ARTS & LEISURE
Special
Mitch
Trina
Lehigh
Raina
Priscilla
A.D.
Ricardo
Robert
Geoff
Fredricka
Val
David
Keith
Reproduction
THE MUSICIAN’S TALE
WHEN I WAS IN MY mid-teens, I got a call from one of my friends asking if I wanted to go with the guys to smash a piano. He said there was one in a church allpurpose room that wasn’t wanted anymore, and they were going to take it to a field in his pickup truck and break it apart with sledgehammers for some summer fun. Even as a teenager, I wasn’t comfortable with that. I was raised in a modest household where things were maintained, repaired, and valued. A piano was an object of beautiful complexity. The thought of busting one up horrified me. I asked my parents if we could take it. It didn’t matter that no one played. They said yes. My friends were disappointed but agreed it was best. The upright piano was in rough shape. Some keys didn’t work well. It was out of tune. I’m not sure the soundboard wasn’t cracked. Not that it mattered; nobody
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Robert Beck is a painter, writer, lecturer and ex-radio host. His paintings have been featured in more than seventy juried and thirty solo gallery shows, and three solo museum exhibitions. His column has appeared monthly in ICON Magazine since 2005. www.robertbeck.net
STORY & PAINTING BY ROBERT BECK
exhibitions
Milou Gallery
201 S. Main St., Bldg B 2nd Fl., Lambertville 267-808-0959 perrymilou.com
Mon–Fri 9–4; Sat & Sun by appointment
Perry Milou, born in Philadelphia, is recognized as one of the nation’s leading Pop artists. Over the past 35 years, critics and collectors have celebrated his bold and vibrant palette. Milou creates vibrant representational works that he refers to as “Fine-Pop.” His evolving style combines bold graphic imagery with painterly techniques, resulting in striking pop compositions.
New Members - Special Exhibition
AOY Art Center
949 Mirror Lake Road, Yardley aoyarts.org. March 7–March 23; Reception 03/07, 6–8
With painting, sculpture, photography, ceramics, and mixed media, the show highlights fresh perspectives and creative expressions. Artworks are available for purchase inperson and online at aoyarts.org.
Mitch Myers: Quiet Corners
Martin Art Gallery, Baker Center for the Arts Muhlenberg College, 2400 Chew St., Allentown 484-664-3467 muhlenberg.edu/gallery
Monday-Friday, 10-6:00
March 3–April 18
Virtual artist talk, Wed., March 5, 5-6:00
Step into a world where shadows tell stories and silence speaks volumes. Quiet Corners by Mitch Myers is a gripping exploration of the spaces we leave behind—the sleepless realms where wanderers pass, and reflections linger. Journey through a stunning collection of works that confront the universe's greatest dualities: good and evil, freedom and oppression, creation and destruction.
Each piece becomes a mirror to the soul, capturing the complexity of existence and the enduring spirit of humanity, all intertwined with the vast mysteries of the cosmos.
Curated by Yuyang Chen, Martin Art Gallery, Muhlenberg College
Winter Building, photograph by Sue Ann Rainey
Seraph’s Orbit, alcohol ink on ceramic by Karin Peszka
Alice’s Backyard painting by Longia Miller
Super Bowl Sunday Sauce
Bono, 30 x 40
If It Hurts, 19 3/4 in x 27 1/2in
Archival pigment print on Somerset Velvet paper
the art of poetry
I lost the use of my right hand Prized Facility And slipped in sorrow from its grasp
To disability.
What choice had I but use my left The novice of the pair And press the practice of my craft
Repeated as a prayer.
And so I dreamed the bridge ahead Old pains that would resist Gone with each stroke freely struck Through the Lambertville mist.
David Stoller has had a career spanning law, private equity, and entrepreneurial leadership. He was a partner at Milbank Tweed and led various companies in law, insurance, live entertainment, and the visual arts. David is an active art collector and founder of River Arts Press, which published Finding My Feet, a collection of his poetry.
LAMBERTVILLE MIST, PAINTED BY the acclaimed Solebury artist Jan Lipes (born in New York City in 1951), is a painting with a story behind it. I first met Jan in 1984 when he was patching me up in the Doylestown Hospital ER, where he was an emergency room physician. What I didn’t know at the time was that Jan had MS, and was losing the use of his dominant right hand, finally ending his medical career in 1991. Nor did I know that he was to turn to a career in art, teach himself to paint with his left hand, and become in time a celebrated, award-winning artist. This painting, with its cool blue overtones and crisp composition, represents, according to Jan, the first time he was painting with a fully “free” hand.
I wrote the poem, also entitled “Lambertville Mist,” in admiration of Jan’s character and achievement over the course of his two different careers — and with a bow to one of my favorite poets, Emily Dickinson, using a format she enjoyed, four-line stanzas, alternating eight-six syllable lines, rhyming on the six. n
DAVID STOLLER
Lambertville Mist
Jan Lipes in his Studio, 2004. Image courtesy of the artist.
CURATORS
CURATORS OPERATE INDEPENDENTLY FROM the artists they are curating. Their purpose is to provide a meta-perspective of the work being shown. In the case of a solo show, they may describe a context the artist takes for granted, has difficulty articulating, or may even be unaware of. In group shows, curators delineate an overarching theme addressed by different artists in different ways, using each of the artists as a counterpoint to all of the others and disclosing the subtleties of a prescribed theme. Far from simply expressing a preference in taste, meaningful curatorship requires a blend of insight, creativity, and clarity of vision.
Having one’s work curated into a show can be a significant career achievement for an artist. It behooves artists, therefore, to consciously provide a handle on their portfolios for curators to latch onto. Admittedly, a bit of luck may play a role in matching a particular artist’s work with an unknown theme some curator has in mind. But there are lots of curators and lots of themes. Understanding how a curator thinks is essential for artists hoping their works will be ‘discovered.’ Artists who put a handle on their portfolios make it easy for a curator to pick it up.
So, what does this handle look like? It has many qualities. Foremost among them is consistency. The portfolio must be cohesive. Artists including a diverse range of styles or treatments in a single presentation do themselves a disservice. Clarity is also important.
What does the artist seek to express, and how effectively does the artist express it? A heartfelt message poorly delivered will likely fail to make the intended impression. And to what extent is that message the artist’s own? The question is not whether this artist sincerely believes in the message being expressed but whether this expression is unique to the artist. Whether an artist is aware of it or not, much has already been said.
