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Bon Iver and Ezra Koenig Go Deep in 2-Hour “Time Crisis” Chat: Listen - Pitchfork

Posted: 06 Oct 2019 03:06 PM PDT

Vampire Weekend's Ezra Koenig sat down with Bon Iver's Justin Vernon for a nearly two-hour interview on the latest episode of his Beats 1 show "Time Crisis." They reminisced about playing beer pong at a Minneapolis bar after a Vampire Weekend show, talked about their personal hurdles with touring, discussed Vernon's life in Wisconsin (including his opinions on various chain restaurants in Eau Claire), and much more. Listen to the full episode here.

Vernon and Koenig talked at length about their love of the Grateful Dead. In addition to naming a recent favorite Dead era (Cornell 5/8/77), Vernon discussed the time he jammed with Dead & Company. Vernon said he took LSD with John Mayer, but then second-guessed whether or not Mayer took anything. "Maybe he did, maybe he didn't, but John's a really nice guy and boy is he good at guitar," Vernon said. "And my friends are on the side of the stage just laughing and crying uncontrollably because apparently the lights were getting real hazy, and I guess me and John Mayer just became one thing."

Koenig asked Vernon about what he was listening to as a high school athlete in Wisconsin. After Vernon talked about listening to Indigo Girls and Rickie Lee Jones after games, Koenig asked Vernon to name his favorite Limp Bizkit songs. After Vernon admitted that he wasn't familiar with Limp Bizkit, Koenig played and sang along to "Break Stuff."

As the conversation turned to corporate food culture (a regular topic on "Time Crisis"), Vernon revealed that he tried Flamin' Hot Cheetos for the first time while working with Chance the Rapper on The Big Day. He decided that he hates them, placed the bag on the ground, and walked away.

Vernon opened up about how during the press cycle surrounding 22, A Million, he only did one interview. "I mean, I seriously could not handle another moment of reflecting upon myself," he said. "This time, I said yes to a few more things because, to be honest with you, I recognized that when you don't do anything and you're not Beyoncé, it can have real effects on your small business, on your family, on the people around you that this is their job."

The episode concluded with them counting down the biggest songs by musicians from their home states of Wisconsin and New Jersey. Near the end of their chat, Koenig attempted to make Vernon choose sides in the feud between Steve Miller and the Grateful Dead.

Vampire Weekend released their highly-anticipated fourth album Father of the Bride back in May. Bon Iver's fourth studio LP i,i came out in August.

Read Pitchfork's Cover Story "Welcome to Bon Iver, Wisconsin."

The muzzling of Michael Winterbottom: how Sony censored Greed - The Guardian

Posted: 06 Oct 2019 10:00 PM PDT

Every year for the past three decades, Michael Winterbottom has made a movie. Britain's most mercurial director may have hopped between genres like a frog on a bouncy castle, but he has stuck to a strict schedule – inspired, apparently, by the subject of his first film, Ingmar Bergman. (Bergman only agreed to the documentary because he was so tickled by the then 25-year-old's surname. "It's the one time it's been a help," says Winterbottom. "As a child, it wasn't the easiest.")

Now, abruptly, that routine has changed. Winterbottom is on sabbatical. To recover, it turns out, from the past six months, spent unsuccessfully haggling over the final cut of his latest film.

Greed is a boisterous satire largely set during the lavish 60th birthday party in Mykonos (Coldplay, newly built amphitheatre, lion) of a British fashion mogul with deep tan and alarming teeth, based heavily on Philip Green. Steve Coogan stars; David Mitchell plays a journalist roped into writing his biography, who travels to the far east to tour the factories which manufacture the clothes that have made his subject so rich.

Watch a clip from Greed

The original version of the film ended with a series of cards spelling out how real life is yet more grotesque than fiction. How workers in Myanmar and Bangladesh earn $3.60 and $2.84 a day making clothes for British high street brands, while H&M's owner, Stefan Persson, is worth around $18bn and Zara's owner, Amancio Ortega, $67bn.

At the first test screening in March, reports Winterbottom, these cards were a big hit. "People didn't find the message annoying, they loved it. But, unfortunately, we were told we couldn't put them in the film."

This was the decree, he says, of Laine Kline, head of Sony Pictures International, which co-financed Greed with Film4 and is distributing it worldwide. "He was like: I don't care it's the most popular bit. We're not going to have mention of individual brands in those cards or individual billionaires. Because we're worried about the potential damage to Sony's corporate relations with these brands."

Winterbottom took note. Replacement cards were made and test-screened. These, too, he says, went down well with everyone except Kline. The director dug his heels in, but he was standing on quicksand: the final say rested not, as he imagined, with himself, or with frequent collaborator Film4, but entirely with Sony.

