Quando Gwen Stefani saiu da banda “No Doubt” ninguem acreditou no seu trabalho solo, e para muitos não ia dar em nada. Mas Gwen já no seu primeiro single “What You Waitting For?” bateu recordes de vendas e os fans foram a loucura.

Lançou seu primeiro album solo intitulado “Love, Angel, Music, Baby” que ficou por 6 semanas consecutivas no topo da “Billboard” entre os mais vendidos do mundo. Várias músicas como “Hollaback Girl” “Cool” “Rich Girl“  alcançaram também o topo.

Mas quando tudo ia de vento em popa, Gwen decidiu dar uma pausa na música pra se promover no mundo da moda, lançando então a grife “L.A.M.B.” que é uma das marcas mais conhecidas dos EUA e acreditem no Brasil tambem.

Gwen disse certa vez em entrevista que a “L.A.M.B.” nada mais era do que o seu guarda roupa (impecável). Já amigada com o mundo da moda ela lança seu segundo álbum “The Swet Scape” e o seu primeiro single “Wind-up” foi ao topo mais uma vez.

Este ano ela retornou ao “No Doubt” atendendo o pedido de milhares de fans, e agora está em turnê pelo mundo. Gwen veio pra provar que não é só mais uma loira no mercado, ela tem poder, talento e força.

E para que não reste dúvidas do talendo da Gwen, um de seus vídeos mais célebres (meu favorito):

It’s My Life

Gilvan Oliveira
XX

MSNBC just came out with a list of what it calls the top five “cheerleader songs that rock.” Of course there are some obvious ones on it- no list of this kind would be complete without “Hollaback Girl” or the classic “Hey Mickey.” Beyond those two, they make some interesting choices. Although it was never released as a single, they include the opening chant from Bring It On, known as “We are Cheerleaders.” I’m willing to give that one to them. Next on the list is “Be True to Your School” by the Beach Boys. While the song does include some “rah rah rah rah sis boom bahs,” which cover the cheerleading part, I’m not sure I would put it under “songs that rock.” But, everyone loves the Beach Boys, so again I’ll let it slide. But the last one is a real headscratcher. Has anyone ever gotten pumped up to “’65 Love Affair” by Paul Davis? I pride myself on my pop-culture knowledge, but I’ve never heard of this song. They seriously couldn’t find anything better to round out the list?

So the question is, what songs would you put on your list? I’m willing to bet you can do a better job than the folks at MSNBC.

If you interested, you can read the full article here.

By: Gwen Stefani

Uh huh, this my sh*t
All the girls stomp your feet like this

A few times I’ve been around that track
So it’s not just gonna happen like that
Cause I ain’t no hollaback girl
I ain’t no hollaback girl
[2x]

Oooh, this my sh*t, this my sh*t [4x]

I heard that you were talking sh*t
And you didn’t think that I would hear it
People hear you talking like that, getting everybody fired up
So I’m ready to attack, gonna lead the pack
Gonna get a touchdown, gonna take you out
That’s right, put your pom-poms down, getting everybody fired up

A few times I’ve been around that track
So it’s not just gonna happen like that
Cause I ain’t no hollaback girl
I ain’t no hollaback girl
[2x]

Oooh, this my sh*t, this my sh*t [4x]

So that’s right dude, meet me at the bleachers
No principals, no student-teachers
Both of us want to be the winner, but there can only be one
So I’m gonna fight, gonna give it my all
Gonna make you fall, gonna sock it to you
That’s right, I’m the last one standing, another one bites the dust

A few times I’ve been around that track
So it’s not just gonna happen like that
Cause I ain’t no hollaback girl
I ain’t no hollaback girl
[2x]

Oooh, this my sh*t, this my sh*t [4x]

Let me hear you say, this sh*t is bananas
B-A-N-A-N-A-S
This sh*t is bananas
B-A-N-A-N-A-S
Again, the sh*t is bananas
B-A-N-A-N-A-S
This sh*t is bananas
B-A-N-A-N-A-S