There certainly is an audience for beautiful artworks, regardless of whether they are original, just as there is an audience for artworks within a narrowly defined bandwidth, such as, for example, Bucks County landscapes. Yet even within specific genres, artists who reach deep within and find their own voice, artists whose works are unique because they embrace their particular uniqueness, are most likely to catch a curator’s eyes. n
Ricardo Barros’ works are in the permanent collections of eleven museums, including the Smithsonian American Art Museum and the Philadelphia Museum of Art. He is the author of Facing Sculpture: A Portfolio of Portraits, Sculpture and Related Ideas
PHOTOGRAPH AND ESSAY BY RICARDO BARROS
LAMBERTVILLE
James E. Dupree, artist and owner of the Dupree Gallery, embodies the life of an African American artist. James opened the gallery in 2022, and with over 50 years dedicated to fine art, culture, and activism, defines himself as an artist,
chusetts, and Wales. His mediums include paint, mixed media and sculpture — as well as wearable art designed from his abstract paintings, displayed and sold in his gallery. There is no doubt that James Dupree follows his dream, especially in helping young black artists achieve theirs. 10 No. Union St., 640-2038356, jamesdupreeart.com
Ana Leyland, is the owner of A Mano, a contemporary craft gallery, and longtime Lambertville gem filled with creative delights by local artists as well as artisans from across the country. A Mano features one-of-a-kind jewelry, fine crafts, pottery, (some of which is Ana’s own creation), glass, handpainted furniture, and original art, including that of well-known married artists Sue Roseman and James Feehan. For over 40 years Ana has been committed to quality, creativity, community, and service. She says, “I’ve learned to always be nice to everyone, respect people, and sell no junk in the store,” attributes that attest to the gallery’s longevity. Marty, Ana’s husband added, “Ana sees beauty and puts it in her store. I, on the other hand, see wood and my contribution was to build the display cases. End of story.” 42 No. Union St, 609-3970063 amanogalleries.com
noted that all of life is a stage and since 2017, we have
our own stage at Music Mountain Theatre, Lambertville’s performing arts center, adjacent to the site of the former Lambertville Music Circus. Under the direction of Ginny Brennan and co-artistic directors,
Louis Palena and Jordan Brennan, MMT provides live theater yearround, as well as theater classes for children and adults. These three dedicated theater aficionados are on a mission to educate, enrich, and entertain our community through the study, performance, and appreciation of the arts.
Jordan’s expertise is in costume design and makes most of the actors’ costumes. His involvement with all aspects of live theater is extensive: he sings, dances, helps create sets and performs in many of the productions. When he told me that everything at MMT was given or created locally, I knew it was typical of the Lambertville community. The stage at MMT was built by Chris Langhart, who also helped build the front and rear stages for the Woodstock Festival.
Louis Palena is also an actor, dancer, singer, director, dance teacher, choreographer, and playwright. Adding to his talents, Louis wrote his own version of Alice in Wonderland, the book, music, and lyrics. Before MMT he pursued musical theater in summer stock shows, and as part of the Troika Touring Company, he performed in the first all-American musical in Moscow. Louis celebrates his 50th birthday on March 23 with his Big (Band) Birthday Bash at MMT, at 7:30pm. Everyone is invited. Upcoming shows include Fiddler on the Roof (2/28 – 3/23), Ride the Cyclone (3-28 – 4/13), and POTUS (4/18–5/4). 1483 NJ-179, Lambertville, 609-397-3337, musicmountaintheatre.org.
pianist, singer, actor, potter, state/federal education project director, and award-winning English teacher.
MERLE CITRON
Merle Citron, originally from Hoboken and Bayonne, NJ, has lived in Lambertville for 45 years. When she arrived in 1978, she immediately knew Lambertville was/is her forever home. Her varied background includes: artist, writer, public speaker, athlete,
Louis, daughter Alana, and Jordan
VALLEY
Archer Music Hall, the latest Valley show place, is co-produced by City Center Group, a local real-estate development titan, and Live Nation, the national entertainment behemoth. The 1,600-capacity venue and its 500-capacity cousin, Arrow, open this month with an aroundthe-dial lineup of comedy (Jim Norton, 3/14), bluegrass (Travelin’ McCourys, 3/15) and punk (Dead Kennedys, 3/30). Balconies on three sides resemble the layout at Franklin Music Hall, Philadelphia’s ex-
Electric Factory. Veteran locals may recognize a larger, neater, more bar-centric version of Croc Roc. the late Allentown presenter of acts up and coming (Taylor Swift) and already arrived (Julian Lennon). Maybe the two rooms will make downtown Allentown a pop-culture hub like it was in the early 20th century, when Symphony (now Miller) Hall was a vaudeville paradise. (939 Hamilton St.; 610-798-1466; archermusichall.com)
Two blocks from Archer/Arrow is Sophistique, a French bakery owned and operated by a French chef. Sophie Vandecasteele tattoos taste buds with baguettes, croissants, eclairs, madeleines, macarons, mousse cakes and tarts in a former tattoo parlor. Her culinary history is pretty delectable, too. The former chemist learned to bake cakes for her kids by watching YouTube videos, earned a pastrychef certificate in her home coun-
try, and created a sizable American fan club at a coffee shop and farmers markets. (924 W. Walnut St., Allentown; 610-618-2311)
Lehigh University’s Zoellner Arts Center has hosted a host of renowned orchestras, most notably the Philadelphia and the New York Philharmonic. On March 7 it will polish its sterling reputation by pre-
senting the Academy of St. Martin in the Fields, an exceptional chamber ensemble based at the lovingly namesaked London church. The genre-and-globe-trotting program includes Copland’s “Quiet City,” Haydn’s 29th symphony and John Adams’ “Shaker Loops.” Bruce Liu, who won the 2021 Chopin competition, will solo in the ninth piano concerto of Mozart, co-star of the film “Amadeus,” which Academy musicians soundtracked. (March 7, 430 E. Packer Ave., Bethlehem; 610-758-2787; zoellner.cas.lehigh.edu)
