Boslen takes CBC Musical Nooners stage this Wednesday
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Vancouver Sun
2 days ago
- Vancouver Sun
'The most wonderful place': Late actor Terence Stamp was a frequent Vancouver visitor
The late actor Terence Stamp was no stranger to Hollywood North. Over the course of his long career, the London-born actor appeared in many made-in-Vancouver movies. Stamp, who died Aug. 17 at age 87, first came to fame as part of the Swinging London scene in the 1960s, appearing in films such as the Academy Award-nominated 1961 flick Billy Budd and 1967's Far From the Madding Crowd. He would enjoy a later career comeback playing arch-villain General Zod in 1978's Superman and 1980's Superman II, which led to his BAFTA-winning turn as an aging drag queen in the Australian Outback in 1994's The Adventures of Priscilla, Queen of the Desert. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. Other acclaimed roles included his fearsome father on a revenge mission in director Steven Soderbugh's 1999 film The Limey. Stamp frequently called Vancouver home for periods of time throughout the 2000s. The star is quoted as saying, 'Vancouver is the most wonderful place. I put it up there with San Francisco and Sydney as a kind of magic sort of harbour city.' Among the locally made movies that Stamp appeared in are 2005's superhero thriller Electra, featuring Jennifer Garner, and the 2014 Tim Burton offbeat artist biopic Big Eyes. In a Facebook post, former Province film writer Glen Schaefer recalled meeting Stamp during one of his many local stays, noting the actor's love of Vancouver's cleanliness — 'This is how the air is supposed to smell,' Stamp once said in an interview — and interests in astrology, which led to regular consultations with Postmedia astrology columnist Georgia Nichols. Nichols met with Stamp on numerous occasions and consulted with him over the phone from Los Angeles. The actor even named the Hearst-syndicated columnist in an interview. 'He was my client and we had a very good connection over the meetings and calls, always soft-spoken and gentle,' Nichols recalls of her interactions with Stamp. 'His private London-based food company, the Stamp Collection, was a passion of his and he spent years trying to perfect just the right bread so he could enjoy a slice of toast. We occasionally had herbal tea at the hotel he was staying at in Vancouver, but he never drank.' The two shared an interest in gluten-free baking, with Stamp discussing his ongoing efforts to develop a wheat-free bread for his specialty food brand. Stamp had severe food allergies, which gave him ulcers. Eventually, he came up with a wheat, dairy, suet and sugar-free Christmas pudding that he reportedly supplied to Buckingham Palace for Lady Diana to enjoy. In his post to Facebook, Schaefer noted Stamp liked to set up residence at the Fairmont Waterfront Hotel when he was filming in town. Others, this writer included, recalled the actor occasionally turning up at the Railway Club to catch Premier League and World Cup football matches in the backroom, pint glass of water in hand. Those piercing blue eyes were impossible to miss. sderdeyn@
Montreal Gazette
5 days ago
- Montreal Gazette
Album review: Grammy-winning Montrealer Kaytranada drops surprise album geared for the dance floor
Entertainment And Life By Montreal Gazette Kaytranada knows how to throw a party. In his opening slot for The Weeknd's two packed concerts at Parc Jean-Drapeau in July, the Montrealer got people moving with an up-tempo set featuring many of his own hits. Far from the reserved DJ-producer, he danced up a storm behind the consoles, occasionally grabbing the mic to hype the crowd. In October, he embarks on a co-headlining arena tour with French electro duo Justice, which sadly won't be stopping in our city. But first he's back with a late-summer surprise: Ain't No Damn Way!, a new album of instrumental jams geared for the dance floor, released a week and change before his 33rd birthday. 'Letting y'all know that this album is strictly for workouts, dancing and studying and for my people that love beats,' he said in an Instagram story this week. It's the follow-up to his Grammy-nominated 2024 album Timeless and double-Grammy-winning 2019 release Bubba. His debut 99% won the 2016 Polaris Music Prize for best Canadian album. Along the way, Kaytranada, born Louis Kevin Celestin in Port-au-Prince, Haiti, and raised on Montreal's South Shore, has opened for Madonna, remixed Janet Jackson and Mariah Carey and collaborated with Kali Uchis, Pharrell Williams, Anderson .Paak, Snoop Dogg, Childish Gambino, H.E.R., and Pink Pantheress, among others. There are no guests on Ain't No Damn Way!, just Kaytranada doing his thing: pulling together disparate influences to craft singular grooves that stimulate the senses and move bodies in mysterious ways. That's not to say he doesn't have company. The quintessential crate-digger, he borrows textures from an impressive array of sources that showcase both his musical curiosity and intuitive ability to weave bits and pieces into a unified and never overworked whole. First single Space Invader pops with an old-school