Musings about the Suspended in Pink Raffle.
Thanks to Marthe Le Van's recent article, I have been thinking about the 'Suspended in Pink' raffle.
Here is an extract:
"As a retail storeowner and salesperson, the raffle felt amateurish, gimmicky, and a bit desperate—like when I heard about Facebook for the first time. Ultimately, after reconciling all my perspectives, I believe there is much to applaud in the Suspended in Pink raffle. It feels fresh and innovative, optimistic and courageous, liberating and democratic—all worthy consequences pointing toward progress"
Now, I have no problem at all about an idea of mine being compared to the early Facebook- and I am the first to admit the visuals, practicalities and how the raffle is presented still needs some work!
Most raffles are devised as a means of fundraising, to enable an exhibition, event etc... Seen by the Borax Collective , Handshake Jewellery and an American Art Jewellery group ( i am sure there are many many more).
And as Le Van notices, through her many astute questions, fundraising is not the aim of the 'Suspended in Pink' Raffle...
So what is it? and WHY should you take part?
I go to many many exhibitions every year. But As a wanna-be collector, I have only three small pins.I dont want a specially designed brooch with a groups logo on it, a sample piece or a bunch of postcards as a consolation prize- I want THE piece.
I want to own Silke Fleischer's amazing necklace and Sam Hamilton's 'Bread' Like brooch.
As a practitioner is who interested in engagement and audience interaction, I am always looking for ways to get my audience to wear the jewellery, understand it, and imagine owning it- and that, in my view, is the real strength of the 'Suspended in Pink' raffle.
So the idea of raffling off one of the jewellery pieces from the Suspended in Pink Exhibition seemed an obvious idea.
But its more then that.... Once a viewer decides they wish to take part in the raffle, they then can spend up to an hour, going through the exhibition, trying on the jewellery, comparing, assessing, deciding which item THEY would take home.
Deciding which piece of jewellery spoke out the most to them.
And this was then the piece that they would then bet on.
Maybe they would win it, maybe not- but for £5/€6/$8 it seems like a worth while experience to have- the experience of wearing and imagining that favourite piece of jewellery which YOUR ticket could win you....
And here is the good news- the odds of winning in this raffle are actually really high!
Only a small number of people have guessed the same names, and there are a number of exhibitors who's name has not been guessed yet-
So you have a real chance of winning....
All you have to do is email:
with: your name, the name of the artist who you want to win-
And to send payment of £5/€6/$8 by paypal to:
The winner is announced this Autumn!
|Cache||Summer Walker is one of the breakout stars in the music industry and the Atlanta-based artist is showing no signs...|
|Cache||There was something about sound, the way it fell flat, the way it lacked direction, the way it failed to achieve clarity when the early June fog smothered the beach. It consisted of dumb silence, interrupted by muted trumpets of … Continue reading |
|Cache||There she is. There she was. There is my bowl, filled with grapes. There are my fingers, and my bowl, and there she is. Where does she go? This is my grape. My fingers pinch the grape, the grape has … Continue reading |
|Cache||Prior to the unfortunate demise of the artist Thomas Kinkaid, I couldn’t muster a coherent moment of thought about him, beyond a fleeting annoyance that somehow there were paintings that he made, and that I probably might find them distasteful … Continue reading |
singer-songwriter and record producer. Raised in Honolulu, Hawaii by a family of musicians, Mars began making music at a young age. After performing in various musical venues in his hometown throughout his childhood, he decided to pursue a musical career and moved to Los Angeles after graduating from high school. Mars began producing songs for other artists, joining production team The Smeezingtons.
After an unsuccessful stint with Motown Records, Mars signed with Atlantic Records in 2009. He became recognized as a solo artist after lending his vocals and co-writing the hooks for the songs "Nothin' on You" by B.o.B, and "Billionaire" by Travie McCoy. He also co-wrote the hits "Right Round" by Flo Rida featuring Ke$ha, and "Wavin' Flag" by K'naan. In October 2010, he released his debut album, Doo-Wops & Hooligans. Anchored by the worldwide number one singles "Just the Way You Are" and "Grenade", the album peaked at number three on the Billboard 200. He was nominated for seven Grammys at the 53rd Grammy Awards, winning Best Male Pop Vocal Performance for "Just the Way You Are".
