Harold Budd, the acclaimed composer known for his minimalist works and collaborations with Brian Eno, died Tuesday. He was 84. Steve Takaki, Budd’s manager, confirmed his death, adding that the cause of death was complications due to the coronavirus.
“A lot to digest,” Cocteau Twins frontman and frequent Budd collaborator Robin Guthrie wrote on Facebook. “Shared a lot with Harold since we were young, since he was sick, shared a lot with harold for the last 35 years, period. Feeling empty, shattered lost and unprepared for this. … His last words to...
“A lot to digest,” Cocteau Twins frontman and frequent Budd collaborator Robin Guthrie wrote on Facebook. “Shared a lot with Harold since we were young, since he was sick, shared a lot with harold for the last 35 years, period. Feeling empty, shattered lost and unprepared for this. … His last words to...
- 12/8/2020
- by Jon Blistein
- Rollingstone.com
Following a listening party on Monday, Deerhoof dropped a surprise new album, Love-Lore, via Joyful Noise Recordings.
Love-Lore was recorded live in the studio over a single afternoon at Rivington Rehearsal Studios in New York City. The album contains a medley of 43 covers, which range from the Velvet Underground to Krzysztof Penderecki.
Muindi Fanuel Muindi wrote an essay to accompany the release, while Benjamin Piekut wrote the liner notes. “Deerhoof is not the future of music and doesn’t want to be — they simply want to embrace you, here and now,...
Love-Lore was recorded live in the studio over a single afternoon at Rivington Rehearsal Studios in New York City. The album contains a medley of 43 covers, which range from the Velvet Underground to Krzysztof Penderecki.
Muindi Fanuel Muindi wrote an essay to accompany the release, while Benjamin Piekut wrote the liner notes. “Deerhoof is not the future of music and doesn’t want to be — they simply want to embrace you, here and now,...
- 9/28/2020
- by Angie Martoccio
- Rollingstone.com
Alla Kovgan at Magnolia Pictures on Cunningham composer Hauschka: “He became almost like a ceramic artist who would give a shape to the entire film.” Photo: Anne-Katrin Titze
Alla Kovgan’s Cunningham, shot by Mko Malkhasyan with Joséphine Derobe (Wim Wenders’ Les Beaux Jours D'Aranjuez with Reda Kateb and Sophie Semin; Everything Will Be Fine; The Berlin Philharmonie in Cathedrals Of Culture; Pina and If Buildings Could Talk with Alain Derobe) as the Director of Stereography, Director of Choreography Jennifer Goggans with Supervising Director of Choreography Robert Swinston and a flawless score by Hauschka aka Volker Bertelmann (BAFTA and Oscar nominated composer with Dustin O'Halloran for Garth Davis’s Lion) takes us creatively into the world of Merce Cunningham.
John Cage with Merce Cunningham and Robert Rauschenberg Photo: Douglas Jeffrey
In the first half of my conversation with Alla Kovgan we discussed Merce Cunningham’s collaborations with Robert Rauschenberg and...
Alla Kovgan’s Cunningham, shot by Mko Malkhasyan with Joséphine Derobe (Wim Wenders’ Les Beaux Jours D'Aranjuez with Reda Kateb and Sophie Semin; Everything Will Be Fine; The Berlin Philharmonie in Cathedrals Of Culture; Pina and If Buildings Could Talk with Alain Derobe) as the Director of Stereography, Director of Choreography Jennifer Goggans with Supervising Director of Choreography Robert Swinston and a flawless score by Hauschka aka Volker Bertelmann (BAFTA and Oscar nominated composer with Dustin O'Halloran for Garth Davis’s Lion) takes us creatively into the world of Merce Cunningham.
John Cage with Merce Cunningham and Robert Rauschenberg Photo: Douglas Jeffrey
In the first half of my conversation with Alla Kovgan we discussed Merce Cunningham’s collaborations with Robert Rauschenberg and...
- 12/11/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Evidently shot in 2016, but premiering on the festival circuit after the filmmakers’ more recent “The Wall of Mexico” (which debuted at SXSW a month earlier), “When I’m a Moth” is a pretentious and off-putting enterprise one can well imagine sat on the shelf for a while. It does have an intriguing hook, yet that hook turns out to be the most awkward and mystifying element here, since co-directors Zachary Cotler and Magdalena Zyzak have decided to make an obscurantist, heavily symbolic drama set in the Alaskan wilderness … with young Hillary Clinton plopped in the middle of it.
