When i hear Schorcher nowadays i start to question whether i have ever actually liked anything he’s done. Didn’t he used to make ok beats? Can’t remember. I try to convince myself i at least have enjoyed him as a mc, but even thats hard. I really don’t know where to begin with this. Is Schorcher making a conscious decision to make worse music than Chipmunk or Tinchy? Why does the music sound like bad versions of the american hiphop everyone already hated hated two-three years ago? Why after making good music and having a career do you decide you want to be Soulja Boy? Answer me Schorcher, how come your best track sounds like Phil Collins? In fact it sounds worse than Phil Collins but still. “On top of the roof haha”. Yeah thats funny, being on top of the roof, thats funny, or is it? What so funny about being on the roof Schorcher?  What is a space invader Schorcher? Why are you standing on the chairs Schorcher? Why doesn’t she know your name Schorcher? Is it because all music you do nowadays is total crap, is that the reason Schorcher?

London until 18/12/2009 16 Wharf Road – N1 7RW Victoria Miro GalleryVictoria Miro Gallery hosts the European premiere of soy mi madre, the latest film by Phil Collins, in his second solo exhibition with the gallery.In soy mi madre, Collins expands on these themes by using the format of the telenovela. Commissioned in 2008 by the Aspen Art Museum as part of the Jane and Marc Nathanson Dintiguished Artist in Residency Program, in this work Collins focuses on the Latino and immigrant populations of Colorado, a sizable percentage of which hail from northwestern Mexico. In Aspen itself, this community figures mainly as a non-resident low-qualified work force, dispersed through a ring of satellite towns from which it commutes daily. At the same time alluding to and refuting the preconceived glamorous image of Aspen, Collins made a work in resonance with the cultural context of this specific population. Phil Collins: soy mi madre will be published by the Aspen Art Museum later this year. Including contributions by Carlos Monsiváis, Mexico’s leading cultural analyst, Magali Arriola, writer and curator, and an in-depth interview with the artist by Aspen Art Museum director Heidi Zuckerman-Jacobson. soy mi madre was first exhibited at the Aspen Art Museum, Aspen, Colorado in 2008 and earlier this year at Tanya Bonakdar Gallery, New York. soy mi madre will feature in The Reach of Realism at the Museum of Contemporary Art, North Miami, 1 December 2009 – 14 February 2010, and will also be presented on local TV network in Aspen and in Collins’ solo exhibition at DAAD Galerie in Berlin in February 2010. participated in group exhibitions including The Making of Art, Schirn Kunsthalle, Frankfurt (2009), Acting Out: Social Experiments in Video, Institute of Contemporary Art, Boston (2009), Life on Mars, the 55th Carnegie International, Carnegie Museum of Art, Pittsburgh (2008), and The Cinema Effect: Illusion, Reality and Moving Image, Part II: Realisms, Hirshhorn Museum and Sculpture Garden, Washington DC, (2008). He was nominated for the 2006 Turner Prize and was one of the recipients of the DAAD Scholarship in Visual Art for 2008/2009. (phil Collins)

Hey There,

Every few years, a band that was popular in the seventies or eighties who had broken up will reunite and go on a tour.   In the tours of this nature that I’ve seen (Yes and REM, specifically), the performances were great.

The one group I would like to see reunite is Genesis.  Now, I know they did reunite a couple of years ago, but it wasn’t the lineup I wanted.  During my favorite era of Genesis’ history, the lineup was Peter Gabriel on Vocals, Steve Hackett on Guitar, Mike Rutherford on Bass, Tony Banks on Keyboards and Phil Collins on Drums.  This era, roughly from 1971-1975, produced my favorite Genesis songs.  That’s not to say that I don’t like their later work, but 1971-1975 is second to none.

It’s that lineup that I wish reunited and toured.  There have been rumors of them reuniting from time to time, but they never actually happened.  If they did actually reunite to play live, this is the set list I would like them to play:

1. Lamb Lies Down on Broadway/Fly on a Windshield/Broadway Melody of 1974 – These are the first three songs of Lamb Lies Down on Broadway and exemplify this classic era lineup- great musicianship, excellent lyrics, expert use of dramatic dynamics.  Of these, Broadway Melody is my favorite, but instrumental section at the end of Fly on a Windshield is as heavy as they get.

2. Get ‘Em Out By Friday – This is from Foxtrot (1972).  This is an interesting song, about a fictional version of England where the Directors of Genetic Control have decided to make people shorter.  Peter plays a number of characters in this song, which adds to the drama.  Musically, it’s a busy song with some odd time signatures.  For the eight and a half minutes of the song, there aren’t a whole lot of breaks, which keeps you listening.