A few times I’ve been around that track
So it’s not just gonna happen like that
Cause I ain’t no hollaback girl
I ain’t no hollaback girl
[2x]

Oooh, this my sh*t, this my sh*t [4x]

Gwen Stefani. Why is she a Juicy Mom? She’s a trendsetter who is very confident in her personal style, she’s been rocking it since she hit the music scene with her group No Doubt and even before then (read her interview in the September issue of Glamour magazine). What started out as a bit raggamuffin (Gwen has always been heavily influenced by reggae music and ska), became more polished and refined while not giving up the flavor.

Gwen with Kingston and Zuma in her arms

When Gwen launched her solo career, her stamp on the fashion world increased by leaps and bounds as she delivered her fashion collection L.A.M.B., and became a mom to her first son, Kingston (love that name). Motherhood, Stefani says motherhood is work: “I’ve always worked really hard, and the hardest thing I’ve ever done is have kids!…All of it—everything from getting up in the morning to trying to be consistent to trying to have the right feelings. But, of course, the rewards are so great.” Being a mom didn’t water-down Gwen’s signature fashion choices either, she favored funky-print maxi dresses.

Gwen, husband Gavin and Kingston, Zuma in belly

Gwen released more music and more style during the “Hollaback Girl” years…and then last year had another baby boy, Zuma. Through it all, Gwen, now 40, remains consistent: red lips, blond pompadour, high heels, and her funky style.

Gwen rocks a L.A.M.B. blazer & shoes for Glamour magazine Oct. 09

Gwen hit New York City’s Fashion Week with her L.A.M.B. Spring 2010 collection which was all about plaid, harem pants, oversized jackets and lace leggings.

L.A.M.B. models pose for the media

Gwen arrives for her L.A.M.B. presentation at Fashion Week 2010 with son Zuma

Gwen Stefani’s a Juicy Mom for her stamp on style.

—-Stay Juicy!

 SNSD – Womanizer
 

Womanizer

SNSD – Hollaback Girl

  Hollaback Girl

SNSD Hyoyeon ‘My Love+4 My People’

Enjoy this great show ~

Dance Battle Special

MF: 001, 002, 003, 004, 005, 006, 007, 008

Genie

MF: 001, 002, 003, 004, 005

Gee (Jazz & Rock ver.)

MF: 001 (fixed), 002, 003, 004, 005, 006, 007

Credits: Private | Soshified

THANKS FOR ALL COMMENTS

YES IT’S OUT! Sorry, I’m busy watching it myself atm, so NO COMMENTS. I felt like I should post this up ASAP since nobody has done it yet… wouldn’t want to deprive you of the performances! Enjoy the videos for now courtesys of the super duper codemonmonseason2 @ youtube! Thank you! We really appreciated the fast HQ uploads of our girls!

WARNING: This following post contains SNSD’s performances of Adagio Cantabile, (Jazzed and Rocked) Gee, TMYW Genie, Womanizer, Hollaback girl, My love/4myPeople/Laarbasses, and also includes an interview feat. SNSD, so you may suffer from SNSDitis as you experience too much awesomeness from 9 special girls in 1 show.

Part 1 : Adagio Cantabile / Jazz Gee / Rock Gee
Maknae Seobaby opens the show for SNSD by playing a beatiful piano piece, then smoothly trans to playing the jazzed up version of Gee and singing her solo, with Tiffany, Jessica, Sunny, and YoonA continuing on, and lastly all the girls coming out and sang a rock version of Gee. Highlight: Jazzed up Gee and and Seobaby’s piano playing + singing her molla molla part LIVE!

Part 2 : Tell Me Your Wish(Genie)
Highlights: Chocolate, put it back ooon! And yes fanboys, the girls starts the perf by stripping taking off their jackets. (Did I just totally convince them to go check out this part of the show? Well psh, they should be checking out ALL the parts!)