Michael Winterbottom on the set of The Trip to Italy.
'You want to make people feel angry' … Michael Winterbottom on the set of The Trip to Italy. Photograph: Sarah Lee/The Guardian

Winterbottom does not appear an especially angry man. We meet a couple of times, once at the Guardian offices, where he could easily pass for a foreign editor, and once for coffee, near his home. In fact, for 58, Winterbottom is quite mumbly, self-effacing and averse to talking personally – not just about his private life (he lives with his producer, Melissa Parmenter, and their eight-year-old son, Jack; he also has two daughters, Ruth and Anna, from a previous marriage), but his own ethical negotiations (he eventually tells me his trousers are from sustainable tailor Oliver Spencer). He's also relaxed, fast to laugh – and evidently livid within.

Does he regret not tooth-combing the paperwork? "As a director, I don't really get too bogged down in legal contracts. Obviously, on reflection, it would have been good to know.

"But I did a film 20 years ago, structured the exact same way, in which Film4 split the finance 50/50 with Miramax, when Harvey Weinstein was at his most bullish. At that point Film4 seemed to have as much say and clout determining the content as Miramax. But in this case it was just like: well, sorry, we don't agree with Sony, but you've got to take the credits out."

Sony declines to comment, but Film4's defence rests on the reminder that Winterbottom signed an agreement which "stated that if any creative or business discussions reached a deadlock, Sony's view would prevail. Editorial discussions between partners are part and parcel of independent film-making and usually resolved in the cutting room. Film4 always back our film-makers and are very proud of the finished film of Greed."

Catwalk king … Steve Coogan in Greed.
Catwalk king … Steve Coogan in Greed. Photograph: Sony Pictures

Still, there's a troubling muddle here. It's true that the original script of Greed did not detail the content of these end cards, instead saying it would "go to a documentary sequence". "We talked about it," says Winterbottom, "but hadn't actually written down the facts and figures because they always change."

And the entire pitch of the film is an upfront exposé of wealth inequality that does name and shame real-life brand owners in a scene which was in the original script, when Coogan's character appears before a select committee.

Winterbottom has a platform to hammer home the facts: last month he read many of them out on stage after the film's Toronto premiere – attended, of course, by studio bigwigs. "No one died of shock," he says. "No one is going to be, like: 'Oh my God, Sony is releasing a film that mentions the fact Ortega is worth $60bn.' It's just public knowledge. In fact, it shows he's been a success."

So why whistleblow? Does he think Sony might reconsider? "Well, that would be good. The impact of the film was bigger when we were being more specific, more dynamic, more impactful, more clear. But I'm not expecting them to."

I think Winterbottom feels compelled to spill the beans because what happened so offends his sense of justice. On principle, he says, a publicly owned and funded British company shouldn't sign over control of a British story to a multinational.

He's also exercised about what he sees as a betrayal of the tax credit system set up in 2007 to enable Film4, BBC Films and the BFI to support British independent film-makers. In the case of Greed, half those benefits have gone to Sony. "That seems to me to be wrong."

Winterbottom with Rob Brydon, left, and Steve Coogan filming The Trip to Spain in 2016.
Festival favourite … Winterbottom with Rob Brydon, left, and Steve Coogan filming The Trip to Spain in 2016. Photograph: Sarah Lee/The Guardian

The consistent beat in Winterbottom's career – louder even than sex or pop or celebrity – is iconoclasm: banging the drum for the man morally wronged by an institution. It just so happens this is the first time he feels it's happened to him.

Born in Blackburn in 1961, Winterbottom's mother was a teacher, his father a draftsman in the factory where A Kind of Loving was shot. After university, he worked as an assistant for Lindsay Anderson (whose memoirs describe him as "attractively cherubic"). His debut proper was Butterfly Kiss, about lesbian serial killers on the M6, and accepted by the Berlin film festival - which gave him its top prize in 2003 for refugee docodrama In This World.

These days, the main question he says he's asked at festivals is when the next Trip is out. Six months after finishing Greed, Coogan and Winterbottom returned to Greece to shoot a fourth instalment of the comedy in which Coogan and Rob Brydon irritate each other over tasting menus. Winterbottom tells me gleefully about a scene involving the same real-life refugee who features in Greed (as a troublesome blight on the beach), and who, in The Trip to Greece, Coogan apparently fails to recognise.

Our compartmentalisation of the plight of migrants mirrors our failure to engage with the realities of fast fashion, Winterbottom thinks. Both situations are solvable only by systemic change, but that shouldn't stop individual protest.

"With refugees, it's a collective failure because government represents us. My mother had refugees and evacuees in her house during the second world war. Back then we assumed solidarity with people fleeing war. We would have never have said: let's not even rescue these people, let's let them drown. But we've become a more selfish and atomised society and that's affected our sense of solidarity."

Because we're self-obsessed? Nope: market ideology has infected our psyche. "Everything's become more financialised; it's all about how much cash you have."

