Y llegamos nomás a la mitad de este ranking. Ya develamos 25 canciones y faltan otras 25. A estar atentos que se viene lo mejor!

30. “I DON’T FEEL LIKE DANCIN’” – SCISSOR SISTERS (2006)

29. “FEEL GOOD INC.” – GORILLAZ (2005)

28. “CITY OF BLINDING LIGHTS” – U2 (2005)

27. “DON’T STOP” – THE ROLLING STONES (2002)

26. “ARE YOU GONNA BE MY GIRL” – JET (2003)

PUESTOS 50 AL 46

PUESTOS 45 AL 41

PUESTOS 40 AL 36

PUESTOS 35 AL 31

Hey! Long time no see!!! Sorry about that. There were some complications going on with the settings in the Matrix of Life; some corrupted code that I needed to take care of.

As you can see, it's a pretty difficult programming language to play around with.

So, I’m going to explain some things that have been going on – or, more like, have gone on. For example, everyone in my class yesterday had an official publishing party, without the girls and poles of course (and, instead, all boys), so what we were supposed to do was make a public speech where you introduce the winner of a certain award. The award was for the best participant in orgies. And, if you haven’t noticed, I have just finished cracking a joke. Though it probably wasn’t quite funny.

Some of us were given special roles, though, since we made considerable progress, or could not do much more progress than had already been done. I have a perfect 13 for my ITBS, meaning, my reading and writing capabilities are supposedly at college level, and I’m only in eighth grade. If I can’t brag, I can gloat. If I can’t do it in public, I can do it on a blog – however public a blog is as well.

So what role did I play? I was “DJ” (Dick Jerker) – though I think that’s more of a euphemism. I was just the put-music-during-transitions-from-public-speech-to-public-speech person, which was quite enjoyable for me, since I like poppin’ and then showin’ off my tunes (as in my penis).

I'd rather listen to myTunes.

Like, Cult of Personality, or some other cool ones like White Light by Gorillaz, Feather by Nujabes (featuring some other guy who does the rapping), Prodigy, Motorhead, but, of course, Led Zeppelin.

I had perfect timing on the breaks for the most part, and people actually liked the music. I tried to put music of all genres insofar as they fit the occasion. Mostly hip hop and rock. This is because audience’s won’t always have the same tastes – some will think rap is shitty. I’m not a big fan of rap, except for some jazz rap. So I compromised, and put some jazz rap, which I call candy rap.

Candy rap.

Primarily because it has a sweetening instrumental sound that soothes the ear, backing up the rap so it sounds like spoken word – I also call that hip hop.

I always knew my music wasn’t shitty, like a pile of shit. Sometimes the audience bobbed their heads, and sometimes the “award winners” (actors, really) would dance to it also, just to make themselves look absolutely ridiculous.

I was the Jesus of music during the whole show, yet I had not gotten nailed.

DJ Jesus: "I turned whine into music. And I turntabled music into dance."

My language arts teacher also decided to let me borrow his Operation Ivy CD for me to listen to, also. It was radical, dude. \m/

Damn it, it’s getting dark. And I hate that, because it sort of numbs my mind a little. But, oh well. I’ll find some excitement and adventure again eventually.

I’ve started to try and work things out again with Mickey, after some inner emotional doubt, and then a bit of sullen-ness. Which I think didn’t help much, and I hope she feels better. Sometimes I have no idea what direction I’m taking, or whether I’m doing something awry. But that will only be relevant when it doesn’t work out, right? Right. I hope so.

And, Abe? Well, things have been going fine with him and me, as friends, really. I still rate him a 45. While, last school year, it would’ve been a 25. He says he wishes he would’ve never met me or talked to me, which was a severe blow.  But then he said, well, I’m better than I was last year. I guess he said that only because my eyes met the ground once he said the former. I don’t completely understand, though, of course.

Now I’m going to go to a Thanksgiving family party, to stuff some turkey anally.

Excuse the sexual language, ma'am.