Part 3 : Interview #1
Korean Korean Korean TT_TT. Highlights: YoonA and Yuri shows their fangirls side for Shinee by dancing a part to Juliette while Soo and Hyo dances to some funky song. The dance looked like a mixed up version of parapara  and chicken dance. Sunny scared the crap out of me with her last aegyo part (YES I got scared. I wonder how that girl manages to have overdose of scary cuteness!? -shudders- Looks like TaeYeon had the same thoughts as me!). And this isn’t a high light, but that man and woman with masks on both have VERY annoying voices.

Part 3 : Interview #2
AND OH MY GOD that woman is Seohyun’s MOM!? I should have known! No wonder Seo was getting teary… I think she knew? Even tho I was so intrigued by Seobaby’s mom and the girls reactions, I fastforwarded to check if that man in the mask was one of our girl’s dad… uh nope. Everything was so.. precious. One look at Tiffany’s face and all those previous stories of her running through my head made me want to cry. Maria posted a subbed version of that part, and watching that made me even more empathic with Tiffany. And I just hate/love how they played back the hugs and tears with Dear Mom playing in the back ground, that was NOT helping my “dried” eyes and stuffed nose condition, but yes the music really added to the emotions so that made that part of the show even more real and heartful.

Part 5 : Womanizer (TaeYeon, Tiffany, SooYoung, SeoHyun)
Womanizer Womanizer!! Holy crap, they made it really dark and sexy. Was it just Tiffany and Taeyeon, all 4 girls, or mostly Britney Spears vocals? For Soo and Seo’s “part”, it didn’t sound like them at all. And I thought I heard alot of Brit, but that MAY have been Tiffany, I’m not too sure, but for the parts that I was sure of Tiffany: she sounded so SMEXY.

Part 6 : Hollaback Girl (Jessica, Sunny, Yuri, YoonA)
Sorry Team Womanizer, but I think Team Hollaback Girl owned you! Taking away the tiny mistake from Sica (1:33) and overly bounciness of Sunny, I think this performance was the best dance of the night! Hothothot! I like how we could hear the girls (ESP JESSICA) clearly, and their dance was something different than we usually see. Yuri’s sexy glares definitely added to her dance perf. YoonA and Sunny (minus the bounces) did good (ofcourse!). And Jessica… wow seriously, that girl is smoking hot and she can DANCE. She definitely stole the show. During 1:15 when Sica and Sunny were floor dancing, I cracked up so hard because Sica was checking out herself out!? And as I rewatch that little part, it definitely showed how strong of a dancer is Sica. Look at how relaxed she is and she’s not jerking herself to get the moves. This video is going to be on replay for atleast another 100 times.

Part 7 : My Love / 4 My People / Laarbasses
HyoYeon’s popping solo definitely lived up the previous dances. It was smooth, hard, and precise. Then the duo and trio danced, then we had the group! I’m sorry, but this last perf was kind of messy. Some of the girls just got the dance and some didn’t. But I enjoyed watching Jessica and HyoYeon, and I like how the camera panned Tiffany even though she didn’t really get all the moves (usually they zoom away from her).

And that’s all folks! What did you think !?

:] The summer special looks dope~ Can’t wait for it to air!

YoonYul are sexy swaggers<3

credits: ~linhchi15~ + blu_smiley@soshified

]]> http://ihearpurple.wordpress.com/2009/07/23/meeting-of-the-minds/ Thu, 23 Jul 2009 20:44:38 +0000 Stephanie http://ihearpurple.wordpress.com/2009/07/23/meeting-of-the-minds/

Some days, silliness comes more natural than gravity; trashy music lyrics sound remarkably like poetry; immaturity soothes.

