afrow

Black Girl on the Front Row!

Category: TV

“Bros: After The Screening Stops…”

I was never going to sleep, after a documentary like that!!

A richly, visual statement-of-intent, of two, larger-than-life-sized personalities, whose high-definition, practically perpendicular, emotional narratives could barely be contained within the confines of a physical cinema frame, in super-surround sound… but could only, ever, have been retold upon it…

The culmination of twenty-four months worth of painstaking preparation, five months worth of seventeen-hour days, in meticulous editing and a close-shave with divorce, the outcome is an absolute masterclass in audiovisual story-telling, executed under the distinctly genius co-direction of David Soutar and Joe Pearlman.

From the opening gambit, a volcanic eruption of an expletive-filled argument, “Bros: After The Screaming Stops” is, often, as devastatingly shocking to the system as an arctic ice-bucket challenge, with frequently frosty exchanges, to match… a fraught insider’s guide into a restless sibling rivalry, revisited, in agonising detail, en route to the most significant concert series of their lives… a career-redefining reunion!!

Set against the backdrop of being one of the most successful British bands of all time, the doors to the lives of Luke and Matt Goss, aren’t just flung open, but positively, blown off, to reveal the devastating effect of personal tragedy and charts the grossly unfair vilification from a media-machine, ravenously ready for new fodder, at the merest sign of a preconceived “dip” in chart positions.

Skilfully-crafted, so as to keep you constantly poised on the knife-edge of your psychological seat, it is the scattered remnants, strewn upon the battlefield of historical fall-out, woven into the contextual highs, lows, turning points and epiphanies, that has you rooting for these profoundly sensitive souls, fighting to co-exist, once again, determined to be heard and fiercely passionate about emerging with a relationship, purged of the poison that tore them apart, so cataclysmically.

Were this a mere petri-dish observation of the behavioural tendencies of twin brothers, you could, perhaps, maintain a, somewhat, clichéd distance… In fact, a lesser offering might have been exactly that… but, in being, documentary, first, with the aspirational by-product of intensely pleasing the fans, it is a truly impacting, non-patronising, non-judgmental exploration of life, on an epic scale.

Quite frankly, they’ve been judged enough and so, this is Bros, 30 years later… setting the records straight, in dynamic, heart-breaking, glorious technicolour. They are not boys. Not highly-conceptual living images, becoming, literal, pop art, growing up in front of the piercing eyes of a fast-paced, global hit-factory, called the Music Industry… Not apprentices, on, arguably, the most public on-the-job training course…

No. Emphatically, not.

Years have passed.

These objets d’art have evolved into men. Now 50. They are forces of nature… Even more impressive Artists, reinvented and rebirthed, in their own right, albeit, predominantly Stateside, due to the haranguing experienced in the place that they should always have been able to call “Home”.

The reconstruction phase has made for bolder, braver, artisanal entrepreneurs, with extensive bodies of work, who are no longer slaves to fear of reprisals… Having cultivated their respective and respected creative careers in, both, music and film, to exponential critical acclaim, they know who they are, what they have to bring to the table and, most crucially, we see that they have the captivating ability to articulate it… No matter how raw the consequential exchanges, in order to do so…

Whether or not you have this foreknowledge, it is clear that the pressure release-valve has, long been, much needed.

The chance to spill their guts. To tear the plasters off emotional wounds, cut the callouses and learn to heal… Much like Luke’s hands, as he relearnt the drums… remembered the joy of playing and rediscovered how incredibly gifted at it, he is. As if driving out demons with every strike on the skins of the, Christmas-come-early, kit… he crashes cymbals and beats out bass rhythms as if, not only the heartbeat of the musical set, but his life depends upon it… Meanwhile, as Matt seems mired by the subliminal strangle-hold of serpents, wound around his vocal chords, post another communication collapse…his commitment to authentically deliver, no matter what, is spine-tinglingly inspirational and puts a lump in your own throat. At times, barely breaking-even, when attempting to perform songs (the candid nature, of which, harshly rake over the coals of, nigh-on unbearable, memories), serves to facilitate their family bond, which gets them through the contempt of familiarity.. and has them surmounting it all, so tenderly and touchingly, together

Yes, this is their opportunity to tell it like it is, on their own terms… and boy, do they take it.. and, boy, how privileged are we, for the first-hand access to every twist and turn!

Of course, there is light relief… There has to be… and it is immensely welcomed!

