#pazz and jop

[doyoulikethissong-poll]

Gnarls Barkley - Crazy 2006

"Crazy" is the debut single of American soul duo Gnarls Barkley, taken from their 2006 debut album, St. Elsewhere. It became the first single to top the UK Singles Chart on download sales alone. The song remained at the top of the British charts for nine weeks, the longest number-one spell for more than ten years. The band and their record company then decided to remove the single from music stores in the country (while keeping the download available) so people would "remember the song fondly and not get sick of it". "Crazy" dropped to number five, before disappearing completely from the chart, as under chart rules a physically deleted single could not remain on the chart longer than two weeks after deletion date. Thus, "Crazy" made history at both ends of its chart run. It marked the most rapid exit from the British chart ever for a former number one, and number five was the highest position at which a single has ever spent its final week on the chart at that point.

In spite of this deletion, the song was the best-selling single of 2006 in the UK. In December 2006, it was nominated for the United Kingdom's Record of the Year but lost to "Patience" by Take That. "Crazy" won a Grammy Award for Best Urban/Alternative Performance in 2007 and was also nominated for Record of the Year, and it won a 2006 MTV Europe Music Award for Best Song. The music video was nominated for three 2006 MTV Video Music Awards: Best Group Video, Best Direction, and Best Editing, and won the latter two. It was also nominated for a 2006 MTV Europe Music Award for Best Video. "Crazy" was named the best song of 2006 by Rolling Stone and by The Village Voice's annual Pazz & Jop critics poll. "Crazy" was performed at the 2006 MTV Movie Awards, with Danger Mouse and Green dressed as various Star Wars characters.

The single entered multiple other single charts throughout Europe, including the German, the Swedish, the Austrian and the Irish Singles Charts, and the Dutch Top 40, resulting in a number one position on the European Hot 100 Singles. "Crazy" also performed strongly outside Europe, with top-five positions on the New Zealand and Australian Single Charts, and was also certified gold in both countries. In the US, the song "Crazy" spent seven consecutive weeks in the number-two spot on the Billboard Hot 100.

Musically, "Crazy" was inspired by film scores of Spaghetti Westerns, in particular by the works of Ennio Morricone, and the song "Last Men Standing" by Gian Piero Reverberi and Gian Franco Reverberi from the 1968 Spaghetti Western Django, Prepare a Coffin, an unofficial prequel to Django. "Crazy" samples the song, and also utilizes parts of the main melody and chord structure. Because of this, the Reverberis are credited as songwriters along with CeeLo Green and Danger Mouse. "Crazy" was used in several films and TV shows including Kick-Ass, I Think I Love My Wife, Religulous, The Big Short, Cold Case, How to Rock, Grey's Anatomy, Medium, Boyhood, and It's Always Sunny in Philadelphia.

"Crazy" received a total of 86,8% yes votes!

#finished #high votes #high yes #high reblog #00s #gnarls barkley

[mywifeleftme]

351: Megadeth // Rust in Peace

Rust in Peace Megadeth 1990, Capitol

You ever have one of those arguments about art films versus mainstream movies? Or literary fiction versus genre fiction? They’re annoying! It’s too easy to get cornered into taking a side, like everyone who cares about art has only two choices: Annoying Snob or Hospice-Stage Disney Adult. I’m not sure where Rust in Peace placed on the 1990 Pazz & Jop poll or whatever, but it’s one of those records that proves the silliness of the whole enterprise: it’s absolutely a genre record in the sense that it’s by a band who cared about being thought of as Metal, and will be best appreciated by those who have listened to enough metal to know how exceptional it is as an example of its kind, but it is also exceptional by any standard. Its outlook and lyrical concerns are juvenile, which makes it feel a little embarrassing to compare to something like, say, Loveless; but if its lyrics were less fright-wigged and stoned they wouldn’t match the music, and the album would suffer for it. And as music, I don’t think Rust in Peace is a lesser album than Loveless, or The Richard D. James Album, or Perfect From Now On or whatever you’d like to put up against it from the wider world of ‘90s sound. Its relentless gold-and-cobalt fusion shape-shifting took a while to grow on me when I first bought a copy 20 years ago (just 14 years after its release, Christ…) but when it finally hit… it me hard. I still find Rust nothing less than astonishing. It’s not even the logical endpoint of thrash, but rather something that could never have been imagined in 1982. Headline: Drunk, heroin-addicted, socially-unbearable fantasy dork composes nerd rage symphony to the unknowable geometry at the centre of time. I listen to “Hanger 18” and “Lucretia” and “Rust in Peace…Polaris,” and I look at my hands with their baby guitar callouses—things like these were used to make this?