3. Firth of Fifth -  This is from Selling England By the Pound.  The lyrics aren’t the best, but the instrumental break contains one of Steve Hackett’s most dramatic solos. I get chills every time I hear it.  After he left the band, Mike Rutherford took over the solo.  While still dramatic, it’s not the same when Mike plays it.

4. Dancing with the Moonlight Knight – This is the opening track of Selling England By the Pound (1973).  It begins with Peter singing a cappella, then builds to a fast instrumental break.  The lyrics contain a number of mythological and English references, which I had to look up, but the first two minutes or so are some of the most beautiful singing and musical accompaniment in Genesis’ history.

5. The Musical Box – This song is from Nursery Cryme (1971) and is one of the most famous songs of the Classic Era.  The instrumental break goes from soft to very hard to soft and the last few minutes are pretty dramatic.  Lyrically, this song is pretty strange.  A boy’s soul is trapped in a musical box that plays Old King Cole.  When a girl (the one who actually killed the boy), opens the box, the boy comes back to life, but starts to age rapidly.  He becomes lecherous towards the girl, whose nanny walks in at the end and kills the “old” boy by throwing the musical box at him.  Like I said, it’s weird, but a great song.  In recent years, the band played the ending of the song as part of a medley.

6. More Fool Me – This is from To give Peter a break and let Phil sing, I’d like them to play this song.  It’s a strangely sweet song about a guy whose girlfriend walked out on him.

7. Anyway – This is from disc 2 of Lamb Lies Down on Broadway.  By far, my favorite Genesis song of all time.  Lamb was a concept album, but this song also works on it’s own.  It’s mainly about death, or more accurately, waiting for death.  The main character of the album and the song believes he is going to die and has accepted it, so he’s waiting for the end.  This song includes a great guitar solo, great piano playing and an active drum part.  If this song starts to play on my ipod, I’ll usually listen to it twice before moving to the next song.

8. In the Cage – This is from Disc 1 of Lamb Lies Down on Broadway.  I like the keyboard solo on this song most of all.  It’s a pretty fast song that is based on a difficult rhythm.

9. Supper’s Ready – This song is pretty much all of Side B From Foxtrot (Horizons, a short acoustic solo by Steve Hackett is also on Side B).  This is Genesis’  longest song  (over 23 minutes).  Over the course of the song, there are a number of different melodies.  Not all of the sections are great, but taken together, the song does a good job of building the drama to a great climax (a section called Apocalypse in 9/8).  One of my favorites, but I don’t always have 23 minutes to listen to a song.  They regularly played this song live, so I know they could play it during a reunion tour.

10. The Knife – This is the only song from the pre-Phil Collins and Steve Hackett lineup, from an album called Trespass.  In contrast to the rest of Trespass, it is a very aggressive song about a violent revolution.  They often used this as a closing number or an encore and I believe it is the perfect way to end the concert.

These 10 songs amount to about an hour and a half of music.  As an encore, I’d have them play Back in NYC (from Lamb Lies Down on Broadway), Watcher of the Skies (from Foxtrot) and I Know What I Like (from Selling England By the Pound).

Digital Video Singles has added five new live performance videos to the iTunes Stores, including great videos from Paul McCartney, Phil Collins, Iggy Pop, and the Four Tops.  Information follows…

I SAW HER STANDING THERE 

Paul McCartney is joined by Elton John, Eric Clapton, Phil Collins and other music legends at the 1986 Prince’s Trust Rock Gala.   The performance was recorded on June 20, 1986 at Wembley Arena (London).  Running Time is 4:00 minutes.  File size is 51.8 MG.
Preview this video *  Buy this video

LONG TALL SALLY 
Paul McCartney leads Eric Clapton, Phil Collins, Elton John and other legendary rock all-stars in this timeless Little Richard tune.  The fans at Wembley Arena go wild in this send-off to the 1986 Prince’s Trust Rock Gala.   Performance recorded on June 20, 1986.  Running Time is 2.55 minutes.  File size is 30 MG.
Preview This Video * Buy This Video

THE PASSENGER 
Iggy Pop creates all kinds of trouble for a British TV show in this unedited, over stimulating version of The Passenger, performed in 1977. Complete with the notorious interview that caused all the ruckus, this is a true artifact of music history, and a treasured collectible for Iggy’s fans. Read all about it here. Running Time is 9:45 minutes.  File size is a whopping 118 MG.
Preview This Video *  Buy This Video

