Rockers The Replacements hit the stage at the Riot Fest in Toronto, Canada on Sunday (25Aug14) for their first show in over 20 years. Frontman Paul Westerberg joked about the time between gigs during the band's headlining set, stating, "Sorry we took so long, we've been having a wardrobe debate - it was unresolved."
Westerberg and bassist Tommy Stinson were joined onstage by drummer Josh Freese and Dave Minehan on guitar for their first concert since an Independence Day gig in Chicago, Illinois in 1991.
The duo and their new bandmates will return to that city for the next Riot Fest show on 15 September (13) and they'll also perform in Denver, Colorado on 21 September (13).
Westerberg and Stinson reunited last year (12) to record the EP Songs for Slim in an effort to raise funds to help pay for former Replacements guitarist Slim Dunlap's medical fees after he suffered a massive stroke in 2012.
Devo drummer Alan Myers has died after a battle with cancer. The rocker, the band's third and most prominent drummer, passed away on Monday (24Jun13).
News of his death was confirmed by jazz musician Ralph Carney, the uncle of The Black Keys drummer Patrick Carney.
In a post on Facebook.com, Carney writes, "I just got some bad news. Alan Myers passed... from cancer. He was Devo's best drummer and one of the first people to teach me about jazz. I cry... Alan taught me so much about music. He gave me my first sax lesson."
Myers, who joined Devo in 1976, played on the group's 1980 single Whip It and appears in the track's classic video.
He is heard on a number of Devo albums including Q: Are We Not Men? A: We Are Devo!, Freedom of Choice, and Shout, but bowed out of the line-up in 1986.
Devo co-founder Gerald Casale took to his Twitter.com page to pay tribute to his former bandmate, writing, "In praise of Alan Myers, the most incredible drummer I had the privilege to play with for 10 years. Losing him was like losing an arm. RIP!! Alan, you were the best - a human metronome and then some. U (you) were born to drum Devo!"
Drummer Josh Freese, who has also played with Devo, tweeted, "RIP Alan Myers. 1 of my all time favs (favourites). An underrated/brilliant drummer. Such an honor playing his parts w/ (with) Devo. Godspeed Human Metronome."
WHAT IT’S ABOUT?
Eddie Murphy is terrific in Imagine That as Evan Danielson an overworked financial advisor who is so immersed in his job he’s forgotten about Olivia his daughter from an estranged marriage. When he is given custody for a week and he gets too busy with work she retreats into her fantasy world imagining a group of princesses who as it turns out really know their way around big business. When Dad figures out his daughter’s special blanket and otherworldly friends have the magic touch for investment advice he becomes an instant superstar in his firm. But his newfound success soon sets up a confrontation with his chief rival Johnny Whitefeather whose presentations are often full of (Red) bull.
WHO’S IN IT?
From Dr. Dolittle to Daddy Day Care Murphy has carved out a solid alternate career as a star of family-friendly movies. But none of those previous works play to his overall talents as a comedian better than Imagine That in which he gets to merge his kid’s fantasy world with office politics for optimum laughs. The purely delightful premise in which Murphy faces off with skeptical business partners is perfectly toned to his talents and allows him to be widely appealing for both kids and their parents. As daughter Olivia newcomer Yara Shahidi won out over 3000 girls and is wonderful a real charmer who goes toe to toe with Eddie. Thomas Haden Church provides the perfect foil for Murphy as Whitefeather a guy who plays off a phony Native American heritage and spouts nonsensical advice like he’s E.F. Hutton. As bosses vying for Murphy’s newfound talents both Ronny Cox and Martin Sheen play it straight lending the appropriate gravitas to their roles. Nicole Ari Parker is winning in her few scenes as Olivia’s mom.
Murphy’s comedic tendency to go way over the top (i.e. Norbit) is kept in check with great results. He’s totally believable as a stressed-out businessman and his trip into his daughter’s imagination is handled realistically mined for the optimum number of laughs without sacrificing credibility. Credit for this goes to Karey Kirkpatrick (Over the Hedge) an animation director making his live-action debut for keeping cartoonish antics to a minimum and emphasizing heart and the father/daughter bond instead.
The scenes between Murphy and Shahidi are so effortlessly charming and real that you wish there were more of them. (One highlight is when father teaches daughter to sing Beatles songs which are heard throughout the film.) It’s the kind of thing Bill Cosby did so well on TV but could never pull off in movies. Murphy does.
Murphy is in top comic form all the way and is never better than when he berates Littlefeather’s hokey presentation then comes up with one based on his daughter’s doodlings that shows off the comic genius we haven’t seen in this actor’s comedy vehicles in quite a while.
NETFLIX OR MULTIPLEX?
Imagine That is a family film in the truest form and ripe for an outing with your kids. If you don’t have any rent one and go.
Cooked up in the head of Oscar-winning screenwriter Charlie Kaufman (Being John Malkovich) comes the movie in which he makes his directorial debut. Without Michel Gondry or Spike Jonze sifting through the maze this time Kaufman himself weaves this crazy quilt with consummate skill. In other words Synecdoche New York is just as successfully quirky humane and head scratching as all the others in the Kaufman ouerve. To sum up the plot succinctly is impossible but it centers on a stage director and hypochondriac Caden Cotard (Philip Seymour Hoffman) who trades in his suburban life with wife Adele (Catherine Keener) daughter Olive (Sadie Goldstein) and regional theatrical work in Schenectady for a chance at Broadway. He puts together a cast (resembling those in his own dream world) and brings them to a Manhattan warehouse being designed as a replica of the city outside. As the world he is creating inside these walls expands so does the focus of his own life and relationships. As the years literally fly by he gets deeper into his theatrical self which soon starts to merge with his own increasingly pathetic reality. Whatever you make of the tale Kaufman is telling here the casting could not be better or more suited to the quirky material. Philip Seymour Hoffman offers up a tour-de-force and is simply superb playing all the tics and foibles of the deeply disturbed Caden. His early scenes in his “normal” home are wonderfully alive with all his phobias and hypochondria in view. Later we literally watch this man disintegrate as his master creation overwhelms him. Hoffman seems to fully understand the mental trauma of a man running as far from his own realities as he possibly can. Catherine Keener as always is right on target as his wife Adele. She has a knack for taking what seems like tiny moments and making them define exactly who this woman is. Jennifer Jason Leigh as a mentor to Caden’s daughter is always fascinating to watch and plays Maria with an ounce of irony. Tom Noonan playing the actor portraying Caden in the play is the perfect doppelganger and delightfully adds to Caden’s confused state. The all-pro trio of Michelle Williams as Caden’s new wife Claire; Samantha Morton as the irresistible assistant Hazel; and Hope Davis as Caden’s self-absorbed therapist add greatly to the merry mix. It’s nice to watch Charlie Kaufman seize control of his own work. In this instance he’s really the only one who can deliver us his Fellini-esque vision. Centering it all on the theatrical director’s weird universe Synecdoche does seem like it might be Kaufman’s own take on Fellini’s 8 ½ or even Woody Allen’s paean to that film Stardust Memories. Let’s just say we know most of it must exist somewhere inside Kaufman. Early domestic scenes could have been played flat but the novice director moves the camera around skillfully enough to make us immediately engaged in Caden’s world. Second half of the film set in the phantasmagoric warehouse is a stunning tapestry of scenes from Kaufman’s singularly fertile imagination. It’s nice to note he’s well equipped with the basic tools a director needs for this type of challenging material. Overall his film is a surprising confounding visual feast -- a dream/nightmare come to life and then spinning out of control.