Life begins when the sun goes down for a group of party-prone friends attending an L.A. rave. The music starts and the dream begins as partygoer Puck gives them each a sample of his new "love potion". This glowing green liquid fuels their inner desires and allows the friends to connect with their long secret loves during the night of dancing, lights, and unadulterated fun. Will a drug deal gone bad ruin the evening or can the uplifting mood of the rave along with Puck’s potion bring out the best in everyone? The weather is hot, the music is pounding, the mood is electric and the stakes are high in this modern adaptation of Shakespeare’s most popular play.
I thought this movie was great!! I am a huge fan of groove and human traffic. this movies dulls in comparison...but I do have to say i was engrossed the entire time!! I absolutely love the music, who do i ask about releasing a soundtrack? the music just plane rocks and the storyline is good as well...however...did those peeps in the beginning ever make it to amsterdamn?????? n e wayz...i def reccommend!!!! 4 starts def!!!
I got this dvd three days ago and have watched it five times already. Yes, it's possible that this movie will appeal more to members of the new orleans rave scene, but others will enjoy it as well. It starts out by introducing a few members of the scene, including disco donnie, a few well-known ravers and a weird rave performer. After a little background and party set up info, it goes right into the good stuff, the state palace party, which I think was freakfest. The video was edited quite well and recreated the feeling of a party at the palace, and then at the peak of the party the graphics start getting crazy and kind of made me feel like I was at the peak of a roll. I will keep this dvd forever to bring back memories of all the good times I have had in that venue. If you've ever been to a party in New Orleans, or want some insight into the culture here, this is a must-buy. BUY IT
This is a great movie about the fourth generation of house music. Anyone who believes that House music was created in LA is sadly mistaken. House music was developed in the houses, garages and clubs of Chicago and Detroit, not Los Angele,s and it was produced for local club-goers in the "underground" club scenes, rather than for widespread commercial release. As a result, the recordings were much more conceptual, longer than the music usually played on commercial radio. House, techno, electro and hip-hop musicians used analog synthesizers and sequencers to create and arrange the electronic elements and samples on their tracks. House music "humanized" the new electronic instruments by combining live traditional instruments and percussion and soulful vocals with preprogrammed electronic synthesizers and "beat-boxes".
The second phase occurred when New York started to create house music. The style of New York house was a little more polished and got the attention of Europe. Italy and the UK started some brilliant house music and then game Germany and Techno.
Techno took the sound and perverted it by increasing the BPM count into something that was not enjoyable to anyone not on X. I used to throw some of the original raves in South Florida and it started becoming more about the drugs and not the music. House was in a bad funk for about 10 years. In recent years, starting in the late 90's, DJs and artists such as Miguel Miggs, Blue Six, Aya and others have brought back melodies and rhythms to house. Along with labels such as Hed Kandi, Lazy Dog and others they have ushered in a new and strong fourth age of house.
It's All Gone Pete Tong is really a rather extraordinary motion picture that has all the earmarks of a cult indie sensation. I guess we should cover a couple of things right off the bat, however. Who is Pete Tong, you ask? Well, he's a DJ, and he is in this movie - but only for a few moments. You see, this movie isn't about Pete Tong at all. It is actually about Frankie Wilde, a wildly successful DJ (and I mean DJ as in music-mixing genius and not "and that was the latest hit from so-and-so, and it's 52 degrees here at 5:00 on a busy traffic day" radio voice) who overcame the tragedy of deafness to make a huge and mysterious comeback. These movie fellows do a great job of making this mockumentary appear to be a real-life biopic, but Frankie Wilde and his incredible story are purely fictional. That fact doesn't really change anything, though, as this is still an inspirational film that will surely captivate you.
It's an oddly powerful story built around a less than likeable fellow who eventually wins you over with his intense suffering and his courageous efforts to finally put his life back on track. In his prime, Frankie Wilde is a celebrity who lives every bit of the high life - drowning his liver in alcohol, snorting bagful after bagful of cocaine, entertaining many a lady, and generally doing everything in a disconnected, vainglorious fashion. The movie pulls no punches in showing us Frankie at his most disgusting. Once he begins to lose his hearing, however, you can't help but feel sorry for him. He covers it up for as long as he possibly can, but - obviously - a man in his profession can't cover up such a devastating truth forever. Once he learns that he is indeed going completely deaf, his life hits rock bottom. He basically loses everything, including his wife and son along with his career. It's not a pretty sight at all, and he eventually holes himself up in his own pitifully constructed rubber room for months on end, basically surviving on drugs alone. His cocaine addiction is presented in a most forcible way - the monkey on his back is actually a disgusting large badger in a fairy tale outfit that isn't above smacking Frankie around when he threatens to cut back on the snorting. It sounds ridiculous, but the imagery works frighteningly well.
In time, Frankie decides to accept his disability and try to reenter the world; he gives up the drugs (but not the booze), finds someone to teach him the art of lip-reading, and eventually rediscovers his music. In essence, he develops the ability to feel and see music all around him and to channel it all into some righteous grooves that fuel the most improbable of comebacks.
This movie isn't just about Frankie's amazing story, however. It also seems to have something to say about the music industry and the callousness of greedy managers and promoters who care about nothing apart from the money their stars generate for them. Frankie was a star, but no one stuck around to help him through a tragedy that almost and probably should have resulted in his death. The ending of the film, which doesn't follow the path you would normally expect, strongly but quietly reinforces this critique of the shallowness of success.
The scenes of Frankie's emotional breakdown truly are dark and disturbing, and there is much in the film as a whole to justify its R rating. The film also has its funny moments, but this is a true dark comedy. I have to say that Paul Kaye is spectacular in the role of Frankie, lending a vitality and brute strength to an unforgettable character who will disgust you, amuse you, and eventually inspire you. I don't know how else to say it: It's All Gone Pete Tong is just a uniquely extraordinary film.
A professor of mine once suggested that a good short paper was always better than a good long one. The same, I think, can be said of CDs (even though I consider the 76-minute "Blueberry Boat" to be one of the best releases of 2004). The original release of The Lemonheads' CD "It's A Shame About Ray" was under 30 minutes long, and was later padded by the cover of Mrs Robinson. When a short record is done right, it leaves no space for throwaways or wasted moments. Having said that, "It's A Shame About Ray" is, in short, done right.
Released 10 months after "Nevermind," "Ray" is kinder, gentler release of the grunge era ("bubblegrunge" was the term applied to it). Singer/songwriter Evan Dando does a fine job of mixing all of his influences into the record: jangle pop, country rock, power pop, and punk. He sings in an understated and unpretentious manner that succeeds all the same in bringing his clever lyrics into full relief. The jangley acoustic strumming and crisp arpeggios that come to the fore give the CD a very autumnal feel, one that makes the setting seem more like a wealthy, wooded bedroom community than suburbia.
The first half of the CD alternates among slow (My Drug Buddy), mid (Confetti), and up tempo (The Turnpike Down) numbers, and then climaxes to perfection with the drum-propelled tracks Bit Part and the magnificent Alison's Starting to Happen. Simply put, these songs are two of the best pieces of evidence to suggest that the three-minute pop song is one minute too long. (The latter contains what is probably the best lyric on the entire record: "She's the puzzle piece behind the couch that made the sky complete.") But it is hardly all downhill from there. The plaintive Hannah and Gabi, the playful Kitchen, the somewhat fiercer Ceiling Fan in My Spoon, and a grin-inducing version of Frank Mills are all terrific as well.