IN THE AIR TONIGHT 
Phil Collins quiets the crowd in this haunting, solo acoustic performance of “In the Air Tonight” at Wembley Arena.  Part of the celebrated Prince’s Trust Rock Gala, performed on June 20, 1986.   Running Times is 5:14 minutes.  File Size is 69.3 MG.
Preview This Video * Buy This Video

I CAN’T HELP MYSELF 
At the height of their popularity, in 1970, the Four Tops travelled to London and performed their Number One hit on David Frost’s variety show. The stunningly beautiful color video, recently discovered in a British archive, provides a wonderful keepsake of a joyous moment in pop history.  Performed on the TV show, Frost on Sunday, March 15, 1970.   Running time is 2:56.  File Size is 39.2 MG
Preview This Video * Buy This Video

いつも家にいる時はFOXをつけっぱなし率が高いのですが、何かしている時は全く見ていないことに気づきました。テレビをつけっぱなしでYouTubeを見ていたりすることも。。。
なので、しばらくのあいだ本当に見るとき以外はテレビをつけないことにしました。

思いがけずiPodのシャッフルでかかって良かった曲。
Million Faces – Paolo Nutini iTunesのリンク
いまiTunesをみてみたら、まだティーンエイジャー（レコーディング当時）らしいです。ドニーハザウェイのような渋いR&Bシンガーかと思いました。驚き。アルバムを購入予定。

No Reply – the Beatles
思いがけずでもなんでもなく、毎日聴いても好きな曲

Against All Odds – Phil Collins iTunesのリンク
小学生の頃からとてもとても好きな曲です。しんみりします。もう昔の声が出ないPhil Collinsが哀しい。

NightWaves an electronic duo from California that make some very slick and very 80s sounds. The video for NightWaves’ cover of Phil Collins‘ “In The Air Tonight” is a visual feast comprised of scenes from many 80s movies… enjoy!

Morgens im Zimmer einer Hotelkette im Wilden Westen.

Er: “Lass uns LA großräumig umfahren!”

Sie: “Nö, wenn ich schon mal in der Gegend bin…”

Er: “Ich habe mehrfach gelesen, es lohne sich nicht. Gesichtslose Stadt, austauschbar, uninteressant – ein Moloch.”

Sie: “Aber ich möchte doch sososo gerne mal ein Stückchen vom Walk of Fame sehen. Dann können wir auch ganz schnell wieder weg. Wir müssen da ohnehin irgendwie lang, wenn wir zum Highway Number One wollen. Büdde!!! Ich denk sonst immer, ich hab was verpasst.”

Er: “Okay. Großes Opfer. Aber wenns denn sein soll.”

Sie: “Au fein. Dauert auch bestimmt nicht lange.”

Und so geschah es, dass sie später gemeinsam über den Hollywood Boulevard schlenderten, bis sie  Sterne sahen

Zunächst aber mussten noch ca. 100 km mehrspurige Autobahn im Großraum LA bewältigt werden. Unglaublicher Smog lag über der gesamten Gegend.  Definitiv kein Ort für “Schöner Wohnen”. Kalifornische Autofahrer bevorzugen offensichtlich den Fahrspurwechsel der zackigen Art, ungeblinkt und in Sicherheitsabstände springend. Dabei möglichst ein Handy am Ohr. Testosterongesteuerte Überholmanöver von rechts und links.  Grausam und definitiv nichts für schwache Nerven. Die weibliche Spezies präferiert den  Minimalabstand zum Vordermann. Ampelpausen werden dann auch gerne mal zur demonstrativen Make-up-Korrektur verwendet.

Madame Toussauds Tiefgarage bot ein ruhiges Plätzchen für den asiatischen Flitzer. Flatrate-Parking für 10$. Das Auto samt Schlüssel wurde ihnen von einem Angestellten abgenommen und sie bekamen im Gegenzug einen unscheinbaren Schnipsel Papier. Ob sie das Schnuckelchen wohl je wiedersehen werden?

Neben dem obigen Universalsternchen gibt es auf den Gehwegen beidseitig der Straße noch viele andere. Manchmal direkt hintereinander, dann wieder in Zweierreihen, dann auch mal namenlos. Nie ausgerichtet. Mal von der einen Gehrichtung, mal von der anderen lesbar. Beispielweise fanden sie einen für

und für diese Herren gleich eine ganze Gehwegplatte. Spontan dachten beide Sternenläufer an die Freidenkerin und deren Faible für Raketenstarts.

