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Dalai Lama Revises Claim Life Only Suffering When Not Listening To Golden-Era Supertramp

Dalai Lama Revises Claim Life Only Suffering When Not Listening To Golden-Era Supertramp

The Onion17-02-2025

DHARAMSHALA, INDIA—The Dalai Lama announced in a press conference Monday that he has revised his position that suffering is an inevitable fact of life and that he now believes life is only suffering when one is not listening to golden-era Supertramp. 'I was recently lent a remastered version of Breakfast In America , and it went down so damn smooth that it completely shifted my stance on pain and the human condition,' said His Holiness, admitting that the proclamation upends the conceptual grounding of Buddhism's Four Noble Truths. 'Humanity can free itself from pain by throwing on 'Goodbye Stranger' and cranking that shit up until you feel like you're floating. Also, attachment to desire is totally okay if what you desire is the intricate musical arrangements and artful melody of Britain's best prog rock band. The real path to nirvana is through the deep cuts on disc two of Retrospectacle: A Supertramp Anthology. ' The Dalai Lama went on to condemn the Rock and Roll Hall of Fame for its hateful anti-Supertramp stance and encouraged his followers to sign a petition supporting the band's induction.

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‘Something Beautiful with Miley Cyrus' Review: The Star Co-Directs an Album's Worth of Music Videos, Celebrating Her Sexuality…and Herself
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‘Something Beautiful with Miley Cyrus' Review: The Star Co-Directs an Album's Worth of Music Videos, Celebrating Her Sexuality…and Herself

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Nancy Wilson says two 'irreplaceable' instruments have been stolen ahead of Heart's tour
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When you buy through links on our articles, Future and its syndication partners may earn a commission. Heart have revealed that two 'irreplaceable' instruments have been stolen from them, just as they were due to embark on their June tour. The band had set up at the Hard Rock Hotel & Casino in Atlantic City on May 30, the day before the first show on their latest US jaunt but were 'devastated' to discover that two instruments had been taken from under their noses. A one-of-a-kind baritone Telecaster, featuring an intricately painted headstock custom-made for Nancy Wilson, and a vintage 1966 Gibson EM-50 mandolin that has been with the band for 25 years were both stolen. 'These instruments are more than just tools of our trade — they're extensions of our musical souls,' says Nancy Wilson. 'The baritone Tele was made uniquely for me, and Paul [Moak]'s mandolin has been with him for decades. We're heartbroken, and we're asking for their safe return—no questions asked. Their value to us is immeasurable.' Such is the personal value of the distinctive instruments that a reward is being offered to anyone with relevant information. Individuals with information can contact tour manager Tony Moon via email at tonymoon@ The Rock and Roll Hall of Fame inductees are on the road with fellow hall of famers Cheap Trick, and Squeeze, celebrating 40 years since the release of their wildly successful self-titled album. Wilson recently reflected on the making of 1985's Heart, telling Guitar World, that while her beloved acoustic guitar had been the cornerstone of the band's sound, she felt 'pressured' by producer Ron Nevison to ditch the acoustics if they wanted to resonate with the contemporary audience. '[Heart] revitalized the band,' she explained in the same piece. 'It took us up to a whole other level of global success, so there's nothing I regret about what we did or where we compromised.' The latest dates come after they were forced to cancel a 2024 tour, as Ann Wilson revealed she was undergoing cancer treatment. The singer promised they'd be back in 2025, and she has been true to her word. It makes the theft of the two instruments even more heartbreaking. Guitar World hopes they return to the band – as Nuno Bettencourt found following the onstage theft of his prized Washburn, sometimes these stories can have a happy ending.

