Toda a gente diz que sabe o que foram...ou melhor... o que ainda são. Terá sido assim tão superficial este movimento cultural? Hoje em dia ainda existem milhares de hippies, concentrados principalmente em comunidades na Índia. Estarão assim tão errados os seus ideais para terem sido postos à margem, bem... é na margem que se vê, com calma, o rio a passar.
Não à guerra! Sim à paz! Peace&Love. Não estaremos a precisar de uma sociedade mais hippie? Os ideais de hoje resumem-se a uma frase bastante básica que ouço desde criança que traduz toda a mesquinhez atrofiadora, invejosa e cobarde da nossa sociedade " a galinha da minha vizinha está mais gorda que a minha". Nunca estamos satisfeitos com as nossas conquistas, queremos sempre mais, mas porquê? Façam-me um favor... comam a galinha da vizinha e já agora a vizinha ( ou o vizinho, dependendo dos gostos) e sejam felizes!
Esta música apresentou, de certa forma, os hippies ao mundo, mundo este que contestaram em uníssono.
Scott Mckenzie ~ San Francisco
Veêm alguem stressado, infeliz! Bem... as drogas também ajudavam...um bocadinho! EHEHEH.
Held at the Monterey County Fairgrounds in Monterey, California, the festival was planned by John Phillips of The Mamas & the Papas, producer Alan Pariser, and publicist Derek Taylor. The festival board included members of The Beatles and The Beach Boys.
San Francisco was the epicenter of the "counter-culture"; young people journeyed there to live an alternative lifestyle meant to increase personal freedom while living in collective harmony. This transformation of ideals and life was explored through psychedelic light shows, art, music, and drugs, like marijuana and LSD. The Monterey Pop Festival embodied these themes of San Francisco and the counter-culture and is generally regarded as one of the beginnings of the “Summer of Love” in 1967.[1]
The artists performed for free, with all revenue donated to charity, with the exception of Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. It was estimated that 55,000 to 90,000 people were at the festival at its peak at midnight on Sunday.[2] Reserved seats were $6.50 for each evening show, while entrance to the adjacent field was a nominal $1.00.[3] The festival is generally regarded (along with the album Sgt. Pepper's Lonely Hearts Club Band released two weeks earlier) as the apex of the "Summer of Love."
The festival became legendary for the first major American appearances by Jimi Hendrix (who was booked on the insistence of board member Paul McCartney) and The Who. It was also the first major public performance for Janis Joplin, who appeared as a member of Big Brother and The Holding Company, and Otis Redding, backed by Booker T. & The MG's. Redding would die only a few months later.
Hendrix, inspired by Pete Townshend's guitar-smashing, ended his Monterey performance by kneeling over his guitar with mock reverence, pouring lighter fluid over it, setting it aflame, and then smashing it up.[3]
Many record company executives were in attendance (paying $150 apiece for their seats in a special area just below the stage), and a number of the performers won recording contracts based on their appearance at the festival. Columbia Records signed Big Brother and The Holding Company, and Jerry Wexler used the festival to advance the career of Otis Redding.[3]
Several acts were also notable for their non-appearance. A variety of reasons were given for The Beach Boys' cancellation: as an admission that they could not compete alongside hippie acts, a rift between Brian Wilson and the rest of the band over their failure to complete Smile, the follow up to Pet Sounds, or Carl Wilson's problems with the draft board. Musician Donovan was refused a visa to enter the United States because of a 1966 drug bust. Captain Beefheart & The Magic Band was also invited to appear but according to the liner notes for the CD reissue of their album Safe As Milk, the band reportedly turned the offer down at the insistence of guitarist Ry Cooder, who felt the group was not ready. Although The Rolling Stones did not play, guitarist and founder Brian Jones attended and appeared on stage to introduce Hendrix. Jones was known as "king of the festival". According to Eric Clapton, Cream did not perform because the band's manager wanted to make a bigger splash for their American debut. Dionne Warwick and the Impressions were advertised on some of the early posters for the event, but Warwick dropped out due to a conflict in booking that weekend: she was booked at the Fairmont Hotel and it was thought that if she canceled that appearance it would negatively affect her career. She considered sneaking off between sets to perform at the festival, but ultimately decided against it. The Kinks were invited, but could not get a work visa to enter the US due to a dispute with the American Federation of Musicians.