Vor lauter gesenkten Blicken -  Richard Gere hätte unbemerkt an ihnen vorbei gehen können – war es ganz gut, wenn sie gelegentlich den Überblick behielten. Man sieht ja sonst den Himmel über Los Angeles vor lauter Sternen nicht.

Unten ging es turbulent, bunt und mit gewaltigem Staraufgebot zu

und Spiderman hockte sich sogar auf einen Hydranten

Wer ist hier wohl der Hauptdarsteller? Der Hydrant natürlich.

Aufgepasst, die Damen! Bitte bewahren sie Ihre Nerven! Hier hatte jemand ganz Besonderes seine Hände im Spiel

vor dem Grauman's Chinese Theatre

Sobald irgendwo eine Kamera auftauchte, fanden sich genug Sternchen von morgen, die den Anweisungen brav folgten.

Und natürlich gönnten sich die beiden Sternchensammler noch einen versmogten Blick auf  The Hollywood Sign.

Nachdem sie nun aber genug von all dem Rummel hatten und sie das Auto tatsächlich vollständig zurück bekamen, führte sie der Weg über das demonstrativ regenbogenfahnentragende Westhollywood und Beverly Hills nach Santa Monica, dann weiter über Malibu bis nach Ventura. Dort gaben sie sich den Red Lobster* bis der Strom ausfiel. (*Seafoodrestaurantkette)

Lesen Sie morgen wieder vorbei, wenn es heißt:  Links das Meer und rechts die Felsen.

Two Paul McCartney performances from the 1986 Prince’s Trust Rock Galas have been released for the first time on iTunes Stores, and are now available for purchase and download.  These include live versions of “I Saw Her Standing There” and “Long Tall Sally.

Paul McCartney is backed by an “all-star” band featuring Elton John, Eric Clapton, Phil  Collins, Mark Knopfler, Mark King, Bryan Adams, and others, making this one of the more memorable events in music history.

These new videos join with McCartney’s performance of Get Back , with Tina Turner, which was released on iTunes Stores last summer.

Genesis was one of the few British rock bands that successfully made the transition from meddling 60s folk-pop-rock through late-60s psychedelic rock to 80s pop-rock superstardom. Their November 18, 1974 concept album, The Lamb Lies Down On Broadway, was major point along that road and a huge FM radio hit (I remember playing it daily on my radio show at the time). While well received on air, in the critics’ circles and in stores, The Lamb… unfortunately became the last Genesis album on which Peter Gabriel appeared. Gabriel was the lead vocalist, chief songwriter and stage frontman for the band (he wrote all of the material on The Lamb…). His departure could have spelled doom, but remaining members Phil Collins, Tony Banks, Mike Rutherford and Steve Hackett moved on to greater things, including a string of nine straight U.K. Top 10 albums (8 in the U.S.) before they called it quits in 1992.

The Lamb Lies Down On Broadway is available as a CD from Amazon (click here).

Wat een verlossing! Wat een verrijking! Schitterend! CLASSIC 21! Klassiek veint ee eun ! Classic twenty-one ! Le Rock, le Pop !

Het moet zo ongeveer eind september geweest zijn dat het oeverloos geneuzel en interessant doen van Studio Brussel presentatoren mijn oren uitkwam. Het ging er niet meer in, het stoorde me mateloos.  Op mijn werkplek staat een klein radiootje van Taiwanese makelij. Des te verder de week vordert, des te meer ik me er aan waag klassiekers luidkeels mee te zingen. Gezien we slechts met twee nogal gelijk gezinde personen dezelfde ruimte delen, stelt dat niet echt een probleem. ’s Vrijdags richting vier uur durft het wel eens uit de hand te lopen. Maar zoals gezegd, het werkte niet meer met Studio Brussel. Dan maar Radio 1.  Bon. Niet dus. Voor wie dagelijks oeverloos thema’s tot op het bot wil uitspitten, kan ik deze zender warm aanbevelen. De weinige muziek, die weliswaar van goede kwaliteit is, volstaat niet. Zeker niet wanneer jong Vlaams kleinkunst talent gecombineerd met een Nederlandse rap adept iets te vaak het mooi weer moet maken. Slaap zacht.

