the-clash « WordPress.com Tag Feed

Lo nuevo de The Clash Sale en 15 dias

nicoslash — Sat, 28 Nov 2009 15:24:02 +0000

Ya se conoce lo que incluirá la edición del trigésimo aniversario del álbum de The Clash, “London Calling”. Un contenido diferente al de la reedición por su 25 aniversario

“London Calling: 30th Anniversary Legacy Edition” también incluirá un DVD con el documental de Don Letts “The Last Testament: The Making of London Calling”, así como vídeos musicales y un vídeo casero del grupo en el estudio de grabación.

El contenido de “London Calling: 30th Anniversary Legacy Edition”:

CD:
“London Calling”
“Brand New Cadillac”
“Jimmy Jazz”
“Hateful”
“Rudie Can’t Fail”
“Spanish Bombs”
“The Right Profile”
“Lost In The Supermarket”
“Clampdown”
“The Guns Of Brixton”
“Wrong ‘Em Boyo”
“Death Or Glory”
“Koka Kola”
“The Card Cheat”
“Lover’s Rock”
“Four Horsemen”
“I’m Not Down”
“Revolution Rock”
“Train In Vain”

DVD:
“The Last Testament: The Making of London Calling”
Vídeo de “London Calling”
Vídeo de “Train In Vain”
Vídeo de “Clampdown”
Vídeo casero de The Clash grabando en Wessex Studios

"London Calling" vai sair em uma edição cheia de bônus

Gabriel — Sat, 28 Nov 2009 12:10:49 +0000

Os 30 anos do clássico álbum “London Calling”, do The Clash, não vão passar em branco. O acontecimento será comemorado com uma edição especial do disco.

Segundo o NME, a reedição vai se chamar “30th Anniversary Legacy Edition” e virá com as músicas originais e muito material bônus, como vídeos da banda no estúdio Wessex, local de gravação do álbum, clipes das faixas “London Calling”, “Train In Vain” e “Clampdown”, e o documentário “The Last Testament: The Making Of London Calling”, dirigido por Dom Letts.

Tudo isso chegará às lojas no dia 14 de dezembro, ou seja, para todos colocarem na cartinha do Papai Noel.

[Notícias] The Clash divulga músicas da reedição de London Calling

J. Brizzi — Fri, 27 Nov 2009 23:58:35 +0000

O The Clash divulgou detalhes sobre o relançamento do álbum London Calling.

A edição comemorativa de 30 anos do disco terá uma lista de faixas diferente da edição de 25 anos, e chega às lojas no dia 14 de dezembro.

Também integram a edição um documentário de Don Letts chamado “The Last Testament: The Making of London Calling”, além de clipes das músicas e material de vídeo caseiro do grupo.

A lista de músicas presentes em “London Calling: 30th Anniversary Legacy Edition” é a seguinte:

“London Calling”
“Brand New Cadillac”
“Jimmy Jazz”
“Hateful”
“Rudie Can”t Fail”
“Spanish Bombs”
“The Right Profile”
“Lost In The Supermarket”
“Clampdown”
“The Guns Of Brixton”
“Wrong “Em Boyo”
“Death Or Glory”
“Koka Kola”
“The Card Cheat”
“Lover”s Rock”
“Four Horsemen”
“I”m Not Down”
“Revolution Rock”
“Train In Vain”

“The Last Testament: The Making of London Calling” DVD, incluindo:
“London Calling” music video
“Train In Vain” music video
“Clampdown” music video
Home video footage of The Clash recording in Wessex Studios

Fonte: Cifra Club News

'London Calling: 30th Anniversary Legacy Edition'

justmu — Fri, 27 Nov 2009 16:02:46 +0000

I Clash hanno rivelato dettagli interessanti per il 30° anniversario di ‘London Calling’.

Uscito originariamente il 14 dicembre December 14 del 1979, l’album verrà riedito ed avrà una tracklist differente rispetto a quella proposta per il 25° anniversario.

L’album si compone di 19 brani, di Joe Strummer e Mick Jones, tranne The Guns of Brixton di Paul Simonon, Brand New Cadillac di Vince Taylor e Revolution Rock di Jack Edwards e Danny Ray.

