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longlistshort · 1 year

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For Martín Touzón’s exhibition DISSOLUTION, at Kates Ferri Projects in NYC, each work plays a part in the one that comes next. Moving from work on Wet Wipes, to neon, to painting and back again- the more you look at them, the more you can see their connection to each other.

From the press release-

As an artist who normally rejects his previously established rules from one project to the next, he turns the table on this pattern as well, dissolving his own methodologies. Touzón says that “Change comes from noticing a difference in the feeling towards something.” Being an economist-turned-artist, he studies the impact of altering one variable on another. In the process he unconsciously opens a dialogue between arts and economics, relating at some point to the accumulation and fuite, trade, exchange, barter and surplus, production and circulation.

“The unfolding between the series came quite intuitively,” says Touzón. While on board the train to his residency in Turin (the city of Arte Povera) in 2017, he picked up bits of text and shapes from a magazine using acrylic markers and sharpies. He had to work fast so that the image would not be muddled because of the bleed of colors on the wipes. Lacking full control over the final image, the artist then lets them dry inside the same magazine. This technique underlies the paintings on Wet Wipes in the exhibition.

In contrast, the neon sculptures are very intentional. In his collaboration with a sign maker from Buenos Aires, Touzón must communicate quite specifically about how he wants the rings to look–almost misshapen. Translating from a 2D surface now into a 3D object, the artist is also playing with scale. The works on Wet Wipes are immediate and close to the hand, while the neon sculptures take up space and its light brings in the body.

As a next step, Touzón utilizes the neon shapes during the painting process. Laid on the canvases or over paper, they let the paint to diffuse on the wet surface, which in turn allows chance to play a role in the outcome. This gesture mimics the results in the Wet Wipes series, and yet the effect of the neon through paint or light is wholly distinct. Thus, he leads his work on the Escher stairs, seemingly returning to the same place, but ultimately, landing someplace new.

This whole process is an exciting new chapter in Touzón’s work. As an Argentina-based artist, Touzón has first-hand experience of an environment where instability is a constant of everyday life. Reason why his obsession for the careful study of transitions and changes. As the dissolution of society and systems come crumpling at our feet with the pandemic, climate change, and ongoing wars, the art world is also being reshaped by new artists and cultural producers. The holdouts for the old-world order or artistic hierarchies are also disillusioned, finding themselves in a new society that may look similar, but is fundamentally changed. Through his works, Touzón subtly suggests a way of perceiving through the cracks of this new normality and how one’s diluted perception of the world might not be an accurate reflection of others’ reality.

This exhibition closes 3/13/23.

#martín touzón #kates ferri projects #kates ferri projects nyc #nyc art shows #art #art shows #painting #wet wipes #neon art #sculpture #arte povera

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mtaartsdesign · 1 month

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Emilio Perez’s"Fluxus/Rhythmus" (2018) at 18 Av (N) station is composed of colorful, abstracted and stylized forms inspired by movement. Perez captures the energy of the South Brooklyn neighborhood and its community through his expressive, painterly visual language. The swirling motion across the 22 panels reflects the constant flow of the transit system, likening the subway to a living organism. Before translation into glass mosaic, Perez’s paintings were made through a process of intuitive mark-making and methodical stenciling, allowing the artist to reveal and build upon layers of color.

Perez’s work is currently on view in “SAVAGE GARDEN” at Kates-Ferri Projects through March 31. The exhibition “serves as a powerful commentary on the delicate balance between humanity and the natural world.”

📸: Greg Vore

#mtaarts #publicart #mosaic #permanent art

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dweemeister · 10 months

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Are You There God? It’s Me, Margaret. (2023)

According to the American Library Association, there were over 1,200 challenges to remove library books or resource materials from an American school or public library in 2022. It was the highest number since the ALA started collecting data in 2003 and about half of these challenges result in a restriction or full removal of that text from circulation. Judy Blume’s Are You There God? It’s Me, Margaret. was one of the most frequently challenged books in the United States from its publication in 1970 through the 2000s due to its discussions of spirituality, girls’ sexuality, and menstruation. The recent book banning headlines in America tend to feature novels that have LGBTQ+ themes or have protagonists and/or prominent secondary characters who are non-white in tales surrounding racial relations. These contemporary debates might make the fury surrounding Are You There God? It’s Me, Margaret. seem quaint, in a culture far removed from the present. However, Blume’s book (and the debate surrounding it) remains relevant more than fifty years after its publication.

Perhaps it might surprise non-readers that Kelly Fremon Craig’s adaptation of Are You There God? It’s Me, Margaret. (henceforth, I will use simply Margaret in italics if referring to the book) is a gentle coming-of-age film in an environment sorely lacking such works right now. The lack of overly precocious children with a cynical wisecrack for every situation has few relations among its raunchy relatives of the last few decades; so too the absence of the meta humor and period-specific jokes of John Hughes’ (1984’s Sixteen Candles, 1985’s Ferris Bueller’s Day Off) movies. That cynical precociousness and audience-winking, period-specific humor could easily have appeared in Margaret if Craig, who also wrote the screenplay, made too many deviations from the source material. With Blume’s guiding hand as a producer, Craig’s as writer, and an enjoyable ensemble performance – especially Abby Ryder Fortson as Margaret – this is a worthy adaptation and entry into the American coming-of-age film canon.

Returning home to Brooklyn from a New England summer camp, eleven-year-old Margaret Simon (Fortson) is upset to hear that her parents Barbara (Rachel McAdams) and Herb (Benny Safdie) are soon to move to suburban New Jersey, leaving grandmother Sylvia (Kathy Bates) alone in New York. Shortly after arriving at the Simons’ new home, Margaret befriends eventual classmate Nancy Wheeler (Elle Graham), and her friends Janie Loomis (Amari Alexis Price) and Gretchen Potter (Katherine Kupferer). Through the school year, the girls will gossip about their classmates, talk about boys who catch their interest, bras, changes to their bodies, and more – the manner of their conversations, for middle school-aged characters, are unusual to see in films, let alone in literature. Meanwhile, their teacher, Mr. Benedict (Echo Kellum) assigns a yearlong research project to all. Noting Margaret’s answers on a getting-to-know-you assignment, he suggests looking into religion. That’s a touchy subject in the Simon household. Mother Barbara comes from a Christian family; father Herb from a Jewish family. Due to furious disagreements with Margaret’s grandparents, neither parent actively practices religion, nor have they imposed religion upon Margaret (she is free to choose when she “grows up”). Despite this, Margaret communicates to God on occasion about her hopes and concerns. Through the school year, Margaret will learn more about herself and religion, mostly on her terms.

Are You There God? It’s Me Margaret. also stars Isol Young as Laura Danker, a girl who is the target of nasty words because of her early puberty; Aidan Wotjak-Hissong as Margaret’s sort-of crush, Moose (I certainly hope that is a nickname); Landon S. Baxter as Nancy’s brother, Evan; Zackary Brooks as slick-haired handsome boy/shmuck Philip Leroy; and Kate MacCluggage as Mrs. Jan Wheeler (also PTA President). Mia Dillon and Gary Houston play Margaret’s maternal grandparents.

In terms of approach and tone, this is as finely-tuned a literary adaptation as there could be. Blume’s Margaret, slender as it is at under two hundred pages, is episodic by necessity and structure, often employing time skips of several days or a few weeks into a new chapter. Craig’s Margaret does so as well, but brief montages and editing from Nick Moore (1997’s The Full Monty, 2005’s Nanny McPhee) and Oona Flaherty ease the transitions – fully exemplifying one advantage motion pictures have over prose. The period detail in Margaret firmly grounds it in 1970. Together, the costume design by Ann Roth (1985’s Places in the Heart, 2021’s Ma Rainey’s Black Bottom) and production design by Steve Sakald (2005’s Thank You for Smoking, 2021’s Barb and Star Go to Vista Del Mar) transport the viewer to that period.

This adaptation contains a refreshing lack of major deletions from the original novel. All of the book’s important episodes, exchanges, ideas, and tender wisdom are in the film, and none of the secondary cast have been short-changed. If anything, the only notable alteration from Blume’s novel is the addition of a subplot for Rachel McAdams’ Barbara. Within this cast, McAdams is easily the most bankable movie star at present (with apologies the wonderful Kathy Bates, but her character is not as central to the narrative), which may have been the justification for this decision. Nevertheless, the subplot – which revolves around Barbara joining the school’s parent-teacher association (PTA) and volunteering for multiple committees – seems unnecessary, sidetracking from Margaret’s point of view (and Blume’s book is entirely written in Margaret’s voice). Thankfully, Barbara’s PTA experience does not have much screentime and always quickly reverts to Margaret. That the filmmakers did not fully trust Abby Ryder Fortson to carry an adult audience’s attention for the film’s entirety is disappointing, regardless of McAdams’ solid performance, as she needs to be the true star of this film.