Gelukkig maakte de crèmeman – een alias voor een vriend genaamd Bart, die praktisch de helft van zijn leven doorgebracht aan de andere kant van de taalgrens – me enkele jaren gelden in zijn Alfa Romeo attent op het bestaan van Classic 21. Nu moet je weten, de crèmeman is niet echt verlegen voor nogal afwijkende ideeën. Dus destijds werd zijn aanbeveling met een glimlach onthaald en geapprecieerd, maar niet verder opgevolgd. Tot eind september dit jaar. De frequentie van de werkradio richting zuiderburen! En hier zijn we dan, tweede helft van november: nondedju! Musique!!

Het dagelijkse zendschema is gekleurd door perfect getimede programma’s met namen als een klok . De dag wordt gestart met het programma ‘Easy Rider’. Mmm, relax. En ja, ook de luisteraar heeft wat in de pap te brokken, want vanaf negen uur ’s ochtends mag de gemiddelde worstendraaier uit La Roche of tapijtverkoper uit Mons zijn eigen playlist invullen in ‘Men at Work’. Vanaf elf uur begint de middag op deze zender, zo tot een uur of drie (!) in ‘Lunch Around the Clock’. Prachtig! In ‘Making Of’ krijg je gedurende een half uurtje Engelse taalles voor Franstaligen, door Engelse songteksten langzaam over de muziek te citeren en vervolgens in het Frans te vertalen. Naast je talenkennis wordt zo ook je kennis van de muziekgeschiedenis bijgeschaafd. En ja hoor, vanaf 15u30 ‘On the Road Again’! Het wordt immers al stilaan terug tijd om naar huis te gaan. Ik zweer het, als dit land barst, verhuis ik naar het zuidelijke landsdeel!

En dan, de prachtig mix van klassiekers, rocksongs zonder scrupules, evergreens en Franse chansonniers die de liefde bezingen alsof het de laatste dag op deze aardbol was. ZZ Top leerde ik kennen als een prachtige bluesrockband die vandaag  met hun platen uit 1975 nog steeds menig Yuppiebands belachelijk zouden maken, Genisis van ome Phil Collins heeft blijkbaar ook een duister kantje en Alain Bashung als de topper der Franstalige zangers.   Het geheel wordt met boterzachte radiostemmen aan elkaar gesmeerd, wat leidt tot haast sensuele gesprekken. Soms waan ik me zelfs aan de open haard in een Ardense Chalet. Wat een warmte en gezelligheid. Zelfs de verkeersinformatie heeft iets emotioneel, door een traan en een glimlach speels bij elkaar te brengen.

Het is de mix van muziek, no nonsense en het menselijke gelaat die me fan hebben gemaakt. En waarschijnlijk ook het feit dat Vlaanderen zich hoe langer hoe meer krampachtig op de kaart tracht te plaatsen.

De crèmeman, hij is zo gek nog niet. Merci!

Genesis – Fading Lights

( Orgasmique )

Between working with the We Fear Silence boys and a few other projects, I’ve been inundated with a plethera of reviewing and the virtual postbag (or six, or seven) has been filled with all sorts of new music.  With so much to plough through and listen to, it’s refreshing when something pretty awesome like Dadahack’s Hellos EP jumps up and grabs you by the very tired ears.

The London/Stockholm-based duo compromise of James Banbury from 90s band The Auteurs and Pete Davis. On November 30th, they release the full Hellos EP on their own imprint serviceAV and if you’re wondering why it might sound familiar, check out the snippet of the title track as featured in the Soundville ad by Sony, brought to you by the makers of a particularly memorable gorilla ad.

There’s plenty to keep you entertained on this release too - from the outstanding original cut to the Freelance Hellraiser and Tranquility Bass mix, the remixes are cleverly constructed to equally be stand out tracks, plus polish the original’s charm. In addition, you’ll find a spin off of Hello titled Hello Dust and a revamp of this cool little bonus track by prolific producer Håkan Lidbo that features singer/songwriter Hannah Robinson.  With the right amount of 80s influence, purrs and shrills of warming notes, plus little “Hi!”’s that remind me of Blur’s infamous milk carton for some reason, the title track and each and every mix is brilliantly uplifting.  Definitely don’t miss the Lidbo mix, with a fatter bassline, it’s your sure-fire way to kick-start any party.

Thanks to the addictive synths and extensive offering of quality remixes on the release, the Dadahack duo have been successful in ensuring my iPod has been playing little else but Hello.  Play it loud, fix it on repeat, it really does just keep getting better.

Hellos EP Tracklist:

Hello

Hello Freelance Hellraiser mix

Hello Tranquility Bass mix

Hello Dust

Hello Dust (todust) Håkan Lidbo remix feat Hannah Robinson

Y bueno.

Viernes es hoy, hoy es viernes.

