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Post by the Scribe on Feb 20, 2021 14:23:51 GMT
| ESSAY | The Sweetest Gift: Linda Ronstadt Owes Us Nothing www.phoenixnewtimes.com/music/the-sweetest-gift-linda-ronstadt-owes-us-nothing-11356538 ROBRT L. PELA | DECEMBER 27, 2019 | 8:00AM
A scene from the film Linda Ronstadt: The Sound of My Voice.Greenwich Entertainment
On New Year's Day, CNN will air the critically-acclaimed documentary Linda Ronstadt: The Sound of My Voice at 7 p.m. To commemorate the occasion, we are sharing Robrt L. Pela's essay on the film, which hit movie theaters in September.
There it is, in several still photos and one grainy clip of Linda Ronstadt performing “Different Drum” at the Bitter End in 1968: the purple-striped nylon Betsy Johnson dress the singer has claimed she practically lived in that year. Casual fans won’t notice or care about this tiny detail in Rob Epstein and Jeffrey Friedman’s dutiful new movie, Linda Ronstadt: The Sound of My Voice — and it’s a movie made largely for the casual fan. Like hundreds of other celebrity documentaries, Sound is a tribute to an icon, told in clips and talking-head interviews with the subject’s famous contemporaries. It’s meant to entertain us and to pay tribute to a remarkable career. It does both in a tight, melodic 95 minutes.
But unlike so many other similar films, its makers — themselves die-hard Ronstadt fans — have wedged in a few nods to those of us who’ve paid closer attention to Ronstadt’s career; those of us who don’t need to be reminded that she had five consecutive platinum-selling albums in the 1970s; that two of her former bandmates went off to form the Eagles; that she retired in 2009 after a rare form of Parkinson’s disease changed her ability to sing.
It’s hard to imagine there’s anyone in America who hasn’t heard that last, sad bit of news. But last year, when Ronstadt was still well enough to travel with her speaking tour, there was at least one person in the Scottsdale Center for the Arts audience who hadn’t.
“I hope she does ‘Heatwave,’” I heard a woman seated behind me say to her companion that night. “Oh, she doesn’t sing anymore,” her friend explained. There was the longest pause. “Then what is she going to do?” came the reply.
She was going to talk about herself, just as she does in this new documentary. That night, and in the new movie, she was as generous with her stories as she’d been back when she could belt her way up a musical scale. And if in the film she tells many of the same stories she’s been telling for years (like the one about how she decided to befriend, rather than envy, Emmylou Harris) and offers oft-repeated opinions (she hated playing arenas, because the guitar solos from last week were somehow still trapped there), there’s plenty of stuff for those of us who can, you know, recite the catalog numbers of each of the three Stone Poneys albums or the release dates of each of Ronstadt’s singles.
A scene from the film Linda Ronstadt: The Sound of My Voice.Greenwich Entertainment
There is, for instance, a brief alternate take of Ronstadt’s “Rambler Gambler,” a non-album tune that charted at country stations in the late '70s. There’s footage of her performing Fontella Bass’ “Rescue Me” at the Troubadour in March 1971, a cut well known to fans of the singer’s third solo album — but who’d ever seen the accompanying performance clip? And, look! There’s Bobby Kimmel talking about how he and Ronstadt formed the Stone Poneys in 1966 with bassist Kenny Edwards. If you haven’t recently been to McCabe’s Guitar Shop, Kimmel’s Santa Monica, California, performance space, you haven’t seen him in a while. It’s lovely to hear the affection he has for his famous former bandmate.
Epstein and Friedman make a solid case for how and why Ronstadt changed the game for “girl singers,” as they were called then: She insisted on selecting tunes that meant something to her, rather than having pop crap foisted on her by producers and record executives; she sidestepped rock’s boys-only routine, even while fronting an all-male band; she left a major record label in 1973 to join her friends at the fledgling Asylum Records — a ballsy move for anyone, let alone a singer who hadn’t had a hit in four years.
If the filmmakers breeze past or skip over some of the superstar’s achievements, it’s only fair: There are more of them in Ronstadt’s career than in most anyone else’s. If The Sound of My Voice is a love letter to one of pop music’s biggest acts, it’s also a testimonial to what she achieved, and how she did it mostly on her terms. When music scholars find this film in 50 years, that’s what they’ll need to know about Linda Ronstadt.
A scene from the film Linda Ronstadt: The Sound of My Voice.Greenwich Entertainment
Still, I would like to have known whether Ronstadt cared that her taste in music shaped a generation’s, when she offered us gorgeous recordings of the great American songbook, of mariachi tunes, of Gilbert and Sullivan. I wanted to hear whether she meant to subvert rock ’n’ roll maleness by singing about getting a blow job from Dallas Alice (in Lowell George’s “Willin’”) or pleading with Warren Zevon’s “Carmelita” to hold her tighter. And what exactly does she mean when she claims, in her beautifully written memoir, Simple Dreams, and in several recent interviews, that she can’t sing anything she didn’t hear in her childhood home in Tucson? She certainly didn’t hear The Cretones or Elvis Costello there.
I might have asked the lady herself. The publicist for the film offered to arrange an interview with Linda Ronstadt for this essay, and I declined. I was squeamish about asking someone I have long admired, someone who these days tires easily, who’s sick with something that makes it difficult for her to talk, to indulge my self-interested questions about musical choices she’d once made. I couldn’t offer Linda Ronstadt anything close to the gift she’d given a generation of music lovers, but I could give her one less conversation with some stranger who wanted to talk about a dress she’d worn a half-century ago.
KEEP PHOENIX NEW TIMES FREE... Since we started Phoenix New Times, it has been defined as the free, independent voice of Phoenix, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Phoenix with no paywalls. Make a one-time donation today for as little as $1.
