4 years after Brokeback Mountain on French television: rediscover the film was a global event, upsetting and unforgettable.
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Tuesday, May 25, 2010
Friday, March 19, 2010
Screen Name Not Changing On Mac Messenger
Alex Chilton died
Alex Chilton, eternal creator of the tube The Letter, then the legendary band Big Star died Wednesday, March 17, 2010 at a hospital in New Orleans following a heart attack.
Born in the birthplace of King in Memphis in December 1950, Alex Chilton has experienced the unpleasant experience of a premature fame. At 16, a tube The Letter (1967), blues staining nerve propelled him into the charts with his first band is now forgotten The Box Tops . The creative teenager, with his air of revenge and its tone slightly frayed, sees his desires for emancipation circumscribed by sharks studio, fins standing on the beaches gradually invaded by a sound format that unbearable. His ambitions flattened under the boot of a record company which leaves him the freedom to choose his hairstyle or the reasons for his shirts, the feverish teen is invited to bid more unacceptable and must leave the selection of its musicians or arrangements of songs to unscrupulous technicians.
Frustrated by this indelicate potentate, the gifted Chilton manhandled slams the door to a world of woodlice and decided to ally with the native Chris Bell even vaguely cursed city and composer to create Big Star, a group no less anachronistic dream. Combining the melodic sophistication of Fab Four (period Revolver) and a certain liveliness to Roger Daltrey in his tracks the spicier are their only goal. A first Number 1 album Record collects the enthusiasm of the profession and the indifference of a generation too traumatic newly freed British nursery rhymes, too chiseled to bawl stadiums, and others before them, like the Byrds have already been exploited to exhaustion of the concept. Give a name to this style of music, so that the star (who will visit three times that of pop heaven seventies, may be identifiable, if not truly explored, it will be the Power Pop.
Record Number 1. 36 minutes of pure ecstasy, ballads and rock unstoppable right-child, nothing will work, the ungrateful public does not relay their small businesses. The teens are diamond sweater musicians , very gifted, almost too, with a sense of Bizness quite limited, and demand for perfection that borders on neurosis. Here, none of the riff seems to chance, the songs are so short but everything is confusing, the apparent simplicity of the melodies portends a more upstream work considerable negative consequences if their second weapon should be done as badly received by the public. Apprehension predictable, the next disc will not sell more, a peak. Chris Bell, tired of all these false starts, saw it very difficult for the disallowance of a public ignorant and abandoned the experiment half of the second album in 1974. He goes quietly verse in his corner, the time for a night skimming the USA and recording informal castle Hérouville. Demos, together on one album give birth to a posthumous album (Bell was killed in an accident in 1978). I'am The Cosmos , released in 1992 joined the ranks of classic reference for some unsurpassable Listeners.
His comrade, Chilton, symbolic of the surviving group most underestimated of pop music, has never given up. In 77, between jobs improbable, lumberjack or plunger, a single. Bangkok will remind us that the titi of the seventies had more than one trick up its sleeve spleen. Production of the first album Cramps persuade us of a flair yet on alert for spotting new talent. In 2005, the reformation of a Big Star amputated his limb had cheered the legendary nostalgic and forced indifferent to a rediscovery soothed. His death makes even less excusable neglect of a work swept under the carpet and unequivocally states the urgency of a unanimous tribute to their undeniable contribution to their influence on the current scene ( REM, Teenage Fanclub ) . These smugglers of rare emotions do not make us regret finished a decade so that all the productive genius struggled to clear a place in a bubbling style that remains unmatched.
Alex Chilton, eternal creator of the tube The Letter, then the legendary band Big Star died Wednesday, March 17, 2010 at a hospital in New Orleans following a heart attack.
Born in the birthplace of King in Memphis in December 1950, Alex Chilton has experienced the unpleasant experience of a premature fame. At 16, a tube The Letter (1967), blues staining nerve propelled him into the charts with his first band is now forgotten The Box Tops . The creative teenager, with his air of revenge and its tone slightly frayed, sees his desires for emancipation circumscribed by sharks studio, fins standing on the beaches gradually invaded by a sound format that unbearable. His ambitions flattened under the boot of a record company which leaves him the freedom to choose his hairstyle or the reasons for his shirts, the feverish teen is invited to bid more unacceptable and must leave the selection of its musicians or arrangements of songs to unscrupulous technicians. Frustrated by this indelicate potentate, the gifted Chilton manhandled slams the door to a world of woodlice and decided to ally with the native Chris Bell even vaguely cursed city and composer to create Big Star, a group no less anachronistic dream. Combining the melodic sophistication of Fab Four (period Revolver) and a certain liveliness to Roger Daltrey in his tracks the spicier are their only goal. A first Number 1 album Record collects the enthusiasm of the profession and the indifference of a generation too traumatic newly freed British nursery rhymes, too chiseled to bawl stadiums, and others before them, like the Byrds have already been exploited to exhaustion of the concept. Give a name to this style of music, so that the star (who will visit three times that of pop heaven seventies, may be identifiable, if not truly explored, it will be the Power Pop.