Northampton Community College has Hampton Winds, a public restaurant that doubles as a culinary school. Last month Lehigh University opened a public pub that doubles as an alumni pipeline. Graduates supply wines and craft beers; the managing company, Settlers Hospitality, is headed by Justin Genzlinger, a 1999 alum. Executive chef Christian Jimenez, a Parkland High School grad, supervises staffers who make everything from Korean chicken sliders to Thai
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GEOFF GEHMAN
Geoff Gehman is a former arts writer for The Morning Call and the author of five books: Planet Mom: Keeping an Aging Parent from Aging, The Kingdom of the Kid: Growing Up in the Long-Lost Hamptons, and Fast Women and Slow Horses: The (mis)Adventures of a Bar, Betting and Barbecue Man with William Mayberry geoffgehman@verizon.net
Sophie Vandecasteele
Bruce Liu
curry cauliflower. The décor is rustic/industrial bistro, with a table that engineering students crafted from fallen trees and a floor of blue-andwhite triangles that seems to pinwheel. (Clayton University Center, 29 Trembley Dr., Bethlehem; 610-758-8166; lehighuniversitypub.com)
The Bach Choir of Bethlehem has a musical satellite in Leipzig, the German hometown of J.S. Bach, the choir’s spiritual shepherd. Vocalists have performed many works Bach composed for his Leipzig church, in Bethlehem and Leipzig. This year’s gala concert will show-
case the Thomanerchor, the Leipzig boys’ choir launched in 1212, a numerically harmonious year. Aged nine to 18, the singers study Bach, Palestrina and Bruckner in a boarding school with a shop that tailors their suits, a sauna and a room for a model railway. (March 8, Central Moravian Church, 73 W. Church St., Bethlehem; 610-866-4382; bach.org)
First came audiences singing along to movie renditions of “Edelweiss” and “Do-Ray Mi.” Then came the footballers of “Ted Lasso” serenading their dear departing coach with an on-pitch, on-the-pitch “So Long Farewell.” Now comes “The Song of (Black) Music ,” where five lead vo-
calists and band members score Hammerstein & Rodgers ear worms with funk, gospel, soul and other African-American specialties. (March 29, Zoellner Arts Center, Lehigh University, 430 E. Packer Ave., Bethlehem; 610-758-2787; zoellner.cas.lehigh.edu)
“Fences” zigzags around barricades built and broken by Troy Maxson, a baseball player turned sanitation worker who takes out everything — hopes, dreams, rages, fears — on his family, especially his son.
August Wilson’s profound, prosaically poetic Pulitzer Prize-winning play was a vehicle for James Earl Jones and Denzel Washington, who starred in a 2016 movie he co-produced and directed. (March 28-30; April 4-6, 11-13, Pennsylvania Playhouse, 390 Illick’s Mill Rd., Bethlehem; 610-865-6665; paplayhouse.org)
Alison Zeidman knows death well and unwell—and not just because her jokes have died. The self-described “Emmy-losing comedy writer” lost her father to multiple myeloma at 55; at 58 her mother was diagnosed with early Alzheimer’s. In her show “Ready to Die?” she uses common sense and nonsense to help spectators prepare, plan and gird for one of life’s most complicated, conflicted certainties. The “Archer” alum covers funerals to plug pulling to final heart-tohearts. The material is right up my wheelhouse. Joined by a funeral-parlor director, my late mother and I turned her cremation signing session into a comedy act to reflect the absurdity of a perfectly decent 90-something body disappearing into ashes in a matter of minutes. (March 22, Bethlehem Visitors Center at SteelStacks, 711 E. First St., Bethlehem; 610-332-1300; steelstacks.org) n
Denzel Washington and Viola Davis in the film version of Fences directed by Washington.
MAX MARTIN & DAVID WEST READ
make sweet, funny music together with & Juliet
WHAT WOULD HAPPEN IF an 18-year-old William Shakespeare was coaxed by his wife, Anne Hathaway, to trash the original ending of his then-newest drama, Romeo & Juliet, for something with more agency: instead of ending her own life when her man died, Juliet would carry on? She’s young. Romeo was only her first boyfriend. And besides, when she attends his funeral, Juliet finds out that Romeo actually had many sexual relationships before her — with women and men. Now, more determined than heartbroken, Juliet and her friends (one of them being
Max Martin’s songs ARE ABOUT “YOUNG LOVE AND HEARTBREAK,” no Shakespeare drama was riper FOR THE POP PICKINGS THAN “ROMEO & JULIET.”
April as played by Shakespeare’s wife at Anne’s urging) go off on a girl trip to Paris to experience what teenage life and love could be without a Romeo-oh-Romeo.
Attach a handful of pop hits by Swedish songwriting hit machine Max Martin, a backstory involving Martin’s wife telling him to go the musical theater route, and a winning stage script by Schitt’s Creek screenwriter David West Read, and you get & Juliet, the West End-to-Broadway musical comedy smash, currently on tour throughout 2025 with a stop at the Academy of Music courtesy Ensemble Arts Philadelphia. (March 25 — April 6) ensembleartsphilly.org/series-andsubscriptions/broadway-series/and-juliet)
Suddenly, with & Juliet, Backstreet Boys tracks such as “Larger than Life,” Britney Spears’ “…Baby, One More Time,” Kelly Clarkson’s “Since U Been Gone,” *NSYNC’s “It’s Gonna Be Me,” and more Max Martin
hits come alive in a story designed to heighten all aspects of empowerment.
“Plus, I even got the chance to write a new, original song with Max, which is a pretty great credit to have on my resume,” says & Juliet book writer David West Read of “One More Try,” this pair’s original song for the musical. “Max’s number-one hits are second only to Paul McCartney, so that’s quite an honor.”
Known to audiences as the Emmy Awardwinning screenwriter of Schitt’s Creek for five seasons, Read started his career in theater, studying at the Julliard School with playwright heroes Christopher Durang and Marsha Norman (“my favorite lesson of hers was that you need to tell the audience within the first eight minutes of the play when they can go home”). Soon after Julliard, Read’s
first two plays hit the stages of New York in 2011 and 2012, respectively, The Dream of the Burning Boy and The Performers
The detour from the stage to the screen that is Schitt’s Creek is a happy memory for Read, as exemplified by a story recalling both his and co-creator Dan Levy’s “Canadianness.” “Our shared heritage permeates that show,” says Read. “That, and a certain other kind of comedy that is kind-hearted and selfdeprecating.”
If we’re writing about the ideas of what makes happy memories, Max Martin’s own fortunate origin story is pretty sensational. After joining a glam-metal band in Stockholm County at the end of the 1980s that resulted in a major label deal less than a decade later,
CONTINUED ON PAGE 28
David West Read. Photo: Heather Gershonowitz
Max Martin. Photo: Mikael Jansson
CITY
BECAUSE I LOVE USING the classic phrase, “the Ides of March,” in any sentence beyond the political power grab killing of Julius Ceasar, welcome to March. And its List. And its Ides. And to the Spring Equinox, which we along the east coast know never starts fully on March 20, as we’ll be freez-
ing our asses off until the end of April, at the very least. And to the start of Major League Baseball in Japan. And to St. Patrick’s Day and Lent and everything holy for we Roman Catholics, and more than likely, Daylight Savings Time, too, unless Trump does away with that as well before we get to March, which brings me to those Ides, again.
Here’s The List for March 2025.
Everyone says that the moment that we live in is so fraught with angst, sorrow, disgust and divisiveness that we need comedy more than ever. So, what then happens when the comics that you love are angsty and maybe even a tad divisive? Just saying. March and early April at the Met Philadelphia hosts just those sorts-of stand-up comic as it welcomes Kathy Griffin’s My Life on the PTSD List tour (March 15), Aziz Ansari’s Hypothetical tour (March 22) and Nurse John’s Short Staffed tour (April 5) to its stage.
Sunday, March 16, starting at 11 a.m. is the celebration of this country’s second-largest Irish heritage city that is the Philadelphia annual St. Patrick’s Day Parade down the Benjamin Franklin Parkway. DUCK!
An odd exhibition — even where odd exhibitions in Philly exist beyond all things-Mutter Museum — starts at the top of March and runs through the 29th with the fun and Finnish Sauna is Life: Sauna Culture in Finland, an outdoor pop-up exhibit at FDR Park’s American Swedish Historical Museum (you know, the place you learned about and loved during the COVID-era PHS Flower Shows, but never returned to). This human frappe welcomes multiple person parties to reserve model saunas for 30- to 90minute ticketed sessions, and discuss sweating practices from around the world. Not joking.
Speaking of Mutter, I’m not against hanging muscle-sinew-and-tissue
exposed bodies for the sake of art in accordance with the freshest iteration of the traveling exhibition, Body Worlds: Vital which returned to The Franklin Institute (until September 1, 2025). If collaborating anatomists and 13,000+ body donors choose to allow their frame to go through the preservation process of plastination, you go dead boys and dead girls. It’s just that every body part winds up looking like cured meat and stringy prosciutto. Now that I’ve used that description, look at Body Worlds again.
The James Beard Foundation’s Taste America event at Philadelphia’s Bellevue Hotel (March 25 at 7 p.m.) is nothing to sneeze at or turn a blind
tongue to (?!) as the Beardos brings its national tasting series and its chefs to mix and mingle with this city’s restaurant community members — including local culinary reps from 2025 James Beard Award semifinalist restaurants El Chingón, Provenance, Mawn, Little Fish BYOB and Friday Saturday Sunday. Eat up.
Peddler’s Village in Lahaska, PA is as far away from me, literally and figuratively, as I can imagine. And yet, knowing that multi-colored, mostly pastel, Pennsylvaniamade marshmallow treats — PEEPS — will take over the town for its own PEEPS Village, with 130 creative displays and a competitive “Peeps in the Village” battle, thrills me. That’s because from March 24 to April 27m every celebrity that has famously moved into Bucks County will have to look at thousands of gi-hugic PEEPS while driving to their tony unused farmhouses and expansive estates, Good luck, Zayn, Leo and Bradley. n
Amorosi is a Los Angeles Press Club National Art and Entertainment Journalism award-winning journalist and national public radio host and producer (WPPM.org’s Theater in the Round) married to a garden-to-table cooking instructor + award-winning gardener, Reese, and father to dog-daughter Tia.
A.D. AMOROSI
A.D.
film roundup
The Shrouds (Dir. David Cronenberg). Starring: Vincent Cassel, Diane Kruger, Guy Pearce. The setup is pure David Cronenberg: Grieving businessman Karsh (Vincent Cassel) has built a device that allows its users to observe and interact with the decaying bodies of their deceased loved ones. A global conspiracy arises because of this invention, one that involves Karsh’s dead wife’s sister (Diane Kruger), who just happens to be her departed sibling’s (also Kruger in a series of sexy and savage flashbacks) spitting image. And still you will not be prepared for the narratively and emotionally intricate places this movie goes; if it has any antecedents, it would be Hitchcock’s Vertigo if it were pulped and distilled in the Cronenblender to a gorily erotic essence. In part inspired by the death of the director’s own wife, this is a nakedly personal work of art — a trenchant dissection of the human instinct to commodify every facet of our being — from its first evocative line (“Grief is rotting your teeth”) to a soaringly ambiguous
Keith Uhlich is a NY-based writer published at Slant Magazine, The Hollywood Reporter, Time Out New York, and ICON. He is a member of the New York Film Critics Circle. His personal website is (All (Parentheses)), accessible at keithuhlich.substack.com.