London Calling compare nella lista dei 500 migliori album secondo Rolling Stone alla posizione numero 8, considerato sempre da Rolling Stone come il migliore album degli anni ‘80, pur essendo uscito nel dicembre 1979.
Oltre a video clip e filamti amtoriali , la riedizione conterrà anche il documentario ‘The Last Testament: The Making of London Calling‘ di Don Letts
La tracklist di ‘London Calling: 30th Anniversary Legacy Edition’ sarà:

‘London Calling’
‘Brand New Cadillac’
‘Jimmy Jazz’
‘Hateful’
‘Rudie Can’t Fail’
‘Spanish Bombs’
‘The Right Profile’
‘Lost In The Supermarket’
‘Clampdown’
‘The Guns Of Brixton’
‘Wrong ‘Em Boyo’
‘Death Or Glory’
‘Koka Kola’
‘The Card Cheat’
‘Lover’s Rock’
‘Four Horsemen’
‘I’m Not Down’
‘Revolution Rock’
‘Train In Vain’

‘The Last Testament: The Making of London Calling’ DVD, including:
‘London Calling’ music video
‘Train In Vain’ music video
‘Clampdown’ music video
Home video footage of The Clash recording in Wessex Studios

My Top Ten: Overused Songs in Film and Television

ashleighrajala — Fri, 27 Nov 2009 00:43:35 +0000

Pop music and films are like peanut butter and chocolate – well, maybe not quite. That implies

1978 - Give ‘em Enough Rope

persimusic — Thu, 26 Nov 2009 23:49:08 +0000

Puntaje del Disco: 8,5

Safe European Home: 9
English Civil War: 8,5
Tommy Gun: 8,5
Julie’s In The Drug Squad: 8,5
Last Gang In Town: 9
Guns On The Roof: 7,5
Drug-Stabbing Time: 8
Stay Free: 8,5
Cheapskates: 7
All The Young Punks (New Boots And Contracts): 7,5

El debut inicial de The Clash los ubicó como otro grupo de punk a tener en cuenta. Sin embargo, musicalmente se encontraban en el paradójico punto de definir un estilo que los distinga de los Sex Pistols y los Ramones. Y es así como The Clash tenuemente se alejaría de su parentesco, lanzado su segundo disco de estudio: Give ‘em Enough Rope.

Este disco muestra un progreso, distanciándose de la monotonía más absurda de los Ramones, componiendo canciones más largas, menos repetitivas y con ganchos melódicos mucho más atractivos. Aún así Give ‘em Enough Rope no alcanza al ilustre London Calling.

Como sucedía en The Clash, la primera parte del disco es la mejor destacándose grandiosos pop rockers como “Safe European Home” y “Last Gang In Town”, y otros clásicos del grupo que fueron lanzados como singles como “English Civil War” y “Tommy Gun”. También está “Julie’s In The Drug Squad” que marca un poco las intenciones del grupo de variar en sus canciones incorporando el piano.

En la segunda parte baja tenuemente el nivel pudiendo encontrarse cortes como: “Guns On The Roof”, pecaminoso ya que copia el riff de “I Can’t Explain” de los Who; “Drug-Stabbing Time”, el numero más punky y ruidoso del disco, pero con atractivas melodías vocales que evidencian que temas como este superan a muchos números de su álbum debut; y “Stay Free”, distinta porque Joe Strummer pone la voz como si se tratase de un tema popy de los sesenta. Para finalizar “Cheapskates” y “All The Young Punks” cierran el disco sin pena ni gloria.

El disco no sería del todo bien recibido por la crítica, que argumentaba que no contenía la misma ferocidad acelerada que su álbum debut y que era menos Punk. Puras patrañas. Justamente es una cualidad positiva de Give ‘em Enough Rope, que a pesar de alejarse un poco del Punk tradicional (por así llamarlo), su agresividad sigue vigente incluso en sus letras.

Persy

(re)birth

bambikill — Thu, 26 Nov 2009 21:57:44 +0000

Je n’ai aucune idée de comment (re)commencer mon blog.

