Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.For me, the soundtracks to Jim Jarmusch's movies have generally proved more rewarding than the actual movies, their quick-change succession of tracks compensating for the films' lack of action and general longueurs. Coffee and Cigarettes, a monochrome compendium of café conversations seems unlikely to change my mind, despite a stellar cast that mixes old Jarmusch hands with cult actors, comic stylists and musicians. Once again, the soundtrack is a razor-sharp, eclectic selection which negotiates between various shades of teenage hoodlum rock'n'roll (The Stooges, Tommy James & The Shondells' psych-out classic "Crimson and Clover", Richard Berry's original "Louie, Louie"), a couple of Funkadelic wig-outs, pieces by Purcell and Mahler, and smatterings of ska, jazz and lounge music. The most impressive sequence is one in which Jarmusch down-changes smoothly from The Stooges' "Down on the Street" through The Skatalites, Modern Jazz Quartet, and Jerry Byrd's Hawaiian guitar instrumental "H
For me, the soundtracks to Jim Jarmusch's movies have generally proved more rewarding than the actual movies, their quick-change succession of tracks compensating for the films' lack of action and general longueurs. Coffee and Cigarettes, a monochrome compendium of café conversations seems unlikely to change my mind, despite a stellar cast that mixes old Jarmusch hands with cult actors, comic stylists and musicians. Once again, the soundtrack is a razor-sharp, eclectic selection which negotiates between various shades of teenage hoodlum rock'n'roll (The Stooges, Tommy James & The Shondells' psych-out classic "Crimson and Clover", Richard Berry's original "Louie, Louie"), a couple of Funkadelic wig-outs, pieces by Purcell and Mahler, and smatterings of ska, jazz and lounge music. The most impressive sequence is one in which Jarmusch down-changes smoothly from The Stooges' "Down on the Street" through The Skatalites, Modern Jazz Quartet, and Jerry Byrd's Hawaiian guitar instrumental "Hanalei Moon", to the polite elegance of Purcell's "Fantazia 3 in G Minor", then back up to Iggy's 1993 "Louie, Louie", the garage-punk classic revised to include the memorable assertion: "A fine little girl is waitin' for me/ But I'm as bent as Dostoevsky."
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments