Rocker Bob Mould is convinced the U.S. military will soon develop a cure for tinnitus. The former Husker Du star has suffered from the distressing ear-ringing condition for years but insists he has "learned to live with it".
He is also adamant the illness is not worth worrying about because medical technology is moving so quickly that experts will soon develop a solution.
Mould tells Uncut magazine, "My head rings all the time, but I've learned to live with it. I figure, the U.S. military, they're on the leading edge of concussive hearing loss because of the troops in the field. So I'm guessing in 10 years they're gonna have a device I can snap on my ear and it'll retrain the muscles. I think those things may exist, but there's no point now. I'm going on tour in a couple of months!"
Rocker Bob Mould feared he would be ostracised by the gay community after he 'came out' in a magazine interview. The former Husker Du frontman confirmed his sexuality in a feature with Spin magazine in the mid-1990s but he was worried the article would cause offence.
He tells Uncut magazine, "Coming out was different than it is now and I'd always placed a premium on privacy. I didn't feel comfortable identifying myself as a gay musician. I wanted to be a musician and if I happened to be gay, that's great too... But Spin led with a saucy byline, something like 'I'm not a freak'. I was like, 'Oh, of everything I said, that's what you're gonna put on the cover? The gay community's gonna kill me.'
"That's not me. I'm not a freak. I'm a normal person. Again, I worried about it way more than anybody else. It didn't really make much difference."
TriStar Pictures via Everett Collection
An hour and change into Pompeii, there's a volcano. You'd think there might have been a volcano throughout — you'd think that the folks inhabiting the ill-fated Italian village would have been dealing with the infamous volcano for the full 110 minutes. After all, volcano movies have worked before. Volcano, for instance. And the other one. But for some reason, Pompeii feels the need to stuff its first three quarters with coliseum battles, Ancient Rome politics, unlikely friendships, and a love story. But we don’t care. We can't care. None of it warrants our care. Where the hell is the volcano, already?
To answer that: it's off to the side — rumbling. Smoking. Occasionally spiking the neighboring community with geological fissures or architectural misgivings. Pretty much executing every trick picked up in Ominous Foreshadowing 101, but never joining the story. Not until Paul W.S. Anderson shouts, "Last call," hitting us with a final 20-odd minutes of unmitigated disaster (in a good way). If you've managed to maintain a waking pulse throughout the lecture in sawdust that is Pompeii's story, then you might actually have a good time with the closing sequence. It has everything you’d expect — everything you had been expecting! — and delivers it with gusto. Torpedoes of smoke running hordes of idiot villagers out of their homes and toward whatever safety the notion of forward has to offer. Long undeveloped characters rising to the occasion to rescue hapless princesses who thought it might be a good idea to set their vacation homes at the foot of a lava-spewing mountain. The whole ordeal is actually a lot of laughs. But it amounts to a dessert just barely worth the tasteless dinner we had to force down to get there.
TriStar Pictures via Everett Collection
To get through the bulk of Pompeii, we recommend focusing all your attentions away from the effectively bland slave/gladiator/hero Kit Harington — sorry, Jon Snow (he's actually called a bastard at one point) — and onto his partner in crime: a scowling Adewale Akinnuoye-Agbaje — sorry, Mr. Eko (he and Snow actually trade valedictions by saying "I'll see you at another time, brother" at one point) — who warms up to his fellow prize fighter during their shared time in the klink, and delivers his moronic material with a sprinkle of flair. Keeping the working man down is Kiefer Sutherland — sorry, Jack Bauer — as an ostentatious Roman senator, doling out vainglory in Basil Fawlty-sized portions. When he's not spitting scowls at peasants, ol' JB is undermining the efforts of an earnest local governor Jared Harris — sorry, Lane Pryce (he actually calls someone a mad man at one point) — and his wife Carrie-Anne Moss — sorry, Katherine O'Connell from Vegas (joking! Trinity) — and finagling the douchiest marriage proposal ever toward their daughter Emily Browning — sorry, but I have no idea what she's from.
But questionable television references and some enjoyably daft performances by Eko and Jack can't really make up for the heft of mindless dullness that Pompeii passes off as its narrative... until the big showstopper.
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In truth, the last sequence is a gem. It's fun, inviting, and energizing, and might even call into question the possibility that Pompeii is all about how futile life, love, friendship, politics, and pride are when even the most egregiously complicated of plots can be taken out in the end by a sudden volcanic eruption. But you have to wade through that egregious complication to get there, and you shouldn't expect to have too much of a good time doing so.
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Bettye Levette, jazz star Madeleine Peyroux and alternative rock icon Bob Mould have signed up to lead an eclectic tribute to Paul Simon in New York in March (14). The trio will be joined by the Civil Wars' Joy Williams and composer Allen Toussaint, among others.
The Simon tribute is the 10th instalment of a long-running series hosted by philanthropist Michael Dorf.
Last year (13), Elvis Costello, D'Angelo and Booker T. Jones performed at a Prince tribute, and past events have been dedicated to the music of Bruce Springsteen, R.E.M., the Rolling Stones and Elton John.
Former Husker Du rocker Grant Hart has ruled out reuniting the grunge pioneers, insisting he and bandmate Bob Mould have "nothing to prove". The group split in 1987 after eight years together but was later cited as a major influence on early-1990s grunge acts including Kurt Cobain's Nirvana.
Fans have speculated recent lucrative reunions of bands such as the Stone Roses have opened the door for a Husker Du comeback, but drummer/vocalist Hart is adamant he and Mould will not be tempted to put the trio back together.
He tells Mojo magazine, "Everybody with a midlife crisis either wants a Husker Du reunion or is reuniting with their own band. I can't turn the clock back for people.
"I have certain ideas worth pursuing if Bob and I were to make music again. But even though the amount of money would be irresistible, both of us have resisted making a lot of money before... Bob and I are smart enough to know we've got nothing to prove."
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.