Coupled with capturing their lives through multiple lenses, tiredness from the relentless schedule tends to precipitate Matt’s most magical moments to camera… from anecdotal musing, over 7-hour man-scaping sessions… to public service announcements about the need to play conkers without goggles, he is the younger… the playful, puppy-like energy, with a deep-rooted desire to ensure that all around him are happy, especially Luke… the elder, with a more self-contained, yet no less rapier-sharp, glint-in-the-eye, wit.

There are also beautifully lucid descriptions of the journey, from both…

Pontificating about the metaphorical road upon which he and his Brother are travelling, Matt has a way of clutching at the air, as if to catch the ideas which hover in his divergent and visionary thought process. Luke has a wonderfully pragmatic and linear manner of soul and self-expression, citing their collaborative experience as two people, each with a brush, trying to paint onto one canvas…

…which makes it all-the-more important for them to do so, within the rehearsal space… the arena for most of their tussles for creative territory… or the green rooms of television studios… both, of which, see Matt and Luke crumble like the very old wall in their lyrics…. and makes them all-the-more remarkable, for their selfless ability to shelve conflict, when meeting with their precious M.G.A (Matt Goss Army) and L.G.A (Luke Goss Army)… The long-time devotees who have, admittedly, been their constant, through the proverbial and material wind, rain and sunshine of their lives.

It is an astonishing resilience and composure, reminiscent of that which they were forced to develop, literally overnight, after receiving the devastating news that their dear sister Carolyn had tragically passed in a car crash…. and again, after the earth-shattering loss of their beloved Mother despite her valiant battle against cancer.

This, for me, is where the documentary, further, comes into its own.

Sharing their sorrow, the distress is undeniable, the tears, tangible… Yet, the sheer courage to be so vulnerable, sets them apart, as superhumanly strong.. It is deeply humbling and admirable…with a cathartic power that is palpable and pure. From high stakes to high hopes, you cannot counterfeit these feelings of carrying dangerous dynamite, on a, seemingly endless, bumpy road.

Nor can you deny them the triumphant ending… and why would you?!!

Two unforgettable nights at the O2, which sold out in a record-breaking, number-of-completion, 7 seconds, cap-off a rapturous return to the height of the music game, without game-playing… proof positive that this pain-through-the-pixels is the acute birth pang of regeneration… that such pain, can and does, become Purpose.

What is even more evident, is that we are seeing the most promising incarnation of Bros, yet….

They have lived up to the past, broken through its spectres and exceeded expectations.. and by the film’s conclusion, you feel that, as the band-entity and, moreover, as Brothers, they should, never again, exit the stage, separately… and you trust and believe, that, having survived this warts-and-all bootcamp, they won’t ever let that happen…

…they won’t ever allow such rupture through disruption to be felt again, because they are a re-united front, who are stronger than ever

Therefore, see this, perfect pitch-ure of reconnection, as a matter of priority

“Bros: After The Screaming Stops” is no ordinary documentary… but, then again, the Goss Brothers are no ordinary siblings… pigeon-hole these fine examples of spiritual ambassadors at your peril… They have been, misguidedly, typecast and underestimated before… and just look at the extraordinary legacy which is following them, now..

As one proud Brosette tearfully declared, even if the world-at-large wouldn’t tell them, they are so loved… and with new music and a 2019 tour on the way, I can categorically state that, after the screening stops and the most beautifully empowering lessons begin, within

…the screaming and the legends, themselves, continue…

…Long may they reign!

 

 

© A_F_R_O_W2018-2019. All Rights Reserved.

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Click-thru to:-

See “Bros: After The Screaming Stops” (In Cinemas: 09/ 11/ 2018)

Buy “Bros: After The Screaming Stops” (On DVD/ Digital Release: 12/ 11/ 2018)

Interact with “Bros: After The Screaming Stops

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“Best Of Order…”

Crystal-tipped, steel arrows,

cluster into lipstick-red,

to the cry,

“One hundred and eighty”,

for three-in-a-bed.

Next-door heroes

step up to the oche.

Echoes of bounce-outs

put out-of-mind,

by top-tier timing.

Taking aim,

composure is key,

success is in sight…

But,

to pick up the trophy,

will take

one more series of throwing

the perfect flight.

 

 

©A_F_R_O_W2018-2019. All Rights Reserved.

‘Hip-Hop Hoora-a-ay… Go-o-o-o!!’

It’s MOBO-time!

Right. This. Very. Minute!