Mars' music is noted for displaying a wide variety of styles and influences, and contains elements of many different musical genres. He has worked with an assortment of artists from different genres; Mars acknowledges the influences that his collaborations have had on his own music. As a child, he was highly influenced by artists such as Little Richard, Elvis Presley and Michael Jackson and would often impersonate these artists from a young age. Mars also incorporates reggae and Motown inspired sounds into his work. Jon Caramanica of The New York Times referred to Mars as "one of the most versatile and accessible singers in pop".
Bruno Mars' is the number one selling artist worldwide for 2011 by digital sales. With three singles in the top ten including first place with 12.5 million sales the single "Just The Way You Are".
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From Neiman Marcus - Fri, 27 Sep 2019 01:34:22 GMT - View all Dallas, TX jobs
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Source: https://www.thenational.ae . License: All Rights Reserved.
Climate protesters gathered around a boat at Oxford Circus during a coordinated protest by the Extinction Rebellion group in April.
The movement uses a circled hourglass, known as the extinction symbol, to serve as a warning that time is rapidly running out for many species. From rebellion.earth:
Since its launch, XR has quickly gained national and international following, taking it to the streets in mass demonstrations, demanding immediate action from their national parliaments and governments.
For their branding, the organization uses a custom, rounded version of Futura Condensed named Fucxed. Initially used in lowercase for the XR logo, a caps-only version is used across the globe on banners, websites and social media. In comparison to other recent peoples movements such as the (anti-)Brexit protests, or the Women’s Marches, there is a remarkably uniform and consistent branding in the messages from Extinction Rebellion in outlets from social media to worldwide demonstrations.
Source: https://rebellion.earth License: All Rights Reserved.
Source: https://medium.com License: All Rights Reserved.
Header for an article on Medium.
Source: https://www.facebook.com License: All Rights Reserved.
Announcement for a demonstration in Hong Kong on Oct 5, 2019: “ 地球上的生命正步向被徹底摧毀的命途之上. 為物種抗爭! 為未來反抗! / Life on Earth is being annihilated. Rebel For Life!” Slogan and logo use a yet unidentified typeface.
Source: https://www.penguin.co.uk License: All Rights Reserved.
In June 2019, XR published an activist handbook with Penguin Books: “This is a book of truth and action. It has facts to arm you, stories to empower you, pages to fill in and pages to rip out, alongside instructions on how to rebel – from organising a roadblock to facing arrest.” Note the clever use of the (suggestedly extinct) publisher’s logo penguin as a cover illustration.
Source: https://www.nationofchange.org . License: All Rights Reserved.
Source: https://www.coffscoastadvocate.com.au License: All Rights Reserved.
Pop-up demonstration in Australia.
Source: https://www.greenqueen.com.hk License: All Rights Reserved.
Protesters in Hong Kong.
Source: https://www.theguardian.com . License: All Rights Reserved.
September 2019. A show-goer walks past Extinction Rebellion protesters as they demonstrate against London Fashion Week.
Source: https://www.batimes.com.ar . License: All Rights Reserved.
Members of Extinction Rebellion demonstrate at the La Rural exhibition centre in Buenos Aires.
Source: https://extinctionrebellion.nl . License: All Rights Reserved.
“Climate Change = Mass Murder” – protesters in Amsterdam, The Netherlands.
Source: https://rebellion.earth License: All Rights Reserved.
Website. Crimson Text is used for body copy.
|Cache||Photo(s) by “Bart Solenthaler” on Flickr.|
Source: https://www.flickr.com . License: All Rights Reserved.
Ultra Bodoni Extra Condensed and two styles from the Akzidenz-Grotesk series (halbfett AKA Standard Medium for the purple line, extra for the red lines) in use for a compilation released on Roulette Records in 1962. From the back cover:
While music lovers in Spokane have been eager to get to know James Lowe, the new music director of the Spokane Symphony, we must recognize that he has been eager to learn more about us, too. The quality of a live music performance is inseparable from the quality of the audience.
