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zaphffayrkunialofphinsfable · 4 months

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my fictional band JFKFC

genres: rock, pop, beat, psychedelia, soul, r&b, gospel, jazz, folk, blues, country, traditional pop, experimental, psychedelia, Indian classical, funk, classical, electronic, hard rock, blues rock, folk rock, heavy metal

years together: 1958-1986

year they blew up: 1967

influences: Bob Dylan, The Beatles, The Jimi Hendrix Experience, Aretha Franklin, Chuck Berry, Buddy Holly, Elvis Presley, Led Zeppelin, Carl Perkins, Little Richard, Fats Domino, Gene Vincent, Lonnie Donegan, Phil Spector, Ravi Shankar, Roy Orbison, The Isley Brothers, The Everly Brothers, Arthur Alexander, Eddie Cochran, Smokey Robinson, Larry Williams, The Shirelles, The Supremes, Little Willie John, The Marvelettes, The Shadows, Bill Haley, Buck Owens, Jerry Lee Lewis, Johnny Kidd & The Pirates, Bo Diddley, The Band, King Curtis, Carole King, Slim Whitman, Billie Holiday, Clara Ward, Dinah Washington, Mahalia Jackson, Ruth Brown, Sam Cooke, Sarah Vaughan, Big Maybelle, Sister Rosetta Tharpe, Willie Mae Ford Smith, Wynona Carr, Bessie Smith, Dorothy Love Coates, Ella Fitzgerald, Esther Phillips, James Cleveland, Johnny Ace, LaVern Baker, Ma Rainey, Nat King Cole, Nina Simone, Arizona Dranes, Blind Lemon Jefferson, Dave Van Ronk, Hank Williams, Rev. Gary Davis, Woody Guthrie, Allen Ginsberg, Bill Monroe, Blind Willie McTell, Cisco Houston, Hary Smith, Jimmie Rodgers, Leadbelly, Johnny Cash, Little Richard, Mississippi John Hurt, Odessa, Pete Seeger, Ramblin’ Jack Elliott, Bascom Lamar Lunsford, Clarence Ashley, Dock Boggs, Jesse Fuller, Robert Johnson, John Jacob Niles, Lefty Frizzell, The Carter Family, Victoria Spivey, Alan Lomax, Doc Pomus, Doc Watson, Mississippi Sheiks, The Weavers, Roscoe Holcomb, George Gershwin, Percy Mayfield, Blind Boy Fuller, Josephine Baker, Frank Hutchison, Ewan MacColl, Billy Lee Riley, B.B. King, John Coltrane, The Yardbirds, Little Richard, Howlin’ Wolf, Muddy Waters, Cream, T-Bone Walker, The Impressions, Buddy Guy, Elmore James, Freddie King, Hubert Sumlin, Little Walter, Jimmy Reed, Lonnie Mack, Albert Collins, Bobby Womack, Curtis Mayfield, Earl Hooker, Esquerita, Johnny “Guitar” Watson, Ike Turner, Charley Patton, James Brown, Johnny Jenkins, Randy Hansen, Charlie Christian, Moby Grape, Fairport Convention, Otis Rush, Sonny Boy Williamson II, Willie Dixon, Anne Briggs, Bert Jansch, John Renbourn, The Creation, The Rolling Stones, Blind Willie Johnson, Davy Graham, Fleetwood Mac, James Cotton, Johnny Burnette, Memphis Minnie, Small Faces, Jake Holmes, Spirit, Tim Rose, Vanilla Fudge

JHENE FRANCIS

born: James Francis Parker June 3rd, 1940 Toronto, Canada

died: 22nd September, 2001 (aged 61) Detroit, Michigan, US

cause of death: gunshot wounds

resting place: cremated; ashes scattered in Sleeping Bear Dunes National Lakeshore, Michigan

occupation: singer, songwriter, pianist, civil rights activist, record producer, artist, writer, musician

years active: 1957-2001

(btw im not gonna fill in the spouses section on any of these I haven't figured that out yet)

children: 12

(btw im not gonna fill in the parents section on any of these I haven't figured that out yet)

relatives: Mary Parker (sister), Linda Parker (sister), Sarah Sheehan (half-sister), Filzah Ellington (aunt)

genres: soul, r&b, gospel, jazz, pop, folk, blues, rock, country, traditional pop, experimental

instruments: vocals, piano, guitar, keyboards, harmonica

strengths: supportive, reliable, observant, enthusiastic, hardworking, good practical skills, charming, sensitive to others, kind, encouraging, imaginative, passionate, curious, perceptive, excellent communicator, easygoing, good-natured, positive

weaknesses: overly humble, takes things personally, represses his feelings, reluctant to change, too altruistic, difficulty with structure, unpredictable, easily stressed, difficulty with technical-problem solving, fluctuating self-esteem, people pleaser, unfocused, disorganised, overly accommodating, overly optimistic, restless

