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Bruce Springsteen Soundtracks Imaginary Western On ‘Faithless'

Bruce Springsteen Soundtracks Imaginary Western On ‘Faithless'

Yahoo01-05-2025

Bruce Springsteen trots out his best husky twang amid mournful slide guitar lines on 'Faithless,' the third song to be released from his long-awaited collection of unreleased music, Tracks II: The Lost Albums. 'Faithless' is the title track to one of seven unheard, complete albums contained in the set, which arrives June 27 from Columbia.
Faithless was previously described as a soundtrack to a 'spiritual Western' film that was never made. It was written during a two-week stint in Florida and recorded largely between the fall 2005 tour in support of Devils & Dust and the April 2006 release of We Shall Overcome: The Seeger Sessions.
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'This was a really unusual collection of songs,' the Boss admits of composing music for a film that didn't exist. 'You could recognize details and maybe a character or two. But for the most part, I just wrote atmospheric music that I thought would fit.'
The album mostly features Springsteen, although producer Ron Aniello and E Street Band members Soozie Tyrell, Lisa Lowell, Curtis King, Jr., Michelle Moore and Ada Dyer appear at times, as do Springsteen's wife Patti Scialfa and their children Evan and Sam.
Beyond Faithless, Tracks II is divided into LA Garage Sessions '83, Streets of Philadelphia Sessions, Somewhere North of Nashville, Inyo, Twilight Hours and Perfect World. Somewhere North of Nashville features 'country combos with pedal steel,' Inyo includes 'richly woven border tales' and Twilight Hours is 'orchestra-driven, mid-century noir.' As for Perfect World, it is said to possess an 'arena-ready E Street flavor.'
Springsteen and the E Street Band return to the road May 14 in Manchester, England.
To see our running list of the top 100 greatest rock stars of all time, click here.

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'Persona 5: The Phantom X' Brings The Series To Your Phone—and It's Shockingly Good
'Persona 5: The Phantom X' Brings The Series To Your Phone—and It's Shockingly Good

WIRED

time14 hours ago

  • WIRED

'Persona 5: The Phantom X' Brings The Series To Your Phone—and It's Shockingly Good

Jun 27, 2025 3:11 PM The free-to-play game is the first time the JRPG is available on mobile, offering fans a quick fix with a few hidden costs. Still from Persona 5: The Phantom X. Courtesy of fortyseven communications Persona games are herculean efforts to finish. A single playthrough of any game in the main series, which includes everything from saving the world to studying for finals, frequently clocks in at around 100 hours. Much of that time is spent building relationships with the game's characters and world by hanging out with friends, doing mundane tasks like laundry, or finding new parts of the city to explore. It creates a dedication that leaves many players so attached to each game's cast that they'll eagerly jump into new experiences just to get more time with them. Persona 5 was no exception. Since its launch in 2016, the JRPG has inspired spinoffs across a variety of genres, from rhythm game Persona 5: Dancing in Starlight to the strategy-based Persona 5 Tactica . On June 26, co-developers Atlus, Sega, and Perfect World released Persona 5: The Phantom X —a spinoff for PC and mobile that mirrors the original game so closely, it works as both an easy introduction to the series, and an enjoyable re-entry into Persona 5 's world. Much like with Persona 5 , Phantom X s follows a group of teenage vigilantes known as Phantom Thieves who gain the power to summon powerful entities, Personas, to fight evil forces. More directly, the game feels like Persona 5 , adopting its turn-based battle system, music, visual style, social links, and more to deliver an experience on PC and mobile devices that works surprisingly well for a series with so much to do. While The Phantom X opens almost identically to the original game, it quickly veers away from Persona 5 's cast to establish its own. Something is off in the world of high school student Nagisa Kamishiro, where people are losing the desires that guide their free will and dreams. In order to help people reclaim their lives, Nagisa and his friends will need to crawl through the Metaverse, a foe-filled alternate reality only they can enter, and fight back. The Phantom X is free-to-play, but is a gacha game, meaning it has in-game purchases and relies on randomized pulls for things like characters from other games in the series and items. It's a controversial style that can prompt players to fork over cash endlessly to get the experience they want. Because of that system, The Phantom X is best played at a daily pace, rather than long stretches. The game has daily activities and awards to earn, and developers plan to continue releasing content for it over the coming months. Right now, the game only features Japanese voice acting and English subtitles, which may be a deterrent for some fans. Although the Persona series is available on handheld consoles, like the PS Vita or Nintendo Switch, The Phantom X is the first time the more traditional JRPG version is available on mobile. The game uses touch controls to move through its world and select commands. Its cutscenes work well even on a small screen, and though its menu can feel at times cramped (depending on your screen size) it's an experience that flows seamlessly. Mobile platforms are well-suited to the dungeon crawling aspects of the game especially, allowing for much needed breaks and the ability to quickly jump back in at any time. For players who want to relive the highlights of the Persona 5 universe, The Phantom X is an easy recommendation. Its faithful recreation of the original game's best elements, mixed with a new story, makes the experience feel like a premium one—and a promising look at what a Persona game could look like on your phone.