Musicians will tell you they depend on the energy they feel in the house to attain levels of excellence they could never achieve in the practice room, and they can finish a performance before an appreciative audience feeling refreshed and exhilarated, while playing to an uninvolved crowd leaves them exhausted.
Lowe must have been very pleased after conducting “Masterworks 2: Garden Romance,” his second pair of concerts in the orchestra’s “Masterworks” series, at the Martin Woldson Theater at the Fox. The audience who cheered his appearance onstage, after doing the same for concertmaster Mateusz Wolski, was there not to see and be seen, but because they loved music and were eager to enjoy what the evening had in store.
They applauded at every opportunity and for every musician who took a solo. They chuckled at musical jokes, murmured at especially beautiful patches of melody and rose to their feet in appreciation for what they had been given. This positive energy was more than matched by what one could sense emanating from Lowe himself.
Even when the music did not demand it, he inspired his musicians to enliven every page, every bar, with palpable vitality. The first item on the program, a set of disparate dances by Dmitri Shostakovich (1906-1975) skillfully orchestrated by Gerard McBurney and published in 1988 as “Suite for Variety Orchestra No. 1,” is charming and enjoyable but certainly not great music.
The dances bear no trace of the searing passion and bleak ironies of the composer’s “Symphony No. 8” that we heard last year on the stage of the Fox so brilliantly conducted by Rei Hotoda. Lowe could certainly have merely allowed the endearing melodies and catchy rhythms of the suite to make their transitory points and move on to the more intellectually challenging parts of the program, but he did not. Instead, every clever turn of phrase, every witty interjection was delivered with point, clarity and focus.
The audience responded by roaring their approval, especially of featured players Keith Thomas (oboe), Chip Phillips (clarinet), Bruce Bodden (flute), and Steven Radcliffe and Greg Presley (pianos). Worthy of special mention was the luxury casting of accordionist Patricia Bartell, whose playing, not only in the solo passages but also in ensemble, was characterized by all the wit, imagination and elegance we have heard so often from her.
Guitarist Robert Belinic
Having enjoyed the delightful bonne bouche of the Shostakovich-McBurney, the audience was eager to hear guitar soloist Robert Belinic take on the beloved “Concierto de Aranjuez (1939)” of Joaquin Rodrigo (1901-1999). He proved himself to be an artist of superior technical finish and intense emotional projection, allied with a humility that allowed him to collaborate fully with his fellow musicians in bringing to life the rich sensory fabric of Rodrigo’s concerto.
Lowe carefully maintained textures in the orchestra that were light and vibrant, exactly as we heard from Belinic’s guitar. As a result, the virtuosity required to get around the technical difficulties posed by Rodrigo’s writing for orchestra and soloist dissolved, leaving the impressions of, as Rodrigo put it, “The fragrance of magnolias, the singing of birds and the gushing of fountains.”
In listening to his playing and remarks from the stage in the pre-concert lecture, one was impressed by the sincerity of Belinic. The guitar is unique in its ability to convey this quality, for the reason that, unlike the case of most other string instruments, the sound we hear is the result of unmediated contact of the string with the body of the performer.
By some neurological decoding, our minds recognize a degree of intimacy in those vibrations greater than can be found in other instruments. Thus, the experience of hearing Belinic play the guitar is like seeing directly into the heart of one who seeks beauty through music and wishes to take us with him.
The intoxicating sensuality of Rodrigo gave way in the second half of the program to the exquisite but sterile beauty of Erik Satie’s (1866-1925) “Gymnopédies 1 and 2 (1888),” composed for piano but heard in these concerts in orchestral arrangements by Satie’s vastly more gifted contemporary, Claude Debussy.
A difficult and solitary figure, Satie sought to create music as much as possible without emotional affect, music that could be experienced without engaging feeling. Fortunately, the performance on Saturday night missed that mark thanks to the sensitive orchestration by Debussy and Bodden and Thomas, whose playing commands emotional engagement.
As throughout the evening, Lowe achieved an orchestral texture of amazing transparency in which every strand made its maximum effect. From music that avoids any hint of conflict and sought otherworldly perfection, we moved to music that is as intensely human and fraught with emotion as any ever written: the Symphony No. 40 in G minor K. 550 (1788) of Wolfgang Amadeus Mozart (1756-91).