I have a lot of things to give thanks to. Like, maybe boobs, shaven Turkeys, myself..but, I don’t think I’m ready for Thanksgiving. I feel more compelled to ask for something than to give thanks. I want things to get back as they once were; well, just that they ride towards the better.

Demon Days is the second studio album and a concept album by Gorillaz, released on 23 May 2005 in the United Kingdom and on 24 May in the United States. The album features contributions from De La Soul, Neneh Cherry, Martina Topley-Bird, Roots Manuva, MF DOOM, Ike Turner, Bootie Brown of the Pharcyde, Shaun Ryder, Dennis Hopper, the London Community Gospel Choir and the Children’s Choir of San Fernandez.

Demon Days entered the UK charts at #1 and the U.S. charts at #6, outperforming the band’s 2001 debut, Gorillaz. The album had sold over six million copies as of 2006. The album features the singles “Feel Good Inc.”, “Dare”, “Dirty Harry” and “Kids with Guns” / “El Mañana”.

Tracks

1. “Intro” (Gorillaz/Don Harper)
2. “Last Living Souls”
3. “Kids with Guns”
4. “O Green World”
5. “Dirty Harry” (Gorillaz/Romye Robinson)
6. “Feel Good Inc.” (Gorillaz/Dave Jolicoeur)
7. “El Mañana”
8. “Every Planet We Reach Is Dead”
9. “November Has Come” (Gorillaz/Daniel Dumile)
10. “All Alone” (Gorillaz/Roots Manuva/Simon Tong)
11. “White Light”
12. “Dare” (featuring Shaun Ryder)
13. “Fire Coming Out of the Monkey’s Head”
14. “Don’t Get Lost in Heaven”
15. “Demon Days”

Genre: alternative rock, alternative hip hop, electronica, trip hop

More @ Wikipedia

Poster for Tank Girl; image courtesy of 24hourstomidnight.files.wordpress.com

So I was originally gonna roll up all cavalier-like and blurt out my opinions on Tank Girl, which I watched for the first time a few nights ago. I had some pre-conceived notions about the movie and what I’d think of it, as the film adaption of the beloved Jamie Hewlett comic is widely regarded as a commercial and critical flop.

Now I’m not entirely sure how to approach the subject matter, because a) I’m not sure how to read this movie, as it is disjointed and oftentimes inscrutable, b) I didn’t realize going into my viewing that several friends were fans of both the movie and the comic, and c) . . . I haven’t gotten around to reading the comic. I’m more than willing to read it, especially since I’m a fan of Hewlett’s work with Damon Albarn on Gorillaz and am interested in their ongoing professional relationship. I simply haven’t had the chance yet, as I just finished Truman Capote’s super-dense In Cold Blood and started Margaret Atwood’s promising The Blind Assassin. If anyone has a copy they’d like to push into my hands, my palms are flat and open.  

I'll gladly read this; image courtesy of hero-trailers.blogspot.com

But I still wanted to see the movie and write about it because:

1. Lori Petty stars as Rebecca Buck and I wish her career had taken off instead of stalling around the time of this movie’s 1995 release. While she’s recently run into some legal troubles and I still haven’t seen Point Break or Prey for Rock’N'Roll, I’ve long had a soft spot for this tough, mouthy, gender-queer tomboy ever since her turn as Kit Keller in A League of Their Own. It’s too bad that she was replaced by Sandra Bullock in Demolition Man and that Gwen Stefani sounds just like her, with both women having more visible, financially successful careers.

2. Speaking of Stefani, did she rip off Tank Girl’s style to cultivate her own look, because oh my damn do they look alike. 

But maybe I’m being unfair in pitting Petty/Tank Girl against Stefani against one another and instead should remember the cultural context from which they were formed. I’m reminded of my thesis adviser Mary Kearney, whose dissertation focused on contemporary discourses around girlhood and youth culture. Joy Van Fuqua draws on Kearney’s work in her essay ”‘What Are Those Little Girls Made Of?’ The Powerpuff Girls and Consumer Culture.” In her discussion of the show’s popularity, Van Fuqua borrows from Kearney to suggest that, like many other girl characters during the 1990s, Bubbles, Buttercup, and Blossom had to embody both genders in order to succeed in athletics and other male-dominated activities.