In the end, "Ray" is a pleasantly unassuming record, one that does little to explicitly draw in or put off the listener. It doesn't take any high-stake risks, but it doesn't aim at the lowest common denominator, either. Evan Dando presents his songs with the aplomb of a highly confident street performer: he is perfectly happy to have people stop and listen, but equally happy to keep playing as people pass by obliviously. His voice is warm and inviting, and his lyrics often express uncertainty ("if I make it through today"), sometimes despondency ("hope in my past"), but he does manage to muster a bit of optimism on Rockin' Stroll ("moving forward all the time", "I'm gonna try"). And it would be really unfair to not give Juliana Hatfield a mention, as her candy-coated voice is a lovely touch on songs like Rudderless.
"Infectious" is not quite the right word to describe "It's A Shame About Ray", but it is very listener-friendly and effectively sequenced. Hence, it is easy to listen to repeatedly without seeming predictable or repetitive. Good thing, too, as the listener is very likely to keep coming back for more of "Ray's" bite-size pleasures. It may not be an era-defining record like "Nevermind" or "Ten," but it does provide a nice snapshot into a different aspect of the early 90s scene, one which should be equally interesting to those of you who weren't there as it is to those of us who were.
Pulp are considered by many to be one of the most innovative and popular bands of the late 20th century with top ten singles including "Common People" and "Disco 2000" and acclaimed albums including "This is Hardcore" and "We Love Life". However, their history goes back much further than that. The band was formed at school by Jarvis Cocker as far back as 1978. In the 15 years it took before the band enjoyed any success, they went through copious line-ups, bizarre stories and many records. From the late 1990s, long-time Pulp fan Mark Sturdy has been uncovering Pulp's history, speaking to members, ex-members and associates of the band, from their first ever bassist David "Fungus" Lockwood through to the people who were there for those now legendary early concerts and recordings. He also talks to Jarvis Cocker's sister Saskia and band member Nick Banks. The vast majority of people interviewed have never spoken at length to the media before and the result is an exhaustive exposition of Pulp's untold story, both before and after the band's mid '90s breakthrough.
the strength of this book lays in the 80`s pulp .The pulp before the common people glory. Despite not interviewing jarvis himself he interviewed almost everyone else including russle and nick . Mark Sturdy
the author is a true passionated pulp fan ,ths book was written with love and respect for the band and the music
When Tron came out in 1982, it was intended to be a visually stunning parable against the powers of computers and technology. More than twenty years later, the movie plays more like a nostalgic ode to the early 1980s, than a simple good vs. evil morality tale. Tron evokes the heady days when video games like Pac Man, Defender and Centipede ruled the arcades and when everyone owned a Commodore 64 or an Atari 2600 -- the eight track of personal computing.
Writer/director Steven Lisberger creates a flashy, neon-drenched world, a cybernetic version of Social Darwinism where lowly computer programs must participate in gladiatorial battles against the Master Control's ruthless minions. Even though the computer effects look primitive now, back then they were considered ahead of their time. Fortunately, Lisberger has not remastered the special effects with contemporary computer graphics (take note George Lucas). There is a certain clunky charm to the effects that makes Tron all that more endearing to its fans.
Tron is one of those rare examples where style over substance works. The computer world that Lisberger and his team worked so hard to create is rich in detail. It also plays on our romantic notions of what really goes on inside our computers -- not a collection of microchips and circuit boards but a vast world where programs fight each other for survival. It's no wonder that visionary science fiction writer, William Gibson once commented in an interview that the cyberworld in Tron is how he envisioned the cyberspace in his novels.
The audio commentary with director Steven Lisberger, producers Donald Kushner and Harrison Ellenshaw, and special effects wizard, Richard Taylor. There is a relaxed feel to the track as these guys reminisce about working on the movie. The commentary does tend to lean more towards the technical aspects of making the movie as opposed to anecdotal content but the documentary on disc two covers this aspect in more detail.
Disc two features a wealth of supplemental material that was mostly carried over from a special edition laserdisc set that Disney released many years ago. The DVD reorganizes all of these extras into several easily navigable sections.
The best extra on the second disc is a comprehensive 90-minute documentary entitled, "The Making of Tron." Every aspect of the movie, from its humble origins to the struggles of getting it made are covered with brand new interviews with Lisberger and his crew and Jeff Bridges and the cast (minus David Warner). Everyone speaks fondly of his or her experiences working on Tron. This retrospective look at the movie 20 years later is a real treat for the fans and is the crowning touch on this excellent set.
I'll be objective about this, which is difficult for me because the cure is quite honestly my favorite band of all time. This DVD contains no actual Robert Smith interview footage, though it does have Steve Severin on it, which is a plus. Also, because this is an unauthorized DVD, the background music is basically composed of instrumentals of Cure songs that are done slightly off key, so as to avoid any legalities I'm sure, but the songs are still recognizable. Really what this DVD boils down to is it's a bunch of cure fans talking about what they like about the cure, save the Severin interview which is really the best part of the DVD.
This is an unauthorized DVD, without any original Cure music. However, if you don't already have Lost in the Labyrinth, it is a good item to add to your collection. If you DO have Lost in the Labyrinth, you DO NOT want this as it is the exact same item under a different title/cover art. Long Live the Cure!
David is a happily married, self-published author and follower of Christ. His goal in this life is to write compelling fiction that is entertaining but that also portrays the power of redemption and the overcoming of evil. David's work can be seen as science fiction and fantasy, but that's not really calling it for what it is. It is Christian fiction but it is edgy. It is dark at times and it is hopeful at others. David loves to explore the deepest strands of human emotion. The stories David writes are filled with heroes and villains, time travel and galaxies, murder and rape, love and war. His exploration of redemption and of good overcoming evil will sometimes find him at controversial themes in his work, but he will always be true to the story and to the characters within.
Picking up right where the first novel left off, Black Earth: the Broken Daisy finds Nathan Pierce and company on a mission to save his condemned sister, expose the power-abusing president to the world, and defeat the all-consuming Legion from destroying Earth.
Like the previous novel (which most-certainly needs to be read before this one) The Broken Daisy boasts a full cast of realistic, well-developed characters, and mind-blowing plots twists. Edgy and honest, the novel bites into the reader and doesn't let go page after page after page.
While there are certainly forthcoming installments in this series, the ending of this book climaxes with a crescendo that both satisfies and builds anticipation for the next novel.
2009 compilation from the Kitsun‚ label, who have handed the reins of this new edition to the band Phoenix. The members of Phoenix, one of the most important French bands worldwide, have gathered a selection of tracks they've lived with and that have stood the test of time.. To quote them 'these are little treasures that have had this huge impact and amazed us'. Rare and carefully picked tracks that make of this record the most sentimental and melodic record ever released on Kitsun‚. A must have for the fans of the band but also for all those loving musical adventures and time travels! Features songs from The Dirty Projectors, The Impressions, Chris Bell, Roxy Music, Elvis Costello and many others.
Phoenix is one of my all-time favorite bands, so it's fun to get a feel for what inspires their music. This collection spans several genres but blends seamlessly. Very enjoyable listen.
A fantastic look inside the head of one of the world's biggest mysteries! And the guide is none other than the man himself.
Under the platinum fright-wig, there was a swiss-made machinery that went on 24/7. This is a description of Andy's last 9 years. At times funny and piquant, at others annoying, it offers the closest thing to an autobiography there ever will be about both man & myth.
A veritable who's who and who's what (and where) of this era is there in vivid detail. From the '54 days, to Bianca and Mick's ugly split, John Lennon's murder which left Warhol aghast, to Truman Capote's passing which made him cry. Phone chats with First Ladies and litterbugs, crushes on rock stars, celebrity weddings and celebrity parties, taxi bills (oh, how he kept track of money!), loneliness in crowds and funny, catty comment on friends and foes alike with the deadpan charm that was his trademark.
