Back in September, the Telegraph published its list of the 100 songs that defined the noughties. Reading through it, I found myself nodding in agreement at times and throwing my arms up in shock and disapproval at others.

A few days ago I tweeted the story to my followers, asking them for the songs that had defined their decade. After a few days work, I’ve come up with 50 of the songs that have defined my decade. These are the songs that, in my opinion, tell the story of the noughties—from 2000 to 2009—and will be remembered for years to come, whether because of their artistry, their controversy, or their relevance.

A few things to remember about my list:

• I grew up with music from both the US and UK, so the list will reflect that fact.  This means you may not have heard of some of these songs.  If not, I highly suggest you listen to them.
• This list is by no means authoritative or complete.  Choosing 50 songs of that define a decade is nearly impossible, as everybody’s songs are colored by their own experiences.  I’m no music critic–just a fan–so keep that in mind.
• The songs are grouped by years, but that’s it; there is no ranking, no rhyme or reason why songs are ordered the way they are.
• The annotations are accurate, as I have done my research.
• Not all songs on here are songs I necessarily enjoy, but may be songs that have simply impacted pop culture in general.
• I tried to only pick one song from an artist–the exception being Justin Timberlake, who appears on the list as a member of *NSync and later as a solo artist.  If I hadn’t, for example, Leona Lewis’s cover of Run would have made the list, as would have Everytime by Britney Spears
• I tried to keep it to five songs per year, but as you’ll see, this didn’t completely work.
• I highly encourage you to debate my choices, comment with your own, and compile your own list.  The more music we can remember, the better off all our playlists will be!

With that, I give you my top 50 songs of the 2000s.

2000
“Bye, Bye, Bye” by *Nsync
A catchy song about breaking loose of a no good lover, it garnered the boyband a Grammy nod for Record of the Year and is arguably their most memorable song.

“Wonderful” by Everclear
“Please don’t tell me everything is wonderful now…” sings a boy to his emotionally absent parents. This song got me through the darkest hours of my life.

Britney Spears in her iconic music video for "Oops!... I Did it Again"

“Oops!… I Did it Again” by Britney Spears
The lead single from Britney’s sophomore album, it remains one of the most infectious pop songs of the past 30 years.

“I Hope You Dance” by Leann Womack
Still Womack’s only number one hit, “I Hope You Dance” was—and still is—played at high school graduations across America.

2001
“Island in the Sun” by Weezer
Though it never cracked the Billboard Hot 100 in the US and only charted at 31 in the UK, “Island in the Sun” proved that Weezer was still “hip, hip” and provided some musical escapism in the aftermath of 9/11.

“Where Were You (When The World Stopped Turning)?” by Alan Jackson
It’s impossible to discuss 2001 in music with out mentioning Alan Jackson’s moving tribute to the 9/11 attacks. Eight years later, it is still the most poignant song to be written about that day.

“Fallin’” by Alicia Keys
Establishing Keys as the preeminent songwriter of our generation, “Fallin’” captured the 19 year old the Grammy for Song of the Year.

“Ms. Jackson” by OutKast
Not their biggest hit, but for a generation of high school students, “Ms. Jackson” provided a sick beat and a warning about the risks of teenage pregnancy. It also foreshadowed the great work OutKast would produce later in the decade.

2002
“I’m With You” by Avil Lavigne
Lavigne’s work leaves much to be desired, but there’s no denying the emotions behind her lyrics and vocals in this piece, which may epitomize the year between 9/11 and the invasion of Iraq.

“Beautiful” by Christina Aguilera
Released on Christmas Eve, “Beautiful” is arguably Aguilera’s most artistic moment—and the video doubtlessly her most daring. A song that inspired all those “othered” by society.

“Clocks” by Coldplay
It captured the Record of the Year Grammy for Coldplay. More importantly, it was heard in practically every film trailer and television show for the next two years, and it has one of the most memorable melodies of any song this decade.

“Courtesy of the Red, White, and Blue (The Angry American)” by Toby Keith
If Alan Jackson penned a moving tribute to 9/11, Toby Keith penned a shameful rallying cry for revenge against… well, he never really figured that part out. Still, even to this day, something about this song compels me to listen.

“Unchained Melody” by Gareth Gates
Admittedly more of a personal choice than anything, for a great number of Millennials (especially those from the UK), Gareth Gates is inexplicably connected with their adolescence.

2003
“Miss Independent” by Kelly Clarkson
The song that established Clarkson—the first American Idol—as more than a one-hit wonder, she showed the world that she would be around for years to come.

“Hurt” by Johnny Cash
Daring to cross genres and defy stereotypes, “Hurt” introduced Cash—and his amazing collection of songs—to a new generation of fans. It’s also one of the most moving songs of the decade, made all the more jarring because of the parallels with Cash’s own booze-soaked life.

“Mad World” by Gary Jules
Surprising everyone by taking the Christmas number one on the British charts, Jules’ version is arguably the most moving rendition of this song—including the original.

