The Arts Desk’s weekly picks for music, movies and more
By MIRIAM RAMAKRISHNAN — arts@theaggie.org
Album: “She Hangs Brightly” by Mazzy Star (1990)
Quite frankly, any record that features tracks like “Blue Flower” and “Be My Angel” has to go platinum in my headphones. The grungy guitar sounds like it came straight from a band practice in your friend’s basement, and Singer Hope Sandoval’s soft, drawn-out vocals create a perfect contrast between the two elements. That’s not the only sound within this album, however; songs like “Halah” and “Give You My Lovin” are built upon a gentle acoustic guitar. Mazzy Star’s debut song “She Hangs Brightly” established the band’s now-iconic moody and pensive style, which is often imitated, never duplicated. To me, this album evokes jewel tones and witchy movies like “The Craft” (1996) with deep, rich instrumentals and sentimental lyrics — perfect for reflecting on the past year.
TV Show: “High Fidelity” by Veronica West, Sarah Kucserka (2020)
This may be blasphemous to fans of the original film, but I truly believe that the gender-swapped TV adaptation of “High Fidelity” might be the better version. Zoe Kravitz stars as “cool girl” Rob Brooks, a stylish record shop owner struggling with love alongside her friends in New York City. Her friends Cherise (Da’Vine Joy Randolph) and Simon (David H. Holmes) have authentic, funky personalities that add dimension and character to the show. Each individual, no matter how minor, is written so deeply that they could have their own episodes — and they sometimes do! Of course, a show about a music shop couldn’t go without a star-studded soundtrack, featuring legends like David Bowie, Fleetwood Mac and A Tribe Called Quest. The whole show creates a laid-back and grounded atmosphere, which — when combined with great comedic timing and an intriguing plot line — makes “High Fidelity” an easy binge or quick re-watch.
Film: “The Holdovers” dir. Alexander Payne (2023)
“The Holdovers” is possibly the best holiday movie of all time — and the Academy agrees with me. Even if it didn’t have five Oscar nominations, I would still sing this film’s praises to everyone I meet. The folksy soundtrack, featuring the likes of Labi Siffre and Nick Drake, sets the scene for a snowy New England winter, in which angsty teenager Angus Tully (Dominic Sessa) has just been informed that his mother will not be taking him home for Christmas break. As he grudgingly spends his vacation “held over” at boarding school, Tully develops a reluctant bond with school cook Mary Lamb (Joy Randolf) and grouchy professor Paul Hunham (Paul
Giamatti). Over the course of two hours, the emotional journey that the viewer experiences feels both intimate and much bigger than the characters themselves, unfolding with an almost old-fashioned patience that modern films rarely allow for. “The Holdovers” is chicken noodle soup for the soul; a warm reminder that we all seek human connection and comfort in each other — especially when it’s cold outside.
Song: “Pitseleh” by Elliott Smith (1998)
An incredible song off an unparalleled album, “Pitseleh” is entirely Elliott Smith — finger-picked acoustic guitar, wispy vocals and introspective lyrics. When the piano emerges in the second half of the track, it reflects an intense depth that is difficult to explain. The shift feels almost confessional in a way, as if the song is opening a new emotional register rather than building towards a traditional climax. The contemplative state that “Pitseleh” elicits lingers long after the final key is pressed: a trait unique to Smith’s work.
Written By: Miriam Ramakrishnan — arts@theaggie.org