ending that imagines a grotesque “heaven” only the truly wealthy can attain. [R] HHHHH
The Friend (Dirs. Scott McGehee and David Siegel). Starring: Naomi Watts, Bill Murray, Bing. Adapted, as was Pedro Almodóvar’s recent The Room Next Door, from a ruminative novel by Sigrid Nunez, The Friend follows Iris (Naomi Watts), a lit-world New Yorker grieving the loss of her mentor and ex-lover Walter (Bill Murray). The “friend” of the title is Apollo (Bing), Walter’s Great Dane, who Iris temporarily houses and quickly grows to love. Where Almodóvar found his own cinematically vital way into Nunez’s prose, writers and directors Scott McGehee and David Siegel stick slavishly and prosaically to the words and themes. This is a dead movie about capital-letter Big ideas: Creativity, Grief, Love, Aging. It plods along dutifully with the cast trying their best, and mostly failing, to inject life and complexity into each scene. No surprise that the star of the show is Bing as Apollo, his very morose animal nature lending a thorniness to the proceedings (is his own sorrow genuine or an anthropomorphizing on the part of audience and characters alike?) that is otherwise sorely lacking. [N/R] HH
KEITH UHLICH
The Shrouds
Misericordia (Dir. Alain Guiraudie). Starring: Félix Kysyl, Catherine Frot, Jacques Develay. Though he made an arthouse splash with 2013’s Stranger by the Lake, the great French writer-director Alain Guiraudie remains a mostly unknown quantity in the United States. He’s a strange bird, though even newcomers to his work will hopefully find value in his latest, the masterful dark comedy Misericordia. Set in the southwest French commune of Saint-Martial, the film tells the odd, dramatically escalating tale of Jérémie (Félix Kysyl), who returns to his birthplace for the funeral of an acquaintance and soon gets swept into a series of transgressive situations both murderous and sexual. (You won’t soon forget the erection used as a punchline.) The widescreen cinematography is verdant and soothing, a little too eerily so, which epitomizes the off-kilter sensibility that Guiraudie’s cinema conjures. He creates worlds that resemble our own, though feel as if they’re being viewed from a ground-level God’s eye view, almost as if we were ensconced in the perspective of a deity visiting Earth, reveling in the myriad absurdities of the creatures he himself created. [PG] HHHHH
Presence (Dir. Steven Soderbergh). Starring: Lucy Liu, Chris Sullivan, Callina Liang, Eddy Maday. An inspired twist on the haunted house flick, director Steven Soderbergh’s moody family drama-cum-ghost story is filmed entirely from the specter’s perspective. Throughout, the camera eerily sidles through the rooms of a suburban house purchased by a family in crisis. Lucy Liu plays workaholic wife Rebekah, Chris Sullivan her dissatisfied spouse Chris, and Callina Liang and Eddy Maday their two children Chloe and Tyler, one a sullen introvert grieving the seeming suicide of her best friend, the other a prickly athlete with a machismo problem. The presence in question stays at an observer’s distance for much of the film, until events dictate its increasing involvement in the family’s lives. The narrative twists concocted by screenwriter David Koepp may feel familiar. Yet Soderbergh — as ever acting as his own cinematographer — ingeniously utilizes what in many hands would be a cheap aesthetic gimmick for maximum emotional investment. As in many of the director’s best movies, the chilliness of the approach helps to build up heart-rending undercurrents that flow like a torrent by the final fade-out. [PG-13] HHHH n
film classics
A Real Young Girl (1976, Catherine Breillat, France)
The incomparable writer-director Catherine Breillat technically began her career with this explicit (in all senses of the term) portrait of a teenage girl’s sexual awakening over a long, hot French summer. Made in the 1970s, adapted from Breillat’s own novel, it remained unreleased in theaters until the year 2000. You can see what made the censors go apoplectic, since the 14-year-old Alice Bonnard (Charlotte Alexander, 20-years-old at the time of filming) shows off near every part of her anatomy while indulging in all manner of carnal experimentation (utensil used as vaginal stimulant? Check! Vomit as substitute orgasmic fluid? Check!). As ever with Breillat, however, the shock-value is an entry point into an incisive study of those base pleasures and transgressive behaviors that, whether we’d like to admit it or not (and most wouldn’t), become us all. A Real Young Girl is an assured opening salvo in Breillat’s formidable corpus. (Streaming on Criterion.)
Night and Fog (1956, Alain Resnais, France)
In just a little over half-an-hour, this classic French documentary, made just a little over a decade after the end of WWII, expertly summarizes the horrors of the Holocaust. Historical footage of the Nazi rise to power, as well as of the concentration camps and their many victims (alive and dead), is intermingled with newly shot imagery of many of the locations, now deceptively peaceful, where atrocities occurred. Director Alain Resnais hones the haunting interplay of memory and existential
angst that would come to full fruition in his later masterpieces Hiroshima, Mon Amour and Last Year at Marienbad. And the narration, written by French poet Jean Cayrol, himself a camp survivor, ponders the “why?” of it all with a chilling clarity that, paradoxically and profoundly,
leaves the question of how to move forward a distressingly open one. Looking around nowadays, lessons seem to have decidedly not been learned. (Streaming on Max.)
Rio Lobo (1970, Howard Hawks, United States/Mexico)
The final feature by the great Hollywood director Howard Hawks is as elegiac as the guitar piece strummed in extreme close-up over its evocative opening credits. Frequent Hawks collaborator John Wayne
KEITH UHLICH
A Real Young Girl
stars as Union Army colonel Cord McNally, who loses a close friend after a Confederate posse robs a payroll train. Ensuing circumstances dictate that he spends time with a pair of Southern soldiers (Jorge Rivero and Christopher Mitchum), for whom he gains a begrudging respect. Eventually, all three men’s loyalties will be tested when they try to find the traitors who set that initial robbery in motion. Standing in their path is Hendricks (Mike Henry), the corrupt sheriff of the town of Rio Lobo, where the men and all the narrative threads converge. Hawks revisits and reworks many of his pet themes in this valedictory effort. In many instances — particularly in its comic, cosmopolitan analysis of stoicism and machismo — this feels like an unhurried, minor-key revision of his 1959 Rio Bravo, though it’s as revelatory in its own way. (Streaming on Peacock.)
Topsy-Turvy (1999, Mike Leigh, United Kingdom/United States)
Mike Leigh’s thrillingly complex period piece is as deceptively lighthearted as the subject it takes on: the genesis by W.S. Gilbert (Jim Broadbent) and Arthur Sullivan (Allan Corduner) of their classic pitterpatter operetta The Mikado. It takes a lot of effort to make such crowdpleasing froth, and Leigh details everything from the initial idea (ripped from the ether after another production falls apart) to the backstage shenanigans that are now part of theatrical lore (such as the excision and opening-night reinstatement of the wondrously funny solo number “A More Humane Mikado”). Scenes from the musical are interspersed throughout as a kind of meta commentary on the process of creation, the pleasures of which prove fleeting and the stresses enduring. “There’s something inherently disappointing about success,” sighs Gilbert toward the end of the film’s very involving almost three-hours. The pure work of making art has rarely been captured as keenly as it is here. (Streaming on Criterion.) n
Martin found his life’s mission behind a studio mixer, a sequencer, and a set of keyboards as a producer and songwriter. “I didn’t even know what a producer did, I spent two years — day and night — in that studio trying to learn what the hell was going on,” said Martin during an appearance on Great Britain’s Top of the Pops television show.
No sooner than Martin made the shift from artist to author, he fashioned hits in quick succession for Backstreet Boys, Robyn, and Celine Dion by the end of the 1990s, with a 21st century to follow of smash songs written for Taylor Swift, The Weeknd, Coldplay, Katy Perry, Bon Jovi, Pink and more.
The progression of his songwriting skills can be witnessed throughout & Juliet, a project he only ever considered when his wife of 20 years brought the idea to him. Of that evolution, Martin told CBC Radio, “I can hear this other tone in the music… It’s almost like I’ve eaten from the apple and know things now. So, you know, it would be hard for me to write a Backstreet Boys song [now] like I did back then.”