This is a most precious document on pop culture and history, as seen through the eyes and lenses of a man who was gifted with talent and was virtuous enough to be totally observant.
Seriously, at a certain point when I was around 18 or 19, this was my Bible, or my Little Red Book - I and a handful of friends (Warhol died at about the same time) took every syllable here very, very seriously.
This is kinda funny to me now, but it's a great book still, a truly unique cultural artifact. Warhol - as always maintains the trademark deadpan aloofness here, which had a few odd purposes beyond simply looking cool: there were rare instances when he'd drop his guard and a hint of social relevance would enter the frame, which did run contrary to most of what Warhol did, here especially. Doing so would turn art into something didactic, and - as a joke doesn't work if you have to explain the punch line, art flops if you have to lead your viewers, or readers, by the hand into your meaning. Thus Warhol's stylish glibness and affected cool served a brilliant purpose - it made demands of everyone who came into contact with it.
Here we have Warhol's epigrams - spread out like some artboy approximation of 'Quotations From Chairman Mao Tse-Tung,' all about equally quotable, useless, devoid of literary merit, yet (unlike the leaden and ideologically bankrupt Chairman) also stylish and memorable, even at their most zoned out.
The other great method behind Warhol's facades is here as well - the same impulse that turned canned soup into the artworks of a once very, very poor 2nd-generation immigrant's child (if you were going hungry, Campell's soup would in fact become, and possibly remain, a beautiful thing, and we all know that beautiful things are and always will be one of the most fitting of subjects for art). These cryptic sayings and jottings all seem constructed to get us all to see the small stuff for what it is, and learn to appreciate it for that.
Warhol was like Elvis - all things to all people. And about as maddening, contradictory and semiotically intriguing as Elvis. This slim little book is one of his strangest and most magnificent achievements.
Mumford & Sons, West London indie rock quartet, have created a gutsy, old-time sound that marries the magic of Crosby, Stills & Nash with the might of Kings of Leon and the harmonies of Fleet Foxes. Sigh No More was recorded at Eastcoast Studios, where Arctic Monkeys, Brian Eno, Tindersticks and Laura Marling have honored their sound. The band teamed with producer Markus Dravs who has worked with such superstar acts as Arcade Fire, Bjork and Peter Gabriel. Sigh No More was recently released in the UK to critical accolades. The album debut in the UK iTunes Top 10 recently and is being lauded by tastemaker publications. The first single, Little Lion Man , is already being boasted as The Hottest Record in the World by Radio 1's Zane Lowe, and the band has been long listed for the BBC Sounds of 2008 Pool, which features the most promising new music talent.
Formed in 2007, that band's goal since day one has been to make music that matters. Before recording their debut, Mumford & Sons self produced three EP's and toured the UK extensively, bringing their rootsy rock across the country. The band recently wrapped a handful of well-received performances during the annual CMJ Music Marathon in New York, which left Time Out NY to comment, The Brit combo has a spine-tingling way to harmony.
It's not often you stumble across a band that wins your heart within the first few chords. I was looking for a different band, and stumbled across Mumford & Sons instead. I heard The Cave and I loved it before the song had even made it to the minute mark. Then the banjo starts just after a minute and I knew I was going to like this band very, very much.
Mumford & Sons are something to talk about, in my opinion. It's not often you get a bluegrass country folky sort of band that actually makes it to mainstream radio. And they are successful for good reason! They write unforgettable melodies that beg you to hit repeat and infuse a whole bunch of styles to create something amazing. I find it a very likeable cross between Kings of Leon and The Fray, but with a banjo.
Track by Track:
Sigh No More - I must admit, this is a skip-able track for me. It's good, but by no means the best on the album. It's a good intro track and slowly lets you get into the mood. It introduces you to the style that will follow throughout most of the album, that is slowly building until it explodes at the end. But I think the reason it is skip-able is because I'm rushing to get to the next... 4/5
The Cave - This is simply an amazing song. Love at first listen, for sure. It starts off with Marcus's gravelly voice before building up to the banjo and then settling down again. The melody is infectious, as is the lyrics. I can guarantee you'll be singing along to the chorus at the top of your lungs in no time. 5/5
Winter Winds - The second single off the album that for some reason didn't do nearly as well as Little Lion Man, but in my opinion, just as good. It flows along like a river and is a hard one to skip. 5/5
Roll Away Your Stone - This one is particularly folky. It's one of the more upbeat, bluegrass infused songs and is sure to get your foot tapping. It's a great track, though not one my favourites. There are better melodies on the album than this and I find it a little disjointed. 4.5/5
White Blank Page - Definitely a standout track! This song is so achingly beautiful. Marcus's voice is simply stunning in it, you can actually feel the despair in his voice. It picks up just after the minute mark and the song soars into a powerful ballad with a whole lot of angst. 5/5
I Gave You All - A beautiful song. It is another that follows their style and builds from a quiet, soft ballad into powerful, angst-ridden track. 5/5
Little Lion Man - The first single! It was highly successful for very good reason. It is simply an amazing song. This is the one where the Kings of Leon comparisons come in... but with banjo. The banjo is definitely a highlight in this and as soon as it started, I was won. Also another chorus singalong track, extremely catchy! 5/5
Timshel - The harmonies at the beginning of this track draw you in and never really let go. It's one of the slowest on the album, and very beautiful. 4.5/5
Thistle & Weeds - This track is a little different, a little darker than the rest. It also has more of an appearance of piano in it, which works really well. It's a great track, but not my favourite. It lacks the melody of the others, in my opinion. 4/5
Awake My Soul - It's about this point in the album where I start to realise I'm liking almost every song. This is another catchy, beautiful track. Great intrumentalisation. 4.5/5
Dust Bowl Dance - This is quite likely the best written track on the album. The start is incredible. The banjo riff is so soft and melodious it makes your spine tingle. After this, it changes direction quite a bit and simply explodes into a wild, violent and angry piece. It is the best story-telling song of the whole album. The only problem is, I like the beginning much more the end and they're so different it feels like two different songs sometimes. I've got into this habit of flicking back to the start halfway through just to hear the banjo riff again... 5/5
After The Storm - A slow, beautiful, melodious track. It's one to listen to late at night, in the dark with your headphones on. Just close your eyes and listen. It is one the standout tracks, for sure. Amazing. It has some of my favourite lyrics on the album: "There will come a time you'll see/With no more tears and love will not break your heart/But dismiss your fears." 5/5
This is one of those albums that is going to get a lot of spins in my player, and will be a feature in my car for years to come I expect! Get it. It's awesome. =)
Standout Tracks:
The Cave
Winter Winds
White Blank Page
Little Lion Man
Dust Bowl Dance
After The Storm
Walker Brown was born with a genetic mutation so rare that doctors call it an orphan syndrome: perhaps 300 people around the world also live with it. Walker turns twelve in 2008, but he weighs only 54 pounds, is still in diapers, can’t speak and needs to wear special cuffs on his arms so that he can’t continually hit himself. “Sometimes watching him,” Brown writes, “is like looking at the man in the moon – but you know there is actually no man there. But if Walker is so insubstantial, why does he feel so important? What is he trying to show me?”
In a book that owes its beginnings to Brown’s original Globe and Mail series, he sets out to answer that question, a journey that takes him into deeply touching and troubling territory. “All I really want to know is what goes on inside his off-shaped head,” he writes, “But every time I ask, he somehow persuades me to look into my own.”
Ian Brown is an author and a feature writer for The Globe and Mail whose work has won a total of nine Gold National Magazine and National Newspaper awards. He is the host of CBC Radio’s Talking Books, as well as the anchor of TVO’s two documentary series, Human Edge and The View from Here.
