A first look at Solange’s upcoming performance “Bridge-s,” which will be paired with a curated series of short films and talks at the Getty this weekend.
The 41-minute-long, remastered director’s cut will feature new scenes and a new score.
Conceived as a musical map of Houston, Solange’s hometown, When I Get Home wanders from mood to mood, arrangement to arrangement, a soundscape as cityscape, where songs correspond to locations and melodies merge with memory.
The performance was staged on a LeWittian large-scale sculpture by Solange that will travel around the US this summer.
As most adolescents across the nation sit in their bedrooms and agonize over the eternal question, what do boys/girls like, some of us have more unfortunate and inconsequential concerns: what do critics like?
Every year, the Village Voice holds an annual poll, inviting nearly every critic in the biz to vote on the best albums and singles of the given year. Because of its size, it’s generally the best way to measure yearly progress in pop music: the numbers actually mean something. The thing is huge; 493 critics voted in 2012. Although there’s less change than I would have liked, there’s been definite progress since last year. The 2011 Pazz & Jop albums chart contained only one major album, a collaboration between two artists who have both done better work elsewhere. The singles chart alternated between arty album tracks and crass pop-rap rampages beloved by opportunists always on the lookout for new ways to one-up their colleagues. What made it onto Pazz & Jop last year was not what people really loved, but what they didn’t hate, the result of a standoff between the ideologically opposed magazines Rolling Stone and Pitchfork – the winners were the albums mediocre enough to survive. Rather than a consensus, I thought, we had a lack of consensus.