Stephanie’s new status message – just realized she shouldn’t provoke Sharon when Sharon is in possession of unflattering photos.
Sharon’s new status message – d@mn, straight.
Stephanie’s new status message – is da one who brung all da boys to da yard.
Sharon’s new status message – jigga jigga
Stephanie’s new status message – call that girl bojangles.
Sharon’s new status message – I NEVER HAD A DREAMMM COMMMEEE TRRUUUEEE
Stephanie’s new status message – is five-year-old bedroom eyes
Sharon’s new status message – okay, steph, that’s just wrong.
Stephanie’s new status message – Kiss me, Edward – Sharon
Sharon’s new status message – jerk.
Stephanie’s new status message – ain’t no hollaback girl.
Sharon’s new status message – ice, ice baby.
Stephanie’s new status message – vanilla ice plagiarized that. i ain’t no foo.
Sharon’s new status message – bring it bring it back bring it bring it back.

We are so silly.

This battle is not over.

Several years later “Stan,” Marshall “Eminem” Mathers’ song about a fictional fan-cum-stalker whose obsession with the white rapper he identifies with, and whose fan mail he does not return, then turning the fan onto the idea of killing his girlfriend, proves an interesting lens with which to review Mathers himself, as well as Asher Roth, a similarly pale-faced newcomer, and somewhat of an obsession of rap bloggers.

For Roth, though, the public interest seems to end there, unlike Mathers who had the novelty of being the first actually-pretty-talented-white-rapper on his side. Few others than the aforementioned rap bloggers seem concerned with Roth, as proven by his debut record, Asleep In The Bread Aisle’s, opening week sales. We got to see saw rap’s Dane Cook/Katy Perry being smashed by Rick “Street Cred is so 90’s” Ross, as well as tween sensation Hannah Montana, and, the third item in The Amazing Kreskin’s envelope of Weirdest Trio of Records To Have Something In Common, Depeche Mode.

Weeks after Roth released his record, we see the reemergence of Eminem, via numerous appearances on the somehow-relevant Jimmy Kimmel Live! show  promoting his comeback record Relapse, which built relatively little positive buzz after three lackluster singles having been dropped, a term fitting of this trio of shite music. From the brainless “Crack a Bottle,” the outdated-before-he-wrote-it celeb basher, “We Made You,” and most recently the slasher-pr0n-rap track “3AM,” which I’ll give him the benefit of the doubt as being a shameless money-play for some Saw 9 soundtrack money, the only message audiences could really piece together is that there’s been something seriously wrong with rap’s Howard Stern, a man who would rhyme anything so that people would listen. These are the two remaining active major label white rappers, one at the start of a career that may not live to see the 2010 midterm elections, and another, if his own hype is to be believed, whose mortality has been tested repeatedly thanks to his own bad habits, so let’s look at their releases, not for any State of The White People address, but just because the records have similarly little to say, while posturing as if they’re seminal, and I mean that in the way that neither of them would use the word, masterpieces.

There is no direct corollary between Roth and the fictitious Stan, despite the jokes I’ve made in private, as Stan is someone with actual troubles, and Roth seems to be a man of few problems. His primary bone to pick with society is simply that he’s neither respected nor taken seriously enough and that he’s tired of comparisons to Eminem, which he claims are solely based around their shared complexions and inflections, words he rhymes with little effect. Why do people make these comparisons so often? Well, it’s for a reason that Roth won’t admit, simply that he’s the most boring personality on the planet. Pitchfork’s Ian Cohen recently compared Roth’s sense of humor to Family Guy, in that both are reference heavy, fact, and that Cohen thinks that they both have a sense of humor that are not what he’d deem funny, merely funny-ish.

To briefly tangent, I’d say this claim is off, as Family Guy actually has at least a few decent-to-great punchlines in every episode, and that Roth’s style is more of an American Dad thing, in that the formula is written on the table and easy to read, but the author has nothing original to put into it. I can’t recall an actual punchline on the Roth record. Does anyone, anyone, even know why it’s called Asleep In The Bread Aisle?