Eric Burdon and The Animals later that same year sang a song about the festival entitled "Monterey", which quoted a line from the Byrds song "Renaissance Fair" ("I think that maybe I'm dreamin'"). In the song, Burdon mentions Monterey performers The Byrds, Jefferson Airplane, Ravi Shankar, Jimi Hendrix, The Who, Hugh Masekela, The Grateful Dead,and The Rolling Stones' Brian Jones ("Her Majesty's Prince Jones smiled as he moved among the crowd"). Jones did not perform. The instruments used in the song imitate the styles of these performers.
A number of other artists performed, including blues singer Lou Rawls and singer-songwriter Laura Nyro. Many rock bands made appearances as well, including The Association, Buffalo Springfield, Country Joe and The Fish, Moby Grape, and Quicksilver Messenger Service. Blues-rock bands were well-represented, among them Canned Heat, The Electric Flag, The Steve Miller Band, and The Blues Project. The Mamas and the Papas, who helped organize the event (which prevented them from doing any rehearsals), were the closing act of the festival.
Para dar seguimento ao post sobre o novo album dos The verve apresento o vídeo oficial do single Love is Noise que serve de promoção deste novo album. Canção fantástica. Já ouvi todo o álbum e acho que está muito na senda do anterior.
Descobri por acaso esta série num fórum na net. É uma série de terror/thriller com bastante qualidade. Os episódios são individuais, sendo realizados por diferentes realizadores. Já vi dois episódios e aconselho vivamente( ou deverei dizer mortalmente). São episódios que por sí dariam para um filme, o que é bom; pois ainda este mês vi o último filme dos X-Files e soube-me a um bom episódio e pouco a um filme, o que é mau.
By Wikipedia:
Fear Itself is a horror/suspenseanthologytelevision series shot in the city of Edmonton, Alberta, Canada, with some additional shooting in the city of St. Albert and the town of Devon, Alberta. It began airing on June 5, 2008 on NBC.[1] The show airs Thursday nights at 10/9c. Its title is derived from the famous Franklin D. Roosevelt quote "The only thing we have to fear is fear itself."[2] The anthology was borne out of Masters of Horror and shares several of the same creative elements: self-contained horror/thriller stories directed by the biggest horror directors working in features today; both shows were created by Mick Garris and both shows are produced by Industry Entertainment's Andrew Deane, Adam Goldworm and Ben Browning. Stuart Gordon, Brad Anderson, John Landis and Rob Schmidt all directed at least one episode of each series. The song in the opening credits is entitled "Lie, Lie, Lie" by System Of A Down front man Serj Tankian, off of his solo album Elect the Dead.
Aimee Mann lança um novo disco de estúdio . "Smilers" é como se chama o sétimo trabalho da norte-americana, editado através da sua própria editora, a SuperEgo Records. O registo conta com a colaboração do cantor e compositor norte-americano Sean Hayes e a respectiva produção ficou a cargo de Paul Bryan, que já tinha trabalhado com Aimee Mann no disco de Natal "One More Drifter In The Snow", editado em 2006. «O som é um pouco diferente para mim. (...) Soa um pouco a Cars», afirmou a cantora, em declarações à Billboard. «Não há guitarras eléctricas. (...) Gira tudo em torno dos teclados, o que é fantástico. É uma amálgama de sons interessante», completou.'True Believer' é um dos temas do novo longa-duração de Aimee Mann, que foi escrito em parceria com Grant Lee Phillips.O reconhecimento da crítica perante a carreira de Aimee Mann tem sido um processo gradual, cujo ponto alto aconteceu em 1999, quando o tema "Save Me", incluído na banda sonora do filme "Magnolia", foi nomeado para um Óscar da Academia. A cantora, que aos quatro anos de idade foi raptada pela mãe adoptiva e levada para a Europa, frequentou a Berklee School of Music, em Boston, até ao final dos anos 80, altura em que deixou de estudar para se dedicar à música a tempo inteiro. De entre as várias colaborações de Aimee Mann em bandas sonoras, onde se contam filmes como "Jerry Maguire", "Sliding Doors", "Cruel Intentions" e a série de televisão "Melrose Place", o destaque vai definitivamente para "Magnolia". A cargo da cantora ficaram dez de um total de treze canções, que compõem a banda sonora do filme de Paul Thomas Anderson, sendo uma delas uma versão do tema "One", original de Harry Nilsson. Alguns dos temas presentes na banda sonora de "Magnolia" foram posteriormente incluídos no sucessor de "I'm With Stupid", intitulado, "Bachelor No 2", editado em 2000, e cuja produção da maioria dos temas ficou a cargo de Aimee Mann, que contou com o apoio de Brendan O'Brien e Buddy Judge. Em Setembro de 2002, chegou às lojas o novo trabalho de originais da cantora, "Lost in Space".
