Ten days after the 2020 Oscars ceremony, it’s time to listen to all the nominated songs again, without getting out of balance or making predictions, also because never as this year there is a balance within the Best Original Song category.
I Can’t Let You Throw Yourself Away – Toy Story 4
If there is one person who is used to being nominated for an Oscar (in addition to Meryl Streep), it is Randy Newman, who since 1982 has obtained 17 nominations and two victories, the last of which with Toy Story 3‘s We Belong Together. It’s with Toy Story 4 and in particular for I Can’t Let You Throw Yourself Away,light and cheerful song but not a strong message, that the 17th nomination arrives.
(I’m Gonna) Love Me Again – Rocketman
Signed by Elton John and his inseparable Bernie Taupin, (I’m Gonna) Love Me Again, the song surprises-both because it contains all the style, sound, and rhythm of the inimitable British singer, because unexpectedly the young Taron Egerton proved to be up to the challenge, and because the official video clip alternates scenes from the film Rocketman with archive images, making it a real tribute to Elton John’s ten-year career.
Turn the volume up and be ready to dance!
I’m Standing With You – Breakthrough
In the background of the touching story told by Breakthrough, we find the notes of I’m Standing With You written by Diane Warren, the amazing author of cinematic songs like Pearl Harbour’s There You’ll Be or Armageddon’s unforgettable I Don’t Wanna Miss a Thing.
Diane’s song is played by Chrissy Metz, the protagonist of the film and internationally known thanks to her role in the series This Is Us, in which we met her impressive singing skills.
“We all got time’s when we can’t be strong When it feels like, like all hope is gone”
Into the Unknown – Frozen II
After the success of Frozen I, for which he won the Oscar in this category, Robert Lopez and his wife Kristen Anderson-Lopez reconfirmed the authors of the soundtracks of the sequel Frozen II.
Even if you haven’t seen the film or never listened to the track from beginning to end, you certainly know the refrain because since the film was released the web people haven’t wasted themselves in the creation of funny memes and cartoons accompanied by the inscription “Into the unknown“.
Stand Up – Harriet
In addition to getting an Oscar nomination for Best Actress for her performance as Harriet Tubman in the film Harriet, Cynthia Erivo also won a nomination for Stand Up.
Her voice of the young English actress and singer, capable of embracing both high and scratchy notes, as well as low and deep, is how she accompanied us in our discovery of this song, a hymn to freedom.
CTM Festival 2020 celebrated and evolved the concept of liminality, hybridization and transgression comprehensively considering all of them as are not enough in and of themself. The Festival drew inspiration from music and contemporary art and offered several inputs to expand the considerations beyond the disciplines and the meaning of boundaries – in their acceptance of multifaceted spiritual practices and social rituals as well as aesthetic, psychedelic, and other transformative experiences.
Liminal spaces are zones and abstract ideas whose limits and goals remain uncertain: what does it really mean to enjoy music performances in their peeks and limits? What does it mean to interpret arbitrarily arts? What does it really mean a 360° clubbing experience? Could it be exhaustive to examine carefully in advance all the performers and gigs or live an immersive music experience means to let yourself go into a deep and naive journey without preconceptions?
Based on these reflections, it started our experience at CTM 2020, in Berlin.
The acclaimed HBO series Chernobyl is also known for its remarkable soundtrack. The sounds of this work are captured from an actual power plant (Ignalina – Lituania), including pumps, reactors, and turbines which created a constant sense of anxiety – performed in a stunning location (Bethonalle – Silent Garden), earlier used as a former crematorium that operated for only six months before the crematorium was finally closed down. The overall experience was enriched by acoustic instrumentations and field recordings combined with astonishing changing-lights and smoke-effects.
It has already been written almost everything about Berghain: from the absurd theories about bouncers’ selection strategies to the club’s descriptions as an enchanted black universe full of stairs, corners, dark spots, and hidden places. You can pretty much do whatever you want in this place, and moreover nobody will ever know – if it’s your concern. Anyway – Thursday night was a soft-clubbing night. I found interesting the perception that all the people in these ambiguous spaces find ourselves more clearly; it seems that somewhere precarious between a past that is no longer present and an ever-becoming future could help to stimulate both imaginations and freedom – that’s liminality, maybe.
The proposed artistic perspectives in this exhibition open up interpretations of in-betweens and thus, at the same time, question their opposite: the places that are supposedly “real” and concrete. It is thus revealed that unambiguity is arbitrarily produced through coexistence. The Interstitial Spaces exhibition takes the questions of CTM 2020’s theme beyond the margins of music through an accurate selection of different atmospheres and immersive rooms.
In the catastrophic theories on technology and control, the artists Louis-Philippe Demers and Bill Vorn introduce “Inferno,” a participatory robotic performance enacting an experience of hell and punishment. Addressing many persistent anxieties around the relationships between humans and technologies, and the shifting boundaries between them, “Inferno” envisions infinite punishment as endless automation and subordination to the machine, as participants are drawn to the spectacles and thrills of submission. Participants are divided and split allowed only partial control over their own bodies. In this liminal experience of purgatory, the ambiguous possibility of salvation hangs overhead beguiled audience members, who submit to a spectacle of suffering.