Buttercup, Blossom, and Bubbles are gonna fuck yr shit up; image courtesy of msdn.com

3. Speaking of promising actresses, Naomi Watts plays her sidekick and was a total nobody in the states when the movie was originally released. She’s also rockin’ a brunette bob haircut, which I appreciate.

4. Speaking of wacky ladies, Ann Magnuson makes an appearance as a madame who runs a state-of-the-art brothel where folks like Iggy Pop run around in drag and the talent break out into Busby Berkeley-esque routines to Cole Porter’s “Let’s Do It.”

5. Speaking of musicians, the soundtrack is an alternative rock behemoth. Hard to imagine many of the artists represented here got radio play in 1995. Alternative was commercially successful, allowing rock music to splinter off in various, musically diverse directions. Hootie was of course a major player, but Pulp could get a hit single. Beck was at this point a one-hit wonder, but was working on an era-defining record that would come out the following year. The bubble hadn’t burst yet. Man, 1995 was a strange and amazing time. Bush, Björk, Veruca Salt, L7, Belly, Portishead, Hole. They were all on commercial radio playlists and they’re also on this soundtrack.

6. Speaking of Hole, note that Courtney Love was the movie’s music consultant. Now, I’m not entirely sure what her title means here. Titles like “music consultant” and “music supervisor” tend to be flexible. The latter term is usually held by people who work closely with the director, the editor, and multiple representatives from various record labels, as well as help tend to legal matters like acquiring publishing rights, and clearing songs to be used in the movie and often the accompanying soundtrack. 

Courtney Love, 1995's burgeoning hyphenate; image courtesy of rollingstone.com (Ouderkirk/WireImage.com)

My hunch is that Love’s duties were picking what songs she liked and would work with the movie, but had little involvement in the production. After all, she was a busy lady who was trying to heal from the death of her husband, raise her daughter, become a respected actress, and headline Lollapalooza with her band Hole. I don’t think she had time to field phone calls with label execs, although I’d like to imagine what those conversations might be like.     

7. Oh, and since the first six points all involved women, let’s add the cherry on top. Tank Girl was directed by a woman named Rachel Talalay.

But as far as reading this movie . . . hummina. I don’t know what I saw. I know it takes place in what is now a not-too-distant, dystopian future and involves our fearless heroine leading a rag-tag group of girls and mutant kangaroo boys against a corrupt faction that control the earth’s water supply. Still with me? Here’s the trailer.

So, things I enjoyed or found interesting about the movie.

1. Naomi Watts kicks ass as Jet Girl. At first shy and fretful, she learns to embrace her intellect and technological savvy and develops the confidence to take charge of the crew and help beat the cast of baddies.

Jet Girl holding it down; image courtesy of kideternal.com

2. Tank Girl has strong relationships with Jet Girl and Rebecca, Tank Girl’s boyfriend’s young daughter. Homosocial bonding and female mentorship, holla!

3. OMG, the costumes. They could be a chapter in a dissertation on third-wave feminism’s fragmentive, performative, and self-reflexive relationship with fashion (note: if such a chapter exists, I want to read it). Tank Girl never wears the same outfit or hair color twice, and her wardrobe toys with historical periods, film genres, youth culture movements, often playing with age, gender, and race as well.

What are you wearing, Tank Girl?, image courtesy of theage.com.au

4. I can’t tell if Ann Magnuson’s Madame, who briefly kidnaps and attempts to employ Rebecca, is a sex-positive feminist, a critique against the then-timely rise of media’s interest in d0-me feminism, or just morally bankrupt.

And then there were things I hated.

