Part II of AJ Ramirez’ exploration of Dookie is now up at Popmatters.com. Go on over and leave some comments to get the conversation about this album going! The post includes a slightly out-of-sync performance of “Having a Blast” from 1993 as well.

A film about the singer Tina Turner and how she rose to stardom with her abusive husband Ike Turner and how she gained the courage to break free.

This is such a powerful film to watch, everyone knows Tina Turner’s music and possibly know that she had an abusive relationship. While I don’t think its certain which parts of this are completely true to life, that really does not matter. As the hitting and abuse scenes are all horrible to watch and have to experience, especially knowing that he did beat her up quite a lot over the years. The rape scene had to be the worst to watch and I am sure people watching will feel the same way I did trying not to actually watch it as it was just awful.

Tina Turner/Anna Mae Bullock had such an awful life with her husband Ike Turner this film tracks her rise as a singer and the years of abuse she put up with. Until she decided to do something about it, hitting back at him was the start of leaving him and the divorce. That scene in the film when they fight in the car was a fantastic moment, seeing her hit him and give him some of his own medicine. Which may sound strange, but if you watch the film you will understand how brilliant the moment is as you really do feel so bad for her and that is all just fantastic in terms of him eventually getting punched/kicked etc.

Not only was the divorce the end of such an awful period of her life, it was also the start of a new type of music for Tina, with the final scene being her performance at the Ritz. With her new rock style ready to go, with the song “What’s love got to do with it” which was such a fantastic way to tie up the film. (I have not stopped listening to that song, since watching the film). Ike watching in the audience, he tried to tell her that it would not work and her fans would not like it. But such a fantastic way to start the next chapter of her life and career, and what a career it really has been and she is very much still going strong today, touring and releasing new albums. 

The film really does take you on an emotional rollercoaster which makes you just want to watch it ,as you know what happens in the end that she does go onto create a fantastic career for herself and getting away from Ike. It is still a journey to watch it, seeing how she managed to get through things and eventually break away.

Performance wise I really do think both Angela Bassett and Laurence Fishburne really deserved their Oscar Nominations for the leading roles of Tina and Ike Turner. As they really were just fantastic, I have not looked to see who won and who else was nominated in 1994, but the winners must really have been outstanding. As I do not think you will find better performances for a pairing like this. I suppose one way to really explain how good Laurence Fishburne was it will always make me look at him in a different way now!

Happy Thanksgiving, everyone! On this fine day, Americans from all over the world gather together to celebrate the magic of food. Though we traditionally like to carve up turkey and make stuffing (finally, a food named after the verb that goes along with it), and craaaaaanberry sauce, thanks to The Food Network and the American Dream (and those terrible vegetarians like uhh, Weird Al), we can pretty much eat anything we want on Thanksgiving, provided of course we eat too much of it.

So, in the spirit of the true meaning of Thanksgiving, which is food and the promise of genocide, I might as well talk about Weird Al and his Food Album:

Of course, I originally had not planned on talking about this album, because it’s a compilation, but I evntually figured something out. Basically, hardly any Weird Al albums are actually albums, per se, because of the nature of his work. The music wasn’t written to contain any kind of cohesion or agreement, because he didn’t write the music. Thus, a collection of singles about a single topic, despite being recorded all over the 80’s and 90’s, is as close to a proper album as anything else. Heck, the word “album” is right there in the title so I have no problem.

As Weird Al’s food-based parodies tend to be some of his most famous, this album is quite good despite its ho-hum rating from Allmusic, which cites that it has too many songs about food on it (thanks, Allmusic). Also, as I mentioned in my last writeup of Weird Al, it’s the first CD I ever owned, as I only had cassettes before that (and now I feel old).

The first song is one of Weird Al’s best and most cited (thanks to its amazing video), the Michael Jackson parody “Fat”. Really, I could tell you what this parody of “Bad” is all about, but I think Wikipedia description is better than anything I could do:

“About a man’s obesity that is blown out of proportion.”

Either way, it’s certainly one of those songs that really sort of makes me unable to really appreciate the original anymore because it’s not hilarious. Such is the way with most Weird Al parodies, really.

