The 2023 Tribeca Festival has added panel discussions with David Fincher, Paul McCartney and Patty Jenkins and reunion screenings of New Jack City and How Stella Got Her Groove Back, the latter of which is celebrating its 25th anniversary.
The annual New York festival, running from June 7-18, has announced the lineups for its Talks and Reunions sections.
The Storytellers Series of panel discussions will feature McCartney in conversation with Conan O’Brien for a live recording of the former late night host’s Conan O’Brien Needs a Friend podcast, John Mellencamp in conversation with David Letterman, Lin-Manuel Miranda in conversation with Rosie Perez and separate chats with Chance the Rapper, Billy Porter, Hailee Steinfeld and Diplo.
The Directors Series of conversations will feature sit-downs between Fincher and Steven Soderbergh, whose Full Circle series is also premiering at the festival, as well as Jenkins and Katie Holmes.
Reunion screenings planned include New...
The annual New York festival, running from June 7-18, has announced the lineups for its Talks and Reunions sections.
The Storytellers Series of panel discussions will feature McCartney in conversation with Conan O’Brien for a live recording of the former late night host’s Conan O’Brien Needs a Friend podcast, John Mellencamp in conversation with David Letterman, Lin-Manuel Miranda in conversation with Rosie Perez and separate chats with Chance the Rapper, Billy Porter, Hailee Steinfeld and Diplo.
The Directors Series of conversations will feature sit-downs between Fincher and Steven Soderbergh, whose Full Circle series is also premiering at the festival, as well as Jenkins and Katie Holmes.
Reunion screenings planned include New...
- 5/2/2023
- by Hilary Lewis
- The Hollywood Reporter - Movie News
We may be getting our first look at David Fincher’s upcoming “The Killer” at this year’s 2023 Tribeca Festival.
The New York event, running June 7 through 18, has just announced its Tribeca Talks and Reunions lineup, and they’re led by a starry slate of conversations with creators, artists, actors, and musicians alike.
Among the highlights, Fincher will appear in conversation with fellow filmmaker Steven Soderbergh as part of the festival’s Directors series, which Patty Jenkins and Katie Holmes will also participate in; the Storytellers series will include Paul McCartney in conversation with Conan O’Brien for a recording of the podcast “Conan O’Brien Needs a Friend”; John Mellencamp will speak with David Letterman; Lin-Manuel Miranda sits down with Rosie Perez; Kevin Sullivan and Angela Bassett will reunite for the 25th anniversary of “How Stella Got Her Groove Back”; Mario Van Peebles, Michael Michele, and Fab 5 Freddy return for...
The New York event, running June 7 through 18, has just announced its Tribeca Talks and Reunions lineup, and they’re led by a starry slate of conversations with creators, artists, actors, and musicians alike.
Among the highlights, Fincher will appear in conversation with fellow filmmaker Steven Soderbergh as part of the festival’s Directors series, which Patty Jenkins and Katie Holmes will also participate in; the Storytellers series will include Paul McCartney in conversation with Conan O’Brien for a recording of the podcast “Conan O’Brien Needs a Friend”; John Mellencamp will speak with David Letterman; Lin-Manuel Miranda sits down with Rosie Perez; Kevin Sullivan and Angela Bassett will reunite for the 25th anniversary of “How Stella Got Her Groove Back”; Mario Van Peebles, Michael Michele, and Fab 5 Freddy return for...
- 5/2/2023
- by Ryan Lattanzio
- Indiewire
The Tribeca Festival today announced its Storytellers Series, which includes Paul McCartney in conversation with Conan O’Brien for a podcast recording of Conan O’Brien Needs a Friend, and Rock and Roll Hall of Famer John Mellencamp in conversation with David Letterman.
The annual Tribeca Festival will celebrate its 22nd year from June 7–18, 2023 in New York City.
The talk lineup also features Lin-Manuel Miranda, Rosie Perez, Chance the Rapper, Billy Porter, Hailee Steinfeld and music producer Diplo.
The Directors Series has David Fincher in conversation with Steven Soderbergh, and Patty Jenkins in with Katie Holmes.
The Reunions section brings Kevin Sullivan and Angela Bassett together for the 25th anniversary of How Stella Got Her Groove Back; Mario Van Peebles, Michael Michele, and Fab 5 Freddy for New Jack City; and Charlie Ahearn, Lee Quiñones, Fab 5 Freddy and Grand Wizzard Theodore for the 40th anniversary of Wild Style.