Even those with plenty of it – plus social conscience to burn – can't help themselves, he says. "I've met lots of very serious actors who are endorsing a watch. I find it a bit baffling. They don't need a free watch but they still want one. They see themselves as a brand, supporting another brand."

A clutch of celebrities – Colin Firth, Keira Knightley, Stephen Fry – give meta-cameos in Greed, paying grisly lip service to Coogan's mogul. This, says Winterbottom, was to highlight the symbiosis between the famous and the filthy rich; the glamour bestowed by association and the confusion this creates for the consumer, who'll think of an A-lister when buying a frock, rather than the woman in the mud hut who made it. (Winterbottom mutters darkly about the "female empowerment" message of Beyoncé's Topshop range – which she pulled after the allegations Green behaved inappropriately to his staff.)

Launch of the Kate Moss for Topshop Collection in 2014 … from left, Suki Waterhouse, Philip Green, Kate Moss, Cara Delevingne, Sienna Miller and Naomi Campbell.
Launch of the Kate Moss for Topshop Collection in 2014 … from left, Suki Waterhouse, Philip Green, Kate Moss, Cara Delevingne, Sienna Miller and Naomi Campbell. Photograph: David M Benett/Getty Images

Such stars were no more let off the hook in Greed's first cut than Persson or Ortega. Those pesky end captions, it emerges, also "originally pointed out that people like Beyoncé and Stevie Wonder, Robbie Williams, Tom Jones, Jennifer Lopez and Destiny's Child have all been happy to take cash to go and play at Philip Green's parties". Guests, Winterbottom reminds me, have included Kate Moss, Naomi Campbell, Gwyneth Paltrow and that beacon of eco-consciousness, Leonardo DiCaprio.

Sony, unsurprisingly, said no to those too. Its refusal, says Winterbottom, fatally blunts a tale he made for its sting: "You want to make people feel angry and frustrated and to want change."

He zips up his cardie and heads back to his sabbatical, unfussed by the bridges burning behind him.

Greed opens in the UK in February; its European premiere is on 8 October at the London film festival.

Ginger Baker dead: Cream drummer dies, aged 80 - The Independent

Posted: 06 Oct 2019 03:20 AM PDT

Ginger Baker, the legendary drummer and co-founder of rock band Cream, has died at the age of 80.

Last month, the musician's family announced he was critically ill in hospital, but no further details of his illness were disclosed.

On Sunday morning, a tweet on his official Twitter account stated: "We are very sad to say that Ginger has passed away peacefully in hospital this morning. Thank you to everyone for your kind words over the past weeks."

We'll tell you what's true. You can form your own view.

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Baker had suffered from a number of health issues in recent years. He underwent open heart surgery in 2016 and was forced to cancel a tour with his band Air Force after being diagnosed with "serious heart problems".

The drummer, who is widely considered to be one of the most innovative and influential drummers in rock music, co-founded Cream in 1966 with Eric Clapton and Jack Bruce. The band released three albums before splitting in 1968, after which he formed the short-lived band Blind Faith with Clapton, Steve Winwood and Ric Grech. A fourth Cream album was released after the band disbanded.

Baker was named number three on Rolling Stone's 100 Greatest Drummers of All Time list, and is the subject of the documentary Beware of Mr. Baker.

"Gifted with immense talent, and cursed with a temper to match, Ginger Baker combined jazz training with a powerful polyrhythmic style in the world's first, and best, power trio," said the Rolling Stone article. "The London-born drummer introduced showmanship to the rock world with double-kick virtuosity and extended solos."

Lewisham-born Baker was known for being a mercurial and argumentative figure, whose temper frequently led to on-stage punch-ups.

His father, a bricklayer, was killed in the Second World War in 1943, and Baker was brought up in near poverty by his mother. He joined a local gang in his teens and when he tried to quit, gang members attacked him with a razor.

Baker suffered from heroin addiction, which he acquired as a jazz drummer in the London clubs of the late 1950s and early 1960s. He once told The Guardian he came off heroin "something like 29 times".

Tributes for the drummer have been pouring in on Twitter.

Paul McCartney called Baker a "wild and lovely guy", writing: "We worked together on the 'Band on the Run' album in his ARC Studio, Lagos, Nigeria. Sad to hear that he died but the memories never will."

Baby Driver director Edgar Wright wrote: "RIP the music giant that was Ginger Baker. The beat behind too many favourite songs from Cream, The Graham Bond Organisation and Alexis Korner's Blues Incorporated."

Rock journalist Mark Paytress tweeted: "Like Hendrix, Ginger Baker was a name synonymous w/ early days rock. Once you heard him play, saw pics & footage, he seemed to embody the music's power, the culture's adventure. Spending a day w/ him in 2014 magnified it all. Lost a big one this morning."

Slipknot's Jay Weinberg simply wrote: "Thank you Ginger Baker."

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