“I’m an insecure songwriter deep down,” Martin said about having never stepped into musical theater. “And David West Read is a genius; he did such a great job. The way he used the songs is a miracle to me — the way it sounds, to me at least, like the songs are written for the show.”
The jukebox musical of writing to an existing song catalog signaled freedom and experimentation to Read, who additionally went on to work with the epic music of Roy Orbison for the musical In Dreams. Without having someone “write new and story-specific songs for you,” that one might be obliged to
Answer to BYWORDS
use, Read had an embarrassment of riches before him with both Martin and Orbison, to say nothing of the luxury of picking and choosing what made sense for his scripts. “It is as if you are given a sandbox of raw material and told to go play in it,” Read says. “The one goal I set up for myself with Max’s catalog
Realizing that Max Martin’s songs are about “young love and heartbreak,” no Shakespeare drama was riper for the pop pickings than Romeo & Juliet. “That’s the ultimate love and heartbreak story,” says Read. “And, that was the one thing when distilled down was the common denominator
is that I would never change any existing lyrics. Whatever I used for the show had to make sense within the context of the story we’re serving.”
Max Martin was not particular or precious about what iconic songs of his Read might use in which to create a musical — “song that makes you laugh, cry, dance” — just that the playwright found a great, worthy tale for Martin’s pop history to the soundtrack. And what better love story could you get to deconstruct for the stage than one from William Shakespeare.
Talking about having to hand over his immense hit song catalog to another collaborator for a jukebox musical was nothing that Max Martin was thrilled about doing — at first.
“I’m not going to be negative about other so-called jukebox musicals, but sometimes it feels like [the songs have] been shoehorned in,” he said to the CBC. “But I was very clear that you have to go to the theater, and even if you haven’t heard one song, you still, you know, you’re supposed to enjoy the show.”
between Max Martin and William Shakespeare while taking those songs out of their initial context of being sung by boy bands and female pop singers.”
William Shakespeare and Max Martin also shared the common vision of writing for the masses of their pop cultural moment.
Though the former is an artist whose work is thought of as highbrow literature to be appreciated by the intelligencia and studied (“or not studied if you were trying to avoid school”) by scholars, at the time of their initial authorship in the late 1500s and early 1600s, Shakespeare’s plays were for everyone. They were the entertainment of their day in the same way that Martin’s hits with Britney Spears or *NSYNC are to the 21st century.
“In my own sneaky way, I am trying to say that, with & Juliet, Max Martin is the William Shakespeare of pop music,” says Read with a laugh.
Either that or William Shakespeare is the Max Martin of the Elizabethan Era. Take your pick. n
CONTINUED FROM PAGE 5
else touched it, and I never got much past “Chopsticks.” Over time, I figured out the chords to the first eight bars of “Theme Of Exodus,” but that was the breadth of my repertoire. There is no Cinderella story. I didn’t learn to play, I moved away from home at twenty, and my parents sold the house six or seven years later. I don’t know what happened to the piano.
I did, however, learn enough guitar to annoy the neighbors. One exasperated person once yelled “Knock it off, Elvis!” from an apartment window, with searing persuasion. At one point in my twenties, I dragged a discouragingly heavy Peavey amp and its speakers around, playing folk songs in bars. Nobody enjoyed that either, so I acquired a used electronic keyboard and a four-track mixing recorder and stayed home putting my forgettable songs on tape. The background keyboard parts were all one-finger stuff.
Knowing what I know now, there will be things I don’t waste time on in my next life, which might free up space for seriously learning to play the piano — or at least I like to think so.
At the other end of the spectrum, I saw Bruce Liu perform at Carnegie Hall last month. Liu is a concert piano sensation, born in Paris and raised in Montreal. He began playing at eight, performing at eleven, and won the International Chopin Piano competition. There were times that evening when he played beautifully and times when he attacked the instrument; times when my unsophisticated ear heard no melody, nothing pleasing. But there were also moments during those selections when voices emerged that I hadn’t known were in pianos. Times when I found myself listening to powerful expressions as notes merged and overlapped. I was surprised. It was like Liu was under and overlaying separate passages that combined like intersecting waves creating a third. Whatever was going on, it was a first for me, and I was wowed.
The Carnegie Hall atmosphere is extraordinary. The lines of the interior architecture give peripheral form to the experience, and the space expands around you. It’s a room with soft edges, constructed to encourage the audience to receive and absorb without interference. The lighting complements that with sophisticated subtlety.
There are great ghosts in the building. You sit surrounded by walls that have heard the best music made for over a century. This building, one of the most prestigious music venues in the world, was almost torn down in 1956 to build a high-rise, as the loss of the resident New York Philharmonic to the newly-opened Lincoln Center was considered a death knell. It was saved by people with both means and a soul, and it continues with a full schedule. At one point, the Philharmonic considered returning.
During the intermission, a well-dressed man came on stage with a small kit of tools and tuned the piano. You could hear him plunking keys and adjusting strings over the crowd’s conversation. He was in the spotlight at least fifteen minutes. (How do you get to Carnegie Hall?...)
When the tuner was done, the audience gave him a hand.
Bruce Liu’s performance was quite athletic, and by the end, he was whipped. The audience didn’t want to let him go. Two, three encores. He chose light, short, charming pieces. When they brought him out for the fourth time, Liu plopped onto the chair and performed Scot Joplin’s “Maple Leaf Rag.” The audience loved it, but they got the message, too.
We gathered our coats and filtered out into the Manhattan winter night. I couldn’t help but marvel at the dedication and sacrifice required to reach that level of ability. But Liu and I share one musical experience. We both know what it’s like when people are moved to applaud when our instrument gets tuned. n
CONTINUED FROM PAGE 12
Lynn Baskin, another special person at MMT, is a gifted sign language (ASL) interpreter for deaf and hard-of-hearing folks, specializes in the rare art of interpreting for the theater. Lynn holds a doctorate in human and organizational management, an MBA from Penn State and is currently an associate professor and certified instructor of ASL at MCCC. He was introduced to the deaf community by volunteering as a relay operator using teletype (TTY) devices over 30 years ago. He completed the ASL interpreter training program at Union County College and later completed the Julliard/TDF program for theatrical interpreters. He has interpreted many plays and musicals, including several Broadway tours, and is also an actor, dancer, and musician. Lynn serves on the MMT board of directors, and in his spare time, enjoys traveling the world with his husband, Erik. Lynn says, “I try to live a grateful life, always trying to fill it with people I love through humor and joy.”