Mozart’s music is famous for its perfection of proportion and balance. In the G minor Symphony, however, that perfection is one element in a duality, the other portion of which is the disorder and suffering that inevitably come to us in time. Mozart shifts tonality throughout the piece from minor to major, and back again, to make us feel the insecurity and impermanence of earthly happiness.
In the second movement of the work, the Andante, Mozart begins to state a cheerful diatonic melody in the major only to sour it with a shrilly dissonant chromatic accompaniment that drains the melody of its cheerful energy.
The finale of the work, ordinarily a place for triumph over all of the difficulties that went before it, is in this symphony an expression of anger and disappointment, as attempts at cheerful nonchalance are interrupted by harsh dissonances and pastoral melodies in the major sour into the minor.
Lowe was uncompromising in portraying the stressful emotions of this greatest of all Mozart’s symphonies. He reduced the sweetness of the violins by having them play with little or no vibrato. He asked for bowings that sharpened the outlines of phrases rather than smoothing them over.
Most of all, the impressive clarity we noted throughout the earlier parts of the concert was maintained throughout Mozart’s far deeper and more complex musical argument, allowing us to feel every wrenching disappointment, every burst of anger as though it were our own. Lowe’s unstinting clarity and honesty of musical vision, and his ability to bring that vision to us through music, are beginning to emerge as his most outstanding qualities.
America’s illustrator: Norman Rockwell exhibit – with paintings, posters and magazine covers – opens at the MACCache
“I was showing the America I knew and observed to others who might not have noticed.” – Norman Rockwell
Mention the name “Norman Rockwell,” and different thoughts bubble up for different people.
The gawky New England artist charmed millions of Americans for nearly 50 years as the Saturday Evening Post’s most beloved cover illustrator and chronicler of small-town life. At the same time, many critics snubbed Rockwell as too cliché, sentimental or homogenous to be taken seriously.
“Norman Rockwell is arguably America’s most famous artist ever,” said Wes Jessup, executive director of the Northwest Museum of Arts and Culture, where a new exhibition, “Norman Rockwell’s America,” opened this weekend. “Who was more famous? Warhol? No. Warhol was actually a big collector of Rockwell.”
Rockwell was born in New York City in 1894 and died in 1978 in Stockbridge, Massachusetts, at age 84. He lived and worked during some of the most impactful movements in modern art history such as impressionism, cubism, surrealism and abstract expressionism.
But he forged his own way as an illustrator. He once said, “Some people have been kind enough to call me a fine artist. I’ve always called myself an illustrator.”
“I’m 50, and when I was in college, Rockwell was considered retrograde. He was overlooked,” Jessup said. “So I think there is a rediscovery coming from my generation and younger people.”
Last month, singer/songwriter Lana Del Rey released her new album, provocatively titled “Norman (expletive) Rockwell.” The moniker suggests that maybe everything in America is not quite so perfect after all.
There is even a term bolstering Rockwell’s lasting impact on popular culture: “Rockwellian.” It can refer to anything quaint, idealistic or sentimental such as a “Rockwellian childhood” or a “Rockwellian holiday celebration.”
‘Vivid and affectionate portraits’
No matter where one places Rockwell in the canon, his depictions of everyday life made him the most widely circulated and universally beloved American artist of the 20th century. Rockwell’s “vivid and affectionate portraits of our country” garnered him the Presidential Medal of Freedom in 1977, the nation’s highest civilian honor.
The MAC exhibition will use Rockwell’s singular art and enduring vision of a hopeful America to chronicle the nation’s history and examine what constitutes the American spirit. “Norman Rockwell America” is a show of 22 oil paintings, seven charcoal or graphite studies, original posters and all 323 Post magazine covers spanning six decades. It’s the first solo exhibition of Rockwell’s paintings and covers to visit the Inland Northwest.
The exhibition is arranged in chronological order, making the stages of his career recognizable and his images more poignant. The original works give viewers the chance to observe Rockwell’s superb craftsmanship and attention to detail, characteristics sometimes overlooked in the more widely seen reproductions.
In a masterful style almost photograph-like, and in hyper-real detail, Rockwell painted everyday people in ordinary situations. His goal was to tell a story, in a single picture, armed only with a paintbrush.
