REVIEW: Hong Kong-style Milk Tea From Fortunate Fortune Cookery at 2022 Lunar New 12 months in Disney California Journey

Lucky Fortune Cookery is joining the 2022 Lunar New Year celebrations at Disney California Adventure with a special seasonal drink!

Lucky Fortune Cookery for Lunar New Year 2022 at Disney California Adventure

Menu for Lucky Fortune Cookery for Lunar New Year 2022 at Disney California Adventure

Beverages:

  • 🆕Hong Kong-style milk tea: Black tea sweetened with condensed milk served on ice (non-alcoholic) – $5.49
  • 🆕Mulan Sipper with your choice of: fountain drink at time of purchase, Hong Kong-style milk tea, or Vietnamese iced coffee – $18.49
  • 🆕New: Lotus Flower Glow Cube (Sip and Savor Pass not accepted) – $5.50

Photos of Lucky Fortune Cookery menu items for Lunar New Year 2022 at Disney California Adventure

*NEW* Hong Kong-style milk tea (non-alcoholic) – $

Black tea sweetened with condensed milk served on ice

Milk tea is an old favorite and there have been a number of other milk teas at the festival. In general, this Hong Kong-style milk tea is ok but falls short when compared to other offerings at this year’s festival.

It’s creamy and sweet, but very light in tea flavor. It’s not as balanced as we’d like.

the Tiger milk tea with brown sugar boba blows from Paradise Garden Grill this one out of the water, so we recommend getting that instead.

The Hong Kong-style milk tea, Mulan Sipper and novelty Lotus Flower Glow Cube are available from January 21st to February 13th.

For more Disneyland Resort news and information, visit Disneyland News Today Twitter, Facebook, and Instagram.

Evaluation: Purple Rocket Showcases Sean Baker’s Signature Model and Simon Rex’s Robust Efficiency

One of the most interesting aspects of Sean Baker filmmaking is his ability to achieve his unique vision in circumstances that other, less staunch filmmakers would consider disadvantages. Baker (Starlet, Tangerine, The Florida Project) routinely takes creative decisions that others would never make, let alone incorporate them into her visual style and approach to filmmaking. From working with aspiring actors (or non-actors at all) to VeritĂ©-style filming on location (Tangerine was shot exclusively on iPhones), Baker’s films always contain a sense of visceral reality that sets them apart. The filmmaker’s style and all of his signature choices come into their own in Red Rocket, Baker’s latest film starring Simon Rex, which is both captivating and slightly off-putting. The result, though perhaps not as poignant as the Oscar-nominated The Florida Project, is more than worth seeing, a modern exploration of hectic pace and opportunism.

Image courtesy of A24

Rex is Mikey, an articulate charmer who made a name for himself as an adult movie star in Los Angeles. But he’s out of luck, out of work and back to his hometown in Texas, where his first stop is his wife’s house. Right, Mikey has been away for years and fucked other women on camera, but he has a wife, Lexi (Bree Elrod), at home who still lives with her mother, Lil (Brenda Deiss). It takes a bit of persuasion, but Lexi finally lets Mikey back in the house (and eventually her bed) as he finds a way to make a living after his entertainment career is over. After convincing Leondria (Judy Hill), the local pot dealer, to give him some inventory to sell on, he asks his unemployed neighbor Lonnie (Ethan Darbone) to take him to the various strip clubs around town for his Sales. It is a life.

Looking for new customers, Mikey ends up in a donut shop outside a power station where all union workers take their breaks. Believing he is going to commit murder with them, he gets more than he expected when he meets Strawberry (Suzanna Son), the cute young clerk who calls him. She is seventeen, has large, innocent eyes and a confident demeanor that Mikey is immediately drawn to. This is where it gets interesting, because Mikey’s interest is real. It’s also a little creepy and predatory. Mikey never does anything obvious to Strawberry, and she is just as invested in their relationship, which is becoming sexual, as he is. But Mikey is always looking for a point of view, and soon he’s thinking about what a pretty young thing like Strawberry could do in his former industry and plans to convince her to move back to LA with him.

As the central character of Red Rocket, Mikey is never entirely lovable and never a villain. He’s that weird duck that you don’t see often enough in movies, a complex person with flaws and needs, someone with motivations that are not always honorable, but by no means illegal or immoral. His ambition puts him in some interesting situations, from confronting Strawberry’s teenage boyfriend (and the family who are defending him) to having unexpectedly deep conversations with Leondria’s partner June (Brittney Rodriguez). But he’s a man who knows how to get what he wants, and he’s not afraid to charm or flatter to get it. In fact, all of his charm and caress is basically a matter of course for him at this point, his usual course of action in planning his way through life. Rex perfectly manages this balance, can be anything the situation calls for – flirting with Strawberry, a frustrated husband held back by Lexi, a businessman with a vision with Lonnie.

In true Baker fashion, the non-actors surrounding Rex just elevate the process, from Lil’s natural comedic timing to Leondria’s no-nonsense performance. Suzanna Son can more than assert herself next to Rex and embodies this peculiar moment in the life of a young woman when she is no longer a child, not yet a grown woman, but is nevertheless fully capable of attracting a man’s attention. Filmed in the heat of the summer in Texas, Baker takes advantage of the wide sky and the vast landscapes and gives the film strong, bright colors that glow from the screen. While the script (co-written by Chris Bergoch) loses some of its momentum in the film’s final twenty minutes, there’s enough between Rex’s strong performance and Baker’s ever-compelling filmmaking to make Red Rocket an enjoyable ride.

Red Rocket is now playing in select cinemas.

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2022 Hyundai Ioniq 5 first drive assessment: Sci-fi type meets sensible efficiency

Der Ioniq 5 hat Proportionen wie kein anderer Hyundai und sieht aus wie nichts anderes auf der StraĂźe.