Je devrais me présenter mais je n’arrive jamais à faire court. Je m’appelle Ced, je suis né en 1990 mais j’aurais dû naître à la fin des années 50 et grandir quelques part au Etats-Unis ou en Angleterre pendant les 60’s et les 70’s. Il y a pas si longtemps encore je rêvais d’être à l’image des héros tels que Kurt, Jim, Janis, Ian, Jimi, Sid… J’aime la musique plus que tout, Nirvana, the Doors, David Bowie, the Clash, the Rolling Stones, Joy Division, Lou Reed, Janis Joplin, the Sex Pistols, Hendrix, Pink Floyd, Jefferson Airplane, the Pixies, Sonic Youth, etc, etc. J’écoute à peu prêt tous les styles de musiques, bref vous aurez l’occasion de voir ça tout au long de mon blog.

SPACE ODDITY - David Bowie

A part la musique j’aime beaucoup le cinéma, (les séries), l’art, voyager, etc… J’aime glander et j’aime par dessus tout avoir “la flemme de…”. J’aime la solitude et j’ai souvent besoin de me sentir seul. J’aime jouer de la batterie. J’aime les lives, les festivals et leurs ambiance. Je rêve d’aller vivre à Londres quelques temps, d’aller voir les temples Maya au Mexique et de faire le tour du monde. Et enfin je suis le genre personne capable de débarquer dans son lycée pour massacrer tout le monde avec un fusil à pompe. Bon j’estime que c’est tout ce qu’il y à a savoir sur moi, hin, hin. Bon aller je vous laisse avec du Surf Rock et une video de Godspeed You! Black Emperor.

MARIACHI’S FEVER - Hawaii Samurai

Godspeed You! Black Emperor – Rockets Fall On Rocket Falls

“Did I do that?” By Jim Bennett

Jim Bennett — Thu, 26 Nov 2009 21:39:42 +0000

In Our Next Issue: Are Baptists Responsible for Climate Change? Lengthy Sermons Produce Greenhouse Gases.

I recently found myself at a newsstand, staring in disbelief at a magazine. I initially thought it was some kind of parody, but it wasn’t “The Onion,” it was “The Atlantic.” Yes, the venerable “Atlantic,” founded by such literary luminaries as Emerson, Longfellow, and Harriet Beecher Stowe. On the cover of the December 2009 issue is a photograph of a Christian cross bedecked with signs reading “Foreclosure” and “For Sale,” along with this headline: “Did Christianity Cause The Crash? How Preachers Are Spreading a Gospel of Debt.”

Yes, I did. I did do that.

For a moment I pictured myself dressed as Urkel, standing in the smoking rubble of a demolished US Treasury Building, pointing at the mess and sheepishly, nasally intoning, “Did I do that?”
In all fairness, the article does refer specifically to the chicanery of the name-it-and-claim-it prosperity frauds. I have long been disturbed by cashier-clergymen like Peter Popoff and Benny Hinn, though my objections are mainly theological in character. But to blame bad doctrine, heretical though it may be, for the global economic collapse is absurd. (Unless, of course, Barney Frank and Christopher Dodd have been ordained and are now co-hosting a new “PTL Club” television program.)

I'm so glad I'm a part of the family of Dodd.

            The article aside, however, the cover draws no distinction between health-and-wealth con men and legitimate, sincere, biblical believers. Call me paranoid, but I wonder if this isn’t an early and mild precursor to persecution.
            I use the phrase “early and mild precursor” advisedly. In Islamic regions, in parts of India, and in communist nations like China and North Korea, persecution simply comes with being a Christ-follower; here in the States, on the other hand, the church has it relatively soft and cushy right now. But could magazine covers like this one be a foretaste of the near future?
            If so, the first requirement would be a real or ginned-up crisis – the kind that inspires mob mentality and fear. After that, the scapegoating can begin in earnest. History bears this out: When Emperor Nero wanted to initiate his own campaign of anti-Christian persecution, he did it by pinning a disaster on them. In 64 A.D., a fire destroyed 10 of the 14 wards of Rome. The citizens suspected Nero was behind the fire. In his Annals of Imperial Rome (XV.44), the Roman historian Tacitus wrote an account of Nero’s response:
            “Consequently, to get rid of the report, Nero fastened the guilt and inflicted the most exquisite tortures on a class hated for their abominations, called ‘Christians’ by the populace. Christus, from whom the name had its origin, suffered the extreme penalty during the reign of Tiberius at the hands of one of our procurators, Pontius Pilatus…Accordingly, an arrest was first made of all who pleaded guilty; then, upon their information, an immense multitude was convicted.”
            Nero killed two birds with one stone. He coerced confessions to dodge the blame, and he finally had a viable rationalization for persecuting Christians.
            Maybe you’re saying, “Well, O Paranoid One, this magazine cover does hit on Christianity, but other faiths take a beating in the media too.” Hm. Let’s contrast the Atlantic cover against one recent incident: The Fort Hood Massacre.
            The Culture and Media Institute is a conservative group that monitors media trends for signs of liberal bias. They recently published a study entitled, “PC News: Networks Downplay Terrorism, Muslim Connection in Ft. Hood Attack.” Some highlights:
            “85 percent of the broadcast stories didn’t mention the word ‘terror.’ ABC, CBS, and NBC evening news