Most reviewers don't seem to know a lot about Four Tet / Kieran Hebden.
Kieran is a pioneer in the "folktronica" movement, when he started back in 1999 by mixing acoustic folk guitars with jazz samples and electronica elements.
His music has been quite influential, and he has done a lot of groundbreaking live DJ collaborations with jazz drummer Steve Reid, which have been released on record. Kieran is also a member of post-rock band Fridge, and has released a few CDs with them. He also toured with Radiohead.
All of Four Tet's music is instrumental, except for the remixes he has done for some well known singers such as Beth Orton, all released in his two "Remixes" albums.
"There is love in you" is not a "dance" record.. just like most of Four Tet's work cannot be pigeonholed into any particular category.
This CD is like most of Four Tet's work.. a quite unique combination of minimalist / repetitive, funky-jazz drums, backward samples (a common element present in all of his music), guitars and manipulated sounds.
Here is a listing of all the songs:
The first song "Angel Eyes" starts with some cut up vocals, reminiscent of Bonobo's (Simon Green) first album and it builds up by adding elements such as orchestra percussion samples. It almost sounds something out of a Cinematic Orchestra album.
"Love Cry" is a 9 minute song of digital sound manipulation as ambience backing up some funky drum work, sampled vocals and synths, before ending in the signature Four Tet backward guitars.
"Circling" starts with what appears to be a repeated banjo arpeggio followed by doubling piano arpeggios and some backward manipulated sounds. This song sounds almost like an early Steve Reich minimalist composition, where various sonic elements / instruments are phased in and out of the song.. (hence the title of the song)
"Sing" is a "dancey" happy song featuring some vocals snippets and morphing synths sounds.
The closing songs are my favorites in the album:
"This unfolds" and "Reversing" are more "traditional" Four Tet songs with slow drums / drum machines, backwards samples and manipulated sounds singing catchy melodies.
"Plastic People" is much like "Circling", where various musical elements are phased in and out of the song on top of a catchy arpeggio. Great stuff!
"She just likes to fight" is a song that reminds me the early Four Tet "folktronica" ... layers of guitars and manipulated sounds, folk arpeggios and melodies.. this song almost reminds me of Steve Tibbet's early layered guitar albums.
Overall this is one of the best Four Tet albums has released recently, and it compares to some of his early work. Lovely music, highly recommended.
Warren Ellis tried to figure out how adventure comics would have developed without sixty-odd years of super hero comics. The result is a series of one-shots that follow some of the classic themes of the old action comics. This volume collects the first four.
Science Fiction is up first with a very bizarre tale and amazing graphics (you really have to pay attention to all of the little details in the graphics).
Detective fiction takes an interesting turn with a detective who has a tendency to sleep in dumpsters. He and his new partner have a murder to solve.
The wonder of Pilot heroes follows as a flying ace retires from a team of hero pilots. This one is a little strange as well as being a pilot has little to do with the story. Also the art was unstable with characters looking young one moment and beyond middle age the next and vice versa.
The final story takes the mantle of Doc Savage, The Shadow and The Spider with a different eccentric millionaire fighting crime with the help of strange substances. I felt this was the best overall considering both story and art.
Readers will be a little disappointed to find out how long we might have to wait for any more of these stories and there is also a tendency to want to see more stories about some of these characters (I really liked the detective). Check it out.
Learn how to create, produce and perform a whole new way; prepare to unlock the power of Live!
In this brand new title for Ableton Live 8 and Suite 8 users, author Keith Robinson details exactly what Abelton Live can deliver. The book is engineered to follow Live's non-linear music environment - the book look and feels like the program! Its unique format utilizes the terms and creative features of Live - tabs, keys, pointers, and labels.
Packed with professional testimonials, concepts, definitions, hundreds of tips, tricks and hidden features, Ableton Live 8 and Suite 8 covers the software's nuts and bolts and creative technique to create, produce, perform and make music on the fly.
The accompanying website contains "Live sets" and web pointer information to sync and download as well as interviews, additional hints, tips and video
* Inspiring and exciting structure and graphic format mirroring the GUI of live * Author is worldwide lead clinician and training manager for Ableton Live, learn from the industry experts * Includes new and inventive tricks, be a successful and proficient Live user * Understand Ableton Live terms and features, provides a comfortable transition from other DAWs
From the Back Cover
Learn how to create, produce and perform a whole new way; prepare to unlock the power of Live. This book and DVD combination shows, if you get it right, exactly what Ableton Live can deliver. Engineered to follow Live's non linear music environment the book looks and feels like the program, its unique format utilizes the terms and creative features of Live- tabs, keys, pointers, and labels to learn the littlest things that make the biggest difference. Packed with professional testimonials, concepts, definitions, hundred of tips, tricks and hidden features the book covers the software's nuts and bolts and creative technique to create, produce, perform and make music on the fly. The accompanying DVD contains 'Live sets' and web pointer information to sync and download as well as interviews, further hints, tips and video
Ableton Live software is a powerful, flexible environment for creating, performing, and producing music. This unique software demands an equally unique control instrument. Akai Professional and Ableton are proud to present the APC20 compact professional Ableton Live performance controller. The APC20 transforms your Ableton Live experience from constructing tracks on a computer to fluid, musical creation. The second model in the APC series, the APC20 offers a smaller footprint than the APC40, enabling musicians to more easily create a personalized setup with multiple APCs, effects controllers, and other devices.
The APC20 is the link between human and computer that perfectly balances analytical parameter control with creative expression. Whether you are an electronic music artist and Live is your canvas, a DJ using Live to mix or remix tracks, or a more traditional musician using Live on stage or in the studio, you will find the APC20 to the intuitive, powerful instrument that directly links your inspiration with Ableton Live.
INSTANT PERFORMANCE
Because Akai Professional and Ableton designed the APC20 specifically for Ableton Live, you don’t need to map its controls to talk to the software. Just connect your laptop to the APC20 via USB and you're ready to make magic. The APC20 is plug and play, so you don't need to install drivers. First-time setup is literally three steps: load the included Ableton Live software, plug in and power up your APC20, and select the APC20 as Ableton Live's controller. That's it. No mapping, no setup, no hassles.
The APC20 comes pre-mapped for instant use with Ableton Live software, so if you're new to it, you'll find using the APC20 to be easy to get around on. And if you’re an experienced Live user, you'll be happy to note that you can custom-map every single button and fader on the APC20 to completely customize the controls for the way you like to work.
VISUAL FEEDBACK
The APC20 talks directly to Ableton Live, and Live talks directly to the APC20. This bidirectional communication makes the APC20 an advanced controller in that it can receive feedback from the software and display it on its Clip Launch matrix. The Clip Matrix gives you an instant view of clip status: what's loaded, what's playing, and what's being recorded. Each state displays in the grid in a different color so you can get a quick picture of clip state. You can shift your clip focus and get an overview of the clips you have loaded for your set.
PROFESSIONAL CONSTRUCTION
Ableton selected Akai Professional as its partner in developing the APC20 because of Akai Pro's leadership position in great-feeling controllers that are rock solid, rugged, and precise. From the legendary MPC series that changed the way music is made to the industry-standard MPD and MPK controllers, Akai Professional is revered by musicians, DJs, and producers everywhere for creating the feel that powers their creativity. The APC20 is built with a rugged, metal chassis and slip-proof rubber detailing. There’s no flimsy plastic here. Faders are solid and precise for pinpoint performance.
CREATIVE CONTROL
The APC20 comes with Ableton Live Akai Professional APC Edition software, which is fully functional for performance and production. Owners of the standalone edition of Ableton Live 8 can also work seamlessly with the APC20. Live 8 has full support for the APC20.