Robrt L. Pela has been a weekly contributor to Phoenix New Times since 1991, primarily as a cultural critic. His radio essays air on National Public Radio affiliate KJZZ's Morning Edition. CONTACT: Robrt L. Pela
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Post by the Scribe on Feb 21, 2021 23:03:36 GMT
Together for Mind, Sight & Music featuring LINDA RONSTADT: THE SOUND OF MY VOICE At-Home Movie Night with BrightFocus Foundation (June 4-10)www.brightfocus.org/alzheimers-disease-macular-degeneration-glaucoma/news/together-mind-sight-music-featuring-linda-0 Virtual Free-Screening Event will call attention to scientific research worldwide to defeat brain and eye diseases
Clarksburg, MD (May 26, 2020) – BrightFocus Foundation, a nonprofit organization funding scientific research and promoting public awareness to end diseases of mind and sight, announced a special, free virtual presentation of the award-winning documentary LINDA RONSTADT: THE SOUND OF MY VOICE on June 4-10. The at-home movie night will feature an introduction from the film’s producer James Keach, and interviews with key scientists discussing their current research.
“I believe in the power and promise of science to end disease and save lives, and this is why I am glad to showcase both the transcendent beauty of Linda’s voice in this film as well as the bold, groundbreaking research of BrightFocus,” Keach said, noting that Ronstadt’s iconic career was cut short by a neurodegenerative disease.
Stacy Haller, BrightFocus Foundation President and CEO, added, “The scientists supported by BrightFocus are relentless in their drive to slow and end diseases that rob us of our memory and our sight. We could not have found a better film to both bring back so many great memories and remind us how now, more than ever, the need for innovative science is abundantly clear.”
In addition to James Keach’s introduction prior to the presentation of the film, four BrightFocus-funded scientists will briefly introduce their work. They include: Sarah Doyle, PhD, Assistant Professor in Immunology, Clinical Medicine, Trinity College Dublin; Makoto Ishii, MD, PhD, Assistant Professor of Neuroscience and Neurology, Weill Medical College of Cornell University; Amir H. Kashani, MD, PhD, Associate Professor of Ophthalmology, University of Southern California and Roski Eye Institute; and Yvonne Ou, MD, Associate Professor, Ophthalmology, University of California, San Francisco. They are among over 200 scientists around the world whose ongoing research is supported by BrightFocus.
Directed by Rob Epstein and Jeffrey Freidman, LINDA RONSTADT: THE SOUND OF MY VOICE premiered at the Tribeca Film Festival in 2019 and became a festival darling, winning multiple awards and gaining critical acclaim. The film looks at the life and career of the legendary singer Linda Ronstadt from her childhood in Tucson through her decades-long career with successes singing and interpreting seemingly every type and style of music at hand until her retirement in 2011 due to Parkinson's disease. Frank Scheck (Hollywood Reporter) wrote that the film, “will delight the singer's old fans and likely make her many new ones as well. Owen Gleiberman (Variety) said the film “captures the life and career of a rock 'n' roll star who never looked back, never apologized, never compromised, virtually never made a wrong move, and made it all seem effortless.”
LINDA RONSTADT: THE SOUND OF MY VOICE At-Home Movie Night with BrightFocus can be watched for free at brightfocus.org/movie, or via Facebook and viewed on any computer, tablet, or phone from June 4-10. www.brightfocus.org/movie www.facebook.com/events/672751299967792/
ABOUT BRIGHTFOCUS FOUNDATION BrightFocus Foundation is a premier private funder of research to treat and cure Alzheimer’s, macular degeneration, and glaucoma, currently supporting a portfolio of over 200 projects around the globe, a $40 million investment. www.brightfocus.org/
This content was first posted on: May 26, 2020 Contact Information
For press inquiries, please contact:
John Wildman Wildworks PR FilmsGoneWild.com jswildman@hotmail.com (323) 600-3165
Michael Buckley, Vice President of Public Affairs BrightFocus Foundation mbuckley@brightfocus.org (301) 556-9370
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Post by the Scribe on Feb 27, 2021 20:10:11 GMT
Rob Epstein & Jeffrey Friedman segment (LINDA RONSTADT: THE SOUND OF MY VOICE) 241 views•Aug 23, 2019
Filmwax Radio 322 subscribers Filmmakers Rob Epstein & Jeffrey Friedman ("The Times of Harvey Milk") stop by to discuss their latest film, a documentary about the seminal and versatile singer Linda Ronstadt. "Linda Ronstadt: The Sound of My Voice" follows her illustrious career and all the people she's touched. Talking heads include Bonnie Raitt, Jackson Browne, Emmylou Harris & Don Henley, as well as myriad friends, family and other colleagues. Ms. Ronstadt also participated in the film despite (or perhaps because of) her battle with Parkinson's Disease which caused her to retire from the music business way too soon. The documentary begins its theatrical release Friday, September 6th in NYC and LA, and will continue to go wide.
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Post by the Scribe on Feb 28, 2021 7:02:37 GMT
IT Chapter Two, Official Secrets, Linda Ronstadt and TIFF––The Curvy Critic Ep. 75 (Linda comments begin approx. 11:20) 220 views•Streamed live on Sep 1, 2019
Black Hollywood Live 45.2K subscribers The Curvy Critic reviews IT Chapter Two, Official Secrets, Linda Ronstadt: The Sound of My Voice, D23 recap and exclusive preview of the Toronto International Film Festival including Judy, Joker, Just Mercy, Clemency, Harriet, Dolemite Is My Name and A Beautiful Day in The Neighborhood
About the Show: Presented by Black Hollywood Live and hosted by Carla Renata, The Curvy Critic is BHL's #1 inside source for film releases, festivals, insider scoops, and news!
@thecurvycritic
Make sure to subscribe to BHL! - youtube.com/blackhollywoodlive
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Post by the Scribe on Mar 4, 2021 6:53:18 GMT
OCT 26, 2019 LINDA RONSTADT "In very different times, my reaction to having my songs recorded by other singers was downright suspicious, territorial and, at times even a little hostile. To say the least, I lacked grace.
Five years ago, shortly before an encore performance of "Alison", I told the audience at the Hollywood Bowl, that it was Linda Ronstadt's rendition of that song - which was featured on her big hit album "Living In The U.S.A." - that kept petrol in our tour bus at a time when we were sharing double bill with everyone from Talking Heads to Eddie Money for a $1.99¢ ticket.
Linda Ronstadt and I have never met, so the stage seemed the next best place for such an acknowledgement.