Whereas Stan, written to be someone with problems similar to what Mathers was rapping about at the time, had girlfriend troubles and piss poor parenting, Roth slogs through a horrible life that nobody would ever want to live of … bad days where he forgets his iPod (I’m serious, it’s the least creatively named song ever: “Bad Day,” mostly a paycheck for singer Jazzy Pha, whose bank account seems to be suffering in the interim between Ludacris records). Also on the quite short list of what we’ve also learned from Asleep, maybe it named as such for it’s somnabulatory effects?, is that Roth has a mother who literally handed him The Slim Shady LP while he was doing the laundry, in a moment that just smacks of something that would happen in some bizarro High School Musical spinoff where Zac Efron raps.

While many were smart enough to never listen to the album itself (obviously, I can’t include myself in this grouping) and simply hate on Roth’s obviously brainless single, “I Love College,” it’s the album’s second track “Blunt Cruisin’,” that may be the single biggest blight upon the able-eared since “Hollaback Girl.” It’s an ode to white kids smoking out their parents SUV’s and driving around town with timeouts for freaking out when the cops show up. Nobody ever gets arrested or in trouble, though. In Asher Roth’s Amurrrica, getting busted for possession isn’t even an afterthought, it’s a neverthought. Once he’s mentioned cops enough, the song cycles back to the chorus, a braincell obliteratingly unimaginative list of pot smoking tropes. And in the sole moment I chose to rewind a song on the album, the chorus is accompanied by a weird repeated aside, wherein one of his friends in the background keeps referring to Roth as Rabbit, an easter-egg-ish reference to Eminem’s character in 8 Mile, which only reinforces the comparisons to Mathers that Roth bemoans on “As I Em,” which is where the millionth sword in the coffin is plunged as Asher uses his I’m Not Eminem track to copy Mathers’ cadence. This is what Roth takes as “clever,” and it’s the moment where you delete the album from iTunes. Way back when, Eminem warned of “a million others just like [him] who cuss like [him] who just don’t give a fuck like [him]” and it seems Roth doesn’t fall into this category, if only he did, he wouldn’t be so damn boring. Rehashed rated-R will always be better than brand new PG. The obsession with Mathers rings true in Roth’s work as well as it was supposed to be a part of Stan’s life, but odds are, we won’t be fortunate enough for Roth to provide himself the same ending, a long fall off a tall bridge, that Stan was given.

These barely there blips of a We’re-Both-White-Aren’t-We-Postracial-Yet message are the only thing Roth has to hold onto, and that’s as tenuous a base to build a mentality on. At least with Eminem, the career was built on a house of fucked up trailer park hickery. But now, said child abuse stories and parental drug abuse have let Marshall Bruce Mathers the 3rd to their only logical conclusion, living long enough to becoming your own worst enemy. A sentiment I copy-paste from Harvey Dent’s motto in The Dark Knight, and the explanation for Eminem’s undoing. His recent drug abuse has turned him into what he built a career antagonizing: a completely humorless celebrity. Eminem used to find his punchlines in beating up on the world around him, and then people would laugh. Now, he’s just giving himself an incredibly detailed beatdown, and nobody’s laughing. The minimal presence from affiliates Dr. Dre and 50 Cent seem to be proof that Shady’s lost the support of his former allies, like Rumsfeld and Cheney getting it from all angles these days.

Even the now-token weed track, “Must Be The Ganja,” isn’t as close to being as funny as it should even be, as it’s as boring as Roth’s listing of pot smoking terms, made even more grating thanks to the track being one of the many examples of Mathers putting on his “Exotic Foreigner” voice. You may remember the Nameless-Middle Eastern-Territory-Accent from when you first heard the delivery of the words “you make my pee-pee go, da-doing-doing-doing” on Encore’s “Ass Like That.” The accent hasn’t gotten any more interesting since, and neither has it even been explained why Eminem wants to spend a solid portion of the album in this voice. Admittedly, Relapse is a much better record than Encore is, and that’s simply because it’s without a song whose chorus is based around a grating Pee-Wee Herman laugh, but that song, the first single from Encore, “Just Lose It,” at least had enough of The Funny to mock the trite rap moment where half of the beat drops out and the rapper speeds up. Now what’s supposed to be funny about Eminem? There’s not a single laugh in the Mariah Carey & Nick Cannon bashing track “Bagpipes From Baghdad,” which is as inexplicably titled as Roth’s album is.