“American Life” by Madonna
Released on the heels of the invasion of Iraq, Madonna coupled it with a video so controversial even she decided to reshoot it. No song defines the Bush years better, proving even in a new century, Madge is still relevant.

“Leave Right Now” by Will Young
The first Idol ever—anywhere—produced one of the most emotional farewell songs in years.

2004
“What Became of the Likely Lads” by the Libertines
As Pete Doherty’s life spun out of control, he penned this lament about a friendship lost. (In this case, with fellow Libertine Carl Barat.) Fittingly, though sadly, it was the group’s last single.

“She Will Be Loved” by Maroon 5
Not Maroon 5’s biggest hit, though possibly their most memorable, “She Will Be Loved” defined my first year of college.

“Redneck Woman” Gretchen Wilson
Say what you will about Gretchen Wilson, but “Redneck Woman” introduced Nashville to the Musik Mafia and brought about a renaissance in country music.

Brandon Flowers of The Killers from their video for "Mr. Brightside," one of the biggest hits of 2004

“Mr. Brightside” by the Killers
Las Vegas’ best resurrects glam rock. Enough said. Though not the first single from the Killers, “Mr. Brightside” is the song that cemented their place in the pantheon of noughties rockers.

“If Heartaches Had Wings” by Rhonda Vincent
You’ve probably never heard of this song, about a woman full of regrets, and that’s okay. Still, it is the best bluegrass song of the decade. Plus, the video stars Miley Cyrus before she was Miley Cyrus.

2005
“Gold Digger” by Kanye West
Kanye is one of the most controversial artists of the decade (to put it mildly), but “Gold Digger” was one of the biggest songs of the year. And rightly so, as it’s just as catchy as the rest of West’s work.

“Baby Girl” by Sugarland
Though released in 2004, Sugarland’s debut single didn’t climb the charts until early 2005, inaugurating lead vocalist Jennifer Nettles as the newest diva in the country music pantheon. On a personal note, the lyrics to this song was the first text message my grandparents ever received; I sent it to them requesting money.

“I’m ‘n Luv (Wit a Stripper)” by T-Pain ft Mike Jones
Admit it—you were singing along with the rest of us.

“Wake Me Up When September Ends” by Green Day
A song about the death of Billy Joe Armstrong’s father, the video was yet another slap in the face of the Bush administration by the preeminent rockers of the day. The song struck a nerve with a nation growing weary of war.

“You’re Beautiful” by James Blunt
Blunt’s debut single may have made it hard to believe he is a former soldier, but it introduced him as one of the sappiest crooners of the decade.

2006
“SexyBack” by Justin Timberlake
We didn’t even know sexy had left until Timberlake told us so. With that voice and those beats, though, we believed him.

“Chasing Cars” by Snow Patrol
One of the most romantic songs of the decade, this was the track that finally propelled Snow Patrol to mainstream American success.

“Rehab” by Amy Winehouse
Besides resurrecting 1960s soul, Winehouse’s salute to alcoholism and broken hearts established her as one of the most talented—and tragic—stars of the decade.

“I’m Not Ready to Make Nice” by the Dixie Chicks
After being shunned—and threatened—by country music fans for speaking out against the Iraq War in 2003, Natalie Maines and the Dixie Chicks came back with a vengeance, speaking for disgruntled progressives everywhere and nabbing five Grammys in the process.

“Last Request” by Paolo Nutini
The first single released from Nutini’s inaugural effort, this aching plea for one last night with a lover broke hearts across Britain. Though he’s struggled to find mainstream success in the US, “Last Request” has still managed to win over countless Yanks.

2007
“Rule the World” by Take That
A perfect song to accompany acclaimed fantasy film Stardust, “Rule the World” helped reestablish Take That as a premier British band—and is the song I will dance to at my wedding.

“Bleeding Love” by Leona Lewis
The biggest thing to come out of a television talent show on either side of the Atlantic, Leona Lewis scored a massive hit with her debut single, penned by Ryan Tedder and Jesse McCartney. Arguably the most memorable song of the decade, “Bleeding Love” established Lewis as the definitive diva of her generation, thrusting her into the same league as Whitney, Celine, and Mariah. (Note: Yes, it didn’t come out in the US until 2008, but it was a massive hit in the UK in the autumn of 2007—which is when I first heard it.)

“Umbrella” by Rhianna

Rhianna's "Umbrella" was the defining song of summer 2007

An annoying but catchy tribute to unyielding friendship, with this song Rhianna told the world she wasn’t going anywhere. Plus, as the Telegraph pointed out, it provided the perfect soundtrack for a rain-soaked summer.

“Grace Kelly” by Mika
You can’t be faulted if, upon first listen, you thought someone had resurrected Freddie Mercury. With “Grace Kelly,” Mika helped usher in the era of wonky pop.

“With Every Heartbeat” by Robyn
Heartbreaking and infectious, Robyn proved that the Scandinavians are still better at making quality pop records than we are.

“Flourescent Adolescent” by the Arctic Monkeys
Not their biggest hit, and perhaps not even their best song, but “Flourescent Adolescent” still managed to define 2007 for those who rebelled against the previous five songs. Plus, with lyrics like “everything’s in order in a black hole/nothing seems as pretty as the past though/That Bloody Mary’s lacking in Tabasco/Remember when you used to be a rascal?” it was the perfect accompaniment to the onset of the Great Recession.