The third annual...
The annual Tribeca Festival will celebrate its 22nd year from June 7–18, 2023 in New York City.
The talk lineup also features Lin-Manuel Miranda, Rosie Perez, Chance the Rapper, Billy Porter, Hailee Steinfeld and music producer Diplo.
The Directors Series has David Fincher in conversation with Steven Soderbergh, and Patty Jenkins in with Katie Holmes.
The Reunions section brings Kevin Sullivan and Angela Bassett together for the 25th anniversary of How Stella Got Her Groove Back; Mario Van Peebles, Michael Michele, and Fab 5 Freddy for New Jack City; and Charlie Ahearn, Lee Quiñones, Fab 5 Freddy and Grand Wizzard Theodore for the 40th anniversary of Wild Style.
The third annual...
- 5/2/2023
- by Jill Goldsmith
- Deadline Film + TV
This month commemorates the 10-year anniversary of the opening of the Scratch DJ Academy, the New York-based institution that offers courses in DJing and music production. October 30 also marks a decade since the passing of the legendary hip hop DJ Jam Master Jay.
On October 30, the academy will host a special event at New York City's Canal Room to celebrate the 10-year milestone and the legacy of the trailblazing Run Dmc member.
Since its inception, the art of DJing has evolved from two turntables in the parks of urban America to a lucrative multimillion-dollar global business. Granted, today's celebrated party rockers are ubiquitous across pop culture, thanks to the likes of pioneers such as DJ Kool Herc, Grandmaster Flash, Grand Wizard Theodore, Afrika Bambaataa and the late Jam Master Jay, to name a few.
The path to attaining such skills might have been a bit inscrutable -- at least until...
On October 30, the academy will host a special event at New York City's Canal Room to celebrate the 10-year milestone and the legacy of the trailblazing Run Dmc member.
Since its inception, the art of DJing has evolved from two turntables in the parks of urban America to a lucrative multimillion-dollar global business. Granted, today's celebrated party rockers are ubiquitous across pop culture, thanks to the likes of pioneers such as DJ Kool Herc, Grandmaster Flash, Grand Wizard Theodore, Afrika Bambaataa and the late Jam Master Jay, to name a few.
The path to attaining such skills might have been a bit inscrutable -- at least until...
- 10/26/2012
- by Brennan Williams
- Huffington Post
By Rahman Dukes
If you ask iconic New York City graffiti artist Phade (better known as Shirt King Phade from the legendary Shirt Kingz) about the current state of hip-hop, he'd more than likely tell you it's alive and breathing and resides in the Bronx, New York.
Whether you agree or disagree, Phade has been around the culture for decades and just like any other passionate hip hop fan is entitled to his opinion. But the difference between Phade and your average fan is Phade has lived the life of a rapper. And his crew, the Shirt Kingz, are his clique.
For those who may not be aware, Phade and the almighty Shirt Kingz carved a name for themselves in hip hop history by hooking up some of the '80s biggest acts with customized clothing. From LL Cool J to Bbd to Biz Markie to Jay-z, you weren't considered...
If you ask iconic New York City graffiti artist Phade (better known as Shirt King Phade from the legendary Shirt Kingz) about the current state of hip-hop, he'd more than likely tell you it's alive and breathing and resides in the Bronx, New York.
Whether you agree or disagree, Phade has been around the culture for decades and just like any other passionate hip hop fan is entitled to his opinion. But the difference between Phade and your average fan is Phade has lived the life of a rapper. And his crew, the Shirt Kingz, are his clique.
For those who may not be aware, Phade and the almighty Shirt Kingz carved a name for themselves in hip hop history by hooking up some of the '80s biggest acts with customized clothing. From LL Cool J to Bbd to Biz Markie to Jay-z, you weren't considered...
- 12/23/2009
- by MTV News
- MTV Newsroom
How does that law about 1,000 monkeys with typewriters go? If you leave them alone long enough, one will eventually type "Hamlet"? Well, it might be stretching that law to apply it to 1,000 "turnstylists." If you line them up with enough records to scratch, spin or twist, it's unlikely that they would even come up with a rumble of percussive creativity that you could fit onto the tip of a drumstick of Ginger Baker, Joe Morello, Gene Krupa or even Ringo Starr.