1. While Tank Girl’s costuming is fascinating, that’s really the extent of her characterization. Much of this seems to be the fault of the writing. Petty is engaging enough, but Tank Girl is written as less a complex action heroine and more of a buzzword-and-slogan dispenser. Thus, she brings to mind characters like Itchy and Scratchy’s Poochie, who was created to make fun of corporate-friendly extreme, in-your-face, subcultural cash cows. Perhaps her perceived lack of depth speaks to the awkward process of adapting a comic book into a movie, but her cinematic flatness betrays the torpedo bras.

Torpedo bras don't always provide dimension; image courtesy of mermaidligan.blogspot.com

2. Tank Girl also kicks a disappointing lack of ass here and has questionable methods. I can’t speak to her defense strategies in the comic, but the movie repeatedly has her lure disgusting men with her feminine wiles. Sometimes they get kicked in the balls, but she still shows them her bra or promises sexual favors beforehand.

3. Man, how did Malcolm MacDowell fool people into thinking he could act? He’s the villainous Kesslee here and is making himself quite the ham sandwich. Some may want to bring up Al Pacino and note that some actors deliver progressively broader performances as they age, but I think MacDowell’s accent played a role in snowing audiences as well. I think his Britishness even convinced people he was better in If . . . and A Clockwork Orange than he actually was. Charismatic and handsome? Yes. Once a great actor? I don’t think so.

4. I feel like there’s something racially problematic about the mutant kangaroo soldiers who take up with Tank Girl’s crew. Thoughts?

In short, Tank Girl makes for a maddening but interesting spectatorial experience. Now to get a hold of the source material . . .

Was vom Namen her so klingt, wie eine esoterisch angehauchte Metalband, zählt unter Rap-Connaisseuren seit 1993 zum absoluten Pflichtprogramm in der Plattensammlung: Souls of Mischief. 93 Til Infinity heißt die bekannteste Single und zugleich das Debütalbum der kalifornischen Rapper, mit dem sie den von Gangsterposses dominierten Westcoast-Rap chillige Rhythmen und inhaltlich neue Impulse verliehen. Alles andere als unheilvoll war der Live-Auftritt der Souls of Mischief in Heidelberg, zu dem sich jede Menge treue Seelen begaben.

Nachdem Produzentenlegende Prince Paul als Toursupport der Souls of Mischief aufgrund von familiärer Schwierigkeiten kurzfristig ausfiel und vor Ort im Karlstorbahnhof sogar noch das Gerücht die Runde machte, dass die Souls nur zu dritt – ohne Tajai – angereist waren, begann die Vorfreude auf die Show schlagartig zu sinken. Mit Mr.Brady von Deep Rooted hatten die Rapper aus dem Sonnenstaat allerdings noch ein Ass im Ärmel, das sie als Vorgruppe geschickt ausspielten. Fast eine halbe Stunde lang sorgte der Rapper und Beatproduzent aus San Diego zusammen mit DJ Lex für einen sensationellen Auftakt. Überraschenderweise gelang ihm das wie im Schlaf, denn Brady öffnete bei seinem Auftritt nicht ein einziges Mal seine Augen! High wie Cheech & Chong präsentierte der reimende Rastamann seine äußerst ausgefeilten Beats und ließ auch raptechnisch keine Wünsche offen. Höhepunkte setzte er zum Schluss mit dem Deep Rooted-Track Crazy, dessen Drums dermaßen knarzten, dass selbst die Barfrau im Vorraum die Füße von dem gewaltigen Basslauf massiert bekam. Die HipHop-Hymne Let My Record Rotate, die Rob The Viking meisterhaft arrangiert hat, hätte DJ Lex noch den ganzen Rest des Abends in Endlosschleife laufen lassen können, ohne dass er sich damit Feinde im Karlstorbahnhof gemacht hätte.