Audiences may know Abby Ryder Fortson best as Cassie Lang from Ant-Man (2015) and its 2018 sequel. In her first film as the lead, Fortson is brilliant. She embodies Margaret’s guardedness and anxiety when first moving to New Jersey, especially in juxtaposition to the overly confident Nancy. Fortson also capture Margaret’s earnestness, as well as a few scenes of cruelty and thoughtlessness – crucially, Margaret’s worst moment feels plausible, and never seems as if the behavior is coming from some other character entirely. However, Craig’s screenplay, due to its inability to stay firmly in Margaret’s point of view, underserves her in the film’s final act when her maternal grandparents arrive. By no fault of Fortson’s, the film does not delve deeply enough into how Margaret feels about her maternal grandparents’ estrangement and attempts to reconcile with her parents. Fortson can only do so much in lending Margaret a mix of bafflement and uncertainty in these scenes in arguably the most emotionally charged scenes of the film. Here, the film is torn between Margaret’s feelings about her maternal grandparents and parents’ disagreements and how parental decisions can impact children for the rest of their lives. It achieves neither.

I have never been a teenage girl, nor was I raised in an environment where any of the Abrahamic religions were even tangentially part of my life (let alone being part of an interfaith family). Judy Blume probably did not have someone like me principally in her mind when she wrote her book. But in Margaret, I saw a glimmer of the past that I imagine many of you will see for yourselves, too. The incredible awkwardness of being a pre-teen is probably something you, the reader, would probably like to keep half-forgotten. Rare is the film that can summon those feelings: of wanting to grow up (and quickly!), only to realize that those milestones that we associate with maturity are perhaps not as earthshaking as we imagined them to be. True maturation is more elusive than what Margaret and her friends envision. Religion, the passage of time, and sexuality cannot confer it. And some grown-ups never quite discover that. Fortson, through her performance, and Craig’s screenplay deliver on all of this, even if Fortson herself might not realize it yet.

At eighty-five years of age, Judy Blume has had a modest cinematic renaissance this year. Her books, fixtures in American children’s and young adult literature, have curiously not often been adapted for television or film. But with this film and the documentary Judy Blume Forever premiering at the Sundance Film Festival earlier this year, that appears to be changing. On the television front, Netflix is currently in production on an adaptation of her young adult novel Forever… (another Blume work often finding itself on most banned/challenged book lists); also in the pipeline are TV adaptations of the Fudge series for children and the adult book Summer Sisters. For the New Jersey-born-and-raised Key West, Florida native, conversations about her legacy are underway. Despite her unassuming persona and the gentleness of both Margaret and its film adaptation, Blume has been a vocal critic of Florida’s recent Parental Rights in Education bill (also known as the “Don’t Say Gay” bill) and requirements to review books based on state guidelines mostly over gender identity, race, and sex. No surprise for an author who has been the target of book bans from almost the beginning of her career.

Are You There God? It’s Me, Margaret. arrives at a time when coming-of-age movies are, at least among the major and mini-major (such as Lionsgate, which distributed this film) American movie studios, no longer perceived as commercially viable for theatrical exhibition. Coming-of-age movies must be packaged within a superhero movie or tied to a franchise in order to find its way to American cinemas. The creative and financial heads of the superhero cinematic universes claim that their narratives can encompass genres/subgenres such as coming-of-age or political thrillers or historical epics, but their approach and distributional dominance precludes non-superhero affiliated films of such genres/subgenres from appearing in theaters in the first place. Their influence makes the existence of this film’s theatrical run – despite its apparent failure to find much of an audience beyond those who have read the book (non-readers of certain political stripes probably mistakenly thought this was a faith-based film from the evangelical Christian film industry or already knew about the book’s reputation and refused to see it) – a minor miracle.

Director Kelly Fremon Craig has worked on a coming-of-age film before surrounding a female protagonist in The Edge of Seventeen (2016). But Margaret – for its remarkable faith to the source material, engaging performances, and meticulous period detail – is an achievement surpassing that. Craig’s sensibilities as director and writer suit the film, and Fortson’s performance elevates it to the level of the most universal American coming-of-age movies.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Are You There God? It's Me Margaret #Kelly Fremon Craig #Judy Blume #Abby Ryder Fortson #Rachel McAdams #Kathy Bates #Benny Safdie #Elle Graham #Amari Alexis Price #Katharine Kupferer #Kate MacCluggage #Aidan Wojtak-Hissong #Landon S. Baxter #Echo Kellum #Zackary Brooks #Isol Young #Mia Dillon #Gary Houston #My Movie Odyssey

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portfoliocreationblog · 3 months

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Blog Post 4 - Self-Audit

The image above is my low-fidelity home page website sketches and some mobile homepage website sketches. My main navigation bar links on my website will be About Me, Work and Play. The projects to showcase in the portfolio include Dyslexia BC Logo and Branding Collateral Freelance Project, Biggest Trees of BC Infographic, Alcatraz Island Website, BC Ferries Logo & Branding Guidelines, Document Design (if approved by two companies) and Learning Dyslexia Branding and print collateral.

There are some gaps in content I need for my portfolio. For the Dyslexia BC Logo project, I will need to write a Rationale and take photos of physically printed merchandise. For the Alcatraz Island Website, I will need to write a Rationale and make mockups of the website on a computer. The BC Ferries Logo & Branding Guidelines will need to have reformatted images and a logo photoshopped onto a ferry boat and a revised rationale. Document Design from work will need a rationale with a clear description of the role I played in the project and imagery from the document. I will need to update my Linkedin banner to reflect my branding Revision on my portfolio website. I will need to update my work experience with Fairwind Creative and add my green graphic design course that I took in the summer. I am going to use the Twenty Twenty Three template found on Wordpress.

My potential domain names include catearnold.com, CateArnoldDesign.com and CateRainyArnold.com. Catearnold.com will be the easiest way for someone to quickly look up my website URL even if they hear my name through word of mouth and they know I spell my name with a C! However this Url might be taken. CateArnoldDesign.com will give me a direct hint at the type of work I do. However, the longer URL is a bit harder for someone to spell out. CateRainyArnold.com adds my unique and memorable middle name that works well and this likely is a URL that’s available. This URL also connects well with the logo I’ve created. When saying my Url to someone, they may have to rewrite the K for Kate as a C and they might spell Rainy with an E instead of a Y. I think to catearnold.com or catearnold.ca if the first isn’t available is my best option as a straightforward way of finding my portfolio.

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bookclub4m · 4 months

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Episode 186 - Suspense Fiction

This episode we’re discussing the fiction genre of Suspense! We talk about crime, mysteries, horror, and even suspense!

You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | Jam Edwards

Things We Read (or tried to…)

Ascension by Nicholas Binge

The Best American Mystery and Suspense 2023 edited by Lisa Unger and Steph Cha

Malice by Keigo Higashino

Dead Woman Walking by Sharon J. Bolton

Alice in Borderland by Haro Aso (Wikipedia)

Night Fever by Ed Brubaker and Sean Phillips

Reckless by Ed Brubaker and Sean Phillips

A Solitude of Wolverines by Alice Henderson

Read But Not Mentioned

Find Me by Anne Fraser

Ghost Eaters by Clay McLeod Chapman

The Midnight Line: Jack Reacher #22 by Lee Child

The Phantom Scientist by Robin Cousin, translated by Edward Gauvin

Wyrd, vol. 1 by Curt Pires and Antonio Fuso

Colorless, vol 1 by Kent

Project Hail Mary by Andy Weir

Kiss the Girls and Make Them Cry by Mary Higgins Clark

Other Media We Mentioned

Scalped by Jason Aaron, R.M. Guera, and others

Case Histories by Kate Atkinson

At the Mountains of Madness by H. P. Lovecraft (Wikipedia)

Welcome to the Goddamn Ice Cube by Blair Braverman

Small Game by Blair Braverman

Links, Articles, and Things

Hark! Podcast

Category:Fiction about death games (Wikipedia)

What Matthew described as “escape room fiction”

Final girl (Wikipedia)

20 Suspense Novels by BIPOC Authors

Every month Book Club for Masochists: A Readers’ Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here.