The APC20 also enables special clip-status views and feedback that only the APC20's matrix can display. The matrix is not limited to only 40 clips: you can scroll and shift, enabling you to access, control, and perform with an unlimited number of cells.
The APC20 has nine faders, which you can assign to volume control, pan, sends, and a choice of three user-mapped modes. You have even more control power with special controls including Tap Tempo, Tempo Nudge, record enables, and solo/cues. A new User Mode enables you to use the Clip Launch buttons to control instruments and the Drum Rack.
Designed in partnership with Ableton, the APC20 is the ideal controller for performers who like to perform in a small amount of space for maximum portability. It’s also perfect for players who want to combine multiple controllers in their setup thanks to its small footprint. Don’t settle for cheap, plastic imitations. From the company whose name is synonymous with the word production, the APC20 is the serious choice.
Tim Burton's beloved creation receives delicate treatment at the hands of the McFarlane crew. From his wild tendrils of hair to his leather-booted feet, Edward Scissorhands appears every inch the duplicate of his 1990 cinematic incarnation. Particularly notable on the 7-inch figure are the finely detailed metalwork on the outfit (painted gold and silver) and the generous articulation. In addition to movement at the knees, hips, waist, neck, left arm, and shoulder, all of Scissorhand's fingers move independently. The figure comes with a Movie Maniacs stand and mini movie poster.
All fans of the movie "Edward Scissorhands" as well as admirer of Johnny Depp would love this item. I have seen many ornaments, toys and action figures of Jack Sparrow, but none have done very well in capturing the character's or Johnny's facial features or body characteristics as well as this one! It is truly Edward! All of the minute details (scars, buckles, etc) hair, leather suit, scissorhands, and other implements (down to the knife in his boot) are there. The figure also comes with a standup background with mini poster from the movie which really adds to the mood of the piece. Due to the intricate and fragility, it would not be recommended for children or for hard play. It is truly a display item. But if you love the movie or the actor, this is a must have!
In blue sweater and carpenter pants with removable hat, microphone and gold chain.
Mezco Toyz is proud to announce the release of the 9" scale rotocast vinyl figure of one of the greatest rappers of all time and undoubtedly a legend in his own right - "B.I.G.," "Biggie," "Biggie Smalls," "Big Chris" - or as he's more commonly know, The Notorious B.I.G.! This super deluxe figure by Mezco captures the presence of a talented artist who met an untimely death. The first Notorious B.I.G. figure ever available will hit stores this fall. Biggie will sport his iconic white tailored cloth suit and will come complete with hat and cane accessories. Also look for a second variant version randomly shipped in master cartons.
awesome toy design! some more thought couldve gone into the actual package design... it's so boring. get a better graphic design company.
High Quality Content by WIKIPEDIA articles! Uffie (born Anna-Catherine Hartley on December 9, 1987) is an American-born, Hong Kong-raised, Paris-based rapper, vocalist, entertainer and songwriter currently signed by French music label Ed Banger Records. She incorporates the genres of synthpop, electronica, hip hop, rap and dance into her music and often works with her fellow label-mates, DJ Feadz and Mr. Oizo. She is perhaps best known for her singles "Pop the Glock", "First Love" and "Hot Chick" and her collaboration with labelmates Justice on the single "Tthhee Ppaarrttyy." Her long awaited debut album, Sex Dreams and Denim Jeans will be released through Ed Banger Records in spring 2010.
My girlfriend bought me this book for my birthday and I couldn't wait to get started on it because I'm a huge Pumpkins and Corgan fan. After about the fifth page I was already disappointed. I could hardly stand reading the author's long, drawn out, overly dramatic way of informing the reader. Every sentence felt like work to read because the author goes out of her way to try and impress with her large vocabulary and endless, dragging, dry descriptions on every single event.
I couldn't agree more with all the bad reviews written before me. If you strip all the dry filler from this book you wouldn't have much left, and of that most SP fans probably know 75% of it already. Don't be fooled by the good reviews that attack the intelligence of the people criticizing this book. I understand the words the author uses, but it makes for difficult reading that doesn't flow well at all. Like I said, reading this was like work. I'm very disappointed. I've never liked/disliked a book so much that I would actually write up a review, but I don't want others out there to go through what I did and waste their (or their girlfriend's) money. You can get better information about the band by studying their lyrics and finding interviews with them online.
The first, and only biography I have ever read of smashing pumpkins, and the worst biography I've ever read by anyone. Hanson over-utilises long words and skirts around even the slightest hint of any member of the band's private life in a bid to appear intellectual and inoffensive. In actual fact this only serves to irritate the reader. The photo section is the only real piece of green in this boring concrete patchwork, but even that is thin and devoted to the gish days. Although hanson clearly has a respect and perhaps a love of the pumpkins, her over-egging of songs like I am One and Siva is annoying. The real fault of the book though is its effort to appeal to indie kids who think they're clever, but even they would probably hate this clinical trash. I don't normally write amazon reviews, in fact this is only my second, but any prospective fan thinking of buying this book should look towards the mellon collie or adore CDs. Don't buy this, if you see a good review of this book, the person who wrote it was bribed. This is long, boring, irritating and over-intellectual with no real let up.
This is a story of Bez, the man with the maracas and Shaun Ryder's sidekick in the Happy Mondays. Bez was the embodiment of the eighties 'Madchester' scene - when asked by a journalist why he took so may drugs he replied, 'It's my job.' "Freaky Dancin'" is a rollercoaster ride through the excesses of rock 'n' roll. It is also the story of how a petty criminal, with no future, got up on stage one night at The Hacienda and found himself famous. 'No one has truly and more fully lived the rock lifestyle since "The Who's Keith Moon". This is the most honest, funny, outrageous, drug-fuelled rollercoaster of an autobiography since "Howard Marks". A cult classic.' - "Mirror". 'Bez emerges as a dangerous lunatic whose entire life is motivated by the pursuit of drugs. But, like his book, he's almost impossible not to like. Top one.' - "Mix Mag". 'Bez presents his life as a triumph against the odds, the pills and thrills of a hyperactive kid who couldn't settle on anything except drugs and petty crime but fronted one of the most important bands of the past ten years.' - "The Times". 'Bez's life story reads like that of a man who stole the world, sold it, bought it back on the cheap, and then left it on the back of a written-off jeep somewhere in the Caribbean.' - "New Musical Express".
I opened this book and couldn't put it down until I finished it. It truly does tell the story of Shannon Hoon and Blind Melon, and tells it in the best possibly way; from the mouths of the people that lived it. The story is told in a series of quotes from band members, record company people, family and friends obtained through interviews by the author. And in the case of Hoon, the quotes were taken from published interviews from the 90's. There could no be no purer way for this story to be told. The interviewees were candid and open; they seemed to hold nothing back. Their words and stories spoke so clearly of those times and what Shannon Hoon meant to them that I truly felt that I got to know him and his tendencies through this book. I felt as if I truly had spent those hours not reading a book, but spending time with these people and their friend Shannon. Which made for emotional results even though I knew the end to this story. When the fateful end of Shannon Hoon's life came in this book I immediately felt the loss of him. My heart broke, and I missed him. Just from reading a book 13 and a half years after the event. I do not have the book in front of me as I review it, but someone in there said something along the lines of "everyone who met him thought Shannon was their best friend" and it was easy to see that.
As Shannon Hoon had the most powerful personality of the subjects in the book, and people seemed to speak most about their relationship with him, it is easy to focus on him. But through the honesty of Rogers Stevens, Christopher Thorn, Brad Smith, and Glen Graham you felt closer to them as well. They give valuable details of life in the band Blind Melon, everything from stories from the road to recollections of recording and some song meanings. A casual rock and roll fan will see from this book that Blind Melon was a band, and not just Shannon Hoon.