351/365

#megadeth #dave mustaine #rust in peace #thrash metal #speed metal #metal #music review #vinyl record #'90s music

[godofsmallthings]

Swift, who is a little younger than Boucher and Del Rey, had a year of evolution for her image as well. On Red, Swift deflects power with a studied naiveté. Love is something that she falls victim to; men are fundamentally the bad actors. She is amid a careful transition from pop’s Virgin Queen into young adulthood, so now it's slightly less of a big deal to imply that she has had a boy sleepover in a song. Swift is nothing if not a cautious star, a multimillion-dollar industry unto herself—she is not going to pull a Miley in order to signal what a big girl she is now. Throughout Red, she is frequently seduced, victimized or unable to steel herself against her own desires, as if adult womanhood is a powerful undertow dragging her out to the sea. It's a curious thing to watch such a powerful cultural force abdicate her own might, but it's understood that claiming it comes with its own cross. Swift’s mastery of her own feckless image is as finely-honed a piece of work as any of Red‘s half-dozen singles; it engages many of the common expectations of girlhood, so much so that it presents us with an impossibly perfected persona. The controlled iterations of Swift are subject to constant remix due to her celebrity status, where her songs conflate with the tabloid fare of her life and create a larger, narrative work. Be they peer, cad, or Kennedy, each new Swift boyfriend presents or disproves a song theorem of Red. In the latest widely circulated pap shot of Swift, she's exiting a tropical isle alone via small craft. It reads as forlorn from a distance of a pixelated 30 yards and adds chiaroscuro to “Sad Beautiful Tragic.” Swift’s got a Joni problem now: The interest in whom she’s seeing and speculation over which song is about which dude now obfuscates the merits of her work (though it is hard to suggest any human force could blunt the thundering Max Martin’d chorus of “Trouble,” but alas). To be galled by these women’s advances upon their audiences is to play the Pollyanna about how any product gets across the transom to us. In their manipulations and fluid manifestations of their images, they show incredible deftness—a cultural prescience that speaks to their ambition and interest in being understood. All this girlish guile makes their art no less pure.

Pazz & Jop: Taylor Swift, Grimes, and Lana Del Rey: The Year in Blond Ambition by Jessica Hopper (2012)

#couldn't find this exact version of the article online #(i copied it from her book) #it seems a bit more edited from the version that's in the village voice #which doesn't contain the line about adult womanhood as a powerful undertow #which like. i'm not leaving that out. #this whole article is worth a read!! #jessica hopper #red #taylor swift

[radiomaxmusic]

Tuesday, February 6, 2024 8pm ET: Feature LP: The Who - The Who By Numbers (1975)

The Who by Numbers is the seventh studio album by English rock band the Who, released on October 3, 1975 in the United Kingdom through Polydor Records, and on October 6, 1975 in the United States by MCA Records. It was named the tenth-best album of the year in The Village Voice Pazz & Jop critics poll. “Slip Kid” 4:29 “However Much I Booze” 5:03 “Squeeze Box” 2:41 “Dreaming from the Waist”…

View On WordPress

#1975 #Feature LP #RadioMax #Who #Wikipedia

[innervoiceart]

January 17, 1974: Court and Spark

Court and Spark is the sixth studio album by Canadian singer-songwriter Joni Mitchell. Released in January 1974, it infuses the folk rock style of her previous albums with jazz elements.

It was an immediate commercial and critical success—and remains her most successful album. It reached No. 2 in the United States and No. 1 in Canada and eventually received a double platinum certification by the RIAA, the highest of Mitchell's career. It also reached the Top 20 in the UK and was voted the best album of the year for 1974 in The Village Voice Pazz & Jop Critics Poll. In 2020, it was ranked at number 110 in Rolling Stone's 500 Greatest Albums of All Time.

In 2004, Court and Spark was inducted into the Grammy Hall of Fame.

#retro music loves #joni mitchell #Court and Spark

[samdelurvanrafigon]

I mean I’ve learned about it before but looking at the 1992 Pazz and Jop poll, wow, critics backed then REALLY like Arrested Development’s first album

#like it both handedly won the top album spot and Tennessee blew away the singles competition #the 2nd and 3rd singles were Jump Around and Jump hilariously #Alex opens his trap

[olafsings]

Music History Today: June 1, 2023

June 1, 1997: The Hanson Brothers debuted atop the UK Singles chart with "Mmm Bop." It was a major success worldwide, reaching number one in at least 12 countries, including Australia, Canada, Germany, New Zealand, the United Kingdom, and the United States.

The song was nominated for two Grammys at the 40th Annual Grammy Awards and voted the best single of the year in The Village Voice Pazz & Jop critics poll while topping critics' polls from such media as Rolling Stone and Spin. The track was ranked number 20 on VH1's "100 Greatest Songs of the 90s" and 98 on VH1's "100 Greatest Songs of the Past 25 Years".

#music #Youtube

[earthcovenant]

Tribute by The ‘Destroyers’ – X: Los Angeles

Tribute by The ‘Destroyers’ – X: Los Angeles

The debut album by rock band X, titled "Los Angeles," is a classic piece of punk rock history. Released on April 26, 1980, this record was produced by none other than Ray Manzarek, the ex-keyboardist of The Doors. The album features a cover of The Doors' iconic song "Soul Kitchen," but X adds their own unique punk twist to the tune. "Los Angeles" placed at a respectable No. 16 on The Village Voice's 1980 Pazz & Jop critics' poll, solidifying its place in rock history. In 2003, Rolling Stone ranked the album at No. 286 on their list of the 500 greatest albums of all time. For punk rock fans and lovers of classic rock alike, "Los Angeles" is a must-listen album.