But the bloody core of Relapse is the idea that the years that have passed since Encore, or possibly earlier, have been a long downward spiral for our anti-hero. In interviews, Mathers blames a lot of his descent on the death of Proof, the D-12 founder who was portrayed under the name Future by Mekhi Phifer in 8 Mile, who was shot in the head by a club bouncer in Detroit. Meanwhile, Eminem’s home town of Detroit has sunken into Fallujah-like-state, something that’s worth bringing up because it – and the same can be said about Proof (né Deshaun Dupree Holton) – doesn’t get a single mention on the record. More of focus is Mathers’ issues with those responsible for his upbringing.

If there has been anything close to a constant presence in Eminem’s lyrics, it’s been his mother, who he seems to have forgiven in some small way, but still needs to disparage. The twisted tales of Mathers parenting range from mom drugging his childhood meals on, “My Mom,” to Marshall accusing the man she brought home to become his father-in-law of molesting the fuck out of him in his pre-tween years, on “Insane.” A track that will rattle even the most jaded of listeners, as it’s quite the topic for the rapper with some roots in homophobia to wait until now to bring up. It’s much more shock than awe when it comes to actually sitting through the songs. It’s obvious Eminem’s purpose is to make the listener uncomfortable, but it’s for no reward or any purpose, other than maybe trying to earn sympathy if the audience somehow believes him, as there’s a lot of The Unreliable Narrator going on, in a He’s Lazy Way, rather than anything better.

For both of these albums, the beats feel like an afterthought, which isn’t a big deal for the unknowns who put the Asleep in Asleep In The Bread Aisle together, while it is somewhat the Dr. Dre produced Relapse to be this sonically uninspiring. The big pop songs on the album have at least some urgency to them, both “We Made You” and “Crack a Bottle,” which, while suffering from being pop-ishly hollow, are still better than the album’s darker beats, like “3AM,” which doesn’t do much, barely conjuring a mental image of the scratched film of this Less Than Average Detroit Chainsaw Massacre.

Eminem’s rise was right before the celeb-blogging epidemic, and one wonders if it could have lasted in the modern day news cycle. The second single for the album, “We Made You,” builds itself on the most obvious of jokes. Jessica Simpson’s put on weight, Kim Kardashian has most of her’s in her posterior. Lindsey Lohan’s dating a woman who looks like Steve Perry with a buzz cut. Eminem’s lost his zeal for cracking jokes so much so that when it’s time to cast his Palin lookalike, whose lyrical joke is based purely on saying he wants to nail her, he pulls Lisa Ann, the pornstar that Hustler already cast for their porno Who’s Naylin Paylin? His copying and pasting of a porno’s box cover is beyond weak, and quite disappointing. The song reinforces the old trope that rehab turns people into the kind of boring mouthbreathers spending their weekends watching Grey’s Anatomy and laughing along to Jeff Foxworthy. Eminem isn’t there yet, but for what he started out as, he’s fallen very very far.

The only place where it seems Eminem can really offend anymore is in his homophobia, mostly used here to attack lesbians because they’re not all over him, and the previously mentioned stepdad nonsense, which is the last I’ll mention of it. He’s done this before, but now there’s nothing close to humor involved, nothing close to the half chuckles he gave with the line “strike a still pose and hit you with some ill flows that don’t even make sense like dykes using dildos,” from “Any Man” off the Rawkus Soundbombing II record, which shows how far you have to go back to actually get impressed again. The song where this comes into play, “Same Song & Dance,” is just “HEY LINDS! UR STILL CUTES, SAM’S A MAN, BABY!” on a text message from Detroit to LA. From where we stand now, Eminem’s next stop is US Weekly Exclusives. If I can write the epilogue to Stan, I’d assume the kid is down there, burning in hell, and he can’t believe he killed himself over such a chump.

