Film Review: “We Live in Time”

We Live in Time rides out a thin, scattered story on the backs of its two leads

Somewhere between the time-jumping emotional cuteness of About Time and the grounded indieness of Like Crazy lives the new romantic drama We Live in Time from director John Crowley (Brooklyn). Many of the films within this genre tend to live or die according to the chemistry between their two leads. Whereas everything around the two leads – the jokes, the sub-plots, the meet-cute setups, the best friends – are truly secondary, unable to sway whether a film is considered effective. The chemistry between Florence Pugh (Little Women) and Andrew Garfield (The Social Network) in We Live in Time is the movie’s biggest strength, and raises the film’s level of emotional effectiveness. However, the secondary factors fail by comparison, leaving the film fizzling in its search for more laughs and more profound meaning within its vignette structure. Continue reading “Film Review: “We Live in Time””

Single of the Week: “godheads” by dear francis

dear francis is the nom de plume of Jennifer Clavin, my personal favorite songwriter, possibly ever? She spent her teens and 20s co-fronting the legendary Mika Miko, then she broke off and put together the power-pop tinged Bleached, and now she’s gifted us with the third release as a solo artist, and it’s bloody intense. Produced by No Age’s Randy Randall, this song is about losing a dear friend to addiction and the complexities of the emotions involved. If you’ve been through this, the song will feel like a warm hug. If you haven’t, this track will get you a little closer to understanding someone who has. 

There’s exciting stuff on the horizon with dear francis. New tracks can be found here as they arrive, and for those in LA, she’s debuting this project live ON MY BIRTHDAY (10/27) and Heavy Manners Library! (I’m on the Bay Area and can’t make it, but you should!)

 

Show Review: Lynn Goldsmith & Patti Smith In Conversation at Calvin Simmons Theatre in the Henry J Kaiser Center For The Arts, 10/7/24

(Header Photo Courtesy Noise Pop Industries / Debra Zelle)

Attending the grand reopening of the Henry J. Kaiser on October 7, 2024, with my septuagenarian best friend was a profound and nostalgic experience. The event, centered on the incomparable Patti Smith and legendary photographer Lynn Goldsmith, was a journey through friendship, art, and music. They were on tour for their new book, Before Easter After: 1976-1979 Photos and Diary Entries of Patti Smith’s Life, an apt title for a night filled with laughter, stories, and emotional resonance.

The crowd was as eclectic and storied as the venue itself—a mix of Mills College graduates, anonymous band members from legendary Bay Area groups, and other creative spirits. Garage rock vintage shirts mingled with the crisp Northeast types who still clung to their cigarettes. Young leftie femmes teemed with anticipation, while nonchalant poet types gazed on indifferently, and nervous, professional event staff wove through the crowd, ensuring everything ran smoothly.

The Henry J. Kaiser, steeped in the cultural and musical history of the Bay Area, has been home to some of the most legendary concerts. Perhaps none were more iconic than the Grateful Dead’s many performances there. (Editor’s Note: The show where The Ramones made the Bay Area debut of Rock & Roll High School, the greatest movie of all time ON THE DAY I WAS BORN, beats any Dead show there.) The venue became a central part of the Dead’s storied relationship with the Bay Area, known for hosting some of their most memorable shows in the mid-1980s. The band played the Henry J. Kaiser nearly 50 times, with annual multi-night runs becoming a staple from 1984 until 1987. These shows attracted Deadheads from all over, who flocked to the venue to experience the band’s unique blend of improvisation, psychedelic rock, and community spirit.

Particularly legendary were the Dead’s Mardi Gras shows at the Henry J. Kaiser, which became annual traditions. Complete with parades, costumes, and extended jams, these performances embodied the celebratory spirit of the Dead’s live shows, making the venue a sacred space in Grateful Dead lore.

This rich history was alive as Patti and Lynn took the stage to reflect on their experiences. Though a moderator was technically present, they weren’t needed. Patti and Lynn seamlessly traded stories, retelling tales of their time together over 40 years ago, as Lynn ran slides capturing moments from their past. Their anecdotes painted a vivid picture of their shared journey, from misspent nights in New York City to road trips across the U.S.

