CVIndependent

Mon08192019

Last updateTue, 18 Sep 2018 1pm

They saved the best for last.

Day 3 of Coachella 2013’s second weekend started off with blistering temperatures, but attendees came prepared. While a windstorm put a damper on the closing events of Coachella’s first weekend, the winds on the second Sunday remained relatively calm.

While Saturday’s schedule was heavy on the EDM, on Sunday, it was mostly about the rock. Throughout the Coachella’s history, Day 3 has always seemed to feature the biggest acts.

The Gaslight Anthem took to the main stage at 3:30 p.m. One figures the New Jersey punk outfit would attract a sizable crowd, but the attendance was quite thin.

The band walked onstage and began performing without an intro and without addressing the crowd—and they suffered through technical difficulties throughout the set. Guitarist and lead vocalist Brian Fallon’s microphone didn’t appear to be loud enough; the guitar solos were low volume and barely present. Overall, the band’s performance seemed … dull. The band—notable for being the closest thing to Bruce Springsteen within modern music—decided for some reason to cover Stone Temple Pilots’ “Interstate Love Song” toward the end; they closed with “The Backseat,” which was probably the best song of their set.

Too little, too late.

“I like them; they were on my list of bands that I wanted to see,” said Karen, who came all the way from Toronto.

However, she was honest about the band’s performance.

“I enjoyed them, even though the sound wasn’t perfect. It was still worth seeing.”

The eccentric and renowned Dinosaur Jr. performed on the Outdoor Theater stage at 5:10. The Massachusetts band—known for lead guitarist and vocalist J Mascis’ perfection of the art of feedback—offered a variety of songs from throughout their career. The band’s sound—which could be described as a combination of hardcore-punk, metal and psychedelic rock—made them a perfect act to follow Kurt Vile and the Violators. Mascis’ Marshall stack amps were arranged in a feedback zone that he moved in and out of between vocals; on couple of songs, he ceded lead vocals to drummer Murph and bassist Lou Barlow. Toward the end of their set, Dinosaur Jr. played a cover of The Cure’s “Just Like Heaven,” in their own unique sound.

Rodriguez—the subject of the documentary Searching for Sugar Man, which won Best Documentary Feature honors at this year’s Academy Awards—took the stage in the Gobi tent at 6:35 p.m. to an audience of die-hards excited to hear the newly famous Detroit musician, whose music became the soundtrack for the anti-Apartheid movement in South Africa, unbeknownst to Rodriguez. Rodriguez’ folk sound, however, presented a problem: At the same time, Social Distortion was blasting throughout the entire festival; Tame Impala was performing in the nearby Outdoor Theater; and James Blake was performing in the neighboring Mojave tent (with Rza of Wu-Tang Clan making a special appearance during Blake’s set).

When Rodriguez walked on to the stage, he was guided on each arm to his guitar and microphone due to the inoperable glaucoma that’s causing him to go blind. When Rodriguez began his performance, the other bands easily drowned him out. Still, his fans got as close as they could to try to hear him. His performance of “I Wonder” early in his set led to loud applause when fans heard the opening bass line.

Despite all of the noise, Rodriguez and his backing band were on the ball. Fans began to trickle in after James Blake and Social Distortion were finished, just as Rodriguez began “Sugar Man,” which sent smartphones up into the air to capture video or shoot photos. After a folk-sounding cover of Little Richard’s “Lucille,” Rodriguez began to lose a portion of the audience to some of the other performers about to go on stage, but nonetheless, Rodriguez delivered a strong performance until the very end.

Regarding the art exhibits of Coachella: When the sun sets, the night time is the right time, because many of the exhibits have lighting that makes them visually stunning. On Sunday night as Vampire Weekend played on the main stage, the exhibits in the areas closest to the main stage came alive for one last night.

The Balloon Chain looks more impressive at night as it moves through the festival with balloons lit and streaming across the night sky. Mirage lights up at night, putting an impressive accent on the Frank Lloyd Wright-inspired structure. The Do LaB’s teepee-style tents glow at night, bringing out the different shades of the fabric.

One exhibit that grabbed attention throughout the weekend was the Poetic Kinetics’ PK-107 Mantis. A cherry-picker-like structure with wings that look like they came off a jet fighter, Mantis moves up and down, looking like a giant, robotic praying mantis.

Lindsay, attending the festival all the way from Ireland, stood and watched it with curiosity

“It’s quite spectacular. It really stands out at night time,” he said.

Another attraction that could be seen moving around the festival at night were the Electric Butterfly Effect butterflies. They were illuminated in neon colors and looked like they were really moving.

In the evening, nothing is better than a ride on the Ferris wheel—one of the festival’s most popular attractions. Despite an $8 ticket price, there was a long line on Sunday night.

A couple offered a very sentimental take on their Ferris wheel experience, stating that from up above, you can see the diversity of the festival. “You can see music bringing everyone together,” said Karen from Pasadena.

Her friend, Matt from Palm Desert, agreed.

“It’s such a great thing to get all these people together. It was kind of epic seeing everything up there going on at once,” he said.