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Many nonfiction films these days are about only what the subject wants us to see — less documentaries than documercials. The crisis came to the fore in the fall with the revelation that Ezra Edelman, the creative force behind the Emmy-winning 2016 docuseries O.J.: Made in America, had directed a similarly ambitious piece for Netflix about the beautiful genius and alleged malevolent manipulations (and worse) of Prince. But with both the lawyers and rights-management company Primary Wave that were in charge of the musician's estate worried about the effects on Prince's catalog sales, at least some among the estate overseers reportedly threatened to use a clause in the contract that would require the nine-hour film to be cut down to six. The move led to the completed piece being permanently shelved. A new, more burnished authorized movie not directed by Edelman will now rise in its place. One hardly needs a nine-hour plumbing of the dark soul of Paisley Park to understand what's being lost. Time and again, the artist-approved film glides past the meatiest material. Of the Springsteen-centric Road Diary, The Hollywood Reporter's review offered that 'an in-depth excavation or an exhaustive accounting, this is not.' Of Music by John Williams, The Guardian said, 'The man behind the maestro remains elusive.' Of I Am: Celine Dion, Variety noted that the movie was 'managed to within an inch of its life…there's a sense the filmmaker didn't want to include anything her subject wouldn't approve of.' The shift is surprisingly recent. Just six years ago, the winner of the Emmy for doc special was Leaving Neverland, HBO's unflinching look at alleged Michael Jackson abuses from two alleged victims — a far cry from last year's winner about the genius of Jim Henson that was authorized by his family and came out from Disney. The company was doubtless happy not to deal with Neverland-level legal headaches. (There does still seem to be journalism within certain narrow documentary genres, like true crime, which recently yielded Liz Garbus' robust Netflix docuseries Gone Girls.) Doc-world veterans point to the size of the streamers as a culprit. 'It's a difficult environment now in the United States for controversial content,' says Alex Gibney, the Oscar- and Emmy-winning documentary filmmaker (Going Clear won the nonfiction special Emmy in 2015). 'With consolidation comes a belief that you can talk to everybody, so you don't want to offend anybody.' Gibney's own journalistic film about Benjamin Netanyahu, The Bibi Files, couldn't find a major network or streamer at this year's Toronto International Film Festival, joining another acclaimed TIFF work, Steve Pink's anti-Trump doc The Last Republican, in the distribution desert. Instead, filmmakers say the documentaries that land big deals are well-meaning but ultimately unrigorous — fan worship in auteurist clothing. Serving fans is hardly a crime, of course, and many of the music films can charm or educate the faithful. But filmmakers say they worry that these soft-focus looks are crowding out serious work. And they ruefully register the irony that artists whose genius came from exploring messy contradictions often wind up with treatments largely free of them. The music industry personalities behind these movies maintain that their efforts serve creativity in their own way, and that while they may have a measured hand in how they handle sensitive or controversial material, they still aim to cast an illuminating light. 'The artists have to be willing to tell their story, and that means the good and the bad, the wins and the struggles,' says Tom Mackay, president of premium content at Sony Music Entertainment, which has been behind a host of recent music docs, including films on Cyndi Lauper, June Carter Cash, Luther Vandross and this year's Celine Dion picture. 'It can't be a two-hour victory lap.' Mackay acknowledges that a built-in audience is part of the appeal in a difficult media environment. Distributors can count on 'that global fan base to migrate to that platform to watch that film,' he says. While the presence of these movies is held up as an example of journalism marginalization, those involved with them say they're actually responding to a deterioration in reporting culture and partly even addressing it. 'Journalism — especially music journalism — has changed; there aren't as many music outlets and not nearly as many in-depth articles about musicians as there used to be,' says Deborah Klein, a manager at Primary Wave whose clients include Melissa Etheridge and Cypress Hill, both of whom have been the subjects of recent docs. 'This is a way to get to know them a little better.' Still, many of the projects are driven by business models. Conglomerates with music catalogs don't need to pay licensing fees, eliminating a main budgetary expense. They then get paid when they sell their movie to a platform and grab another bite at the revenue apple when the ensuing popularity leads to increased streams or album sales — a triumph less of cinema than synergy. It is difficult to avoid the monetizing truth that Disney+ is the company putting out the story of Star Wars composer John Williams or that NBC streaming arm Peacock is behind Ladies & Gentlemen…50 Years of SNL Music. A 'universe' logic abides: Just as Disney produces Marvel and Star Wars shows by the bucket, it's following the template in nonfiction, peddling three movies to which it owns the rights, Michael Lindsay-Hogg original 1970 Let It Be, Peter Jackson's four-hour 2021 restoration of the footage from that film The Beatles: Get Back, and, now, the Scorsese-produced Beatles '64. Any company worth its salt engages in cross-promotion. But producing and distributing films with a commoditized-package strategy for a band that spent much of its career fighting commoditized packaging can set off the irony meter. Welcome to the Lennonverse. Natalia Nastaskin, chief content officer of Primary Wave, says that while 'we do hope that there's impact on catalog,' she also believes 'there's an opportunity for revelatory storytelling' with these movies. She called them 'another form of artistic expression.' But documentary directors say the approach makes for a very different environment than the one they're used to. 'Getting called into a meeting on these projects, you can sometimes feel more like you're filling a marketing hole than offering an artistic vision,' says one. Sheila Nevins, the former HBO executive and so-called 'godmother' of the modern documentary who has been nominated for the Emmy nonfiction special some 30 times, says she has been disheartened by the business and creative tilt in the past several years. 'The documentary is in hiding,' she says flatly. Still, she believes that even if the biggest streamers don't take many risks, a groundswell of documentarians as well as audiences eager to understand the challenges facing the country will emerge to resurrect the form. 'Just because these companies don't want to go too deep into the water doesn't mean docs are coming to an end,' Nevins notes, suggesting the possibility of private investment to produce and distribute films. 'These filmmakers will come back with their fists on fire. And they're going to punch very hard.' This story first appeared in a May stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter Most Anticipated Concert Tours of 2025: Beyoncé, Billie Eilish, Kendrick Lamar & SZA, Sabrina Carpenter and More Hollywood's Most Notable Deaths of 2025 Hollywood's Highest-Profile Harris Endorsements: Taylor Swift, George Clooney, Bruce Springsteen and More

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