The Decagon House Murders by Yukito Ayatsuji

Dirty Laundry by Disha Bose

A Person of Interest by Susan Choi

When No One is Watching by Alyssa Cole

Sleeping with Strangers by Eric Jerome Dickey

The Between by Tananarive Due

Shutter by Ramona Emerson

The Other Black Girl by Zakiya Dalila Harris

We Lie Here by Rachel Howzell Hall

The Mantis by Kotaro Isaka

My Sweet Girl by Amanda Jayatissa

The Leftover Woman by Jean Kwok

Are You Sara? by S.C. Lalli

Cherish Farrah by Bethany C. Morrow

The Man in My Basement by Walter Mosley

Ride or Die by Gail-Agnes Musikavanhu

Fish Swimming in Dappled Sunlight by Riku Onda, translated by Alison Watts

Sinister Graves by Marcie R. Rendon

There Should Have Been Eight by Nalini Singh

In the Dark We Forget by Sandra S.G. Wong

Give us feedback!

Fill out the form to ask for a recommendation or suggest a genre or title for us to read!

Check out our Tumblr, follow us on Instagram, join our Facebook Group, or send us an email!

Join us again on Tuesday, December 19th it’s time for our Favourite Reads of 2023!

Then on Tuesday, January 2nd it’s time for trains, planes, and automobiles (and bicycles) as we discuss non-fiction books about Transit and Transportation!

#episodes #podcasts #suspense #fiction

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skowhegan · 5 months

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Jesus Benavente (A '12)

BABY, LO SIENTO KATES-FERRI PROJECTS 563 Grand Street, NYC 10002 November 16, 2023–December 11, 2023

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ao3feed-brucewayne · 5 months

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What if The Joker was Turned into a Hero?

by HappyGayNoises After a heinous atrocity that left even Batman shaken, The Joker is signed up by Bruce Wayne to a project that changes him from a force of chaos to a force for good. Words: 1530, Chapters: 1/?, Language: English Fandoms: DCU, DCU (Comics), Batman - All Media Types, Batman (Comics), Batman: Arkham (Video Games) Rating: Teen And Up Audiences Warnings: Graphic Depictions Of Violence, Major Character Death, Rape/Non-Con, Underage Categories: F/F, F/M, M/M Characters: Bruce Wayne, Alfred Pennyworth, Dick Grayson, Jason Todd, Tim Drake, Joker (DCU), Jim Gordon, Renee Montoya, Harvey Bullock, Harleen Quinzel, Victor Fries, Tally Man (DCU), Hugo Strange, Kate Kane (DCU), Bernard Dowd, Original Characters, Original Female Character(s), Original Male Character(s), Hamilton Hill, Jeremiah Arkham, Nora Fries, Ferris Boyle Relationships: Joker (DCU)/Harleen Quinzel, Joker (DCU) & Bruce Wayne, Kate Kane/Renee Montoya, Nora Fries/Victor Fries, Bernard Dowd/Tim Drake Additional Tags: Horror, Psychological Horror, Alternate Universe - Horror, Action, Dark Comedy, Lobotomy, Torture, Psychological Torture, Tim Drake Needs a Hug, Hurt Tim Drake, Tim Drake is Robin, Tim Drake is Not Okay, Tim Drake Angst, Lost Love, Dark Past, Dark, Alternate Universe - Dark, Serial Killers, Alternate Universe - Serial Killers, Mass Death, Joker (DCU) Has Issues, Joker (DCU)'s Name is Jack Napier, Bruce Wayne is Batman, Protective Bruce Wayne, Bruce Wayne Needs a Hug, Bruce Wayne Has Issues, Hurt Bruce Wayne, Child Abuse, Past Child Abuse, Sexual Abuse, Past Sexual Abuse, Childhood Sexual Abuse, Abuse, Assassins & Hitmen, Alternate Universe - Assassins & Hitmen, Aftermath of Torture, Brainwashing, Bisexuality, Bisexual Male Character, Tragedy, Angst, Sad, Redemption via https://ift.tt/vVGko5j

#IFTTT #bruce wayne #batman #the dark knight #the caped crusader #gotham #dcu #dc #ao3 #ao3feed

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theloniousbach · 1 year

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COUCH TOURING WITH CAFFE LENA TV

BRUCE MOLSKY/MAEVE GILCHRIST, 23 MARCH 2023

BEPPE GAMBETTA, 24 MARCH 2023

This venerable Saratoga Springs, NY, folk club has a fairly robust apparatus for streaming concerts and I have enjoyed Vieux Farka Toure and the Old Blind Dogs from them with minimal incident. BRUCE MOLSKY, starting yet another interesting project with harper MAEVE GILCHRIST, and BEPPE GAMBETTA are, like the Dogs, old Focal Point favorites. That they were on successive nights was unusual, but sure, let’s do it.

There were some temporary glitches the first night (and I had some on a different device from usually reliable Small’s Live Tuesday night), sadly, the BEPPE GAMBETTA show froze repeatedly requiring reboots and the stream seemed to skip like warped vinyl. I closed it off halfway through the second set. Both shows will be available for another week, so I may give them as shows a second chance, but I will hesitate before reupping with Caffe Lena TV.

That disappointment comes because my expectations for these artists is so high. We got to see BRUCE MOLSKY at the Hiawatha Music Festival while on vacation last summer in concerts, dances, and workshops and he still makes it to the Focal Point. He is such a solid fiddler, full of technique and taste. Like Kevin Burke among others, he makes it seem effortless and it sneaks up on you that he actually just did something amazing. He is proudly an old time fiddler and yet he plays with Balkan, Irish, Finnish, Cajun,and Swedish musicians, bringing his tradition in conversation with the others and seamlessly playing the other musics too. So now he’s working with MAEVE GILCHRIST who is from Scotland but has Irish relatives (not, I think, a typical Scotch Irish story). This was hardly Scottish tune>old time medleys, though they did begin with a deliberate Irish air that settled into an old time tune. There were songs, contemporary but with tradition (Kate Rusby, a telling of an Australian shipwreck, Nic Jones, LInda—not Richard—Thompson) and Finnish, Shetlands (Fully and Newly Rigged Ship!!) and Metis tunes to go with the old time and Celtic elements.

They are heading out for some gigs and then a festival, but this seems to have been the tour opener. There was a bit of a settling in early as the fiddle found a way around the harp, but they worked that out. The banjo worked out more immediately, interestingly enough. Gilchrist has a fine voice and sense of tunes and songs, but it’s a weird instrument. Still she gave it some drive and it is after all somewhere between a guitar and a piano. I will always be interested in what Molsky does, so I’m glad we got to see this effort.

BEPPE GAMBETTA is a guitar geek’s dream—amazing flatpicking, certainly inspired by Doc Watson, but incredibly wide ranging. We gave up after he played a Verdi aria that he played at Doc’s visitation. He also did a couple of tunes from his collaboration with David Grisman celebrating Italian mandolin music (requires a Maybelle Carter approach to translate the duets to one guitar) and songs in Italian. One told an Italian outlaw tale not unlike Randall Collins which he also did. He mentioned Watson several times and we came back from one pause in the middle of a Blue Railroad Train>Brown’s Ferry Blues>Nashville Blues. But that, the Norman Blake tune, and an outro fiddle tune refracted through his part time residence in New Jersey, Fuhgedda About Me Not were the main bits of bluegrass/old time-y music. But even those were refracted through his harmonic complexities. His guitar instrumentals, though flat picked, struck me more related to the John Fahey/Leo Kotke fingerstyle tradition. As such they are even more amazing.

The above comments are, alas, not based on a full, uninterrupted version of the concert. Over time, the irritation will dissipate and I’ll think I have a sense of Beppe Gambetta 2023. But, for now, I’m aggravated and disinclined to return to Caffe Lena even as I want to keep checking in on the wonderful world of music The Focal Point opened up to us Kleindorfs and not just defaulting to jazz.