Cual rana despidiendo el agua, yo despido la semana. Ahora pienso en la faena que tengo para este fin de semana, de estudiar, hacer prácticas, trabajos y demás, todo así en plan relajado, que de algo tiene que servir hacer un ciclo y no bachillerato. Aquí las cosas llevan otro ritmo.

Sí, sí. Recuerdo que el año pasado en física el primer día repasamos circuitos en serie y en paralelo y alguna cosilla más de electricidad para tener unas bases básicas frescas sobre electrones y todo eso, y luego ya empezamos a saco con pura física. Pues este año lo que llevo de curso en electricidad (encima tenemos una asignatura dedicada a ello) hacemos una clase a la semana, y tot just pasamos por circuitos en paralelo. No hace falta mencionar el 10% de 100 del exámen de circuitos en serie. =)

Por favor, dime que sabes hacer porcentajes.

Y eso viene a ser prácticamente todo, pues gusto de resumir en poco lo mucho, y lo poco en mucho. Pero diré algo más, así para quedarme con el gustillo del viernes.

Un momento que voy a encender la luz.

Vale ya está.

Tengo que decir algo. Bueno, más bien formular una pregunta:

¿Puede decirse “lo siento” sin sentirlo? ¿Qué es peor, la mentira o la falta de respeto?

Pareceré algo que no soy, y el lector imaginará algo, que puede ser verdad o mentira. De todos modos, me da igual. Quiero una respuesta objetiva.

Yo me negué a mentir hace mucho, y procuro no hacerlo nunca, y aún así alguna vez lo hago, cosa que no me agrada. Ahora, ¿no es cierto que las mentiras suelen taparse con otras mentiras? Mentí, lo sé. La herí, también lo sé, pero ¿cómo voy a solucionarlo diciendo “lo siento” si en verdad no lo siento?

Sé que fui algo… iba a decir malo, o rudo, pero eso no lo describe, simplemente actué y pasó, acto – consecuencia. No creo que me pasara tanto, ni que hiciera algo realmente feo, simplemente, como digo, actué.

Puede ser que pasara algo por lo que sí debiera pedir perdón, pero no lo recuerdo. Ahora, hay un problema, porque con lo que recuerdo yo no hay material suficiente para un “lo siento”, creo que fue algo mutuo (o podías haberlo dicho, maldita sea, si no te placía el asunto), y si no me explica qué hice tan berraco, tenemos un problema, porque no lo siento.

Lo siento, pero no lo siento.

No esperes mi mentira, y si quieres considerar que te estoy faltando el respeto, libre es España.

Perdón por estas líneas, pero igual que tú no expresas tus motivos, yo sí los míos.

Y creo que eso es todo, me callo dejando esta canción:

Both sides of the story – Phil Collins

The title above is one of the title song from Phil Collins, who shouted expected to rain soon. Yes, the rain had started falling, at least be able to reduce the air was so hot in recent years. Rain could be a blessing, but it can also be a disaster. It all depends on how we manage and preserve the environment. Rain also has a romantic side. Many bands and musicians use the word “rain” as the theme song. For example, collaboration Karimata and Phil Perry (Rainy Days and You), Phil Collins (I Wish It Would Rain Down), GN’R (November Rain), Whitesnake (Crying In The Rain) and many more. Welcome to the rainy season, I hope, this time able to bring happiness, at least can reduce the sense of the wound in my heart.

Now i, I wish it would rain down, down on me
Yes I wish it would rain, rain down on me now

This week we play Central Methodist University for our last game of the season. Right now we are ranked 24th in the nation which gives us a chance at the playoffs. For football, to get into the playoffs you either have to win your conference or be in the top 16 in the nation. Since we are 24th, it gives us the smallest chance to get in. CMU sits as the number 31st team in the nation so we would have to beat them convincingly to show the NAIA that we deserve to be there. We are 6-3 on the season, which is one of the reasons we are so low in the standings.

The hard part about getting into the playoffs this year is that in our conference we are (as of now) already sending 3 teams into the playoffs and no conference ever sends 4 in. Which does not help our case at all. Over the past 4 weeks we have been playing outstanding and it all comes to this weeks game. So come Sunday the Baker football team will be the most anxious team in the NAIA for the pools to come out

All Eyes and Ears Report:

Click here to go to AEAE to check Genesis “Paperlate”

En av de underbaraste låtar jag vet….så många minnen så många äventyr……och har man stt Phil är det en otrolig känsla att se honom så här…….

Klösan

Well.