That’s not a joke — but oh, if only it were. There is, in fact, some smidgen of a real-world basis to the premise here: Clinton (then Rodham) has noted that right after graduating from college in 1969, she journeyed to Alaska with some friends, intending to work the summer at a cannery in Valdez.
That’s not a joke — but oh, if only it were. There is, in fact, some smidgen of a real-world basis to the premise here: Clinton (then Rodham) has noted that right after graduating from college in 1969, she journeyed to Alaska with some friends, intending to work the summer at a cannery in Valdez.
- 4/27/2019
- by Dennis Harvey
- Variety Film + TV
Music and Sex: Scenes from a life - A novel in progress by Roman AkLeff (first installment can be read here; second here; third here; fourth here; fifth here).
[Warning: the chapter below contains "adult situations." Seriously, this one's not for the faint-hearted.]
Walter’s new home, Carman Hall, was an utterly soulless pile of cinder blocks. No effort at all had been made, during its design and construction two decades earlier, to build in anything conveying the slightest sense of warmth. No carpeting in either the halls or in the suites, no wood anywhere except the doors, no decorative touches, nothing but bare straight lines. One imagined it had been designed so it could be hosed down with minimum effort between school years to as to be literally as well as aesthetically antiseptic. There was not even any accommodation made for cooking; not only were there no kitchen nooks, even hotplates were forbidden (though, given that they were horrific fire hazards, that made sense,...
[Warning: the chapter below contains "adult situations." Seriously, this one's not for the faint-hearted.]
Walter’s new home, Carman Hall, was an utterly soulless pile of cinder blocks. No effort at all had been made, during its design and construction two decades earlier, to build in anything conveying the slightest sense of warmth. No carpeting in either the halls or in the suites, no wood anywhere except the doors, no decorative touches, nothing but bare straight lines. One imagined it had been designed so it could be hosed down with minimum effort between school years to as to be literally as well as aesthetically antiseptic. There was not even any accommodation made for cooking; not only were there no kitchen nooks, even hotplates were forbidden (though, given that they were horrific fire hazards, that made sense,...
- 6/16/2015
- by RomanAkLeff
- www.culturecatch.com
It was another year full of great classical music. Here are my favorites from 2014, new releases only, no reissues.
1. Magnificat/Philip Cave The Tudors at Prayer (Linn) This superbly programmed and performed album contains eight Latin sacred choral works (specifically motets, mostly votive antiphons and psalm motets) by John Taverner (c.1490-1545), Thomas Tallis (c.1505-1585), William Mundy (c.1529-1591), Robert White (c.1538-1574), and William Byrd (c.1540-1621). Active during the period of greatest religious upheaval in English history, they kept writing richly layered polyphony despite changing fashions (though the later composers listed would also provide chordal English-language anthems as needed). The mightiest work here, Mundy's Vox Patris caelestis, leads off the program. The text, speaking as it does of "flowering vines" and their "heavenly ambrosial scent," practically begs for an elaborate polyphonic setting, and Mundy provided one that is among the most exquisite works of the 16th century.
1. Magnificat/Philip Cave The Tudors at Prayer (Linn) This superbly programmed and performed album contains eight Latin sacred choral works (specifically motets, mostly votive antiphons and psalm motets) by John Taverner (c.1490-1545), Thomas Tallis (c.1505-1585), William Mundy (c.1529-1591), Robert White (c.1538-1574), and William Byrd (c.1540-1621). Active during the period of greatest religious upheaval in English history, they kept writing richly layered polyphony despite changing fashions (though the later composers listed would also provide chordal English-language anthems as needed). The mightiest work here, Mundy's Vox Patris caelestis, leads off the program. The text, speaking as it does of "flowering vines" and their "heavenly ambrosial scent," practically begs for an elaborate polyphonic setting, and Mundy provided one that is among the most exquisite works of the 16th century.
- 12/28/2014
- by SteveHoltje
- www.culturecatch.com
Darius Jones The Oversoul Manual (Aum Fidelity)
A jazz-identified musician who, for this release at least, is working in the classical realm, Jones is an excellent alto saxophonist, but also a consistently interesting composer, so this move to fully notated music for an a cappella quartet of female singers is hardly too big a hurdle for him to clear. The degree to which I loved this on first hearing, however, surprised me; this isn't just interesting, it's downright masterful.