2008
“Love Story” by Taylor Swift
Swift’s biggest single up to that point, “Love Story” helped propel her out of Nashville and introduce her to an international audience. It also proved Swift as one helluva songwriter.

“No Air” by Jordin Sparks ft Chris Brown
The best duet of the decade, hands down. Though Chris Brown is now more infamous for domestic violence than famous for his music, the blended vocals of Sparks and Brown illustrate why they’re both young stars on the rise.

“I Kissed a Girl” by Katy Perry
Offensive to the gay community or an innocent anthem for bicuriosity? Either way, “I Kissed a Girl” was the song of summer 2008 and propelled Perry to stardom.

“My President” by Young Jeezy
Never a huge hit, but there is something special in remembering the election of America’s first black president—a defining moment not just of the noughties, but of modern history. This song is the celebration of a milestone preceded by centuries of struggle.

“Paper Planes” by MIA
No song better describes Britain’s and America’s irrational fear of brown people than does this anthem for immigrants and oppressed minorities everywhere. The gunshots and ringing cash registers only serve to make the song all the more memorable—and relevant.

Beyonce's video for "Single Ladies" is one of the most iconic of the decade. Just as Kanye West.

“Single Ladies” by Beyonce
God, this song is annoying, but Kanye was right—Beyonce did have one of the best videos of all time. Besides, you have to admit, it’s catchy as hell.

2009
“Party in the USA” by Miley Cyrus
If the noughties defined Miley Cyrus, Miley Cyrus defined the noughties. Surprising, well, everybody, Cyrus managed to actually produce a quality pop record that, probably unintentionally, embodied the optimism of youth in the Obama era.

“TikTok” by Ke$ha
If you haven’t heard this song yet, go listen. I don’t know what the future has in store for Ke$ha, but this is one of the best night-out-on-the-town songs to come along in years.

“Never Forget You” by the Noisettes
Sure, Duffy’s throwback to 60’s soul is more successful, but nobody, except maybe Winehouse, can touch the artistry of Shingai Shoniwa.

“Just Dance” by Lady GaGa
When I heard this song on the radio in January, I told my best friend it was the first song that made me feel like it was 2009. Turns out, 2009 was the year of GaGa. If the forecast “Just Dance” provides is any indication, the teens will be dominated by Lady GaGa.

“Need You Now” by Lady Antebellum
An understated, underappreciated single from an underrated group, Lady Antebellum proves they are the future of country music with “Need You Now.” An aching song about longing for an old flame, it’s the best song Nashville has had to offer in 2009.

(Published article Number Two for TVBomb. Hopefully it’ll create a bit of dialogue between people, as I’ve been quite controversial in it)

Last week NME sieved out the crap from the shite and published their ‘Top 50 albums of the decade’. Topping the list was The Strokes’ 2001 record ‘Is This It?’ which many, including myself, would deem possibly worthy of this accolade. But The Libertines at number two and twenty-four? Babyshambles in there twice? Surely the past ten years has yielded a much richer harvest than this meagre allotment.

Muse’s behemoth third album, ‘Absolution’ holds epic sound that sees the three-piece backtrack from the harsh, raw tones of ‘Origin of Symmetry’ to a beautifully crafted and sometimes fragile piece of art that is both massively heavy (Hysteria) and elegantly gentle (Falling Away With You) in equal measures. This decade has seen Muse voted Best Live Act at every conceivable awards ceremony and become one of the most talked about modern bands on the planet.

“Oh, what’s that you say? Pete Doherty is cool, is he? Oh…we better only make Absolution number forty-nine, then. Stick Pete at number two. We’ll have to get Barat up there too.”

Despite the top fifty albums appearing upside-down at times, at least the likes of PJ Harvey, Muse, Blur, The White Stripes and Amy Winehouse are mentioned. However, where are Kasabian – who unarguably catapulted from obscurity to one of the biggest bands in the country from their self-titled album in 2004 and the two albums that followed.

What of Doves – a band which, for me personally, typified everything about the culture, mindset and society that we have lived in during the last ten years in their four albums, with era-defining tracks There Goes The Fear, Black And White Town and Snowden. What world is it where Klaxons are more note-worthy than these? Oh I forgot – Klaxons where skinny jeans…my bad.

Franz Ferdinand, Frausdots, Garbage, TV On The Radio, Gorillaz, The Cardigans, Manic Street Preachers – none are given recognition. I’m not saying these bands shook the world with their noughties renditions, but they definitely deserve to be up in the top fifty.

One puzzler in particular is the inclusion of The Walkmen within the top 50. Their albums are anything but strong. On the other hand track two on Bows And Arrows, The Rat is fantastic, and holds a passion that’s seldom heard on the musical spectrum.