ABC News reports that the gunman was not shouting "Allahu Akbar," but was, in fact, just singing "Rock the Casbah."

referenced terrorism connections to the Fort Hood attack just seven times in 48 reports.”
            Only “twenty-nine percent of evening news reports mentioned that Maj. Nidal Malik Hasan was a Muslim. Of those, half (7 out of 14) defended the religion or included experts to do so.”
            Remember the slaying of abortionist George Tiller? It seemed like every news outlet in America was describing it as “domestic terrorism,” and many in the media didn’t even wait for the capture of a suspect before connecting Pro-Life Christian teachings and rhetoric to the murder. So, while the cover of “The Atlantic” whispers that Christianity caused the recession, it seems the major news networks would have us believe that Islamic jihadist teachings and terrorism played no role in the Fort Hood Massacre.
            Am I paranoid? I can only paraphrase Joseph Heller or Kurt Cobain or the anonymous bumper sticker sloganeer who first observed, “I may be paranoid, but that doesn’t necessarily mean that ‘they’ aren’t out to get me.” (Insert eerie Theremin solo here!)
            So watch and pray, believers, but most of all, trust, because “God hath not given us the spirit of fear.” And we can be sure this hasn’t taken our Savior by surprise: In Matthew 10:22, Jesus said, “And ye shall be hated of all men for my name’s sake: but he that endureth to the end shall be saved.”

Are We Brothers ? - Come Around

fannyardentetmoi — Thu, 26 Nov 2009 17:39:22 +0000

Il n’y a pas que dans les charts danois que Are We Brothers cartonne. Sur leur myspace, le gro

We seek niches.

ifiwerebuilt — Thu, 26 Nov 2009 16:18:03 +0000

Punk is not just a genre or an aesthetic.It is a lens for seeing and approaching the world. Ask questions, follow your passion, find out for yourself, respect others, maintain consistency of values but don’t be afraid of change. It is a rejection of being spoon-fed the dominant ideology and culture. One day I realised that I hardly listened to any music made by women, so I sought some out and was rewarded.

The sounds and looks of punk were consumed by the mainstream long ago, internalised to protect the status quo and then sold back to us as rebellion – reminds me of Foster-Wallace describing, in E Unibus Pluram, how television insulated itself from criticism by hijacking irony. Speaking of irony, fashion has come round-in-a-near fourteen year full circle and has me back wearing plaid shirts. After realising that I was only a tye-dye tee away from my 14 year old self’s essential wardrobe, I found it appropriate to listen to the music that first ignited my interest in punk, and indeed plaid. The inkling that Nirvana would be forever culturally maligned has been thrashed into submission by the rediscovery of the now 20-year-old Bleach.

Punk has left a legacy of cringe-inducing rebellion and a more subtle lingering distrust of popularity that has left subcultures hamstrung by any attempts to move beyond a niche. We seek niches. We use cultural niches to help define ourselves. This is a time of of separation but we don’t want to be alone – else the logical climax would be binary crowds at obscure gigs and galleries. We want to share our passion and appreciation, but we just don’t want everyone to know. In the spirit of things here’s a band, The xx, they remind me of The Raincoats. They have the power to warm.

For all its cultural critique potential and misuse, music is still the simplest way to mainline this passion. Joe Strummer’s electric leg says it all.

Hace 30 años del London Calling

laespumadelosdias — Thu, 26 Nov 2009 11:31:55 +0000

Y a mi aún se me ponen los pelos de punta cuando escucho alguna de sus canciones. La única banda que importa, como decían en la época. Larga vida.