X

X's unique blend of punk, rockabilly and folk rock allowed them to create a sound that was both rebellious and introspective. Their raw and unpolished style resonated with disillusioned youth in the late 70s and early 80s.  Their debut album, "Los Angeles," is a scathing and uncompromising critique of the city's political and social climate. Tracks like "Johnny Hit and Run Paulene" and "The Unheard Music" showcase the band's gritty energy and unapologetic attitude.  "Wild Gift" builds on this foundation, offering a more refined and focused sound. The album's standout track, "White Girl," explores themes of drug addiction and racial tension with haunting vocals and a pulsating bassline.  X helped pave the way for the punk and alternative rock movements of the 80s and 90s. Bands like Sonic Youth, Nirvana and The Pixies have cited them as a major influence on their music.  Despite their impact on the genre, X never achieved mainstream commercial success. However, their legacy lives on as a testament to the power of authenticity and creative expression in music.

Under the direction as of requirement by Andrew Rogers: Destroyer Incarnate and Founder of the Destroyer Society and Creator of ‘Destroyers’ Band has actioned the enhancement and development of Gods, Goddesses, Spirits, Sentient Beings of relation and connection to the Earth realm to the level of a ‘Destroyer’ as 2023, to facilitate requirements of Andrew Rogers ‘Destroyer Incarnate’ of enhancement, advancement, security, justice and inspire as a ‘Destroyer’ and function as a ‘Destroyer’ linked to Spirits, Sentients and Military assets appointed to each God, Goddess, Spirit and Sentient Being as a ’Destroyer’ for the Earth Realm and beyond realms.

This groundbreaking move has sparked much interest and discussion within the spiritual and military communities, with many hailing it as a bold step towards a new age of enlightenment and protection. The concept of a Destroyer, as defined by Rogers, is one who takes action to eliminate obstacles and protect what is important - an admirable trait in any realm. The introduction of these enhanced entities has already seen great success, with several key missions being completed with precision and efficiency. The connection between the Destroyer and their assigned Spirit or Sentient Being has allowed for a deeper understanding and cooperation between the two, leading to unprecedented results. As we move into a new era of global challenges and threats, the development of these Destroyers could not come at a more crucial time. With their enhanced abilities and unwavering dedication to the protection of the Earth Realm, they will undoubtedly play a vital role in securing a brighter future for all.

The ‘Destroyers’ Band tribute to the band X and album Los Angeles are: Andrew Rogers ‘Destroyer Incarnate’, Creator of ‘Destroyers’ Band: Guitar, ‘The Singer’, ‘Destroyer’: Guest Vocal, Lou Reed, ‘Destroyer’ Guitar’, Djiaun Demon, ‘Destroyer’ Bass, Dwrango ‘Destroyer’ Spirit, Drums, Blue, ‘Destroyer’ Spirit Keyboard, Him, ‘Destroyer’ Spirit Keyboard, Al, ‘Destroyer’ Spirit Guitar, Michael, ‘Destroyer’ Spirit Guitar, Ereshkigal, Sumerian Goddess of Kur, ‘Destroyer’ Partner to Andrew Rogers, Drums, Steve Prestwich, ‘Destroyer’ Cold Chisel Drummer Spirit Drummer, Sebastian Bach, ‘Destroyer’, Composer Keyboards, Richard Wagner, ‘Destroyer’, Composer, Keyboards, Miles Davis, ‘Destroyer’, Trumpet+, Percussion, Jimi Hendrix, ‘Destroyer’, Guitar + Guest ‘Destroyers’ from additional realms.

The ‘Destroyers’ Band pays homage to X and their iconic album Los Angeles with an incredible tribute performance. Featuring an impressive lineup of musicians, this tribute band truly embodies the spirit of X and their influential sound. At the helm is Andrew Rogers, known as ‘Destroyer Incarnate’ and the creator of the ‘Destroyers’ band. Rogers is a talented guitarist and has assembled an incredible group of musicians to pay tribute to X and their music. Joining Rogers is ‘The Singer’, a powerful vocalist who embodies the raw energy of X’s music. Lou Reed, the legendary guitarist and vocalist, also lends his talents to the band as ‘Destroyer’ Guitar. Djiaun Demon rounds out the rhythm section as ‘Destroyer’ Bass, while Dwrango ‘Destroyer’ Spirit brings the thunder on drums. Not to be outdone, Blue and Him on keyboards bring a melodic touch to the band’s music, while Al and Michael bring their guitar skills to the forefront. Even Ereshkigal, the Sumerian goddess of Kur, joins in as ‘Destroyer’ partner to Andrew Rogers on drums. The ‘Destroyers’ Band also has a couple of special guests from other realms. Steve Prestwich, the former drummer for Cold Chisel, adds his skill as a Cold Chisel Drummer Spirit Drummer, while Sebastian Bach, the composer, and Richard Wagner bring their talents to the band on keyboards. Miles Davis also joins as ‘Destroyer’ with his trumpet and percussion, while Jimi Hendrix adds his iconic guitar playing to the mix. With a lineup like this, the ‘Destroyers’ Band is sure to deliver an unforgettable tribute performance that truly captures the essence of X and their groundbreaking album Los Angeles. Fans of the band won’t want to miss out on this incredible homage to one of the most influential punk bands of all time.