Antuan Goodwin/Roadshow

Der 2022 Hyundai Ioniq 5 ist ein Elektro-SUV, aber die geduckten Proportionen sind eher ein groĂźes FlieĂźheck als ein kleiner Crossover. Wie auch immer Sie es nennen, das markante geometrische Design sieht aus fast jedem Blickwinkel fantastisch aus. Jetzt ist es an der Zeit, auf die StraĂźe zu gehen und herauszufinden, ob dieser Stil durch Substanz unterstĂĽtzt wird.

Der Ioniq 5 basiert auf der neuen E-GMP-dedizierten Elektrofahrzeugplattform der Hyundai Motor Group, die es dem Unternehmen ermöglicht, einige hĂĽbsche Tricks mit dem Design und den Proportionen des Fahrzeugs auszufĂĽhren. Hyundai hat die Räder bis in die Ecken der 182,5 Zoll langen Standfläche des Ioniq 5 geschoben – ungefähr so ​​lang wie ein Tucson — was zu einem 118,1 Zoll langen Radstand fĂĽhrt, der länger ist als die dreireihige Palisade. Dies, kombiniert mit dem flachen Boden und dem breiten Chassis, gibt den Passagieren mehr Innenraumvolumen (106,5 KubikfuĂź) frei als die Konkurrenz Ford Mustang Mach-E oder Volkswagen ID 4. Die stark geneigte Hintergrundbeleuchtung kostet den Hyundai jedoch ein wenig Ladevolumen und lässt ihn mit 27,2 KubikfuĂź ein paar WĂĽrfel hinter der Konkurrenz zurĂĽck.

Zwei Antriebsstrangkonfigurationen

Zur Markteinführung wird das Ioniq 5 in Konfigurationen mit einem oder zwei Motoren erhältlich sein, die beide von einem 77,4-Kilowattstunden-Akku betrieben werden. Mit einem einzigen Motor, der 258 Pfund-Fuß Drehmoment an die Hinterräder sendet, beschleunigt der 225-PS-Ioniq 5 in 7,3 Sekunden von 0 auf 100 km/h und bietet bis zu 303 Meilen EPA-geschätzte Reichweite.

Das Hinzufügen eines zweiten Motors an der Vorderachse steigert das System insgesamt auf 320 PS und 446 lb-ft Drehmoment. Diese Allradversion ist die bisher schnellste Konfiguration und sprintet in 5,1 Sekunden von 0 auf 100 km/h. Der Antrieb dieses zweiten Motors fordert jedoch einen Tribut von der Reichweite und sinkt auf eine Schätzung von 256 Meilen – immer noch ansehnlich, aber auch kurz hinter dem 270-Meilen-Anspruch des Mach-E Extended AWD und dem 316 Meilen des Tesla Model Y.

Der Frontmotor des Ioniq 5 verfügt über eine Kupplung, die ihn mechanisch von den Rädern trennen kann, um die Effizienz je nach Fahrerverhalten und gewähltem Fahrmodus zu maximieren. Der Sport- und der Snow-Modus verwenden zu jeder Zeit beide Motoren, Normal schaltet sich aus, wenn er nicht benötigt wird, und Eco sperrt den Antriebsstrang größtenteils in den Hinterradantrieb. Hyundai sagt, dass, da die EPA-Reichweitentests im normalen Modus durchgeführt werden, der durchschnittliche Fahrer mit dem Eco-Modus und einer leichten Berührung leicht besser als die 256-Meilen-Schätzung abschneiden könnte. An einem kalten, regnerischen Tag, an dem ich hauptsächlich im Sportmodus gefahren bin, habe ich es etwas schlechter geschafft.


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2022 Hyundai Ioniq 5: Dieses lustige und funky Elektroauto ist ein Muss!

4:52

EV-StraĂźentest

Ich begann meinen Test mit einer Ladung von 80 % und einer angegebenen Reichweite von etwa 200 Meilen. Ich fuhr insgesamt 135 Meilen, bevor ich mit 20 % Akku und 52 verbleibenden Meilen auf dem Computer zur Basis zurückkehrte – etwa 5 % unter der Schätzung. Um ehrlich zu sein, mein Tag kam mit den Komplikationen des Filmens, des temperamentvollen, bewertenden Fahrens und des Heizens, um meinen Produzenten bei Laune zu halten.

Das Fahrverhalten und das Handling des Ioniq 5 sind auf Komfort abgestimmt und fühlen sich einen Hauch geschmeidiger an als der fahrtüchtige Kia EV6 Ich bin Anfang des Jahres gefahren, aber ohne die Kontrolle oder die Gelassenheit über Unebenheiten und in Kurven zu verlieren. Die Lenkung ist leicht, aber nicht ungenau. Das großzügige elektrische Drehmoment fühlt sich abseits der Linie großartig an – nicht überwältigend kraftvoll, aber mehr als schnell genug für die Bedürfnisse der meisten Fahrer – und behält seine Reaktionsfähigkeit in der Stadt und auf der Autobahn bei. Insgesamt bin ich mit der Leistung des Ioniq 5 zufrieden.

Zusätzlich zu den vier Fahrmodi sind fünf regenerative Bremseinstellungen über Paddles am Lenkrad wählbar. Es gibt drei Regenerations- und Verzögerungsstufen sowie einen Auto-Modus, der je nach Batteriezustand, Fahrerwunsch und anderen Faktoren variiert. Es gibt auch einen I-Pedal-Modus, der es dem Fahrer ermöglicht, zu verlangsamen und anzuhalten, ohne die Reibungsbremsen oder das Pedal zu benutzen, aber der Ioniq bleibt nicht in diesem Modus und kehrt zu Beginn jeder Fahrt in die Stufen 1, 2, 3 oder Auto zurück . Das ist leicht nervig, aber ich kann mir vorstellen, dass weniger sture Fahrer es einfach auf Auto lassen und die Fahrt genießen.