Ah, el vídeo de la canción “London Calling” no está disponible en “su país por cuestiones de copyright”. Qué mierda de paradoja.

Cien razones por las que salvar los años 80 (42): Los últimos discos de "la única banda que importa"

Ander de Brich — Thu, 26 Nov 2009 11:20:16 +0000

La obra cumbre de The Clash no se publicó en los años 80 por nueve días. London Calling vio la luz e

TRAYECTO 324 27 de noviembre de 2009

eltranviafm — Thu, 26 Nov 2009 01:01:29 +0000

London Calling 30 años después Un buen d

Quemar después de leer (VIII)

musiclost — Tue, 24 Nov 2009 16:11:50 +0000

- Nos vigilan - 30 años de furia - No me llames Dj, por favor - “No nos arrepentimos de nuestr

Lunes de Opinión: The Clash – London Calling (1979)

laguiadesantiago — Mon, 23 Nov 2009 17:04:51 +0000

Por Felipe Romero Stockebrand Se escuchan los cañonazos de la Segunda Guerra Mundial, en el comienzo

Internet Experiment, Bernie Madoff Edition

James Lafayette Delgado ("Jimmy") Riggs — Mon, 23 Nov 2009 12:53:14 +0000

Do shameless appeals to pop media commodities boost internet traffic?

Ruby's Chicky Boil-Ups: Shopping

rubywright — Mon, 23 Nov 2009 09:11:05 +0000

Listen
Shopping-Eek A Mouse
Buying a Book – Joe Tex
How Much is that Doggie in the Window – Annie Jackson, Barbara Jones, Matz Ztefrens, Joe Livoti and Rolf Harris
Lost in the Supermarket – The Clash
Billy Broke my Heart at Walgreens (I cried all the Way to Sears) – Ruby Wright
Ayres the Bakers – Boycott Coca Cola Experience
Warrior in Woolworths – X-Ray Spex
Duo – Carlos D’Allessio
Fairytale in the Supermarket – The Raincoats
Can’t Buy Me Love – The Beatles
Shopping Mall – R. Crumb and his Cheap Suit Serenaders
Bargain Store – Dolly Parton
The Lonely Little Thrift Store – Jonathan Richman
Window Shopping – The Beach Bullies
La Petite Boutique – Edith Piaf
Luxury Mood – Superthriller
La Fille de Checkout – Men in Grey Suits
Ballad of a Teenage Queen – Johnny Cash
Manager in Love – Kissogram
Drugstore Woman – John Lee Hooker

30 años del London Calling.

pitchrevista — Mon, 23 Nov 2009 01:18:00 +0000

El London Calling sin duda es uno de esos discos que la escena musical tanto como la crítica musical suele considerarlo como uno de los mejores álbumes de la historia del rock ^]de hecho la revista Rolling Stone lo calificó como el mejor de los años 80 y como el octavo mejor de la historia.

Lo importante de este disco fue la manera de su contenido estilístico musical del álbum era muy variado incluyendo el punk lúgubre (“London Calling”), el blues (“Brand New Cadillac”), el ska (“Wrong ‘em Boyo”), la música disco (“Lost in the Supermarket”), el reggae (“The Guns of Brixton”) y el rockabilly (“Rudie Can’t Fail”).

En cuanto a las letras, el contenido político y la crítica social se encuentran presentes como en todos los materiales de la banda. Particularmente, las canciones que más claramente explicitan la temática política son “London Calling”, “The Guns of Brixton”. Aunque se creía que “Spanish Bombs” rendía homenaje a los revolucionarios y luchadores de la libertad que combatieron en la Guerra Civil Española y los efectos que tuvo ésta en Andalucía criterios posteriores y opiniones de la banda sugieren que está pensada en homenaje a los pechos de las Andaluzas. Otros temas abordados en el álbum son la soledad consecuente al uso de las drogas (“Hateful”), el materialismo (“Lost in the Supermarket”), el fascismo (“Clampdown”) y la vida de Montgomey Clift (“The Right Profile”).

Para festejar su 30 aniversario a partir del 14 de diciembre que es la misma fecha que salio la primer versión del álbum, se puede encontrar la 30th Anniversary Edition, con el documental The last testament.