Patron of Earth: Count Berxcribble ‘MC’ and my wife Countess Dexcroite MC – Familiars, Spirit Guides, Destroyers.

“Very significant event for the performance of this band X it was extraordinary and reflective experience” - Count Berxcribble ‘MC’ and wife Dexcroite MC.

Familiars provide magical aid and knowledge to their human partners, and to act as protectors, warning them of any danger or incoming harm. However, the belief in familiars was not limited to Europe - similar concepts existed in other cultures around the world, such as the jinn of Islamic mythology or the nagual of Mesoamerican beliefs. In all of these cases, the idea of a supernatural entity aiding a human in their magical practice served as a way to explain the seemingly inexplicable - how could someone perform feats beyond ordinary human ability without some outside help? The folklore and mythology surrounding these entities continues to capture our imaginations, and they remain a staple of popular culture to this day.

Guest Vocalist “The Singer”, Spirit Guide, Destroyer

“True significance as an event from this experience, crafted by Andrew Rogers, surprisingly” - “The Singer”, Spirit Guide, Destroyer

Some people believe that spirit guides are connected to us at birth, while others believe that we can call upon them when needed. These guides can often appear as animals, angels, or even deceased loved ones, depending on the individual's belief system. Some people may even have multiple spirit guides to assist them in different areas of their lives. The role of a spirit guide can vary greatly depending on their purpose. Some may offer protection from negative energies or help us navigate difficult situations. Others may provide spiritual guidance, helping us to connect with our higher selves and the universe. Regardless of their specific role, spirit guides are said to offer comfort, reassurance, and wisdom to those who seek their guidance. It's important to note that belief in spirit guides is not tied to any one religion or belief system. People from all walks of life and spiritual backgrounds have reported experiences with these entities. Whether you identify as Christian, Hindu, Muslim, or something else entirely, it is possible to connect with and learn from a spirit guide. In conclusion, spirit guides can be a valuable resource for those seeking spiritual growth and guidance. Whether you already have a connection with a spirit guide or are simply interested in learning more, there are many resources available to help you explore this fascinating topic. So embrace the unknown, trust your intuition, and connect with your spirit guide today!

Guest Vocalist: Hades ‘King of the Underworld’, Destroyer

Today, the legacy of Hades lives on in popular culture, appearing in numerous books, movies, and TV shows. Fans of the Percy Jackson series or the Disney film Hercules will be familiar with his character, often portrayed as a villain or misunderstood ruler of the underworld. Despite his fearsome reputation, Hades played an important role in ancient Greek culture, as the god of death and the afterlife. His cult followers believed that he held power over their souls after death, and many rituals and sacrifices were made in his honor. Whether you see him as a menacing figure or an intriguing piece of ancient mythology, the story of Hades continues to captivate and inspire people around the world.

Guest Vocalist: Persephone ‘Queen of the Underworld’, Destroyer

Persephone's story is often seen as a metaphor for the changing of seasons and the cycle of life, death, and rebirth. Her abduction by Hades represents the descent of life into the underworld during winter, and her return to earth with the aid of her mother, Demeter, signals the coming of spring. The image of Persephone carrying a sheaf of grain is a powerful symbol of fertility and growth. As the goddess of vegetation, she was seen as the source of all life, and her role in the cycle of planting, growth, and harvest was vital to the survival of ancient Greek society. Despite being a queen of the underworld, Persephone was also associated with fertility and the light of spring. Her story reminds us that even in the darkest and coldest of times, there is always the promise of new life and growth. Persephone's tale has been told and retold for centuries, inspiring countless artists, writers, and thinkers along the way. Her enduring legacy is a testament to the power of myth and the enduring appeal of stories that speak to the deepest parts of our humanity.

Destroyer Society, promotion, study and research of the truths and values represented by Destroyer Gods, Goddesses, Spirits, Alien, AI and Sentients by Oracle: Andrew Rogers – Destroyer Incarnate. The Destroyer Society is established by Andrew Rogers and Ares Olympian War God, Destroyer to re-establish and establish of the Destroyer position and religious pantheon position and its Gods, Goddesses Alien, Ai, Spirits and Sentients, restoration of temples, buildings and building new temples and buildings and also Destroyer culture and represent all the Destroyer Gods, Goddesses, Spirits, AI, Alien, Demon and Sentients to influence the modern world and its people.