JOHN HARLY

birth name: William John Harley

also known as: John Mason Harly

born: 12th July, 1942 Toronto, Canada

died: 18th September, 1986 Toronto, Canada (aged 44)

genres: rock, psychedelia, blues, r&b, pop, indian classical

occupation: musician, songwriter, singer, record producer, film producer

instruments: guitar, vocals, sitar

years active: 1960-1986

children: 1

strengths: charming, sensitive to others, kind, encouraging, imaginative, passionate, insightful, principled, altruistic, creative

weaknesses: difficulty with structure, unpredictable, easily stressed, difficulty with technical problem solving, fluctuating self esteem, sensitive to criticism, reluctant to open up, perfectionist, avoids the ordinary, prone to burnout

JOHN JORGIE

birth name: John Mark Jorgie

born: 9th April, 1938 Detroit, Michigan, US

died: 2nd August, 2004 Los Angeles, California, US (aged 66)

genres: r&b, soul, pop, funk, jazz, rock, classical, electronic

occupation: session musician, singer, songwriter, musician, record producer, film producer, businessman

instruments: bass, double bass, vocals, guitar, keyboards

years active: 1956-2004

children: 5

relatives: Steve Jorgie

strengths: charming, sensitive to others, kind, encouraging, imaginative, passionate, strong practical skills, strong sense of duty, very loyal, sensitive, warm, good at connecting with others

weaknesses: difficulty with structure, unpredictable, easily stressed, difficulty with technical problem solving, fluctuating self esteem, worried about his social status, inflexible, vulnerable to criticism, often too needy, too selfless

GEORGE FAREN

birth name: James William Peyton

born: 19th June, 1944 Stoke-On-Trent, England

died: 25th September, 2002 Birmingham, England (aged 58)

genres: rock, pop

occupation: musician, singer, songwriter, actor

instruments: drums, percussion, vocals

years active: 1959-2002

children: 3

strengths: bold, rational, practical, original, perceptive, direct, sociable, positive, enthusiastic, hands on, observant, excellent people skills

weaknesses: insensitive, impatient, impulsive, unstructured, may miss the bigger picture, defiant, sensitive, conflict averse, easily bored, poor long term planner, unfocused

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unreal-fiction · 7 months

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1960s Psychedelia and its Art Nouveau Influences

If you're familiar with older music, you've probably seen the famous music posters and handbills of the 1960s. Featuring vibrant colors and lurid designs, these advertisements sought to absorb and reflect the contemporary cultural ideas of revolution, psychedelia, and free love.

The artistic styling of these posters was strongly influenced by the Art Nouveau movement that had taken Europe and America by storm over half a century before. Art Nouveau took inspiration from nature to create architecture, interior design, and fine art with lurid, organic shapes, a direct contrast to the square, gray cityscapes of the Industrial Revolution in the late 1800s/1900s.

See below the metro entrances designed by Hector Guimard, installed in Paris between 1900 and 1912; The Kiss (1907) by Gustav Klimt; the Pond Lily Table Lamp (1903) created by Louis Comfort Tiffany, heir to Tiffany & Co.

But why was Art Nouveau so popular with the artists behind music posters in the Summer of Love?

Although Art Nouveau pieces often depict scenes of harmony, simplicity, and love, the movement itself had existed as a form of revolution, a call for a return to peace with nature. Likewise, the hippie movement and other counterculture scenes of the 1960s were in part a rebellion against the strict cultural hegemony of the post-World War II era. The children of the suburban Baby Boom generation just now coming into adulthood saw in Art Nouveau a similar yearning for change and harmony with Mother Earth.

The congruence between these two movements is undeniable. Several famous music posters of the late 1960s even directly lifted figures from Art Nouveau paintings, most often from the work of the famed Czech commercial artist Alphonse Mucha.

Left: Job By Alphonse Mucha 1896, Right: Big Brother and the Holding Company Poster by Stanley Mouse and Alton Kelley (1966)

Like the quickly evolving landscape wrought by the Industrial Revolution at the turn of the century, the 1960s were also a time of great cultural upheaval. The hippie, Civil Rights, and anti-war movements drove young people to protests and concerts featuring experimental new music and new ideas. The artists behind the music posters of the era turned to Art Nouveau to reflect a similar time of cultural change, as well as the re-emerging desire to connect to nature seen within the hippie movement.

Alphonse Mucha was famous for his hundreds of paintings featuring women, whom he often used to depict natural forces such as weather or the change of seasons. Norman Orr, an artist for the 1960s musician Bill Graham, was inspired by the "sensuality of the graceful, flowing lines of the Mucha's work and the way that the female form was combined with the sensuality of the line work."

Below: Absinthe Robette By Henri Privat-Livemont (1886) and Pink Floyd Marquee Club by Bob Masse (1966).

The sensual female form employed by Mucha (and much of Art Nouveau in general) was combined with the drug-fueled psychedelia of the time to create the famous eye-catching posters, perfectly reflecting the cultural fervor of the late 1960s. The posters themselves became valued collectors items, taken home by the young, revolution-minded fans who flooded the cities where these musicians played.