Laura Mvula has opened the Glasgow get-together with inimitable, idiosyncratic, audiovisual aplomb, Craig David’s just won the award for Best Male (chapeau!)…and (having given the night-shift a go!), congenial Kiss FM DJ-duo, Melvin (Odoom) and Rickie (Haywood-Williams) are event hype-men, introducing the whole soirée (and cutting a rather fine dash) in traditional Scottish finery… and yes, we are talking tartan and kilts…the whole nine yards!

It’s also MOBO-time at BFI Southbank as, in association with Sonic Cinema, the film strand of the aforementioned music awards organisation, presents a special weekender, namely, ‘Set It Off: The Birth of Hip-Hop Stardom’…and it’s in full swing… Yes, you’ve guessed it…

RightNow..!

So, if discovering when and where the crossover of hip-hop ‘triple threats’ began to take definitive cinematic root, you feel like ‘gittin’ funky’ and breakin’ out your best ‘Kid-n-Play’ (high-top fade not necessarily required…but, all good, if you already have one!)…or both, then get-on-down to London’s Southbank… (You know the drill)…

Right… Now…! ¡Ahora mismo…! Maintenant…!

Tonight, scintillating DJ Sets, will be provided by ‘Spin Doctor’, ‘Mo Fingaz’ and ‘Russ Ryan’ of ‘Doctors Orders’ collective, whilst tomorrow’s wheels-of-steel-whizzkids will be the ‘Work It’ crew. All happens in the fantastic ‘Benugo Bar and Kitchen’ until 1-in-the-a.m. so there’ll be plenty of time to make the most of the ‘joint Hip-Hop Weekender ticket offer’, take in some major movies (including ‘Friday’, ‘Juice’, ‘New jack City’, ‘House Party’) and/ or bust some major moves!

Whatever you do, enjoy every moment!

©A_F_R_O_W2016-2019. ALL RIGHTS RESERVED.

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Event Schedule/ Tickets:-

‘Set It Off: The Birth of Hip-Hop Stardom’ can be found at BFI Black Star!

‘BLACK STAR’ will shine at the BFI!

When the BFI celebrates achievement in film and television, it celebrates!

Case-in-point, the glitz and glamour of the 60th London Film Festival, which wrapped with a glorious nod to director-extraordinaire, Steve McQueen, who was awarded with the BFI Fellowship.

Hot-on-the-heels of the highly-successful event, the baton of style and substance has been passed on to the ‘Black Star’ season, commencing today and billed by its programmer, Ashley Clark, as ‘the biggest ever celebration of black screen talent.’* Having seen the line-up, not only would I second that statement, but boldly add to it as, quite possibly, the most comprehensive collection, yet, of across-the-board artistry within the genre.

A constant in facilitating the continuance of creative excellence, irrespective of creed, colour or gender, the BFI announced the upcoming season to great fanfare at the eponymous ‘Black Star Symposium’, during the London Film Festival. Headlined by in-demand Actor, David Oyelowo, and attended by other such esteemed panellists as Amma Asante (multi-award winning Writer/Director) and Noel Clark (groundbreaking Actor/Writer/Producer), to name but a few, the conference also marked the first stage of research into the compilation of material, revealing the changing landscape of British cinema, both on and off-screen, purposed with being a game-changing benchmark regarding inclusivity and diversity, for decision-makers within in the industry. Asante being the first Black British Director to open the London Film Festival with ‘A United Kingdom’, starring aforementioned David Oyelowo and Rosamund Pike, marks an indelible tribute into such an inspirational endeavour.

With a schedule showcasing contributions from recent and distant past, ‘Black Star’ boldly goes where no season has gone before! Heroes and heroines from, both, small and big-screen, display the many narratives of the Black Diaspora, which are seamlessly woven into a tapestry, resplendent with grit, grace, class, cool and undeniable, landmark artistic virtuosity.

Landmark performances from Poitier to Prince, Baker to Bassett, Ejogo to Ejiofor, Kitt to Kid ‘n’ Play, Nicholas Brothers to New Jack City… Hollywood, Nollywood…culminate in a meticulously-planned, nigh on, inexhaustible selection! Add to that, a generous helping of Q-and-A’s, enough to quell the appetite of even the most inquisitive of movie-goers and a mid-season exhibition dedicated to the genius of Paul Robeson plus a 2-4-1 offer on tickets (see T’s and C’s below)** and you’re ready to plot your own cinematic odyssey!

Enjoy!

