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    Joseph Connolly

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    Terence is sick of people making a fuss of Alexander. His looks. His money. His fame. Who wouldn't...

Innervisions by Stevie Wonder
Innervisions by Stevie Wonder
1973 | Rock
9
9.0 (1 Ratings)
Album Rating
Rolling Stone's 24th greatest album of all time
Brilliant intelligent and thought-provoking soul album. Higher Ground has to be one of the best feelgood soul songs, and Living for the City certainly becomes more topical once again with the discussions ongoing on systemic racism, being about a young black man arriving in New York for the first time, and quickly being arrested and imprisoned for accidentally walking down the wrong street and being approached by the wrong person.
  
First Album by Miss Kittin & The Hacker
First Album by Miss Kittin & The Hacker
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Album Favorite

"I first heard 'Frank Sinatra' when Erasure where recording the album Erasure in 1994 at the Strongroom in Shoreditch East London, which has now become metrosexual electro Grand Central. I love her completely nonchalant don't give a fuck attitude on Hollywood Star, it kind of reminds me of my pre-Erasure work with Pierre Cope - very minimal. On 'Frank Sinatra' she sounds like a Russian Mafia gangster that would kill you stone dead. They're also brilliant live."

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Don't Look Back (1967)
Don't Look Back (1967)
1967 | Documentary, Music
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Movie Favorite

"Speaking of snake-ish charmers, enter a young Bob Dylan in D. A. Pennebaker’s 1967 Dont Look Back. This may be a documentary, but don’t think for one moment that Dylan isn’t brilliantly putting on a performance as PYT (pretty young thing) “Bobby Dylan, the brilliant folksinger.” And while it’s not to my credit that I could never wrap my mind around folk music, even I am not immune from the oodles of bratty charm that Dylan exudes here."

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The Sign of Leo (1962)
The Sign of Leo (1962)
1962 | Drama
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Movie Favorite

"This is many people’s least favorite Rohmer film. Yes, the main character is a bit charmless, but the film is astonishingly pure – the story of one man’s journey on foot through Paris, over the course of a few days. It’s also quite dark. We follow the main character's descent into vagrancy, and gradually – like him – start to see Paris from a perspective very unusual for 1950s movies: distant, cold, alienated. A brilliant anomaly among Rohmer’s films. "

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