![]() ![]() The movie uses a cinéma vérité style of filmmaking that is, directors Bonni Cohen and Jon Shenk largely operate as flies on the wall. After seven months of waking up every morning to new evidence that the word “facts” no longer has an agreed-upon definition, An Inconvenient Sequel feels more like part of the ongoing trend toward nostalgia cinema. However, it no longer, as I’d written in January, felt “good” to be reminded that “someone still believes” in the importance of facts. ![]() It’s a follow-up to An Inconvenient Truth, equal parts a recap of what’s happened since then - both extreme weather events around the world and efforts to move toward affordable sustainable energy - and a reflection on Gore’s feelings about the progress of his cause. There’s also more text at the end, detailing the US’s withdrawal from the Paris agreement and calling the audience to action.īut on balance, it’s still the same movie. There’s a bit more Trump foreshadowing (via footage or audio of candidate Trump talking about his disdain for the idea of climate change), and a minute or two of further on-camera reflection from Gore following Trump’s election. An Inconvenient Sequel hasn’t changed substantially since its premiere in JanuaryĪs far as I can tell, not much has changed in An Inconvenient Sequel since its Sundance debut. If watching the film in January felt weird, watching it in July was outright bizarre, verging on surreal. So on a Tuesday afternoon in July, I went to a screening room in Times Square to rewatch the film, which was tweaked slightly after Sundance to include a little more footage of Trump’s statements on the environment during his campaign and a small amount of reflection on the state of climate activism after his election. He’s done this while also directly confronting previous US policy on climate change through Cabinet appointments and, most notably, withdrawing the US from the Paris agreement, where the film’s climactic moments are set. In the months since his inauguration, Trump has made it his mission to undermine as much as possible any remaining notions of shared consensus. In the case of An Inconvenient Sequel, this was mandatory. When I’ve seen a film months before its release in a festival setting, I often try to see it a second time. Two days after the movie’s Sundance premiere, then-White House press secretary Sean Spicer took to the briefing room podium to declare without any evidence that Trump’s inauguration drew the largest audience of any in history, “period.” The next day, Trump adviser Kellyanne Conway showed up on TV and unforgettably introduced us to “alternative facts.” A few days later, I realized that differing approaches to the challenge of operating in the realm of truth and reality was the de facto theme of films at Sundance - and that the debate over the most effective ways of speaking truth to power wouldn’t go away anytime soon. The movie was anachronistically optimistic, as if it had been made expecting a different election result and then hastily edited to accommodate reality. “Gore believes that getting the right information to people will encourage them to speak truth to power,” I wrote, “and while that seems almost naive in an era of deeply partisan ‘facts,’ it’s good to be reminded that someone still believes.” ![]() The film, a sequel to Al Gore’s Oscar-winning 2006 documentary An Inconvenient Truth, had been selected to open the Sundance Film Festival.Įven then, it felt like a strange film to be watching, a fact that I mentioned in my 2.5/5 star review. The first press screening of An Inconvenient Sequel: Truth to Power was on January 19, the evening before Donald Trump was inaugurated as the 45th president of the United States. ![]()
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![]() ![]() In fact, “Till It’s Gone” premiered last September on the wildly popular FX drama Sons of Anarchy. Radio friendly without sacrificing its soul, it’s an undeniable smash that’s in line with the country’s recent obsession with the culture of rural American life. The album’s first single, “Till It’s Gone,” is a driving barn burner of a song elevated by Wolf’s melodically sung hook. I started to learn how to blend concepts together.” And a deep appreciation for outlaw country, for raw classic rock. “But what is new is my deep appreciation for lyricism in hip hop, to be a great lyricist. It’s nothing Kid Rock hasn’t done,” he says. Recorded entirely in Nashville’s Blackbird Studios and executively produced by Eminem, his passion project-fittingly titled Love Story-is a rootsy, country-tinged rock album brimming with strong lyricism. “But I always knew, ‘Wait ‘till they hear the shit I did with Malay.’”