The Native Howl Launches New Tour; Debuts New Video

The Native Howls is back out on the road.

The band launched a new series of live dates Monday in Burlington, VT.  The band’s new tour schedule runs through July 13 in Boggstown, IN. The tour schedule is noted below.

The Native Howl Tour Dates:
7/4 – Richmond, VA – Canal Club
7/5 – Washington DC – Hill Country DC
7/6 – New York, NY – Hill Country NYC
7/8 – Frostburg, MD – Dante’s Bar
7/9 – Columbus, OH – Ace of Cups
7/10 – Nashville, TN – The End
7/11 – Louisville, KY – The Tiger Room
7/12 – Cincinnati, OH – Stanley’s Pub
7/13 – Boggstown, IN – Summer Bash 2019

The tour is just the latest in support of the Michigan-based band’s latest album, Out of the Garden and Into Darkness (2018).  It comes two months after the band held its “Torque Tour” May 2 to 11. Out of the Garden and Into Darkness spawned the single ‘Somethin’ Else‘ and its companion video, which debuted Oct. 24.

Prior to launching its new tour, the band debuted the video for its new single ‘Harvester of Constant Sorrow‘ June 23.  The song and video are not featured in Out of the Garden and Into Darkness.  the video couples elements of Metallica’s ‘Harvester of Sorrow’ with Union Station’s ‘Man of Constant Sorrow,’ which was used in Touchstone/Universal Pictures’ 2000 movie O BrotherWhere Art Thou? and the movie’s soundtrack.

Courtesy: FM Music Management

The song’s video also spoofs the famous concert hall scene in which the Soggy Bottom Boys performed “their” song and couples that with a spoof of Metallica’s video for ‘Harvester of Sorrow’ for the final product.

The Native Howl front man Alex Holycross talked about the video’s concept in a recent interview.

“”I was out for a run last Fall and was contemplating all the “mash-ups” that were popular at the time,” he said. “These mash-ups were simply audio of two different songs spliced together and over each other (a popular one at the time was a combination of audio from “Whole Lotta Love” by Led Zeppelin and “War Pigs” by Black Sabbath). I then thought about an online poll we had done with our fans in which we asked which song they’d like us to cover (even though we did not really have a concrete intention of doing so at the time). The most requested song by FAR was “Man of Constant Sorrow”. I then glanced at my Metallica ring on my right hand, and thought ‘what if we did a true mash-up of this with a Metallica song?’ Then it hit me: Harvester of Constant Sorrow!” Metallica may be our biggest influence collectively as a band, and “Man of Constant Sorrow” is definitely my favorite bluegrass song of all time. We have always been against the idea of doing cover songs, but this endeavor was exciting to us both conceptually and compositionally.”

Holycross added, “The video is always the most difficult part, and we lend our unending thanks to our brother and studio partner Joe Horsch for crushing that portion of the project, as always. As far as the song itself goes, it was as much of challenge as it was a joy to find creative ways to put the Howl’s spirit and collective mind into two iconic songs, and end up with a piece that we were proud of. Selecting which vocals to use from which sections of each song was a long conversation, as well as the arrangement of the fast ‘cut-time’ (albeit ‘Metallica-esque’ in nature, it is original Howl riffs and solos). The concept for the video was quite simple: recreate scenes from the movie “Oh, Brother Where Art Thou” (which made “Man of Constant Sorrow” a hit) and scenes from Metallica’s “One” video. Both the movie and music video have had such an influence on us, that we wanted to pay homage visually as well as sonically. We hope everyone enjoys the song and video, thanks for the support!”

‘Harvester of Constant Sorrow’ is just the latest song from The Native Howl to receive its own video treatment.  The band also released a video for its single ‘Thunderhead‘ in 2016.  The song was the lead single from the band’s 2016 EP Thrash Grass.

More information on The Native Howl’s upcoming live dates is available online now along with all of the band’s latest news at:

 

Websitehttp://www.thenativehowl.com

Facebookhttp://www.facebook.com/thenativehowl

Twitterhttp://twitter.com/thenativehowl

 

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D.O.A. Re-Make Another Product Of Its Time

Courtesy: Touchstone Pictures/Mill Creek Entertainment

Touchstone Pictures’ take on the 1950 crime thriller D.O.A. is a near total re-imagining of the original, right down to the movie’s end.  While there are some hints of the original such as the protagonist being poisoned after a night at a bar and going to the hospital, those similarities are fleeting at best, as even they have been altered, too.  Whereas the original 1950 rendition starring Edmond O’Brien focused on accountant Frank Bigelow, the 1988 remake focused on star Dennis Quaid, who played college English professor Dexter Cornell.  Almost the entire story has been changed in the near forty years between the two versions. 

Touchstone’s take on D.O.A. is a product of its time, much like the 1950 original.  Stories written in the era of D.O.A. were stories in every sense of the word.  The 1988 remake is also like movies of its era.  While it does have a story, its story is nothing like the original.  Like so many other crime/action/dramas of its time, it relies more on overt violence and sexuality to attract audiences than story.  That’s not to say that there isn’t a story.  But apparently, those behind the script for the story seemed to think that audiences wouldn’t watch the story without the amount of sex and violence that is existent there.  There is even a moment when one of the story’s main characters is shot in the head while driving a car in one of the movie’s many amped up action scenes.  Audiences see the woman shot in the head, and are even given more than one opportunity to see the rather large bullet hole left in her head from the gunshot as she drives off a road, gunman on the car’s hood the whole time.  Are the people behind this rendition of D.O.A. to blame for the level of violence in the movie?  Yes.  But again, this is just one more story that is a product of its time.  And movie makers from that era (and ever since) have seemed to think that using such methods is what sells tickets.