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Click below for more information about the ‘Black Star ‘ Season at BFI Southbank and Nationwide!

http://www.bfi.org.uk/blackstar

@BFI (#BFIBlackStar)

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Credits

*Source (Ashley Clark quote):BFI Southbank ‘Black Star’ Season Programme, p.18.

Ticket Offer Terms and Conditions

** To redeem the 2-4-1 ticket offer, you must quote ‘STAR241’ when booking online, in person or by phone. The code CAN be used more than once but the offer ONLY applies to the purchase of two tickets for the SAME film. The offer EXCLUDES previews and special events.

(Offer information correct at time of going to press).

©A_F_R_O_W2016-2019 ALL RIGHTS RESERVED

AFROW SAYS: ‘WE ARE TRULY A-MUSE-D!’

A revolution was televised.

Doing what it does best, the BBC delivered an epic of drama, comedy, fear, doubt, exhileration, madness, anger, joy, success, truth. A small-screen offering, so vast in ambition, that, at any other point in the multi-media new-age, it might have remained engulfed within the ether of ideas. However, it seemed that the country was ready to be gripped by the hands of a vivid voyage of emotional discovery and overcome by a tidal-wave of reality and revelation, in the guise of two actors, Dan Poole and Giles Terera, and embark on the ultimate Shakespearian road-trip!

Entitled ‘Muse Of Fire’, the premise revolved around a long-running issue with regard to the assimilation, or not, of, quite possibly, our most exceptional playwright, The Bard of Avon… Investigating exactly why, for some, his entire body of work is so unapproachable… Why, for others, the language is so, utterly fearinducing, as to inspire pyjama-drenching night-sweats! It was a bold attack upon this trepidation and through raw and honest show-and-tell, on the part of the two actor-protagonists, themselves, and a wealth of  notable thespians of all vintages, we were enticed to, part-ransack, part-coax, memories of relationships with Shakespeare, to our own frontal lobes.

It quite got me to thinking back to my first remembrance of language, let alone, plays…and my earliest recollections start from hearing poetry recited around the house, both to me and during such activities as washing the dishes! Hearing ‘The Boy Stood On The Burning Deck’ or ‘Elegy Written In a Country Churchyard’ delivered with the passion of artists who have graced any world-renowned stage, whilst attempting to scour a pot, served to turn such a quotidien task (often to the detriment of the item being cleaned!), into a surreal foray around the realms of one’s imagination…

Thus, when time came to become better acquainted with William Shakespeare, I was already accustomed to cadences, wordplay and verbal soundscapes…even though I did not formally know of the terminology. I devoured the energy of phrases, which danced along my tongue, at times gliding as a ballroom-dancer in the hallowed halls of Blackpool’s ‘Tower Ballroom’, at others, popping like an old-skool, free-styler, at ‘Ministry of Sound’! I revelled at falling-in-love through Juliet and agonised through the stoic melancholy of Cleopatra, as she regaled Mark Anthony post his demise. How the memory of he who was no more, should have been more vital than those who were still alive, further to the peerless gift of its articulation, led me to an acutely profound plateau of emotive reasoning, which, in turn, facilitated my understanding, before I could process fear. I now realise that, for me, the visceral route of the subtext of ‘feelings’, fleshed-out my cognitive response to the motivation in the text, itself… Of course, back then I was simply caught up in the relentlessly sublime drama of it all!

Thankfully, I was encouraged to run headlong into Shakespeare. Not understanding was never frowned upon, but instead, utilised as a splendid spark for deciphering a message… Hitching oneself to the emotional-wagon, focusing upon the landmarks, absorbing every ounce of scenic suggestion, as to the narrative, and putting the clues together to make a picture, was the ultimate in ‘Sherlocking’! Never were my thoughts decried, and if they were wildly off-track, then that was fine as, with guidance, the dots were joined. Sounds perfect. Well, it was…in that my understanding of perfection is not that everything is correct all of the time, but that there is a sense of completion which can be had, in connection.

Sometimes, I’d connect with Shakespeare on a guttral level and, to experience that, was all there was to be had. The assimilation was complete, no less engaging and, therefore, perfect. At other stages upon my journey, I have experienced a ‘stillness’. No feeling, per sé, but no doubting that I had received content that would emerge, in the fullness of time. That was perfect, too! I have, since, continued to learn that accepting a new definition of perfection was the key to my true enjoyment of the rigours of, not just Shakespeare, but any style of writing or artistic endeavour, and the ‘approach’ has been a dear companion, to this day!

