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    ‘Freakscene: The Story of Dinosaur Jr.’ Review: A Volatile Band

    This alt-rock trio is made up of three soft-spoken guys who generated a big noise, learned to hate one another and then made peace.This documentary opens with a credit sequence that will immediately bring nostalgia to its intended audience of alt-rock hounds: titles in a prefab type style in garish purple against a bright green background. The effects are redolent of the D.I.Y. videos of the late 1980s. The title song is an emblematic one for Dinosaur Jr., the movie’s subject. The band’s pre-grunge specialty was infectious tunes sung in a nasal drawl, nearly submerged in fuzzy guitars squalling and squealing.Directed by Philipp Reichenheim, the brother-in-law of the band member J. Mascis, the movie delivers exactly what the second half of its title promises: The story of the band. Mascis, Lou Barlow and Murph, three punk-rock-besotted teenagers from Western Massachusetts, wend their way through various post-punk combos, until hitting on a distinct and ultimately influential sound. In interviews, luminaries from the era, such as Kim Gordon (Sonic Youth) and Bob Mould (Hüsker Dü, Sugar), contemplate the band’s talents and its members’ quirky personalities.In keeping with their time and its mien, these fellows were very anti-rock star. Describing the style of a similarly inclined musician, Donald Fagen, back in the 1970s, the critic Robert Christgau said Fagen looked “like he just got dressed to go out for the paper.” For Barlow in particular, going out for the paper seems Napoleon-level ambitious.For all that, the trio’s volatile history is the stuff of alt-rock lore. Stranded in a motel in Idaho on a tour, their fellowship melts down; the group loses Barlow, then Murph, and years later, in 2005, the guys all mend fences for a productive and still ongoing reunion.There’s nothing here about the later soundtrack work Mascis embarks on with the director Allison Anders, or about his side project Sweet Apple; Barlow’s own highly regarded band Sebadoh is barely mentioned. The movie is nothing if not relentlessly focused on Dinosaur Jr. itself. The band is a noteworthy one. But this treatment feels skimpy.Freakscene: The Story of Dinosaur Jr.Not rated. Running time: 1 hour 22 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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    Itchy to Perform Again, Musicians Eye Return to Touring

    For now, there may be just a trickle of events (a Dinosaur Jr. tour, the lineup for Bonnaroo in September), but many artists are said to be planning live announcements soon.Like many musicians, J Mascis, the leader of the stalwart alt-rock band Dinosaur Jr., has struggled through a year without touring.“I’ve never been home this long since, like, high school,” Mascis said in a phone interview from his home in western Massachusetts. “To have no idea when or if you can do anything again, just sitting around,” he added, trailing off. “My mental health has definitely suffered.”But a few weeks ago, Dinosaur Jr. took a step toward normalcy by announcing an extensive fall tour, with a handful of warm-up dates booked for as early as May.“We’re not naïve; we know we might have to reschedule,” Mascis said. “But just to have something on the books somehow makes things a bit more hopeful.”After a grueling year, blocked from what is often their most vital income stream, musicians are impatient to get back on the road, and fans are eager to experience live music again. While large-scale shows at arenas and stadiums may not come back full-throttle until 2022, promoters and talent agents, encouraged by the speed of vaccinations, have begun laying the groundwork for what may be a surprisingly busy summer and fall of concerts at clubs, theaters and outdoor spaces.Rhett Miller performing at the City Winery in Manhattan in 2019. He is set to play there again this weekend.Al Pereira/WireImage, via Getty ImagesCity Winery moved its tables in accordance with New York State’s rule that will allow entertainment venues to reopen with limited capacity starting Friday.Emon Hassan for The New York TimesFor now, there may be just a trickle of events. Starting Friday, New York State will allow entertainment venues to reopen at 33 percent of their regular capacity, up to 100 people for indoor spaces. Throughout the country, rules from local governments have kept many clubs and theaters closed, or allowed them to operate at reduced capacities — which for many of those places does not allow enough business to cover the basic costs of operating and of paying artists and employees, said Audrey Fix Schaefer of the 9:30 Club in Washington.