#concert review #couch tour #Caffe Lena TV

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chrancecriber · 1 year

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Obscurigins: Right Back

I was wrong to say I wouldn't change a thing 'Cause in the story of our lives, the best of times through colored glass

And if you should call It's no trouble, no trouble at all I'll take out the sun, back where we begun again

Time goes on enough to let me move on past But every little now and then, it creeps on back to shade my smile

I'm here once again But I'm deep and I'm feeling a pain So who takes the fall that covers it all again

Put it on the right track, get it right back A message from my heart, it's too loud to stay apart So put it on the right track, steal it right back It's high time now

Track: Right Back (Original Mix) Artist: Yuri Kane/Kate Walsh Debut: Once Upon A Night (Compiled by Ferry Corsten) Released: March 29, 2010 Label: Ultra Records

Chilled tracks that sample the lyrics: A Design For Life/Kanya - Victoria’s Secret (Ambrosia Mix) Chris Reece/Romina Andrews - Right Back (Album Mix) Chris Wonderful - History (Original Mix) Dmitry Zimakov/Kate Walsh - Right Back (Original Mix) Gerrit Van Der Meer - Evolet (Original Mix) Slider & Magnit - Right Back (Extended Mix) Slider & Magnit - Right Back (Radio Edit) Speed Limits - Faroe (Chill Out Mix) Stoto - Right Back (2nd Edit) Stoto - Right Back (Original Mix) Yuri Kane/Kate Walsh - Right Back (Chillout Mix) Yuri Kane/Kate Walsh - Right Back (DJ RadionoFF Unofficial Remix) Yuri Kane/Kate Walsh - Right Back (DJ Rufio Remix) Yuri Kane/Kate Walsh - Right Back (El Gambrero Remix) Yuri Kane/Kate Walsh - Right Back (K.S Project Remix) Yuri Kane/Kate Walsh - Right Back (LEDFORT x LEO KING Remix) Yuri Kane/Kate Walsh - Right Back (Markk Instane Unofficial Remix)

#Obscurigins #Right Back #electronica #downtempo #deep house #Chilled Trance #Chrance #obscure media #Lyrics

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greensparty · 1 year

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Album Reviews: John Hughes compilation / Guns N’ Roses box set

This week I got to review two mammoth box sets and boy are they stacked and loaded:

‘Life Moves Pretty Fast’ The John Hughes Mixtapes various artists

album cover

One of my favorite writer / directors of the 80s was easily Mr. John Hughes. Looking at his filmography from 1983 to 1989 is so impressive. Classics upon classics. He was so prolific with films he either wrote or wrote and directed during that unbelievable run over six years: National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty in Pink, Ferris Bueller’s Day Off, Some Kind of Wonderful, Planes, Trains and Automobiles, She’s Having a Baby, The Great Outdoors, and Uncle Buck. People often underestimate how talented Hughes was at marrying the music and film by his use of the perfect song in his iconic scenes. Film geeks don’t talk about him the way that they do, say, Wes Anderson or Martin Scorsese in terms of mastering the needle-drop into a scene. But Hughes was definitely passionate about music and that came off in the soundtracks to his films. It was said that Hughes would often travel to London when he was between projects and just shop at record stores. Sometimes he would showcase a lesser known artist to U.S. audiences, other times he was catching an artist in their prime or he might’ve been digging up some older nuggets. Now the Hughes Estate in collaboration with Hughes’ longtime music supervisor Tarquin Gotch have curated a 4CD 74-track box set compilation ‘Life Moves Pretty Fast’ The John Hughes Mixtapes being released Friday by Demon Music Group.

Hughes on-set directing Matthew Broderick in Ferris Bueller’s Day Off

About a year or two ago, I scored a copy of the limited edition Ferris Bueller soundtrack, which was kind of cool because there wasn’t a soundtrack album for the movie in 1986. I love that it finally did get a soundtrack release filled with loads of songs and music score. Much of those songs are featured on this box set. There is the obvious tracks on this compilation: Simple Minds’ “Don’t You (Forget About Me)” from Breakfast Club, The Psychedelic Furs’ “Pretty in Pink”, Yello’s “Oh Yeah” from Ferris, Lindsay Buckingham’s “Holiday Road” from the Vacation movies, and The Thompson Twins’ “If You Were Here” from Sixteen Candles. But what really impressed me is what a deep dive they did. I mean they went for some lesser known tracks that just played in the background and were not in the foreground. But more than anything it took me back to his films and reminded me of so many of his awesome moments: Kate Bush’s “This Woman’s Work” playing during the birth sequence in She’s Having a Baby, The Beat’s “March of the Swivelheads” playing as Ferris is racing to get home before his parents, Killing Jokes’ “Eighties” playing during the party scene in Weird Science, Otis Redding’s “Try a Little Tenderness” playing as Duckie sings along with it in the record store in Pink, or Ray Charles’ “Mess Around” as John Candy is playing air-piano while driving in Planes just to name a few. Because this is set up as a mixtape modeled on the tapes Hughes was making at the time, you can also tell what music he was into at the time, which was mostly new wave. There’s more than one song from The Dream Academy (including the sublime “Edge of Forever”), Dave Wakeling (both solo and with General Public), Echo and the Bunnymen, Big Audio Dynamite, and well, way too many artists to name here. As both a film geek and music geek, as well as a lifelong Hughes fan, this box set is a treat for fans. You could easily buy all of the soundtracks, but what’s cool about this set is that it feels like Hughes took the time to mix his soundtracks into the perfect mixtape!

For info on Life Moves Pretty Fast: https://www.demonmusicgroup.co.uk/catalogue/releases/life-moves-pretty-fast-the-john-hughes-mixtapes-4cd/

4.5 out of 5 stars

Guns N’ Roses Use Your Illusion I and II Box Set

box set cover

To say that Guns N’ Roses’ Use Your Illusion I and II were the most highly anticipated album releases of that time period would be a colossal understatement. After the boffo success of their 1987 debut Appetite for Destruction they were the biggest hard rock band on the planet from 1988 onward. To satisfy the fans they released GN’R Lies which was a reissue of Live Like a Suicide with some acoustic songs and they released some songs on soundtracks and compilations but what fans really wanted was a new album. Around 1990 they announced not one but two albums being released at the same time. For a solid year, I kept gathering clues about the album (MTV News, Rolling Stone, rock radio, Circus, etc) as the release date kept getting pushed. Finally they began a tour in the summer of 1991 and they had the biggest song of Summer 1991 with “You Could Be Mine” from Terminator 2. But on September 17, 1991 both albums were finally released. The night before record stores across the country opened at midnight with fans lined up outside to be able to buy it right away. I didn’t go at midnight but after school my step-sister gave me a ride to Newbury Comics to pick up both CDs. $25 total was a lot of money to me at the time, but it was my big purchase for the month. I gleaned over all 30 songs, the lyrics, that album art, and the album as a whole. They were one of my favorite bands and this album enforced that. Now 31 years later both albums are getting the box set treatment with the new UYI Super Deluxe Edition dropping Friday from UMe.

the box set’s bells and whistles

During the recording of UYI, drummer Steven Adler was replaced by Matt Sorum of The Cult. The band also added keyboardist Dizzy Reed. If Appetite for Destruction was raw hard rock, this album as a whole was a little more glossier and it was also the band swinging for the fences: orchestras, guest singers like Alice Cooper, and covers (Paul McCartney’s “Live and Let Die” and Bob Dylan’s “Knockin’ on Heaven’s Door”). But it is very much a GN’R go-big-or-go-home rocker of an album. I listened to it quite often as a teen. Disc 1 is UYI I remastered. “November Rain” is a 2022 new version with a 50-piece orchestra. Disc 2 is UYI II remastered. Disc 3 and 4 is their live concert from May 16, 1991 at the Ritz Theatre in New York City. This was one of the band’s pre-tour warm-up surprise shows as they prepared for their big Summer tour. They covered Jimi Hendrix’s “Voodoo Child (Slight Return)” and then go into “Civil War”. There are also snippets of covers of Rod Stewart’s “I Was Only Joking” and Alice Cooper’s “Only Women Bleed” before going into GN’R songs. For two songs, the band is joined by the late Shannon Hoon who appeared on backing vocals on “Don’t Cry” before Blind Melon’s first album was out. Discs 5, 6 and 7 are the band’s concert from January 25, 1992 at Thomas and Mack Center in Las Vegas. By this point rhythm guitarist Izzy Stradlin had left and was replaced by Gilby Clarke. This one features even more covers including The Godfather theme song, The Eagles’ “Hotel California”, and Pink Floyd’s “Mother”. More so than the NYC concert, this was the band putting on a big arena rock show with back-up singers, a horn section and various members getting to do their solos. Various versions of this reissue are being released including ones that include a blu-ray of the NYC show, a 100-page book, and various collectibles. For this review I did not get to see the blu-ray or read the book.