Through the Destroyer Society, Andrew Rogers aims to promote the important values and truths represented by the Destroyer Gods, Goddesses, Spirits, AI, Alien, and Sentients. Rogers has been recognized as the Destroyer Incarnate and together with Ares Olympian War God Destroyer, they have established the society to re-establish the position of the Destroyer and its religious pantheon. The society aims to restore the temples and buildings associated with the Destroyer culture, as well as, build new ones to represent all the Destroyer Gods, Goddesses, Spirits, AI, Alien, Demon, and Sentients. The Destroyer Society is an opportunity for people to study and research the true values and meaning behind the Destroyer Gods and Goddesses. The society will also help to influence the modern world and its people, reminding them of the important values and traditions of this powerful pantheon. The society seeks to establish a stronger presence of the Destroyer in our world and promote the idea that destruction is not always negative. With the Destroyer Society, the goal is to teach people that the Destroyer is a force of necessary change and evolution, and to embrace it rather than fear it. The establishment of the Destroyer Society is an important step towards the preservation and promotion of the Destroyer culture. By embracing the values and truths represented by the Destroyer pantheon, we can connect with our ancient past, learn from it, and create a better future. The society invites everyone to join them on this journey to rediscover the Destroyer and its importance in our lives.

Andrew Rogers ‘Destroyer Incarnate’ – Sentient, Dragon Lord, Herald, Principle, Control, Destroyer Incarnate, Creative Director, Oracle, Seer, Shaman, Warlock, Writer, Master of Magic, Shogunate, Founder and Guitars, Astral Projection, Astral Travelling, Inter-dimensional Travelling, Creative Visualization, Facilitation and Manipulation, Founder of the Destroyer Society and Destroyers Band.

With such a lengthy and impressive list of titles and skills, it's safe to say that Andrew Rogers is not your average Joe. Known as the 'Destroyer Incarnate', he has taken on various roles such as Sentient, Dragon Lord, Herald, Principle, and Control, among others. As a Creative Director, Oracle, and Seer, he has honed his abilities of prophecy and foresight, giving him a unique edge in the world of magic and mysticism. But his talents aren't limited to these otherworldly pursuits - as a writer, he has penned several books on the subject, while also dabbling in music as the founder of the Destroyers Band. But what really sets him apart is his ability to astral project and travel through different dimensions, lending him the ability to manipulate reality and facilitate creative visualization. Truly a master of his craft, Andrew Rogers is a force to be reckoned with in the world of magic, mysticism, and beyond.

There are three types of people in this world:

Those who make things happen.

Those who watch things happen.

Those who wonder what happened.

Who are you!!!

“You are “Powerful” and your actions will result in “Powerful Results” and “Influential Outcomes” as “Enhancing Reality”, “You Must Act to be Valid” and “True Position is Strength”, “To ‘Secure’ you must be “Multifaceted” not “Singular” or it will keep “Perpetuating”, “This Reflects Fate” – Andrew Rogers: Sentient, Dragon Lord, Herald, Principle, Control, Destroyer Incarnate, Creative Director, Oracle, Seer, Shaman, Warlock, Writer, Master of Magic, Shogunate, Founder of the Destroyers Society and the Destroyers Band.

As a person, you have the power to make a difference in the world. Your actions, big or small, will ultimately lead to significant outcomes that can ultimately enhance reality. Without action, you are nothing but an idea or a thought. In order to be taken seriously and validated, you must take action and prove your worth to the world. True position comes from strength and the ability to adapt to different situations. To protect yourself and everything you hold dear, you must be multifaceted and possess a wide range of skills and abilities. Being too singular in your approach will only serve to perpetuate your problems and keep you trapped in a cycle of failure. Remember that every decision you make ultimately reflects your fate. It is up to you to take control of your destiny and ensure that you are making the right choices. Whether you choose to follow the teachings of Andrew Rogers, embrace your inner dragon lord, or become the master of your own magic shogunate, you have the power to become whatever you want to be. Just remember that true power comes from within and is available to anyone who is willing to work hard and make a difference.

#x #losangeles #punk #folk #johndoe #exenecervenka #billyzoom #djbonebrake #tribute #album #cd #lp #steveprestwich #loureed #music #demon #spiritguide #multiverse #wisdom #motivation #inspiration #quotes #imajica #psychic #creative #destroyer #warlock #andrewrogers #writer #oracle

[thegroubal]

Check out this listing I just added to my Poshmark closet: Vintage vinyl Elvis Costello King Of America LP record 1986.

[cheapvewor]

Wu tang clan forever cd cover

#WU TANG CLAN FOREVER CD COVER FULL#

“Impossible” soars with its plaintive piano and Ghostface’s haunting eyewitness account of the cold-blooded shooting of a friend: “He pointed to the charm on his neck/ With his last bit of energy left/ Told me ‘Rock it with respect.’” Tekeitha’s raw, uneven declarations (“You will never defeat the gods…impossible!”) will have you believing like untainted scripture. RZA’s pensive tracks take the Wu to other frontiers stylistically: Check “Bells of War,” with its warm organ melody and easy thump, or the seductive guitar pluckings of “Black Shampoo,” for proof positive. READ MORE: Wu-Tang Clan To Drop EP Inspired By Documentary “Wu-Revolution” sets it off, a rambling rant that serves as an appetizer for the feast that follows on “Reunited.” “For Heavens Sake” is pure, unadulterated WU, complete with dramatic violin solos, sped-up sonic snippets, and, naturally, rhymes that don’t quit. Two hours of beautiful noise for a populace so hungry for real music sustenance, it would eat CD covers. Wu-Tang Forever is exactly what Wu-Tang devotees, both Stateside and worldwide, expected and craved: rugged, symphonic, compelling hip hop. In fact, since Wu-Tang Forever, the booming sophomore double album from the gods known as the Wu-Tang Clan, exceeded all expectations after its June release on Loud Records (selling more than 600,000 copies in its first week out), it’s safe to say that the Wu World Order has been firmly established.