I recently went to see "The Sound Of My Voice" at the Film Forum in NYC on an afternoon double-bill with the new documentary about Miles Davis. While the Miles film was filled with his wonderful music and startlingly vivid photographs and footage, the film mostly told me things I already knew, while the Linda Ronstadt movie was a completely surprising, clear-sighted and unsentimental look at her career, revealing an intelligence, self-awareness and sense of humour that was not always apparent in some of her male contemporaries from the early '70s
I used to joke that musicians invited some terrible curse by taking on my songs and how, having recorded one of my songs, Linda decided to push her luck by recording three more on her album "Mad Love" and the next thing she was singing Gilbert & Sullivan.
Of course, as someone who has spent their career doing the exact opposite of what has been expected of me, this was really a joke that was told against myself.
Nevertheless, I can't imagine a G&S operetta was actually the top of the record company wish list for one of their top recording superstars even if the piece ended up being a spectacular success.
The film tells us that Linda Ronstadt had to persuade her label boss at the WEA record group to bankroll her album with Nelson Riddle in a way that I was never obliged to wrangle with Warner Brothers, regarding the funding of "The Juliet Letters" but then my pop and rock and roll records weren't selling triple platinum, so they had less to lose.
I can't think of an artist of her commercial status who would have even proposed such a collaboration with Nelson Riddle let alone two albums of Mexican folk songs but the documentary shows these records to be a testament to artistic curiosity and daring.
It was a 2019 performance of one of those traditional songs, filmed in Linda's front room, flanked by her cousins that brought me to uncontrollable tears, so much so that I had to slip out of the theatre before the lights came up after the final credits.
My father's Parkinson's related decline saw his senses gradually eroded, until even his sense of taste for a dram was lost but even after his speech was reduced to a hoarse whisper, he was able to still negotiate a challenging tune like "The Way You Look Tonight".
Linda's commentary is frank about the impact of her illness on her ability to control her voice and sing to her own satisfaction but in that precious moment she appears undimmed in the way she could access the emotion of song, in the company of those family voices.
This version of "Party Girl" is a clip from a performance around the release of "Mad Love" - a memento of my less generous youth in so many ways but I urge you to see this wonderful documentary, whether or not you regard yourself a fan of the singer or her musical choices. Perhaps there are human qualities that endure beyond the fashionable poses we may have once affected.
With much respect. Elvis Costello.
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Post by the Scribe on Mar 13, 2021 23:53:06 GMT
http://instagr.am/p/CMXp8RbF9xH Linda Ronstadt is among the artists with Arizona ties nominated for 2021 Grammy Awardswww.msn.com/en-us/music/news/linda-ronstadt-is-among-the-artists-with-arizona-ties-nominated-for-2021-grammy-awards/ar-BB1bjSgE Ed Masley, Arizona Republic 11/24/2020
A handful of names with strong Arizona connections have been nominated for Grammy Awards in 2021.
The Recording Academy will present the Grammy Awards from 6-9:30 p.m., Sunday, Jan. 31, on CBS with "The Daily Show's" Emmy-winning Trevor Noah hosting.
Top nominees include Beyoncé, who leads the pack with nine nominations, and Dua Lipa, Roddy Ricch and Taylor Swift with six apiece.
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THE GRAMMYS: Complete list of 2021 nominees www.azcentral.com/story/entertainment/music/2020/11/24/grammy-nominations-full-list-2021-nominees/6398471002/
But what's most interesting to us here are nominees with Arizona ties, from a heartfelt documentary on the life of Tucson native Linda Ronstadt to a great new album by Phoenix native Courtney Marie Andrews.
a person standing on a stage: "Linda Ronstadt: The Sound of My Voice" looks at the vocalist's long career.© Greenwich Entertainment "Linda Ronstadt: The Sound of My Voice" looks at the vocalist's long career.
And although she isn't listed in the nominations, it's worth noting that Phoenix native Upsahl earned a co-writing credit on one song on "Future Nostalgia," a Dua Lipa effort up for Album of the Year and Best Pop Vocal Album. www.azcentral.com/story/entertainment/music/2020/11/05/taylor-upsahl-music/6103654002/ Phoenix native Courtney Marie Andrews earned a Best Americana Album nomination for "Old Flowers," a gem of an album that's already turned up on two early year-end lists out of the U.K. at Uncut and Rough Trade.
In a recent interview with the Arizona Republic, Andrews said a lot of the songs on "Old Flowers" were written "in very inspired moments," adding, "It wasn't me sitting down to write a song and get to work. A lot of it was like, 'I need to write this song right now.' It was very cathartic." www.azcentral.com/story/entertainment/music/2020/04/21/courtney-marie-andrews-old-flowers-music-video-bisbee-arizona-nowhere-man-whiskey-girl/5156940002/
"Old Flowers" follows "May Your Kindness Remain," which Rolling Stone named to its list of Best Country and Americana Albums of 2018, proclaiming her "one of the most prolific young singer-songwriters in Americana."
DIVE IN: Grammys have made progress on diversity goals, but not enough www.azcentral.com/story/entertainment/music/2020/11/24/grammys-2021-black-artists-nominated-major-categories-k-pop-misses/6395375002/
She also won International Artist of the Year at 2018's UK Americana Awards.
This is the singer's first Grammy nomination.
'Linda Ronstadt: The Sound of My Voice' "Linda Rondstadt: The Sound of My Voice," a documentary from Oscar-winning Rob Epstein and Jeffrey Friedman, earned a Best Music Film nomination.
It faces stiff competition from Beyonce's "Black is King" and a Beastie Boys documentary, but the Tucson native is a longtime Grammy favorite with 11 Grammys to her credit, including a lifetime achievement award.
And this film is a joyous celebration of that lifetime of achievement.
REVIEW: 'Linda Ronstadt: The Sound of My Voice' will most likely reduce you to tears www.azcentral.com/story/entertainment/music/2019/09/11/linda-ronstadt-sound-my-voice-bittersweet-fan-letter/2278267001/
Phoenix New Times writer Bob Mehr Former Phoenix New Times music editor Bob Mehr is up for Best Album Notes "Dead Man's Pop," a box set focused on "Don't Tell a Soul," a 1989 release by the Replacements.
Prior to penning those liner notes, Mehr wrote the New York Times Best Seller “Trouble Boys: The True Story of the Replacements."