hip-hop beat and samples Kelis's Neptunes-produced 2001 track Young, Fresh N' New, turning the rejuvenated result into a soulful, scintillating club jam that feels like a lost Michael Jackson recording crossed with a '90s house track. Championship, next, borrows from 1970s German electronic music pioneers Tangerine Dream to mystical effect. Home grabs a head-bobbing beat from drummer Alex Sowinski of Toronto's Badbadnotgood, while the entrancing Things incorporates echoes of a hook from '80s Nigerian Afro-boogie artist Steve Monite over bongos and synth loops. The twinkling Good Luck is based on a staggered breakbeat by drummer Karriem Riggins, who has worked with Chicago rapper Common and the late, great producer and Kaytranada inspiration J Dilla (who is sampled on the salvational Don't Worry Babe / I Got You Babe). The dreamy interlude lasts a mere 1:47, making it the shortest of 12 songs on an album that clocks in just under the 35-minute mark. Shine Your Light For We matches Barry White instrumental snippets — not that you would know, without reading the credits — with soulful vocals from Wu-Tang Clan rapper Cappadonna's inspirational 1998 jam Black Boy. And closing track Do It! (Again!) (feat. TLC), grabs from the R&B trio's 1994 song Let's Do It Again while giving it the Kaytranada makeover — i.e. turning it into another bumping, gently percolating club jam, the title inviting us to do as we're told and put this addictive album on repeat. A decade into his recording career proper, Kaytranada shows no signs of relenting, and no lack of inspiration. The guy has so many ideas, he has to keep putting out new music. While he has been flirting with mainstream status for a while — his Spotify page shows several tracks with over 100 million streams — it's only a matter of time before he breaks through for real. Until then, it's a treat to watch Kaytranada continue to build his rock-solid reputation as one of the most tasteful and inventive producers around, with an infectious and instantly identifiable sound.
Toronto Sun
6 days ago
- Toronto Sun
Q and A: After a tough 2024, The Black Keys bounce back with No Rain, No Flowers
Patrick Carney and Dan Auerbach of The Black Keys. Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. On No Rain, No Flowers, the title track of the Black Keys' 12th studio record, vocalist Dan Auerbach sings, ' There's evil people in this world. Live long enough, and you will be burned.' For those familiar with the rock duo's recent history, it may seem as if the song is addressing the much-publicized turmoil that Auerbach and drummer Patrick Carney went through in 2024. The band made headlines when it cancelled its stadium tour in support of its Grammy-nominated 2024 album Ohio Players, apparently due to low ticket sales. Auerbach and Carney eventually fired their management — which included Irving Azoff, a powerful figure in the music industry — and their PR team. This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account 'It was a (expletive) nightmare,' is Auerbach's blunt assessment in a recent interview with Postmedia. Luckily, the Ohio-born, Nashville-based duo seems to have bounced back with the new record, which they are busy touring in North America and Europe. The album offers The Black Keys' usual mix of genres, from garage rock to soul, upbeat pop, blues and riff-heavy guitar rock. While the band has collaborated with other artists in the past — including Danger Mouse and Beck — No Rain, No Flowers marked the first time the duo enlisted professional songwriters to help flesh out the material. That includes Rick Nowels, a veteran songsmith who has worked with everyone from Madonna to Adele and Fleetwood Mac. He has also collaborated with singer-songwriter Lana Del Ray on numerous projects, including 2014's Ultraviolent, which Auerbach co-produced. Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. Auerbach took some time to chat with Postmedia about the new record. Q: How has the tour been going? I understand you have been playing different types of venues compared to previous tours. DA: Some of them. Some of them are the same. Q: I saw a recent interview and you and Patrick were talking about playing a prison . . . (they actually played Outlaw Field within the Idaho Botanical Garden, which is adjacent to the Old Idaho Penitentiary site.) DA: (laughing) Yeah, we played a prison in Boise. That was a first. It was awesome. A few thousand people in the prison yard with the prison wall behind it. It was surreal. Q: How have the new songs been going over? DA: They are going over really good. We were just over in Europe, and people were singing along. It felt great. We just started playing Man on a Mission a little more recently because that was the last one that came out. That one is going over great. That one definitely transitioned into the setlist swimmingly. Sometimes, you never know how a new song is going to go. Sometimes, it's difficult; sometimes it's easy. That one was easy right from the jump. This advertisement has not loaded yet, but your article continues below. Q: Does the title track of the new album, No Rain, No Flowers, represent a broader theme you were