Zum Start wird nur der Long-Range-Akku angeboten, der je nach Konfiguration zwischen 256 und 303 Meilen zurĂĽckreicht.

Antuan Goodwin/Roadshow

Bidirektionales Laden

Der Akku des Ioniq 5 ist in der Lage, Ladegeschwindigkeiten von bis zu 235 Kilowatt zu akzeptieren, wenn er an eine Gleichstrom-Schnellladestation angeschlossen wird. Bei der schnellsten Auffüllrate sehen Sie in etwa 18 Minuten einen 10 % bis 80 % Burst. An einer gebräuchlicheren öffentlichen 240-Volt-Ladestation oder zu Hause akzeptiert der Ioniq 5 bis zu 10,9 kW und lädt in knapp sieben Stunden von 10 % auf voll.

Ich konnte die Vehicle-to-Load-Funktion (V2L) des 5 nicht testen. Mit einem optionalen Adapter können kleine Camping- und Heckklappengeräte angeschlossen und über den Ladeanschluss von der Batterie des Elektrofahrzeugs mit Strom versorgt werden. Über diese 120-Volt-Steckdose können Sie sogar ein anderes Elektrofahrzeug aufladen; Erwarten Sie einfach nicht mehr als eine Erhaltungsladung mit nur 1,9 kW maximalem Verbrauch. Benutzer können auch über ein Bildschirmmenü ein V2L-Limit festlegen, um genug Saft zu reservieren, um nach Hause zu kommen.

Innenarchitektur und Technik

Die Gestaltung des Innenraums ist minimalistisch und grenzt an Sparsamkeit. Fans eines cleanen Looks werden das flache Armaturenbrett mit seinen 12,3-Zoll-Doppelbildschirmen und der einfachen kapazitiven Klimatisierung lieben. Persönlich denke ich, dass es ein paar mehr Tasten gebrauchen könnte – zum Beispiel dedizierte Schalter für die Sitzheizung anstelle der kryptischen „Wärmer“ -Taste, die ein Touchscreen-Menü aufruft – aber zumindest gibt es einen Regler für die Lautstärke.

Das Infotainment hat ein klares, weißes Thema und neue Menüs zur Überwachung der EV-Effizienz und der Gebührenplanung. Dies wird auch die erste Over-the-Air-Update-fähige Version der Dashboard-Software von Hyundai sein, wobei die ersten großen Updates um das Frühjahr 2022 herum herauskommen. Ich hoffe, das erste Update enthält ein dunkles Thema für Nachtfahrten. Die hellweiße Benutzeroberfläche bleibt auch nach Sonnenuntergang bestehen und beeinträchtigt meine Nachtsicht, selbst bei der niedrigsten Helligkeitsstufe. Ich verstehe, warum die Bildschirme so hell sein müssen – dank ihres haubenlosen Designs müssen sie die Sonne überstrahlen –, aber eine Option für einen dunklen Hintergrund am Abend würde den Komfort und vor allem die Sicherheit verbessern.

Der Innenraum ist so minimalistisch, dass nicht einmal ein Hyundai-Emblem auf dem Rad zu sehen ist – nur vier einfache Quadrate.

Antuan Goodwin/Roadshow

Die standardmäßige digitale Schlüsselfunktion von Hyundai ermöglicht es Fahrern, den Ioniq 5 mit einem Android-Telefon anstelle des Schlüsselanhängers zu entsperren, zu starten und zu fahren. Einmal an Bord, Android Auto und Apple CarPlay sind Standard, aber keines von beiden unterstützt drahtlose Konnektivität. Ärgerlicherweise ist der einzige USB-Anschluss, der für Medienwiedergabe oder App-Spiegelung mit dem Infotainment verbunden ist, der eine Weg unten unter dem Armaturenbrett in der Nähe meiner Füße – die vier USB-Anschlüsse an der verschiebbaren Mittelkonsole dienen nur zum Aufladen – was bedeutet, dass dort auch Ihr Telefon muss gehen, um zu vermeiden, dass Kabel über die Kabine gespreizt werden.

Die Mittelkonsole ist schön und verfügt über ein kabelloses Ladepad und einen offenen Stauraum, der groß genug für eine Handtasche oder eine kleine Tasche ist. Wenn Sie einen versteckten Griff greifen, kann das gesamte Paket ein wenig über einen Fuß nach hinten geschoben werden, wodurch die Fondpassagiere Zugang zum Stauraum erhalten oder dem Fahrer Platz schaffen, um von der Beifahrerseite herüberzurutschen, wenn ihre Tür blockiert ist. Sie werden das wahrscheinlich nicht jeden Tag tun, aber es ist praktisch, wenn Sie es brauchen. Ich mag auch, dass sich die Vordersitze in eine fast horizontale Position neigen und über einziehbare Beinstützen verfügen, damit Sie sich entspannen oder ein Nickerchen machen können, während Sie auf eine Ladung warten.

Sicherheitstechnologie fĂĽr maschinelles Lernen

Die SmartSense-Fahrerassistenz-Suite von Hyundai ist serienmäßig mit Überwachung des toten Winkels, Querverkehrswarnung hinten, Fußgänger- und Radfahrererkennung und der neuesten Generation der Bremstechnologie zur Kollisionsvermeidung. Der Ioniq 5 kann jetzt bremsen, um den Gegenverkehr beim Linksabbiegen auszuweichen, und neue Radarsensoren an der vorderen Ecke können beim Überqueren einer Kreuzung 90-Grad-Verkehr erkennen und bremsen, um T-Bone-Kollisionen zu vermeiden.