INTERVIEW: Replacements biographer Bob Mehr on the most beloved underdogs their generation had to offer www.azcentral.com/story/entertainment/music/2016/07/11/replacements-trouble-boys-interview-bob-mehr/86902880/
It's the definitive tale of the rock 'n' roll underdogs most likely to self-sabotage when not providing fans the most cathartic moments of transcendence you could hope to witness at a rock show.
Billboard magazine included "Trouble Boys" on its list of 100 Greatest Music Books of All Time, praising the way it "careens from snotty comedy to poignant moments of introspection," which they felt made it "an apt elegy for one of rock's most incorrigible band."
Canyon Records' 33rd nomination
This is the 33rd time Canyon Records has earning a Grammy nomination, including a win for Primeaux & Mike’s "Bless the People."
Ray and Mary Boley launched the label at the 1951 Arizona State Fair, selling a recording the couple had made in a ballet studio (for the echo) of Navajo vocalist Ed Lee Natay at their booth.
CHECK OUT: How Canyon Records of Phoenix became the top indie label devoted to Native American music www.azcentral.com/story/entertainment/music/2019/09/10/how-canyon-records-made-phoenix-worldwide-hub-native-american-music/1853802001/
Now the largest independent label devoted to Native American music, Canyon Records earned its latest nomination for "My Relatives-Nikso'Kowaiks" by the Black Lodge Singers, a Native American drum group led by Kenny Scabby Robe of the Blackfeet Nation in White Swan, Washington.
It's up for Best Regional Roots Music Album.
This is the sixth nomination for the Black Lodge Singers, all on Canyon Records.
Their first nomination was in 2001 for "Tribute to the Elders." Their other nominated albums were 2002's "Weasel Tail's Dreams," 2006's "MORE Kids' Pow-Wow Songs," 2008's "Watch This Dancer" and 2009' "Spo'Mo'Kin'Nan"-(CR-6435)
Reach the reporter at ed.masley@arizonarepublic.com or 602-444-4495. Follow him on Twitter @edmasley.
Support local journalism. Subscribe to azcentral.com today.
This article originally appeared on Arizona Republic: Linda Ronstadt is among the artists with Arizona ties nominated for 2021 Grammy AwardsWINNER 2021 GRAMMY BEST MUSIC FILMRob Epstein, Jeffrey Friedman Michele Farinola & James Keach Win Best Music Film | 2021 GRAMMYs 13,855 views•Mar 14, 2021
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Watch Rob Epstein, Jeffrey Friedman Michele Farinola & James Keach's speech for Best Music Film for Linda Ronstadt: The Sound of My Voice at the 63rd GRAMMY Awards.
2021 GRAMMY Awards Show: Complete Winners & Nominees List www.grammy.com/grammys/news/2021-grammys-complete-winners-nominees-list
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#GRAMMYs #GRAMMYPremiere #63rdGRAMMYs #bestmusicfilm #lindaronstadtJames Keach Wins Best Music Film For 'Linda Ronstadt: The Sound Of My Voice' | 2021 GRAMMY Awards ShowThe director takes home Best Music Film at the 63rd GRAMMY Awards for the 2019 documentary on the Stone Poneys legend
MORGAN ENOSGRAMMYS MAR 14, 2021 - 12:33 PM
Filmmaker James Keach won Best Music Film for Linda Ronstadt: The Sound of My Voice at the Premiere Ceremony of the 63rd GRAMMY Awards. This marks his first career GRAMMY win and first win of the evening.
Their film bested fellow nominees Beastie Boys and Spike Jonze; Beyoncé; Freestyle Love Supreme and Andrew Fried; Rob Epstein and Jeffrey Friedman; and ZZ Top and Sam Dunn.
James Keach Wins Best Music Film | 2021 GRAMMY Awards Show Acceptance Speech Watch James Keach's speech for Best Music Film for Linda Ronstadt: The Sound Of My Voice at the 63rd GRAMMY Awards.
www.grammy.com/grammys/videos/james-keach-wins-best-music-film-2021-grammy-awards-show-acceptance-speech
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Post by the Scribe on Mar 15, 2021 6:35:22 GMT
How the documentary 'Linda Ronstadt: The Sound of my Voice' did at the 2021 Grammy Awardswww.azcentral.com/story/entertainment/music/2021/03/14/linda-ronstadt-documentary-won-2021-grammy-award-music-film/4670594001/ Ed Masley Arizona Republic
view gallery: www.azcentral.com/story/entertainment/music/2021/03/14/linda-ronstadt-documentary-won-2021-grammy-award-music-film/4670594001/
"Linda Ronstadt: The Sound of My Voice," a heartfelt documentary on the Tucson native's life in music, won Best Music Film at the Grammy Awards on Sunday, March 14.
The film was directed by Oscar winners Rob Epstein and Jeffrey Friedman.
It was up against Beyoncé's "Black is King," "Beastie Boys Story," "We Are Freestyle Love Supreme" (about an improvisational hip-hop comedy group started by Lin-Manuel Miranda and Anthony Veneziale) and the ZZ Top documentary "That Little Ol’ Band From Texas."
Ronstadt is a longtime Grammy favorite with 11 Grammys to her credit, including a lifetime achievement award.
"Linda Ronstadt: The Sound of My Voice" is a celebration of that life in music.
Grammy Awards 2021:How 4 nominees with strong AZ ties did at this year's show www.azcentral.com/story/entertainment/music/2021/03/14/arizona-music-grammy-awards-winners/4670353001/
And as celebrations go, it would be pretty hard to beat – thanks to a life's supply of great performance footage.
Many of her famous friends, from Dolly Parton to Bonnie Raitt (who calls her the Beyoncé of her day), are gathered in the film to sing her praises.
Review:Linda Ronstadt documentary will most likely bring you to tears www.azcentral.com/story/entertainment/music/2019/09/11/linda-ronstadt-sound-my-voice-bittersweet-fan-letter/2278267001/
But no one makes a stronger case for Ronstadt's prowess as a vocalist than the singer herself.
And it's not anything she says.
