mark Harris has written an article for GQ you simply must read.  It's as clinically depressing an outlook on our culture as it is absolutely fascinating.  Now I want to protest or something, but I'm not sure who to blame.  Read it here, in its entirety, right now.

Thursday, February 17, 2011

The Illusionist


I am terrified of flying, really terrified, to the point where I go out of my way to avoid traveling to far off and mystical places or resolve myself to overdose on something for the trip. That may be why I love luxuriant films with beauty you can wallow in. Sylvain Chomet’s The Illusionist fits that bill perfectly, an animated travel log awash in soft pastels and tongue in cheek cultural jabs that are constantly eye catching. Without dialog, the tale of a struggling French magician as he wanders the Scottish countryside with a young barmaid is immersive and gorgeous. As in his other great film, The Triplets of Belleville, Chomet expertly creates real people out of two-dimensional drawings, paying close attention to things like the swinging, over-exaggerated hips of an anorexic French singer smoking a cigarette, or the big-nosed, ruddy complexion of a Scottish bar owner as he hiccups his way across the screen dancing a jig. Chomet captures the subtle difference between each person’s foot falls which, with their mumbled jibberish and grunts, all work together to make the film feel as full as real life or weave masterfully comic scenes, as is the case whenever the band below takes a step on stage.


But despite the bright colors and child-like wonder that Chomet easily spins, The Illusionist is darker at heart than Triplets, with an ending that many may find surprising. It leaves the adults in the audience with a feeling of camaraderie, that now it’s time to put away childish things and accept life for what it is--that it’s all an illusion. But instead of basking in the melodramatic sentimentality and a saccharine feeling of loss, there is a comforting acceptance.


While the mere experience of the film is enjoyable enough, at some point it takes too much time, luxuriates too much, and becomes boring, especially with the bland scoring by Chomet himself, which if done correctly could have produced a near perfect film. Because it is more straightforward than Triplets and contains more subtle invention than the outright scenes of the Triplets playing various appliances as musical instruments or of fighting the American mob to the point of silliness, The Illusionist feels like the less remarkable cousin, even though the films are entirely different in nature and context.

Sometimes though, a little yawning is the least of your problems and The Illusionist is easy to get swept up in despite the slow stretches.

Sunday, February 13, 2011

Yes, Really with Wilde.Dash #16: Patton (1970)

The usual caveat: Believe it or not, for someone totally obsessed with movies, I do a lot of selective editing, snubbing, and ignoring. That is to say: there are a whole lot of well-known movies I've actually never bothered to watch. I've spent a lot of time hunting down obscurities and not quite as much time seeing the movies you've probably been watching since you were 10 years old (for example: I decided maybe I should watch Saving Private Ryan in Winter 2008). Because of this, in conversation I frequently have this interaction. Me: "I've never actually seen that movie" You: "What? I've seen a movie you haven't?" Me: "Yes" You: "How have you not seen that movie?" Me: "I never wanted to" You: "Really?" Me: "Yes, really." Thus: Yes, Really with Wilde.Dash a feature in which I fill in my pop culture education, watch all the boring basics, and let you know whether or not I decided they were worth my time. Get it? Got it? Good.

Ladies and gentlemen, it has been awhile.  Today I realized that this feature was abandoned roughly five months ago.  That's an eternity in internet years, and brought much shame upon my house.  Over the past several months I've left several movies in the Yes, Really discard pile.  You've missed out on fresh reactions to Elf, Varsity Blues, Onibaba, and Splendor in the Grass, amongst others.  Now, of course, it's Oscar season, and the film year will begin anew like some cliche phoenix rising from the dust pile of Prince of Persia.  To get into the spirit of things, I picked up Patton, one of the dozen or so past Best Picture winners I've never seen, and the biggest "I really need to get around to watching that" contender in the bunch. 

What the collective consciousness knows about Patton is best represented via that iconic image of the general (portrayed by George C. Scott) speechifying in front of an American flag that fills the screen.  Up until earlier this week, that was all I'd ever seen of Patton, and from this I'd long gathered that that was really all there was to see.  Period.  Of course, as I knew going in, that whole scene is little more than the film's opener.  It's just the damn prologue.  So, in my complete lack of enthusiasm for military/war epics, all the past instances in which I'd attempted to watch Patton had culminated in me stopping the DVD for no reason other than simply not being in the mood.  I was disinterested, you see?  I mean, come on, one exhaustive monologue in and it felt like I'd barely bitten into the next three hours of my life...