The second song is a parody of one of the most annoying songs I’ve ever heard, “La Bamba”, which is now about a food item very close to a certain America’s Favorite Cat, “Lasagna”. The song is presumably based on the understanding that, if you visit an Italian person’s home and have dinner with them, you will wind up eating everything in their house. This is presented in “La Bamba”s typical over-the-top Flamenco-ness, which oddly translates really well into Italian, mainly thanks to Al’s extraordinary accordion chops. What Al does extraordinarily well is over-the-top Italian accents, as that is the main joke of the song. Still, I quite enjoy this one, especially for the accordion solo half way through.

“Addicted To Spuds” is based on Robert Palmer’s “Addicted To Love”, which was a big song in the 80’s or something. I actually quite like this song, either version, which kind of goes against my rampant 80’s-hatin’. Again, Wikipedia’s summary of the song is better than anything I could come up with:

“About a man’s fondness for potatoes prepared in an assortment of ways.”

There is a particular line that says “I used to hate them, now they’re all that I eat”, and I can relate to that, because I used to hate potatoes when I was a kid, and I think everyone goes through that phase at some point. Mind you, I’m no addict, I can quit any time!

One of my favorite songs on the collection is “I Love Rocky Road“, a parody of The Arrows’ song “I Love Rock N’ Roll” as covered by Joan Jett. As with many songs from Al’s first album (and one to come in this collection), this one features much original and less “authentic” reproduction of the original music and much more accordion and “manualism” provided by the legendary “Musical Mike” Kiefer. “Manualism” is, of course, just a fancy way of saying “making farty noises with your hands”, and this wouldn’t be the last time he would work with Al.

Another really great one is “Spam”, from the song “Stand” by R.E.M. I’ve never heard the original, so I don’t really know what’s been changed, but as far as songs about certain “ham and pork” products go, this one is tops. In particular, there are some subtle lyrical jokes that always crack me up, like the lines:

The tab is there to open the can
The can is there to hold in the Spam

Which is just kind of awesome.

The “other” Michael Jackson parody is next, this time we’ve got “Eat It“, which also features an awesome music video. The song itself is a brilliant parody, utilizing wordplay masterfully in mocking the “tough guy” attitude of “Beat It” with the words of a parent scolding a fussy eater of a child. Having heard both versions, I actually quite like the speedy guitar solo in Weird Al’s version, which is played by American Rick Derringer (who, in my mind, insists on having “American” incorporated into his name), as opposed to Jackson’s version featuring Eddie Van Halen. Not to say anything negative about Van Halen, he is in fact the only good thing about the band Van Halen. On a personal note, I have stolen the “amplifier exploding” gag for a song I wrote, as I have no shame.

The next song is one man’s obsession with the stuff in the middle of an Oreo, “The White Stuff”. A pretty cool take on “The Right Stuff” by New Kids On The Block, there is a certain line I always mixed up in this song, which cracked me up originally because I thought he was singing:

I love the filling most
I rub it on my roast
Mix it in with my coffee
And spread it on my toes

He is, in fact, saying “toast”, which is ok but I would have thought a more “Weird Al” move would have taken love of sandwich cookie filling to that kind of level. Interestingly, the song actually never saw the light of day as a single because the record companies held it back for being too outdated (the original having already been out for 4 years). It’s no wonder Weird Al has been so quick to embrace the digital age and its instant-release capabilities.

We then get the other song from Weird Al’s debut album, “My Bologna”, a play on the creepy classic “My Sharona”. Again, the instrumentation is much more accordion-centric, with more “manualism” from Musical Mike. In that sense, the song is actually tonally really enjoyable, I don’t know what it is about accordions in rock music, but this one’s great, at least until the middle eight which is puncuated by a loud belch.

The song “Taco Grande” is one of those that displays Al’s uncanny rapping ability. Of course, the “rap” is more of that sort of Latin pop style used for the original song, “Rico Suave”. The whole thing takes place in a Mexican restaurant with an actual Mexican (Cheech Marin!) providing a hilarious and probably authentic run-down of the menu.