Perhaps the quandary is that there have perhaps been too few (or too many?) albums of specific note during this first jiffy of the 21st century. In this day-and-age of the disposable lifestyle, where millions of creative minds can be tapped into and listened over, something has got to give eventually. That something is the patience and understanding to let an album grow on you. I wholeheartedly understand that PJ Harvey is difficult to get into, but once you do you’ll NEVER look back. Don’t go for the cheap thrill, people! It’s like buying a Big Mac instead of a slap-up meal…a prostitute over a loving wife…Klaxons over anything and everything. It’s an immediate high that will eventually make you forget how much better the other side can sometimes be.

Luke Langlands

A tradicional revista britânica NME elegeu os 100 álbuns que marcaram a primeira década do século 21 com a ajuda de músicos e figurões da indústria como Arctic Monkeys, Carl Barat, The Killers, Jarvis Cocker, Pete Doherty, Elbow, Johnny Marr, MGMT, Ian Brown, The Big Pink, Snoop Dogg, Alan McGee, Yeah Yeah Yeahs, Michael Eavis e muitos, muitos outros.

Os 10 primeiros lugares seguem abaixo:

1. The Strokes – Is This It (2001)
2. The Libertines – Up The Bracket (2002)
3. Primal Scream – XTRMNTR (2000)
4. Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not (2006)
5. Yeah Yeah Yeahs – Fever To Tell (2003)
6. PJ Harvey – Stories From The City, Stories From The Sea (2000)
7. Arcade Fire – Funeral (2004)
8. Interpol – Turn On The Bright Lights (2002)
9. The Streets – Original Pirate Material (2002)
10. Radiohead – In Rainbows (2007)

O que achou? Foi um top 10 justo? Confira toda a lista aqui.

QP gets access all areas

Oh, it’s a hard life supping Jack Daniels all afternoon at Shoreditch House waiting for Carl Barat to turn up for an interview… Unfortunately the Jack was on hold until tonight when Barat plays the JD Birthday Set alongside Brett Anderson and Jon ‘The ‘Reverend’ McClure. It’s a good thing too, otherwise we’d never have made it back to the office to post this, hic!

Barat: only an hour late

Carl Barat has told the BBC that he will be too busy in 2010 to reform his old band The Libertines (pictured above).  Barat said that he didn’t want to put the band together again just for a quick payday. He said:

“I’m too busy next year. Maybe the year after that. See how it goes. When it needs to happen, it will fall into place. It’s more a way of life than a band for me. I’m not going to jump up there and play the songs for some money – if it feels right then it will fall into place.”

The Libertines’ Pete Doherty told NME.com in March that the band had “unfinished business” and that he wanted them to reunite.

Barat, who dissolved his band Dirty Pretty Things in October 2008, is currently working on a solo project. On the subject of the solo album, he told the BBC:

“It is quite liberating doing my own solo thing with no record company telling me to make singles.

“I’ve done a lot of stuff with strings and acoustics but I don’t know if that’s how the record is going to sound.”

Barat will also be appearing in a play in 2010. On that subject, he told the BBC:

“It’s pretty full on and gritty. I’m doing it for the challenge as opposed to having big audiences and getting show stopping reviews.”

Last year, Barat appeared in the stage drama Telstar and portrayed a scientist named Gene Vincent (named, of course, after the 1950s rocker).

For more on this story, see the articles from BBC 6 Music and NME.com.

Parmi les groupes résultant d’une relation amoureuse entre les deux frontmen (comme les Subways, Kills ou White Stripes), rares sont ceux où la relation fut aussi contesté et complexe que celle vécue par Carl Barat et Pete Doherty. En seulement deux album, ils ont marqué le rock comptemporain et se sont définitivement inscrit dans la liste succinte des plus grand groupe du XXIème siècle.

Produits par Mick Jones, Up the Bracket (2002) suivi de The Libertines (2004), seront les seuls opus du groupe. Les textes de Pete Doherty, dans un style poétique, relatent de la vie dans l’Albion – référence à la Grande bretagne- qu’il continuera avec son autre groupe Babyshambles. Sexe, drogues et rock’n'roll tels seront aussi les thèmes du groupe, qui le conduiront au succès mais aussi à leur séparation.

What became of the Likely Lads?

Tracks:    Don’t look back into the sun – Time for Heroes – The man who would be king – What became of the likely lads – What Katie did – Can’t stand me now

Ex-Libertine Carl Barat plant für 2010 ein Soloalbum. Er will diese Album allein schreiben. Muss er auch, denn seine Band Dirty Pretty Things hat sich nämlich aufgelöst. Barat ist derzeit auf der Suche nach einem coolen Label. Die Solopläne kommen etwas überraschend. Ex-Kollege Pete Doherty hatte zuletzt nämlich häufiger von einer Libertines Reunion gesprochen. Für Carl Barat scheint sein Soloalbum aber Priorität zu haben.