Let me be perfectly frank: with few exceptions, I tend to avoid historically accurate battley battle movies for as long as possible.  I believe I've mentioned, for instance, how it took my until just a couple years ago to bother watching Saving Private Ryan.  Which was....good, but, you know, just...not my thing.  I've put some thought into why I'm so averse to war epics and have come to the conclusion that it may have something to do with the whole 'limited range of motion' implied.  No matter how artfully done a siege is, when you've got a 30 minute scene of dudes firing at each other and barking orders, it gets old fast.  Especially, you know, when it's not politically correct to stylize the violence.  Anyway, I watched Patton.  Good news: there aren't many literal battles.  Patton is about Patton.  And Patton?  Well, I'll reluctantly admit he may be a lot more interesting than imagined.  You see, whatever American history lesson I'd been treated to wasn't the one that included discussion of the celebrated officer as a sort of armored romantic taking his obvious autodidactic study of classics and poetry into battle with him.  This Patton, the love and rockets Patton?  I can go along with that Patton.

What I like about Patton is that he's got convictions.  He loves what he does, even if that's stomping the enemy to a pulp, but he can admire the methods of others in his field.  Patton is an artist whose medium is heavy artillery and mass destruction.  It's what he does.  If he can't do it, if he's excluded from doing it, it destroys him.  There's a swaggering cowboy, honorable samurai ethic to Patton, but also a penchant for theatricality.  Patton is an actor.  He grandstands and hollers and pours himself fully into his work.  There's nothing outside of strategy and battle for Patton.  He has no real personal life, seemingly no personal allegiances or friendships outside of an abstract notion of what he's there to defend or prevent.  He oscillates wildly between larger than life megalomaniac and the odd vulnerability of the historical romantic.  Here is where all of history connects with one individual.  Patton isn't part of the 20th century.  He's from a time when war was indicative of valor and the best soldiers were kings.  Patton doesn't know that things have changed.  He doesn't seem capable of reconciling the congruities between the ultimate evils of war with his own actions.  The result is that the film is more of a character study and the final message is one shrouded totally in ambiguity.  What does Patton reveal?  The charismatic individual in the midst of war?  The heroism of combat?  Or, does it peel back the facade to display the realities of what the individual must believe to enthusiastically commit such atrocities, the delusions one must have to fall victim to gung-ho WWII nationalism?

Mixtape: The Wicker Man

The Wicker Man 1973

Sunday, February 6, 2011

Wilde.Dash's 15 Best of 2010

Better late than never, I suppose.  I'll be perfectly honest, I delayed the publication of this list until I finally got a chance to see Never Let Me Go, a movie I failed to catch in its theatrical run.  As all of the elements continue to conspire against me when it comes to actually getting to see this movie, I've decided to suck it up and just post my best of list for 2010 as is.  Perhaps when my time comes, Never Let Me Go will make the cut, perhaps not.  We'll just have to wait and see.  No matter, these are good anyhow...

15. DogtoothDogtooth ranks because it managed to actually surprise this jaded movie freak and make me squirm a little bit.  It's an absurdly risky film on a number of levels, and is a flat out success in merging pitch black comedy with ick factor discomfort. 

14. True Grit: True Grit is an old school Hollywood western tricked out with a fancy script and top-shelf performances by actors, not cowboys.  It's a compelling revenge adventure for the ages, with a little bit of something for everybody.  Honestly, there's really no way to not like True Grit in one respect or another...

13. Youth in Revolt: I don't get the Michael Cera backlash, personally.  It seems to me that Cera's actually doing great work, and is generally fantastic (Year One aside) at picking and choosing his projects.  He's gotten himself associated with some of the most original comedies around, and Youth in Revolt is a pretty great take on the teen rebellion comedy that manages to be as discerning and elitist as it is completely absurd.  We definitely need a film solely on Michael Cera's id.

12. Animal Kingdom: Damn, it does not feel good to be a gangster.  Even so, Animal Kingdom is one of the best gritty crime dramas around.  Step off, Hollywood overproduced mob flicks, Aussies on a limited budget will swiftly remove you from the picture.

11. How to Train Your Dragon:  After a second viewing of what is undoubtedly Dreamworks' one and only real classic, I have determined two things:  1. This movie really is much better than Toy Story 3 and 2. As such, it's definitely deserving of a place on this list.  Yes, I'm conceding.  Dreamworks is capable of making something beautiful, lasting, and almost completely devoid of piss poor pop cultural references. Well played.