Finally, we get Survivor’s “Eye Of The Tiger” played off as “Theme from Rocky XIII (The Rye or the Kaiser)”. It’s about a disgraced ex-boxer, now “fat and weak”, who runs the neighborhood deli. The song is perhaps the least “funny” out of everything on the collection, as it seems more bent on recreating the original to be about something else rather than making the song all that funny, but maybe I’m just picking on it. An interesting point about this song is that it seemed to predict the plot of the newest Rocky Balboa film, as the character is working in a deli in the beginning of the movie.

Phew! So that’s a lot of words for a 10 song album, but I do rather enjoy listening to this one from time to time. Sure, it’s more fun to watch the videos, but The Food Album showcases some really good stuff from our favorite musical parodist. Happy T-day, everyone! Enjoy the leftovers!

Stoke 1993, originally uploaded by sizzled.

yes, Toronto had an active graffiti scene before some of the current writers were able to tie their own shoes.

Stoke aka Wyse aka Sir Render with the ill highway hit.

Acknowledge the rep, pay homage respect.

Este podcast esta dedicado al álbum Songs of Faith and Devotion de Depeche Mode, espero que les agraden los temas.

Este álbum fue lanzado en 1993 y fue el último en que participo Alan Wilder. Fue producido por Flood alcanzando el puesto número 1 en el ranking de EEUU y el Reino Unido en la misma semana.

La gira de promoción del álbum los hizo llegar a tierras sudamericanas por primera vez en 1994.

]]> http://ostrichfeathers.wordpress.com/2009/11/24/boredom/ Tue, 24 Nov 2009 17:52:36 +0000 Dan http://ostrichfeathers.wordpress.com/2009/11/24/boredom/

Check out this bad boy, which I purchased today 2nd hand on VHS for 99p ($1.62). It’s none other than Disney’s classic animated movie, The Lion King. With an awesome musical soundtrack by Sir Elton John, Tim Rice and Hans Zimmer. Ideally I’d have liked the DVD, but with copies online going for upwards of £20 ($32.80), I think it’s best I stick with the VHS for now. Thanks for reading.

Okay, the possibility of that last girl being so drastically underaged in my opinion skeeved me out bad. So I looked for my oldest Miss November and here she is, a Kentucky girl who was living in Florida at the time of her appearance in Playboy.

No photo credit that I can find so far.

When the lovely and talented Julianna Young appeared for Playboy as Miss November in 1993, she was 33, tying Miss April 1985, Cindy Brooks, as the oldest Playmate to pose for a centerfold up until that time (please note that Playmates of the Month are different from the bunnies, the models featured on the cover, the girls in the tearsheets, and whatever actress or model is in the celebrity spreads who appear in any particular issue of the magazine).

For the record, they were both beaten out for the all-time most vine-ripened Playmate title when Rebecca Ramos posed at 35 in the January 2003 issue — and Tia Carrere (Wayne’s World, Jury Duty), 36 at the time, was the celebrity model in that issue, no less. Nice hustle on the dirty thirties, dudes! Chronologically enhanced ladies need love, too. But please be aware, that is the only thing Ms. Young says is enhanced about her.

Sorry, again, I do not know even at all who took the pictures for this spread. But 38 DD, to answer the other question.

“My large breasts are actually a blessing. They’ll get me through the door, and my brains can keep me there.”

TURNOFFS:
I am too liberal-minded to have any, nor is it my place to preach.

LAST GOOD CRY:
The hour and a half I spent watching the movie Free Willy. Also, seeing the devastation from Hurricane Andrew.

WHERE I LIVE:
I come from south Florida, a sunny place for shady characters.

That’s a great line. I mock Floridians all the time. I like to pretend it’s like a crazy colony for convicts, but I’m only kidding. It’s not like it’s as bad as Australia or anything. (left-field sick burn comin’ atcha, Oz!) Girl, you’re okay.

The Brazilian triplets cover story is thought-provoking, jes? I may go investigate that.