Disco: "Humbug", los Arctic Monkeys finalmente maduran

mikegical mistery tour — Sun, 22 Nov 2009 20:46:50 +0000

Una de las bandas más interesantes que ha salido del Reino Unido en los últimos 5 años, ha alcanzado su popularidad gracias a los sencillos de sus dos primeros discos: Dancing Shoes, I bet you look good on the dancefloor, Fluorescent Adolescent o Teddy Picker, que además de pegajozos, sin duda son unos temazos. Ahora los chicos de Sheffield acuden al genio Josh Homme para grabar su tercer disco y los resultados son muy gratificantes.

Comenzando con My propeller, inmediatamente llama la atención que la banda se distancia del sonido del disco anterior, Favourite Worst Nightmare. Ahora no parecen estar apurados o necesitados de hacer las canciones más rápidas que puedan componer, lo que les permite experimentar con nuevas propuestas. Así, el cuarteto se americaniza y sustituye el frat rock por una ambientación lúgubre con un sonido ligeramente sucio, que recuerdan de cierta manera la propuesta stoner del desierto de California, que el productor Homme ayudó a forjar desde los noventa con bandas como Kyuss o Queens of the Stone Age.

En conclusión, Humbug termina siendo un disco que como nieto lejano del Mojave Desert, tiene un compendio de canciones muy parecidas entre sí, donde a pesar de que no hay temas que puedan reventar en la radio o que vayamos a escuchar en una fiesta, dejan claro que la banda liderada por Alex Turner no se conforma con escribir himnos para los borrachos de Inglaterra, y han comenzado a madurar su sonido. El resultado: uno de los mejores discos de este año.

torrent.

Video del primer sencillo: Crying Lightning

Segundo sencillo: Cornerstone

Tufts Men

eileenguo — Sun, 22 Nov 2009 07:45:20 +0000

So a short post that’s not really about globalism/active citizenship, but needs a shout-out nonetheless -

I went over to my friend Brandon’s house for dinner tonight. I was cooking with him and his housemates, though to be honest the guys were doing pretty well without me. Anyways, The Clash comes on, and everyone’s rocking out, singing along, and playing air guitar – while chopping carrots and stir frying vegetables etc – which was kind of awesome.

But what was even better was that the next song that played was “Gaston” from “Beauty and the Beast”. I expected them to change the song or to protest that the song was added to the Ipod by one of their sisters, but instead, they proceeded to belt out (Tim in a convincing Gaston’s baritone) “When I was a lad I ate four dozen eggs…”

Rock on, Tufts men, rock on. <3

E Londres Chama

Marco Gaverio — Sat, 21 Nov 2009 17:49:41 +0000

A velha Londres nunca mais seria a mesma após um show, por volta de 1970, em que quatro caras Americanos cantavam músicas rápidas e com poucos acordes. Eram os Ramones que traziam a novidade em forma de som. Influenciados por bandas como MC5 e Stooges, A família Ramone influenciaria jovens, e nem tão jovens assim, a participar daquele novo movimento Musical. O Punk Rock.

O “The Clash” surgiu desta mistura explosiva, jovens saturados com as condutas morais de uma época deixada de lado pela música. O Rock and Roll não rolava mais as pedras da mudança como queriam os futuros Punks do mundo. Não se falava da diferença social, do preconceito, dos excessos do capitalismo. Não se falava de política de uma forma clara para todos. A Rainha queria ser salva por Deus, mas os Punks vinham e gritavam que Deus era apenas mais uma invenção humana. O Protesto já estava armado e as armas seriam guitarras estridentes, letras ácidas, coturnos e moicanos. Em 1979, a banda de Joe Strummer, Mick Jones, Paul Simonon e Topper Headon, mostraria de forma definitiva que o Punk Rock tinha nascido para nunca mais morrer com o disco London Calling. Um LP repleto de críticas sociais e políticas que seriam o hino do caráter revolucionário de um movimento cultural. A partir de então, o Punk Rock ganharia mais e mais adeptos, mais e mais sede de revolução, mas uma revolução da consciência, de atitude e de postura frente aos conservadorismos de toda uma sociedade. O “faça você mesmo” era o lema dos usuários de calças jeans rasgadas e alfinetes. A subversão da ordem, a desobediência civil e os símbolos visuais mesclavam-se com o som e formavam uma nova identidade. Mais tarde o Punk Rock daria lugar ao Hardcore Norte Americano, numa ressonância muito mais pesada, mas como o mesmo tom politizado e urbano.