When viewing "Scratch", which played in the documentary competition at the Sundance Film Festival, it's hard not to think you're watching a "This Is Spinal Tap" sendup of the accomplished world of hip-hop DJs, guys who developed the "art" of scratching records and jiggling vinyl in such a way as to win acclaim and stardom. From the filmmaking team that made "Hype", a well-wrought documentary that chronicled the grunge movement a few years back, "Scratch" traces this record-wreckers phenomenon, spinning forth from its inspirations for br eak dancing up to the more recent craze of "turntablism."
Whatever one might think of this kind of artistry, this straight-on document is a well-wrought film. For those of you who don't watch MTV with any regularity, "Scratch" is a nonjudgmental, generous glimpse into this modern-day entertainment form. Admittedly, these gratings and scratchings infuse the music with a different tonal quality and texture. They do dredge up certain textural sounds -- castanets, snare drums, glockenspiels.
In this supportive depiction of the proclaimed artistry of the hip-hop DJ, the filmmakers intersperse, among the scratchings, interviews with the "artists," including Grand Wizard Theodore, who, according to the cognoscenti, "invented" the idea of scratching a record by moving it back and forth.
There's also some keen commentary from Afrika Bambaataa, who returned to the South Bronx from a high school trip to Africa and formed the Zulu Nation, bringing together graffiti practitioners, break dancers, rappers and, as we see here, the DJs. Such other luminaries of hip-hop as Jazzy Jay and Grand Mixer DXT also lend their aesthetic insights. These guys wax passionately on the creative essence of turntablism.
Not surprisingly, we find it's a pretty populist and readily accessible calling: Anybody with a new -- or even an old -- record turntable and a pile of old records to scratch, plus the urge to make grating sounds, can satisfy their inspirations immediately. Best yet about this art form, there's not even a 10-easy-lessons course to send away for. In the same manner, a toddler with access to a bunch of pots, pans and spoons could attain the distinction of being as talented a percussionist and performance stylist of the various artists presented here.
Admittedly, it's hard to keep a straight face through some of the more "Spinal Tap"-ish interviews, especially when one of the "artists" talks about practicing all day, from sunup to sundown in his mama's house, perfecting his wrist flicks and needle rubs.
Verbal rim shots aside, there's something to be said for this racket, err, music; also, there's some showmanship involved, including some DJs who spin and twirl. They've got game, if not necessarily music, and one only goes to hope that someday Allen Iverson brings not only his court sense but also his lyrical sensibilities to this special artistic world. Like most specialized callings, there are also some smug self-flagellations, especially the pomposity of one particular creative guru who painstakingly scouts heaps of old records, like some sort of musical anthropologist finding just the right old Clyde McCoy to scratch the heck out of.
SCRATCH
A Doug Pray film
Producers: Brad Blondheim, Ernest Meza
Director-editor: Doug Pray
Story structure: Brad Blondheim
Executiv e producers: Allen Hughes, Albert Hughes
Director of photography: Robert Bennett
Co-producer: Heidi Rataj Addison
Associate producer: John Carluccio
Music supervisors: Carol Sue Baker, Jonathan Hafter
Sound design, editorial, re-recording mixer: David Bartlett
Creative adviser: Grand Mixer DXT
Color/stereo
Running time -- 85 minutes
No MPAA rating...
When viewing "Scratch", which played in the documentary competition at the Sundance Film Festival, it's hard not to think you're watching a "This Is Spinal Tap" sendup of the accomplished world of hip-hop DJs, guys who developed the "art" of scratching records and jiggling vinyl in such a way as to win acclaim and stardom. From the filmmaking team that made "Hype", a well-wrought documentary that chronicled the grunge movement a few years back, "Scratch" traces this record-wreckers phenomenon, spinning forth from its inspirations for br eak dancing up to the more recent craze of "turntablism."
Whatever one might think of this kind of artistry, this straight-on document is a well-wrought film. For those of you who don't watch MTV with any regularity, "Scratch" is a nonjudgmental, generous glimpse into this modern-day entertainment form. Admittedly, these gratings and scratchings infuse the music with a different tonal quality and texture. They do dredge up certain textural sounds -- castanets, snare drums, glockenspiels.
In this supportive depiction of the proclaimed artistry of the hip-hop DJ, the filmmakers intersperse, among the scratchings, interviews with the "artists," including Grand Wizard Theodore, who, according to the cognoscenti, "invented" the idea of scratching a record by moving it back and forth.
There's also some keen commentary from Afrika Bambaataa, who returned to the South Bronx from a high school trip to Africa and formed the Zulu Nation, bringing together graffiti practitioners, break dancers, rappers and, as we see here, the DJs. Such other luminaries of hip-hop as Jazzy Jay and Grand Mixer DXT also lend their aesthetic insights. These guys wax passionately on the creative essence of turntablism.
