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#31 voja i

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Posted 29 September 2003 - 18:02

Soulful rock singer Robert Palmer died in a Paris hotel room early Friday morning of a heart attack, according to his manager. He was 54.

Palmer, known for the highly stylized videos for such '80s hits as "Simply Irresistible" and "Addicted to Love," was in Paris with his companion, Mary Ambrose, vacationing for a few days after taping a career retrospective program for England's Yorkshire Television. He was scheduled to return to Switzerland this weekend, where he had lived for the past 16 years. "He was in perfect health as far as we know," said manager Mick Cater. "He had a medical annual a couple weeks ago and the doctor said he was in great shape." Cater said Palmer had gone out to dinner and attended the theater Thursday night and was found dead in his hotel room.

The singer was born Robert Alan Palmer in Batley, England, on January 19, 1949, and raised on the island of Malta until the age of 19. He was a member of several English bands when he was in his early 20s, among them the Alan Bown Set and Dada, a 12-member soul band whose sound would help shape Palmer's style as a solo artist. Palmer quit the group in 1973 to release his solo debut, 1974's Sneakin' Sally Through the Alley, which featured members of the American rock band Little Feat and the funk group the Meters.

He experimented with a reggae sound on 1975's Pressure Drop but returned to a more rock-oriented groove on 1979's Secrets, which featured his first hit single, "Bad Case of Loving You (Doctor, Doctor)." He latched onto the new wave sound in 1980 on Clues with some help from singer Gary Numan, best known for his hit "Cars," and the Talking Heads' Chris Frantz. The album spawned another hit, "Looking for Clues," which was accompanied by a low-budget video in which Palmer frolicked with oversized telephones and keyboards. The clip was an early staple on MTV.

Palmer formed the band Power Station with Duran Duran's John Taylor and Andy Taylor and ex-Chic drummer Tony Thompson in 1985. The band scored two top-10 hits with the new wave funk song "Some Like It Hot" and a dance-influenced cover of T. Rex's classic rocker "Bang a Gong (Get It On)." Palmer quit the group on the eve of a major tour and recorded his 1985 solo album, Riptide, a disc that would bring him his biggest success.

One of the first old-school artists to truly make it big via glossy videos, Palmer dressed up in a suit and surrounded himself with an army of slick-haired, ruby-lipped female backup performers for the clips to the driving rock and soul songs "Addicted to Love" and "I Didn't Mean to Turn You On."

He stuck with the formula for 1988's Heavy Nova, which featured one of his biggest hits, the urgent rocker "Simply Irresistible," whose clip again featured his harem of similarly dressed video vixens.

Don't Explain (1990) failed to connect with audiences, and Palmer’s output began to slow through the '90s. He released a 1992 album of standards, Ridin' High, followed by the eclectic Honey in 1994, which featured the guitar histrionics of Extreme's Nuno Bettencourt, some world music influences and a cover of Devo's "Girl U Want."

After an ill-conceived reunion with Power Station in 1996, he released the pop album Rhythm & Blues in 1999. A concert album recorded in 2000 at the venerable Apollo Theater in New York, Live at the Apollo, was released in 2003, followed by an album of blues covers, Drive, released in May.

"Robert Palmer had a profound influence on us as musicians," John Taylor said in a statement. "He was a sophisticated music scientist who loved to experiment. In many subtle ways, he helped to change and shape popular music. Very few artists can claim to have created a body of work as satisfying as his. He had a great sense of fun and he knew how to rock. He was a good friend to all of Duran Duran."

Palmer was not working on a new album at the time of his death, according to Cater. "My Kind of People," the hour-long show that was to focus on his musical influences and was to be aired in his native Yorkshire only, has not yet been scheduled for air.



—Gil Kaufman

#32 Blekendvajt

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Posted 29 September 2003 - 18:31

Nobody expected one of the great rock records of the '90s to come from a social climber whose skills included stripping, bit acting and screaming off-key. But it did. From a minefield of fragile emotion, volatile ego and pained dependency, Courtney Love and her band Hole crafted Live Through This (1994), a hard-edged and surprisingly tuneful album that radiates with poetic scruff and bittersweet brilliance.