Beatles x Beatles
O quarteto de Liverpool reuniu tantas desavenças que a relação da banda se tornou insustentável. Um dos mais conhecidos motivos de briga Yoko Ono, segunda mulher de John Lennon, que costumava intervir nas discussões internas da banda. A própria Yoko afirmou recentemente que Lennon se sentia muito inseguro com suas composições e achava que as músicas de Paul McCartney eram mais tocadas do que as dele. Quem também tinha problemas era George Harrison. Durante anos ele foi um guitarrista coadjuvante, mas quando suas composições, como While My Guitar Gently Weeps, começaram a roubar a cena, o músico teria tentado escrever mais, mas pode ter sido vetado pela dupla Lennon/McCartney.

John Lennon e Paul McCartney

Waters x Gilmour
Quem também atravessou anos trocando farpas foi o Pink Floyd. O grupo liderado por Roger Waters (ou seria David Gilmour?) chegou ao fim exatamente por conta dessa liderança dividida. O ápice da falta de união ficou claro na turnê The Wall. O próprio disco, uma ópera-rock praticamente autobiográfica de Waters, estremeceu o relacionamento entre os integrantes. Durante uma série de shows, segundo rumores, o tecladista Rick Wright teria se desligado da banda e atuado nas apresentações somente como músico contratado. Roger Waters acabou deixando a banda após gravar o álbum The Final Cut. David Gilmour, Nick Mason e Rick Wright seguiram com o Pink Floyd e lançaram alguns discos ao vivo e um de inéditas, The Division Bell. Em uma das músicas escritas por Gilmour, A Great Day for Freedom, haveria uma alfinetada contra Waters. “No dia em que o muro caiu, jogaram as trancas no chão e gritamos pela liberdade que chegou”, trecho da música, seria supostamente uma referência ao muro de The Wall. Em 2005, os quatro integrantes encheram os fãs de esperança ao fazer um show no Live 8. Embora Waters tenha sinalizado que não rejeitaria tocar novamente com os ex-companheiros, Gilmour sempre foi irredutível ao afirmar que juntar o grupo seria um “retrocesso”. Tal reunião agora já é impossível, já que em setembro de 2008 Wright faleceu por conta de um câncer.

Gallagher x Gallagher
Brigas entre irmãos é comum na maioria das famílias. Por que com os Gallagher isso seria diferente? Liam e Noel, vocalista e guitarrista do Oasis, respectivamente, vivem divergindo sobre os caminhos que a banda deve seguir. Os dois trocam farpas publicamente e, embora o grupo tenha vendido mais de 50 milhões de discos ao redor do mundo, os atritos e provocações entre os irmãos sempre colocam o futuro da banda em dúvida. Mas há quem diga que essas brigas não passam de marketing.

Noel Gallagher e seu irmão Liam Gallagher

Pete Doherty x Carl Barat
Esses dois britânicos possuíam química invejável no palco, mas se davam mal fora dele. Fundadores do Libertines, a dupla surgiu como uma nova esperança para o rock inglês. Mas rapidamente as brigas entre os dois tomaram conta dos tablóides. Em 2003, Doherty assaltou o apartamento de Barat para poder comprar drogas com o dinheiro. A banda acabou após poucos anos de carreira.

Tupac x Notorious
Tupac Shakur e Notorious B.I.G., dois nomes que se tornaram lendas do rap, protagonizaram uma das histórias mais mal esclarecidas do mundo da música. Os dois sempre trocaram acusações, e também sempre estiveram envolvidos com gangues. Tupac morreu baleado em setembro de 1996. B.I.G. foi imediatamente apontado como um dos suspeitos, mas isso nunca se provou. Em março de 1997, foi a vez de B.I.G. ser baleado. Assim como no caso de Tupac, o assassino nunca foi encontrado.

No Brasil
E muito se engana quem acha que briga de roqueiro é coisa de estrangeiro.

Chorão x Camelo
Em 2004, Chorão, líder da banda Charlie Brown Jr., acertou uma cabeçada e um soco no olho esquerdo de Marcelo Camelo, vocalista dos Los Hermanos, no aeroporto de Fortaleza. Os músicos seguiam para o festival Piauí Pop quando Chorão resolveu tirar satisfações com Camelo sobre declarações que ele havia feito em uma entrevista. Resultado? O vocalista da banda de Santos foi detido pela polícia. Camelo, que acabou retirando a queixa, se apresentou no festival com um hematoma no olho.

Ira x Ira
Outro episódio que deu o que falar foi a separação do Ira! em 2007. Nasi, vocalista do grupo, chegou a registrar um Boletim de Ocorrência contra seu irmão, que era empresário da banda. O desfecho da história, que culminou com o fim do grupo, ainda rende acusações entre o vocalista e os outros integrantes.

Sepultura x Max Cavalera
Em uma briga no melhor estilo “Yoko Ono”, Max Cavalera, vocalista e fundador do Sepultura, deixou a banda em um dos momentos mais importantes da carreira do grupo. Gloria Cavalera, mulher de Max e empresária do Sepultura na época, foi demitida pelos outros integrantes da banda acusada por dar espaço somente ao marido. Com a decisão, Max deixou a banda.

Fonte: Terra

Pete, aka Peter já anunciou faz um tempinho que o Libertines voltaria sim em 2010 e ba-ba-ba. Agora ele confirmou que isso vai acontecer, mesmo que ele tenha que usar look-alikes dos “ex-integrantes” pra isso.