Smilers
"One of the greatest female songwriters out there? Yap, for sure. And she's back with another excellent album. Yes, it's Mrs Michael Penn!She still looks great for 48 too!This one is scheduled to be released by SuperEgo Records on June 3, 2008. The album was produced by Mann's bassist, Paul Bryan, and features guest appearances by singer-songwriter Sean Hayes, who duets with Mann on the track "Ballantines," and author Dave Eggers, who whistles on "Little Tornado" !!In addition to the standard CD package, Smilers will be available in a limited-edition package with a book-bound cover, a die-cut 32-page book with illustrations by renowned artist Gary Taxali, and held together with metal screw binding.Aimee speaks in the press release about how she hates those smiley smiley mofos you see everywhere! Man, I hate those fucking smiley smiley mofos too! The press release for the album goes something like this; "I've always been fascinated with eccentric personalities," says Los Angeles singer songwriter Aimee Mann. On Smilers, her seventh solo CD, Mann presents thirteen exquisitely-crafted new songs about the inner life of people living far from the bright lights of success or fame. Some of them are wanderers searching for meaning on the road, others look for it in a shot glass or by losing themselves in the blue trance of a tv set, and still others believe their deliverance will come through money. From the punch drunk characters haunting the twilight world of a dusty downtown boxing gym, to a onetime financial big shot who's returned home after taking a tumble, Mann paints spare, vivid portraits of people who seem to always wind up with the smallest slice of American pie. The songs are soulful, empathetic and somehow ultimately hopeful and optimistic. Says Mann; "When I write about them -- the narcissists, performers, eccentrics, know-it-alls - it helps me recognize some truths about the world and about myself." The title Smilers gets its name from a phrase Mann has long used to humorously lampoon the unrelentingly happy, shiny, smiley-faced pop culture that surrounds us all today. "I read an article that said that across all cultures, the single thing that people respond to most is a smiling cartoon face," says Mann. "A friend of mine and I used to laugh at how there's always somebody in an office or on the street who smiles all the time and is the first one to say, 'hey, smile!' I get that all the time from people who say 'why can't you be more smiley? So we jokingly nicknamed them @#%&! Smilers. You can provide your own curse word there. I think everybody knows someone like that." The record goes behind the smiles to get at something a little deeper and a little more revealing. Smilers reaffirms Mann's place as one of pop music's most distinctive songwriters, with an exceptional talent for beautiful melodies and insightful lyrics that go beyond platitudes.Smilers took shape during the last two years as Mann was releasing her concept album, The Forgotten Arm (2005) and then her seasonal CD Another Drifter in the Snow (2006). "After doing a concept album I wanted to go back and just do a set of songs that were not linked quite so tightly," she says. "I didn't have a specific vision I was after so I kept writing and after a while the album began to take on its own sound." She approached the making of the record almost like a novelist or journalist approaches a story, finding characters, learning what makes them tick, and writing and rewriting until something clear begins to emerge. Many of the songs underwent further evolution in rehearsals in 2007 as she and producer Paul Bryan settled on a sound that they liked. Where previous Mann albums have frequently tended toward a lonesome, spacious sound, Smilers sounds fuller and larger, with uncommon touches. “We tried not to echo any previous albums…for this one we wanted to use a different palate, thus replacing electric guitars with distorted Wurlitzers, Clavinets, and analog synthesizers. We wanted the rhythm section to sound full and organic with detailed, interwoven keyboards on top. We also knew we wanted to have real string sections and horn arrangements for select songs.” The