As mentioned two weeks ago when I covered 36 Chambers, there was a slew of albums that I looked forward to in the fall of 1993. The one I (and my brother) awaited most of all was the debut of arguably the most popular artist of that year, Snoop Doggy Dogg. Even with a total of no albums to his name, everyone knew who he was on the strength of his appearances on The Chronic. With Dr. Dre producing it and the momentum Snoop had, Doggystyle was almost a classic in our minds before we’d even heard it.

So on November 23rd (after a few delays), it finally dropped, and shit was nuts. This was the first time I recall everyone knowing what the release date was, and remembering to pick it up that day. I knew this one dude who came to school late that day, because he wanted to hit the mall and buy the tape first. It was just that big of a deal, especially since we’d been lookin’ forward to it for almost a year. I didn’t get to hear it until later that day, when my brother came home from work. As we’d usually do back then, we went in his room and put it on the big stereo. 16 years later, I’m still lovin’ that shit.

Doggystyle was the kinda album that a lot of artists try hard to make, but only a few actually do. It was something that you could play almost any song from and people knew what it was. It wasn’t one of those things that you play and they only know the singles, or only know certain tracks. Almost everyone I knew, from lil’ kids around my way to my oldest uncle, was rockin’ with that entire shit from front to back. It was like every song on there was a single, because joints like “Ain’t No Fun” were almost as popular as “Gin & Juice” was.

I never thought Snoop was the most super-lyrical MC in the world or anything like that. However, that shit only matters but so much when the songs are on the quality level of those on Doggystyle. His strengths weren’t in word-for-word lyricism. They were in his flow and making everything sound just right- something that a lot of rappers still neglect to this day. Snoop and Dre (with assists by Kurupt, Daz, Rage, Nate Dogg, Warren G, etc.) were putting together songs. At a time when artists were still conscious about not being on the pop or R&B side, they followed “pop” guidelines and made hard music with it. That combination worked more than a lotta artists probably knew it could, and it changed the game in that respect.

Doggystyle is almost perfect. The only thing that always irked me a lil’ bit was that I don’t think any album needs TWO intros. Outside of that minuscule gripe, there’s little that I could say on the negative side. I recall reading a few reviews that seemed to call it a disappointment, and one even suggested that it was more of a victory for Dre as a producer than it was for Snoop as an artist. Not sure about all that, but I’d love to hear more “disappointing” albums sound that good, and I do feel this was Dre’s best production work (followed closely by The Chronic and Niggaz4Life).

Snoop Dogg has been on and off ever since, but 1993 was his year- he had everyone checkin’ for him, he made a great album, and he was really one of the first (if not the first) to do astronomical first-week numbers with over 800,000+ sold. Even an impending murder case (which he beat in ‘96) wasn’t enough to stop what was goin’ on. Snoop n’nem came correct with every beat, verse, and hook, and it paid off. Even though it was 16 years ago, and he’s managed to stay relevant in pop culture through other songs/endeavors/etc., don’t get it twisted- Doggystyle is the reason he’s here.

“Gin & Juice”

“Lodi Dodi”

“Murder Was The Case”

“Ain’t No Fun” (feat. Nate Dogg, Kurupt, & Warren G)

“Doggy Dogg World” (feat. Kurupt, Daz, & The Dramatics)

“G’z Up, Hoes Down”

-D! (get ready for Da Dirty 30 on Wednesday…)

Und wieder kehrt ein altbekannter Videospieleheld zurück: Sparkster, der Held der Rocket Knight Spiele, welche zwar im Großen und Ganzen als Jump & Runs zu bezeichnen sind, jedoch aufgrund von Schwert und Schusswaffengebrauch heutzutage am ehesten mit Ratchet & Clank verglichen werden können.

In den ersten beiden Teilen, die übrigens 1993 bzw. 1994 für den Sega Mega Drive erschienen, bekämpfe Sparkster eine bösartige Armee bestehend aus Schweinen und Robotern, angeführt von Antagonist Axle Gear. Nun, Jahre später, will sich Sparkster nach den zermürbenden Schlachten zur Ruhe setzen. Ausgesucht für den Ruhestand hat er sich das friedliche Königreich Zephyrus. Allerdings haben sich dort schon die Schweine aus den ersten Teilen niedergelassen, weshalb er sich nach einem anderen Ort umsieht. Dabei bemerkt er jedoch, dass sich über dem Königreich ein Krieg zusammenbraut. Seltsamerweise kämpfen seine einstigen Widersacher, die Schweine, zusammen mit Axel Gear und seinen eigenen Artgenossen gegen eine seltsame Rasse von Wölfen. Irgendwas muss an der ganzen Sache Faul sein, weshalb sich Sparkster wieder ins Getümmel stürzt.