Mas Gary e John já falaram que topam voltar com o Libertines. Agora,  só resta o Carl decidir o calendário dos shows.

Mas, Pete impaciente, já começou á fazer declarações de: ” Talvez eu possa retomar o Libertines sem ele, como ele fez, sem mim” e ” Posso colocar um aviso na NME:” Carlos lockalike required”.

A banda MAL recomeçou e ele já está fazendo graçinha, né? haha

Enfim, mas Carl declarou em Julho quando todo esse bafafá começou, que só marcaria DATAS se Pete continuasse no mesmo caminho que ele está. Disse que ele é uma pessoa muito persuasiva…

Agora só resta esperar o Carl se convencer, ou o Pete realmente CONVENCER, pra ver no que vai dar.

Aguardo ansiosamente, obrigada!

Enquanto isso, como todo mundo anda fazendo agora, Carl revelou que está com planos de lançar seu álbum solo.

Desde que acabou o DPT que ele vem escrevendo músicas, e já discutindo com as gravadoras. Espera-se que ele anuncie os detalhes de seus novos shows, agora solo, em breve.

Que isso não atrapalhe esses planos de reunion do Libertines, fora isso, tôamando. Quanto mais Carl, melhor.

…

Veja você mesmo:

“Ahh Bank Holiday. That one special Holiday where British people do British things. Or something like that.

Starring Carl Barat, Carl Barat, & Har Mar Superstar. Directed By Ryan Rickett.”

HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA

morri com o Carl americano, beijos.

(Via http://www.crappyholidays.com e @HarMarSuperstar)

… MUITO AMOR!

Fuçando aqui meus arquivos e links de anos atrás, achei esse documentário do Adam com o  Carl, revi umas 897 vezes e resolvi dividir esse momento emo que eu estou tendo agora.

Parte 1

Parte 2

Parte 3

Parte 4

Pra acabar com chave de ouro esse momento, um vídeo de DPT + Adam, cantando Jessica e Friends of Mine.

(LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL)

Ah, chegaaaaaaa, assim eu morro, não pára de aparecer vídeos e fotos de festivais na Europa, tá tudo tão frenético que não tá dando nem tempo de ver todos. /inveja alheia

Gente rhyca e dexxxcolada á parte, no Frequency além de Radiohead, que pra mim já é motivo suficiente pra comentar (veja o set list aqui), O CARL apareceu depois de anunciada a volta do Libertines nos festivais do ano que vem, pra dar aquela pinta de DJ no NME floor e no dia seguinte, Andy Rourke do The Smiths. Pra quem pode, né?

Além deles, ainda teve Kasabian, Jet, The cinematics, The Sounds, The Subways, Editors, Mando Diao, MSTRKRFT, MIA,…

Separei aqui alguns vídeos dos poucos que estão prestando:

Jet – Are you gonna be my girl

Radiohead – Paranoid Android

Radiohead – Everything in it’s right place

Mando Diao – Down in The Past

(Meu sonho ver um show do Mando Diao, 6nãotemnoção)

morri.

Recentemente  Pete Doherty, havia confirmado para a NME a volta dos Libertines para 2010. Nada de álbuns ou grande turnês, apenas alguns shows em festivais britânicos. Mas parece que Carl Barat, guitarrista e vocalista da banda, não gostou muito da idéia. O próprio Doherty foi quem confirmou que Barat não se reuniria ao grupo por agora: “Ele não está afim de começar tudo de novo porque acredita que ainda estou cercado daquela energia negativa; não vai acontecer até que ele volte a acreditar que eu valho a pena.. Adoraria tocar músicas como ‘Death On The Stairs’ ou ‘Don´t Look Back Into The Sun’ ao vivo, especialmente com o Carl. Não é uma questão de dinheiro, já que recebemos algumas propostas, e sim de que ele quer ter certeza de que está tudo bem”. Doherty, que volta e meia está estampado nas revistas de fofocas e tablóides por causa do seu romance com as drogas, parece estar empolgado com a possível volta. O retorno do relacionamento entre os dois líderes, coturbado desde sempre, aumenta mais os boatos e as expectativa dos fãs.

How utterly shambolic. Pete Doherty, ex-Libertine, now says, in the new issue of NME (above), that he has gotten approval from old bandmates John Hassall (bass) and Gary Powell (drums) to reunite the LIbertines. He just needs to get guitarist/singer Carl Barat to come on board. However, Doherty claims he might reform it even if Carl does not agree. In NME:

“Maybe I could reform The Libertines without him, like he did without me [Barat played Libertines shows without him in 2004 when Doherty was kicked out of the band for drug use],” he said. “I’ll put an advert in NME: ‘Carlos lookalike required’.”

He’s joking, obviously. ??!! Hey, with Doherty, you never know. As a fan of Libertines’ music, I wouldn’t go see the reunited band without Barat. And I won’t believe I’ll see the band in the U.S. anyway. I don’t believe the U.S. will let Doherty tour here, no matter what I hear on the contrary.