Not surprisingly, we find it's a pretty populist and readily accessible calling: Anybody with a new -- or even an old -- record turntable and a pile of old records to scratch, plus the urge to make grating sounds, can satisfy their inspirations immediately. Best yet about this art form, there's not even a 10-easy-lessons course to send away for. In the same manner, a toddler with access to a bunch of pots, pans and spoons could attain the distinction of being as talented a percussionist and performance stylist of the various artists presented here.
Admittedly, it's hard to keep a straight face through some of the more "Spinal Tap"-ish interviews, especially when one of the "artists" talks about practicing all day, from sunup to sundown in his mama's house, perfecting his wrist flicks and needle rubs.
Verbal rim shots aside, there's something to be said for this racket, err, music; also, there's some showmanship involved, including some DJs who spin and twirl. They've got game, if not necessarily music, and one only goes to hope that someday Allen Iverson brings not only his court sense but also his lyrical sensibilities to this special artistic world. Like most specialized callings, there are also some smug self-flagellations, especially the pomposity of one particular creative guru who painstakingly scouts heaps of old records, like some sort of musical anthropologist finding just the right old Clyde McCoy to scratch the heck out of.
SCRATCH
A Doug Pray film
Producers: Brad Blondheim, Ernest Meza
Director-editor: Doug Pray
Story structure: Brad Blondheim
Executiv e producers: Allen Hughes, Albert Hughes
Director of photography: Robert Bennett
Co-producer: Heidi Rataj Addison
Associate producer: John Carluccio
Music supervisors: Carol Sue Baker, Jonathan Hafter
Sound design, editorial, re-recording mixer: David Bartlett
Creative adviser: Grand Mixer DXT
Color/stereo
Running time -- 85 minutes
No MPAA rating...
How does that law about 1,000 monkeys with typewriters go? If you leave them alone long enough, one will eventually type "Hamlet"? Well, it might be stretching that law to apply it to 1,000 "turnstylists." If you line them up with enough records to scratch, spin or twist, it's unlikely that they would even come up with a rumble of percussive creativity that you could fit onto the tip of a drumstick of Ginger Baker, Joe Morello, Gene Krupa or even Ringo Starr.
When viewing "Scratch", which played in the documentary competition at the Sundance Film Festival, it's hard not to think you're watching a "This Is Spinal Tap" sendup of the accomplished world of hip-hop DJs, guys who developed the "art" of scratching records and jiggling vinyl in such a way as to win acclaim and stardom. From the filmmaking team that made "Hype", a well-wrought documentary that chronicled the grunge movement a few years back, "Scratch" traces this record-wreckers phenomenon, spinning forth from its inspirations for br eak dancing up to the more recent craze of "turntablism."
Whatever one might think of this kind of artistry, this straight-on document is a well-wrought film. For those of you who don't watch MTV with any regularity, "Scratch" is a nonjudgmental, generous glimpse into this modern-day entertainment form. Admittedly, these gratings and scratchings infuse the music with a different tonal quality and texture. They do dredge up certain textural sounds -- castanets, snare drums, glockenspiels.
In this supportive depiction of the proclaimed artistry of the hip-hop DJ, the filmmakers intersperse, among the scratchings, interviews with the "artists," including Grand Wizard Theodore, who, according to the cognoscenti, "invented" the idea of scratching a record by moving it back and forth.
There's also some keen commentary from Afrika Bambaataa, who returned to the South Bronx from a high school trip to Africa and formed the Zulu Nation, bringing together graffiti practitioners, break dancers, rappers and, as we see here, the DJs. Such other luminaries of hip-hop as Jazzy Jay and Grand Mixer DXT also lend their aesthetic insights. These guys wax passionately on the creative essence of turntablism.
Not surprisingly, we find it's a pretty populist and readily accessible calling: Anybody with a new -- or even an old -- record turntable and a pile of old records to scratch, plus the urge to make grating sounds, can satisfy their inspirations immediately. Best yet about this art form, there's not even a 10-easy-lessons course to send away for. In the same manner, a toddler with access to a bunch of pots, pans and spoons could attain the distinction of being as talented a percussionist and performance stylist of the various artists presented here.
Admittedly, it's hard to keep a straight face through some of the more "Spinal Tap"-ish interviews, especially when one of the "artists" talks about practicing all day, from sunup to sundown in his mama's house, perfecting his wrist flicks and needle rubs.