Today we can empathize with the emotions these posters convey. Like the artists of the Industrial Revolution and their audiences, the counterculture youth of the late 1960s sought revolutionary change. Artists of the time naturally drew inspiration from the art of a previous revolutionary period with similar sentiment. Could another rebirth of Art Nouveau be approaching as our generation fights the climate crisis and rebels in music and on the streets?

sources:

Art Nouveau: The Ornate Architectural Style That Defined the Early 20th Century, Jessica Stewart, mymodernmet.com

SFO Exhibit Shows How Artists Adapted Art Nouveau to Rock Posters, Rachael Myrow, KQED.org

The Psychedelic Art Nouveau, Karlin Lojo, czechcenter.org

Art Movement: Art Nouveau, Shira Wolfe, magazine.artland.com

#artwork #art history #history #1960s #hippie #1970s #psychedelia #art nouveau

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doomedandstoned · 10 months

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UK Rockers FROGLORD Groove on ‘Sons of Froglord’

~Doomed & Stoned Debuts~

By Billy Goate

Since the dawn of time, Mystics have foretold the coming of the Froglord An ancient amphibian with death ray vision and ectoplasm slime...

Behold, the mighty FROGLORD has returned! We first met the Bristol bunch in these pages when they split an album with Bog Wizard, then again for our compilation, Doomed & Stoned in England, Vol. II. Now they're back with 11 new tracks, 'Sons of Froglord' (2023), each one linked to overarching plot (the saga now spanning four records):

500 years before ascension, Froglord tires of wordly trappings and so departs into the wilderness. There, the great Wizard Gonk awaits, a mighty guide through this garden. Together they seek its forbidden fruit: the Road Raisins. Once found, the flesh is consumed, giving way to visions of a coming collapse. The sound of The Amphibian can be heard, calling to the sage, and the Froglady's embrace guides him back to earth. Returning to the world on a Wednesday, he knows he must hold on till the lord cometh. Till that time, the mind must be honed and create a swamp of its own.

The content really delivers on the storyline, too. "Wizard Gonk" is a riff-driven romp with foot-shuffling stride and deadpan, shoegazy vocals on the order of Depeche Mode. "Garden" is a dank one for sure, donning bluesy guitar, strident rhythm, and a fist-raising chorus. "Road Raisin" couples humid Kyuss guitar tone with an easy-going desert rock tempo and mysterious, doomy vox. Speaking of singing, "Collapse" features grisly pipes that remind me of Neal Fallon's early work. Many tokes will be taken, surely, early on in this album.

It's not all an anuran fantasy, however. "Wednesday" is an ultra cool rocker a la Velvet Revolver about riding through the midweek blues. And the album closes with a nod to the CCR classic, "Born On The Bayou," giving it the Froglord treatment with gutsy drumming, smooooooth bass work, stinging guitar, and crooning that tells us we're deep into marsh country now and there ain't no returning.

Sons of Froglord is an up-beat romp through the swamp, ideal for baking on your favorite lilly pad. Look for the Froglord's latest release on Friday, July 7th (pre-order here). Stick it on a playlist with Deep Purple, Clutch, Merlin, Geezer, and Forming The Void.

Give ear...

FROGLORD - Sons of Froglord

SOME BUZZ

During the pandemic as a one-man project, Froglord released their first EP in 2020, followed soon after by a full-length album 'Amphibian Ascending.' Through their infectious grooves, storytelling, and DIY music videos, Froglord quickly amassed an online cult-like following. After the release of their second album 'The Mystic Toad' a year later, Froglord developed into a full 4-piece band as live venues began to reopen.

Since then, Froglord have released a further EP, split record, a single, and two more full-length albums: 'Army of Frogs' and 'Sons of Froglord.' During this time, Froglord has quickly gained a reputation for their commanding and theatrical stage performances.

Photo by April Marie

Whilst Froglord's sound leans primarily toward stoner doom, they have been characterised for their genre-bending sound, with each album taking on it's own distinct style, taking strong influences from psychedelia, prog, sludge, grunge, groove and blues to deliver the tale of The Froglord through a concept-based discography.

Rooted also in environmentalism, Froglord has worked closely with Save The Frogs, the world's largest amphibian-based conservation charity, raising over £2500 through 'Save The Frogs' EP sales and campaigning, as well as £300 for the Human Dignity Trust through merch sales.

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#D&S Debuts #Froglord #Bristol #England #UK #doom metal #stoner rock #sci-fi #D&S Reviews #Doomed and Stoned

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kylesvariouslistsandstuff · 1 year

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Pete Docter Talks TOY STORY 5, LIGHTYEAR, and More...

Pete Docter, Chief Creative Officer of Pixar and director of MONSTERS, INC., UP, INSIDE OUT, and SOUL, spoke with The Wrap recently...

On his way to receiving the Windsor McKay Award at the Annies this year, he talked about his new book, where Pixar is at now, what's up with TOY STORY 5, if he'll direct a feature ever again, his colleagues - such as Andrew Stanton and Brad Bird - going off to pursue other interests, and some reflection on the box office failure of LIGHTYEAR...

I want to talk about his comments on LIGHTYEAR, and what little he could say about TOY STORY 5...

“We’ve done a lot of soul-searching about that because we all love the movie. We love the characters and the premise. I think probably what we’ve ended on in terms of what went wrong is that we asked too much of the audience. When they hear Buzz, they’re like, great, where’s Mr. Potato Head and Woody and Rex? And then we drop them into this science fiction film that they’re like, What?” "Even if they’ve read the material in press, it was just a little too distant, both in concept, and I think in the way that characters were drawn, that they were portrayed. It was much more of a science fiction. And Angus [MacLane], to his credit, took it very seriously and genuinely and wanted to represent those characters as real characters. But the characters in TOY STORY are much broader, and so I think there was a disconnect between what people wanted/expected and what we were giving to them.”