Gegen die anschließende Performance der Souls of Mischief hatte hingegen natürlich auch niemand etwas einzuwenden. Tajai stand dann wider erwarten doch mit auf der Bühne und machte auch gleich auf sich aufmerksam, indem er dem Soundmann rüpelhaft aber nicht ganz zu Unrecht wegen derzu leisen Mikrofone anpöbelte. Ohne Rapper A-Plus war das reimende Quartett aus Oakland dennoch unvollständig erschienen, der große Einsatz der MC’s Opio, Tajai und Phesto machte den Ausfall im Verlauf des Abends aber wett. Die Souls of Mischief sind allesamt auch Mitglieder des achtköpfigen Kollektivs Hieroglyphics und deshalb gab es heute auch einige Hiero-Hits wie Powers That Be oder den Rap-Klassiker You Never Knew auf die Ohren.

Das beständige Duell zwischen den drei Rappern und dem Soundmann, durch das so mancher Rappart zu einem Acappella improvisiert wurde, zog sich quer durch die gesamte Souls-Show. Passenderweise spielte das Trio Chaos And Turmoil deshalb etwas chaotisch mit übersteuerten Mikros. Den glanzvollen Schlusspunkt der sehenswerten und engagierten Performance setzten Opio, Phesto, Tajai und der technisch versierte DJ Lex erwartungsgemäß mit 93 Til Infinity. Auch 2009 ist der Alltime-Classic immer noch richtungweisend in Sachen entspannter Flows und lässig inszeniertem Sampling (Billy Cobham: Heather). Obwohl mit Prince Paul der Produzent des bald erscheinenden Souls of Mischief Albums Montezuma’s Revenge leider abwesend war, endete der Abend für die Fans erfreulich. Selbst der Sound klang am Ende versöhnlich.

Andreas Margara (16. November 2009)

Mr. Brady – Let my record rotate

(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

Como muchos de vosotros ya sabréis a estas alturas el grupo cuasi-virtual Gorillaz va a lanzar un proyecto ambicioso: construir otra ópera musical en versión teatral y cinematográfica.

Como antecedente encontramos “Monkey: Journey to the West”, la primera ópera musical que Damon Albarn y Jamie Hewlett crearon y que se ganó el aplauso de la crítica en el 2007.

Para llevarlo a cabo van a contar con la excelente colaboración del inglés Alan Moore que, como también sabrás, es el creador de cómics tan famosos como “Watchmen”, “V de Vendetta” o “La liga de los hombres extraordinarios”.

Eso sí, Moore escribirá el libreto de la ópera mientras sigue con la creación de su ambiciosa obra “Jersualem”.

¿Dónde nace esta unión?

Según cuenta el dibujante a la revista “Mustard”, el grupo, tras el que se esconden Damon Albarn y Jamie Hewlett, fue directamente a ofrecerle el libreto.

Moore ya estaba fascinado con el proyecto creado por el cantante de Blur (que ya tiene unas 70 canciones escritas para este proyecto) y el dibujante Hewlett (que ya tiene los primeros bocetos sobre los personajes), así que no pudo por menos aceptar el encargo.

Por si su colaboración fuese poca, se sabe que los dos artistas aparecerán en el tercer número (es decir, el próximo número) de “Dodgem Logic”, la revista underground de Moore que sale a la venta cada dos meses.

Sim, ele mesmo o bruxo satanista rabugento o mais renomado autor de quadrinhos, com obras como V de Vingança, Liga Extraordinária e Watchmen (considerada por muitos nerds a maior HQ de todos os tempos) resolveu escrever um libreto para a “banda” GorillaZ…

Pra quem não conhece o GorillaZ é uma banda virtual em animação gerida pela dupla Damon Albarn e Jamie Hewlett, este ultimo já envolvido com a HQ Tank Girl… E pra quem não sabe o que é um libreto, é o texto usado em uma peça musical como opera (opera rock no caso da banda) ou cantata…

Para a Opera (rock) de “Journey to the West” a dupla procurou uma lenda viva das histórias em quadrinhos. “Eles vieram até Northampton semana passada porque estamos planejando para eu fazer o libreto em sua ópera seguinte”, comenta Moore, que refere-se a dupla como GorillaZ…

Não se sabe ao certo os rumos do projeto, pois o trio faz segredo e deixa os fãs de Hqs e da banda Blur (de Damon) ansiosos…

Nos ultimos dias, Moore está dedicado a Dodgem Logic, um bi-nova revista mensal. Ela tem como objetivo capturar “o espírito underground dos anos 60″, utilizando de quadrinhos, ensaios, receitas, exames longo do anarquismo (tema muito explorado por Moore) e também, Albarn e Hewlett.