Verbal rim shots aside, there's something to be said for this racket, err, music; also, there's some showmanship involved, including some DJs who spin and twirl. They've got game, if not necessarily music, and one only goes to hope that someday Allen Iverson brings not only his court sense but also his lyrical sensibilities to this special artistic world. Like most specialized callings, there are also some smug self-flagellations, especially the pomposity of one particular creative guru who painstakingly scouts heaps of old records, like some sort of musical anthropologist finding just the right old Clyde McCoy to scratch the heck out of.
SCRATCH
A Doug Pray film
Producers: Brad Blondheim, Ernest Meza
Director-editor: Doug Pray
Story structure: Brad Blondheim
Executiv e producers: Allen Hughes, Albert Hughes
Director of photography: Robert Bennett
Co-producer: Heidi Rataj Addison
Associate producer: John Carluccio
Music supervisors: Carol Sue Baker, Jonathan Hafter
Sound design, editorial, re-recording mixer: David Bartlett
Creative adviser: Grand Mixer DXT
Color/stereo
Running time -- 85 minutes
No MPAA rating...
When viewing "Scratch", which played in the documentary competition at the Sundance Film Festival, it's hard not to think you're watching a "This Is Spinal Tap" sendup of the accomplished world of hip-hop DJs, guys who developed the "art" of scratching records and jiggling vinyl in such a way as to win acclaim and stardom. From the filmmaking team that made "Hype", a well-wrought documentary that chronicled the grunge movement a few years back, "Scratch" traces this record-wreckers phenomenon, spinning forth from its inspirations for br eak dancing up to the more recent craze of "turntablism."
Whatever one might think of this kind of artistry, this straight-on document is a well-wrought film. For those of you who don't watch MTV with any regularity, "Scratch" is a nonjudgmental, generous glimpse into this modern-day entertainment form. Admittedly, these gratings and scratchings infuse the music with a different tonal quality and texture. They do dredge up certain textural sounds -- castanets, snare drums, glockenspiels.
In this supportive depiction of the proclaimed artistry of the hip-hop DJ, the filmmakers intersperse, among the scratchings, interviews with the "artists," including Grand Wizard Theodore, who, according to the cognoscenti, "invented" the idea of scratching a record by moving it back and forth.
There's also some keen commentary from Afrika Bambaataa, who returned to the South Bronx from a high school trip to Africa and formed the Zulu Nation, bringing together graffiti practitioners, break dancers, rappers and, as we see here, the DJs. Such other luminaries of hip-hop as Jazzy Jay and Grand Mixer DXT also lend their aesthetic insights. These guys wax passionately on the creative essence of turntablism.
Not surprisingly, we find it's a pretty populist and readily accessible calling: Anybody with a new -- or even an old -- record turntable and a pile of old records to scratch, plus the urge to make grating sounds, can satisfy their inspirations immediately. Best yet about this art form, there's not even a 10-easy-lessons course to send away for. In the same manner, a toddler with access to a bunch of pots, pans and spoons could attain the distinction of being as talented a percussionist and performance stylist of the various artists presented here.
Admittedly, it's hard to keep a straight face through some of the more "Spinal Tap"-ish interviews, especially when one of the "artists" talks about practicing all day, from sunup to sundown in his mama's house, perfecting his wrist flicks and needle rubs.
Verbal rim shots aside, there's something to be said for this racket, err, music; also, there's some showmanship involved, including some DJs who spin and twirl. They've got game, if not necessarily music, and one only goes to hope that someday Allen Iverson brings not only his court sense but also his lyrical sensibilities to this special artistic world. Like most specialized callings, there are also some smug self-flagellations, especially the pomposity of one particular creative guru who painstakingly scouts heaps of old records, like some sort of musical anthropologist finding just the right old Clyde McCoy to scratch the heck out of.
SCRATCH
A Doug Pray film
Producers: Brad Blondheim, Ernest Meza
Director-editor: Doug Pray
Story structure: Brad Blondheim
Executiv e producers: Allen Hughes, Albert Hughes
Director of photography: Robert Bennett
Co-producer: Heidi Rataj Addison
Associate producer: John Carluccio
Music supervisors: Carol Sue Baker, Jonathan Hafter
Sound design, editorial, re-recording mixer: David Bartlett
Creative adviser: Grand Mixer DXT
Color/stereo
Running time -- 85 minutes
No MPAA rating...
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