Bis jetzt gibt es einen knapp 2 minütigen Trailer vom neuen Rocket Knight, der jedoch bereits einen guten Eindruck hinterlässt. In dem Trailer sieht man das vermutlich erste Level des Spiels, das sich in luftigen Höhen in Baumwipfeln abspielt. Anders als bei vielen anderen Neuauflagen alter Games legen die Entwickler, Climax Studios, wert darauf, das Spielgefühl der alten Teile einzufangen. Deshalb betrachtet ihr das Geschehen trotz moderner Technik weiterhin von der Seite. Der Comiclook passt dabei meiner Meinung nach prima zum Spiel, und die Animationen sehen flüssig aus und tragen zum actionlastigen Getümmel bei.

Der Release des Spiels ist auf Anfang 2010 angesetzt. Erscheinen wird das Spiel für die Xbox360, PS3 und PC (Steam). Ich bin gespannt ob sich der gute Eindruck des Trailers auch ins fertige Spiel überträgt.

1up.com Rocket Knight 5 Day Feature

2 Samuel 12:13

So David said to Nathan, “I have sinned against the Lord.” And Nathan said to David, “The Lord also has put away your sin; you shall not die.”

Confess Your Sins

Early in 1993 British police accused two ten-year-old boys of the brutal murder of two-year-old James Bulger. The two boys pleaded their innocence. During the two-week trial the young defendants responded to questioning with noticeable inconsistencies. The climax of the trial came when the parents of one of the boys assured him that they would always love him. Bolstered by the realization that he would not lose his parents’ love, the boy confessed in a soft voice, “I killed James.”

David realized that he, too, was caught red-handed in his crimes. What he had been able to hide from his friends and family was revealed to the all-seeing eyes of an all-knowing God. David would face humiliation and sorrow. His family would be afflicted and the whole nation would suffer because of his sins. Yet what sustained him through the whole ordeal was the assurance that he had not lost God’s love. He would face consequences, but upon confession he was forgiven and received back into fellowship with his Heavenly Father again.

The most amazing truth about God’s love is that He knows how wicked we are, yet He loves us (Rom. 5:8). We can confess our most evil deeds to Him and still be confident that His love will not diminish. That does not mean that confession should be viewed as an “easy out” for our sins. It’s not a safety net that gives us the liberty to sin with abandon. Confession removes the guilt of sin, but it doesn’t remove sin’s consequences. It’s a comfort to know, however, that when we’ve “blown it,” God still loves us.

If you’re buried beneath a load of sin, perhaps you feel that God’s love is beyond you. Satan may even have you convinced that God has turned His back on you. But that simply isn’t so. After adultery and murder, God still forgave David, and He will forgive you as well. Confess your sins and receive God’s love today.

God’s love is deeper than our sin.

Martin A. Cisneros

Killers: Robert Thomson and Jon Venables were 10 when they murdered James Bulger

If only it was six degrees of Kevin Bacon, then this would have been a 10/10!

Paul (Will Smith) is a charming and engaging young con artist who appears one day on the doorstep of Flan and Ouisa Kittredge (Donald Sutherland and Stockard Channing). Professing to be a friend of the affluent couple’s son, Paul spins a tale of celebrity and despair that deeply affects the pair and their socialite friends.

This film is based on the stage play by John Guare, which actually was inspired by a true story itself. Now I know the original story, and I was not very disapointed with this adaptation one bit.

The one thing about this film that planned out really well was how it was told. Most of it through flashbacks and narration from families who experienced Paul the con artist. They narrate and show you how each and every little situation all relate to each other, and I never lost track of what happened.