Your heart really goes out to the people that were close to Shannon Hoon. People whose lives were touched very deeply for knowing him, and who had to deal with the pain of losing him. I extend gratitude to those willing to speak about those times for this project, and credit to the author for the Shannon Hoon quotes he chose to give the singer's perspective of that time in his life with his band. Strongest recommendation for anyone that is a fan of 90's music, and this is a flat out must read for any Blind Melon fan.
In April 1989 The Stone Roses released their debut album, the eponymous "The Stone Roses". Setting the album in the context of the Manchester scene at the time and the subsequent career of the band, as part of the 'Vinyl Frontier' series 'The Making of The Stone Roses' traces the studio dramas, musical politics and creative inspiration that lay behind a modern classic that is consistently rated highly among fans and critics alike.
When I first heard about the book I went straight to the bookstores to find it. After I got a copy I was attached to the book about their lifestyles and kind of things they do fun. The fights between Noel and Liam were exciting as the band's get drunk all night until the next dawn. It shows what the band Oasis is about and what happen in their past. Tells through the Gallagher Bros. sadistic lives to their success in the careers with help of friends, family and band members. Follows through band members such as Guigsy, Bonehead, and Alan White lives including producer, manager, and friends such as Johnny Hopkins, Mark Coyley, and Paul Weller as well. This book tells what Oasis is about. Their die-hard habits of partying, drinking, smoking, and shooting up drugs also included in this book. After reading the book, you want to go back for more and makes you want Live Forever. Highly recommended for Oasis fans.
"The title "Unknown Pleasures" in all likelihhood refers to Proust's "Remembrance of Things Past", a divisive, drawn out autobiography of the author's wilful self-absorbed youth" (Page 82)
If that sentence does not grate then this book is definitely for you as it admirably sums up the author's approach - "Unknown Pleasures" is a recording that like Jeff Buckley's "Grace", has become near mythical as a memorable initial recording followed by the singer's early death with no time to subsequently disappoint by later output . As a result many writers on limited evidence feel able to extrapolate their views and this book is sadly no exception.
Chris Ott is clearly a long time US based devotee of the group and their output and as an American has done a lot of homework on the Mancunian rock scene of 1976-1980. He covers well how it grew out of copying the London led punk scene and was then left behind by Joy Division as they moved on from their initial incarnations as the Stiff Kittens and Warsaw. His detailed coverage of the early recordings and John Peel "Top Gear"sessions and the growing contact with Rob Gretton and Tony Wilson plus producer Martin Hannett (whose cutting edge if erratic approach to new recording techniques was used so effectively but at the cost of alienating group members by his control freak approach), is the best retelling of the story I have seen to date.
Where the book starts going astray is half way through as we move to the recordings of the songs that made it to the final LP and the remainders that were used on later releases and compilations. That Ian Curtis developed quickly as a great lyricist and singer and that he was a major catalyst with other members of the group in how songs were developed is well covered - however the hagiography with which Ott imbues him and the interaction of his private life (relying heavily on his widow's recent biography) lead to an overemphasis on the tragic suicide that occurred shortly after and little evaluation of the LP and its subsequent impact (the small sales of 15,000 in six months being little explanation of why the recording is cited in many "best of" lists). Instead what is provided is a retelling of Curtis's quick and sad decline in health and the tragic interaction of drugs and manic live performances reflecting the growth of intensity in his epilepsy seizures. One sad result is the rest of the group become a mere backdrop, which as New Order subsequently showed they were clearly not.
Stone Roses is a well researched review of a stunning debut album that thrives on the sheer enthusiasm of its author where others in the series have choked on it.
The author also succeeds in striking a balance between the equally interesting rise and fall of the Stone Roses that bookend this fantastic album. The meat of the story is the album itself, well placed in the different contexts of the US and English music markets of the late '80's and supported by a great deal of primary source material from those involved with album and those who witnessed it from the outside.
While the inclusion of a member of the Posies or some obscure English band even many indie music nerds will never have heard of may not be as key as say a lifted quote from John Leckie, they do succeed in bringing the author outside of himself and offering different perspective on the art and artists.
A sure hit for fans of the Stone Roses, `90's Britpop and of course those who appreciate brilliance and Spinal Tap-esque drama fit for "Behind the Music," but with actual music.
In the late 80s, Factory Records was at the height of its success thanks to two bands – Joy Division and New Order – and the single-minded company director, Anthony H. Wilson. This is the fascinating story of the rise and fall of this influential independent UK record company. Drawing on exclusive interviews, Mike Middles uncovers the real story behind the company that fell so dramatically from unprecedented global success to an all-time low by 1992, when the back catalogue had been sold off and its key bands were in disarray. The classic warts-and-all history of Factory Records, told by one of Manchester's leading music writers.
At the start, I felt Mick was a bit of a sycophant. And he may well be. As things progress, I was able to put that aside and was quite fascinated with this slice of British music history. And really, being sycphantic is not a bad thing in context. Anyone who was around when the music came out, or anyone who loves electro pop, dance and DJ culture should enjoy this. Me, I always love the Brits and their writing. I enjoy the quiet humour. Does that sound sycophantic???
This Pink Floyd pen celebrates their classic album, 'The Wall,' released in 1979. This silver, white and red pen features the 'The Wall' as it was printed on the album, and it shows the band's name in mod print on the clip. The band earned recognition for their psychedelic and space rock music in the '60ties, and they evolved into more progressive rock music in the '70ties. Their work is marked by the use of philosophical lyrics, sonic experimentation, innovative album cover art, and elaborate live shows. Nab this cool collector's item available in limited supply; and celebrate the timeless music of Pink Floyd with this unique pen.
Considering how far across the spectrum Lou has gone over a 40 year period, the songs manage to interweave nicely, and is not a conventional "greatest hits" by any stretch to be called "Ultimate" or "Essential". But it's typical of Reed to confuse, confound, frustrate, and upset critics and fans...
He wrote these songs and sequenced them in order to a way that he was satisfied with listening to as an album in its own right versus a chronological "hits" package, pulled the masters and gave a short commentary of each song in the booklet (including revealing that the epic "Street Hassle" cut features an uncredited Bruce Springsteen and Patti Smith on part of the song).
He chose to go with the edited "Sweet Jane" versus the found extended version or the 70s radio classic from "Rock and Roll Animal". The VU songs at times go with the original recordings, and others (I'll Be Your Mirror, White Light White Heat and Heroin) go with his solo versions in concert.
In the notes he felt a lot of the songs took years to catch on, and gave "Perfect Day" as an example, even though he prefers "Hangin' Around" as a favorite. He includes cuts from "Live In Italy" and "Take No Prisoners", although leaves hits like "I Love You Suzanne" off.
For an intro it's essential. But most people would be better off with the original CDs these came off of.
Everyone has a history - an account of the things they've done during the time they've been around. We think of ours as a bunch of cool stories that have led us to where we are and will show us where we'll go. We've also been around long enough to learn it's not about how old you are, but how good you are - and that everyone loves a good story.
Monaco only proves that Peter Hook was/is much more than New Order's bass player. Clearly, Monaco establishes the fact that Hook was/is one of the primary songwriters in the band. He might be THE songwriting force behind the band. These songs echo New Order (especially when a certain and most distinct bass dances it way through every song). Any fan will instantly recognize the melodies, beats, arrangements, and overall feel of NO. Even the vocals could have been lifted right off of a recent NO release. And that is no bad thing. If it helps, think of this as another great New Order offering.