To tell you the truth, I’m more interested in Dirty Pretty Things (Barat, Powell, and Anthony Rossomando) reuniting and touring the U.S. I know there are others who feel the same way. So Doherty can put that in his pipe and smoke it.

So the other day my friend linked me to the trailer for the new Picture of Dorian Gray movie.

It looks good, but I had difficulty telling her how and why it looked very different from the book.  I’ve finally put my finger on what it was (and I’m a little embarrassed at how long that took):  it seems like they’ve taken out all the Oscar Wilde-ishness.  In all fairness the full trailer’s not out yet, so it’s really too early to tell whether or not the movie retains any of Wilde’s dancing razor wit.  But the impression I had was more of a dark, supernatural sex-capade rather than gothic horror/satire about decadence.  It almost looked like a vampire movie with Monsieur Gray instead of the vampires.  Which wouldn’t be a surprise, every studio is trying to cash in on the vamp-revival created by Twilight (ugh) lately, and Dorian Gray holds all the best tenets of vamp-hood without the fangs: beauty, ever-lasting youth, seduction and all those questions raised by the absence of a soul (well, sort of anyway).

More surprising than any of the above things though for me, is the casting of Colin Firth as Lord Henry Wotton.  Really?  I mean don’t get me wrong, I have much love for Colin Firth, going way back to his wet-shirted Mr Darcy days.  He was also good in The Importance of Being Earnest a few years back, so he’s done a Wilde piece before, and he was pretty smouldering in Girl With a Pearl Earring.  He’s good in most things really.  But I just can’t see him as Wotton.  I suspect that even acting his hardest there’s fundamentally doesn’t have that Wotton-ish quality. I’m hoping he’ll prove me wrong, but more likely he’ll be his own version of Wotton (which won’t be quite the same Wotton from the novel, quite possibly just like the rest of the movie).  Maybe I’m being too harsh though, since he’s never disappointed so far.  And nobody say Stephen Fry, because I adore him, but I think he’d over-play it a little bit.

Personally I always pictured Wotton as being based on Oscar Wilde himself, but according to according to trusty Wikipedia (see, I do research!), in Wilde’s own words it goes like this “Basil Hallward is what I think I am: Lord Henry what the world thinks me: Dorian what I would like to be—in other ages, perhaps”.  Interesting, huh?

One thing that they got spot on however was the casting of the damn fine Ben Barnes as Dorian Gray.  I think he’s going to be the sexiest libertine since, well, since before Pete Doherty got super fucked up (I mean back when he was only mildly fucked up, and appeared to still be occasionally bathing and brushing his teeth) and him and Carl Barat (oh Carl, I still love you) were still doing that pass-the-mic-with-sexual-tension thing they did so well, spurring on the slashy fantasies of thousands of fan girls in the process (*sigh*).  Ben Barnes, a.k.a. that boy who plays a badly-accented but otherwise passable Prince Caspian in the Narnia movies, well, I gotta say I like him.  He’s tall, dark and delicious, with unusually dark eyes (almost black), which is definitely a plus when you’re playing it dangerous ;].  Yum.

So moving on from dreamy boys and such… um… where was I?  Oh yes, right.  Well, even if the film turns out to have just taken the bare bones of the story and built a whole different body with them (you see what I did there? Ahahaha. Why I laugh?  That was pretty sad… Ohwellnevermind) into something else, I’ll probably still go see this.  It looks entertaining, and it contains said dreamy boy Ben Barnes.  ‘Nuff said.

^_^

Favoritbild. Tack, Andrew Kendall.

Jag vet inte vad det var som fick mig att kika på dessa bilder igen. Så som jag satt och bläddrade och kramade magens fjärilar med muskler och de djupaste smilgroparna när jag var yngre. 16 år. Jag rusade upp från min stol, sprang till köket, tog sats och hoppade upp i luften samtidigt som jag skrek till sådär typiskt tjejigt. Hela världen blev rosa för en sekund och kinderna blommade och jag var svimfärdig av lycka. Av några bilder på dessa män. Jag bläddrade vidare och hoppades på att nästa skulle bli den stora önskebilden — en riktig kyss istället för en sådan där retsam mikrofonkyss. Mamma såg mig bara stirra på skärmen, men jag hörde “men pussas då!!!” eka i mitt huvud.

Och vet ni vad jag gjorde, idag, 20 år, när jag såg den här bilden? Utan att tänka, utan att förstå vad jag gjorde hoppade jag upp ur min stol, sprang till köket, tog sats och gjorde en mesig piruett i luften. Det tjejiga skriket bromsades av min stängda mun, men det fanns där. Ränderna går inte ur. Jag tycker inte ens att Pete Doherty är snygg längre (men INGEN kan motstå Carl Barât, så det är bara onödigt att kommentera det). Det är väl känslan i bilden. De sjunger, men kanske tänker de på något annat. Det som inte sägs, det som inte hörs, det som inte görs. Det som inte händer men borde hända. Men pussas då, tänker jag. Lite mindre intensivt än för fyra år sedan, men ändå. Tanken finns där. Men pussas då.