He lived through two World Wars, the Great Depression, Korean War and Vietnam. But the stories he told most often were relentlessly optimistic, depicting a simpler world, one worth fighting for.
In Rockwell’s paintings, the nation’s rich tapestry is united by holiday rituals, faith and family life. Rockwell’s America is a place where honest, hard-working people endeavor to live rather than a world in which they really live. As Peter Schjedahl wrote in the New Yorker, “He didn’t illustrate Middle America. He invented Middle America.”
For example, readers of the Post delighted in Rockwell’s paintings of humorous childhood escapades. The iconic images include the illustration of the little boys running while yanking on their clothes after sneaking a dip in the local waterhole, the little girl with a black eye sitting outside the principal’s office with a huge grin spread on her face, and the young runaway chatting with a cop at the soda fountain counter with his bundle of clothes tied to a stick in full view under his barstool.
There are lots of intergenerational interactions, too: a grandfather picking up a bat to hit a few balls with the little ones, the daughter watching mom put on makeup at her vanity table and the parents putting their kids to bed. In 1955, Post readers voted the 1951 Thanksgiving issue their all-time favorite cover. The illustration depicts a woman and a young boy saying grace in a crowded restaurant as they are observed by other people at their table.
‘Extraordinary in the ordinary’
“He found the extraordinary in the ordinary moments because when you get to the truth of life, I think what we really remember is how beautiful it was to have a cup of tea with that person,” said Rockwell’s granddaughter Abigail Rockwell, who conducted a phone interview from her home back East.
“Yes, you will remember the Taj Mahal after you visit, but don’t we really go back to the small moments and think, ‘Oh God, I miss having tea with that person?’”
One of the paintings hanging in the MAC exhibit is titled “The Party After the Party.” Rockwell lovingly created an intimate scene in which a granddaughter kneels on the parlor floor in front of her grandmother’s chair. The pair holds hands as the young woman, still clad in her finery, tells Grandma all that happened at the party.
“Yes, I just got chills!” said Abigail Rockwell, now the de facto historian of the family. “That is a really sweet and memorable moment. That is part of the Edison Mazda series (of advertisements Rockwell illustrated) in the 1920s. I’ve always thought it’s some of his best work.”
Abigail Rockwell, who also is a successful jazz singer, will travel to Spokane to give a talk at the MAC on Nov. 7 at 5:30 p.m. and lead a private tour. Tickets are $25. She also will sign copies of the recently re-released autobiography by her grandfather, “My Adventures as an Illustrator: The Definitive Edition.” Abigail Rockwell has spent much of the last several years researching and updating the book. Her goal was to bust false myths and preserve her grandfather’s legacy.
One of the biggest misconceptions she said that she finds is that her “Pop,” as she calls him, painted only white America. However, a look at some of Rockwell’s most iconic works belies that notion.
In 1961, the artist painted “The Golden Rule,” showing people of different religious faiths and ethnic backgrounds worshipping together. However, Rockwell himself once recalled being directed to paint out a black person from a group picture in the Post. The policy at the time only allowed the portrayal of African Americans in service jobs next to white people.
After leaving the Post in 1963, Rockwell appeared eager to refocus his efforts on supporting the Civil Rights movement. In 1964, he produced his iconic painting “The Problem We All Live With.” It depicts Ruby Bridges, a 6-year-old African American girl, on her way to an all-white public school during the New Orleans desegregation crisis. Due to threatened violence, she is being escorted by federal marshals. On the wall behind her are scrawled a racial slur and the letters “KKK.”
‘Ruining his legacy’
“Pop had the bravery to put those words on the wall,” Abigail said. “People don’t realize how controversial it was for him to do that. I saw the angry letters castigating him for ‘ruining his legacy.’ ”
One of Rockwell’s proudest moments, according to his granddaughter, was when he received a lifetime membership card to the NAACP. More than 30 years later, his portrait of Bridges was installed in the hall outside the Oval Office at the White House for several months during the Obama administration. Reproductions of this and more of Rockwell’s Civil Rights era paintings will be on display at the MAC as part of the current exhibition.