Artist Profile: Gwen Stefani

Today, No Doubt is arguably one of the biggest bands in the world and my personal favorite. With Gwen Stefani in the mix they are only going to get bigger.  However, this energetic front woman isn’t just the singer of a Grammy winning world famous band. She’s also a mother of two, a wife, a fashion designer of not one, but two amazing clothing lines. She has a fragrance line, she’s a Grammy winning solo artist, and an humanitarian.

No Doubt

Gwen Renee Stefani was born on October 3^rd, 1969 in Orange County, California. For a forty year old, Stefani looks damn good.  Stefani joined her brother, Eric Stefani’s band in 1987 called No Doubt as co-vocalist. Growing up, Stefani was heavily influenced by the growing ska and punk scene in California; this was showcased in music produced by the little band named No Doubt.

No Doubt was huge locally in Orange County, California back in the late eighties and early nineties; they played to many sold out clubs and festivals. They released two albums: a self titled one and “The Beacon Street Collection” before they struck Billboard gold in 1995 with their addicting tune “Just a Girl.” Since then, No Doubt has had two more LPs and a greatest hits record. They’ve even won a couple of Grammys; one for their dancehall hit “Hey Baby” and another for “Underneath it All,” both are from their album “Rock Steady.”

After releasing their ‘singles’ album, the group went on to do their own solo albums. Stefani’s mission: a solo dance album and a clothing line. The products of her ambition: L.A.M.B., short for Love Angel Music Baby, is Stefani’s exhilarating first solo album which was released in 2004 with her first single being the addicting  “What You Waiting For?,” and her first high end clothing line. Both of which did, and are doing really well. L.A.M.B. the album is a Grammy nominated and multi platinum selling eccentric dance album. The clothing line also does a great job of showcasing Stefani’s unique sense of fashion and style.

After the release of her first solo effort, she launched a worldwide tour. “I saw her perform at the Comcast Center two years ago and the show was very theatrical. She has such a good energy,” says fan Eric Blackburn. Fans all over the world attended sold out shows to see the amazing spectacle that is Gwen Stefani.

Gwen Stefani in the crowd at the Comcast Center in Mansfield, Ma.

While Stefani was pregnant with her first son, named Kingston, with husband Gavin Rossdale, she began work on her second solo project which was released in December 2006. The first single from the album was “Wind it up,” which featured clips from “The Sound of Music.” Originally, Stefani hadn’t planned on doing a second solo album, but with the success of her first one, her record label, Interscope Records, wanted to do a second. This album didn’t receive the deserving success that her first did, but wasn’t unsuccessful by any means. 

(Gwen Stefani performing “Hollaback Girl” at the Comcast Center in Mansfield, Massachusetts.)

These days, Stefani is back with the boys of No Doubt. They’re getting ready for their first tour in five years and have been recording music for their album which is slated to be released sometime in 2010. Gwen Stefani is a force to be reckoned with and I’m sure we will see more from her in the future.

]]> http://girldujour.wordpress.com/2009/01/17/song-du-jour-hollaback-girl/ Sat, 17 Jan 2009 05:38:44 +0000 girl du jour http://girldujour.wordpress.com/2009/01/17/song-du-jour-hollaback-girl/

Suits my mood right now. 

Umm, I have a confession to make.
I own everything No Doubt released until Rock Steady. Most people who grew up in the 90s will concede that Tragic Kingdom was an awesome album. Everything before that I own because I went through this happy-go-lucky ska phase. And I’ll say it – Return of Saturn is my favorite. It’s new wave-y and girly and mature and relatable to ladies like myself who are torn between wanting to be in love and wanting to be tough. Deal with it.