It's how she sings in those performance clips, charting her growth as a force of nature from an unassuming early take of "Different Drum" before producer Nick Venet reinvented the song as a chamber-pop masterpiece to a full-bodied vocal on stage at the helm of a mariachi troupe.
The film builds, as it must, to a bittersweet ending.
As Ronstadt recalls in the film, "As time went on, there was something really wrong with my voice. I just lost a lot of different colors in my voice."
Unable to perform to her own standards, the singer gave her last performance, a Mexican show, in 2009, and retired two years later, finally learning the cause behind the loss of her ability to sing in late 2012 when she was diagnosed with Parkinson's disease.
In "The Sound of My Voice," we're left with a heartbreaking scene of the singer surrounded by family, quietly singing a Mexican ballad with nephew Peter Ronstadt and cousin Bobby Ronstadt, a beautiful ending to a heartfelt film.
Hall of fame career:2 iconic Linda Ronstadt albums are going into the Grammy Hall of Fame www.azcentral.com/story/entertainment/music/2020/12/21/linda-ronstadt-grammy-hall-of-fame/3993971001/
Reach the reporter at ed.masley@arizonarepublic.com or 602-444-4495. Follow him on Twitter @edmasley.
Support local journalism. Subscribe to azcentral.com today.http://instagram.com/p/CTFkv1iJzIg
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Post by the Scribe on Mar 16, 2021 6:44:08 GMT
‘Linda Ronstadt: The Sound of My Voice’ Producer on How Filmmakers Finally Got the Legend on Filmvariety.com/2021/film/awards/linda-ronstadt-sound-voice-grammys-documentary-producer-1234928882/ By Jazz Tangcay
How 'Linda Ronstadt: Sound of My Greenwich Entertainment.
Michele Farinola is no stranger to producing music documentaries: Her credits include “Foo Fighters: Back And Forth,” “George Harrison: Living In The Material World,” and most recently, “Linda Ronstadt: The Sound Of My Voice,” which is up for best music film at the Grammy Awards Sunday night. variety.com/t/linda-ronstadt/
Farinola says she’s drawn to telling stories of legendary performers whose stories connect to today and to the audience’s own experiences. With Ronstadt, she felt this story of a woman who stayed true to herself as she made a name for herself in the ’60s was a story that could resonate with audiences. Together with producing partner James Keach, and directors Rob Epstein and Jeffrey Friedman, Farinola made the documentary in conjunction with CNN Films.
Beyond its Grammy nomination, the film was nominated for three Critics Choice awards in 2019, and ultimately picked up two wins there, for Most Compelling Living Subject of a Documentary and Best Music Documentary.
Oscar Nominations: 11 Biggest Snubs and Surprises, From Jodie Foster to LaKeith Stanfield Farinola talks about how the film came together, how Keach managed to get Ronstadt on camera, and whether there’s a chance Ronstadt would make an appearance at the Grammys this weekend.
Last year, the documentary won two Critics Choice awards, and this year, it’s nominated for a Grammy. How does that feel?
I’m happy the documentary has done so well. I’m sad we can’t celebrate properly. When we started on this, a lot of the younger members of the team didn’t know who she was, and that’s the beauty of doing these films — trying to reintroduce younger generations to these artists because there’s so much there to explore. And she is our history.
You mention wanting to introduce Linda to younger generations, and you’ve worked on documentaries about David Crosby and George Harrison. What draws you to projects?
With Linda, it was one of those things where CNN was our co-producer. James Keach, the other producer, and I were looking at artists from that era, and they wanted to do a Linda Ronstadt documentary. A lot of what CNN likes and what I like is [telling a story that is] tying it to today. What is it about this artist and their story? What links it to today?
With Linda being female in this male-dominated industry and finding a way to stay true to herself, her passion and love for singing and music were all that drove her. We felt it was time. We started working on it and we heard she was in talks with (other) directors and we had to step away because someone beat us to it. But the directors were missing the link of financing, which is always, for me, the toughest part of getting these films made. Linda’s lawyer told them to speak to us and so we partnered with them. The first thing we did was go out to dinner and talk about Linda all night. We were able to get moving on it right away.
What intrigues you about telling these stories?
A lot of times you want to do artists who are legendary artists who need that definitive documentary on their careers or their lives. It’s not just about putting them on this pedestal; you want to highlight what parts of their life we can connect with. We all connect through our stories. When you hear someone expressing what they’re going through in their life, their music, and their art, it’s healing for that person. It’s healing for the viewer. That’s what connects you most to them; their stories and their struggles.
The opening with Johnny Cash is perfect. It’s 1975 and he introduces Linda who sings “You’re No Good” [her first No. 1 hit], which, when you’re talking about connecting to audiences, everyone has heard that song, but they don’t know the voice. How did you land on that idea?
We have a brilliant editing team, Jake Pushinsky and Heidi Scharfe. I’m not sure which one started that opening. But it’s this reintroduction of who she is. And I never knew the Johnny Cash piece. We had a great archival researcher who finds all these pieces. Right off the bat, if you don’t know who she is, you hear the song and you see that she was on all these TV shows. All of a sudden you get that this was a big deal and she was a big deal.
We were blessed to have Dolly Parton in that opening to kind of give those few pieces of dialogue that helped push that forward into the opening of the film.
The beauty of the documentary is Linda is her own narrator and when we see her, she’s in Mexico surrounded by family, but it’s not a tragic story that’s being told.
She is all about family and she gets joy from that. She didn’t want to be interviewed for our film. So we used a lot of archival interviews. For the bookends, an organization called Los Cenzontles is close to her heart. They help Mexican American children get immersed into their culture, and it helps take away the shame of being Mexican American. She goes every year. And so she told James that if he wanted to come, he could and he could film there. It was an organic thing and we just happened to tag along because we wanted her on camera.
We ended up filming her singing and talking, and it ended with her in the living room with her family. James was able to jump in and as a few questions. That, to me, made the film.
Do you keep in touch with Linda?
I’m in touch with her manager, and James has been in touch with her. We wanted to see if she could help accept the award, but with her health, she can’t commit to a lot. But she is a special person.