rich arrangements provide a wonderfully captivating counterpoint to the haunting, plainspoken poetry of Mann's lyrics. For Smilers, she and Bryan preferred to refine their ideas in rehearsals and then keep the studio work brief to unleash a certain spontaneity, keeping takes of each song to one or two apiece. "It keeps the music fresh. It makes it much more of a real musical experience," says Mann. "It makes it a little closer to something live and real." Smilers also reflects a unique creative phase in Mann's career. After the runaway success of The Magnolia Soundtrack, which received nominations for an Oscar, a Golden Globe and a Grammy, Mann's music and career took a new direction. "Magnolia got me focused on the idea of music and movies in a different way," she explains. "I started looking at songwriting from a different angle. Forgotten Arm I wrote as a sort of soundtrack to an imaginary movie. It’s a great way of looking at songwriting. It gets me out of my own head and into the head of another character. I don't have to write about myself all the time." That feeling was liberating, and endows much of Manns' new work with a vivid, almost visual story-telling sense that makes her music jump off the CD. Smilers opens with "Freeway," an almost Cars-esque synth-pop song that was inspired by a drug-addicted friend who had came to LA in hopes of getting clean and making a break with the past. The track "Stranger into Starman” was spurred by an afternoon crossword puzzle and the memory of an Anne Sexton poem that made an anagram out of the word "rats" -- morphing it into "stars." As Mann describes it, "it’s about glorifying people who don't deserve the glory." The song "Looking for Nothing," as Mann explains, was inspired by a couple of ex-boxers at her gym. The song is about "that moment in life where you get older and stop chasing after that thing you always thought would make you happy. It’s when you let go of the trapeze bar and nobody's caught you yet and you don't know if you're going to hit the ground." "Phoenix" delves into love's impotence in the face of the world, and the aftermath of a relationship gone sour: "Its hard to know when to cut and run," the character sings; "You balance heartache with your fun." The song "Borrowing Time" plays out like a vaguely menacing Snow White-style fairy tale; "The needle has pricked her little finger/She wants the beautiful child the blood will bring her," but it has echoes of a cautionary tale that could apply to a modern innocent's path in Hollywood. "31 Today" says Mann, is slightly autobiographical, recalling the feeling of insecurity she had as a young artist living in Boston. “The song captures the anxiety of getting older and feeling that you really should have it together more than you do.” As her character sings: "Drinking Guinness in the afternoon/taking shelter in the black cocoon/I thought my life would be different somehow/I thought my life would be better by now." "The Great Beyond" looks at the outdoors and the wilderness not as an adventure but as a dark refuge from society. The track "Columbus Avenue," a reference to the San Francisco street, plumbs the tale of the sad ambition of an addict, asking "What is Columbus Avenue to you now?/A place where you failed to make your story go over?/A place where you bailed and let the bottom drag you under?" And "Little Tornado" and Ballantines" (named after the classic American beer) are portraits of troubled personalities and the chaos and healing they can provoke. "Medicine Wheel" is based on a poem written by Mann's sister, the painter and artist Gretchen Seichrist. Another song on Smilers, "True Believer," was written with Grant Lee Phillips, a Cafe Largo pal and maverick singer songwriter who toured with Mann for Another Drifter in the Snow. Says Mann, "I had some music and a sketch idea for a chorus for this song and Grant came in with this wonderful idea of how to turn the song into a ghost story." Longtime Mann fans will find that Smilers has plenty of the tunefulness they have come to expect from her albums. New fans will be struck by the power of her spare language. Smilers is a welcome return of unparalleled songcraft."
