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    4th Of July Playlist

    The ultimate Fourth of July playlist: Barbecue tunes — no Katy Perry allowed

    Jim Beviglia
    Jul 3, 2011 | 6:19 pm
    • Yes, Bruce Springsteen makes the list. But not for "Born in the U.S.A.".
    • The Beach Boys
      Photo by Udo Spreitzenbarth
    • Lynyrd Skynyrd
    • Bruce Springsteen
      Photo by Larry Busacca/Retna

    When it comes time to choosing tunes for your barbecue this Independence Day, you might be tempted to go with the typical rah-rah songs about America. Let’s take a Jeffersonian view of this task this year instead, shall we?

    In other words, this playlist will concentrate on songs with states names in the titles. And while they all might not be typically patriotic, they still make for a bizarrely fascinating mix that speaks volumes about our country, both good and bad.

    “Nebraska” by Bruce Springsteen: The Cornhusker state turns out to be the setting for a killing spree in this raw offering from the album of the same name. It’s based on a true story, the same one that inspired the film Badlands, also later used as a Springsteen title.

    “Sweet Virginia” by The Rolling Stones: OK, so the Glimmer Twins probably had a girl in mind and not the state itself. It still qualifies for the list, and it provides a boozy, rollicking example of the Stones at their back-porch best.

    “Tennessee Jed” by The Grateful Dead: In another example of a band getting its hillbilly on, the Dead pay homage here to an obscure Western TV show character. The recent cover version by Levon Helm could easily substitute as well.

    “Indiana Wants Me” by R. Dean Taylor: Frequently included on 1970s one-hit wonder collections, this No. 5 U.S. hit comes courtesy of Taylor, who was a white artist recording for Motown. In the song the singer puts the hurt on a dude who wronged his woman, and now he’s got the whole state on his tail.

    “Colorado Girl” by Townes Van Zandt: It always seemed in his songs like Townes was on his way home to some far-off girl, but the sorrow in his voice seemed to suggest that he never actually got there. In this case, he’s trying to get to Denver and a girl whose smile “shames the mountains tall.”

    “Midnight Train To Georgia” by Gladys Knight & The Pips: This was a tough call, since Ray Charles’ “Georgia On My Mind” is equally iconic. But there’s just something about the “whoo-whoo” backing vocals that makes this classic simply impossible to resist.

    “Sweet Home Alabama” by Lynyrd Skynyrd: It gets so overplayed on classic rock radio that it’s easy to forget the intent of this Southern rock staple: Ronnie Van Zant was taking aim at Neil Young’s “Southern Man,” and its negative portrayal of the region.

    “Massachusetts” by Bee Gees: Back before they were the Dukes of Disco, the Brothers Gibb specialized in lush, dramatic ballads that were long on those magical harmonies. No clue what’s going on in this song, but, man, does it sound great.

    “Come On! Feel The Illinoise” by Sufjan Stevens: Stevens once promised to write an album for each of the 50 states, which would have come in handy for this list. He seems to have stopped at Illinois, perhaps realizing he’d have a hard time topping the brilliant album containing this song.

    “A State Of Texas” by The Old 97’s: Here is a new offering from the alt-country troubadours that has the feel of a classic. There have been a lot of great songs written about the Lone Star State, but very few get in so much of the state’s many charms as this one.

    “California Girls” by The Beach Boys: No offense to Katy Perry, but you can’t include California on this list without having The Beach Boys carrying the flag. The song was sturdy enough to survive David Lee Roth’s tongue-in-cheek version many years after its initial recording.

    “Louisiana 1927” by Randy Newman: We’re going out on a somber note, as Newman recalls a flood that devastated Louisiana and Mississippi. Its theme of governmental neglect for poor citizens proved sadly prophetic in the aftermath of Hurricane Katrina.

    Are there any that I’ve l missed? Let me know what worthy state songs I may have left out.

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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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