One particularly captivating moment came when Patti recounted her friendship with the legendary William S. Burroughs. Patti began to weave a vivid tale of their shared experiences. With a wry smile, she recounted how she used to attend Burroughs’ notorious parties in New York City. “He’d invite me to these bizarre gatherings,” she said, her voice softening in remembrance. The parties were filled with artists, poets, and outcasts, but Burroughs always stood apart—an enigmatic figure who was always watching and rarely engaging.

As the crowd hung on her every word, Patti told the story of how Burroughs would take her to various places in the city. Patti’s candidness shone through as she recounted hitting on Burroughs one evening. She paused, then dropped her voice into a perfect impression of Burroughs, adopting an elegant rasp and stretching out her words. “‘Patti,’ he’d say, ‘I’m a raging homosexual.’” She mimicked his long drawl, capturing his deadpan humor and absolute certainty. The audience erupted in laughter as Patti, still grinning, shook her head.

This moment revealed Patti’s versatility in her relationships and her curiosity about the world. She wasn’t fazed by rejection or by Burroughs’ peculiarities. Instead, she was drawn to his energy, his difference, and the fact that he existed entirely outside the norms.

As the stories flowed, Patti also shared anecdotes about her time with Robert Mapplethorpe, Sam Shepard, and Tom Verlaine. These icons had left an indelible mark on her life and art. She spoke fondly of her creative partnership with Mapplethorpe, whose photographs captured her image and explored the complex themes of love and desire that permeated their lives. With Sam Shepard, she reminisced about their shared passion for storytelling and the artistic exchange that fueled their work, while her connection with Tom Verlaine revealed a deep bond forged through their love of music and poetry.

Lynn’s photographs played a pivotal role in the evening’s storytelling, notably a harrowing series that captured the aftermath of Patti’s infamous accident in Florida in 1977. The audience gasped as Lynn shared a story of how Patti fell 14 feet off a stage during a performance when roadies placed her monitors too close to the edge. “I spent four months with a fractured skull,” Patti recalled, her tone shifting to one of clarification. Lynn had been there, documenting every moment—from Patti’s vulnerability in the hospital to the fierce determination that followed. fragile and fierce. Some photos highlighted her androgynous appearance, while others almost gave her an alien or animal-like quality due to the rawness she exuded in front of Lynn’s lens.

The evening felt less like a formal presentation and more like a gathering of friends, with Patti and Lynn drawing the audience into their world. Patti and Lenny Kaye played acoustic songs corresponding to the images, creating a rich tapestry of sound and memory. Patti performed “Dancing Barefoot,” evoking the love she shared with her late husband, Fred “Sonic” Smith, and dedicated “Because the Night” and “People Have the Power” to Fred. The energy in the room elevated as she used the song as a rallying cry, urging the crowd to vote, to raise their voices, and to use whatever power they had. As any attuned poet would, she reminded the audience that it’s all we have and must use it. The laughter, music, and stories combined into something far more significant—a celebration of a lifelong creative partnership, capturing the polished moments and the raw, vulnerable, and extraordinary journey they shared. Check out the book.

Film Review: “The Apprentice”

A Tale of Two Insecure Men, aka The Apprentice

The Apprentice begins with President Nixon’s famous “I’m not a crook” speech, where he claimed in the wake of an ongoing Watergate investigation that he had never personally profited from public service, and maintained that he’s “earned everything he’s got.” That’s an appropriate and scary way to begin this film. After all, we know how Nixon’s (and Trump’s) story plays out. The audience’s foreknowledge is The Apprentice’s biggest hurdle, wanting to shed light on a well-documented figure when that figure remains in the headlines today. I wonder what the point of The Apprentice is, aside from providing a showcase for its stars? It doesn’t feel like a cautionary tale, nor does it take any creative liberties with exposing blame. Instead, The Apprentice is a straight-laced historical re-enactment (with some embellishments) of how a few men with deep insecurities played by their own corrupt rules to gain power.  Continue reading “Film Review: “The Apprentice””

Film Review: “Saturday Night”

Reitman’s take on SNL‘s first episode is as much fun as the show itself

Lorne Michaels (Gabriel LaBelle) surveys sketch ideas for the first episode of his new live show, Saturday Night.

That the new film Saturday Night opens this Friday, October 11th, is no accident. Exactly 49 years ago to the date, Saturday Night, the original title of the iconic late night sketch show Saturday Night Live premiered on NBC. Director Jason Reitman’s movie, which dramatizes the chaos immediately preceding the airing of that first trailblazing episode, is the perfect homage to the long-running live program that is about to enter an incredible 50th season.