Docter's assessment of LIGHTYEAR is not dissimilar to how Walt Disney perceived the completed ALICE IN WONDERLAND after it had bombed so hard on its initial release in 1951.

ALICE IN WONDERLAND was the first major flop for the studio, not counting the package features, since BAMBI in 1942. After the runaway success of the more familiar CINDERELLA in 1950, this came as a shocking blow. I feel that Walt and his crew knew that PINOCCHIO, FANTASIA, and BAMBI were either impacted by World War II, or the films themselves being ahead of their time (especially FANTASIA, aaaand how!)... With ALICE IN WONDERLAND, already a quite troubled production that spanned a few iterations, it seemed like the consensus was... "The war has been long over... We messed up." Walt made a remark about Alice herself not having heart, and that that wasn't what did it for audiences back when it was released. It seemed like it was too weird for American audiences not familiar with Lewis Carroll's stories, and too much of a bastardization of the original books to British audiences. It seemed like Walt won nobody with that film, and took the failure on the chin.

While Walt withheld most of his animated films from being shown on television, he made an exception for ALICE IN WONDERLAND. The film, in an abridged form, aired as the second-ever episode of the DISNEYLAND anthology program in 1954. No theatrical re-release was in the cards. Walt didn't live to see ALICE IN WONDERLAND enjoy its new life. He had passed away in December 1966, a time when psychedelia and hippie culture and other such things were becoming a thing in America. "Go ask Alice when she's ten feet tall." By the end of the 1960s, prints of ALICE IN WONDERLAND were heavily requested by colleges. FANTASIA had finally turned a profit during its 1969 re-release, and Disney finally gave ALICE IN WONDERLAND a theatrical re-release in 1974, which reportedly got the film into the black after some twenty-three years of existing. It was also one of the first Disney animated features to be given a home video release, too.

Maybe Walt Disney was right, but also wrong about ALICE IN WONDERLAND... Time makes a difference... Just ask other films like... THE WIZARD OF OZ, CITIZEN KANE, BLADE RUNNER, etc. ALICE IN WONDERLAND is now considered one of *the* iconic Disney animated films, it's a favorite of many, its presence in and around the company and the parks and everything else, can't be understated. Much like PINOCCHIO, FANTASIA, BAMBI, and SLEEPING BEAUTY, its strengths helped the film stand the test of time.

I feel similarly about Pete Docter's assessment of LIGHTYEAR, though he does stand by the movie, saying "we all love the movie." I don't think director Angus MacLane nor the writers really "asked too much of" the audience, they made a nerdy hyper-specific movie that was viewed by some as too much of a deviation from the character, especially those who were familiar with the TV series BUZZ LIGHTYEAR OF STAR COMMAND. When the movie was first announced during the Disney Investor Day event in December 2020, Docter made it very clear what that movie was: It was a show-within-a-show movie that Andy loved, and why he wanted the Buzz Lightyear toy for his birthday. They even have that information as a title card in the actual movie... But so many people seemed very, *very* confused on what the movie was. Perhaps the marketing campaign didn't communicate that very well, nor did a weird mishap from Chris Evans when he described Buzz Lightyear as a "real" astronaut that lives in Andy's universe. He's a fictional character in the TOY STORY universe, much like Woody and pals in the WOODY'S ROUNDUP TV show.

So, I wouldn't blame the movie so much, sometimes films just don't catch on with audiences. It's not necessarily the fault of the movie, nor even the audience. Some things just don't appeal, some things come out at the wrong time, the theaters game is ruthless anyways: Make your first impression on opening weekend, right out of the gates, or else the press will be all over your "failure" like vultures. Heck, Brad Bird himself made this gem of a tweet once: "Movies are dreams. The way Wall Street talks about them are nightmares." These ludicrous box office (and even critical reception) narratives are, to me, non-conducive to movies. It's not like LIGHTYEAR was a critical bomb, it had plenty of positive and passing-grade reviews. But this overall narrative of "it was a bomb!" or "it was a big disappointment" overshadows the nuances of these movies, and the elements that DO resonate with those that like them. I was actually quite fond of LIGHTYEAR, even if I didn't think that it was truly spectacular or anything of the sort. And yet, the stuff I love about it? That's all that matters, I own the movie on disc, I'll be repeat-viewing the movie from here on out. I still got *something* out of it. It's not Guillermo del Toro's PINOCCHIO or PUSS IN BOOTS: THE LAST WISH in my eyes, but hey, I still dug it.