I just felt like the film didn’t quite have as much humanity to it as the film tried to bring up. These characters didn’t seem so real in their actions and by the way they talked. We also never really got to know them real well, other than their just a rich couple, and are having problems with their children.

I also didn’t like how the con artist was reflected in a very negative light. Though he was doing crimes, I’ll say that, but he was the one who brought these people to realize who they were and he was like the patron for having them realize it. All the rich people were made to look all glamorous with the occasional problems, while Smith was looked at as just a perv among society.

The film is uptight and the dialogue is often delivered with the flare of an old classic. The lines are witty, sharp, delightful and the gay stuff is fake near laughable. I enjoyed how the film did a real great job at combining comedy with drama, and making the film a lot more compelling than what it seemed to be.

Stockard Channing naturally holds the film in place but her screen presence is so big and the camera is so small. Channing has to keep moving in order to stay in the film. However, by the middle of the film you begin to feel Channing’s break away from the theater and she delivers her lines with the grace of a Hollywood star. But, Will Smith probably has one of the greatest performances of his career in this film. It must have been hard for him to play a gay man, but he was so believable and genuine in it, that I almost forgot this was Will Smith I was talking about.

Consensus: A funny and moving drama with some great satirical messages about society, Six Degrees Of Seperation is moving but doesn’t feel too humane.

9/10=Full Pricee!!

Fragments #6

(New Power Generation – Guess Who’s Knockin’)

“The objective is always to pull out the tablecloth without in any way changing the arrangement of the table“

Short but so sweet. Scathing social critique from a master of suspicion.

The cut is courtesy of Prince project The New Power Generation. Featuring lead vocals from original member Tony M. Just like to add that by laying this one down I’m risking the wrath of a certain musician whose name I shall refrain from mentioning because rumour has it that he had it removed from this, the original 1993, set due to an unlicensed sample…so do me a favour and keep it on the ‘DL’.

The connection? .. The set was released in the same year that Baudrillard penned the fragment above.

• Origem: New York
•  Gênero: Death Metal, Grindcore 

>Faixas<

1. Hammer Smashed Face
2. The Exorcist
3. Zero The Hero
4. Meat Hook Sodomy
5. Shredded Humans

• Site oficial 

Informazioni sul testo:

- Artisti ed Interpreti: 883 (Massimo Pezzali e Mauro Repetto);

- Album: Max Live 2008, TuttoMax Cd 1, Nord Sud Ovest Est;

- Anni di Pubblicazione: 2008, 2005, 1993.

Il testo:

IL TESTO

Tappetini nuovi Arbre Magique

Deodorante appena preso che fa molto chic

Hi folks! I don’t have time to update the blog in the following days with new material because I’m sorta busy. But for the sake of new posts I prepared something I hope you like. I wrote articles on the whole Handsome Family Discography and will post one article a day for the next week. -orange

Discography: The Handsome Family

Dear readers, this will be kind of a post series because I want to introduce you to one of the best bands this earth has to offer. You maybe heard of them because they are not quiet unknown, but in case you did not, this post could be something that changes your life (in fact it would be the music, but ok…). Of course I’m talking about The Handsome Family, an alt. country (or southern gothic) band founded back in 1993 still making damn good music.
The band was foremd by Brett (vocals, guitar, keyboards) and Rennie Sparks (bass, banjo, vocals) as well as Mike Werner (drums) who later left the band. But so far you could have read all that on their wikipedia site and therefore I don’t want to continue talking about facts that have not to do with the actual music itself. In this post series I want to review album by album for you whereas I won’t say anything about compilations, EPs or other releases. I think if you know a bit about the different albums it’s easy to find your way into the rest of their music. But one little remark before I start reviewing: Did you ever notice that the best music is always done by couples? (The following sentence is not subjective at all!) Take for example the best indie rock band: Yo La Tengo – married couple; the best slow alternative band: Low – married couple; and best alt. country band: The Handsome Family – married couple! This can be no coincedence me thinks. But let’s get started.