This week, ‘Henry V’ arrives at ‘The Noël Coward Theatre’. I have a distinct feeling that, since ‘Muse of Fire’ so powerfully broke through the glass ceiling of fearlessly embarking upon a Shakesperian exploration, there will be an even quieter ‘hush’ as the curtains go up and a lion’s-roar of applause, at its conclusion. I also believe that, in no small measure, it will be at the crux of an upswell of all-age, theatrical re-engagement and interraction. To me, it was the fulfilment of one, particular viewpoint of The Bard and the beginning of an exponentially, expanding vista, by cleverly incorporating and perpetuating the fact that showing-and-telling-the-emotional-working is wonderful!

So whether you think you get it, feel you get it, aren’t sure whether you get it, at all…rest assured that it’s not about judging the response, rather, connecting, in the way which is, not only bespoke to you, and/or speaks to you..but which truly sets the muse of your heart on fire…

©AFROW2013-2019 ALL RIGHTS RESERVED

http://www.museoffirefilm.co.uk/ ~ http://www.delfontmackintosh.co.uk/Tickets/HV/HV.asp

http://www.theblackpooltower.com/ ~ http://www.ministryofsound.com/

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TWITTER-TESTIMONIAL FROM GILES TERERA!

‘Amazing piece, by the way!’

‘STYLE HAPPENS SOONER, ON ‘LATER’!’

We have a lot to thank Mr Jools Holland for! Not only does he bring us the most eclectic of live, global musical offerings, from established and emerging artists, alike, but with them, come a plethora of stand-out, sartorial selections, from the style-spectrum! For instance, you’re as likely to see and hear the hauntingly melodic, ‘Amadou and Mariam’, bedecked in bold, traditional Malian dress, playing in the-round, as you are the infectiously-anthemic synth-pop of ‘M.T’, in their eponymous multi-coloured, tie-dye-tees!

Case-in-point has to be a recent episode, featuring, Goldfrapp, James Blake, Franz Ferdinand and Kanye West!

 Backlit in a pure-gold aura and engulfed, full-length, in a column of black chiffon-drapery, the ever-ethereal, Alison Goldfrapp, held the audience, spell-bound with her melifluously reed-like, vocal perfomance of ‘Annabel’. The timeless gown, simultaneously, captured her effortless, idiosyncratic grace, whilst also paying homage to SS14 runways, with its pintuck-peephole bodice.

The unnervingly-talented James Blake delivered an equally-classy rendition of the stunning ‘Retrograde’. With hair, windswept, in defiance of the stillness generated by his unfolding-wall-of sound, he was an example of understated style, surrendering to sonic substance. In a ‘1-800 Dinosaur’ T-shirt-and-jeans ensemble, Blake also seamlessly combined product-placement of his new record label and a pinpoint performance, with ease and flair.

In stark juxtaposition, was the riff and quiff-friendly, Franz Ferdinand. Already well-known for their unique fashion statements including the sharpest of Savile Row-silhouettes, the band showed that they had lost none of their couture-creativity, teaming the gusto of, lyrically, ‘right words’ with the ‘right action’ of donning fashion-forward Hawaiian-prints with rock-a-billy attitude! Very D-Squared-2!

Kanye West’s performance of ‘Bound To’, with the outstanding ‘Uncle’ Charlie (Gap Band) Wilson, more-than-referenced the fact that he had graduated, magna-cum-laude, from the School-of-FROW! The ‘College Drop-Out’ star stamped his artistic authority on the programme, with all of the swagger for which we have come to love him. Punctuating the pitch-black studio with dramatic spotlighting, which served to accente his choice of a laid-back, layering trend, a play-on-neutrals of black ribbed-tee and low-slung, loose-fit, trousers, was complemented by a three-quarter length, khaki parka and desert boots in a pop-of-camel-colour. The entire look was topped-off by the trademark, heavy-gold, diamond-set, belcher-link chain, de rigueur for ushering in SS14’s metallic forecast! Uncle Charlie was certainly in-the-house, with his own, distinguished, take on double-denim, accessorizing with shades, as blacked-out as the windows on a one-off, customised Bugatti! It was, undoubtedly, a fitting backdrop to the soaring, silky-smooth, vocal-runs and devastating musical prowess of such a living-legend of U.S Funk/R&B!

So, the next time you tune into ‘Later… with Jools Holland’, keep an eye out for a new class of ‘artist-interpretations’… I think you’ll find that, on closer inspection, they are, in fact, rather more original!

©AFROW2013-2019 ALL RIGHTS RESERVED