Não se pode acabar uma carreira com um álbum como o Urban Hymns.
The original line-up of iconic nineties band The Verve have kissed and made up and are returning later this year with a brand new album and tour. Richard Ashcroft, Nick McCabe, Pete Salisbury and Simon Jones have reportedly already started work on the as yet untitled release, and will continue work after a summer break. Simon Tong will not be re-joining the band due to current commitments with The Good, The Bad & The Queen.
As an added bonus the newly reformed Wigan-ites will play a six date tour of the UK. Tickets go on sale at 9am on Friday, July 6th. The dates are:
November 2nd & 3rd - Glasgow Academy November 5th & 6th - Blackpool Empress Ballroom November 8th & 9th - London Roundhouse
This will be the first time the original line-up has appeared on the same stage since 1998 after the fractured relationship between McCabe and Aschcroft came to a hault. The band officialy split in 1999 after touring with replacement guitarist B.J Cole. Hilariously, since the split Ashcroft said that it was more likely that all four of The Beatles would be getting back together than them reforming.
Take a trip down memory lane below and check out the band performing a track from their homecoming show at Haigh Hall in Wigan back in 1998. This was The Verve’s Spike Island. A band at the peak of their powers, and it still stands as one of the greatest shows I’ve ever seen. In the immortal words of Ahscroft “Come Oooooonnnnn”…
The Fourth
Forth, the new album by legendary UK band The Verve, drops August 19th. It's a return to form after ten years.
Tracks: Sit And Wonder Love Is Noise Rather Be Judas Numbness I See Houses Noise Epic Valium Skies Columbo Appalachian Springs
Dexter... deixem-me dizer... é um bálsamo, calmante, que me relaxa da rotina. Sim... é a história de um serial killer...mas e então... qual é o problema?
A estreia da 3º temporada é no dia 28 de Setembro no Showtime. Fica cá o Preview.
Deliciem-se.
Setembro já por si é deprimente. Fim das férias. Inicio do trabalho. Faz-me sempre lembrar aquela música dos Green Day, "wake me up when September ends..." Mas nem tudo é mau...
Well... I just feel a little naked when I show you the songs from Regeneration. They are printed in my soul, so you better Close your eyes and listen to this song.
From the same album of "Beauty regime", Regeneration, my and my brother's favourite album of Divine Comedy! We surely recommend.
Lyrics of Eye of the Needle
They say that you'll hear him
if you're really listening
And pray for that feeling of grace
But that's what I'm doing,
why doesn't he answer?
I've prayed 'til I'm blue in the face
The cars in the churchyard are shiny and German
Distinctly at odds with the theme of the sermon
And during communion
I study the people
Threading themselves through the eye of the needle
Today I'm Happy. I have found this song on youtube. Press the title to see lyrics. It's just fantastic. If I was a song writer this would be my masterpiece. Why? "Look again in the mirror and see exactly how perfect you are..."
Original by Tim Buckley ( Jeff Buckley's father).
This version by This Mortal Coil is just amazing.
I heard this song when I was sixteen, then I belived that angels had a voice.
Elizabeth Frasier is her name. She was also the Cocteau Twins vocalist.
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Wow, I’m sick of doubt
Live in the light of certain South Cruel bindings
The sevants have the power
Dog-men & their mean women
Pulling poor blankets over Our sailors
I’m sick of dour faces Starong at me from the t.v. Tower,
I want roses in My garden bower; dig?
Royal babies, rubies
Must now replace aborted
Strangers in the mud
These mutants, blood-meal
For the plant that’s plowed
They are waiting to take us into The severed garden
Do you know how pale & wanton thrillful
Comes death on a stranger hour
Unannounced, unplanned
for Like a scaring over-friendly guest you’ve Brought to bed
Death makes angels of us all & gives us wings
Where we had shoulders
Smooth as raven’s claws
No more money, no more fancy dress
This other kingdom seems by far the best
Until it’s other jaw reveals incest &
loose obedience to a vegetable law
I will not go Prefer a feast of friends
To the giant family
Acabei de receber no correio o Scrapbook do Jim, mais um item para a minha colecção. Está muito bem conseguido, para além de ter uma apresentação em capa dura e um grafismo excelentes, vem cheio de bonús: cd de Spoken Words inédito; reproduções fieis e perfeitas de muitos documentos: desenhos, poemas, fotos, bilhetes de concertos, publicidade de concertos, posters, e até o testamento do Jim. A juntar a isto, temos de forma inédica, as versões de algumas histórias da família do Jim ( pai, mãe, irmãos) da família da Pam ( pais), etc. Pena que só agora as famílias começaram a digerir o final épico do The End.