This is the fourth volume in Jones's Man'ish Boy series, which I have never really understood the finer points of. That this one's sung doesn't help, because the 'words' are in an invented language of short syllables; the press release says it's a song cycle for a sacred alien birthing ritual.
The closest musical analogies I hear, and not consistently at that, are the way Morton Feldman worked with not-quite-repetitive patterns to create kaleidoscopic sound-objects,...
A jazz-identified musician who, for this release at least, is working in the classical realm, Jones is an excellent alto saxophonist, but also a consistently interesting composer, so this move to fully notated music for an a cappella quartet of female singers is hardly too big a hurdle for him to clear. The degree to which I loved this on first hearing, however, surprised me; this isn't just interesting, it's downright masterful.
This is the fourth volume in Jones's Man'ish Boy series, which I have never really understood the finer points of. That this one's sung doesn't help, because the 'words' are in an invented language of short syllables; the press release says it's a song cycle for a sacred alien birthing ritual.
The closest musical analogies I hear, and not consistently at that, are the way Morton Feldman worked with not-quite-repetitive patterns to create kaleidoscopic sound-objects,...
- 9/29/2014
- by SteveHoltje
- www.culturecatch.com
Swr Vocal Ensemble of Stuttgart/Marcus Creed:
America (Hänssler Classics)
Perhaps it takes foreigners to put together a program of Aaron Copland's Four Motets, Steve Reich's Proverb, John Cage's "Five," Morton Feldman's The Rothko Chapel, Leonard Bernstein's Missa Brevis, and Samuel Barber's "A Stopwatch and an Ordnance Map." Whatever this 77-minute disc lacks in stylistic coherence, though, it makes up for as a cross-section of 20th century American choral music.
The a cappella Copland pieces date from his study in Paris with Nadia Boulanger, before he'd created his trademark style; their lush harmonies are surprising from him, but quite beautiful and oddly anticipatory of recent choral trends (think Eric Whitacre, Morten Lauridsen). The Reich, however, is prototypically Reichian in its gently propulsive Minimalism (influenced by Medieval organum), complete with accompaniment on vibraphones and synthesizers.
Cage's a cappella "Five," one of his late-period "number pieces,...
America (Hänssler Classics)
Perhaps it takes foreigners to put together a program of Aaron Copland's Four Motets, Steve Reich's Proverb, John Cage's "Five," Morton Feldman's The Rothko Chapel, Leonard Bernstein's Missa Brevis, and Samuel Barber's "A Stopwatch and an Ordnance Map." Whatever this 77-minute disc lacks in stylistic coherence, though, it makes up for as a cross-section of 20th century American choral music.
The a cappella Copland pieces date from his study in Paris with Nadia Boulanger, before he'd created his trademark style; their lush harmonies are surprising from him, but quite beautiful and oddly anticipatory of recent choral trends (think Eric Whitacre, Morten Lauridsen). The Reich, however, is prototypically Reichian in its gently propulsive Minimalism (influenced by Medieval organum), complete with accompaniment on vibraphones and synthesizers.
Cage's a cappella "Five," one of his late-period "number pieces,...
- 3/29/2014
- by SteveHoltje
- www.culturecatch.com
As always, there are biases at play here; my greatest interests are symphonic music, choral music, and piano music, so that's what comes my way most often. There are some paired reviews; the ranking of the second of each pair might not be the true, exact ranking, but it works better from a writing standpoint this way.
1. Brahms: Symphonies Nos. 1-4; Academic Festival Overture, Op. 80 Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56a; 3 Hungarian Dances; 9 Liebeslieder Waltzes; Intermezzi, Op. 116 No. 4 & Op. 117 No. 1 Gewandhausorchester/Riccardo Chailly (Decca)
It is not easy, at this point in recording history, to match the giants of the baton in a Brahms cycle, but Chailly has done it (this is my fiftieth Brahms cycle, and I have more than another fifty Brahms Firsts, and upwards of thirty each of the other symphonies outside those cycles, so I've got some basis for comparison...
