May 6, 2001 |
Advances in technology are working their way into recording all the time. However, when the influential British dance duo Utah Saints and R.E.M. singer Stipe were looking for a way to collaborate on "Two," the first U.S. album from the Saints since 1992, they turned to the old-fashioned telephone.
April 20, 2000 |
RSub, an affiliate of Web site designer Razorfish and its founders, said it is buying a majority interest in the production company of R.E.M. lead singer and film producer Michael Stipe. The agreement, believed to be valued at around $5 million, will provide Stipe's Self Timer with a film development fund. Stipe in turn is expected to create Internet content for RSub's site. Self Timer is the parent company for two Stipe companies, Single Cell Pictures and C-Hundred Film Corp.
March 26, 2000 |
Did I just say 'passionate' on TV?" Michael Stipe, marble cool in nearly every aspect of his professional life, appears momentarily mortified, then amused by his word choice. He is walking the red carpet press gantlet before the Golden Globes and it's his first film industry awards show as a nominee. So perhaps he should be forgiven if the wrong word, a sort of affected word, escapes his lips on live television. To begin with, not everyone thrusting a microphone at his face knows why he's here.
December 19, 1999
Arno Keks makes the usual mistakes of the small but vocal Beatles-denial squad (Letters, Dec. 12). Bob Dylan and the Beatles influenced each other. Dylan's lyrics inspired John Lennon. The Beatles' energy cantilevered Dylan's electrification. Keks equates the Rolling Stones' survival compared to the Beatles' breakup as indication of some significance. But the Stones' valid contributions to contemporary rock were in narrower straits than the important quantum leaps in writing and recording engineered by the Beatles.
November 28, 1999 |
Despair, optimism and disinterest. Bring a group of creative people together to talk about the millennium, and a healthy dose of each emerges. Audiences, they say, are broadening and are receptive to a mix of media and information, yet it's still hard to get significant quality work made.
October 28, 1999 |
The Oscar nominating committees huddle behind closed doors. There is much wringing of hands, pounding of foreheads. "Do we have a category for least likely screenplay to see the light of day?" "How about best performance by an actor playing some cockamamie notion of himself?" "Can we do a special Who's Afraid of Elizabeth Taylor prize for most de-glamorized use of Cameron Diaz?"