10. Please Give:  When I saw Please Give, I don't think I ever would have guessed that it would have stuck with me.  Yet, some months later, I've found it has.  Maybe it's Catherine Keener, maybe it's just the impeccable construction of what's otherwise a small scale story. 

9. The Kids Are All RightThis smart and savvy film feels like a healthy, well-balanced brunch with good natured relatives.  There’s a heaping dose of humor between the bitter bits of regret and melancholy, and while the characters make mistakes, it’s easy to see past their flaws and forgive them; to believe that ultimately, the kids (and the adults) will indeed be alright. 

8. The Fighter: Boxing is the best sport for translating to film.  That's a statement of fact and not up for debate.  Case studies A and B: Raging Bull and Rocky.  Case study C?  The Fighter.  Fantastically human without succumbing to silly overdramatics, The Fighter doesn't discount story or character for scenes in the ring, and captures the comedic elements in the hardships of the Ward/Eklund clan. 

7. Fish Tank: With Fish Tank, UK director Andrea Arnold gave us a savage coming of age set amongst the stark industrial council flats.  The film makes hip hop dancing seem like the saddest performance in the world, and turns the screwed up technicolor teen world of Skins into an exercise in loneliness and futility. 
6. Blue Valentine: Fractured romance with a sucker punch of cold, hard reality, Blue Valentine delivered the powerhouse goods and found the beauty in a crumbling relationship.  Ryan Gosling and Michelle Williams find the right emotional components for their characters, forever falling back on the memory of what once was with the devastation of the present.  One hell of a tough love story captured in gorgeously saturated colors.

5. Black Swan:  While I certainly don't see Black Swan in quite the light the rest of society seems to (I'm just never going to believe this was built to be a serious drama), I would agree that the film is a jabber worthy trip par excellence and am pretty pumped that Aronofsky somehow managed to make Cronenbergian horror weirdness a must see spectacle for the usually reluctant public.  

4. The King's Speech:  The next stage of Colin Firth's emergence from the cocoon of romantic comedies and so much more.  The King's Speech is a biopic to be reckoned with, a quiet storm of deceptively engaging performances and wry wit.  If anything disrupts The Social Network's chances at Oscar gold, it will be the world rooting for Bertie and his bromance with Lionel Logue (Geoffrey Rush).

3. Scott Pilgrim vs. the WorldScott Pilgrim is the type of movie that makes me revert back into a 13-year old fangirl.  As soon as it's over, I want to start it again for a whole barrage of new reasons.  It's a sparklingly clever, visually dazzling, sonically bombastic experience that hits all the right notes and does not fail to spirit you away (without argument) into the Canadian hipster bizarro level the graphic novels inhabit.  The funniest (and just straight-up the most fun) movie of 2010.

2. I Am Love:  For the purpose of this list, I have chosen to push I Am Love into the position that might otherwise have been filled by Scott Pilgrim.  The reason being that where one is certain to be an undisputed cult classic, I Am Love will most certainly be canonized as pure classic.  In art house terms, on Criterion Collection levels, Luca Guadagnino's film is flawless.  It's moving in the way that reminds you film can be a poetry, in a way that sneaks up and surprises you with the emotional depth of its otherwise placid surface. Exceptionally beautiful, perfectly executed, and brilliantly acted, I Am Love is a recapturing of mid-20th century Italian cinema that manages to offer something new even as it mimics the masters.

1. The Social Network:  It's very possible that The Social Network will win Best Picture at the Oscars this year.  If that's the case, it will mark the first time my personal tastes and the Academy's have totally linked up in my lifetime (for the record, No Country is great, but it's no There Will Be Blood).  I love this film.  I love the way it completely transcends the trivialities associated with being "the Facebook movie" and makes it possible to forget that Facebook is a real thing, a thing you use every day.  I love the Sorkin script and the way it manages to round out its major and minor characters with single lines.  I love the way director David Fincher and his actors have broken up the flat wit and fanned it out into varying degrees of luminosity.  I love the atmosphere, the darkness lent to the Harvard campus, the way Trent Reznor's score colors every scene with menace.  I love the way The Social Network is so many things at once.  It's a drama, a comedy, a corporate thriller, a teen film, a generational zeitgeist, a legal escapade.  It has as much style as it does substance, and enough attitude (and imagination) to take it from bland reality to compulsively watchable fiction. 