Jag läste i Mustard comedy mag att Alan Moore ska ge ut sin egen tidning, Dodgem Logic och i intervjun så droppar Moore bomben att han ska skriva en opera tillsammans med killarna i Gorillaz. Flummigt värre! Men kul!

/karl

The Guardian has reported that comic maestro and shaman Alan Moore is to pen lyrics for the next Gorillaz project, a follow up to their recent opera Monkey: Journey to the West. We never had the opportunity to see the show itself but the album is one of our favorites.

“They came down to Northampton last week because we’re planning for me to do the libretto on their next opera ,” Moore recently told Mustard magazine. From the man behind Watchmen, From Hell and Lost Girls, it’s any one’s guess as to what direction Moore will take the Gorillaz universe. This month see’s the release of Moore’s new bi-monthly magazine Dodgem Logic.

Am fost aseara la lansarea Windows 7, cu o super mega petrecere organizata de The Mission.  Nu-mi cumparasem bilet, dar uite, sunt “condamnata” sa traiesc printre hipsteri, prietenii stiu de ce Mi-au placut Gorillaz Sound System, Underworld a cantat prea mult pentru gustul meu iar la Dubfire nu am mai rezistat, decat la cateva mixuri.

Dintre sponsori, Romtelecom a fost insistent cu o reclama pe ecrane. Concertul/ele s-au auzit bine (eu venisem cu prejudecati la Polivalenta, de la un show mai vechi), luminile si scenografia au fost si ele in regula, mai ales momentul cu baloane albe imense. Animatorii nu au aratat cine stie ce, dar publicul era in delir si delirul in public. A fost ca o seara de club la puterea a doua, pentru cei care prefera aceste genuri de muzica.

Dupa cozile de la intrare, erau mai multi oameni pe guest lists decat cei care plateau intrarea, dar eu zic ca meritat investitia in PR. Daca erau si bauturi incluse, era perfect; sistemul de cumparat jetoane cu care apoi iti iei bautura e enervant pentru toata lumea.

Za people from za crowd pareau in general cool. N-am fost niciodata la Ibiza, dar atmosfera era ceva de genul inceputul de la “It’s all gone, Pete Tong”, ar fi mers un Schwab – DJs in a row. Sper ca Windows 7 e cel putin la fel de tare…

Azi sper sa ma duc la concert, ma pregatesc acum sa ma duc sa vad daca mai pot gasi bilete.

V-am/M-ati/Ne-am pupat, pa!

Forgive the COMPLETELY non-sequitur picture of The Mighty Boosh above, but I am 1. completely infatuated with them 2. currently writing a research paper on them and 3. clueless as to what else to make the picture! So YAY! for the Boosh! Anyway, there are a plethora of cover artists on Youtube. Just as there are a multitude of people with webcam shows and sketch comedy troupes (who would do THAT?). But below is a list of the few that have stood out to me in my internet surfing. Becca Cole (or Becca de la Musique as she so likes to be called) is a lovely little British thing with a lovely little voice to match. I listed her first as I absolutely ADORE her version of Bloc Party’s Flux (Did I mention I have a thing for British girls?). It helps in this instance that she is covering one of my favorite songs by one of my favorite artists, but if you go to her Youtube page, she has a PLETHORA of covers that are just as magnificent, just not my particular genre. Pomplamoose (sounds like a Dr. Seuss villain) is an INCREDAMAZING No-Cal-based duo that crank out wonderful covers/videos of “performances” that encompass a mastery of the visual and audible arts. Their cover of Beyonce’s Single Ladies is so good it actually improves upon the original (a LOT). Below the Single Ladies video I have included Jack Conte’s (the male half of Pomplamoose) rendition of Gorillaz’s Feel Good Inc. The maestro pays great homage to the song while adding in a bit of his own element. And finally, ZanyClo is another acoustic cover artist much in the vein of Becca Cole with a beautifully spirited voice. The girl conveys so much with just her magnitude and strength that she puts into every song. Her cover of MGMT’s Electric Feel is fabulous.