Bruce Springsteen Says Jeremy Allen White-Led Biopic Covers 'Most Painful Days' of His Life
Bruce Springsteen Says Jeremy Allen White-Led Biopic Covers 'Most Painful Days' of His Life

Yahoo

time16 hours ago

  • Yahoo

Bruce Springsteen Says Jeremy Allen White-Led Biopic Covers 'Most Painful Days' of His Life

Bruce Springsteen is revealing what it was like to watch Jeremy Allen White portray him in his forthcoming biopic, Deliver Me From Nowhere. The film, hailing from writer-director Scott Cooper, stars White as the legendary artist, centering on the time period when he made his 1982 record Nebraska. The album is deeply personal, and Springsteen told Rolling Stone that there was 'some unusualness' to watching the project be filmed because it touches on 'some of the most painful days of my life.' More from The Hollywood Reporter James Blake Brings 'Sinners' Song to Cannes Lions Will Drake Kill the Diss Track? 'Godfather of Harlem' Maestro Swizz Beatz Shares His Formula 'I mean, there's some unusualness to it because the movie involves, in some ways, some of the most painful days of my life,' he said, adding that he would take time away from set 'if there was a scene coming up that was sometimes really deeply personal.' 'Well, some of the scenes I wasn't at,' he said. 'I wanted the actors to feel completely free, and I didn't want to get in the way, and so I would just stay at home. If Scott Cooper, the director, wanted or needed me there for something, I would try to make it. But I was on tour in Canada for the whole first month or so of the filming, and so I was really out on the road quite a bit and working at that time.' The first footage from Deliver Me From Nowhere debuted earlier this year at CinemaCon, and the official trailer dropped Wednesday, giving audiences a first look at The Bear star's depiction of Springsteen, including his performance of his beloved 1975 single, 'Born to Run.' It's no secret that Springsteen and his longtime manager and record producer Jon Landau (played by Jeremy Strong) were involved in Deliver Me From Nowhere. The 'Dancing in the Dark' singer would often visit the film's set, and when asked what it was like watching White play him, the 20-time Grammy Award winner joked, 'I'm sure it's much worse for the actor than for me.' 'Jeremy Allen White was very, very tolerant of me the days that I would appear on the set. I said to him, 'Look, anytime I'm in the way, just give me the look and I'm on my way home,'' Springsteen added. 'So the days that I got out there, he was wonderfully tolerant with me being there. And it was just fun. It was enjoyable.' The film is adapted from Warren Zanes' 2023 book of the same name and will hit theaters late this year on Oct. 24. Alongside White and Landau, the cast includes Stephen Graham, Odessa Young, Paul Walter Hauser, Gaby Hoffmann, Johnny Cannizzaro, Harrison Gilbertson, Marc Maron, David Krumholtz and Chris Jaymes. Best of The Hollywood Reporter Wes Anderson's Movies Ranked From Worst to Best 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT

‘The Bear' Review: FX/Hulu's Culinary Dramedy Stalls Out With a Muted Fourth Season
‘The Bear' Review: FX/Hulu's Culinary Dramedy Stalls Out With a Muted Fourth Season

Yahoo

time16 hours ago

  • Yahoo

‘The Bear' Review: FX/Hulu's Culinary Dramedy Stalls Out With a Muted Fourth Season