Read More About: Grammys, variety.com/t/grammys/ Linda Ronstadt, variety.com/t/linda-ronstadt/ Linda Ronstadt: The Sound of My Voice variety.com/t/linda-ronstadt-the-sound-of-my-voice/
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Post by the Scribe on Apr 8, 2021 23:05:31 GMT
Episode 26 (LINDA RONSTADT'S 'THE SOUND OF MY VOICE' AND SPRINGSTEEN 'WESTERN STARS' DOC. REVIEWS) 312 views•Jan 16, 2020
Linda at 24:30
BEER RUM & ROCK N ROLL 136 subscribers Welcome to Beer Rum & Rock N Roll. A rock music podcast with Beau Shiminsky and Randy Legault. Keeping rock alive - one conversation at a time.
Beau and Randy discuss Linda Ronstadt’s ‘The Sound of My Voice’, Bruce Springsteen’s ‘Western Stars’ documentary and Pete Way’s autobiography ‘A Fast Ride Out of Here’. We review more new music including Whitesnake, The Who, Ronnie Wood, Black Pumas, Rodrigo y Gabriela and Clayton Bellamy and the Congregation. Plus rock news including the death of Neil Peart.
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Randy Legault is a serious motherfucker when it comes to rock music, owns a video editing company 'Legault Post' and enjoys Beer. He's a good boy, crazy 'bout Elvis. Loves Zeppelin and his lovely wife too. A true defender of the faith with a serious arsenal of knowledge that is fun tapping into.
Beau Shiminsky came out of the womb kicking and screaming and naturally the music bug hit early. By 14 he started a punk band and has turned it to 11 ever since. The love of music lead to a career in Scoring Films and Audio Post-Production at his Studio 'Ear Candy'. Comfortably numb with a rum and a whole lotta love for Rock N Roll.
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Post by the Scribe on Apr 18, 2021 13:14:17 GMT
Not technically correct but regardless this column is funny to me.LINDA RONSTADT – TRIBUTE TO A FEMALE MUSIC ICONthehomeplaceweb.com/2020/01/10/linda-ronstadt-tribute-to-a-female-music-icon/ January 10, 2020
Once upon a time in the golden days of the music world, there were female singers who were known primarily for their songs and their voice. Those were the days my friends. No gyrating around like a porn star in barely-there costumes and thigh-high hooker boots. It was all about the music.
On New Years Day CNN aired a documentary special, Linda Ronstadt – The Sound of My Voice which takes a look back at the forty year career of this music icon, one of the first female rock stars. Here’s the trailer:
While I was not a big fan back when she was popular, I found the documentary interesting for its take on this trailblazing woman who flourished in what was basically a male universe. Although I remember her mostly from her 70’s rock songs, her 80’s American standards phase, and her legendary performance in the operetta The Pirates of Penzance, I found her early folk days in LA during the sixties to be the most interesting. Not yet famous, she toured with the likes of Neil Young, Jackson Browne and Glenn Frye and Don Henley of Eagles fame. By the late 1970’s she was referred to as The First Lady of Rock and voted the Top Female Pop Singer of the decade, appearing six times on the cover of the Rolling Stone.
She arrived in LA at the age of 18, joined a band called the Stone Poneys, and was on her way after their first hit, “Different Drummer” which was written by Mike Nesbitt of The Monkees. I always liked that song, but if you listen to the lyrics, it’s certainly an ode to the early days of women’s lib. The LA music scene was basically a man’s world, but shortly thereafter came an onslaught of popular female singers, Joni Mitchell, Carole King, Emmy Lou Harris, Carly Simon and Stevie Nicks. Of course, even back then, good looks and costumes helped with the performance (think Stevie Nicks floating around the stage in her gauzy creations singing Rhiannon), but can you imagine any of them prancing around the stage dressed like a porn star? How about Ella Fitzgerald, Barbara Streisand or Julie Andrews? Linda Ronstadt was a cutie and she wore cute outfits (it’s worth a fashion look back) but she didn’t rely on her looks – her voice was the star. Eventually she got tired of playing in big arenas and the “rock chick” image they packaged her into (including some racy magazine covers she didn’t approve of), and branched out to different genres – country, old classics, light opera and the Mexican music of her childhood.
LR didn’t write her own songs, but she had a knack for picking good ones and could basically sing anything, and while Dolly Parton may have called her the Beyonce of the days, IMO there is no comparison. I am probably one of the few people in the universe who thinks Beyonce is highly over-rated. An okay voice but no good songs to show for it. Strutting around in high boots and black leather at the Superbowl does not a memorable performance make – well maybe for the guys. My Canadian TV station refused to air one of her award show performances (the one with her equally over-rated husband), as it didn’t meet the Canadian Broadcasting Standards for decency on a Sunday night. Maybe we’re prudes up here in Canada.
I used to think Taylor Swift was a classy gal, (good songwriter, not so good voice), but lately even she seems to have succumbed to the racy trend. Is Lady Gaga, ladylike? Would a real lady sit at the piano in her underwear? As for Miley Cyrus, Niki Manaj and all the rest – do they need attention that badly? (It must be difficult to raise daughters and sons, these days if these are their musical idols). While female singers may argue that it’s their choice and they now have the freedom and right to act as they please, is it a choice or is it just what is expected now. Show the most skin possible has become the new norm. Is that how they want to be remembered some day? I recall Prince’s brilliant performance at the Superbowl but Beyonce’s skimpy outfits. Whatever happened to just standing in front of the mic and singing the song in the best voice possible. Oh yea, that’s just for the guys. It’s still a double standard folks.
When is it time to hang it up? Would you still want to be shaking your booty at fifty even if you’re in great shape? Are you listening Madonna? Jennifer Lopez? Shaina Twain? The last one is the most disappointing based on the snippet of her Vegas show I saw during the New Years Eve countdown. Slithering around in a tight leopard skin outfit detracts from the music, unless you’re in a production of Cats, and even then it’s distracting! Sorry ladies, but past a certain age it just gets to be an embarrassment. Whatever happened to growing old gracefully? While you might argue that no one cares if wrinkled old Mick is still prancing around the stage at age 75, the stage moves of the Rolling Stones were never the focus of their show – it was the music. Personally I think Mick should hang it up too, same with Paul McCartney – his voice is gone – I cringe every time I hear him sing as I am comparing it his glory days.