1. Brahms: Symphonies Nos. 1-4; Academic Festival Overture, Op. 80 Tragic Overture, Op. 81; Variations on a Theme by Haydn, Op. 56a; 3 Hungarian Dances; 9 Liebeslieder Waltzes; Intermezzi, Op. 116 No. 4 & Op. 117 No. 1 Gewandhausorchester/Riccardo Chailly (Decca)
It is not easy, at this point in recording history, to match the giants of the baton in a Brahms cycle, but Chailly has done it (this is my fiftieth Brahms cycle, and I have more than another fifty Brahms Firsts, and upwards of thirty each of the other symphonies outside those cycles, so I've got some basis for comparison...
- 1/6/2014
- by SteveHoltje
- www.culturecatch.com
Benjamin Franklin spent his mornings naked. Patricia Highsmith ate only bacon and eggs. Marcel Proust breakfasted on opium and croissants. The path to greatness is paved with a thousand tiny rituals (and a fair bit of substance abuse) – but six key rules emerge
One morning this summer, I got up at first light – I'd left the blinds open the night before – then drank a strong cup of coffee, sat near-naked by an open window for an hour, worked all morning, then had a martini with lunch. I took a long afternoon walk, and for the rest of the week experimented with never working for more than three hours at a stretch.
This was all in an effort to adopt the rituals of some great artists and thinkers: the rising-at-dawn bit came from Ernest Hemingway, who was up at around 5.30am, even if he'd been drinking the night before; the strong coffee was borrowed from Beethoven,...
One morning this summer, I got up at first light – I'd left the blinds open the night before – then drank a strong cup of coffee, sat near-naked by an open window for an hour, worked all morning, then had a martini with lunch. I took a long afternoon walk, and for the rest of the week experimented with never working for more than three hours at a stretch.
This was all in an effort to adopt the rituals of some great artists and thinkers: the rising-at-dawn bit came from Ernest Hemingway, who was up at around 5.30am, even if he'd been drinking the night before; the strong coffee was borrowed from Beethoven,...
- 10/5/2013
- by Oliver Burkeman
- The Guardian - Film News
When I was growing up, New York 's best (now long-defunct) classical radio station, Wncn, played only American composers' music each Fourth of July. With the classical world dominated by Europeans, this was a welcome and educational corrective. In the history of American music, independence wasn't achieved until the 20th century; 19th century composers such as John Knowles Paine and George Whitefield Chadwick studied in Europe and blatantly imitated European models. Listening to their music "blind," few would guess they were Americans. There was Revolutionary War-era vocal writer William Billings, but his originality was more a lack of proper technique. Continuing Wncn's tradition, here's a look at true American classical. music.
There is a bit of chauvinism in this article, as "American" here refers not to all the Americas (North, Central, and South) but rather the colloquial usage in the United States to mean that country's residents (hence, the Mexican Carlos Chavez,...
There is a bit of chauvinism in this article, as "American" here refers not to all the Americas (North, Central, and South) but rather the colloquial usage in the United States to mean that country's residents (hence, the Mexican Carlos Chavez,...
- 7/4/2012
- by SteveHoltje
- www.culturecatch.com
Our critics' picks of this week's openings, plus your last chance to see and what to book now
• Which cultural events are in your diary this week? Tell us in the comments below
Opening this weekTheatre
The Master and Margarita
Bulgakov's poetic maelstrom is transferred from page to stage by Simon McBurney and Complicite. The devil is abroad in a godless Ussr. Barbican, London EC2 (0845 120 7550), to 7 April.
Anne Boleyn
The Globe goes out on tour with Howard Brenton's delightful and intelligent look at English Protestantism and the woman who furthered its cause. New Alexandra, Birmingham (0844 871 3011), 20-24 March, then touring.
Filumena
Samantha Spiro stars as the canny Neapolitan woman who has been a mistress for 25 years but is determined to be a wife. Michael Attenborough directs this new version of Eduardo de Filippo's lively comedy. Almeida, London N1 (012 7359 4404), to 12 May.
Film
Once Upon a Time in Anatolia (dir. Nuri Bilge Ceylan...
• Which cultural events are in your diary this week? Tell us in the comments below
Opening this weekTheatre
The Master and Margarita
Bulgakov's poetic maelstrom is transferred from page to stage by Simon McBurney and Complicite. The devil is abroad in a godless Ussr. Barbican, London EC2 (0845 120 7550), to 7 April.