Time is a relentless force in FX/Hulu's The Bear, pressing ahead no matter how strenuously our characters try to ignore it or slow it down. Morning alarms drag bleary-eyed employees out of bed. Kitchen timers measure their work to the millisecond. An 'Every Second Counts' sign scans as both inspiration and warning, while nearby, a giant clock ticks down the minutes until the restaurant officially runs out of money; as of the season four premiere, it's set at 1,440 hours, or about two months. But even as time marches on, momentum is under no obligation to follow. Where The Bear once seemed almost too restless — exploding with stress and thriving on turmoil, eager to subvert and surprise — the latest run has the feel of a show burnt out from the effort of trying to outdo itself. Rather than push forward or drill deeper, it retreats into familiar territory as it prepares, maybe, to wind down for good. More from The Hollywood Reporter How to Watch Emmy-Winning Series 'The Bear' Season 4 Online And the Emmy Nominations Should Go to... Bruce Springsteen Says Jeremy Allen White-Led Biopic Covers "Most Painful Days" of His Life To what extent that sense of exhaustion stems from creator Christopher Storer and his team, and to what extent it simply reflects their protagonist, Carmy (Jeremy Allen White, continually excellent), is difficult to say. Perhaps it doesn't matter, when the series has always so closely identified itself with Carmy's psychology, and when we as viewers are inundated by the vibe either way. Having spent much of season three flailing to convince himself he's not stuck in a rut, Carmy begins season four dozing off to Groundhog Day and relating way too hard to lines like, 'What would you do if you were stuck in one place, and every day was exactly the same, and nothing that you did mattered?' He's still angry and grieving, still prone to self-sabotage and self-destruction, and increasingly desperate to break the cycles that have trapped him there. If it's tempting to mutter, 'This again?' when Carmy rehashes once more his feelings of guilt around the death of big brother Mikey (Jon Bernthal), or promises to do better-but-no-really-for-real-this-time — well, one can surely sympathize with how much more exhausted Carmy must be to find himself back in this place, and with how impossible it can seem to grow past our deepest wounds. And one can acknowledge that to some extent, familiarity is to be expected — welcomed, even — from a beloved show in its fourth season. If last year was the equivalent of The Bear's 'chaos menu,' stuffed with flashy ingredients in experimental arrangements, this year is the more streamlined selection Carmy finally agrees to lock in — reliable favorites pared down to their most essential components. It is a comfort to be reunited with the boisterous staff we've logged so many thrilling hours with already, to be enveloped once more by their professional banter and unprofessional screaming matches, to fall into the rhythms of Storer and producer/music supervisor Josh Senior's eclectically cool rock soundtrack. We know by now to look forward to the extra-long episode with All the Guest Stars, longer and starrier than ever this round at 69 minutes including a guest appearance by Oscar winner Brie Larson. And we can eagerly anticipate the one-off detour into a non-Carmy character's life outside the restaurant — in this case a minor gem of a half-hour following Syd (Ayo Edebiri) on her day off as she drops by her cousin Chantel's (Danielle Deadwyler) to get her hair braided and bonds with Chantel's tween daughter TJ (Arion King). But as nice as it is to be back, it's also difficult not to notice a stagnancy setting in — as if Carmy's inability to move on means that no one else is allowed to either. While the peek into Syd's personal life is welcome, she spends the season dithering over the same decision presented to her last season, of whether to accept a job offer from a rival chef (Adam Shapiro). Richie (Ebon Moss-Bachrach) continues to cling to the restaurant as his purpose in life, and to grumble about his ex (Gillian Jacobs) getting remarried. Natalie (Abby Elliott) still alternates between frowning at spreadsheets and willing Carmy to give a shit about her new baby. And Tina (Liza Colón-Zayas) simply makes the same pasta dish over and over and over, attempting to shave seconds off the prep time. Meanwhile, the spark that lit up earlier volumes has dimmed significantly. Though the staff work hard to get the budget back in the black, there's no single interlude as deliciously tense as season one's 'Review' or season two's 'Fishes' or season three's 'Next.' While Richie continues to preach the gospel of unreasonable hospitality (and even follows through with a fake snowstorm conjured for out-of-town visitors), whatever relationship The Bear used to have to its customers, or the Chicago community, or the fine dining scene, has been rendered distant and theoretical as The Bear turns increasingly inward. Even the show's gustatory pleasures are not immune to the creeping anhedonia. 'Every one of our good memories, they happen in restaurants,' Carmy gushes to Mikey in the opening flashback; the key word there is 'memories.' In the present, scenes of characters taking real delight in food — preparing it, consuming it, dreaming up wild new versions of it — have grown rarer. It's still Carmy's primary love language, as seen in the appreciative smile he gives Marcus (Lionel Boyce) for a new dessert or the French Laundry chicken dish he offers his estranged mother (Jamie Lee Curtis) as a gesture of reconciliation. But it's telling that the camera does not linger on the process of Carmy making the latter, nor on her actually eating it. The Bear's ensemble has grown bigger and deeper with each passing year, with the kitchen's latest new hires including food runner Jess (Sarah Ramos) and stage Luca (Will Poulter). And the show's always taken the occasional swerve into other perspectives; for instance, we do still see Syd find quiet satisfaction in whipping up some Hamburger Helper for a hungry TJ, since Syd, unlike Carmy, is not yet dead inside. But it's always been Carmy's moods that primarily set the tone, and his mindset that defines the themes. So many conversations are had this season, by so many different characters, about how we're all secretly anxious or afraid or self-loathing like Carmy, that you start to wonder: Are we, though? Aren't there other obsessions or fears or desires or impulses worth exploring? Must the extreme empathy toward him come at the expense of more fully exploring other promising storylines, like Tina's pursuit of perfection or Marcus' passion for his craft or even the adorable flirty chemistry between Richie and Jess or Syd and Luca? Is there even anywhere deeper for our excavation of Carmy's pain to dig? By season's end, it seems even Carmy's tapped out on Carmy. 'I don't have anything to pull from,' he admits, pleading with Syd to understand. The Carmy who once ruled The Bear with an iron fistful of non-negotiables would like to try relinquishing control. The Carmy who's given his entire life to this art wonders if he's fallen out of love with it. The Carmy so blinkered by his pain that he can't see how it's infected those around him has finally realized that others are hurting too. The Carmy who once trapped himself in the refrigerator seems to believe, at last, that he's found a way to get the door open — to escape or to let others in before the clock runs out and he's frozen in place for good. In a move out of the Ted Lasso playbook, the fourth season ends on a note that could represent the end of everything, or a pivot toward a less Carmy-centric direction, or just a brief pause before business resumes as usual. If it does continue, let's hope the series takes its cue from its protagonist one last time, and considers that The Bear could be so much bigger than just this one guy. 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