Another project Rockwell undertook after leaving the Post was a commission to paint a portrait of Abraham Lincoln for Spokane’s Lincoln First Federal Savings and Loan. The bank’s CEO, the late Spokane resident Donald P. Lindsay, had the idea to hire America’s most famous artist.
“My dad thought it was no big deal to write Norman Rockwell and just ask him to do it,” recalled Lindsay’s eldest daughter, Karen Warrick. “And it worked.”
For $4,000, Rockwell agreed to produce the 7-foot piece, taller even than Lincoln himself. Finished in 1965, the portrait depicts the 16th president as a young man on the farm dressed in work clothes holding an ax in one hand and a book in the other. “Lincoln the Railsplitter” was used to market the Spokane bank and all the branches throughout the state. Jar openers, golf balls, calendars and stationery all bore Rockwell’s Lincoln image.
The original painting hung for two decades in the Lincoln First Federal Bank lobby located in what is now the Lincoln building at Riverside and Lincoln. After the bank changed hands, the piece later made its way to the private collection of former presidential candidate H. Ross Perot. It was eventually sold at auction to the Butler Institute of American Art in Youngstown, Ohio, in 2006 for $1.6 million.
The MAC has gathered letters, photos, bank memorabilia and a reproduction of “Lincoln the Railsplitter” to include in the exhibition. “It’s exciting that one of the most famous paintings of Abraham Lincoln that was ever done was done by one of America’s most famous artists and that it originated right here in Spokane,” Jessup said.
Warrick said that she hopes the Rockwell exhibit accomplishes what the artist himself wanted: to rekindle the American spirit. “I just hope that a lot of people are reassured that we care for one another in this country, that we are all the things that Rockwell brings out in his paintings,” Warrick said. “You wrap that around the integrity of a Lincoln and maybe young people will be inspired and think: ‘Is that what we used to look like in this country?’ ”
NASHVILLE, Tennessee – Country music superstar Garth Brooks has more than just friends in low places. The Library of Congress said Wednesday that the Grammy winner will receive the Library of Congress Gershwin Prize for Popular Song next March for his hit “Friends in Low Places.”
Previous recipients include Tony Bennett, Paul Simon, Carole King and Willie Nelson. Brooks is a member of the Country Music Hall of Fame. His many top hits alongside “Friends in Low Places” include “The Thunder Rolls,” “The Dance,” “Shameless” and “What She’s Doing Now.”
At 57, he’ll be the youngest recipient of the Gershwin Prize. He will be honored with an all-star tribute concert in Washington, D.C., that will air on PBS stations in spring 2020.
“An award is only as good as the names on it,” Brooks said in a statement. “First off, for any musician, the name Gershwin says it all. Add to Ira’s and George’s names the names of the past recipients, and you have an award of the highest honor. I am truly humbled.“
Since his debut in 1989, Brooks has become a top-selling and touring musical force, bringing his brand of high energy and emotional country music to stadiums and arenas.
He is the bestselling solo artist in the United States with more than 148 million in album sales, according to the Recording Industry Association of America, and is second only in total U.S. sales to the Beatles.
Born in Tulsa, Oklahoma, Brooks combined his love of classic country music and cowboy songs with production typically seen in rock and pop acts. Seven of his albums have sold more than 10 million copies in the United States alone, according to the RIAA.
In the early 2000s, he took a break from recording and touring to spend more time with his family in Oklahoma. Brooks returned to major touring and recording in 2014, had a hit headliner residency at Wynn Las Vegas and remains one of country’s most popular touring acts. He is married to fellow country star Trisha Yearwood.
What’s new for home viewing on Video on Demand and Netflix, Amazon Prime, Hulu and other streaming services.
Top streams for the week
Cable-cutters can keep up with many primetime network series on Hulu. Among the new shows now available are legal drama “Bluff City Law” with Jimmy Smits, mystery thriller “Emergence” with Alison Tollman, serial killer drama “Prodigal Son” with Michael Sheen, comedy “Perfect Harmony” with Bradley Whitford, melting pot comedy “Sunnyside” with Kal Penn, sitcom spin-off “Mixed-ish” and Portland-set private eye drama “
You also can see more than two dozen returning shows, including “This Is Us,” “Modern Family,” “The Good Doctor,” “New Amsterdam,” “Empire,” “The Good Place,” “The Voice” and warhorses “Grey’s Anatomy” and “Law & Order: SVU.”