Today we delve into the realm of popular music. Or, to be slightly more accurate, music that was briefly very popular, but is now an embarassment to the very idea of sound – yet somehow, still remains AWESOME.

Which brings me to today’s list – Thirteen Guilty Pleasure Songs You Hate to Love. (Or Love to Hate.)

Thirteen: The Sign. (Ace of Base.)

Ah, 1993. A simpler time. A time before balloon boys and black presidents and lady gagas ran amok, choking our nightly news with the same tenacity as a green Jolly Rancher in a child’s throat. And the non-grunge soundtrack to that bygone era would no doubt be peppered with plenty – puh-lenty – Ace of Base.

It what pretty much came down to a coin toss, I went with “The Sign” over “All That She Wants.” Both are maddeningly catchy  pop anthems from the early nineties, but I suppose it will truly be “The Sign” that this weird, and oddly sexy, Swedish band will be remembered for.

And nothing else.

Twelve: Stay (I Missed You). (Lisa Loeb.)

One year after Ace of Base broke into North American homes, depositing their sugary sweet sound into teenage ears like some weird Swedish Santa Claus, a local girl with trendy glasses also made a bit of an impact.

Let’s face it…if you were a dude in the early nineties old enough to understand the basic differences between men and women – you had a thing for Lisa Loeb. Her girl-next-door image, her sweet voice, her awesome pre-Tina Fey eye gear…this girl was all that. Just ask Ethan Hawke.

And while her big hit single “Stay” may not neccessarily be a guilty pleasure for the feminine set, I often get strange looks from people whilst blaring it from the speakers of my Toyota Tercel while driving.

Though it may just be because I’m wearing those wicked glasses.

Eleven: Toxic. (Britney Spears.)

Say what you will about Brit – and there’s a lot to say, I’m sure – this song kicks ASS. From the offbeat synth/violin riff to the onbeat sweet percussion, this is a song full of hooks that gets under your skin and into the meat of your brain no matter how embarassed you might feel listening to a damn Britney Spears track.

Oh, and the video, like most of Brit’s visual work, is also something of a guilty pleasure. At least, I always feel strangely guilty three or four minutes after watching it…

Ten: Lovefool. (The Cardigans.)

While the opening choppy guitar may be reminiscent of Television’s “Elevation” (not to be confused with U2’s “Elevation”, which is neither as good as the Television song, nor as catchy as “Lovefool”) this song nevertheless reamains a remarkably potent pop nugget. Made famous for it’s appearance in Baz Lurhman’s “Romeo & Juliet” MTV “opus,” it became a pretty big hit for this Swedish band, and the mere mention of it too this day still get’s her bizarrely accented voice stuck in my head.

Interesting that this is the second Swedish band to make the list – though not the last. Which brings me to….

Nine: Anything by ABBA. (ABBA.)

Even if you change your mind, they’ll still be first in line. North America took a chance on Sweden’s ABBA, and by gumption, they stepped up to the challenge – delivering pop tunes so sweet that they gave our ears cavities, sending us all rushing to our dentists. Or ear doctors. Well, whoever you would see about damaged ear enamel.

“Take a Chance on Me,” “Mamma Mia,” “Waterloo,” “Dancing Queen” – the hits didn’t stop. Even today they’re still making musicals and movies based on ABBA’s long gone career. Catchy as hell, these are songs that everyone seems to know the words too – but of course, would never be caught dead singing them out loud.

Eight: Fields of Gold. (Sting.)

What do you get when you combine a peaceful melody, lush production and a friggin’ lute?

Sting, of course.

Let’s go back a bit. To, say…1979. When Sting was considered “cool”. Here was a white Englishman fronting the world’s biggest and coolest reggae band…and, let’s face it, one of the biggest bands in the world. Then the band broke up, and the other two dudes from “The Police” kind of just disappeared. This was the coming – the hearkening, if you will – of Solo Sting.

Not content to just sing and play bass anymore, Sting decided to add a few new weapons to his arsenal. The guitar. The piano. And THE LUTE.

And then you get “Fields of Gold” a gentle, yet delicate song that transcends beauty in every pluck of the lute string. But, it’s by Sting, so I’m not allowed to like it.

Quick crib note for anyone paying attention: listening to “The Police” = COOL. Listening to Sting = NOT SO MUCH.

Sorry, Sting.

Seven: Invisible Touch. (Genesis.)

“She seems to have an invisible touch, YEAH!

She reaches in and grabs right hold of your heart!”