The daughter of a New Age therapist and a Grateful Dead biographer (Love's in the family photo on the Dead's Aoxomoxoa), Love grew up in Eugene, Oregon. After brief flirts with Faith No More and almost riot grrrls Sugar Baby Doll, Love and guitarist Eric Erlandson formed Hole in L.A. in 1990. Though produced by Don Fleming and Sonic Youth's Kim Gordon, Pretty On The Inside (1991) showcased a singular inability to lasso decent ideas into anything but noise-brat posturing. It took Nirvana hubby Kurt Cobain's influence to bring the grunge princess to full blossom for Live Through This. Gone was the continuous screech of Pretty, replaced by well-guided nuance and drama and a supple rhythm section capable of more complex feels. Raging with power both caustic and alluring, Live Through This was an intimate survey of a persecuted psyche--Courtney's? Kurt's? Both? When Cobain committed suicide a week before the album was to be released, his death added poignancy to the debate.

The triumph and tragedy of Live Through This made it a definitive hit. But Love's arrogant widow's indiscretions soon turned the rock world against her. Courtney responded with her resonant portrayal of the Hustler's wife in the movie The People Vs. Larry Flynt. Kurt wasn't around to help with the next proper full-length Hole record, the long-delayed Celebrity Skin, though one of Kurt's contemporaries, Smashing Pumpkin Billy Corgan, claims he had a big hand in the songwriting for that album. Love reportedly inherited demos of 300 songs from her dead husband, however, so don't be surprised if Kurtney keeps up the good work for years to come--if she's not bored by it first.

:lol: :lol: :lol: :lol:

#33 zzzzz

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Posted 29 September 2003 - 20:06

Elvis J. Kurtović & Zabranjeno pušenje
Ko te kara nek ti piše pjesme

U krajnjem kutu svoje dnevne sobe,
gdje ne može doprijeti nepozvani pogled,
na dnu svojih prepunih vitrina,
kriješ slatku fasciklu s natpisom “Intima”.

Međ’ slikama tebi dragih lica,
gdje čuvaš svoje spomene i pisma,
sve u formi poezije, stiha,
nalazi se i moja ljubav tiha.

To su pjesme nikad objavljene,
napisane zbog voljene žene,
al’ datumi na njima su stari,
već odavno nema novih stvari.

Jer, umjesto poetskih visina,
iz mene izlazi samo tuga i gorčina
i misao sto se reći ne smije:
KO TE KARA NEK TI PIŠE PJESME!!!!!

Htio bih da budem gospodin
i izbjegnem reakcije bijesne,
ali reć’ ću k'o pravi primitivac:
KO TE KARA NEK TI PIŠE PJESME!!!!!

Znam da slušaš moje nove ploče,
sa njima se branim od samoće,
i ubacim nešto da te štrecne,
KO TE KARA NEK TI PIŠE PJESME!!!!!

Edited by zzzzz, 01 October 2003 - 15:28.


#34 Lavinia Amaldi

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Posted 01 October 2003 - 09:43

...


Posted Image


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#35 zzzzz

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Posted 01 October 2003 - 22:35

Lacni Franz
Bela simfonija

Bom lahko kdaj pozabil
tvoj torzo na strmini,
jeklene tetive gorenjskega orla.
pogled, ki osvaja,
junake planinskega čaja.

In tvoj vmesni čas,
moja kulturna katarza,
in prva beseda najmlajših Slovencev
naj ne bo mama,
ampak RC Elan.

In strel v tišini,
je napovedoval naš pesnik.
Zdaj dvigamo čaše in pojemo "račke",
vsi skupaj ob progi veselo jodlamo:
"Nič nas ni strah,
če so smučarji z nami."

Naše blontno veselje
nam greje domove,
v srcih poletje in sneg na zaslonu,
zveze so dobre, še malo
in šlo bo zares.
Danes ob enih popoldne
je padel in obležal
nekje na začetku drugega teka
junak med junaki
pri vratcih številka trinajst.

Lahko si obrišeš nos v mojo srajco, draga,
ne morem več gledati tvojih solznih oči.