LR seems like a grounded, level headed person. It was interesting to hear her discuss the pitfalls of the business even back then, and why music idols often self destruct. She’s a class act all the way.
Sadly, she has developed a form of Parkinson’s disease and has not sung professionally for the past decade. She may no longer be able to hear the sound of her voice, but we can as her music legacy will live on.
PS. If you missed it, CNN tends to show their specials over again, but it ‘s also available on Amazon and Apple Music. It’s worth viewing if only for the clothes. I do wish shag haircuts would come back in style, but those 80’s perms – never!
PS. In 2013 she published her memoir, Simple Dreams A Musical Memoir (link) which looks like it would be an interesting read for music fans. (1000 words)
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Post by the Scribe on May 6, 2021 10:36:18 GMT
kxci.org/podcast-download/59749/linda-ronstadt-the-sound-of-my-voice.mp3?ref=download
A portrait of the immensely popular singer profiles Linda Ronstadt’s remarkable career, in which she succeeded in making her own choices that went against conventional wisdom, and the impact of her gorgeous voice.
There’s a new documentary film about a popular singer who was born and raised in my current home town of Tucson, Arizona: Linda Ronstadt. The movie is called Linda Ronstadt: The Sound of My Voice.
After a brief intro presenting the arc of her career, the film explores Ronstadt’s childhood and youth, with Linda herself telling how her Michigan-born mother, daughter of a great inventor, went to the University of Arizona in Tucson where she met Linda’s father, the son of a cattle rancher and musician whose own father had come to Tucson in the 19th century from Mexico. Linda’s father, who later became a prominent local merchant, loved singing Mexican folk songs, and serenaded her mother when he courted her. Their four children, of whom Linda was the youngest, were raised in a household immersed in music. In addition to the Mexican influence (in the film Linda says that as a child she thought Spanish was a language used only in singing), her mother loved the popular American standards and jazz singers, while her sister played country music, and their grandparents were devoted to classical music and opera. This helps to explain Ronstadt’s wide-ranging and inclusive tastes in the music that she sang.
The picture is directed by Rob Epstein and Jeffrey Friedman, both long-time successful non-fiction film creators. They take the usual approach of showing extensive clips from Ronstadt’s life along with excerpts from interviews with her family, friends, and associates. There’s quite an exciting assortment of voices here, including close friends such as J.D. Souther and Bonnie Raitt, along with Jackson Browne, David Geffen, her manager Peter Asher, and many others, for the most part very insightful and moving in their stories and appreciations.
Her career is carefully charted from her start performing with her siblings in Tucson, her arrival in Los Angeles in the 1960s and the first hit single (“Different Drum”) with the Stone Poneys, to her rapid ascent as a pop singer blending country, folk, and rock & roll into multiplatinum albums that dominated the airwaves in the 1970s. The film’s main strategy, wisely, is to showcase her singing. We see clips of her performances from all phases of her life, and oh—that voice! There was nothing like it. I realized watching this movie that I had kind of taken Linda Ronstadt for granted. There she was, a constant presence when I was growing up, with her hit records playing on the radio all the time. But now, hearing the songs again, I was thunderstruck by the power and beauty of that voice. In some of her songs, like, for instance, “You’re No Good” or “Blue Bayou,” she could lull you with a soft opening verse, and then (boom) just turn on the power, with her amazing range and perfect pitch, and the song would just blow you away. She mostly performed other people’s compositions, but several people in the film say that she would take a song and transform it into something totally her own.
By 1980, after reaching the pinnacle of success, she was tired of singing the same hits in huge arenas, and she chose to explore other kinds of music. She did opera (believe it or not); she did standards with Nelson Riddle; she did straight country, in a trio with Dolly Parton and Emmylou Harris; then she mastered the Mexican canciones that her father had taught her. The film shows how each step of the way, industry professionals told her she was nuts, it wouldn’t work, it would ruin her career. She did it anyway, and did it well, and not only that, the records made money. She could sing anything—anything. As Ry Cooder explains in the film, in her heart she wasn’t a careerist, for whom popular success was the primary goal—her purpose was to sing the music she wanted to sing.
In 2011, Linda Ronstadt lost her singing voice and discovered that she had Parkinson’s, and so she retired. She dealt with this as she’s dealt with everything, with wisdom and acceptance. One of the great moments in the movie is when her dear friend Emmylou Harris, choking back some tears, says that Linda doesn’t mind not doing concerts or making records. What she does miss is singing with her friends. Linda Ronstadt: The Sound of My Voice is a beautiful, moving portrait of a wonderful woman and an extraordinary artist.
TAGS POP, ROCK, RONSTADT, SINGING, TUCSON,
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Post by the Scribe on May 6, 2021 10:38:22 GMT
kxci.org/events/linda-ronstadt-the-sound-of-my-voice/
Co-presented by KXCI 91.3FM, Tucson’s Community Radio Station. September’s Reel Reads Selection: Simple Dreams: A Musical Memoir by Linda Ronstadt!
**In honor of the Linda, The Loft will also be hosting a one-time showing of her only feature film, the 1983 film version of The Pirates of Penzance, co-starring Kevin Kline. She was nominated for a Golden Globe for her performance in the film, screening on Saturday, Sept. 21, one show only.**
Since bursting onto the music scene in 1967, Linda Ronstadt’s extraordinary vocal range and ambition created unforgettable songs across rock, pop, country, folk ballads, American standards, classic Mexican music and soul. As the most popular female recording artist of the 1970s – with songs like “You’re No Good,” “When Will I Be Loved,” and “Blue Bayou”—Ronstadt filled huge arenas and produced an astounding eleven Platinum albums. Ronstadt was the first artist to top the Pop, Country, and R&B charts simultaneously, she won 10 Grammy Awards on 26 nominations and attained a level of superstardom the Tucson native never could have imagined.