Like, why do you think so many movies made in - say - the 1990s and early 2000s that got negative reception are beloved today by those who grew up on them? And those who appreciated them from the very start? Because times change, tastes change, things get re-evaluated, etc. etc. etc. I feel like with a lot of commentary, exacerbated by Twitter and message board forums and whatnot, basically spells death sentences for movies that don't necessarily hit every beat or live up to certain expectations... LIGHTYEAR worked for some, didn't work for others, but it'll likely hold tight over the next decade or so... And eventually have retrospectives highlighting its strengths, how it was a Pixar film that dared to be a science-fiction space action-adventure, a genre that Western animation often has trouble with. *cough*TITAN A.E./ATLANTIS/TREASURE PLANET/STRANGE WORLD*cough**cough*

So, in a way, I get Docter's humbleness... But it's really not anyone's fault, really. The time just wasn't right for it. Maybe if it was made in 2004, it would've been a blockbuster. Maybe if made far into the future, in maybe the year 2038, it would be a blockbuster. Maybe 2022 wasn't the right year, the right time for it. For what it's worth, it seemed to have a second life on Disney+. Ditto Disney Animation's STRANGE WORLD.

Regarding TOY STORY 5, Docter said:

“Look, it’s great to go back and explore these worlds and these characters, but you want to have a reason, some kind of compelling reason, that you’re making the movie."

"The thing we’ve been really trying to do, and this has been the case for a while, is we’ve been looking at them a little bit like, okay, we’re not planning for the future. When we made the first TOY STORY, we had no idea there would be a TOY STORY 2. We’re just trying to make this movie. But that in making the movie, it takes you places, unexpected places, which is what I love about the creative process. If I knew exactly what I was doing when I started making a movie, there’d kind of be no point in making it. I discover so much along the way.”

"I think it’ll be surprising. It’s got some really cool stuff that you haven’t seen before."

These comments imply that TOY STORY 5 is actually pretty... Well, not far along, but it's been in development for quite some time, and not something hastily cooked up on the heels of LIGHTYEAR's box office failure. I mean, after all, when Disney had announced in a March 2014 investor's call that a third CARS movie was being made, that thing had been in development since 2011 - right after CARS 2 came to theaters. Michael Wallis, the voice of the Sheriff in those movies, confirmed its existence on a podcast in August 2013 and said it would be about Route 99. (Which the movie ended up not being about, but it was indeed the plan early on in development.) If we are to believe Bo Peep's voice, Annie Potts, TOY STORY 4 was on the boards when TOY STORY 3 was being made... Contrary to various Pixar filmmakers saying that they weren't planning on making a fourth film when TOY STORY 3 debuted theatrically in 2010.

"Surprising", "some really cool stuff you haven't seen before"... I made a few posts on here previously that expressed cautious curiosity of TOY STORY 5. If this brings a new voice and new ideas to the table, I'm there. I can take the film or leave it, honestly, but it exists. I remember really not digging the idea of a fourth TOY STORY, until I learned more about it and actually saw the film... So, maybe I'll be seated, maybe June 2026, in the theater and then come out saying "Holy shit, they really ***did*** do it again??" I'd like to see what they've got, at the very least.

Docter also confirmed that next year's INSIDE OUT 2 was pitched to him by its director, Kelsey Mann. That makes me more curious, Docter could very well say "no" to an idea, not so much an INSIDE OUT sequel... So it seems like Docter approves the INSIDE OUT sequel that he is not directing, and how it's going back to ideas that were ditched from the original, namely there being more emotions in your brain than just five...

He also mentioned that Aphton Corbin, director of the SparkShort entry TWENTY-SOMETHING (one of my favorites in the series), might direct a feature. It was previously announced that she had something lined up, but it's not so clear-cut now. "She's playing around and we'll see."

I'll say briefly that I quite like Pete Docter's Pixar. I think his predecessor, John Lasseter, quite frankly needed to go. His mistreatment of women employees a big reason, but also because he was a little too controlling. There isn't a single Pixar film that I dislike (yes, even the dreaded CARS 2), but a lot of the films they made from around 2012-2017 feel like the needle getting stuck. Like them falling back on "legacy", the pictures feeling very Lasseter-approved. So many director firings, too. That hasn't happened under Pete Docter. Lasseter did greenlight ONWARD, LUCA, TURNING RED, and LIGHTYEAR yes, but under Docter, the directors got to make the films that they wanted to make. There's *no way* the TURNING RED we got would've been that very film if Lasseter was still in charge.

Under Docter, it feels like there's a variety in vision and story... LUCA was a very "characters exist" sort of tale that didn't need to be some extravagant adventure or some "meaning of life" kind of thing, it was 90 minutes of two kids in a seaside Italian town who wanted to get a Vespa. You know, sort-of random kid desires. Under Lasseter, there likely would've been some major plot complications mandated along with that cliche "Pixar moment" where the audience has to have their collective hearts slam-banged by a speeding freight train. TURNING RED is about a teen girl who wants to see a boy band and has to deal with a strange problem, and it works perfectly as just that. They feel very character-and-vibes first, and work outward from there. LIGHTYEAR, again, really dug it. Classic old-school style adventure, sci-fi, ego, the inevitability of time, etc. ELEMENTAL looks to be a romantic comedy, less an adventure. Will that too be a vibes-kinda movie? These all feel pretty distinct from one another, and I'm here for it.

So yes, I'm excited to see what's next. ELEMENTAL, ELIO, INSIDE OUT 2, TOY STORY 5... All. Of It.