“The only thing worse than being totally shuttered is being partially reopened,” said Fix Schaefer, who is also the communications director for the National Independent Venue Association.But many artists are said to be planning tour announcements soon, and hungry venue owners — buoyed by the prospect of $16 billion in federal relief through the Shuttered Venue Operators Grant fund, which they can apply for starting April 8 — are eager for the business.The relative handful of clubs and theaters set to reopen in the spring are doing so with altered seating plans, temperature checks and adjusted financial deals with performers. A recent rock concert in Spain, with extensive Covid-19 protections, drew 5,000 fans. These events are being watched closely by the concert industry, which went into 2020 anticipating its biggest year ever but ended up losing nearly $10 billion in box office revenue, according to data collected by Pollstar, a trade publication.Lizzo performing in Miami early last year. She’s among the artists on the bill for Bonnaroo, in rural Tennessee, now planned for September.Scott Roth/Invision, via Associated PressCity Winery, a restaurant and concert venue on Pier 57, on the West Side of Manhattan, is reopening Saturday with a performance by the singer-songwriter Rhett Miller; it has been gradually filling out a calendar of socially distanced shows, confirming some just days ago. (Rufus Wainwright, Steve Earle, Patti Smith and Stephin Merritt of Magnetic Fields are among those on the calendar.) Tables have been arranged to allow space between parties, and patrons, who must wear masks when not seated, will get their temperatures checked upon entry.“Even if it’s for 100 people, it takes on such a significance to be putting on a show,” said Michael Dorf, the venue’s founder. “It feels like a sacred job, putting on culture.”Miller, a regular performer at the dozen City Winery spots around the country, said that he had struggled with the forced grounding from Covid-19, though he also noted the silver lining of spending more time with his family. The idea of playing live again, he said, both excites and terrifies him.“I’ve been dreaming about it night after night, climbing up on a stage in front of people,” Miller said. “The dreams are fraught and weird. Half the time I’m trying to sing through a mask, or I’m in trouble for not wearing a mask.”Major tours, which typically require months of planning and the hiring of a large crew of workers, have largely punted to next year or even 2023. That should make the next couple of years an extraordinary time for live music, with dozens of superstar acts planning to reschedule postponed tours and make up for lost time. But it may also be a test of touring infrastructure and of fans’ willingness to buy tickets to multiple high-profile shows.“The amount of stadium activity in 2022 is something I’ve never experienced,” said Jay Marciano, the chairman of AEG Presents, one of the industry’s biggest promoters and venue operators. “Over a dozen major artists are actively holding real estate for next year.”Josh Lloyd-Watson, left, and Tom McFarland of the British electronic duo Jungle. They’ve announced fall tour dates.Anna Victoria BestThe fate of summer festivals, an important bellwether, is still uncertain. Some, like the Newport jazz and folk festivals, in Rhode Island, are planning to go on this year, with reduced capacities. Bonnaroo, in rural Tennessee, is planned for September, with Megan Thee Stallion, Lizzo, Foo Fighters and others; Summerfest in Milwaukee, a major urban concert series, is also planned for September. But whether Lollapalooza in Chicago will go forward is unclear.In New York, a smattering of clubs are also planning shows, like Bowery Electric and the Bitter End. But the majority are holding out for when they can reopen at full capacity, or close to it, many proprietors said. The industry has been placing its bets on summer or fall for that.Still, many artists and promoters report watching every news blip about infection spikes and virus variants with trepidation.The British electronic duo Jungle has announced a fall tour at large clubs like Avant Gardner in New York and the Anthem in Washington. Sam Denniston, the group’s manager, said that all signs have pointed toward that being feasible, as millions more people get vaccinated and more venues fully reopen. Yet uncertainty about the pandemic means that anything could happen.“It’s kind of like penguins sitting on the edge of a cliff, and they push one in to see if there’s a killer whale in the water,” Denniston said. “I kind of feel like we’re that first penguin. But someone’s got to take the risk.”While stadium-sized artists are counting on the pandemic coming under control and the full revival of a mothballed industry by the time they hit the road, for many others below the superstar level, a year without shows has simply been long enough.“I don’t know if I can wait another six months to a year,” Miller said, “to do my job again.” More