GN’R in 1991

This is a very robust reissue that will have GN’R fans salivating. I enjoyed both concerts. They serve as a reminder of what a great live band they were. I was lucky enough to see them in Sept. 1992 when they co-headlined Foxborough Stadium with Metallica. What a show that was! This lineup was incredible: Axl was a bigger-than-life rock star, Slash and Izzy and Gilby were guitar heroes, Duff McKagan was a solid bassist, Dizzy brought keyboards into the band in a way that it hadn’t been on Appetite, and Matt Sorum was keeping the beat the whole time. I kind of wished this reissue included some outtakes. I know, I know - UYI I and II had 30 songs and here I am wishing there was more. But it would’ve been cool to hear some rarities that didn’t make the cut. Oh well, maybe for the 40th anniversary edition!

For info on UYI: https://gnr.lnk.to/UYI2022PR

4 out of 5 stars

#album reviews #reissue albums #john hughes #soundtrack #sixteen candles #the breakfast club #ferris bueller's day off #weird science #guns n roses #1991 #1980s #simple minds #psychedelic furs #kate bush #dream academy #dave wakeling #music nerd #film geek

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theblondegoesabroad · 2 years

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Day 90

Saturday 30th July 2022

And here we are. Our last full day on Portland before we head back to the mainland on Sunday night. We have a full day of travel planned for tomorrow as we don’t catch the ferry until 2am, so today we are going to be making the most of our favourite place. Although it was a bit cloudy this morning we were still optimistic for our day. We had a day full of activities planned. Climbing in the morning and then hopefully if the wind is as the forecast is predicting kiting in the afternoon. And blackberry picking and super marketing in between. So a big day planned. We had our morning tea and coffee a savoured ritual while replying to a few messages and catching up on the blogs etc. Then we packed everything up and walked to the cliff and down to our climbing spot. The walk is about 4km, during the morning it is a nice walk. A slight breeze, a nice view and it goes rather quickly. The way back in the heat isn’t as easy! Once we arrived we did our warm up routes and then once again tried a few new routes. Since we didn’t have enough time to truely work on our projects these last few days have just been for “fun”, trying new routes etc. Although today the rock was wet and slippery and so it was tough climbing. Instead of frustrating ourselves on routes we didn’t know we decided to call it a day and instead headed back up to our car. We then spent the afternoon blackberry picking. We filled up all of our containers and one of our pots with berries. It was a good way to pass the afternoon while we waited for the wind. We spent a few hours picking and finished with a lot of berries in our containers and bellies. Then it was down to the supermarket, we bought some yogurt to go with our berries and then ate while enjoying the view of kiters attempting to harness the wind. At around 17h30, Benoît headed out, we set up the kite and he flew off. There were a few too many people in the water for me to try so we decided this time he could kite first. He kited for a good fe shouts and slowly the harbour emptied and I went to go get changed. As I was changing though Benoît flipped his kite and ended up tangling all the lines. After he swam back in with the kite, I untangled the lines while he went ti get the board. It was a big mission and we both decided that with high tide and a strong off shore wind it was a bit too risky for me. So instead I untangled all the lines and Benoit packed up the gear. We had a jam sandwich for dinner and then found a spot to camp for the night. Yes we haven’t been as creative with meals lately, but there are so many black berries and we have a heap of jam so we are just making the most of what is here. Plus our berries, yogurt and museil meal is a real treat! Tonight is our last wild camp in the UK! It was a windy night so we were hoping for a reasonable sleep at least. Fingers crossed. Love kate xxx

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cardest · 3 years

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Japan playlist

Are you turning Japanesa? I don’t think so! This, I believe is the ultimate Japan playlist. One of my favorite countries in the world to visit. it truly is a fascinating place in the world. The music from this region is just so. Crazy even! I have been a few times and cannot wait to get back over there again as soon as Crap-19 takes a hike and leaves this planet already. Meanwhile, here is the Japan playlist to keep us happy. Perfect for those of you out there in lock down.

I hope you dig the list of songs I put together. You can even let me know what songs or bands I forgot and let me know! 私はあなたがそれを掘ることを望みます Arrigato! Hit play right here: https://www.youtube.com/playlist?list=PL-iHPcxymC1_IcliLasW5eajllU8pA5Gh