#toy story #toy story 5 #lightyear #pixar #animation news #unorganized thoughts

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gerogerigaogaigar · 1 year

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Lil Wayne - Tha Carter II

I slept on Wayne for too long. I suppose he was hitting his stride when I was barely a high schooler, but I have no excuse for not checking out his backlog sooner. Tha Carter II is a solid contender for his best work and represents a huge jump in quality from his previous work. That's not to say Tha Carter I is bad, far from it, but Weezy completely and utterly destroys the competition on this one. Behind the laid back lazy vibes there's a lot of highly technical shit happening in the verses here. Weezy can maintain a rhyme scheme well past when a normal person would have run dry and the multisyllabic patter is layered into the rhymes until he's practically juggling rhyme and rhythmic ideas. The ability to glide from laid back to intense staccato flow and from lazy to frenetic pace is an amazing achievement. When Lil Wayne declared himself the best rapper alive he was not kidding. He sincerely was one of the best rappers alive.

Mobb Deep - The Infamous

For people that are not already big hip hop heads this album is a bit of a hidden gem. It came out among a scene that was reinventing hardcore hip hop on the east coast, but didn't quite achieve the long term success of Enter the Wu Tang or Illmatic. Possibly the starkness is slightly to blame. There is no time for goofy skits and even the bravado isn't in the name of fun, this shit is serious. There's less individualist bravado here and more 'none of are gonna make it unless we all work together' vibes. East coast hip hop has a few notable hallmarks and my favorite is the oh so predictable inclusion of what I like to call "haunted piano". This tends to lend a more serious, stark sound to east coast hip hop as opposed to the funkier west coast. In the case of The Infamous these stark beats and dead serious subject matter make for an intense experience. Plus the features by Nas, Q-Tip (who also produces), and half the Wu-Tang crew make this album a who's who of east coast rappers.

George Harrison - All Things Must Pass

When the Beatles broke up John and Paul started their solo careers and Ringo went back into the Ringo box or whatever. George Harrison however had an ace up his sleeve. While John and Paul had been stealing the limelight he had just been writing a billion fucking songs and so his solo debut is a triple album. Surprisingly there is very little of the psychedelic raga influenced ramblings that you'd expect, instead Harrison seems to have gotten interested in country and blues. And it really works! There is of course a fair bit of psychedelia, My Sweet Lord was the big hit after all and the title track is pretty psych too. But imo the album's strongest moments are after a reprise of Isn't It A Pity where he just spends the rest of the album doing extended bluesy hard rock guitar jams.

Drake - If You're Reading This It's Too Late

Listen I'm such a fucking hater for Drake. So it pains me to say that this album isn't a complete dumpster fire. It is still impossible for me to take Drake seriously as a rapper but hey at least he's trying to actually rap right? I think this might actually be enjoyable if it was pared down a bit and if the beats were punched up a bit and if someone other than Drake rapped over them.

Aerosmith - Rocks

I'm gonna start being known as that girl who will go to bat for mediocre dad rock bands aren't I? I like Aerosmith, they genuinely nail the stupid guitar god machismo of the 70s. The guitars can scream, the drums go wild, and Steven Tyler's camp ass voice feels completely unrestrained. All they have to do is keep up that energy and they do. When Last Child started playing I legitimately air guitared to that sick ass riff.

Madvillain - Madvillainy

MF Doom and Madlib were a match made in hip hop heaven. Madlib could flip a sample better than anyone in the industry at the time and the esoteric nostalgic beats were the perfect accompaniment for Doom's supervillain persona. Doom's rapping is at its peak here, pretty much take every good thing I said about Wayne's technique and turn it up to eleven. Faster, effortless, deliberately sloppy, mumbly yet perfectly enunciated. Rhymes in rhymes in rhymes are stuffed rapid fire in a minute and a half what would take other rappers four. Doom's GOAT status is unassailable. The thing is that Madlibs beats are so incredible that if you just removed Doom from this record it would still be an amazing listen. These two are just so incredibly individually talented musicians that also happen to be the perfect fit for each other.

#lil wayne #mobb deep #george harrison #drake #aerosmith #madvillain #so i definitely declared wayne the best rapper of his era #and then said that doom was even better #even though those two albums came out within a year of each other #so which one is it audrey?#doom or wayne?#the answer is shut up who give a shit #500 album gauntlet

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rastronomicals · 8 months

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8:36 AM EDT September 18, 2023:

King Gizzard & The Lizard Wizard - "Her & I (Slow Jam II)" From the album I'm in Your Mind Fuzz (November 11, 2014)

Last song scrobbled from iTunes at Last.fm

File under: Antipodal Psychedelia

#King Gizzard & The Lizard Wizard #I'm in Your Mind Fuzz #Her & I (Slow Jam II)

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docpiplup · 1 year

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@asongofstarkandtargaryen There's a couple of comics and films I wanted to post something about them some time ago, so here they are

Black is Beltza is a duology of comics, the first one was published in 2014 and the second in 2022, and they have been adapted into two Basque animated films recently in 2018 and 2022, Black is Beltza and Black is Beltza II: Ainhoa.

One of the main things of the comics are the sociopolitical environment of the places and the period the films are set in, for example the first one is set in the 60's mainly in New York and the sequel is set in the 80's and among other places, in Pamplona.