Unter der Haube befindet sich ein flaches Staufach, aber ich bin mir nicht sicher, ob auch das Ladekabel dort hineinpasst.

Antuan Goodwin/Roadshow

Die adaptive Geschwindigkeitsregelung reagiert jetzt reibungsloser auf das Einfahren von Fahrzeugen bei langsamem Verkehr und verfügt über maschinelles Lernen, das Beschleunigungs-, Brems- und Abstandstendenzen basierend auf dem Verhalten des menschlichen Fahrers anpasst. Wenn Sie ein entspannter Fahrer sind, der Platz für andere lässt, wird Smart Cruise Control dies im Laufe der Zeit nachahmen. Wenn Sie aggressiver fahren, wird SCC bis zu einem gewissen Punkt auch. Im Idealfall sollte es nie wie ein kompletter Idiot fahren, unabhängig vom Wahnsinnigen hinter dem Steuer.

Der Highway Driving Assist II von Hyundai ist in der Ausstattungsvariante SEL online und fĂĽgt einen spurzentrierenden Lenkassistenten hinzu, der die Position des Fahrzeugs innerhalb der Fahrspur anpassen kann, wenn ein benachbartes Auto zu nahe kommt oder die Linie ĂĽberquert – ein Hyundai-Mitarbeiter nennt die Funktion „Fahrspurscooching“. helfen.” Der Hands-on-Lenkassistent kann auch automatisch die Spur wechseln, wenn der Blinker aktiviert wird, und bietet UnterstĂĽtzung zur Vermeidung von Spurwechsel-Kollisionen und Ausweichmanövern.

Die Ausstattungsvariante Limited steigt auf ein 360-Grad-Kamerasystem und die Toter-Winkel-Kamera des Autoherstellers, die mit dem Blinker aktiviert wird. In der Top-Ausstattung finden Sie auch den Remote Smart Parking Assist von Hyundai, mit dem Sie den SUV vom Bordstein geradeaus vorwärts oder rückwärts in enge Stellen bewegen können, und ein massives Head-up-Display mit Augmented-Reality-Technologie, die Ihnen nicht unähnlich ist auf der neu finden Mercedes-Benz S-Klasse und EQS.

Der Ioniq 5 sieht aus wie eine Science-Fiction-Requisite oder ein Konzeptauto, ist aber überraschend praktisch und bietet ein solides Preis-Leistungs-Verhältnis.

Antuan Goodwin/Roadshow

Preise und Wettbewerb

Bei der Markteinführung ist der Hyundai Ioniq 5 . 2022 beginnt bei $44.875 einschließlich einer Zielgebühr in Höhe von 1.225 USD für die SE-Spezifikation mit großer Reichweite und Heckantrieb. Das Limited AWD-Modell steht an der Spitze der Produktpalette mit 55.725 US-Dollar, wie es getestet wurde, und das ist, bevor Sie bis zu 7.500 US-Dollar an potenziellen Bundessteuergutschriften erhalten können. Ende 2022 wird eine dritte Konfiguration hinzukommen, die auf eine kleinere 58,2-kWh-Batterie mit 168 PS von ihrem einzelnen Heckmotor und 220 Meilen EPA-geschätzter Reichweite reduziert wird. Dieser Ioniq 5 SE der Einstiegsklasse der Standardklasse wird die günstigste Spezifikation sein, beginnend bei 40.925 US-Dollar.

Seine hervorragende Reichweite und sein günstiger Preis machen den Ioniq 5 zu einer überzeugenden eckigen Alternative zu das kurvenreiche Model Y. Die gebotene Leistung, Ausstattung und Wertigkeit versetzen den Hyundai auch in eine besonders konkurrenzfähige Position gegenüber Fords Mustang Mach-E und dem Volkswagen ID 4. Der 2022er Hyundai Ioniq 5 ist alles andere als anonym und ist – trotz einiger Nissen – bereits einer von meine Lieblingspicks in dieser schnell wachsenden Klasse.

Anmerkung des Herausgebers: Reisekosten im Zusammenhang mit dieser Geschichte wurden vom Hersteller ĂĽbernommen, was in der Autoindustrie ĂĽblich ist. Die Urteile und Meinungen der Mitarbeiter von Roadshow sind unsere eigenen und wir akzeptieren keine bezahlten redaktionellen Inhalte.

Setzen Sie sich auf den Fahrersitz, um die neuesten Autonachrichten und -bewertungen zweimal wöchentlich in Ihrem Posteingang zu erhalten.

Evaluation: JPEGMAFIA’s album “LP!” a continuation of the rapper’s signature type

Although the album contains some redundant tracks, its chaotic sound is powerful.

from Jack Hargrove
| 11/11/21 2:05 am

With his fourth full-length album in five years, “LP!”, JPEGMAFIA is strengthening its reputation as one of the most experimental hip-hop artists of our time.

JPEGMAFIA, also known as Peggy, released his debut album “Black Ben Carson” in 2016, but many, including myself, were introduced to his music with “Veteran” in 2018. With its eclectic samples, incoherent production and dark tone, “Veteran” laid the foundation for the music Peggy would make in the future. His follow-up album “All My Heroes Are Cornballs” improved this style further and landed at number five My list of the top ten albums of 2019.

Since then, Peggy has released two EPs and now “LP!” For which he did the entire production. The album refines its experimental electronic hip-hop with aggressive lyrics and flows and is chaotic. While “LP!” Is too long and bloated in places, its good songs are really good and it marks another successful period in Peggy’s career.

It is important to note that there are two versions of the album: the “online” version, which is released on streaming services, and the “offline” version, which is available on free platforms such as YouTube and Bandcamp. The most likely reason for the existence of multiple versions is that Peggy was unable to release some of the samples originally used from their owners. Each version contains some songs that the other does not, although the “online” version is slightly shorter. For the purposes of this review, I will only be referring to the 18-track “online” version as it is the version of the album that most casual listeners will come across.