The 2nd night at Berghain was characterized by a lineup full of nu-gabberisms, drum’n’bass evolutions, between anxiety and ecstasy, panic and after-hours enhanced by explosive multi-disciplinary connections – it’s quite rare to become involved in “a unique commission between Uganda’s Nyege Nyege Festival and CTM, Gabber Modus Operandi are joined by Wahono (of Uwalmassa, a Jakarta-based project that explores connections between contemporary electronics and traditional Indonesian sounds), and Uganda’s Nakibembe Xylophone Troupe, one of the few remaining groups that perform on the embaire—an extremely rare and gigantic indigenous wooden xylophone that is simultaneously played by eight musicians.”
You Will Go Away One Day But I Will Not
Through this immersive installation in the tropical greenhouse, Alves and Dalt attempt to open a space for the multifarious voices of the forest—organic and inorganic, human and non-human, speculative and lived—while also pointing to their silencing and erasure by European colonists. The political impact and the role of communities are quite prominent and create such experiences and practices affect political and cultural impact. Is it enough to practice forms of experimental politics in a liminal space that has to make do without tangible utopias?
Transmediale – The Eternal Network
The Eternal Network is a group exhibition about the persistence of networks, with a focus on their potentials and limits in response to current social and technological changes. In times of environmental and political turmoil, networks have lost their mass appeal and are the subject of widespread backlash: blackouts, propaganda, hate speech, addiction, and a human desire to disintermediate from the platforms of surveillance capitalism. Still, networks are ubiquitous, and thus both the poison and cure for the act of organizing within activism and politics alike. With the now more tangible limits of networks in mind, the exhibition asks how effectively they respond to future models of sociality, technology, and politics. By connecting “The Eternal Network,” critical net cultures, and contemporary artworks, the exhibition closes the loop between the pre- and post-internet moments. With the backlash against networks in mind, it re-examines the legacies of critical net cultures, asking if and how they will continue to have an emancipatory relevance in the future.
CTM 2020 – as they used to highlight – throws itself into limbo in hopes of stimulating a critical discussion of our present and possible futures. They thrust us into the grey zone between the two sides of a supposedly clear demarcation.
At the end of this all-embracing days in Berlin, we feel like we’re in between. Within ambivalence and perpetual evolution, we float on air without assurance nor sureness – a bit dazed. How and in what shape will we emerge? What/who will we encounter along the way? Is there anything else beyond this liminal zone? At Berlin-Tegel gate, we feel like we were fluctuating forms, minds, and bodies both regenerated and deflagrated.
Throughout February, applications will be open for participation in Re:Earth, a project that will give six young creatives the opportunity to stay for fifteen days, from 15 to 30 April, at Cittadellarte at the Pistoletto Foundation in Biella, during which they will be able to interface with professionals and experts in the music sector and participate in conferences and workshops.
The final objective of this “artistic residence” is to give life to an artistic performance following this year’s theme: the relationship between man and nature and the consequences of this relationship from the point of view of climate change. In practice, the six participants will have the opportunity to use all the spaces, equipment and the help of the tutors to stage a musical performance, in which the sounds of nature are transformed and explored through music, within an installation context, also designed by the participants during the 15 days of Re:Earth.
The goal of Re:Earth is to create a place where a high-quality training course is offered during which all together, participants and professionals from the musical and artistic world, will try to give voice to the Earth and to the climate changes taking place.
You can apply by February 29th by accessing the Re:Earth website.
Whether you like it or not today is Valentine’s Day, the festival of lovers celebrated worldwide on February 14. The chaotic streets of Milan today seem calmer and more relaxed, as if you were breathing a different air. Those who travel by subway with a bunch of roses, those who buy cigarettes at the tobacconist’s also got some “Baci perugina”, because at the end of the day, even if you don’t want to celebrate it, it’s always nice to have a surprise.
A peculiar day, a bit corny and a bit no, not suitable for the faint of heart. We will spare you the usual story that, as you well know, takes its name from the saint Valentino da Terni. But we just want to remind you, as the English poetess Elizabeth Barrett Browning said: “Love is like war easy to start, but very difficult to stop”.
Today we at Collater.al whether you are engaged, married or single, we just want to share a little bit of love with you, starting from the great classics up to something contemporary.
A playlist of 14 songs like the day we celebrate the feast, to make you fall in love, maybe.
Four years later, The Weeknd has announced through his social profiles the release of his new album “After Hours“. In the week of his thirtieth birthday he wanted to give a gift to his fans, the award-winning singer has been busy, on march 20 will be officially out the album.
To After Hours titletrack of The Weeknd album released just today at midnight, will be added the latest singles, Heartless and Blinding Lights, previously released and currently at the top of the singles charts in Australia and the UK.
Here is a small extract from the text of After Hours: «My darkest hours/ Girl, I felt so alone inside of this crowded room/ Different girls on the floor, distractin’ my thoughts of you/ I turned into the man I used to be, to be/ Put myself to sleep/ Just so I can get closer to you inside my dreams/ Didn’t wanna wake up ‘less you were beside me/ I just wanted to call you and say, and say».