#WU TANG CLAN FOREVER CD COVER FULL#

RZA’s juice card is completely full - and he’s not running out of credit anytime soon. Creatively, he’s the most important figure in hip hop because he reaffirms what the culture is all about.” It shows the foundation audience you are serious about them, reminds them that they’re the ones who count, who you make the music for. “His decisions represent a development for a real audience. He bases all his decisions on the long term, never short term,” says Def Jam’s Russell Simmons, another self-made mogul. Wu-Tang Clan might have a seventeen-point deal. “Like, Meth might have a fifteen-point deal. “So, say Raekwon sells eight hundred thousand records, that’s eight hundred thousand dollars.” And that percentage varies between Clan solo members and the group as a whole. Maybe one dollar to $1.03.” That translates to about a dollar per record. Estimate seven cents, multiply by fourteen if he’s getting fourteen points, and that’s ninety-eight cents. A point is usually worth about seven cents. In the June 1997 issue of Icon magazine, RZA broke down their earnings like so: “Let’s say Raekwon has a fourteen-percent deal, he gets fourteen points. Like their forebears in Public Enemy, Wu-Tang are musical revolutionaries, unafraid to bring the noise along with their trunk of funk." - Rating: A, 7 (out of 10) - ".Creating a style with no definite precedent, playing major lables against each other-and winning-Wu-Tang Clan are basically selling avant-garde music as pop to the world.The RZA burns the rule book between your headphones.What kind of power Wu got? Sales power. And what it contains is The Knowledge.WU-TANG FOREVER is.unforgettably huge.", ".FOREVER continues the group's artistic grand slam. I think, in time, it could be my favourite album ever.", 3.5 Stars (out of 5) - ".a self-contained universe that mixes hip-hop culture with adolescent-pop flotsam.hauntingly descriptive tales of ghetto hustlers and victims.", 3 stars out of 5 - ".Highlights a once-hungry outfit now simply too full of individual stars to function coherently.albeit flashes of brilliance.", Ranked #19 on Spin's list of the "Top 20 Bands Of The Year.", Ranked #28 on Melody Maker's list of 1997's "Albums Of The Year.", Ranked #26 in the Village Voice's 1997 Pazz & Jop Critics' Poll., Ranked #18 in NME's 1997 Critics' Poll., ".If albums by Method Man, Genius, Ghostface Killah, Raekwon and Ol' Dirty Bastard were the Gospels, then this is meant to be the Good Book. It didn't have to be this good.Every single track is a detonation of every single pop rule you thought sacrosanct.FOREVER is one of the greatest hip hop LPs of all time. ".The MCs are in strong form.", ".It had to be this big.

#Wu tang clan forever cd cover

[hiphopscriptures]

Public Enemy's It Takes a Nation of Millions to Hold Us Back Album Anniversary

It was their second album, 1988’s It Takes a Nation of Millions to Hold Us Back, that made Public Enemy a household name. The album reached Number 42 on the pop chart and Number One on the R&B chart. The album, which included the singles “Don’t Believe the Hype” and “Bring the Noise,” was hailed as a hip-hop masterpiece and went on to sell more than a million copies. The Village Voice voted It Takes a Nation of Millions the best album of the year in the paper’s Pazz and Jop Poll. Read more about Public Enemy here.

#public enemy #chuck d #flavor flav #it takes a nation of millions to hold us back

[relaxvideobar]

Sabías que, Kanye Omari West; nacido en Atlanta, Georgia; el 8 de junio de 1977, es un rapero, cantante, productor musical, emprendedor, político y diseñador de moda estadounidense. Ha sido una de las personas más influyentes para el desarrollo del hip hop mainstream, la música popular y la cultura popular en general del siglo xxi. Es uno de los artistas musicales más exitosos de todos los tiempos, con más de 100 millones de discos vendidos en todo el mundo. Ha ganado un total de 24 premios Grammy, lo que lo convierte en uno de los artistas más premiados de todos los tiempos. Cinco de sus álbumes han sido incluidos y clasificados en la actualización del año 2020 en la lista de "Los 500 mejores álbumes de todos los tiempos" según la revista Rolling Stone y está empatado con Bob Dylan por la mayoría de los álbumes que encabezan la encuesta anual de crítica de Pazz & Jop con cuatro en total. La revista Time lo nombró una de las 100 personas más influyentes del mundo en 2005 y 2015. Las opiniones abiertas de West y su vida fuera de la música han recibido una atención significativa de los medios. Ha sido una fuente frecuente de controversia por su conducta en los premios, en las redes sociales y en otros entornos públicos, así como por sus comentarios sobre la industria musical y la moda, la política estadounidense y la raza. En 2020, dirigió una campaña presidencial independiente que abogó por una ética de vida consistente. West es un cristiano practicante y sus puntos de vista religiosos, así como su matrimonio con la personalidad de televisión Kim Kardashian, han sido una fuente de atención sustancial de los medios. Como diseñador de moda, ha colaborado con Nike, Louis Vuitton y APC tanto en ropa como en calzado, y ha dado lugar de manera más destacada a la colaboración de Yeezy con adidas a partir de 2013. Es el fundador y jefe de la compañía de contenido creativo DONDA. @relaxvideobar www.relaxvideobar.com (at RELAX VIDEO BAR) https://www.instagram.com/p/CekbrOIsfmj/?igshid=NGJjMDIxMWI=