There, I feel better. Nothing like an obsessive-compulsive listing of random endeavors to brighten my day! The interwebs can feel like an inundation of content at times, but if you just dig, you can always come up with chunks of gold. For instance, I hear there’s this group called Bears With Sparklers…

Becca Cole: Bloc Pary’s Flux

Pomplamoose: Beyonce’s Single Ladies

Jack Conte of Pomplamoose: Gorillaz’s Feel Good Inc.

ZanyClo: MGMT’s Electric Feel

Ok, Paste. You got 50 slots to fill with what you thought were the best albums from 2000-2009. I wrote a top 10 list, so there were some great albums that just barely missed the cut–and they didn’t make your list, either, Paste. I mean, with 40 more slots to fill than I had, you could have at least included the following.

21. Gorillaz — Gorillaz (2001)

20. The Dresden Dolls — Yes, Virginia (2006)

19. Belle and Sebastian — The Life Pursuit (2006)

18. The Black Keys — Attack and Release (2008)

17. Stereolab — Chemical Chords (2008)

16. Muse — Absolution (2003, U.K./2004, U.S.)

15. The Raveonettes — Lust Lust Lust (2007, U.K./2008, U.S.)

14. Rufus Wainwright — Want One (2003) [made the Paste list]

13. The White Stripes — Get Behind Me Satan (2005)

12. Regina Spektor — Begin to Hope (2006)

11. Loretta Lynn — Van Lear Rose (2004) [made the Paste list]

My dreams, they’ve got to kiss, because I dont get sleep, No…

Thursday I was 235.

Today I am 245.

That, my friends, is what a weekend of eating garbage and drinking will do for you.  10 pound weight gain in 5 days.

It eclipses the fact that I ran 9 miles for only the second time ever on Sunday.  It makes no difference that I used to weigh 308 pounds.  It makes no difference that I am training to run in the Outback Steakhouse Distance Classic on Thanksgiving Day in Jacksonville, FL.

No amount of exercise will compensate for overeating junk food.

START NOW!

That’s been my motto through this process as detailed here.

I need to refocus on food.  The running has become, dare I say, too easy.  Every run is hard, but it’s not as hard to DO them… to get myself out the door… as it used to be.  I’ve taken for granted the fact that if I eat normally and run daily, my weight stays the same.  The problem is that normal is still probably not that healthy.  And when I get off the wagon like I did this weekend, things can go wrong really quickly.

So I am committing to  focus very closely on my food intake over the next few months.  I will do my best to document it here.  If any of you know a good food diary program, perhaps even one with an output I could link to this journal, please let me know.  I am going to do my best to get under 230 by the time of the race.  Not only is that good for my health, but it should be good for my time as well.

As for today’s run, no major problems or issues.  Cooler weather is here, which made the run a little more enjoyable.  I ran it at my typical 10:20 pace.  The mid-week runs bump up from 4 miles to 5 miles tomorrow.  I’m ready.

Vital Statistics:

Date: Tuesday, November 3

Workout: 3.1 Miles

Time: 32:22

Pace: 10:22

Weight: 245

Playlist:

Pump It – Black Eyed Peas

Silent Lucidity – Queensryche

E-Pro – Beck

All Along The Watchtower – Jimi Hendrix

American Idiot – Green Day

One Step Closer – Linkin Park

It’s So Hard To Say Goodbye – Boyz II Men

I Stay Away – Alice In Chains

Parents Just Don’t understand – DJ Jazzy Jeff and the Fresh Prince

Clint Eastwood – Gorillaz

A rather random, yet epic trailer to what’s considered to be the most anticipated musical game of the year (tell me what you think, in the comments). The possibilities are virtually endless with what you can mix in DJ Hero, however only a limited amount of songs can be mixed, that is… Until some genius plays the game for two hours before realizing ‘Hey, you know what? I wanna hack my DJ hero to mix ANY song.’ I’ll give it two months, max. And as an added bonus, a trailer featuring everyone’s favourite electronic duo; Daft Punk.