As músicas Until the End of The World , Acrobat e Even Better Than The Real Thing fazem parte do album Achtung Baby, durante o ano de 1992 e 1993, ouvi religiosamente este álbum todos os dias. Havia, nesta altura, com os meus colegas, discussões sobre o significado das letras, como por exemplo " a woman needs a man like a fish needs a bicycle" da música Throwin' Your Arms Around the World, onde eu e o Lula perdemos uma aposta para uma cachopa ainda mais fanática, enfim, insistíamos que o verso era " a man needs a woman like a fish needs a bycicle...". Mais tarde , com a net, descobri ser um slogan femininista. Todas as músicas deste álbum são de uma beleza rara. Confesso que é o álbum que mais me delicia e atormenta tais são as recordações que nele estão impregnadas. Tenho originais em vinil e cd e estou a pensar arranjar novas cópias pois estão a ficar riscadinhos... Este post será actualizado até ter todas as músicas do álbum e algumas histórias que têm quase 20 anos.
U2 Achtung Baby (1991)
Until The End Of The World
Until The End Of The World
Haven't seen you in quite a while I was down the hold, just passing time Last time we met was a low-lit room We were as close together as bride and groom We ate the food, we drank the wine Everybody having a good time Except you You were talking about the end of the world
I took the money, I spiked your drink You miss too much these days if you stop to think You led me on with those innocent eyes And you know I love the element of surprise In the garden I was playing the tart I kissed your lips and broke your heart You, you were acting like it was the end of the world
In my dream I was drowning my sorrows But my sorrows they learned to swim Surrounding me, going down on me Spilling over the brim In waves of regret, waves of joy I reached out for the one I tried to destroy You, you said you'd wait until the end of the world.
U2 Achtung Baby (1991) Acrobat
Acrobat
Don't believe what you hear Don't believe what you see If you just close your eyes You can feel the enemy
When I first met you girl You had fire in your soul What happened your face Of melting in snow? Now it looks like this!
And you can swallow Or you can spit You can throw it up Or choke on it And you can dream So dream out loud You know that your time is coming 'round ...don't let the bastards grind you down
No nothing makes sense Nothing seems to fit I know you'd hit out If you only knew who to hit
And I'd join the movement If there was one I could believe in Yeah I'd break bread and wine If there was a church I could receive in 'Cos I need it now
To take a cup To fill it up To drink it slow I Can't let you go
And I must be An acrobat To talk like this And act like that And you can dream So dream out loud ...don't let the bastards grind you down
What are we doing to do now it's all been said? No new ideas in the house, and every book has been read
And I must be An acrobat To talk like this And act like that And you can dream So dream out loud And you can find Your own way out You can build And I can will And you can call I can't wait until You can stash And you can seize In dreams begin Responsibilities And I can love And I can love I know that the tide is turning 'round ...don't let the bastards grind you down
U2
Achtung Baby (1991)
Even Better Than The Real Thing
Even Better Than The Real Thing
Give me one more chance, and you'll be satisfied. Give me two more chances, you won't be denied.
Well my heart is where it's always been
My head is somewhere in between
Give me one more chance, let me be your lover tonight.
(Check it out)
You're the real thing
Yeah the real thing
You're the real thing
Even better than the real thing.
Give me one last chance, and I'm gonna make you sing
Give me half a chance to ride on the waves that you bring
You're honey child to a swarm of bees
Gonna blow right through ya like a breeze
Give me one last dance, we'll slide down the surface of things