A shoutout to The Bank of Princeton in Lambertville. This is a bank with an inviting, colorful front porch, that employs people — real people — who smile when you enter, and try to help wherever they can. Kudos to them for donating 50 percent of all artwork sales to the North Carolina Arts Disaster Relief Fund to aid arts organizations and artists who were impacted by Hurricane Helene. The Bank of Princeton has an art gallery not to be missed. Currently on exhibit are the works of artist Scott MacNeill . n
Painting by Scott MacNeill.
harper’s FINDINGS
California ground squirrels are carnivorous. Monkeys are faster at spotting a snake among salamanders than a salamander among snakes. Dogs are better than humans at spotting spotted-lanternfly egg masses in forests, but humans are better than dogs at doing so in vineyards. Mollusks discovered in the Silurian Herefordshire Lagerstätte were named Punk ferox and Emo vorticaudum. Harbor seal mothers prefer to rest on slower icebergs after giving birth and on faster ones during molting season. It remained unclear where the two orcas resident at Marineland Antibes, who under French law must stop performing by the end of next year, would live thereafter, since the government determined that a Japanese zoo was governed by insufficiently strong animal-welfare laws, a Canarian park might still require them to perform tricks, and a Canadian bay would have to be enclosed and the whales monitored by veterinarians until they die. Six dead dolphins who washed up in Texas were found to have fentanyl in their blubber. A new crocodile newt that breeds in Hunanese rice paddies, Tylototriton gaowangjienensis, was described. Excessive tearfulness in the right eye of a 55-yearold Japanese woman was traced to a supernumerary punctum.
A meta-analysis of inequity aversion among blue-headed macaws, blue-throated macaws, bonobos, capuchins, chimpanzees, crows, Goffin’s cockatoos, gorillas, great green macaws, gray parrots, keas, long-tailed macaques, marmosets, orangutans, owl monkeys, ravens, squirrel monkeys, and rhesus macaques found no evidence that the animals experience envy, though they do in some cases feel disappointment. Chinese university students in positions of advantageous inequity experience more empathy and guilt than they do anger, delight, or shame. Paranoid people shown a group of dots are prone to hallucinate one chasing another. Americans with college degrees are more than twice as likely as high school graduates to have recently used ketamine, which induces zebra fish to keep going rather than give up when they aren’t getting anywhere. Damage to the dorsomedial prefrontal cortex impairs one’s understanding of when it makes sense to keep waiting. Patience is a mechanism to regulate impatience, multilingualism predicts less severe autism, sleep deprivation makes it harder to suppress unpleasant memories, head injuries may awaken dormant viruses in the brain, and medication may treat those who suffer from disorders that make them smooth-brained.
Ice-core records suggest that lead poisoning in the Roman Empire lowered IQs by two to three points. Estimates of the social cost of carbon emissions are likely too low by half. An AI analysis of multiple climate models predicted that, by 2060, Europe, most of Asia, most of Africa, and most of the Americas will have warmed at least three degrees Celsius beyond the preindustrial baseline. Warming in the Sierra Nevada was expected to decrease snow cover but kill bighorn sheep in avalanches at consistent or increased rates. Soccer has been getting faster. Decision-making power in the mission to transport Mars’s rocks to Earth devolved to Donald Trump. Scientists urged the abandonment of attempts to create mirror life, against which existing life-forms may possess no defenses. Physicists detected negative time. Humans prefer prospection to retrospection. Archaeologists speculated that, in the largest known Bronze Age massacre in Britain, attackers killed, butchered, and ate men, women, and children as a political statement. n
INDEX
% of children in Gaza who said last year that they “wanted to die” : 49
Who believed they would soon die : 96
% of Ukrainians who said in 2022 that their country should keep fighting until it defeats Russia : 73
% who now favor negotiations to end the war as soon as possible : 52
Average % by which the opening of a Walmart Supercenter causes nearby household incomes to decrease : 6
% increase over the past year in bankruptcy filings by U.S. retail stores : 104
Estimated ratio of manufacturing robots to human factory workers in the U.S. : 1:33
In South Korea : 1:10
% increase since 2000 in cases of adult diabetes in the United States : 111 In China : 524
Portion of Americans who have experienced chronic pain : 3/5
Factor by which black Americans are more likely than white Americans to suffer from psychosis or schizophrenia : 2
Estimated % of Americans who are incarcerated, on parole, or on probation who have had a traumatic brain injury : 45
Estimated number of legally owned gun silencers in the U.S. in 2011 : 285,000 In 2024 : 5,000,000
Number of states requiring annual active-shooter trainings for elementary schools : 34
For police departments : 0
% decrease since 2019 in the number of school-bus drivers in the United States : 12
Portion of schools that reported having “major difficulties” transporting students in 2024 : 9/10
Chance that an applicant to a 4-year U.S. college will hire an independent admissions consultant this year : 1 in 3
% of non-white Americans who say that U.S. colleges do a very good or excellent job of educating students : 56
Of white Americans who say so : 31
% increase in book sales in the United States over the past year : 1 In Bible sales : 22
Estimated number of square miles of new drylands formed in the past 30 years : 2,700,000
Factor by which this exceeds the size of Texas : 10
% of U.S. solar-power capacity growth last year accounted for by Texas : 31
% by which Texas’s new solar-power capacity exceeded California’s last year : 358
Factor by which annual deaths from exposure to cold weather have increased in the U.S. since 2000 : 3
Projected factor by which the population of homeless people over the age of 65 in U.S. cities will increase by 2030 : 3
% increase since 2010 in divorces among Americans aged 65 and older : 60
In cases of gonorrhea among that cohort : 592
% increase since 2021 in ADHD diagnoses among that cohort : 67
Chance that an American believes they have undiagnosed ADHD : 1 in 4
Chance that they do have ADHD : 1 in 17
Portion of Americans who say that keeping their house clean is harder than working a full-time job : 1/4
% of events at nightclubs in New York City that went past 3 am in 2014 : 70
That do so today : 53
Average amount of time, in nanoseconds, by which each day on Earth is longer than the last : 47
SOURCES: 1,2 War Child (London); 3,4 Gallup (Washington); 5 Zachary Parolin, Bocconi University (Milan); 6 Coresight Research (NYC); 7,8 International Federation of Robotics (Frankfurt, Germany); 9,10 International Diabetes Federation (Brussels); 11 YouGov (NYC); 12 Ezra Susser, Columbia University (NYC); 13 Shelby Hunter, Patton State Hospital (San Bernardino, Calif.); 14 U.S. Bureau of Alcohol, Tobacco, Firearms, and Explosives; 15 National Shooting Sports Foundation (Shelton, Conn.); 16,17 ProPublica (NYC); 18 Economic Policy Institute (Washington); 19 HopSkipDrive (Los Angeles); 20 Independent Educational Consultants Association (Fairfax, Va.); 21,22 Chronicle of Higher Education (Washington); 23,24 Circana (Chicago); 25 U.N. Convention to Combat Desertification (Bonn, Germany); 26 Harper’s research; 27,28 Cleanview (Boulder, Colo.); 29 Rishi K. Wadhera, Harvard T. H. Chan School of Public Health (Boston); 30 Dennis P. Culhane, University of Pennsylvania (Philadelphia); 31 National Center for Family and Marriage Research (Bowling Green, Ohio); 32 Centers for Disease Control and Prevention (Atlanta); 33 Truveta (Bellevue, Wash.); 34 Ohio State University Wexner Medical Center (Columbus); 35 Centers for Disease Control and Prevention; 36 Talker Research (Brooklyn, N.Y.); 37,38 Resident Advisor (London); 39 Surendra Adhikari, California Institute of Technology (Pasadena).