Anne Boleyn
The Globe goes out on tour with Howard Brenton's delightful and intelligent look at English Protestantism and the woman who furthered its cause. New Alexandra, Birmingham (0844 871 3011), 20-24 March, then touring.
Filumena
Samantha Spiro stars as the canny Neapolitan woman who has been a mistress for 25 years but is determined to be a wife. Michael Attenborough directs this new version of Eduardo de Filippo's lively comedy. Almeida, London N1 (012 7359 4404), to 12 May.
Film
Once Upon a Time in Anatolia (dir. Nuri Bilge Ceylan...
- 3/18/2012
- The Guardian - Film News
Mira Schor is a painter and writer living in New York City and Provincetown, Massachusetts. She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (Duke University Press) and the blog A Year of Positive Thinking. She is an associate teaching professor in Mfa Fine Arts at Parsons The New School for Design. She is represented by CB1 Gallery in Los Angeles and Marvelli Gallery in New York. The exhibition Mira Schor: Voice and Speech opens March 29 at Marvelli Gallery at 526 West 26th Street, 2nd floor, New York, New York, and runs through April 28.
Bradley Rubenstein: I feel that the art and the politics of the artist come together pretty seamlessly in your work, but in your most recent paintings there is more of a sense of introspection, despite the use of language, etc. They are really contemplative self-portraits. Am I far...
Bradley Rubenstein: I feel that the art and the politics of the artist come together pretty seamlessly in your work, but in your most recent paintings there is more of a sense of introspection, despite the use of language, etc. They are really contemplative self-portraits. Am I far...
- 3/11/2012
- by bradleyrubenstein
- www.culturecatch.com
The best of your comments on the latest films and music
Wow. The very idea of orchestras and pop musicians sharing a stage is enough to reduce some people to apoplexy. Take JohnBorstlap's response to Maddy Costa's article last week on that very subject: "[The critic] Alex Ross was devastatingly at fault when he advocated a fusion of pop and serious: it betrays a fundamental incapacity of making distinctions between what is and what is not important or valuable. It looks as a typical product of 'democracy in taste', this disastrous American heritage which, as a fungus, undermines everything that is of value in the arts. In a world drenched in pop, the islands of serious art and serious music have to be protected from this teenage inability of living-up to the achievements of our past." But what do you really think? "Embarrassing nonsense." Oh, right.
There was no more enthusiasm from sprocketboy.
Wow. The very idea of orchestras and pop musicians sharing a stage is enough to reduce some people to apoplexy. Take JohnBorstlap's response to Maddy Costa's article last week on that very subject: "[The critic] Alex Ross was devastatingly at fault when he advocated a fusion of pop and serious: it betrays a fundamental incapacity of making distinctions between what is and what is not important or valuable. It looks as a typical product of 'democracy in taste', this disastrous American heritage which, as a fungus, undermines everything that is of value in the arts. In a world drenched in pop, the islands of serious art and serious music have to be protected from this teenage inability of living-up to the achievements of our past." But what do you really think? "Embarrassing nonsense." Oh, right.
There was no more enthusiasm from sprocketboy.
- 12/9/2011
- by Michael Hann
- The Guardian - Film News
In response to the presently on-going Bernard Herrmann series at Film Forum in New York honoring the composer's centennial, presented here is a selection of short soundtrack music cues by the composer, with brief observations, and information regarding their availability on CD, LP or other formats.
1. “Snow Picture” from Citizen Kane (1941)
It’s amazing to think that Bernard Herrmann scored his first film for Orson Welles, and his last for Martin Scorsese, thirty five years later (he died in his sleep, the evening after finishing the recording sessions for Taxi Driver). This very short cue begins during the Thatcher Library scene, with the Inquirer reporter, Thompson (William Alland), pouring over an immense volume, as the film transitions from over-the-shoulder shot to close-up pan across Thatcher’s handwritten recollections, into a flashback punctuated by a sudden burst of light and music. This musical movement through memory is achieved in less than thirty seconds.