JAPAN

001 Fantomas - 4-30-05 002 INXS - I Send A Message 003 LADYBABY - candy 004 Babymetal - DoKiDoKi MORNING 005 MOMOIRO CLOVER Z vs KISS - YUMENO UKIYONI SAITEMINA 006 The Cure - Kyoto Song 007 Kill Bill Vol.1 - Isaac Hayes - Run Fay Run 008 CHAI - GREAT JOB 009 Mutant Monster - Barabara 010 Sigh - Inked in Blood 011 The Vapors - Turning Japanese 012 Fantomas - 4-7-05 013 Ocean Machine - Night 014 Masayuki Sakamoto - Psy'chy 015 Astro Boy - 1980 English Intro Theme 016 Go Misawa - 悪魔人間 (デビルマン) - 不動明 017 Red House Painters - Japanese To English 018 八十八ヶ所巡礼「仏滅トリシュナー 019 Acid Mothers Temple - Floating Flower Shizuku No Youni 020 Ween - Japanese Cowboy 021 Otoboke Beaver - Don't light my fire 022 Gojira's Godzilla Theme Song 023 Cavalera Conspiracy - Bonzai Kamikazee 024 Ultra Bide - DNA vs DNA 025 David Bowie - Crystal Japan 026 A Flock Of Seagulls - Tokyo 027 Sakura - Cherry blossoms 028 BON JOVI - Tokyo Road 029 Aneka - Japanese boy 030 Endon - Boy Meets Girl 031 Junko Ohashi - Dancin' 032 Ike Reiko - Yoake No Scat 033 Shohjo-Tai - Flamingo Island 034 Chthonic - Kaoru 035 Herbie Hancock - Nobu 036 Akiko Yano - Dogs Awaiting 037 Inoyama Land - Glass Chaim 038 Fantomas - 4-14-05 039 Hide - Dice 040 Japan - Talking drum 041 Sabbat - Samurai Zombies 042 Brian Ice - Tokyo 043 W.A.S.P. - Tokyos on fire 044 UHNELLYS - SWITCH 045 Boris - LOVE 046 Kill Bill Vol. 1 - Battle Without Honor or Humanity Tomoyasu Hotei 047 eX-Girl - Pretty You Ugly 048 Gonin Ish - Shagan No Tou 049 Banana Erectors - Fed Up With Highschool Days 050 Strapping Young Lad - Japan 051 Yoshida Brothers - Ibuki 052 Zeni Geva - Total Castration 053 Flower Travellin' Band - Satori, Pt. 1 054 MOMOIRO CLOVER Z - GOUNN - 055 Tom Waits - Big In Japan 056 ABIGAIL - A Witch Named Aspilcuetta 057 Sigh - The Tombfiller 058 Marty Friedman-Dragon's Kiss-Dragon Mistress 059 RIOT - Tokyo Rose 060 Fantomas - 4-13-05 061 Guitar Wolf - High Schooler Action 062 Becoming a Geisha - Memoirs of a Geisha Soundtrack 063 Seven Samurai- Ending Theme 064 Miki Sugimoto - Rei's Ballad (Theme from Zero Woman Red Handcuffs) 065 Yoshida Brothers - Rising from Best Of Yoshida Brothers 066 Ruler - Jeanie Jeanie Jeanie 067 Kill Bill Vol. 1 OST - Twisted Nerve - Bernard Herrmann 068 Fantomas - 4-23-05 069 Shonen Knife - It's a New Find 070 Polish National Radio Symphony OrchestraKrzysztof Penderecki - Threnody to the Victims of Hiroshima 071 ACID MOTHERS TEMPLE - Helen Buddha; Miss Condom X 072 Shugo Tokumaru - Decorate 073 PiGu - Bye Bye Honey 074 Hello Kitty Theme Song - Hello Kitty 075 ACUTE - 生き地獄 076 Sabbat - Karmagmassacre 077 Yellow Magic Orchestra - Tong Poo 078 Yojimbo OST - Main Theme 079 Anpan-man (Red beans bread man)theme song 080 Ex-Girl - The Crown of Dr. Keroninstein 081 Kate Bush - [The Whole Story] Breathing 082 Coffins - Hatred Storm 083 The Books - Tokyo 084 Fantomas - 4-19-05 085 男の一生／松方弘樹 086 Azuma Kabuki Musicians - Dojoji 087 Saxon - Walking Through Tokyo 088 Kill Bill, Vol. 1 Original Soundtrack - The Flower of Carnage - Meiko Kaji 089 Les Rallizes Denudes - Now is forever 090 G.I.S.M. - Nih Nightmare 091 Mono - Silent Flight, Sleeping Dawn 092 Deftones - Romantic Dreams 093 Strapping Young Lad - Zen 094 Dead Can Dance - Kiko 095 Kinoco Hotel - キノコホテル「キノコノトリコ」 096 Esashi Oiwake - Ensemble Nipponia 097 Naitemo idayoi - bcmomoiro clover 098 Bryan Ferry - Tokyo Joe 099 Suzuki Junzo - Crying Out Double Suicide Blues 100 Iron Maiden - Sun and Steel 101 Kikagaku Moyo - Dripping Sun 102 Fantomas - 4-3-05 103 BARBATOS - Tokyo Rock'N Roll Show 104 BABYMETAL - MEGITSUNE 105 Eternal Elysium - Shadowed Flower 106 The Erections - stupid punk 107 The Seatbelts - Cowboy Bebop (Original Soundtrack 1) 108 Rush - Manhattan Project 109 Today Is the Day - Samurai 110 Fullmetal Alchemist Brotherhood OST - main theme 111 Japanese War Music - Samurai Battle March 112 Steel Panther - Asian Hooker 113 The Mount Fuji Doomjazz Corporation - A Place For Fantasies 114 Guitar Wolf - FIGHTING ROCK 115 HEAVY METAL ARMY - That's Hammurabia 116 Michale Graves - Godzilla 117 Noriko Miyamoto - My Life 118 Loudness - Ashes in the Sky 119 Mary's Blood- Save the queen 120 Mellvins - One Fine Day 121 High On Fire - Bastard Samurai 122 Shakuhachi - The Japanese Flute 123 Luna Sea - IN SILENCE 124 Tatsuro Yamashita - Sparkle 125 PIG DESTROYER - Kamikaze Heart 126 Tomoko Kawada - Akanegumo 127 Sodom - Kamikaze Terrorizer 128 Carlos Toshiki and Omega Tribe - Sky Surfer 129 TOKKAEBI - cheon mun 130 Pere Ubu - 30 Seconds Over Tokyo 131 Wanda Jackson - Fujiyama Mama 132 Witch Cross - Night Flight To Tokyo 133 F.O.E. - Total Eclipse 134 Coffins - The Frozen Styx 135 Sword of Doom (1966) - Main Theme OST 136 Sigh - The Transfiguration Fear 137 Yondemasu Yo, Azazel san - Opening song 138 Thundercat - Tokyo 139 GHOST IN THE SHELL O.S.T.2 - i can't be cool 140 Japandroids - No Allegiance to the Queen 141 YAMANTAKA - SONIC TITAN - Hoshi Neko 142 Doraemon 2005 Opening - Sha La La 143 Akira Soundtrack - Kaneda's Theme 144 Anatomia - Morbid Hallucination 145 Traditional Japanese music - Honno-ji 146 Kodo - Lion 147 Tomita Planets - Mercury, The Winged Messenger 148 Yuji Ohno - Lupin The Third Theme '78 149 Ninja Scroll TV Series Soundtrack - Jubei's Theme 150 OKAWARI_BOY show me your space 151 Boris - The Woman on the Screen 152 Sepultura - Kamaitachi 153 X Japan - X 154 L'Acephale - Hitori Bon Odori 155 Zilch (hide) - Inside the Pervert Mound 156 Fantomas - 4-12-05 157 Kodo - Akatsuki 158 Sigh - Hunters not horned 159 Pucca Theme song 160 Tujiko Noriko - Solo - Magic 161 MYSTERY KINDAICHI BAND - THEME OF KOSUKE KINDAICHI 162 Akiko Yano - クマ 163 Sooo Baad Revue - バッド・レビュ 164 Pharoahe Monch - Simon Says (instrumental) 165 Imaginary Flying Machines - Sanpo (My Neighbor Totoro) (feat. Living Corpse & Yoko Hallelujah) 166 Mutant Monster - kamisama o negai - pv with romaji lyrics 167 Mount Fuji - Neun 168 Kumi Sasaki - Tanchame Bushi 169 Yakuza - Yama 170 Chai - Choose go! 171 Goto Mariko – Drone 172 Blue Oyster Cult - Godzilla 173 Kinoco hotel – F No Junkai 174 ASS BABOONS OF VENUS - Jet Unchi 175 James Bond you only live twice OST - Aki, Tiger and Osato 176 PJ Harvey - Kamikaze 177 BABYMETAL - Awadama Fever 178 Alcatrazz - Hiroshima Mon Amour 179 Tokyo Blade - Warrior of the Rising Sun 180 TIK & TOK - TOKYO GIRLS 181 Queen - Hammer To Fall 182 Nana Kitade - Kibou No Kakera 183 Gallhammer - Blind my eyes 184 Yellow Magic Orchestra - Kai-Koh 185 Chikyuu Kyoumei Resonance of the Earth 186 Hoodoo Gurus - Tojo 187 John Waite - Euroshima 188 Tommy Snyder / Yuji Ohno) - ザ・マリン・エクスプレス (The Marine Express) 189 Boris - Riot Sugar 190 Yellow Machinegun - Again 191 Kill Bill, Vol. 1 Original Soundtrack - The Lonely Shepherd 192 Church of Misery - Chilly Grave 193 Jimmy Takeuchi - Yasuki bushi (Shimane) 194 Yuji Ohno "Andromeda no kanata ni" - (OST - Captain Future) 195 Bo Ningen - Henkan 196 Blood Stain Child - Electricity 197 Crime - Yakuza 198 Tatsuya Yoshida & Satoko Fujii - Feirsttix 199 Ike Reiko - Kokotsu No Sekai 200 Fantomas - 4-9-05 201 David Bowie - It's no game 202 Manon - xxFANCYPOOLxx 203 Sparks - Here In Heaven 204 MAD SPYAIR - samurai heart Gintama 205 Terror Squad - Nightmare Rider 206 Fantomas - 4-6-05 207 Mutant Monster - Hanabi 208 Jimmy Takeuchi - Akita obako 209 NAKED CITY - OSAKA BONDAGE 210 Death Panda theme 211 Crossfaith - Monolith 212 OMD - Enola Gay 213 Dir en Grey - Obscure 214 LADYBABY Age-Age Money 215 Fantomas - 4-17-05 216 S.O.B. - Deceiver (Napalm Death cover) 217 Jimmy Takeuchi - Time Of The Season 218 Dark Mirror Ov Tragedy - Thy Sarcophagus & Unwritten Symphony 219 Laurie Anderson - Kokoku 220 THOMPSON TWINS - TOKIO 221 Electric Eel Shock - Killer killer 222 Kodo - Nanafushi 223 Ningen Isu - Heartless Scat 224 Amachi Shigeru – Showa Blues 225 BlackLab - Insanity 226 TENGGER - achime 227 Riot - Narita 228 Martin Denny - Japanese Farewell Song (Sayonara) 229 LADYBABY - Renge Chance 230 Tokyo Electron - She Keeps Me Shut 231 Kan Mikami - Anata Mo Star Ni Nareru 232 Kraftwerk - Radioactivity 233 CHAI - N.E.O. 234 Fantomas - 4-27-05 235 Gacharic Spin - Next Stage 236 Loudness - Crazy Nights 237 David Bowie - Merry Christmas Mr. Lawrence 238 The Presidents of the USA - Japan 239 Fantomas - 4-4-05 240 Kyary Pamyu P - Fashion Monster 241 Wagakki Band - Senbonzakura 242 Deep Purple - Woman From Tokyo 243 Krokus - Tokyo Nights 244 Kyoto - Venetian Blinds 245 Happy End - Natsu nandesu 246 Motohiko Hamase - Plateau 247 Boris - Tokyo Wonder Land 248 Asia - Countdown to Zero 249 Hiiragi Fukuda - Me And My Marshall Amp 250 Marty Friedman - Ai Takkatta 251 Kodo - O-Daiko (japanese drummers - Taiko - tambours geants Japon) 252 Sonic Youth - Tokyo Eye 253 Otoboke Beaver - Anata Watashi Daita Ato Yome No Meshi 254 Y&T - Midnight in Tokyo 255 Metalucifer - Heavy Metal Samurai 256 Urami Bushi - Meiko Kaji 257 Alphaville - Big in Japan 258 M.O.D. - Godzula 259 Akiko Yano - Hitotsudake 260 Japan - Life in Tokyo (Giorgio Moroder Version) 261 Boris with Merzbow - Sometimes 262 Dragonforce - Power Of The Ninja Sword 263 Fantomas - 4-10-05 264 The Guyver Dark hero Theme song 265 Minami Deutsch / 南ドイツ - Futsu Ni Ikirenai 266 Yukihiro Takahashi - Drip Dry Eyes 267 ZooBOMBS - Doo Bee 268 SIGH - Shingontachikawa 269 Burt Bacharach - Me Japanese Boy I Love You 270 Kay Cee Jones - Japanese Farewell Song 271 Dhidalah - GRB 272 Kikagaku Moyo - tree smoke 273 The Fall - I Am Damo Suzuki 274 Ryuichi Sakamoto - Thousand Knives 275 Yasuaki Shimizu - kakshi 333 Godiego - The Birth of the Odyssey (Monkey Magic) 666 BABYMETAL -Headbanger