___________________________________________________

The Handsome Family – Odessa
Carrot Top 1993

Listen while reading:

___________________________________________________

Odessa makes me smile everytime I listen to it because you can feel that it was their first album. Compared to the other ones Odessa is loud as hell and you can’t hide the thought that they did not know what they will do or sound like in the future. The electric guitar is sure the dominant factor and they are not afraid to frie your ears with massive distortion. But you know how this thing works, don’t you? You got a band you love and as you love their music suddently you like all they have ever done. Don’t tell me I’m the only one who thinks so because there is a hidden mechanism in your brain that makes you think: “Well, if they are capable of making such good albums, erm, yeah, this thing could not be to bad, could it? No it couldn’t!” And you listen to it over and over as if you have to loose anything if you would do otherwise. And then, it’s maybe the same as when you experience your ear pop and you think you can hear more clearly for a moment. You just think: how could I not like it before – in the end everything is an act of conditioning, I tell you. But as much sympathy as I can show to Odessa I can’t overlook or overhear this ear raping thing of an aweful, aweful track called Big Bad Wolf. This is just some stupid noise sound reminding only a very little bit of the sound of Sonic Youth with I-can’t-tell-you-how-bad-they-sound vocals sung by Rennie. This maybe was meant to be something to show a hint of punk attitude or something but for me it is just one great piece of shit. But hey, we don’t want to judge an album because one track is a bit of a childish mistake. No, clearly not. How else could it be, that they – at the same time – was able to write such beautiful tracks like One Way Up or Moving Furniture Around? In the end I would not recommend to get started with this album if you are interested in the sound of The Handsome Family. This is more like a piece of art most people don’t really need but for completing their collection – and this sounds weird because you can’t really say it is that bad of a record. It’s like a good friend who likes to taunt you sometimes but for it is a good friend you can’t really be mad at him. I think this would describe the album quite well.

Dark, deep, techy, housey, acidy, sexy & truly groundbreaking…things are getting interesting! Felix might just find himself on this chart 10 or so years later…a true trendsetter:

Aphrohead (Felix Da Housecat) “In the Dark We Live”

I’ve Embedded a You Tube post…my copy is sadly too worn and skips Which means it got a lot of use

http://www.discogs.com/Blaque-Spurm-Splendid/release/550619

Title [Splendid ]
Artist [Blaque Spurm ]
Label [Contract Recording ] Genre [Hip-Hop ]
Quality/Size [44,1 @VBR 36,9 MB] Ripped [09-24-2006 ]
Grabbed from [Vinyl ] Enc [Lame ]
Website [n/a ]

Track Time Title

01 04:07 Splendid (Original)
02 04:00 Splendid (Clean)
03 04:08 Splendid (Instrumental)
04 04:18 Jizm
05 05:11 Nonoxynol Rhymin
06 04:29 Pack Ya Shit
Totals
06 26:13 min

Release Notes:  Featuring Fyne
Produced by Tony D
enjoy
http://www.mediafire.com/?wnzjztz3zmm

Evan Chandler, padre de Jordan, el niño que acusó a Michael Jackson de abuso sexual, se suicido en Nueva Jersey el hombre de 65 años de edad, fue encontrado muerto en su apartamento después de haberse disparado en la cabeza y no dejo de suicidio.

En 1993, Evan Chandler, demandó a Michael Jackson en representación de su hijo de quien presuntamente el cantante había abusado sexualmente. Tras una negociación Jackson acordó pagar una indemnización de  20 millones de dólares para cerrar el caso.

http://www.eluniversal.com.mx/notas/640671.html

In light of our recent 20th anniversary celebration (and our $20 for 20 years fundraising campaign!), this story is worth sharing.

Alan Shain was a volunteer with YCI in Costa Rica in 1993, when YCI was only four years old. Not only does Alan’s testimonial give insight into what volunteering internationally with a disability may be like, his account also give a snapshot into what volunteering on a YCI project would have been like 16 years ago.  Read Alan’s story here.

“Our project group consisted of fourteen people (eleven participants and three staff members) from four countries including Canada, Costa Rica, English Guyana and Australia. None of us had met before. Our first community project was to construct a dormitory out of prefabricated material. We were working and living in a remote community of 400 people situated on the Southwest coast of Costa Rica for six weeks. . .“