London Calling, a primeira música do álbum clássico, é um chamado a todos que se sentem excluídos. “Agora a guerra está declarada e a batalha começou”, diz. Talvez seja isso que temos buscado durante todos esses anos, um chamado, um alerta ou um aviso para que nos conscientizemos sobre o mundo a nossa volta, cheio de desigualdades e abusos. Viva o Punk! Viva o Rock! Viva as revoluções! E longa vida ao THE CLASH!

Mick, Joe, Topper e Paul

"Train In Vain"

bigdcool — Fri, 20 Nov 2009 22:52:41 +0000

A really odd workout this evening, I went to the gym and had a pretty good session but I never felt “into” it and I felt like I had to force myself to keep going the whole time.

I did 10 mins of hill cycling before 6 mins of hill running, then I did 10 mins of fast flat running before another 10 mins of hard hill cycling, 500 metres on the rower before finally running another 6 fast mins.

Overall I’m happy I did as much as I did but disappointed with my performance.

Tonight’s workout was powered by the album “London Calling” by The Clash.

Lost In The Supermarket with Ben Frost

enkha — Fri, 20 Nov 2009 06:44:27 +0000

LOST IN THE SUPERMARKET
A NEW SOLO EXHIBITION BY BEN FROST
OPENING THURSDAY NOVEMBER 26TH, 6 -8 PM

We are all Lost in the Supermarket

and we don’t even know it.

For the first time in three years, Ben Frost unleashes his visual delight that is mental torture, on Sydney. Recently returned from his second solo show in New York following exhibitions in London, Berlin, Amsterdam, Singapore, Beijing and San Francisco, Lost in the Supermarket embodies a solidification of the culturally confrontational and wildly irrepressible identity he has garnered over the last decade.

Now represented for the first time in Australia by a commercial gallery, Boutwell Draper in Redfern, Frost finds himself resting, even just for a moment, amongst a stable of distinctive and well-established international artists. This latest move signifying a leap of recognition in this country, from low-brow art rock star to vital sub-cultural art figure.

Ben Frost carries a lusty allegiance amongst his fans, with the enviable ability to tweak the vibe wire and entice the people, silent Pied Piper style, into his world of kaleidoscopic neo pop violence. His recent appearance on the Australian version of US reality series The Apprentice, saw him draw a larger crowd to see his work than any of the other exhibiting artists on the show. Well of course he did, he’s Ben Frost.

In an ironic twist tied carefully between concept and reality, Frost has refined this ability to hypnotise his audience into a world of ferociously poignant assault. A background in performance art would explain this, with his existence within the visual art world becoming one all-encompassing, and frighteningly clever, performance piece that we find ourselves within.

Lost in the Supermarket, a reference to The Clash song, remarks on the over stimulation, confusion and daily hypnosis we are trapped by, as we struggle to stand still on a buzzing psychedelic landscape of brands, identities and social demands.

This is an exhibition of works that both comforts and confronts, as you slide through the hyper reality of Ben Frost’s world and come out the other side dusting off the sensory debris of your over crowded daily life.

Ben Frost has exhibited extensively throughout Europe, the United States and Australia. His work is held in multiple private collections internationally, including television executive Kerry Stokes, as well as public collections including Artbank. He is the co-founder of the online art portal stupidkrap.com, and was a guest speaker at the 2008 Semi-Permanent and AG IDEAS conferences in Australia. Ben currently lives in Sydney and operates ‘Worlds End Studio’, in Surry Hills.

Boutwell Draper Gallery – 82 George St, Redfern.
www.boutwelldrapergallery.com.au

Exhibition continues until December 17th.

Via Ben Frost

papino rapinava le banche, ma non faceva male a nessuno

pizzeriaitalia — Thu, 19 Nov 2009 22:26:07 +0000

Il paese di Tonara (NU) dedica una via a Joe Strummer. La cosa parte da un blog “locale” che dimostra che c’è ancora speranza.

da emmebi.