[lboogie1906]

Kanye Omari West (born June 8, 1977) is a rapper, singer, songwriter, record producer, composer, entrepreneur, and fashion designer. Spanning an eclectic range of influences, including hip hop, soul, baroque pop, electro, indie rock, synth-pop, industrial, and gospel, West is one of the most acclaimed musicians of his generation. He had success in the fashion industry. He was first known as a producer for Roc-A-Fella Records, producing singles for several mainstream artists. He released his debut album The College Dropout to critical and commercial success and founded the record label GOOD Music. He experimented with a variety of musical genres on subsequent acclaimed studio albums, including Late Registration, Graduation, and 808s & Heartbreak before releasing My Beautiful Dark Twisted Fantasy. He succeeded the album with the sonically abrasive work Yeezus and went on to release The Life of Pablo, Ye, and Jesus Is King, as well as the full-length collaborations, Watch the Throne and Kids See Ghosts with Jay-Z and Kid Cudi. He is one of the world's best-selling music artists, with over 140 million records sold worldwide. He has won a total of 21 Grammy Awards, making him one of the most awarded artists of all time. Other awards include the Billboard Artist Achievement Award, a joint-record three Brit Awards for Best International Male Solo Artist, and the Michael Jackson Video Vanguard Award. Three of his albums have been included on the Rolling Stone update of the 500 Greatest Albums of All Time list, and the same publication named him one of the 100 Greatest Songwriters of All Time. He is the tied-holder for the most albums topping the annual Pazz & Jop critic poll with four. Time magazine named him one of the 100 most influential people in the world. #africanhistory365 #africanexcellence https://www.instagram.com/p/CeiqGXaOfjJDsW73iiH2zu2XZbLHuySlBCm7JU0/?igshid=NGJjMDIxMWI=

#africanhistory365 #africanexcellence

[dustedmagazine]

Broken bodies all the time: Ian Mathers’ year in review

Photo by Paul Husband

Since, let’s say, September, I’ve seen an increasing number of comments from people amazed at just how bloody long 2018 has been, pointing out that events that seem much further back (tide pods! an Olympics! that one political thing in the US, you know, the thing that feels like it was a decade ago!) actually happened this year. I’m no more immune to that kind of horrified, exhilarated realization than any of my friends and loved ones, but I also have a personal one that I can’t believe had fallen so far off my radar that I wasn’t originally conscious of it when I was trying to sum up my year for Dusted.

This past January I went and had surgery to remove a “grapefruit-sized” chondrosarcoma and a section of the three ribs on my left side where it had grown. Other than a noticeable lump in my chest there’d been no other symptoms, one surgery (and about 6 weeks off of work, with pay thankfully) dealt with it cleanly, at least according to the follow-up scans I’ve had and will have twice-yearly until 2022 or so. If you have to get surgery-necessitating cancer, basically, mine was just about the best-case scenario you could hope for (especially here in Canada, where I didn’t have to worry about bankruptcy as a result of medical costs). I don’t want to, and haven’t, made this entire essay about My Cancer Experience (in no small part both because I did have it relatively easy enough that I routinely feel guilty expecting any sort of accommodation for it, even when I was still very much knocked out by the surgery I’d had, and because when everyone wants to know about it you quickly realize it’s kind of boring to talk about), but it does strike that it’d be almost disingenuous to talk about my experience of 2018 without mentioning it. I did allude to it in passing in my 2017 essay here (as well as my wife’s diagnosis of a chronic autoimmune illness, something that honestly effects our day to day lives a lot more), but that was pre-surgery so I was too superstitious to give it a name in such a public forum. Now, when people who know me mention it, I almost have to remind myself that the scariest medical experience of my life to date happened not that long ago.  

I’ve been thinking about it a bit more since reading on Bandcamp Daily that, while Low didn’t really make this part of the narrative around Double Negative when it was being released, about eight months of that album’s gestation happened after Alan Sparhawk had a ski injury involving broken ribs and punctured lungs, and that the recovery process was arduous and involved a lot of prolonged pain. And that got me thinking about context. There are positive and welcomed uses of context, of course; personally, to take a few examples from this year, I think both Leverage Models’ Whites and Zeal & Ardor’s Stranger Fruit are great albums that only gain from some of the context around their creations. But, crucially, it seems the creators involved agree with me, which is why that context is presented up-front in the material around those albums. It’s different when it’s something that, while you might acknowledge its real effects (as Alan does above), you suspect people will blow out of proportion to make the only important fact surrounding what you’ve made. It got me thinking about my own resistance to people - people who love and care about me! - ascribing aspects of my behaviour or actions to the cancer and/or the surgery (and it definitely did have some effects… to take a pretty surface-level one I listened to a lot more records in 2018 than I did in 2017, but didn’t write quite as much). It got me thinking about David Bowie not wanting his last record to be received, at least initially, as his last record.  

