At this point, rockabilly has become so thoroughly intertwined with punk that it’s almost more shocking to hear to hear a modern musician play traditional, ’60s rockabilly music—not some drunken, high-speed subversion thereof. James Intveld, who plays Vnuk’s Lounge tonight at 8:30 p.m., is one of the most classicist of all the rockabilly performers, so indebted to pioneers like Gene Vincent and Eddie Cochran that he makes Chris Isaak seem like Johnny Rotten by comparison. Though his gig as the singing voice of Johnny Depp’s teen idol in John Water’s biting Cry-Baby suggests a seditious streak, recent endeavors have found Intveld in a religious frame of mind: His latest album, Have Faith, follows his 2005 directorial debut, Miracle at Sage Creek, a Christmas family movie starring David Carradine.
Remember when bands cared about albums as an art form? Instead of
slapping together a dozen tracks because, hey, they'll just end up on
everyone's iPod shuffle anyway, musicians considered how their songs
might congeal as a whole or form some sort of dram
Elvis Costello's frequent collaborator T-Bone Burnett produced Secret, Profane & Sugarcane,
an Americana-inflected album working with country and folk traditions
for images of sawdust floors set to mandolin and fiddle. Costello
intended one s
You wouldn’t expect to find T-bone and sirloin dinners at a place with stool seating and a location next to a shop hawking cell phones and cigarettes. But one of the city’s most evocatively named eateries, ZaZa Steak & Lemonade (4919 W. Capito
The enduring fantasy of older men is that a gorgeous
young woman will fall in love with them, find them sexually arousing
and long to imbibe their wisdom while sitting at their feet. That
fantasy is the spring driving Woody Allen's often-hilarious f
Away We Go, a droll comedy-cum-drama by director Sam Mendes (American Beauty),
perceptively explores the lives of more-or-less ordinary 30-somethings
lost in a world without much meaning. Verona (Maya Rudolph) and Bu