When it came to the last of the musical performances, the main stage seemed to lose a large percentage of the attendees’ interest.

After the sun went down, Nick Cave and the Bad Seeds took the stage, at 8:40 p.m. Cave’s dark songwriting—referencing the Old and New Testament, plagued characters, and sometimes heartfelt sentiments—make him an unusual performer, and several people didn’t know what to make of him. As he walked onto the stage—backed by a children’s choir and with a woman doing sign language in front of the video monitor on the right side of the stage—he didn’t have much of a crowd. As he started his first song, “From Her to Eternity,” the choir provided a drone to Nick Cave’s howling of the lyrics.

While performing “Deanna,” the crowd sang along to the chorus of “Oh, Deanna, D-e-anna,” giving Cave the crowd participation he deserved, before a good chunk of his audience moved over to the Outdoor Theater to wait for Wu-Tang Clan.

If there was one important lesson to be learned during Coachella 2013, it’s this: Wu-Tang Clan ain’t nothing to … mess with.

Wu-Tang attracted an audience at the Outdoor Theater that went into to the Main Stage area, around The Do LaB, and near the Gobi tent. Wu-Tang, backed by a large orchestra, rocked the audience with their hard-core hip-hop anthems from their legendary Enter the Wu-Tang (36 Chambers) album. Wu-Tang’s energetic set ran into the end of Nick Cave’s set and into the beginning of Red Hot Chili Peppers set, holding the audience even as the Peppers took the stage. After Wu-Tang finished their set and wished the fans a happy late 4/20, the crowd at the quickly moved to the main stage area.

Last week’s performance by the Red Hot Chili Peppers was plagued by a windstorm, and it seems that last week’s attendees didn’t get to see the full stage show by Hall of Fame inductees. The band’s full stage show, with video monitors and much more colorful lighting, seemed to help the band perform a little better. Unfortunately, the set list didn’t offer much of their early ’90s classics other than “Give It Away.”

While the Coachella 2013 lineup seemed a little lackluster, and too many performances were plagued by technical problems, scheduling problems, and various other problems, the event was nonetheless solid and a full experience for those in attendance.

Published in Reviews

I was certain that How to Survive a Plague was going to take home the big documentary Oscar prize this year. Alas, Searching for Sugar Man (a very good movie) took home the award.

There were other great documentaries last year, including West of Memphis, about the West Memphis Three, and Paul Williams Still Alive (the title says it all). However, this one packed the biggest wallop. It chronicles the struggles AIDS activists went through to get the condition into the public conversation, and push for medications to keep themselves alive.

Viewing this movie promotes a parade of emotions, from pure heartbreak, to anger, and ultimately to jubilation. It starts in the ’80s, with a band of activists including Peter Staley, Larry Kramer, Mark Harrington, Ray Navarro and Bob Rafsky. Rafsky famously challenged Bill Clinton during a campaign speech, resulting in Clinton’s “I feel your pain!” retort.

Bill … I seriously doubt you felt that man’s pain.

If you have never seen footage of Larry Kramer popping off at fellow ACT UP activists during a pivotal gathering with his “plague” speech, you will see something amazing when you watch this movie. You will also see things as horrid as Kramer’s speech is amazing—for example, when George Bush No. 1 complains that AIDS is a disease resulting from behavior during a televised debate, and every single time a word comes out of the mouth of Jesse Helms.

Many of the people you see in this movie did not survive—but a good group of them did. It’s a powerful thing to see men like Staley and Kramer sitting for modern-day interviews, celebrating their victories and mourning their losses.

You more than likely missed this one in theaters. Do yourself and your families a favor, and take the time to watch it at home.

Special Features: A director’s commentary featuring ACT UP activists and some deleted scenes.

Published in DVDs/Home Viewing

I had no idea who Sixto Rodriguez was before I popped this documentary into my player. He was a Detroit musician who released a couple of albums in the early '70s and then disappeared. Some said he committed suicide onstage by setting himself on fire, or by shooting himself in the head.

(Spoiler alert: Don’t read any further if you don’t want to know the big secrets in Searching for Sugar Man.)

As it turns out, Rodriguez didn’t kill himself. He just left the music biz and led a normal, secluded life. I’ve listened to his albums, and he is very good.

The other big surprise: Rodriguez was, and is still, a major sensation in South Africa—and he had no idea he had achieved fame elsewhere in the world. After his albums bombed stateside, he went back to being a construction worker. The makers of the movie seek him out, and find him in Detroit. He eventually makes a pilgrimage to South Africa, where he is bigger than Elvis.

He’s actually touring right now, and is headed our way for Coachella.

It’s an amazing story, told in a very good film. Interviews with Rodriguez, his family and his supporters reveal that this is a nice, talented guy who deserved a musical career. And he’s got one now, thanks in part to this film.

Special Features: A director’s commentary that also features Rodriguez is a must-listen. You also get a decent making-of, and a questions and answers session at the Tribeca Film Festival.

Published in DVDs/Home Viewing