1. “Snow Picture” from Citizen Kane (1941)
It’s amazing to think that Bernard Herrmann scored his first film for Orson Welles, and his last for Martin Scorsese, thirty five years later (he died in his sleep, the evening after finishing the recording sessions for Taxi Driver). This very short cue begins during the Thatcher Library scene, with the Inquirer reporter, Thompson (William Alland), pouring over an immense volume, as the film transitions from over-the-shoulder shot to close-up pan across Thatcher’s handwritten recollections, into a flashback punctuated by a sudden burst of light and music. This musical movement through memory is achieved in less than thirty seconds.
- 10/30/2011
- MUBI
And on the eighth day, God created virtual reality. Take a trip to a brave unreal world in Peggy Ahwesh‘s ode to primitive virtual reality, The Third Body. Combining some sort of minimalist Adam & Eve recreation with promotional footage of people wearing giant Vr glasses on their head looking at blocky CGI graphics with awe and wonder, Ahwesh casts humans as the new gods — and creating a world that looks really, really ugly. (This film isn’t quite Nsfw, but the partial nudity may cause co-workers to look at you funny.)
My favorite part of this film is just the simple shots of a beige virtual reality living room while Morton Feldman‘s ominous soundtrack drones on. Set some good, creepy music to make any visuals seem disturbing. Actually, it was driving me nuts thinking the soundtrack was borrowed from some horror movie I couldn’t place, but I...
My favorite part of this film is just the simple shots of a beige virtual reality living room while Morton Feldman‘s ominous soundtrack drones on. Set some good, creepy music to make any visuals seem disturbing. Actually, it was driving me nuts thinking the soundtrack was borrowed from some horror movie I couldn’t place, but I...
- 9/8/2010
- by Mike Everleth
- Underground Film Journal
The second annual Migrating Forms experimental media festival will descend on the Anthology Film Archives in NYC on May 14-23 featuring the world’s greatest experimental videos, cultural documentaries, some that are a little of both; plus, several filmmaker retrospectives, some classic films and the endearingly popular Tube Time! video tournament.
Migrating Forms is such an entirely different beast than its predecessor, the New York Underground Film Festival, that we don’t have to keep saying this new event arose from the Nyuff’s ashes, do we? Ok, we’ll just say that one more time. Next year we won’t mention it because, even in it’s first year, Migrating Forms proved itself to be a completely unique arena in the field of experimental media making.
A couple of highlights from the lineup below: The new feature film by cultural explorer Kevin Jerome Everson, Erie, which captures life in...
Migrating Forms is such an entirely different beast than its predecessor, the New York Underground Film Festival, that we don’t have to keep saying this new event arose from the Nyuff’s ashes, do we? Ok, we’ll just say that one more time. Next year we won’t mention it because, even in it’s first year, Migrating Forms proved itself to be a completely unique arena in the field of experimental media making.
A couple of highlights from the lineup below: The new feature film by cultural explorer Kevin Jerome Everson, Erie, which captures life in...
- 5/6/2010
- by Mike Everleth
- Underground Film Journal
Much of the unsettling, gothic feel of Martin Scorsese's new movie, Shutter Island, comes from its soundtrack. Produced by the legendary Robbie Robertson, the soundtrack offers a compilation of atmospheric scores and period radio crooners. Here's how one critic described the movie's music:
But the element that most strikes the senses in Shutter Island is the stunning use of music. Robbie Robertson serves as a super-savvy musical supervisor, supplying some of the great 20th-century modernists — György Ligeti, John Cage, Morton Feldman, and Ingram Marshall’s haunting "Fog Tropes" — and coming up with the greatest use of modernism in an American film since ... ever.
ReelzChannel is giving away copies of the two-disc Shutter Island Soundtrack — enter here.
Next Showing:
Link | Posted 2/23/2010 by reelz
Martin Scorsese | Robbie Robertson | Shutter Island...
But the element that most strikes the senses in Shutter Island is the stunning use of music. Robbie Robertson serves as a super-savvy musical supervisor, supplying some of the great 20th-century modernists — György Ligeti, John Cage, Morton Feldman, and Ingram Marshall’s haunting "Fog Tropes" — and coming up with the greatest use of modernism in an American film since ... ever.
ReelzChannel is giving away copies of the two-disc Shutter Island Soundtrack — enter here.
Next Showing:
Link | Posted 2/23/2010 by reelz
Martin Scorsese | Robbie Robertson | Shutter Island...
- 2/23/2010
- by reelz reelz
- Reelzchannel.com
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