Noel Gallagher's High Flying Birds - "Everybody's On The Run" (Official Video)
You can tell a lot about people by their choice of shoes and undergarments. In Noel Gallagher’s latest video, our star-crossed heroes bond over a shared love of suede trainers and leopard print skivvies. And, naturally, Noel drives the cab.
Variety tells us that Marissa Cooper is going to star in the upcoming Russian coming-of-age drama “Finding t.A.T.u,” which starts shooting in Moscow later this month.
The movie is adapted from the novel “t.A.T.u come back” by Russian writer A. Mitrofanov.
Set against a background of music, Internet chatrooms and hedonistic Russian nightlife, it’s the story of a lonely American teenager in Moscow who becomes friends with a local girl over their shared obsession with pop band t.A.T.u.
Our old friend Alexandra Patsavas, the music supervisor for the OC, Carnivale, and Grey’s Anatomy, is forming her own record label, Chop Shop Records, as an imprint of Atlantic Records.
“A label seems like a natural extension of what a music supervisor does . . . You can come across things very early, and there have been bands along the way I would have loved to have worked with more closely.”
Admit it: you’ve already forgotten about them. You felt your brain forgetting them even as you watched “The OC” series finale tidy it all up. It’s a week later, and you’ve moved on to “Heroes.” Or maybe, if you’re slumming, “Wicked Wicked Games.” But here are a few pitches for series spinoffs anyway, because anything’s better than “Are You Smarter than a 5th Grader?” Briefcase or no briefcase? No briefcase.
Husband-free for the fourth time (or fifth? I already forgot), Julie Cooper and her daughter Kaitlin discover Julie’s beat-up orange Plymouth Sundance from high school parked under the San Diego Freeway, right where she abandoned it in 1986. There’s even a few wisps of dried-up pot in the ashtray. Ready for a new life, Julie and Kaitlin head east in the battered-but-lovable subcompact, and find adventure, laughter, and a little bit of romance in all the nowhere towns and hard-luck havens along the way. It’s “Promised Land” meets Thelma & Louise, or maybe “Gilmore Girls” in a car. Recurring special guests: Shelley Hack and Tracey Gold as a “Cagney & Lacey”-type detective team convinced the Cooper girls are part of an illegal cross-country road race.
Welcome to late-night Lifetime syndication, bitch!
Fox has finally shit-canned The O.C. According to a press release, the final episode will air February 22. Schwartz was quoted; “For a certain audience, at a certain time,” he said, “The OC has meant something. For that we are grateful.”
I’ve mostly enjoyed the show this season. I was willingly engulfed by an Autumn Reeser crush, which I’m sure was the writers’ plan all along, and that was before they rocked the Whitesnake video resets; I thought the cage match under the sewers (or wherever) at Avocado Ave. and 4th was fucking great; and I still liked Seth and Summer’s whole thing, even if it was coasting on fumes without the benefit of the best writing. (Julie Cooper and her damaged soul daughter were getting all the great asides.)
I still knew the end was near, though. Besides, everyone knows Grey’s Anatomy breaks more bands than The O.C. these days. Or, at least The Fray knows that.
Now that it’s been officially shut down, I envision an O.C. spinoff for Mini Cooper, sort of like a Saved by the Bell: The New Class. Maybe Adam Brody can hang out for that shit, be like Mr. Belding’s assistant, now that Dustin Diamond took off for the lucrative celebrity boxing circuit.
If you’ve been paying attention to Glorious Noise over the years, you already know that we’ve had a pretty unhealthy obsession with “The OC.” For those of us who grew up on “90210,” “Melrose” and “The Real World,” this West Coast pretty people drama had our self-referential demographic in its sites from its very inception. And we stuck by it for three seasons even as the storylines got progressively sillier, the music got less and less interesting, and the characters lost more and more weight (and depth).
So, for what might be the last time, we’re pulling GLONO co-founder Johnny Loftus away from his new job as Music Editor of Detroit’s Metro Times to give some quick thoughts on the season finale of “The OC.” -Ed.