In Linda Ronstadt: The Sound of My Voice, Ronstadt is our guide through growing up in Tucson singing Mexican canciones with her family; her folk days with the Stone Poneys; and her reign as the “queen of country rock” in the ‘70s and early ’80s. She was a pioneer and champion for women in the male-dominated music industry; a passionate advocate for human rights, and had a high-profile romance with California Governor Jerry Brown. Ultimately, her singing voice was stilled by illness and forced her into early retirement but her music and influence remain timeless. With moving performance footage and appearances by friends and collaborators including Dolly Parton, Emmylou Harris, Bonnie Raitt and Jackson Browne, Linda Ronstadt: The Sound of My Voice celebrates an artist whose desire to share the music she loved, made generations of fans fall in love with her — and the sound of her voice. (Dir. by Rob Epstein & Jeffrey Friedman, 2019, USA, 95 mins., Not Rated)
Don’t miss Linda Ronstadt’s Golden Globe-nominated performance in this swashbuckling big screen version of Gilbert & Sullivan’s classic musical comedy, The Pirates of Penzance, co-starring Kevin Kline and Angela Lansbury! Much of producer Joseph Papp’s 1981 Broadway cast – including Linda Ronstadt, Rex Smith and Tony Award-winner Kevin Kline – reprise their roles from the long-running stage smash in this magical 1983 big screen adaptation of the beloved Gilbert & Sullivan comic opera. Young Frederic (‘80s pop star Rex Smith) has been taught since childhood to be a sea-going bandit by the dashing Pirate King (Kevin Kline, in one of his first screen roles), but with his 21st birthday fast approaching, Frederic wants to leave pirating behind, especially after he becomes infatuated with innocent Mabel Stanley (Linda Ronstadt). But the Pirate King informs Frederic that since he was born on the last day of February on a Leap Year, his 21st birthday won’t roll around for some time yet, and he still owes the King some raiding on the high seas. To Frederic’s embarrassment, the Pirate King’s next target turns out to be Major General Stanley (George Rose), Mabel’s father! Featuring all the songs, laughs and merriment beloved by Gilbert & Sullivan fans, The Pirates of Penzance also features Angela Lansbury as Ruth (the sole major casting change from the Broadway production). (Dir. by Wilford Leach, 1983, USA, 112 mins., Rated G)
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Post by the Scribe on Jun 5, 2021 9:17:28 GMT
WATCH: Jeffrey Epstein THANKED at Grammys in cringe-inducing nameswapwww.rt.com/usa/518104-grammy-winner-namedrops-jeffrey-epstein/ 15 Mar, 2021 09:59
WATCH: Jeffrey Epstein THANKED at Grammys in cringe-inducing nameswap © Trevor Noah presenting the Grammy Awards: CBS/Handout via REUTERS/ Inset, Jeffrey Epstein © US Dept of Justice
While accepting an award at the 63rd Grammys ceremony, one hapless producer inadvertently dropped one hell of a clanger, thanking disgraced financier and convicted pedophile Jeffrey Epstein.
While accepting the award for ‘Best Music Film’ for his documentary ‘Linda Ronstadt: The Sound Of My Voice’ on Sunday night, producer James Keach, 73, appearing via videolink, made the miserable mixup.
“Excellent. I want to thank Linda Ronstadt for allowing us to make this movie, Rob Friedman, Jeffrey Epstein,” Keach said, accidentally mixing up the names of the film's two directors, Rob Epstein and Jeffrey Friedman, combining them into he-who-shall-not-be-named.
Jeffrey Epstein was a wealthy financier accused of rape, sexual assault and human trafficking of dozens of women, including minors, in addition to allegedly sharing them around with the wealthy political and celebrity elite during parties at his infamous island.
Everyone from former US presidents Donald Trump and Bill Clinton, to the British Royal Family’s Prince Andrew, and countless actors and musicians such as Kevin Spacey and Mick Jagger, are known to have associated with Epstein, though the extent of their respective friendships and time spent together varies widely.
Needless to say, the shocking shoutout, unintentional or not, became a major talking point online.
“Was that for a bet?”wondered one Twitter user.
“If you’re feeling down just remember that you aren’t the guy who just accidentally thanked jeffrey epstein for his grammy,”wrote another.
Epstein died in 2019 after apparently hanging himself in his Manhattan prison cell, though many dispute this telling of events, creating a conspiracy theory which has become an almost ubiquitous meme across social media.
ALSO ON RT.COM Judge rejects Ghislaine Maxwell's bid to keep 20 lines of Epstein testimony PRIVATE “Can’t stop thinking about the guy who accidentally thanked Jeffrey Epstein for his Grammy,”added another Twitter user.
“Imagine accepting a Grammy Award on behalf of your friend and accidentally thanking Jeffrey Epstein instead of the actual producer [...] because like, that just happened live on air,” another user tweeted.
Elsewhere, Beyoncé became the winningest female artist in history, scooping up her 28th Grammy Award in the Best R&B performance category, while Taylor Swift also made history, becoming the first female artist ever to win a third Album of the Year award.
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Post by the Scribe on Jun 6, 2021 6:48:31 GMT
THE DAILY PUBLIC You would have to have painfully limited taste in music to watch all of the new documentary Linda Ronstadt: The Sound of My Voice without finding a song that appealed to you. One of the most popular singers of the post-Beatles era, Ronstadt not only tackled a wide variety of styles, but did them all spectacularly well: folk, rock, country, standards, operetta, canciones—no matter how far she strayed from the public’s previous perception of her, she made every new genre her own. This CNN production offers no revelations or exposes any skeletons, and skips from her late 1980s peak to her retirement in 2009 (after Parkinson’s took away her once flawless pitch) as if she did nothing in those last two decades. Maybe the filmmakers assumed that her fans wouldn’t sit still for any more than 95 minutes of her, a decision I think most would disagree with. Now showing at the Dipson Eastern Hills and North Park Theaters.
www.dailypublic.com/articles/09142019/film-reviews-offical-secrets-linda-ronstadt-sound-my-voice
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Post by the Scribe on Jun 12, 2021 8:45:19 GMT
Downtown Abbey, Ad Astra, Linda Ronstadt, The Gold Finch, Luce, Joker and Judy | Talking Pictures 51 views•Oct 21, 2019
Harbor Media 932 subscribers Film professor Michael Dow and Journalist Mary Stack review and discuss five recent films : Joker, Judy, Luce, Gold Finch, Downton Abbey and Linda Ronstadt. Dow and Stack explore both the form and content of the films, while giving their overall impression of the works. The show is recorded at Hingham's own Loring Theater.
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