Song-wise, one could easily believe this is just a slight trip down a new path for the band. However, knowing this is Hook's post-Revenge side project, there are some creative twists and turns. Some hear an Oasis hook or two amongst Hook's hooks (sorry!) and I am no exception. There are moments when I imagine Peter and Noel Gallagher sitting in a room together (with bass and guitar in hand, respectively) banging out some very catchy tunes. Again, this is no bad thing. Both are master songwriters.
There are even hints of the Pet Shop Boys' pop-genius here. Certainly, Monaco has sprinkles of other-greatness flavoring every song. No doubt, David Potts (with Hook's Revenge) contributes no small part to this masterpiece. Blending what's best of the 80's with what's best of the 90's, this is one unique breed of sound.
This all happens in a context that is way past Hook's Revenge stage. No longer is he feeling the need to escape that New Order sound- his sound (that persistent, driving, melodic bass). Here, Hook embraces all that he is, all that New Order is, and ultimately, all that Monaco is. This is a mature, expansive, emotional, danceable, and beautiful thing. This is music for the sake of music. In one word... PURE.
Monaco is, in retrospect, after hearing NO's Get Ready and Waiting for the Sirens' Call, the fulcrum at which NO's past meets and welcomes the future. It is a seminal moment in New Order's timeline, and a completely unique thing unto itself as the transient but evolutionary Monaco. But it is truly impossible to deny that Monaco plays a pivotal role in the New Order story.
This cd oozes with melody. There's nothing here that will offend any New Order fan. Think of it as New Order bonus material. Really good bonus material. It is both transitional and original. It is certainly good and New. Inspirational and... music for pleasure, indeed!
Tony Wilson, who passed away in 2007, was a journalist, broadcaster, and music-industry veteran. Known as "Mr. Manchester," Wilson ran the infamous Factory Records and was a key figure in the stories of those local Manchester bands that achieved global fame, including Joy Division, the Happy Mondays, and New Order. As Wilson’s first wife, Lindsay Reade bore witness to the crucial early stages of his career, as well as the now-legendary years of excess and idealism that led to the birth of the era-defining "Madchester" scene. Here, Reade reveals the juicy details of the Wilsons' marriage, life behind the scenes at Factory Records, and her encounters with icons such as Sid Vicious, Iggy Pop, Ian Curtis, and Leonard Cohen. Mr Manchester and the Factory Girl is the story of a legend, delivered from the inside and unique to the author.
The definitive look at one of the most iconic rock bands of all time. Joy Division pioneered a genre of music and defined the look and sound of the post-punk era, and thirty years after the suicide of their lead singer Ian Curtis, they remain one of the most influential rock bands to have come out of England. Between their infamous live performances and two studio albums in the late 1970s, Joy Division set the Manchester scene alight, established Factory Records as the most influential label in pop music, and recorded some of the most enduring songs of the era. Kevin Cummins began his career just as the band formed, and for the few short years of their career was given closer access to them than any other photographer. Joy Division collects more than two hundred of his images of the band—sensitive photographs that capture their quiet introspection offstage, their close relationships as bandmates, and Curtis’s legendary energy in live performances—and supplements the iconic images with concert tickets, unreleased record sleeves, fan club badges, Factory Records flyers, and other rare ephemera. This book is the most definitive and heavily illustrated celebration of the band ever produced.
Photos by a key figure in modern music, noted for the way she integrates performance poetry with garage-band rock and roll.
Patti Smith is known most widely as a musical artist and a poet, but her creative energies are not limited to those genres. This book offers a chance to explore the photography of the punk poetess. Published to accompany an exhibition at the Fondation Cartier Pour L'Art Contemporain in Paris, it presents hundreds of Polaroids and black-and-white photographs, plus commentaries by the artist.
The exhibition took place from March to June 2008, and many of the photographs were created especially for the show. The book celebrates a lesser- known string to Patti Smith's bow, presenting an iconographic world in which films, drawings, and photographs converge. 250 illustrations.
Well worth acquiring - the production of the book itself is of high quality and the photographs are moving - heartfelt little gems. Made me realize what damage the world of the 'perfect', soulless digital camera is doing for our perception of what a photograph is.
Patti Smith and Robert Mapplethorpe weren't always famous, but they always thought they would be. They found each other, adrift but determined, on the streets of New York City in the late '60s and made a pact to keep each other afloat until they found their voices--or the world was ready to hear them. Lovers first and then friends as Mapplethorpe discovered he was gay, they divided their dimes between art supplies and Coney Island hot dogs. Mapplethorpe was quicker to find his metier, with a Polaroid and then a Hasselblad, but Smith was the first to fame, transformed, to her friend's delight, from a poet into a rock star. (Mapplethorpe soon became famous too--and notorious--before his death from AIDS in 1989.) Smith's memoir of their friendship, Just Kids, is tender and artful, open-eyed but surprisingly decorous, with the oracular style familiar from her anthems like "Because the Night," "Gloria," and "Dancing Barefoot" balanced by her powers of observation and memory for everyday details like the price of automat sandwiches and the shabby, welcoming fellow bohemians of the Chelsea Hotel, among whose ranks these baby Rimbauds found their way.
Before she became the Godmother of Punk, Patti Smith was just some girl who came to New York in search of herself. We have a tendency to view her as always having been a rebel, guitar in hand, spouting her distinctive mix of poetry and invective at society. But the reality was that Smith came to New York as a refugee, uncertain of who she was and what she wanted to be. That's sometimes a bit hard to believe or realize, but in "Just Kids" Smith reveals just that: she wasn't one half as confident then as she is now, and that she had no idea what she was going to do once she arrived in New York. While this is true of almost everyone from her generation, it is somehow shocking and bizarre to ponder. More interesting was that her first lover and partner in New York was none other than future photographer Robert Mapplethorpe. The bulk of "Just Kids" is Smith's recollection of Smith's early years in New York with Mapplethorpe and how they came to create their own image as artists and autuers and to craft their image and art. Again, it seems weird to think of either of them as being anything other than fully formed individuals, and that, in and of itself, seems supremely bizarre. We seldom think of the intervening events that came to create them as artists, yet here is Patti Smith lying bare exactly how she came to be what she became. The result is a fascinating and spellbinding narrative that you can scarcely set down. Ultimately Smith learns that Mapplethorpe is gay and both go on to find their own loves and their own directions in life and in art. In that degree "Just Kids" feels like only the beginning of a captivating story, the transition to another chapter, and I sincerely hope, a transition to another volume of memories, as I'm no doubt certain that Smith has a wealth of other memories than span well into the 80s, 90s and beyond. But for now I'm heartened to hear what she has to say as for now, the era before she became Patti Smith. And rather than being a trip down memory lane, "Just Kids" reminds us that everyone had to start somewhere, and success is never easy or certain. Smith's prose also wonderfully captures an era of New York City that has largely faded to the mists of time and memory. It is a time and place I was glad to revisit for a while. Immensely enjoyable and quite readable "Just Kids" is probably one of the best rock autobiographies I've ever read!
On the occasion of the 33rd anniversary of the famed Benicassim/ Rock Werchter music festival, along with the upcoming exhibition in the Palais des Beaux Arts in Brussels, this book explores the "unknown" visual side of some of the most popular faces of rock and pop bands, giving an insight into the genesis of their music. Most of the bands have linked contemporary art in their lyrics and songwriting and have engaged in productive crossovers. The book compiles the artworks of bands and musicians from the 70's until today, musicians for whom visual art is yet another strung in their creative process. Featuring over 20 artists including: Brian Eno, Yoko Ono, Laurie Anderson, Patti Smith, the Residents, The Kills, Devendra Banhart, Anthony and the Johnsons, Chicks on Speed, Miss Kitten, Fischerspooner, Nick Zinner (Yeah Yeah Yeahs), Pete Doherty, David Byrne….
