The Moody Blues

The Moody Blues’ best days may be behind them, but their fans have remained loyal throughout their 45-year career. This was evident on May 13 at The Joint, as the near-capacity crowd showed its appreciation during a 20-song set that spanned the band’s 1967-91 catalog, ranging from the psychedelic and romantic orchestral pop of “Tuesday Afternoon” and “Nights in White Satin” to hard-driving rockers such as “I’m Just a Singer (in a Rock and Roll Band)” and “Peak Hour.”

When 70-year-old drummer Graeme Edge, one of three remaining Moodies from the band’s 1960s lineup, recited the line “senior citizens wish they were young” during the poem that accompanies “Nights in White Satin,” it seemed to reflect the aging crowd, which turned back the clock that night, if only for a couple of hours.

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So few ensemble-driven African-American films make it to market—whether with familiar faces or unknowns—that the ones that do get out of the gate provoke a weird degree of scrutiny regarding what they have to say about the black experience. Who needs the pressure? Movies such as the first Barbershop succeed not because they feel important or thesis-heavy; they succeed because they bring the commercial and the sociologically astute cultural touch to a bagful of characters.



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