Peggy makes it clear right away that “LP!” Will not sound like a typical hip-hop album with the opening song “TRUST!”. The production is dominated by strange synths, a hallmark of Peggy’s experimental electronic style. While the lyrics of the song are simple, the unconventional instrumental immediately catches the ear. This effect is used in the third song, “NEMO! which contains synthesizers that sound almost mushy. The fact that Peggy delivers such a great flow with such erratic production is testament to his ability as a rapper.

Other tracks on the album demonstrate Peggy’s unique ability to produce songs that sound both completely disjointed and somehow cohesive. The seventh track “ARE U HAPPY?” Is the embodiment of pure chaos; Samples of not only robotic techno music, but also spoken word pages and sung vocals are mixed up and make it impossible for the listener to settle into any kind of groove. However, Peggy masters this cacophony so well that it becomes one of the most enjoyable songs on the album.

The aforementioned “NEMO!” Is another demonstration of Peggy’s mastery of chaos. The entire track is out of whack and denies the listener any kind of break. While the high-pitched synthesizer melody makes up the most notable part of the song, it often goes out without warning, keeping the listener busy.

Many of the songs on the album are more like mainstream hip-hop songs, although each retains its own flair. The second track, “DIRTY!”, Is more in the style of the opener of Peggy’s second album “Veteran” “1539 N. Calvert”. While his production is more relaxed than other songs, his lyrics and flows are intense and show Peggy’s ability to express emotion. The eighth track “REBOUND!” – one of the best on the album – follows in a similar direction. Its production is defined by a booming, deep horn sample that creates a deep anchor for the track that prevents it from becoming too turbulent.

Other songs that demonstrate Peggy’s mastery over a more traditional hip-hop style are “DAM! DAM! DAMM! “And” BMT! “The former is one of the quieter tracks on the album, with a soaring keyboard riff in production. Conversely, the latter is one of the heaviest, with a blown out bassline and spiteful lyrics. Both show Peggy’s ability to combine your own niche styles with existing sounds.

Lyrically, Peggy sums up his style with a line on the fourth track “END CREDITS!”: “And I only rap out of defiance / loss is the theme of my life.” On this album, Peggy most prominently disses the New York hip-hop duo Armand Hammer. On “REBOUND!” Peggy raps: “N – as named after baking powder, but I’ve never touched a damn cola in your town”, an indication of the similarity between the name of Armand Hammer and the baking powder from Arm & Hammer.

Despite all the fantastic songs on “LP!” There are a few that feel unnecessary for the album. The tracks “OG!” And “KISSY, FACE EMOJI!” Are both uninteresting in contrast to other dynamic and unusual songs. Likewise, the longest track on the album, “SICK, NERVOUS & BROKE!” Is not exciting enough to justify its five and a half minutes running time.

The last three songs are also strange. All three appeared on Peggy’s 2020 EP “EP!” And while all of them are good songs, they feel pinned to the end of the album to fill in the running time lost to songs that have no deleted samples. This is especially true for the last two tracks, as the closer “SOON! REMIX ”is a small variation of the penultimate track“ SOON! ”. These tracks seem jam-packed and make for a disappointing end to the album.

Overall, despite its bloating, “LP!” marks a further development in Peggy’s unique niche style. In addition, the track “THOT’S PRAYER!” Contains a strong interpolation of Britney Spears’ hit “… Baby One More Time” from 1998 and makes “LP!” Peggy’s second full-length album in a row, on which he covers a classic pop song; on “All My Heroes Are Cornballs” the song “BasicBitchTearGas” is practically a cover of TLC’s 1999 hit “No Scrubs”. This kind of connection between the albums creates a nice recall for long-time Peggy fans and shows the artistic consistency of his albums. The highs of the album are very high and are among the best songs he has ever created. These tracks, especially “REBOUND!”, “NEMO!” And “BIST DU GLĂśCKLICH?” Feel like a natural evolution of the sounds of “Veteran” and “All My Heroes Are Cornballs”. Overall, “LP!” Is another great chapter in Peggy’s discography and a nice collection of songs.

Evaluation (online):

Assessment – Dr. Canine Bids Farewell To Denver In Fashion

A farewell tour is bittersweet for both band and fan. It’s kind of a celebratory farewell – feelings of excitement and cheer rest uncomfortably on the notion that it will be the last time either party shares a venue together. In the case of Dr. Dog is particularly difficult. Given their loyal followers and 20-year discography, their current tour, aptly dubbed the “Last Tour 2021,” serves as the final hurray for the Philadelphia outfit. On Saturday night, her final foray through the Ogden Theater in Denver for one final jam session stopped in Rocky Mountain state.

The Ogden is built like the inside of a Quonset farm. It has a high, slightly vaulted ceiling with a terraced base and a fan the size of a helicopter propeller. In the moments that lead to Dr. Dog’s opening band Toth, the intermission lights glowed a thick blue-violet on a selection of instruments covered with blankets. The crowd was large, but not shoulder to shoulder. Spectators gave the person enough space to breathe and relax on the left and right. It was a cool, cozy place where everyone was chatting – like a class reunion without judgment. Dr. Dog played the role of the classmates who formed a band.