Episodes arrive on Hulu (with limited commercial interruption) a day after their respective network debuts.
“The Politician” is a musical melodrama starring Ben Platt as a wildly ambitious high school kid running for class president of his elite private school. Gwyneth Paltrow and Jessica Lange co-star in the satirical series created for Netflix by Ryan Murphy.
An underpaid spy (Manoj Bajpayee) keeps his dangerous life a secret in “The Family Man: Season 1” (India, with subtitles), an espionage thriller with a twist of workplace comedy. Ten episodes on Amazon Prime Video.
Gaby Hoffmann, Amy Landecker, Jay Duplass and Judith Light carry the tunes in “Transparent: Musicale Finale,” which brings the Emmy-winning Amazon Original comedy to an end without its original star Jeffrey Tambor (who left the show after harassment allegations). On Amazon Prime Video.
Great music sustains “Yesterday” (2019, PG-13), a romantic comedy about a failed singer-songwriter (Himesh Patel) who wakes up in a world where the Beatles never existed and performs their songs as his own. Lily James and Ed Sheeran co-star, Danny Boyle directs from an original script by England’s romcom king Richard Curtis (“Love Actually”). On Cable on Demand, VOD, DVD and at Redbox.
Classic pick: Buster Keaton’s action-packed comedy “Steamboat Bill, Jr.” (1928, silent with score) is hilarious and warmhearted and features some of the most amazing stunts captured on camera. Streams free on Kanopy, free through most library systems.
“Shaft” (2019, R) is a multi-generational sequel to the private eye classic with Usher joining previous “Shaft” stars Samuel L. Jackson and Richard Roundtree. Also new:
· Horror reboot “Child’s Play” (2019, R) with Aubrey Plaza and the voice of Mark Hamill;
· Luc Besson’s action film “Anna” (2019, R) with Sasha Luss as a supermodel/assassin;
· Documentary “Pavarotti” (2019, PG-13) from director Ron Howard;
· Essay film “Around India With a Movie Camera” (2018, not rated) created from archival footage of India from 1899 to independence in 1947.
Available same day as select theaters nationwide is “10 Minutes Gone” (2019, R) with Bruce Willis and Michael Chiklis, from direct-to-video veteran Brian A. Miller. Also new are two horror films:
· Logan Miller in “Prey” (2019, not rated) from Blumhouse;
· “The Curse of Buckout Road” (2017, not rated) co-starring Henry Czerny and Danny Glover.
A serial killer appears for one night every nine years in “In the Shadow of the Moon” (2019, not rated), a murder mystery with a science-fiction twist. Boyd Holbrook is the cop who follows the case for decades, and Cleopatra Coleman, Bokeem Woodbine and Michael C. Hall co-star in the Netflix Original movie from director Jim Mickle.
Wong Kar-Wai’s romantic action drama “The Grandmaster” (China, 2013, PG-13, with subtitles) stars Tony Chiu-Wai Leong as legendary martial arts master Ip Man. Ziyi Zhang and Chang Chen co-star and Yuen Woo Ping provides the choreography, which Wong turns into something more like a dance onscreen. It was nominated for two Oscars, including one for its rich cinematography.
Kristin Scott Thomas stars in World War II mystery “Sarah’s Key” (2010, PG-13), from the novel by Tatiana de Rosnay.
The animated short feature “Sound & Fury” (2019, not rated) is a companion piece to the new album by country artist Sturgill Simpson.
True stories: The short documentary “Birders” (Mexico, 2019, with subtitles) celebrates those who monitor and protect birds that migrate across the U.S.-Mexico border.
International TV: A former spy, now teaching Shakespeare, is called back into service in the “Bard of Blood“ (India, with subtitles). Also new:
· “Skylines: Season 1” (Germany, with subtitles), a drama set in the music industry;
· Prison drama “The Inmate: Season 1” (Mexico, with subtitles) about an undercover agent posing as a prisoner.