High Quality Content by WIKIPEDIA articles! Sigur Rós is an Icelandic post-rock band with melodic, classical, and minimalist elements. The band is known for its ethereal sound and lead singer Jónsi Birgisson's falsetto voice.Jón Þór (Jónsi) Birgisson (guitar and vocals), Georg Hólm (bass) and Ágúst Ævar Gunnarsson (drums) formed the group in Reykjavík in August 1994. Their name is Icelandic wordplay: while the individual words Sigur and Rós mean, respectively, Victory and Rose, "Victory Rose" wouldn't be grammatically correct; the name is actually borrowed from Jónsi's younger sister Sigurrós, who was born the same day as the band was formed, and then split into two words.
Stacked Logo Above Trees Silhouette Girls Tote Hand Bag (14 Inches Tall x 10 Inches Wide) These Handbags Are Small And Lightweight. They Are Great For Concerts Or Just Filling Up With Makeup And Personal Items.
This independent film was shot around the globe for 5 years it consists of 250 hours of footage, plus 800 fan and celebrity interviews. It features exclusive performances by the BareNaked Ladies singing "Rio" in an empty arena, Daniel Cartier singing "Save a Prayer" in the New York City Subway and of course Duran Duran themselves playing in Times Square and a sold out Wembley Stadium. There are few bands in music history whose followers are as legendary as Duran Duran fans. Something You Should Know uncovers a tribe of people, a pop culture phenomenon known as "Duranies" and is also a glimpse of the band's influence, the fans' behavior, and explains the band's relevance during the last 30 years. The film follows several individual fans as they celebrate the return of the original line up of the band and the rebirth of their teenage years. Throughout the film we are introduced to "Duranies" like "Durandy" an extraordinary memorabilia archivist and collector whose collection can be seen at the Rock and Roll Hall of fame. Also "Vader Vader", who may have the largest Duran T-shirt collection in the world and we also meet "Duranimal", a fan whose intense loyalty includes collecting used cigarettes butts, beer bottles, and a piece of a hot dog eaten by a band member in 1985. Also interwoven throughout the film are exclusive Duran Duran performances and interviews from fans whose careers who have been influenced by the band including Moby, Kelly Ripa, Carson Daly, BareNaked Ladies, Dido, Jonathan Davis of Korn, plus Adrian and Tony of No Doubt. Unlike any other fans in rock and roll, "Duranies" are fueled by the bands music, but have maintained a unique fan culture based on community, loyalty, and most of all enduring friendships.
The Work of Director Michel Gondry invites the lucky viewer into a wonderland of childlike imagination. Before the Versailles-born Gondry turned his creative ingenuity to feature films (beginning with the underrated Human Nature and the 2004 Jim Carrey comedy Eternal Sunshine of the Spotless Mind), these 27 music videos and assorted "stories and things" formed a legacy of supreme cleverness, suggesting a creative lineage from the pioneering film magic of Georges Méliès to the groundbreaking experimental films of Norman McLaren. It's perfectly fitting that the accompanying 75-minute documentary is titled "I've Been 12 Forever," because Gondry (b. 1964) never lost the sense of wonder and inventiveness that children display when their minds are allowed to flourish in a creative environment. No wonder he's best known for his dazzling collaborations with Icelandic pop star Björk, resulting in music videos (seven included here) that redefined the magical potential of the medium. Each, in its own way, is a masterpiece of the fantastic. What's also remarkable about Gondry's work is its technical progression, from the homemade crudeness of his earliest videos for the French band Oui Oui, to the technical wizardry of Kylie Minogue's "Come Into My World," in which the Australian pop star is seamlessly multiplied as she strolls around a busy Parisian intersection; like many of Gondry's videos, it's a stunning "how-did-they-do-that?" work of art, reminiscent of Zbigniew Rybcynski's prize-winning 1982 short "Tango." From the hilarious dreamworld of the Foo Fighters' most popular video "Everlong" to the painstaking pixilation of Gondry's videos for the White Stripes (one made entirely of animated Lego blocks), this DVD is packed with Gondry's tireless pursuit of perfection; he'll do whatever's necessary, no matter how simple or complex, to achieve perfect harmony between song, artist, and visual concept. All the while, he's drawing from a seemingly endless well of inspiration, as evident in the delightful 52-page booklet of stories, drawings, photos, and interviews that chronicle the eternal sunshine of a brilliant mind.
Screaming Masterpiece is an awesome documentary about the current music scene in Iceland. There's no need to have a history about it because almost all of the artists use their roots and ancestry as their main influences. For such a small island country Iceland has hundreds of different bands that make many different genres of music that all still relate to each other. This is one of the most interesting and entertaining documentrys I have ever seen. It is WORTH seeing.
If you happen to already be interested in some Icelandic artist(s) and/or are interested in the culture of Iceland itself, then this short documentary is a decent acquisition for $15. I wished it were more in depth (and thus longer); I mean, they run through about 25 artists rather quickly, but it's a nice, compact sneak-peak at everything if that's all you're looking for. Not bad, but not too great either.
Julien Temple, one of the early documentarians of the London punk scene and director of the 2000 Sex Pistols film The Filth and the Fury, turns his attention now to that other seminal British band: The Clash--or more accurately, to the band's co-founder, lyricist, rhythm guitarist and lead singer, Joe Strummer. The Future is Unwritten is more than just a biography of Strummer; it is a tribute and exploration of a musician, artist and devoted humanist. Though Temple respects and admires Strummer (his influence is exalted by close friends, peers and fans like Bono and John Cusack), he doesn't romanticize this larger-than-life personality and presents Strummer honestly and not always in flattering light, though the director's fondness for his subject is constant. Most movingly, Strummer himself provides the narration via reassembled excerpts from a variety of interviews and the BBC radio show he hosted during the nineties. In the wrong hands, this could be contrived, but in this masterful documentary it serves as a testament to not just Joe Strummer the myth, but Joe Strummer the man, telling us his story in vivid detail. The Future is Unwritten is a moving and personal portrait of a musician who helped shaped not just punk, but modern music as a whole.
This is a rather interesting piece. It does follow a fictional alcoholic young man who quits his lame job as a clerk for a shop that sells pornography to equally sad customers, and joins the Clash as an apprentice roadie. Intermixed with the fiction is excellent concert footage of the Clash before they made it big in the States, just not enough of it. Also, it provides an accurate snapshot of pre-Thatcher Britain. The Brixton race riots contrasted with that of neo-nazi demostrations, provides a background to Ray Gange's narrative as the man with no future. His only solace in the Stalinist Tower Block Flats is playing the Clash's first album on his very cheap turntable. Even the rather stark sex scene in the women's bathroom in some club doesn't provide relief, since she runs off while he is cashing in his unemployment check at some streetside bank.
The minuses: The story and the acting is pretty lame at times.
The plusses: Excellent concert footage, what there is of it, gives a great idea of the Clash's performance at the time. Police and Thieves performed live here is, I believe, superior to the album cut. Plus, the producers of the movie included a clip of the original song, which I wished was complete, being a reggae fan. Another plus is the 100% accuracy of what England, especially London, was like during that time. It was a wasteland in the city, a concrete jungle. It is not much surprise, with hindsight, that the Clash and the Sex Pistols became so popular back then. Unfortunately, it seemed to have brought about Thatcher's election, also documented in the movie, which frankly doesn't make much sense to me, but I will leave politics out of this. Let's just say it made things worse for much of the very people the Clash appealed to.