Black is Beltza (2018)

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October 1965. The Pamplona troupe of giants, a typical image of the San Fermín festivities, is invited to parade on Fifth Avenue in New York. But not everyone will be able to leave: due to racial discrimination, the North American authorities prohibit the participation of the two black giants. Based on this real event, "Black is Beltza" tells the story of Manex, the waiter in charge of carrying one of the giants. Headed for a long and unexpected journey, Manex will witness key events in history: the racial riots resulting from the assassination of Malcolm X, the eccentricities of the characters in The Factory, the alliance between the Cuban secret services and the Black Panthers, and the proto-hippie psychedelia of early music festivals.

Duration: 87 min.

Script: Harkaitz Cano, Fermín Muguruza, Eduard Solà (Comic: Fermín Muguruza, Harkaitz Cano, Jorge Alderete)

Animation Companies: ETB, Setmàgic Audiovisual, Talka Records & Films

Cast

Unax Ugalde: Manex

Isaach de Bankolé: Wilson Clever

Iseo: Amanda Tamaya

Sergi López: Warren Philips

Ramón Agirre: Xebero

Jorge Perugorria: Sargento Bravo

Angelo Moore: Rudy

María de Medeiros: Amira

Emma Suárez: Laia

Oscar Jaenada: Che Guevara

Rossy de Palma: Ruth Abransom

Ramón Barea: Ramiro

Hamid Krim: Yassim

Guillermo Toledo: Teniente Muñoz

Ander Lipus: guardia civil

Josean Bengoetxea: Juanpe, Pancho Villa

Lenval Brown: Jimmy

Valeria Maldonado: Esperanza

Sergio Arau: Juan Rulfo

Jorge Ferrera: Eliseo

Giancarlo Ruiz: Tin-Tan, Smithy, Sergei Titov

Josh Kun: Dwayne

Ray Fernández: Cte. Antonovich

Victor Navarrete: Guerrillero 1

Iban Rusiñol: Laurent

Exprai: Pedro del Taller, Hernán Cortés

Márgenes Dermer: azafata

Ramón Zumitrenko: Sf dentista

Stuart Casson: Otis Redding, Emory Douglas

KO the Knockout: Ben Cauley

Sistaeyeire: Angela Davis

Dratzo Gomex: policía fronteriza I

Marieder Iriart: Iman

Mariam Bachir: Amal

Black is Beltza II: Ainhoa (2022)

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Ainhoa was born by a miracle in La Paz (Bolivia) after the death, in a parapolice attack, of her mother Amanda. She grew up in Cuba and in 1988, at the age of 21, she traveled to the Basque Country to see the land of his father Manex. In the middle of the repressive conflict, she meets Josune, a committed journalist, and her gang of friends. When one of them dies of a heroin overdose, Ainhoa and Josune set out on an initiation journey that will take them through Lebanon, Afghanistan and the city of Marseille. These are the last years of the Cold War and both will delve into the dark world of drug trafficking networks and their close ties to political plots.

Direction: Fermin Muguruza

Duration: 86 min.

Script: Fermín Muguruza, Isa Campo, Harkaitz Cano (Comic: Fermín Muguruza)

Music: Maite Arrotajauregi

Photography: Animation, Mariona Omedes

Companies: Co-production Spain-Argentina; Talka Records & Films

Cast

Maria Cruickshank: Ainhoa

Itziar Ituño: Josune

Manex Fuchs: Hamid

Antonio de la Torre: Rafael

Darko Peric: Igor

Ariadna Gil: Isabelle

Eneko Sagardoy: Diego

Mikel Losada: Mikel

Ramón Agirre: Xebero

Miren Gaztañaga: Amatxi Tere

Maite Larburu Iman

Ximun Fuchs: Jean-Pierre

Gorka Otxoa: Iñigo Kortatu

Fermín Muguruza: Fermin Kortatu

Jon Plazaola: Javier Salutregi

Peio Berteretxe: Didier

Maryse Urruty: Armineh

Isidro: Isidro

Joseba Sarrionandia: Martin

Maria Forni: Yady

Iban Rusiñol: Commisaire Marcel

Natalia Abu-sharar: off Sabra y Shatila

Moraysys Silva: Tania

Maykel García Cardo: Felix The Cat

Bruno Coscia: Arthur

Maria Amolategui: Amaia Apaolaza

Papet-J: Chef Chérif

#black is beltza #black is beltza ii: ainhoa #films #comics #long post #animated films

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sinceileftyoublog · 2 years

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Riot Fest 2022 Preview: 4 Reasons to Come Early, 1 to Stay Late

Bob Vylan

BY JORDAN MAINZER

This year’s Riot Fest offers a lot in the way of postponements from previous years, whether Nine Inch Nails’ headlining set 1 year in the making or My Chemical Romance’s triumphant return to the stage 2 years late. But there are plenty of great bands to check out before the sun sets. I’ve highlighted 4 bands worth showing up early for and 1 that will make you want to stick around. Oh, and even if you’re not going, you can buy some or all of each band’s music on Bandcamp.