Toth – a trio from Brooklyn – wore butterfly wings on stage. Fittingly, they opened with “Butterflies”, a 38-second song from their new album You and me and everything it had the vibe of stress relieving exercise. The best moment for Alex Toth and Co. came with “Turnaround (Cocaine Song).” The singer, guitarist, trumpeter and keyboardist told a vivid story of a night on the town. Halfway through, Toth broke out a trumpet and spat a brass solo in the middle of the song. At one point, drummer Jeremy Gustin tore his drum kit with one hand and shook a tambourine with the other. It is clear that every member of Toth is multi-talented in the musical universe, and Turnaround (Cocaine Song) is a shining example of this. On several occasions audiences were taught sing-along sections, most notably for “Daffadowndilly,” which even had the group’s tour manager on stage for backup vocals and string work. The gallery joined Toth when he sang “Happy Birthday” to bassist Ryan Dugre’s partner before playing a few more songs and leaving the stage.

After a short break, Dr. Dog on stage and switched it to full blast. They started with “Lonesome”, an absolute ripper with speed and energetic percussion. Bandmates hopped around on the stage under flashing lights in warm colors. Scott McMicken, Toby Leaman and the rest of the crew always had a visibly great time on stage, and on Saturday nights they were jumping around the theater like there was no tomorrow. It is noteworthy that there was no age group. The library of Dr. Dog is for everyone: suburban teenagers, young adults in Cap Hill, and Boulder parents.

Leaman, front and center, asked the crowd how their Sunday had gone. “I watched football and had dinner … that’s how it is,” he says. “Shadow People” came not long after that and asked the question, “Where are all the shadow people going?” Its repeated chords and drumbeats are a combination made up in music heaven. A mosaic tarpaulin of irregular geometric shapes hung behind the ensemble and felt loosely metaphorical for the band’s composition of six uniquely talented members. “Heart It Races,” a fan favorite, saw the lights quickly flip back and forth between the delivery of verses and the chorus – low-energy, sing-along verses abruptly interrupted by full-blown rock choruses.

McMicken, Leaman and guitarist Frank McElroy took turns singing different songs. They are a vocal triage with McMicken on top that expands octaves and ranges. “Listening In” was perhaps the biggest highlight of the show – the introductory track from their 2018 album Critical equation. McMicken’s voice was a harsh, pleasant voice as he continued to ask precisely, “Who are you talking to?” Each hit felt like a downbeat that hit the soul of the audience. The delivery was heavy but slow as molasses as it floated over an Arcade Fire-esque keyboard. The lights exploded into a bright yellow haze as one of the night’s many highlights reached its coda. Dr. Dog continued with songs from their 12 project catalog before saying goodbye to his fans for good. Like a much happier version of Marley & Me, Dr. Dog’s appearance on Saturday night Denver’s chance to say au revoir to husband and wife’s best friend.

All photographs by Meg O’Neill

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James Blake – Pals That Break Your Coronary heart album evaluate: Refining his model

Review at a glance

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considering he’s a singer who normally does Choirs of angels sound like they have to try a little harder, it’s surprising that the only ones grammy At James Blake‘s Regal is so far for the best rap performance. That was for his contribution to King’s Dead, a song from the Black Panther soundtrack that also featured Kendrick Lamar, Future and Jay Rock – just one example of the LA-based Londoner becoming one of them Hip hop‘s most sought-after employee.

On his fifth solo album, although the preamble suggests it is his happiest work to date, he still sheds tears, far from the dance floor. He is blissfully loved via alien blips on I’m So Blessed You’re Mine. Foot Forward sounds relatively straightforward to him, the loss of a friendship towards rolling piano chords is optimistic. But when I’m unsure, he’s back on familiar ground, wondering, “When I’m so happy / How do I lose all this sleep?” over the slightest whiff of synthesizer.

Unlike its predecessor, Assume Form, it has stayed away from the most famous names. The biggest guest is acclaimed R&B singer SZA on Coming Back, who maintains a pretty melody even though it sounds like several songs put together. The rappers JID and SwaVay offer a greater contrast on Frozen, quiet and growling and nervous and hyperactive.

As always, Blake experiments with his own voice and starts Say What You Will with a deep croak. The whole thing is a refinement of his style, but not a big leap.

CONTINUE READING

Copshop assessment – taut, 70s-style actioner | Motion and journey movies

Alexis Louder holds her own as the heroine (and only woman in) Joe Carnahan’s slim, mean, 70s-inspired action thriller. She plays Valerie Young, a Nevada sheriff and former army medic with neon pink nails. In the cells of the police station opposite are the hit man Bob Viddick (Gerard Butler) and his target, the “mob fraud” Teddy Murretto (Frank Grillo). Viddick has a plan, but his mission is stalled by the unexpected arrival of psychopathic serial killer Anthony Lamb (Toby Huss) who storms the station. Young is in the crossfire.

The why is largely irrelevant; Important are Murretto’s man buns and snakeskin boots, Viddick’s one-liners (“Hard charges get hard,” he purrs, a remark he admits sounds cool and doesn’t mean anything) and an impressive scene in which Young repairs someone’s severed windpipe.

Supergrass: In It for the Cash (Remastered Expanded Version) Album Assessment

Enjoyment can be its own reward. Take In It for the Money, the wild, stormy second set of Super grass. Successful and fresh from puberty, the Britpop trio awakens to all the new adventures that lie ahead, a journey that steadily took them away from the insane joys of their 1995 debut I Should Coco. Where their peers sang about ordinary people and wonder walls, Supergrass engaged in adolescent thrills: high speed, arrested by police officers, told dirty jokes and hung out with friends. At the center of the album was the smash hit “Alright“, A fiery pop song about being young, stupid and free. Other bands may have chased the charts trying to recreate the spirit of “Alright”. Supergrass decided instead to see how fast and how far they could run.