Īt long last, they’re listening, and the response is as positive as he always believed it would be. He hustled back to Atlanta to record it, and the tape that set his career ablaze and resulted in his working with legends like Bun B and Big Boi was completed in all of a week and a half. ![]() “We got an 8-track recorder in the back of this shitty house in this factory neighborhood worthy of any Harmony Korine film, and we wrote Trunk Muzik front to back,” he says. Running out of options, he returned to Alabama with producer WLPWR. Wolf was poor, and his now ex-girlfriend and their child were still living in Gadsden. But their idea was ahead of its time and fizzled. Their self-described “arena rap” became popular in Atlanta, pulling huge crowds as well as the attention of Lil Wayne and L.A. In Atlanta, Wolf and his friend Malay (the producer who later won a Grammy for Frank Ocean’s Channel Orange) started a “futuristic country hip-hop rock band” that included both a DJ and a black fiddle player. He was purposefully rowdy, wearing head-to-toe deer hunting camouflage and gold teeth. It was just that I recognized the extreme of it,” he says.Īfter being homeless in Berkeley and working on a ship off the coast of Washington state, Yelawolf landed back in the South and started making mixtapes. “I woke up in this trailer park and figured out what was ironic about who I was and where I was from wasn’t that what I was experiencing was new. His mom dated a sound engineer, and Wolf remembers being onstage at age six with Dwight Yoakam, and Run DMC coming by his house to party after their local show when he was seven. ![]() Yelawolf was born Michael Wayne Atha in Gadsden, Alabama, where his two musical loves grew organically. “What I’ve always been trying to do is figure out how to make that into a good mixture of music.” Later that year, the tape was re-released as Trunk Muzik 0-60, and Rolling Stone praised him as “an MC whose liquid flow breathes life into genre clichés.” In January 2011, he signed to Eminem’s Shady Records, and his fan base grew even more rabid. As Pitchfork marveled, “Yelawolf is a powerful new rap voice, one that draws from all over the map without sounding much like anyone else.” Interscope Records agreed and within three months, he had a major label deal. But his rapid-fire delivery and intense live show ensured no one considered him a joke. His appearance-his tattoos include a catfish swimming down his forearm and “Heart of Dixie” stamped on his stomach-and raps about Appalachian meth dealers might’ve made him a novelty act. Since 2010’s Trunk Muzik, his career has been on the fast track. ![]() With his latest release, Love Story, perhaps he can finally downshift. “I really never ever stopped moving,” he says while driving around Nashville, his home of the past three years. The first week of his life, she took him to hous e parties, and by the time he left high school, the family had roamed to so many towns that Yelawolf had attended 15 different schools. The very day Yelawolf was born, his teenage mother strapped him into a stroller and rolled him around the mall. ![]() ![]() ![]()
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![]() ![]() Joined with its cozy relationship to Citadel Securities, the mutual funds turned into a conspicuous objective for retail financial backers. ![]() While Citadel is vocal with regards to the way that it was not enormously impacted by the fast enthusiasm for GME stock, it actually burned through billions to rescue individual mutual funds in danger of going under from their short positions. Stronghold’s kin organization, Citadel Securities, is the biggest market-production accomplice of Robinhood (NASDAQ: HOOD), which financial backers soured on after the stage stopped exchanging of GME and other vigorously shorted protections. The S&P 500 rose 0.9, so I was right for the sixth time in the past seven. The three stocks averaged a 5.7 decline for the week. As the CEO of Citadel, LLC, he came to be a foe of the individuals who purchased up GME stock from the get-go in the year. Like AMC, GameStop stock moved higher only on Thursday last week. Ken Griffin has a combative relationship with retail financial backers. $AMC $GME □ $DWAC $HOOD ❤️ just how i like it□□ /rqMkXDt1Ci ![]() |
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