going for? DA: Not really, but everybody has made it into that. We have to talk about it in every interview. We went through all that bullsh-t with our manager. It was a (expletive) nightmare, but no, it's not what the record is about. Each song is its own little story, I think, a little vignette. A little character study, maybe. It's more creative musically. Q: Early on in your career, you recorded in a basement, presumably just the two of you for the most part. What has the shift been like to collaborate with artists like Danger Mouse, Beck, Noel Gallagher, and ZZ Top's Billy Gibbons? DA: I think as soon as we let someone in, we realized, 'Wow, it's really fun.' Danger Mouse ( Note: who worked with The Black Keys in 2008 as the first outside producer the band brought in and has since worked with them frequently ) really opened our eyes to a lot of possibilities but also just a lot of enjoyment in the studio: getting to be able to do things, try sounds, work on even bigger ideas and go in different directions if we want to. It was really important for us. It was a turning point. Every time, for the most part, that we work, we like to have someone else in there. It's almost like a superpower that we have, just because we're a two-piece band. We're able to get one or two other people in the studio, and it still just kind of sounds like us. I love that, working with people who inspire us and running them through our filter, because there are endless people who inspire us. That's the fun of music. This advertisement has not loaded yet, but your article continues below. Q: On this record, you co-wrote songs with veteran songwriter and producer Rick Nowels. How did you settle on who to collaborate with this time around? DA: We talked about it. The last time we worked with a couple of songwriters who were also performers — Noel Gallagher and Beck — and they are all incredible songwriters, of course. But having lived in Nashville for 16, 17 years, I work with a lot of songwriters and it's not something that Pat and I had ever done. So we thought it might be fun to give it a shot, and we were thinking about what songwriters we were interested in. Rick Nowels just came to mind early because I loved those songs I got to work on with Lana, and I kept seeing his name on them. I was just curious. I love voicing chords, I love pop songs that are melancholy. We reached out to him. He is a lifelong songwriter. He's in his 60s, and it's the only thing he has ever done and he had never been to Nashville. So what were the odds that when we called him and reached out that he was going to be in Nashville in two weeks for the very first time? It was absolute serendipity. This advertisement has not loaded yet, but your article continues below. Q: There is lots of genre-hopping on this record: the vocals on Make You Mine reminded me of the Bee Gees, there's a lot of great hard-rock riffs going on in Man on a Mission, there's some upbeat pop songs and the country-folk on Neon Moon. What's your relationship to genre now and how has it changed? Do you give yourself challenges as a songwriter or is it all organic? DA: I think with this album, what is probably most reflective are these record hangs that Pat and I have been doing, where, when we travel, we have a bag with us where we carry 120 45s. We are constantly on the lookout for records. We have these little things called record hangs, essentially a little dance party with 45s. We try to play a song that nobody has ever heard before and songs that are unshazamable. These songs are really fantastic and you hear it and say, 'How did I never know this song?' We play rockabilly, garage. soul, we play reggae or Jamaican records, we'll throw on a hip-hop song. I think it's really reflective in the record we made. This advertisement has not loaded yet, but your article continues below. Q: Where do you even find obscure 45s like that these days? DA: When we're on tour, we'll go to record shops. When we're stuck on the bus, it's Discogs. Do you know what Discogs is? It's an incredible resource. And, you know, my credit card bill is . . . (laughs).' Q: You've talked a little bit about this already, but there was a lot of press about what The Black Keys went through in 2024. That included firing your management and cancelling the tour. How did those experiences change how you conduct business? DA: (Sighs). Well, it makes us more aware of the business. But in certain places, like in America, you can't really change how you do business because certain companies own everything. When we just went to Europe, we were allowed to use independent promoters in all the different countries, territories. It really makes a big difference when you have a local promoter who is invested and really cares. It's not something you can do in America. It's difficult. Q: You've worked with Patrick Carney for more than 20 years. That's a long time to be working as a duo. Has your relationship changed? DA: Man, I think that's the reason we're still around. I can't imagine having to have more people in the band. (This interview has been edited for length and clarity.) Sunshine Girls Toronto & GTA Sunshine Girls World Columnists