In It for the Money is not so much a departure from I Should Coco, but an advancement. Often times it feels like Supergrass wants to offer a crash course in the history of British rock by cramming in elements from swinging classic rock of the 1960s and 1970s and filtering those familiar sounds through the irreverence of punk. They still sound powerful – like the angry single “Richard III” – but lack the exuberance that fueled their first album. The shift was necessary for her long-term survival. “Alright” threatened to classify Supergrass as adorable teenage goblins, a role they played to the extreme in the song’s goofy video. (They played their part so well that Steven Spielberg believed Supergrass would be ideal candidates for a Gen-X spin-on the monkeys.)

Supergrass turned down Spielberg and instead went for the things normal rock and roll bands do: play an enormous amount of shows before settling in the studio to record another record. It helped that Supergrass had gotten to the point when the Britpop wave was peaking. They shared their place on the charts and festival bills with graciously easy going folks like Cast, Sleeper, the Bluetones, and Ash, but they were qualitatively different and had punk-pop savvy to rival Elastic, a beefier musicality than oasis, and a natural sense of humor.

All of this comes to a head in In It for the Money, an album where the riffs and jokes are wrapped in woolly psychedely, booming horns, and splashes of sweet melancholy. Where I Should Coco flew by at breakneck pace, In It for the Money unfolds with a conscious sense of drama, slowly comes into focus with the threatening vortex of the title track and goes up and down its 12 songs. The record feels so uniform that it is noteworthy that they entered the studio in 1996 with only two completed songs in tow, which forced them to write most of the album during the recording sessions. There was Rob Coombes, a keyboardist who was the brother of Supergrass frontman Gaz. He was on the fringes of the band for a while, pounding the piano to “Alright” and playing Woozy organ on “Going Out,” the 1996 interim, the single Supergrass, which was released between their first and second albums, but he is an integral part of In It for the Money, writing credits for all 12 songs and adding a distinctive color. (Rob Coombes officially became a member of Supergrass in 2002.)

Listen carefully – or spend some time with the monitor mixes and rough versions that fill the second CD of the new 3xCD deluxe reissue of the 1997 album – and it’s obvious that Supergrass actually wrote In It for the Money in the studio Has. Many of the songs have their roots in vamps that blossom into whole songs: the seductive funk that drives the verses of “Cheapskate” forward, the circling pounding of “G-Song”, the lazy, shuffling gait of “Hollow Little Reign” all of them telltale signs of compositions that started out as group jams. However, none of these songs sound crazy, littered with overdubs, backward guitars and sound effects. Supergrass couldn’t resist studio tricks in the production of In It for the Money, but retained their sense of concise craftsmanship. The record feels alive, not cluttered.

The triple-disc reissue of In It for the Money can dampen the energy of the album a bit. Some fine B-sides, like the melodic neo-music hall walk “Melanie Davis”, are buried between the alternative mixes and working versions on the second disc, a collection of ephemera that can be played better as individual tracks than as an album . The CD with live recordings is a different story. Anchored by a full January 1998 show, a concert performed nearly a year after In It for the Money was released, the live CD shows Supergrass with a roar, turning these studio creations into breakneck rockers.

The title of In It for the Money is a nod to Frank Zappa‘s anti-hippie classic We’re Only In It for the Money. Supergrass may not sound like the Mothers of Invention, but their choices reflect the extent to which they are immersed in rock history. Supergrass never tried to be innovators. They were magpies busy figuring out how to put glam, psychedelia, punk and pop pieces together in fresh, surprising ways. They would continue to refine their craft and make sleeker albums than In It for the Money, but the group’s enthusiasm and imagination are at their peak here. They sound delighted to discover their full potential, and this vertigo remains contagious decades later.

Obtain: Rough trade

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‘Shang-Chi and the Legend of the Ten Rings’ overview: What critics say

Simu Liu plays Shang-Chi in Marvel’s “Shang-Chi and the Legend of the Ten Rings”.

Disney

Marvel’s latest hero hits theaters on September 3rd and he’s “magnetic,” critics say.

To be seen exclusively in cinemas next Friday, Disney’s “Shang-Chi and the Legend of the Ten Rings” revolves around Shang-Chi, a servant in a posh hotel called Shaun, an Americanized version of his name. He is the son of Wenwu, a centuries-old conqueror, crime boss and bearer of the legendary 10 rings.

After his mother’s death, a teenager Shang-Chi left his ancestral home and remained estranged from his father for years. Now, as an adult, he has to face his past and his father.

With a 91% “Fresh” score on Rotten Tomatoes out of 105 reviews, those who have seen expanded screenings of Disney’s newest comic strip call it a “total crowd pleaser. Period.”

“At some point during one of the best chases in San Francisco film history, ‘Shang-Chi and the Legend of the Ten Rings’ makes at least one thing gloriously clear: Today you can get your money’s worth in the cinema,” wrote Peter Hartlaub in his review of the film for the San Francisco Chronicle.

In addition to the action-packed battle sequences and funny one-liners that have become indispensable in the Marvel Cinematic Universe, “Shang-Chi” explores the clash of East and West – tradition and modernity – on a large, explosive scale.

Critics largely praised the cast of the film, of which Tony Leung stood out as a villainous but charming wenwu. Simu Liu, the eponymous Shang-Chi, is “magnetic” during the action sequences and Awkwafina shines as his quick-talking, funny best friend Katy.

“Shang-Chi” will be the first Marvel movie to hit theaters exclusively since then Covid pandemic closed the cinema business in March 2020. Industry analysts are excited to see how the film fares on the opening weekend and whether positive reviews and word of mouth will give it staying power at the box office.

This is how critics thought of “Shang-Chi and the Legend of the Ten Rings” before its cinema debut on September 3rd:

Katie Rife, AV Club

Critics praised “Shang-Chi” for its elaborate stunt and fight sequences, which are borrowed from classic martial arts films.

“In a way, ‘Shang-Chi’ is a mixtape of martial arts film genres: an early scene pays tribute to the balletic, graceful films of Zhang Yimou, while a dramatic bus chase later mimics the daring of an early Jackie Chan vehicle,” wrote Katie Rife in her review for AV Club.