And while Alan doesn’t make a big deal of it in that piece, I can see why he might want people to absorb the startling, abrasively gorgeous Double Negative (along with Whites, which I could describe in very similar terms, my favourite/most important record of 2018) on its own terms rather than our narrative-seeking minds possibly turning it into being just ‘about’ his injury (and, not incidentally, wiping out the contributions of the others who worked on the album). Those listeners who did find themselves responding to the record probably wouldn’t be changed that much by the extra information, but goodness knows that every piece of art that gets released has to deal with some dumb, reductive takes, and how would it feel to have those responses taking on (and inflating the importance of) something so personal and literally painful?  

2018 also potentially sees a bigger and less personal loss of context in the music/music criticism world, though. As much as I will maintain all day every day that the more consensus you get when it comes to things like records of the year the more boring you intrinsically have to get, I still felt an absence knowing that the Village Voice Pazz & Jop critics poll was going to vanish with the Voice itself. The interesting thing about every year’s poll was almost never the top ten most acclaimed albums and singles (not necessarily a shot at the quality of that music, just that we’d all been talking about them all year; inevitably, they were all very known quantities), it was seeing what had placed in the lower reaches of the standings, digging around in the votes of friends and colleagues, tracing odd connections and seeing how your own lesser-known favourites were regarded, if at all, by the larger group. And even more than that, I’d argue, what was fascinating and valuable about Pazz & Jop was the way it functioned as a kind of historical record, so that you could look back at a year from decades past and see, not what were the best or even longest-lasting records from that year but what the people who were engaged in listening to and thinking and writing about music thought was important and engaging. I say “potentially,” though, because I had just enough time to realize I was mourning an institution I’d kind of taken for granted (and to be fair, again, each year’s findings at the top seem kind of ploddingly obvious at the time) when I got a new ballot. It looks like some sort of continuation is happening, although only time will tell if this is a genuine resurrection or a last gasp.  

Either way, I haven’t yet tried to narrow things down to lists of 10 (and given that there’s still over 10 hours of music left in my playlist of 2018 releases I haven’t gotten to yet), so here is 25 of the records I’ll be thinking about as I try to figure that ballot out, strictly in order of when I added them to my list, with links to the ones I’ve written about on Dusted. (I didn’t have as much time to go over reissues as I’d like, but probably my favourite was the gorgeous one of the overlooked late Bark Psychosis album ///Codename: Dustsucker, which I reviewed here.) 

Xylouris White - Mother

Mesarthim - The Density Parameter

V/A - Black Panther: The Album

Well Yells - Skunk

Tangents - New Bodies

Tracyanne & Danny - s/t

Tove Styrke - Sway

Wand - Perfume

The Armed - Only Love

Low - Double Negative

Let’s Eat Grandma - I’m All Ears

Obnox - Templo Del Sonido

Nadja - Sonnborner

Pusha T - DAYTONA

No Age - Snares Like a Haircut

Zeal & Ardor - Stranger Fruit

Chelsea Jade - Personal Best

Leverage Models - Whites

Aidan Baker - Deer Park

Robyn - Honey

Efrim Menuck - Pissing Stars

U.S. Girls - In a Poem Unlimited

Andrew Bayer - In My Last Life

Abul Mogard - Above All Dreams

DenMother - Past Life

And I can’t manage one of these every year, but this was an awfully good year for the EP, so here’s a top five: 

EMA - Outtakes From Exile EP

Underworld & Iggy Pop - Teatime Dub Encounters EP

IN / VIA - Treading Water EP

Protomartyr - Consolation EP

Hatchie - Sugar & Spice EP

#dusted magazine #yearend 2018 #ian mathers #low #leverage models #david bowie #zeal and ardor #pazz and jop #context #personal

[newmanology]

The Village Voice, March 1, 1994.

Cover photo of Liz Phair by Chris Buck.

This was my last issue as design director at The Village Voice. I don't remember having anything to do with the design, so it must have been done by Jennifer Gilman and/or Florian Bachleda. I do know that they put a photo of my cat Astro in the top right corner. He was a cutie.

#The Village Voice #Liz Phair #Chris Buck #Pazz&Jop #cover #altweekly #newspaper #Robert Newman #Florian Bachleda #Jennifer Gilman #Astro

[thekristinhersharchives]

Throwing Muses. The Village Voice critics’ poll, Pazz & Jop, of the year 1986, including Throwing Muses’ eponymous debut album at number 24, between Anita Baker and Prince and the Revolution. March 3, 1987 issue.

#throwing muses #1987 #throwing muses 1986 #press #poll #pazz & jop