]]> http://squeezermag.wordpress.com/2009/10/31/clint-eastwood-gorillaz-video-testo-e-traduzione-halloween-night-in-music/ Sat, 31 Oct 2009 15:44:02 +0000 Marco http://squeezermag.wordpress.com/2009/10/31/clint-eastwood-gorillaz-video-testo-e-traduzione-halloween-night-in-music/ http://fanboyopolis.com/2009/10/30/dj-hero-con-gorillaz-y-50-cent/ Fri, 30 Oct 2009 18:40:15 +0000 alex cea http://fanboyopolis.com/2009/10/30/dj-hero-con-gorillaz-y-50-cent/

Activision nos presenta 2 videos de su Extended Mix Pack 01 en el cual nos presenta música de Gorillaz y de 50 Cent.

Gorillaz

50 Cent

R: A este paso, vamos a tener que crear una sección sólo para hablar de videojuegos, porque cuando no nos flipamos con la versión The Beatles de RockBand… lo hacemos con el próximo Singstar Miliki. Y ya tenemos aquí el siguiente paso: DJ Hero. Su nombre es bastante elocuente y seguro que va levantar titulares del tipo “De los creadores de Guitar Hero, Guitar Hero 2, Guitar Hero 3, Guitar Hero 4 y Guitar Hero 5 llega una revolución de tan variado concepto: DJ Hero!“. El concepto es simple pero, bueno, al Papa lo que es del Papa: no se le había ocurrido a nadie todavía. Un plato fake total como “mando” a la hora de mezclar todo un conjunto de canciones preseleccionadas. Podría sonar a mash-up… pero no. Se ve que las canciones finales tiran más al concepto de “bootleg” de toda la vida (con lo que hubiera molado hacer de Girl Talk… ¡puta locura!). Eso sí: la selección de artistas remezclados es la caña. A saber: Lee Majors Come Again (Beastie Boys) vs Da Funk (Daft Punk), Jack of Spades (Boogie Down Productions) vs Let’s Dance (David Bowie), Another one bites the dust (Queen) vs Brass Monkey (Beastie Boys), Paper Planes (M.I.A.) vs Eric B. is president (Eric B. & Rakim), I want you back (Jackson 5) vs Just to get a Rep (Gang Starr), Monkey Wrench (Foo Fighters) vs Sabotage (Beastie Boys), Disturbia (Rihanna) vs Somebody told me (The Killers), Intergalactic (Beastie Boys) vs Rapture (Blondie), Boom Boom Pow (Black Eyed Peas) vs Satisfaction (Benny Benassi), Robot Rock (Daft Punk) vs We will rock you (Queen), Technologic (Daft Punk) vs Cars (Gary Numan), Fix up Look sharp (Dizzee Rascal) vs Organ Donor (DJ Shadow), My name is (Eminem) vs Loser (Beck), I Heard It Through The Grapevine (Marvin Gaye) vs Feel Good Inc (Gorillaz), Ice Ice Baby (Vanilla Ice) vs U can’t touch this (MC Hammer)… Un vistazo a la lista te hace pensar dos cosas: 1. Que hay ganas de jugarlo y 2. Que van a pagar royalties a Beastie Boys como para ponerles casas en Malibú a todas sus amantes. La lista de mixers, por su parte, también es de órdago: DJ Shadow, DJ Jazzy Jeff, J. Period, DJ Grandmaster Flash, Cut Chemist… Nada, que ahora que por fin he admitido que lo de la batería no es lo mío, tendré que probar con los scratchs. Eso, y esperar que alguien lance de una vez mi ansiado Folk Hero. Que ya tardan.

And Sunshine reggae!!