FRIDAY

Boston Manor, 1:30 PM, Radicals Stage

Next month via SharpTone Records, British rock band Boston Manor will follow up their breakout record Glue and last year’s Desperate Times, Desperate Pleasures EP with Datura, their biggest but bleakest album yet. Recorded with Hundred Reasons guitarist, vocalist, and producer Larry Hibbitt, Datura reflects the time-warped days of the pandemic, nights filled with drinking too much and mornings filled with the repercussions of the nights. Lead singer Henry Cox immediately rattles off a series of stark observations on the alien opener “Datura (Dusk)”: “There’s a fire in the cark park / I see it smoldering / Heard my neighbor kill his own dog for going in the bins.” The music of Datura mirrors a similar pervasive sense of dread, harsh noise enveloping the otherwise dreamy guitars of closer “Inertia” and synth bounce of “Crocus”. The rest of the band--lead guitarist Mike Cunniff, rhythm guitarist Ash Wilson, bassist Dan Cunniff, and drummer Jordan Pugh--provide storming instrumentation alongside the pulsating electronics of “Floodlights on the Square” and synth glitches of instrumental “Shelter From The Rain”.

Live, Boston Manor should play at least a couple of the singles from Datura, such as the reflective “Foxglove” and the dramatic “Passenger”, while also taking the Glue victory lap they weren’t able to experience at the height of the pandemic.

Bob Vylan, 4:15 PM, Rebel Stage

The liner notes on the deluxe version of Bob Vylan’s debut album We Live Here start with the words, “Recorded in 2019, mastered in 2020 and relevant today!” You could follow the same formula for all songs from the UK punk rap duo. Even the song that begins with an order to kill the now late queen may be updated on their current tour to use King Charles’ name instead. Bob Vylan’s music lives in constant urgency. Their second album, the phenomenal Bob Vylan Presents the Price of Life (Ghost Theatre), begins with a sample of a speech from Guyanese historian and activist Walter Rodney: “People in their day-to-day lives will know what it means to be living in a state of economic crisis.” Considering the ever-present ills of colonialism, an unprecedented cost of living and housing crisis, and even some food banks closing on Monday for Queen Elizabeth II’s funeral, Bob Vylan speak from their own experiences and on behalf of others. With a combination of driving guitars, propulsive beats, shouted choruses, and limber flow, the duo target everything from the surveillance state (“Phone Tap”) and big pharma (“Drug War”) to the blissfully ignorant (“Turn Off The Radio”) and fake progressives (“Bait the Bear”). “They say I’m violent,” laughs Bobby Vylan, before declaring, “The whole country’s fucking violent.” Fighting fire with fire out of survival, they’ll bring the riot to Riot Fest in true spirit rather than just aesthetic.

SATURDAY

Alexisonfire, 4:30 PM, Radicals Stage

They reunited 7 years ago, but it wasn’t until this June that Canadian post-hardcore greats Alexisonfire actually released a new record, their first in 13 years. Otherness (Dine Alone) strikes a delicate balance between remaining faithful to what makes the band tick while exploring new genres and styles, like the 8-minute folk, psychedelia, prog metal closer “World Stops Turning”. While they might not whip that one out during their hour-long Riot Fest set, Alexisonfire should churn through Otherness highlights like “Sweet Dreams of Otherness” and the surprisingly soft “Sans Soleil”. Of course, they’ll play classics from albums like Crisis and Old Crows / Young Cardinals, but the Otherness songs should fit in nicely in a live set.

Read our review of Otherness.

SUNDAY

Zola Jesus, 2:50 PM, Riot Stage

On Zola Jesus’ 6th album ARKHON (Sacred Bones), Nika Roza Danilova bares all. The record was born out of a state of vulnerability--heartbreak, change, writer’s block--with Danilova reaching out to collaborators earlier than ever in the creative process, including producer Randall Dunn and percussionist Matt Chamberlain. The result is the most outwardly expressive Zola Jesus album to date. On “The Fall” and “Desire”, Danilova straight up belts, dynamically over a shuffling groove on the former and raw-like over acoustic piano on the latter. “Lick my wounds like you can taste them,” she asks of a partner on “Desire”, making them tangibly consider the end of a relationship. Importantly, though the record is immensely personal, a product of intense alienation, Danilova finds common ground with the listener, finding subtle, clever ways to express the universality of her themes. She sings around syncopated samples of a Slovenian folk choir on “Lost”, the voices individually disjointed but unified in spirit. Her vocals intertwine with Louise Woodward’s chamber accompaniment on the cinematic and thrilling “Dead and Gone”, and with sinewy synths and cascading drums on “Into the Wild”. Ultimately, she speaks for all of us, wondering “How can love be misguided when your heart learns to beat?” ARKHON is forever truthful and empathetic.

Though Zola Jesus is somewhat embedded within the dark wave or industrial realms, her set should be a comparatively experimental outlier within Riot Fest, a can’t-miss at the festival for those looking for something different.

Photo by David Black

Yeah Yeah Yeahs, 7:10 PM, Roots Stage

The firmly rooted NYC three-piece are back, the band responsible for such Aughts indie rock classics as Fever to Tell and It’s Blitz! bringing their beer swilling, microphone swallowing live show to the Riot Fest grounds. More importantly, they’ve got a brand new album out at the end of the month. Cool It Down (Secretly Canadian) is, remarkably, only their fifth album in over two decades of existence, and judging by the early singles, it might be another gem in the band’s catalog. Expect to hear plenty of it on Sunday night, including slow-burning anthem “Spitting Off The Edge of the World” and the building, orchestrated “Burning”.

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