It’s been far too long since I blogged.  I have terrible writer’s block, and am busy with work and getting ready to move into my first apartment in a week and a half. Yikes. Exciting. Anyways, I had an interesting conversation with my good friend Ryan last night, and I also started reading Bound Together, a very well-written and exciting biography of one of my favorite bands, The Libertines, and all that got me to thinking about why I like them so much. I mean, they’re a good band, but I enjoy them immensely, perhaps more than is warranted by their brand of British rock’n'roll music. I mean, I find immense appeal in the aesthetic and in the lyrics, but it boils down to something that I find is at the heart of my own artistic endeavors: Personism.

Frank O’Hara says this in his Personism: A Manifesto piece (linked above):

Personism has nothing to do with philosophy, it’s all art. It does not have to do with personality or intimacy, far from it! But to give you a vague idea, one of its minimal aspects is to address itself to one person (other than the poet himself), thus evoking overtones of love without destroying love’s life-giving vulgarity, and sustaining the poet’s feelings towards the poem while preventing love from distracting him into feeling about the person. That’s part of Personism. It was founded by me after lunch with LeRoi Jones on August 27, 1959, a day in which I was in love with someone (not Roi, by the way, a blond). I went back to work and wrote a poem for this person. While I was writing it I was realizing that if I wanted to I could use the telephone instead of writing the poem, and so Personism was born. It’s a very exciting movement which will undoubtedly have lots of adherents. It puts the poem squarely between the poet and the person, Lucky Pierre style, and the poem is correspondingly gratified.

As facetious as this is, I find entailed within it a grain of poignant poetics. The idea of people and love being at the center of poetry is one I can get behind. It is not just other people, either; the poet and the person are integral. I consider myself a Personist, if only because I’m a sarcastic bastard and because I care about love, people, and poetry more than anything else…but what does this have to do with the Libertines?

Quite simply, The Libertines are a very Personist band. The lyrics themselves are a testament to this. Carl and Pete are Romantics; they have a vision of an idealized England, and they write about this, the England of Wilde and Blake, of Byron and Shelley, an England of unfettered decadence and artistic revelry…and love. This romanticized vision is obscured by the whole rockstar shtick. Doherty and Barat’s apathetic sneers, sloppy guitars, and drugged-up antics are what we see on the surface. The ballsy swagger the band presents us, though, is an act. Beneath the braggadocio lie vulnerable, hopeful, and loving hearts. Songs like “Death on the Stairs” are proof of this; the anecdotal first part of the song (about the “Eritrean maiden”) and the confessional second part juxtapose the blithe wordplay with the earnest emotion, and what emerges is a tension between the arrogant swagger (“She had a one-track mind and eyes for me”) and the honest, innocent yearning (“how could I help but stare?”) that, to me, strikes the ultimate Personist chord. Love and people are the inspiration for the song, and through necessary abstraction (the facade) the lyrics avoid tainting their pure romantic love for everything from girls to art.

That’s what the Libertines are about. Loving music and loving the Romantic ideal of England that got the guys into music in the first place. And the fact that I love them as people, perhaps, is all the more Personist. Their artistic visions and insane idealism is incredibly appealing to me, as is the facade stemming from a fear of being hurt and a desire to take the world by storm. And Personism, after all, is about just that: people. I love people, and I feel like I KNOW Carl and Pete from listening to their music. This personal connection, to me, makes it great art. There is a definite craft to their music and lyrics that makes it something that is intensely personal and at the same time wildly affected, which is what I see as fundamental to Personism. That is why I consider The Libertines a prime example of what Personism represents…but then again, they could have just called Katie up to let her know they’d miss her. It’s the song that made it poignant and Personist.
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Mmm. I still have writer’s block. Hopefully I’ll write some poetry sometime soon.

Pete Doherty und Carl Barat haben im Mai beschlossen eine neue Platte zusammen zu machen. Nach einem Gig im Mai hatten die beiden Britpopper stundenlang über die Zukunft der The Libertines  sprochen.

“Wir waren die ganze Nacht wach. Es war toll. Ich glaube wir machen wieder eine Platte und gehen auf Tour,” so Doherty.

Gleichzeitig gab noch bekannt, weitere Soloalben veröffentlichen zu wollen.

The often-troubled former Libertine and current leader of Babyshambles Pete Doherty was the subject of a profile in yesterday’s (Friday, July 31st) edition of The Times of London. Doherty revealed that he and former Libertines bandmate Carl Barat had discussions about reforming the band after performing together at a tribute show for their old promoter. Doherty told The Times:

“We had a good couple of hours [after the show]. We were up all night together. It was amazing really. I think we’re gonna make a record and tour. Get The Libertines to take it to the next step, next stage.”

I hope that the reunion of The Libertines does actually get off the ground. Given Doherty’s legal troubles over the past few years, they might not be able to get work visas to perform in the United States. Still, it would be nice to hear them playing together again.

To read the full profile of Pete Doherty from The Times of London, click here.

NME.com published an article about Doherty’s profile in The Times, which you can read by clicking here.