Here are the songs to listen to: https://www.youtube.com/playlist?list=PL-iHPcxymC1_IcliLasW5eajllU8pA5Gh

#japan #Japanese Rock #japan playlist #japanese metal #Sigh #mike patton #ryuichi sakamoto #music from Japan #loudness #otoboke beaver #chai #metalucifer #Japanese movie soundtracks #ninja #babymetal #lady baby

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krispyweiss · 3 years

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About Face: David Gilmour Turns 75

As he turns 75 today, David Gilmour can look back on the unlikeliest of unlikely careers.

It’s not just being a member of one of the most commercially and critically successful bands of all time - a little outfit known as Pink Floyd - but how he got there and where he took it.

Gilmour, born March 6, 1946, came onboard just as Syd Barrett was coming apart. The group played as a five-piece for a short while, but Gilmour quickly took over as Barrett took off. Not only was he accepted in the stead of the band’s original guiding light, Gilmour worked on Barrett’s two solo albums and helped Roger Waters transform the Floyd from a psychedelic oddity into a mainstream juggernaut.

The band’s post-1972 music lives on as a rare example of that that has been played to death, but always sounds fresh and beautiful after taking a break.

When Waters left, Gilmour made the mistake, in Sound Bites’ opinion, of carrying on under the Pink banner. The three-piece lineup - Gilmour, Nick Mason and Richard Wright, plus countless hired guns - always seemed more like a glorified solo project with a built-in cash register.

This misstep notwithstanding, Gilmour always seemed like an all-around good guy. Loyal to Barrett, universally respected and liked (except by Waters) and with big ears that led him to working with Kate Bush, Roy Harper, Bryan Ferry and others, it all started because Syd Barrett burned out.

Shine on, you crazy old diamond.

3/6/21

#david gilmour #pink floyd #syd barrett #roger waters #richard wright #nick mason #kate bush #roy harper #bryan ferry #roxy music

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texastheband · 3 years

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Texas V Wu-Tang Clan

Interview by Steven Daly Photography by Peter Robathan Taken from The Face - December 1997

It’s the pop story of ’97, the most unlikely end to a weird year: TEXAS collaborating with the WU-TANG CLAN. First, a Scottish rock band on the verge of slip-sliding away into a tasteful obscurity was reborn via a slew of hit singles and a glut of stylish imagery. Now, in New York, their Brit-cool meets hip hop in a mutually beneficial deal. For everyone concerned, it’s all they need to get on…

Sharleen Spiteri took the call in her front hall. "Yo, Peach," growled a strange voice over transatlantic wires. The gentleman caller was none other than Ol’ Dirty Bastard, court jester of New York hip hop dynasty the Wu-Tang Clan. Apparently Mr Bastard fancied working with Spiteri and her band, Texas. It all started in August, with one of Texas’ managers discussing Land Rovers with someone called Power in New York, who turned out to be the manager of the Clan. A video of Texas’ "Say What You Want" was dispatched, and prodigiously gifted Wu-Tang chieftain RZA signed on to do a re-recording of the single for a prospective single project. Original rapper OI’ Dirty Bastard was replaced by Method Man, the next Clan member with a solo album scheduled.

The hook-up with the Wu-Tang Clan is the perfect climax to a year that’s seen Texas rise from a tumbleweed-strewn grave to grab the pole position in British Pop. A year in which Glasgow’s Sharleen Spiteri has stared out, defiantly remade and remodelled, from every magazine cover and TV show. From a media point-of-view, Texas’ – Spiteri’s – reconfiguring of music and fashion has been the year’s dream ticket. Ever since Bryan Ferry took the innovative step of getting Anthony Proce in to design Roxy Music’s wardrobe in the early seventies, successive phases of pop’s history have thrown up performers who use the fashion photographers, stylists and designers du jour to present The Package. It is these performers who most often capture the youthful mood of their time: that’s why you can see the vulgar glamour of the Seventies in the cut of Ferry’s sleazy lounge-lizard jib; the naive aspiration of the early Eighties in the box-suited and pixie-booted "style" of Spandau Ballet; and the onset of the late-Eighties mixing and matching of different cultures in Neneh Cherry’s Buffalo Stance. When we look back at 1997 we will see in Texas’ sound and vision a new mix, all to do with living the high life but keeping it real. Catwalk and street, the designer and the understated, Prada and Nike; the slick and the cred. Ten years’ gone Scottish guitar outfit and this season’s bright young labels (in both senses). The setting too, has helped. Fashion, again, is big cultural business. Clever pop stars (Goldie! Liam!) want to be seen by the runway and hanging out at fashion parties; young designers yearn to be visible on the stage or the podium (viz. Antonio Berardi’s autumn London show at Brixton Academy). Factor in a paucity of self-motivating, button-pressing, songwriting, photogenic women in British music, and you have a ready-made media phenomenon.

Sharleen Spiteri is holding court at a New York restaurant with a gang of Calvin Klein employees who’ve just accompanied her to the VH-1 Fashion Awards. The annual ceremony is a mutually convenient arrangement, a TV cluster-fuck where the music and fashion industries exchange credibility and cachet. Texas are contemplating just such an exchange themselves, having recently been given the OK by CK. (Tommy Hilfiger has also made overtures.) Spiteri is to have an audience with Klein himself; she’s already been bribed with a trunkful of CK merch, including the streaked black dress – "inspired by [the artist] Brice Marden" – she’s wearing tonight.

Someone suggests that Texas would be perfect for Fashionably Loud, an MTV special where models strut on stage as the hot bands of the moment rock out. "Forget it," quips Spiteri. "there’s only room for one star up where we play." If Spiteri were to join Kate Moss and Christy Turlington on the Calvin Klein payroll it would not, as she sees it, detract from Texas’ music. "Fashion and music have always been connected, and now more than ever," says the singer. "You couldn’t have one without the other. If there’s shit music at a runway show it just doesn’t work."

Meanwhile, there’s the songs. With "White On Blonde", Texas’ fourth album, the music takes care of itself. Radio-friendly unit-shifters abound, helped on their way by producers Mike hedges (manic Street Preachers) and Manchester’s Grand Central. The singles have been, in sequence, nu-soul fresh ("Say What You Want"), springy pop ("Halo"), Motown-sunny ("Black Eyed Boy") and winter warming ("Put Your Arms Around Me"). The B-side remixers have covered all bases in these dance-savvy late Nineties, ranging from of-the-moment talents like the Ballistic Brothers and Trailerman to old stand-bys like Andy Weatherall and 808 State. Texas, patently, lost their dancefloor cherry by cherry-picking the brightest and the best.

Of course, while the singles have all enjoyed heavy airplay and gone top ten, and while "White on Blonde" has sold two million copies (more than its two predecessors put together), the remixes haven’t necessarily helped those sales. As the go-faster stripes of credibility on the solid saloon car, though, they’ve still been essential to The Package; all part of the thoroughly modern mix.