But around Rock Steady I got skeptical. I said, “Umm, Gwen, what are you doing? Hey, uh, rest of the band – why are you letting this happen?” “Hollaback Girl” threw a permanent rift in there, and we’ve been in a fight ever since. Or at least until I continued my higher education and developed an ironic appreciation for dance music, that maybe turned into a sincere appreciation. I don’t know. The jury’s still out. Whatever.

We can blame this inner turmoil on Girl Talk.
Mash-ups were originally fun because they kind of poked fun at the fact that pop songs were generic enough to be played over each other and fit together perfectly. Then Gregg Gillis had to come along, rocking his laptop, and mashing up songs on such a skillful level that indie kids and pop fans alike had to embrace him with sincerity. Now nobody knows what’s going on.

For better or for worse…
As angry as I am at Gwen for ruining one of my favorite high school bands… As fucked up as it is that Britney butchered a Joan Jett song…

This is fucking bangin’. Enjoy it with whichever level of appreciation you can.

I know  I’m a little late in this, but it’s been bothering me since the song came out many moons ago. . .

‘Bleeding Love’ by Leona Lewis is pretty catchy, but it irritated me at the same time because I knew I’d heard the song before. It took me a while to figure it out, but after hearing the jam for the trillionth time last night on the way home from the in-laws, it came to me:

‘I Had the Time of My Life’ mixed with ‘Hollaback Girl’

Seriously. It’s an exact hybrid of those 2 songs. Now go grab your Ipod + I will prove it to you.

Biscuit is always right.

Last weekend I spent an afternoon having fun with eighties’ retro tracks on You Tube. Out of the blue I decided to watch Toni Basil’s 1982 hit, Oh Mickey:

That in turn reminded me of Gwen Stefani’s 2005 hit, Hollaback Girl… (it’s all about cheerleaders, apparently),

which made me think about the second series of Heroes (Series 1 motto: Save the cheerleader, save the world) which was pretty disappointing compared to the first. Apparently it’s because the Hollywood screenwriters’ strike happened during the making of this series so all the good writing went flying out the window, kinda like Flying Man, Nathan Petrelli. At least the cheerleader, Claire ‘Bear’ Bennet, survives to make the third series, which will hopefully be better made than the last.

It’s amazing where one eightie’s hit will take you…

The Last Shadow Puppets – Standing Next To Me | new single from their highly acclaimed self titled debut

Kate Nash – Hollaback Girl (Gwen Stefani Cover) | exlusiv coverage

The Kills – Last Day Of Magic | new single from the LP “Midnight Boom”

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Hace apenas unos días nos mostraron la primera imagen oficial de Jason Voorhes 2009, una pequeña imagen en la que apenas se apreciaba al asesino. Hoy nos muestran 3 nuevas fotos y ahí van mis impresiones (si, ya se que a nadie le importa, pero como quiera ahí van):

1.- Su ropa esta algo nueva para estar muerto.

2.- Su hacha esta pequeña, a comparación de las armas que utilizaba en las anteriores películas.

3.- La casa detrás de el, me recuerda demasiado a “La Masacre de Texas” (Remake), ah de ser el Director.

4.- parece que tiene el cuello mas muerto que las manos.

5.- Sigue provocándome un escalofrió en el cuerpo.

Ya, es todo.

Clic en la pequeña imagen para verla en tamaño completo, y aquí las demás..

Jason

Dos mensajes:

1.- A Yuliana le dieron por adelante (choque frontal) en estos días, su cuello esta bien y su Himen no se rompió, Animo, que te recuperes pronto y disfruta tus días de baja.

2.- Clauxx me hizo recordar en este post (que igual y me robo un día de estos) una interrogante ¿Alguien sabe que demonios es una Hollaback Girl?

Ya, ahora si es todo…