Many have pointed to an early scene in the film where Shang-Chi battles multiple enemies in a crowded bus, as a prime example of these influences.

Even so, Marvel seems to be beating, Rife wrote.

“‘Shang-Chi’ insists on either pausing or burying the stunt work – led by Chan protĂ©gĂ© Brad Allan, who tragically died earlier this month – with mountains of blatant CGI,” she said.

Read the full review from AV Club.

Tony Leung plays Wenwu in Marvel’s “Shang-Chi and the Legend of the Ten Rings”.

Disney

Angie Han, the Hollywood reporter

“It doesn’t take long for ‘Shang-Chi’ to set its terms,” ​​Angie Han wrote in her review for The Hollywood Reporter.

The film begins in China with narration and dialogue that is entirely in Mandarin with subtitles. Only when the film jumps several minutes in its running time to San Francisco is even a single word of English spoken.

“Even in 2021, when subtitles are hardly an exotic experience for most moviegoers, the decision to use them in the opening scenes of an American blockbuster sends a message,” she wrote.

Han noted that “Shang-Chi”, with its magical forests and mysterious ancient artifacts, sometimes “hardly feels like a superhero movie.” And that’s good.

Still, the film is full of Marvel tropes, including hilarious, self-deprecating humor, which Han says brings the characters back to earth, but also takes “some of its wonders” away from the film.

Read the full review from The Hollywood Reporter.

Shirley Li, The Atlantic

The most prominent part of almost every Rotten Tomatoes review is Tony Leung. As one of Asia’s biggest movie stars, this is Leung’s first Hollywood film – and he’s stealing the show.

Wenwu is the antagonist of “Shang-Chi”, but he is more of an antihero than a villain. The 10 rings made him immortal and love led him to give up his powers. The loss of his wife, however, leads him into a deep spiral of grief.

“To root Wenwu’s motives in heartbreak rather than domination, destruction or vengeance feels unique for a Marvel film: Shang-Chi’s central conflict goes beyond the classic of good versus evil and far beyond that of a son who deals with it argues with his father, ”wrote Shirley Li in her review for The Atlantic.

The film may be called “Shang-Chi,” but for Li, as other critics argue, this is Wenwu’s and Leungs’ film.

“Not only is he the star of the movie’s opening – in his hands, Wenwu’s havoc catalyzes the action and permeates every frame, making the film a tragedy,” she wrote. “He becomes the character everyone else revolves around, whether he’s on the scene or not. After all, that’s how grief works, it shines.

Read the full review from The Atlantic.

Meng’er Zhang, Simu Liu and Awkwafina star in Marvel’s “Shang-Chi and the Legend of the Ten Rings”.

Disney

Brian Truitt, USA today

However, the main role of “Shang-Chi” is not without its own charm.

Simu Liu, best known for his portrayal of Jung on the Canadian sitcom “Kim’s Convenience,” may be relatively unknown in America, but he “is just a joy to watch,” wrote Brian Truitt in his review of “Shang-Chi”. “

“He’s the MCU’s most significant and contagious rookie since the late Chadwick Boseman with the same face-of-the-franchise appeal as Chris Evans,” he wrote.

Truitt said Liu has a “subtle charm” that draws audiences into the film, even when magical creatures and supernatural artifacts bring him to the realm of the fantastic.

“Robert Downey Jr. and his lead actor Tony Stark have now disappeared from the Marvel films,” wrote Truitt. “Fortunately, they have found a suitable successor in the unjustifiably charismatic Simu Liu and his dragon-riding, powerful alter ego.”

Read the full USA Today review.

Disclosure: Comcast is the parent company of NBCUniversal and CNBC. NBCUniversal owns Rotten Tomatoes.

Promenade 15: LPO/Jurowski overview – orchestral visionary indicators out in fashion | Proms 2021

Vladimir JurowskiHis prom with the London Philharmonic was his last concert as chief conductor of the orchestra, and whether by accident or on purpose, his program, which was largely music of the 20th century, ended. Jurowski was radical in his innovative planning and determination to redefine the parameters of the repertoire: the symphony, which premiered in 1934, and its material Hindemith’s opera about the life of Matthias GrĂĽnewald, makes a strong demand to maintain artistic integrity by remaining steadfastly true to its vision.

Attentive to the mixture of severity, beauty and tension of the symphony, Jurowski conducted with extraordinary fervor and intensity. The textures were clear and warm, with a wonderful shimmer in the string chords that introduce the visionary angelic concerto at the beginning, the woodwinds balanced in the sad central burial and yet mourning, the brass sparkles with assertiveness in the final perforation, which sweeps away the expressionistic horror the climatic temptation of St. Anthony. It was an exceptionally fine achievement.

His accompaniment pieces were Stravinsky‘s Jeu de Cartes and Walton’s Cello Concerto together with Friedrich Goldmann’s 1977 orchestration of Brook‘s Goldberg Canons: effective additions to the Goldberg Variations, they weren’t discovered until 1975 when Bach’s manuscript came to light in a private collection in France. Goldmann makes no attempt to imitate baroque line-ups, and ironically, his arrangement for modern instruments sounds more Hindemith than Bach in some places, although it was executed with admirable clarity and grace.

Stravinsky’s poker game ballet, with its allusions to Tchaikovsky and Rossini, was thoroughly cheeky wit and precision. Steven Isserlis, the soloist at Walton, played with considerable virtuosity and sophistication, although neither he nor Jurowski could hide the fact that the last movement of the work, called theme and improvisations, is disturbingly episodic.

When the concert ended, Jurowski was presented with the Royal Philharmonic Society’s gold medal in recognition of his work, a highly deserved honor.