And, with those words, Phil Collins single-handedly destroyed the legacy that was Genesis, forcing Peter Gabriel to go all solo and weird.

But damn if it ain’t catchy.

Six: The Power of Love. (Huey Lewis and the News.)

Let’s get one thing out of the way. Huey Lewis is not cool. Huey Lewis will never be cool. Huey Lewis is the opposite of cool, and the News is just there to reiterate the fact. Having said that…

“The Power of Love” IS cool. Granted, it had the good fortune of appearing in a film (“Back to the Future”) that was and shall always be cool (despite featuring Huey Lewis in a cameo acting – wait for it – uncool) but that doesn’t detract from the fact that this song is an anomaly. It shouldn’t be cool – all power chords and inane lyrics- but it damn well is. Maybe it’s just because I associate it with skateboarding and time travel and Michael J. Fox…all cool, by the way. Whatever it is, it is what it is.

Cool.

Five: Kiss From a Rose. (Seal.)

Another soundtrack song makes the list, and, like “The Power of Love”, maybe I just have fond memories of it due to its association with BATMAN. Albeit, in one of the worst Batman outings ever. It’s grandiose and corny and peppered with stupid lines like “but did you know/when it snows/my eyes become large and the light that you shine can be seen” which is barely even coherent. Whatever though – it was in a BATMAN movie, and Seal could and still can emote like no other. And, since I’m sure this song had at least something to do with his hooking up with Heidi Klum, I can only assume that it’ll work the same for me. Karaoke, here I come!

Four: Karaoke Songs. (Various, but mostly Journey and Bon Jovi.)

Karaoke, here I am!

This entry is less about the act of karaoke as it is about the songs people choose to karaoke with. Songs that you would never find yourself listening to at  home alone, or possibly even at a party, but dump a few cocktails down your throat and throw in a creepy dude with a microphone and songbook on hand, and suddenly you’re singing every damn lyric without even glancing at the screen.

“Living on a Prayer” and “Don’t Stop Believing” are usually the most well documented. For instance:

Yeah. Just like that.

Three: It’s All Coming Back To Me Now. (Celine Dion.)

This is what happens when you give Celine Dion a Meatloaf inspired song attached to a Meatloaf inspired theatrical video:

And it’s AWESOME.

Two: Do You Really Want To Hurt Me. (Culture Club.)

“The Wedding Singer” may have helped this one, but whatever. This song was ALWAYS awesome. It’s a weird song (to say the least) that should probably come off as horrendously creepy, but somehow Boy George manages to sell it legitimately. Nowadays however, with Boy George’s recent drug woes and wrongful imprisonment of male escorts (seriously), the song has achieved a darker tone, and has finally reached its destiny of being the weirdly creepy song we all knew it could be!

One: The Rose. (Bette Midler.)

I’ll let this one speak for itself:

“Some say love it is a river
that drowns the tender reed
Some say love it is a razor
that leaves your soul to bleed

Some say love it is a hunger
an endless aching need
I say love it is a flower
and you it’s only seed

It’s the heart afraid of breaking
that never learns to dance
It’s the dream afraid of wakingthat never takes the chance
It’s the one who won’t be taken
who cannot seem to give
and the soul afraid of dyingthat never learns to live

When the night has been too lonely
and the road has been too long
and you think that love is only
for the lucky and the strong
Just remember in the winterfar beneath the bitter snows
lies the seed
that with the sun’s love
in the spring
becomes the rose”

Was anybody else singing along while reading that? Because god knows I was.

And I honestly don’t even feel that guilty about this one.

Well.

That is that. Stay tuned for more blog updates, where I hopefully discuss good music.

Although, seriously…some of these count.

Also, if any of these songs are now stuck in your head – or, god forbid, if ALL of them are stuck in your head, battling it out for supreme annoyingness – I personally shoulder none of the blame.

Moving into November always means that finals are rapidly approaching. The hardest part about finals is first of all figuring out what kind of final you will have for each class: cumulative or not? Some classes and professors make their finals cumulative, but in my experience a lot of professors don’t. Which in my opinion is the best because it helps out in your studying.

Even though finals are only a month away, I have already started to prepare for them because, unlike in high school, finals are not to be taken lightly. In some of my classes my finals could make the difference between an A and a B.

Being more organized in your notes and your assignments makes it a whole lot easier to study. And as I have figured out while in college, and I wish I had realized in high school, cramming the night before the test is probably the worst thing to do. I now give myself about 30 minutes a night for each of my classes to study for the test. I do this for about a week before the test/finals. So far it has helped me tremendously.