While the 1988 re-make of D.O.A. is a product of its time, what it really does is serve as a reminder of the larger picture of movie making, and how it has changed since the release of the original work.  The story behind the remake is a gripping one.  But it doesn’t necessarily need the amount of violence and sexuality that was added in.  In that same vein, perhaps the ultimate function of this remake will be to be one more reminder of movies made during Hollywood’s golden era.  It will remind movie makers and audiences alike of what made movies great.  The stories made them great, not the special effects and everything else.  Keeping all of this in mind, touchstone Pictures 1988 remake of D.O.A. isn’t D.O.A. itself.  But it will sadly never have the “life” of the 1950 original.     

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Moral Messages, Comedy Make Holy Man re-issue worth one watch

Caravan Pictures/Touchstone Pictures/Mill Creek Entertainment

Life is short, people.  Life is short.  We spend so much of our lives focused on materialism, our religious differences, and personal advancement.  We’re so focused on these distractions, that we lose sight of what’s really important.  What’s really important is the people and the world around us.  That’s the message behind the 1998 movie, “Holy Man.”  That message makes “Holy Man” stand out in the comedy genre.  Sadly, it also may be why it didn’t d too well at the box office.  Maybe people simply didn’t get this message, and simply saw it as just another forgettable buddy comedy, thanks to Eddie Murphy and Jeff Goldblum.

It is true that one of the biggest plot holes to this story is that there’s no explanation behind where G came from or where his journey.  But maybe that’s beside the point.  Where one is going in life or where one came from isn’t nearly as important as the impact that one has one those around oneself at each stage of one’s life.  Given his standard character type, Jeff Goldblum was a good choice for the role of Ricky.  Sure, casting Goldblum was typecasting.  But somehow, his chemistry with Eddie Murphy worked.  It could be argued that this was actual a sort of take on A Christmas Carol, if one delved deep enough into the relationship between G and Ricky.  Instead of having three ghosts visit him, Ricky was visited by a single “spirit” who made him realize the path on which his life was moving.  As G and Ricky grow, audiences see Ricky change as a person.  They are reminded without being preached at too much about what’s really important in life. 

Ricky isn’t the only person changed by G.  A number of religious leaders try to claim connection to G at one point in the story.  The absurdity of them trying to claim a link to him is another message that writer Tom Schulman makes.  Each leader thought his religion was G’s.  But did it really matter?  No.  This over emphasis on religion happens every day in real life.  Who is to say which religion is THE right one?  Maybe G is all of them in one.  Again, therein lays the message of our being distracted too much by this difference.

Through G, audiences realize how distracted we are by our materialism, as well as our religious differences.  G never once told anyone to buy anything from the Good Buy Shopping Network.  It was the people themselves who made the choice to buy products.  People suddenly buying stuff from GBSN drives Ricky to care too much about his own personal advancement until he too realized what was really important.  He came to that realization after losing (albeit temporarily) someone close to him.  Once again, the message of removing distractions comes into play.

There is no denying that the story behind “Holy Man” is not the most believable ever written.  But neither can one deny the powerful messages tied in to the story.  They serve as reminders that every once in a while, we need to just take a step back, breathe, and appreciate each other and the world, instead of getting wrapped up in our fast paced, constantly on the go lifestyles.  It may not be the most memorable movie.  But thanks to the messages incorporated into it, “Holy Man” becomes a movie that is worth at least a single watch.

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Pullman and Cusack are so right for Mr. Wrong

Courtesy: Touchstone Pictures/Mill Creek Entertainment

Mr. Wrong is like What About Bob? on acid.  It starts off with a slow boil.  But once it gets moving, it really gets moving.  Forget the fact that everybody already knows about Ellen’s background.  The fact of the matter is that this work is so twisted that one can’t help but laugh at it.  Even more ironic is that DeGeneres’ Martha really isn’t the star of the movie, although she is the lead.  Co-star Bill Pullman and Joan Cusack as Whitman Crawford and his ex, Inga Gunther make for the majority of the movie’s laughs.  Sitcoms have used the insane admirer and crazed ex plots many times over both before and after this movie.  Sometimes by themselves and sometimes together.  So those audiences who would want to lambast this movie for its outrageousness would be well served to lambast those sitcoms, too.

What sets Mr. Wrong apart from the sitcoms that have used the noted plots is just how over the top Whitman and Inga are.  That Whitman would go so far as to use the children of his mother’s housekeep to kidnap Martha and take her to Mexico is so bizarre that one can’t help but laugh at how outrageous it is.  And Inga’s threats again Martha are just as worth the laughs.  Fans will find themselves laughing uncontrollably as Inga tells Bob to put gum in Martha’s hair early on.  And of course there’s the even funnier bit about putting honey and ants on martha’s face.  The ants themselves are the kicker of that joke.

Mr. Wrong may not be one of the more memorable movies of the 90’s.  But take a moment to consider the number of rom-coms that have been copied and re-copied time and again.  Now considering those now far too stale works, they actually make Mr. Wrong worth at least one watch.

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