Honorable Mentions:


Best Documentary: Exit Through the Gift Shop
I was a little conflicted about putting a documentary on this list, so I didn't.  Generally speaking, I tend to separate fiction and non-fiction into two library-style separate houses.  Banksy's effort offers enough speculation of guerrilla fabrication to throw Exit into the (at least) partial fiction category, but ultimately its reality based hunger and the momentum of the argument it posits makes it a separate entity from the features listed above.

Beauty Pageant winner: Tron: Legacy
Tron gets love from me for being a visual marvel.  I want to move into Flynn's house.

Saturday, February 5, 2011

For Your Pleasure: C.K. Dexter Haven

When M and I decided to start a new feature highlighting crush worthy fictional characters, I immediately concluded that it would be a farcical lie, maybe even sacrilege, to begin with one played by any actor other than Cary Grant.  Grant's sexuality has long been the subject of speculation, which is of little consequence as the collective world has a bonafide crush on the man born Archibald Leach.  If there were a reference source for cliche statements, Grant would be featured in a multi-page pictorial as the inspiration behind the "women want him, men want to be him" line.  He's also the very definition of classic, dapper, charming male charisma.  There is no one (though George Clooney is making a good go at it) in the Hollywood constellation that is quite as damn likable as Cary Grant; and luckily for him, all his freakish magical powers translated flawlessly to the silver screen.  Of his many fictional personas, The Philadelphia Story's C.K. Dexter Haven is the one I personally have to have the biggest teen girl crush on.   On paper, Dex sounds like WASP scum.  He's the ex-husband of Katharine Hepburn's Tracy Lord, kicked to the curb because he was dabbling in becoming a full-time useless alcoholic.  Add to that, he sort of pushed her to the floor in the opening sequence.  Tracy resents him, he still loves her quite a bit, the family still holds an obvious torch for him.  It's a pretty amicable, cutesy divorce, really.  The thing about Dexter is that in spite of his flaws, he never comes close to being a villain.  His problems and the spats with Tracy can be easily chalked up to their personalities matching too well.  When they married, they were young, they got things wrong, and as it appears they've known each other since childhood, they perpetuated their relationship in the petulant, battle of the sexes way that kids are wont to.  When Dexter re-enters the Lord manor he's tricky, but in an endearing, deserving way that makes you root for him.  He's unflinchingly honest, willing to concede to the points he's wrong on, but able to go toe to toe with the otherwise untouchable Tracy in every respect.  What else?  Well, he's got a pretty solid sense of humor, looks good even in an oddly bulky 1940's suit, and isn't one to shy away from mischievous fun.  All that and then C.K. Dexter Haven will build you a sail boat and sweep you away... 


Thursday, February 3, 2011

Under 250: Never Let Me Go

If Mark Romanek’s Never Let Me Go was created as an existential study on the futility of human life, intended only to remind the viewer of their personal mortality, then it is a success. But as a film, it has little to offer other than its stark beauty, lacking any human connection underneath its sterile and grim exterior. The film is a rumination on the short lives of friends Ruth (Keira Knightley), Tommy (Andrew Garfield), and Kathy (Carey Mulligan), all born and raised to become “donors” of vital organs for those of us living normal lives, all three inevitably losing their lives once they’ve run out of organs to donate. Not having read Kazuo Ishiguro’s novel, I’m not sure if the film follows the story and tone exactly, but here there is no struggle. There is no rebellion or questioning of the horror and obligation that the government has put on the donors outside of a rare frustrated scream or tearful eye. Instead the donors live out their lives like depressed sheep that accept their lot in a stupor of gentle ease. It’s not necessary to turn to melodramatic tricks to keep the audience invested. But stripped of this attribute the film lacks conflict and momentum, especially under the direction of Romanek who famously keeps his subjects and films at a distant arm’s length. The film could have been a fascinating study of how the helpless react when facing certain death, but Romanek does little to build true connections between the characters, nor does he build up any believable world to get lost in.  For as much as we are supposed to be seeing the humanity in the donors before us, the absence of the human will leaves them as empty and devoid of emotional connection as they were to their oppressors.

Wednesday, February 2, 2011

Mixtape: You've Really Never Rolled Before?




In which we crack open the avian skull of Nina Sayers to sort out what it sounds like in there when Tchaikovsky isn't drowning out the demons.  Sixteen songs for a Black Swan.  Listen to it in full to the left, or at 8Tracks here.


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