“The OC” is back after its baseball hiatus, and up to its old tricks. There’s decent banter between Seth and Summer, still the show’s best character. And there’s intrigue all over the joint, from 7 of 9 snooping around to Marissa finding new friends (and a new nickname) at a new school. But while it’s still entertaining, and still interesting to see what music makes it in to the show nowadays, “The OC”‘s mass culture cred is slipping a little. During its hiatus the girls from MTV’s “Laguna Beach” pulled a flanking maneuver and completely cut Rachel Bilson and Mischa Barton out of the media/tabloid picture. People who care about these things are picking sides (Team Kristen! Team Lauren!), and the blogs are alive with the sound and fury of the “Laguna Beach” kids’ descent into D-list parties and a three-way “Real World/Road Rules/Laguna Beach: Inferno.” Somewhere right now, Trishelle is cheersing them drunkenly.
But in the meantime “The OC” plugs along, and it’s still good for a few laughs. Or, in the case of this past Thursday’s episode, a flurry of text messages between myself and my friend C. Live-texting is the new live-blogging. Bring it.
In the preview for next week?s episode of ?The OC,? Chino and the Doe Eyed Fawn are seen walking purposefully away from the camera, throwing indifferent glances back at the lens. ?You want us, bitches? Come and get us.? And in that fleeting moment they are John Wisdom and Karen Simmons, running from the law, the press, and the parents and liberating blue blood cash for the benefit of Californian shift workers. I wouldn?t count Josh Schwartz out of a Wisdom reset just yet, and honestly that would be pretty badass. But instead he?s framed Marissa?s season finale shooting of Trey as the busted cap that brought she and Ryan together. After the brooding, bitter tears, breakups, and lawn guy/brainy girl boning, it?s finally true: every inland street thug needs a long limbed lady. Mur-Durrr!
Pour one out for Caleb Nichol. He was one of “The OC”‘s shining columns, a cantankerous rock of bastard charm who brought out the best in Sandy Cohen sarcasm. Sanford even lobbed a zinger during his eulogy, saying the White Devil would surely be happy building mansions in heaven. In life it was Cal who coined a nickname for Ryan that unfortunately didn’t catch on. But if the old guy had ever met Ryan’s brother Trey, he might’ve switched the fantastic handle of Inland Street Thug to the shaggy-hair’d ex-con sibling.
Despite the tarnished, but still giving golden heart of the Cohen family, despite assurances that he would go straight, despite a job at that venerable holding pattern The Bait Shop, Trey was a bad apple from god-awful Chino, and could not be rehabilitated. In “The OC”‘s world, Ryan and Trey’s hometown continued to be some sort of horrifying (read: hilariously unrealistic) cross between a gulag and Snake Plissken‘s Manhattan.
Even Ryan was susceptible to its dastardly pull, almost two years on from his escape. As the second season unfolded his fight with instability kept rearing up. Like, “He’s better now that those lethal weapons he calls hands have been cuffed by Newport’s coddling. But watch the fuck out! He’s still a caged animal, and he’ll eat your face!” But in true Inland Street Thug fashion, Trey had it worse. He stole watches and Risky Business artifacts; he lurked and smoked in a chintzy pub that looked like an East German Bennigan’s. He just had that Chino crazy gene, the one Newporters feared would infect their water. For him, “OC” stood for “on cocaine,” and Trey wouldn’t stop until the Doe Eyed Fawn put a bullet through his shoulder. Cue the tense serial fanfare. “Deh-deh-DAAAAAHHHHH!!!!!”
Temper Temper is one of those bands that Milwaukee writers have to restrain themselves from calling the Next Big Thing. They have been playing, touring and recording around Milwaukee and nationally for a few years now, and released their first album in March of this year. The self-titled record is so slinky and dark and dancey and sexy that it was really only a matter of time before the world took notice of it. In this case, the world came calling in the form of what some might say is the ultimate modern compliment—a featured song on The O.C. (Season 2, Episode 20: “The OC Confidential”). You may have noticed that we here at Glorious Noise are somewhat obsessed with The O.C., and all squabbles about the declining quality of the show aside, the music has always been one of the most remarkable things about it. Temper Temper is currently in the midst of an East Coast tour, and bassist Andy Menchal answered the questions I had about the selection process via email, and it turns out that if you’re in a band as poised on the brink of blowing the hell up as Temper Temper is, you learn to be blasé about this sort of thing.