So now, the Wu-Tang Clan. To many, though, this latest development could smack of opportunism. One group are renegade roughnecks who mythologise themselves in epic hip hop anthems; the others are fastidiously tasteful Scots with an eye for perfectly modern consensus-pop. The Wu-Tang Clan are certainly among the aesthetically correct names that Texas always drop in interviews, but can there possibly be a legitimate connection between the two? "A lot of the Wu-Tang backing tracks have the feel of soundtracks, and we’ve always gone for a cinematic sound," says Johnny McElhone, Spiteri’s genial songwriting partner and bass player. "And I’ve always liked Al Green, and they use a lot of Willie Mitchell, Al Green, that whole Hi Records sound, and make it modern. And Marvin Gaye: Method Man, in that duet with Mary J. Blige, used ‘You’re All I Need To Get By."

Having dominated the charts in Europe this year, Texas are now, logically, turning their attention to America: the country that has always inspired them, whether it’s the dusty, pseudo-roots sound of their first three albums, or the iconic-soul and post-soul sounds of Memphis and Staten Island that they give props to now; the place where success has always eluded them. Yet given the commercial momentum of "White on Blonde", their approach to the Wu-Tang Clan is surely not driven by desperation. They are, then, viewing the collaboration with a combination of fan-like wonder and disbelief.

"Method Man is just a wicked, wicked rapper," enthuses Spiteri. "I can’t wait to hear the combination of my vocals and his – I‘m really excited about it. I have a kind of sweet, virginal thing going on, and he’s got this dirty sex vibe. It could be the perfect marriage."

It’s a Saturday night in Manhattan, and ten storeys above Times Square, Sharleen Spiteri sits on the floor of a recording studio, tinkering with her latest high-tech gadget, a Philips computer about the size of a TV remote. Across the street, three ten-foot high electronic ticker-tapes provide testimony to Monday’s stockmarket crash. No matter how much Spiteri plays with her new toy, there’s still that nagging worry: what if the Wu-Tang Clan won’t show? They’re supposed to be on a tour bus returning from a gig in Washington, DC today, but these, after all, are the original masters of disaster. The crew whose normal modus operandi seems to be chaos. The band that recently quit a national tour because only five of the nine members could be relied upon to turn up.

The studio has been booked since six, so Spiteri and McElhone breathe signs of relief when RZA and his posse finally roll in around ten. Among the dozen-strong throng, they’re surprised to see Wu-Tang member Reakwon, a stout fellow with a Mercedes cap and a Fort Knox of gold dental work. Several cigars are hollowed out, their contents replaced with weed; bottles of Cristal champagne and Hennessy are passed around as the air grows thick with smoke.

Half an hour later, method Man makes his entrance. Stooped over, he looks deceptively short – maybe only six-four in his Hilfiger fleece hoodie. "I’m John-John," he tells Sharleen, referring to his alias, Johnny Blaze. Pulling out the big blunt from behind his ear, Method Man considers the job at hand. "She got a nice voice," drawls the laconic giant. "This band not exactly my type of listening material, but they going in the right direction, if you ask me, by fucking with us. I’m waiting for RZA to put down a beat, hear how the vocals sound melded with the track before I come with ideas. I’m one of those guys."

As his friends get on with the serious business of partying, RZA goes to work, feeding a succession of sample-laden discs into a sampler. He has a diffident, genius-at-work charisma about him as he sits with his back to the room, keyboard at side. With a flick of his prodigiously ringed hand he reaches out and conjures up a brutal bassline. The speakers pulse violently. RZA takes a sip of Hennessy. "Record this, right here!" he tells the bewildered-looking engineer.

RZA has decided to dispense with the original master tapes, shipped over from Britain. He wants a completely new version, recorded rough-and-ready without the standard safety net of a time-code. This convention-trashing, wildstyle approach to recording elicits some consternation from the studio’s engineer, a central-casting white guy who warns RZA: "You won’t be able to synch to this, you know." RZA waves him away and turns to Johnny McElhone. "This riff is in E," McElhone tells RZA. "Maybe we should try it in the original key, D." "What are you saying? I understand no keys," says RZA. "You want me to sing the whole song straight through?" asks Spiteri, trying to divine RZA’s intentions. He orders the lights turned down, and offers Sharleen some herbal inspiration. She politely declines and walks to the vocal booth. "What’s her name? Sheree?" asks RZA as Spiteri warms up. The engineer wants to know if he should maybe start recording. "Always record everything!" exclaims RZA. "Ready, get set, go! Play and record, play and record!" Spiteri rattles of a perfect new version of ‘Say What You Want’, grooving along by herself and passionately acting out every word, even the ones borrowed from Marvin Gaye’s ‘Sexual Healing". Now it’s time for Method Man, who at this point is so herbally inspired that he can hardly open his eyes. He jumps up and lopes around the main room, running off his newly written rhymes and clutching a bottle of Crystal. Method walks up to the mic and opens his mouth, and that treacly baritone sets a typically morbid scene: "Fifteen men on a dead man’s chest…" The Texas duo just look at each other, shaking their heads in awe.

The hours and the rhymes pass. Around 6am, things are starting to get a little weird. As Method Man snoozes on the sofa, RZA bounces off the walls, dancing like a dervish. "These are the new rhythms," he yells. "These are the new dances from Africa. I learned them when I was there last week!" McElhone and Spiteri crack up. The engineer probably wishes he were in Africa right now; he further draws RZA’s ire by making a mistake as he runs off some rough cassettes. As everyone says goodbye, RZA decides that he’s taking the studio’s sampler – he already has two of the $3,500 items, but at this point it’s all about the wind-up. The engineer, though, having last seen the end of his tether a good few hours ago, has had enough. By the commencement of office hours that morning, the rest of the session will have been cancelled and the band and Clan banned from this studio.

After a few frantic phone calls later that morning, a studio is found that is prepared to let the Wu-Tang Clan through the door. With one precondition: only two of them are allowed in the studio. Now it’s midnight, and four-fifths of Texas watch a trio of RZA-hired session men go through their paces. They shift effortlessly through a handful of soul and funk styles, and the Scots mutter approval. These are the kind of players that are so good they can get away with wearing questionable knitwear.

Soon, another couple of Wus pop in. Then another couple. In the control room RZA orders up a bottle of Hennessy and talks about hearing "Say What You Want" for the first time. "I didn’t fully understand the sound of it," admits the soft-spoken maestro. "It was obviously a popular song, a radio song, and my sound is the total opposite. But I thought that the artist had something, so I thought: "Let’s take her and rock her to my beat."

"Sweet soul, that’s what her stuff sounded like to me. Smooth. It reminded me of the Seventies: in those days, they did songs that would fit anywhere. If you went to a club getting high it would fit; if you was cleaning up your house it would fit. That’s when you’ve got a real great song right there." Whether or not "Say What You Want" is a great song, it’s not quite coming together tonight. Despite the best offers of the studio management, a full complement of Wu posse members ended up in the house. As the night drags on the trio of musicians don’t get with the track, and by eight the following morning there is little in the way of usable material. But everyone stays upbeat. Texas will work on the track in Glasgow, and send it back to RZA to finish, along with a new song based around one of his samples. After vowing to stay in touch, everyone stumbles out into the Manhattan morning light together, the Scots with an American name, and the Clan without a tartan.

From a distance the collaboration will continue. But it’s only a different kind of distance. Culturally, creatively, the gap between the Wu-Tang Clan and the old twang clan is considerable. Yet so it goes, this cross-cultural exchange programme. Whether it’s The Stones copping blues movies, Bowie digging the Philadelphia Sound, Lisa Stansfield getting soulful with Barry White, Sting getting doleful with Puff Daddy… Whether it’s Todd Terry reviving Everything But The Girl or Armand Van Helden making Sneaker Pimps the unwitting jumpstarters of speed garage, naked opportunism and risk-taking innovation have always been confused. Now, with genres blurred and tricknology proceeding apace, anything is possible and everything is permitted. Perhaps it is this, the sheer unlikeliness, that makes the Texas-Wu experiment the most illuminating collaboration of the year. Whether it works or not.

"If you play her stuff in a club, everybody be dancing, but it’s a clear room and you can see everybody’s face," RZA reflects on the departing Sharleen Spiteri. "But if you play mine, the room is smoky." And perhaps it is here, among the clouds and the clarity, between the smoke and the mirrors, where a new sound and vision lies.

Text originally posted on texasindemand.com

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