Kid stuff: A teen social media celebrity becomes a court-ordered wilderness club leader in the live-action comedy “Team Kaylie: Season 1” (TV-PG) for teens and tweens. Also new is the animated adventure “Dragons - Rescue Riders: Season 1” for younger viewers.
Standup: “Jeff Dunham: Beside Himself” (2019, not rated).
Amazon Prime Video
“Fido” (2007, R), a social satire of the undead used as menial servants, is one of the best zombie comedies to date. Carrie-Anne Moss, Dylan Baker and Billy Connolly star.
International affairs: Vincent Zhao stars in Yuen Woo Ping’s over-the-top action drama “True Legend” (China, 2010, R, with subtitles), featuring appearances by Jay Chou, Michelle Yeoh and David Carradine.
International TV: “A French Village: Seasons 1-4” (France, 2009-2012, with subtitles) follows the inhabitants of a rural town during the Nazi occupation of World War II. The hit drama from France played on PBS in some American cities.
Disney’s animated “Pocahontas” (1995, G), featuring the voices of Mel Gibson, Irene Bedard and Christian Bale, is one of the last classics of old school animation. It won Oscars for the score and original song “Colors of the Wind.”
“The Lego Movie 2: The 2nd Part” (2019, PG) animates the world of interlocking toys for a new adventure involving invaders from outer space.
True stories: “Buzz” (2019, TV-MA) profiles the very private Pulitzer Prize-winning journalist and celebrated author Buzz Bissinger.
Available Saturday night is “Isn’t It Romantic” (2019, PG-13), a spoof of romantic comedy clichés starring Rebel Wilson and Liam Hemsworth.
The fourth season of the documentary series “The Circus: Inside the Wildest Political Show on Earth,” is now on all Showtime platforms. New episodes each Sunday.
The family friendly adventure “A Dog’s Way Home” (2019, PG) with Ashley Judd is now streaming on all Starz platforms.
“Doc Martin: Series 9,” the hit British drama starring Martin Clunes as a prickly surgeon turned country doctor, airs exclusively in the U.S. on Acorn TV. New episodes arrive each Thursday, a day after their respective U.K. premieres.
Britbox celebrates the 50th anniversary of “Monty Python’s Flying Circus” with the vintage comedy series “Ripping Yarns“ (1976-1979) from Michael Palin and Terry Jones and the 1980 BBC production of “The Taming of the Shrew“ starring John Cleese.
Two new series from Europe are now running on MHz Choice. “The Embassy” (Spain, with subtitles) is a drama set at the Spanish Embassy in Thailand and “Murder by the Lake” (Germany, with subtitles) is a crime drama set at Lake Constance, where a partnership of German and Austrian detectives solve crimes. New episodes arrive each Tuesday.
The Criterion Channel spotlights four German features “Directed by Christian Petzold,” including the Criterion Channel debuts of the mysterious “
Also on Criterion, “Directed by Lina Wertmüller” spotlights seven features by the Italian filmmaker who was the first woman ever nominated for Best Director at the Oscars, including the satirical “Love and Anarchy” (1973), battle-of-the-sexes comedy “Swept Away” (1974) and Oscar-nominated black comedy “Seven Beauties” (1975), all starring Giancarlo Giannini. With subtitles.
Free streams: Andy Serkis stars as punk rock icon Ian Dury in “Sex & Drugs & Rock & Roll” (2010, not rated). It’s now streaming on Kanopy, along with:
· “Frantz” (France, 2017, not rated, with subtitles), a historical drama set between the two world wars directed by François Ozon;
· “War Witch” (2013, not rated, with subtitles), a devastating drama about a child soldier in an unidentified sub-Saharan African nation;
· “Hara-Kiri: Death of a Samurai” (Japan, 2012, not rated, with subtitles), Miike Takashi’s remake of Masaki Kobayashi’s feudal drama;
· Joseph H. Lewis’ “The Big Combo” (1955), a tough film noir starring Cornel Wilde as an obsessive cop and Richard Conte as an arrogant mobster.
New on disc and at Redbox
“Yesterday,” “Shaft,” “Anna,” “Child’s Play”
Sean Axmaker is a Seattle film critic and writer. His reviews of streaming movies and TV can be found at streamondemandathome.com.