Record Number 1. 36 minutes of pure ecstasy, ballads and rock unstoppable right-child, nothing will work, the ungrateful public does not relay their small businesses. The teens are diamond sweater musicians , very gifted, almost too, with a sense of Bizness quite limited, and demand for perfection that borders on neurosis. Here, none of the riff seems to chance, the songs are so short but everything is confusing, the apparent simplicity of the melodies portends a more upstream work considerable negative consequences if their second weapon should be done as badly received by the public. Apprehension predictable, the next disc will not sell more, a peak. Chris Bell, tired of all these false starts, saw it very difficult for the disallowance of a public ignorant and abandoned the experiment half of the second album in 1974. He goes quietly verse in his corner, the time for a night skimming the USA and recording informal castle Hérouville. Demos, together on one album give birth to a posthumous album (Bell was killed in an accident in 1978). I'am The Cosmos , released in 1992 joined the ranks of classic reference for some unsurpassable Listeners. His comrade, Chilton, symbolic of the surviving group most underestimated of pop music, has never given up. In 77, between jobs improbable, lumberjack or plunger, a single. Bangkok will remind us that the titi of the seventies had more than one trick up its sleeve spleen. Production of the first album Cramps persuade us of a flair yet on alert for spotting new talent. In 2005, the reformation of a Big Star amputated his limb had cheered the legendary nostalgic and forced indifferent to a rediscovery soothed. His death makes even less excusable neglect of a work swept under the carpet and unequivocally states the urgency of a unanimous tribute to their undeniable contribution to their influence on the current scene ( REM, Teenage Fanclub ) . These smugglers of rare emotions do not make us regret finished a decade so that all the productive genius struggled to clear a place in a bubbling style that remains unmatched.
Thursday, March 4, 2010
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Bob Dylan sings for Obama in the White House
Dylan never moves without a credible reason. Its impact on the masses is consistent, and to see what sexagenarian quavering voice intact but the lucidity is to contemplate America in the eyes. On a political level, Dylan did, during his forty year career, more than all U.S. governments in 150 years of exercising power, making popular art all its subversive power, wealth emancipatory. 
Dylan never moves without a credible reason. Its impact on the masses is consistent, and to see what sexagenarian quavering voice intact but the lucidity is to contemplate America in the eyes. On a political level, Dylan did, during his forty year career, more than all U.S. governments in 150 years of exercising power, making popular art all its subversive power, wealth emancipatory.
In texts of a cold irony, he had already noted the injustices of the Black community was the victim in the '60s, songs that I have commented on this blog refer to it. Even if his last official appearance at the White House dates from 1997 (invited by Bill Clinton, longtime amateur Zimm), it is worth repeating that Bob Dylan was present at the March on Washington August 28, 1963 with Joan Baez and Mahalia Jackson, where more than 200,000 peace activists gathered to denounce the scandalous treatment meted out to the community black. The composer who was then twenty years of interpretation Only A Pawn In Their Game shortly after Dr. King had delivered his famous speech "I Have a Dream".
His appearances included as part of a genuine political process are as rare as striking as they promotionnent no ideology in itself, but wish to legitimize an unwavering course of action which Dylan can not depart. The concept of poet Pasolini organic, not dependent on a party affiliation, but driven by the size of a verb that can demiurgic by the powerful blast pictures, flip the fatality of historical pressures, is an expression which, in the case of a cantor as popular as Dylan, his approach can dress without much harm to his idea of his art.
His appearance with Obama last week when his interpretation of "changing times" was not too disappointed his audience, despite a voice now damaged by the effects of time and, therefore, moving in more ways than one . Dylan, whose harrowing quest for truth and energy he has provided for the lighting and just causes unacceptable situations is not foreign to the undeniable changes in the mentality U.S.. His prose, powerful, often dreamlike, but always in tune with reality, always prophetic, denouncing and intelligently, the screen is absolutely against obscurantism Ideologically, isolationism and dogmatic rhetoric, often inefficient, political leaders.
Although Obama is the most tangible symbol that its room for maneuver true, there is no doubt that the presence of Dylan alongside a President whose existence in itself, validates and legitimizes the fury that almost mystical great creator has placed in the constant clearing of new areas of language and neutralization collective prejudices. His presence is a balm on a wound feverishly awaited historical yet very noticeable, and the promise of a bright future where the fight for justice is still more apparent as decisive lead.
hope that the new generation's interest despite some early concerns that the followers of Dylan, laziness, incomprehension, or stigma voluntary elites who have wisely tried to caricature the most gifted composer of the twentieth century to make a puppet of himself and give his incantatory lyricism of hallucinatory-like monologues (although his style is the synthesis between the absolute power of writing and anchoring temporal issues essential for corporations).
While Dylan's songs are long, haunting, deceptively uniform, her voice is very special and arrangements rather bare, but you can not switch on loafer avenues of work become necessary to maintain our moral health. Dylan must listen, appreciate his songs, decipher his words, praise his courage and estimating its fair value that the most indifferent citizen owes to his work without being able to recognize it.
A voice, a few strands in battle, a dented harmonica and guitar strings molested have given our lives and those of our parents, our own and future staining, which we will one day look at the sun, and so the truth without blinking eye before so obvious.
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