BYWORDS
BY EVAN BIRNHOLZ
ACROSS
1 Horse’s father
5 FedEx Cup org.
8 Music genre that often features horns
11 Band that started its Power Up Tour in 2024
15 Qatari commander
16 Anatomical counterpart of the radius
18 Couple of queens, e.g.
19 Will beneficiary
20 Some U-Haul rentals
21 Co-star of Marilyn Monroe, Lauren Bacall in “How to Marry a Millionaire”
25 ___ of Cleves (16th-century queen)
26 Jay’s first home?
27 Operatives who may not be activated for several years
29 High ___ (British afternoon custom)
30 Language spoken by many Sherpas
32 Drop off, as mail
33 Beat reporters?
35 Regions surrounding the equator
37 Cause of snoring, often
38 Authority to act
39 Given a big promotion?
40 Org. that registers with the Federal Election Commission
42 Nikola Jokic’s org.
44 Allots, with “out”
45 Rapidly achieve success in, and a description of the juxtaposed circled words at the top of the puzzle
50 Fishy source of liver oil
53 “The Beat With ___ Melber”
54 Boring cycle
55 Unreturnable serve
56 Acid, initially
59 First step of progress
61 Trained boxer, e.g.
62 ___ out the victory
63 Wolfgang Amadeus Mozart, to Leopold
64 Habit one may resolve to give up at New Year’s
65 Group at State of the Union address
67 In the least favorable conditions possible
70 U.S. mil. alert system
72 Garbage day pickup
73 Zellweger of “Judy”
74 Slam people?
75 Start of a football announcer’s field goal call
77 Ventilate
78 Fútbol chant word
80 Office greenery
81 Freedom from worry
82 Profs’ class aides
83 Employing guile
84 85 Down et al.
85 This and that: Abbr.
87 Programming language that sounds like a gem
89 Sizable group
91 Thin and slippery
94 Potato pancake
96 “True” or “false” bones
98 Country singer Lovett
99 Benders that people often go on at church?
100 Well-established
101 Apt surname for one studying mantas
102 Southern Yemeni city
103 Car profiled in Thomas E. Bonsall’s book “Disaster in Dearborn”
104 Sprout that lent its name to an “Our Gang” character
106 Light show?
108 ___ call (strong appeal for action)
111 “That’s probably true”
113 Like an audience that is forced to listen
117 Part of a landline phone
118 Former ABC Sports president Arledge
119 Vainglorious person’s journey
120 Is objectively real
121 “Grand slams” of showbiz awards
122 “Why did it have to be ___?” (Indiana Jones’s reaction to a pit full of reptiles)
DOWN
1 Like Maryland, in order of states admitted to the Union
2 Pictures formed in one’s head
3 Fruit-flavored sucker made to look like a piece of jewelry
4 Some CT scan locales
5 We the people
6 Kid-in-a-candy-store feeling
7 Contributed, in Vegas
8 Cutlass’s longer relative
9 Drying chamber
10 First name on the 1968 “Lady Soul” album
11 “A clue!”
12 Chicago’s time zone
13 Small space for meals
14 Shaded areas in front of hockey
goals
17 Comfortable (with), now
18 Event where the winner often receives a crown
22 App with restaurant ratings
23 Sign of satisfaction
24 Techno music party, maybe
27 Avoided a tag, perhaps
28 Transmit, as a text
31 Simian creature
34 The Bard’s hullabaloo
36 /, in a bowling alley
38 Polo on the Silk Road
41 Japanese spitz breed
43 Crow like a human?
45 Ticker-___ parade
46 Milwaukee’s MLB team
47 Whitehorse’s territory
48 Sound systems in cars
49 On the ___ (healing)
50 Play-ful people?
51 Cheri who portrayed Judge Judy on SNL
52 Supports, as a charity
56 Authorized parties
57 Edinburgh residents
58 Wolf pups’ shelters
60 Totally wrong, jocularly
64 Alan Moore-David Lloyd graphic novel featuring an anarchist in a Guy Fawkes mask 66 Consequently 68 Pressure-filled ordeal, and a
description of the juxtaposed circled words on the left side of the puzzle
69 Labels on grocery store products, and a description of the juxtaposed circled words on the right side of the puzzle
71 Olympic event that always has touching moments?
76 Liveliness
77 ___ fibrillation (cardiac concern)
79 Shoelace hole
80 Cook in hot oil
85 “I Have a Dream” speaker, briefly
86 Swimmer Thorpe
88 Like wild pitches
90 City with many gondola rides
92 “Squid Game” actor ___ Jung-jae
93 Luxur_ fa_hion initia_s
95 Join the forces
97 Veteran on a ship
98 Showing of regret
99 Persevere
105 What frenemies are, in part
107 Unlikely horse racing winners
108 “The Motorcycle Diaries” role
109 Not strict
110 DiFranco of folk-rock
112 “That was a bad call!”
114 Make mad
115 Struggle (for)
116 Short music releases n
