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    The Dedicated Playlist: Father's Day Edition

    Songs for Dad: Springsteen, Lennon & others riff on complicated familyrelationships

    Jim Beviglia
    Jun 18, 2011 | 8:11 pm
    • John Lennon, "Beautiful Boy (Darling Boy)"
      Photo by Yoko Ono
    • Bruce Springsteen, "Independence Day"
    • The Beatles, "She's Leaving Home"
    • Pink Floyd, "When The Tigers Broke Free"

    I know you might be expecting a list filled with tried-and-true, inspirational odes to Dear Old Dad. I was fortunate to get along great with my Dad, but there is no doubt that the father-child relationship can be a mighty complicated one. The songs I’ve chosen here are my favorite songs about fathers, even if they don’t always paint a rosy picture. In other words, anybody expecting “Butterfly Kisses” should look elsewhere.

    “Tears Of Rage” by The Band

    Richard Manuel sang the version that kicks off The Band’s debut album, but Bob Dylan contributed the pained lyrics. Dylan actually writes from the Dad’s point of view and expresses the hurt inflicted by an ungrateful daughter who has grown beyond his command. Manuel’s vocal is an absolute spine-tingler.

    “When The Tigers Broke Free” by Pink Floyd

    While Roger Waters based some of the character Pink from The Wall on Syd Barrett, he also included bits of his own autobiography, such as his father dying in World War II. This track, which recounts the details’ of Waters’ father’s demise at the Anzio Bridge, made the film but not the album, and it’s a harrowing and riveting track.

    “My Three Sons” by Elvis Costello

    OK, it’s time to lighten the mood just a bit. While Elvis admits to some of the mistakes that he’s made in his past life, he pledges to make amends to his progeny. It may be startling to some to hear the Sultan of Sneer getting all sentimental, but he does it in typically eloquent Costello fashion.

    “Papa Was A Rollin’ Stone” by The Temptations

    Of all the vocal groups to come out of Motown, perhaps none was more versatile than the Temps. Yes, they could drip some sugar if need be, but on this scorching classic they proved just how gritty they could get as well. It’s a terrific put-down of one of the all-time ne’er-do-well fathers in music history.

    “She’s Leaving Home” by The Beatles

    I know that the focus of this Sgt. Pepper’s beauty is the runaway girl, but the father’s righteous anger followed by the eventual realization that he’s pushed his daughter away is the real heartbreaker. Notice that the parents do all the talking in the song while the girl never actually speaks; it’s symbolic of the communication struggles that likely led to her departure.

    “Sometimes You Can’t Make It On Your Own” by U2

    Even though it won a Song of the Year Grammy, this isn’t really known as one of U2’s classics. It really should be. Bono wrote it as a tribute to his father and played it at his Dad’s funeral. It’s a towering song about how two people can be so much alike and not really know a thing about each other.

    “Ships” by Ian Hunter

    You get twenty demerits if you only know the Barry Manilow version. This song was written and first performed by Hunter, the former lead singer of glam rockers Mott The Hoople. The nautical metaphor is the perfect way to describe a father and a son who have drifted far from each other and can’t quote reconnect.

    “Biological Didn’t Bother” by Shaquille O’Neal

    Honestly, I had intended to include this one even before Shaq Diesel’s retirement, but the timing is certainly serendipitous. Say what you want about his extracurricular activities outside of hoops (Kazaam, anyone?), but there is no doubting the heartfelt emotion behind this ode to his adoptive father.

    “Independence Day” by Bruce Springsteen

    Nobody has written more songs about the frayed bonds between father and son than The Boss. This song, found on 1980’s The River, is my personal favorite from that esteemed group. Springsteen manages to balance out his hurt feelings with hard-won understanding about his father’s burden in life.

    "Old Man” by Art Garfunkel

    Randy Newman wrote it, but his own pitch-black version of a son watching with cold eyes as his father withers away in a hospital bed is a tough pill to swallow. Garfunkel manages to leaven the bile with his gorgeous vocals, and somehow he manages to find some empathy in those lyrics that look so bitter on the page.

    “Beautiful Boy (Darling Boy)” by John Lennon

    It’s always impossible to separate the songs on Double Fantasy from Lennon’s murder shortly after its release. Every song becomes almost unbearably poignant in context. This lovely ode to his then 5-year-old son Sean told his audience everything they needed to know about John’s new priorities in life, even though he didn’t get the chance to follow through with it.

    “Dinner At Eight” by Rufus Wainwright

    The story goes that Rufus got into a row with his father Loudon, a folk singer of renown in his own time, during a photo shoot for a magazine (“It was great until those old magazines/Got us started up again.”) The resulting song features what sounds like a lifetime of pent-up frustration from Wainwright set to a hauntingly beautiful melody.

    OK, Know-It-Alls, which odes to Dad did I omit that should have made the list?

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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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