Continue reading “Film Review: “Saturday Night””

Show Review: KK’s Priest + Accept, Regency Ballroom, October 7, 2024

Photos and review by: Alan Ralph @ARPhotoSF

In the last decade, there seems to be a trend of band members who can’t get along and someone ends up leaving and creating another version of the same band: Great White and Jack Russell’s Great White. L.A. Guns and Riley’s L.A. Guns. Ratt, Stephen Pearcy’s Ratt and Bobby Blotzer’s Ratt Experience (three versions!). Yes and Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman. Queensrÿche and Geoff Tate’s Queensrÿche. So, does Judas Priest and KK’s Priest fit the criteria?

Continue reading “Show Review: KK’s Priest + Accept, Regency Ballroom, October 7, 2024”

Show Review: Dogwater, StrateJacket, 100%Jennifer at Bottom Of The Hill 10/4/2024

Dogwater_BOTH-20241004-_PhotoCredit_Emily-Anderson-08041StrateJacket_BOTH-20241004-_PhotoCredit_Emily-Anderson-07993The annual  Aftershock Rock festival is my favorite time of year. While creating my must-see schedule, I noticed a local Bay Area band with a couple of interesting YouTube videos and a new album release. Then I discovered they would be playing a pre-festival gig at my favorite punk-rock venue. So, I packed it up and headed out to Bottom of the Hill to see StrateJacket in person. Continue reading “Show Review: Dogwater, StrateJacket, 100%Jennifer at Bottom Of The Hill 10/4/2024”

“In The Living Room”: New Maggie Rogers Single Ahead Of Arena Tour

Maggie Rogers will kick off her first-ever arena tour tomorrow night in Austin. To prepare for bringing a party to the biggest crowds of her career, she’s giving us… a haunting, tearjerker of a ballad that will force the entire arena into mutual tears! BRILLIANT! “In The Living Room” is an excellent addition to her canon, and I can’t wait to experience shared catharsis in a room with 30,000 other people.  

Tickets still available for *some* of her fall tour. You can find those here! It’s fitting that she’s giving us a song about lamenting those we lost while playing SF on Dia De Los Muertos

Album Review: The Offspring, “Supercharged”

Let’s take a moment to recall a few of the most memorable radio-edited lines of the mid-90s: “Drivers are rude / Such attitudes / But when I show my piece / Complaints cease / Something’s odd / I feel like I’m God / You stupid dumb s**t g*d d**n mother f****r!” 

Ahh yeeaaah, so sit back, relax, and read about The Offspring and their latest album release…

Their debut self-titled album, The Offspring, was released in 1989. I’ll do the math for you – that’s 35 years ago – and the band is still going strong, releasing their 11th studio album, a 35-minute-long (coincidentally) energetic record aptly titled Supercharged. Perhaps it’s a sign that they’ve shed their rebellious youthfulness (frontman Dexter Holland is turning fifty-nine in December) or, like other bands, are searching for hope and serenity in their art to battle against real-world anxieties, but Supercharged is the band’s most joyfully rollicking and variety-filled pop punk record yet. It’s a blast to listen to, especially loud. Continue reading “Album Review: The Offspring, “Supercharged””

Abroad in Toronto: Dropkick Murphys, Hanabie., Hatebreed, Carcass, and more!

Photos and review by: Alan Ralph @ARPhotoSF

Occasionally, the dedicated staff of Spinning Platters gets the opportunity to watch, photograph, and/or review shows from outside of our comfortable Bay Area confines. A few previous trips have included Chicago, Dallas, and Las Vegas, to cover Deftones, Gojira, New Found Glory, Suffocation, Lamb of God, Killswitch Engage, Mercyful Fate, Kreator, and August Burns Red. This time around, one of Spinning Platters’ two resident metalheads was somehow allowed into Canada eh and spent the week in the 416, where we saw Jinjer, Hanabie., Born of Osiris, Scream, Dropkick Murphys, Pennywise, Hatebreed, Carcass, Harm’s Way, and Crypta!

(Korn + Gojira, Benighted + Cognitive, Gatecreeper + Frozen Soul, Galactic Empire + Powerglove were also here during our week-long stay but was not able to attend any of these for various reasons, but mostly due to them being on the same night as another show!)

Continue reading “Abroad in Toronto: Dropkick Murphys, Hanabie., Hatebreed, Carcass, and more!”