#36 voja i

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Posted 03 October 2003 - 12:21

Artist: The Vapors
Album: Charlie's Angels Soundtrack

Buy this CD



The Vapors---Turning Japanese
Written by Dave Fenton

I've got your picture of me and you
You wrote "I love you" I love you too
I sit there staring and there's nothing else to do
Oh it's in color
Your hair is brown
Your eyes are hazel
And soft as clouds
I often kiss you when there's no one else around

I've got your picture, I've got your picture
I'd like a million of you over myself
I asked the doctor to take your picture
So I can look at you from inside as well
You've got me turning up and turning down
and turning in and turning 'round

I'm turning Japanese
I think I'm turning Japanese
I really think so
Turning Japanese
I think I'm turning Japanese
I really think so
I'm turning Japanese
I think I'm turning Japanese
I really think so
Turning Japanese
I think I'm turning Japanese
I really think so

I've got your picture, I've got your picture
I'd like a million of you over myself
I asked the doctor to take your picture
So I can look at you from inside as well
You've got me turning up and turning down
and turning in and turning 'round

I'm turning Japanese
I think I'm turning Japanese
I really think so
Turning Japanese
I think I'm turning Japanese
I really think so
I'm turning Japanese
I think I'm turning Japanese
I really think so
Turning Japanese
I think I'm turning Japanese
I really think so

No sex, no drugs, no wine, no women
No fun, no sin, no you, no wonder it's dark
Everyone around me is a total stranger
Everyone avoids me like a psyched lone-ranger
Everyone

That's why I'm turning Japanese
I think I'm turning Japanese
I really think so
Turning Japanese
I think I'm turning Japanese
I really think so
I'm turning Japanese
I think I'm turning Japanese
I really think so
Turning Japanese
I think I'm turning Japanese
I really think so...

#37 Lavinia Amaldi

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Posted 03 October 2003 - 23:48

Clark Collis, Sunday September 28, 2003, The Observer
This Much I Know
David Byrne
, musician, 51, New York

When asked my profession for a visa, or whatever, I usually put 'musician', 'musician/artist', or 'photographer'. Something like that. It's pretty meaningless. I have a lot more fun with the tax forms where they ask you for your position. I put 'Boss'. Or 'Emperor for Life'.
I've also described myself as 'a smug pseudo-bohemian', which is tongue-in-cheek. But there are days when that's exactly what I am.

One thing that would have surprised me when I was younger is that sex can be better when you get older. The way that you get more comfortable or relaxed. I'd have thought it was downhill from 18.

I'm still a little bit shy, but much less so than I used to be. I used to be painfully shy. But my theory was that being a singer was the perfect job for a shy person because it compensated for my inability to communicate with other people.

If you're not a good cook, and I'm not, make an oven dish. They're easy. I recommend a codfish casserole.

What I took away from the whole Talking Heads experience was the idea that if you know the kinds of restrictions you have to work within - budgetary restrictions, or creative restrictions or whatever - that can be great, that can even be a spur to creativity. That old idea of, 'Oh, I don't want anybody telling me what to do', or 'I want my creative freedom' - that's bullshit. What you need is to be told clearly what the parameters are. Because, if you allow them to do anything, most people will just waffle about.

The surprising things about fame came after. I was shocked at how strongly people could get imprinted with one image of you. That you were the guy in the big suit, or whatever.

But there are lots of nice parts about periods of success, as you might expect. If you have an idea, people are much more willing to say, 'Well, yeah, let's give it a shot.'

I'm on cordial terms with the rest of Talking Heads, more or less. We've kind of got all these buffers: management or the record company guys, which is a good thing - so that old animosities, if they flare up, they're kind of kept in check.

I find that people are remarkably conservative about clothes. They don't regard them as a means of personal expression. I think it's seen more as a way to announce what tribe you belong to.

I regard myself as Scottish, to some extent. Although my family and I left when I was really young, we'd go back for summer holidays in the 50s and 60s. The film for which I've just done the soundtrack, Young Adam, takes place there in the 50s, so I could kind of connect with it. But the production people on the film weren't able to make the town as black as it was then. I remember every building being covered in soot.

I still have a British passport. It's kind of a point of pride. Plus, there was no advantage to having an American passport. I could vote in America. The only election I wasn't supposed to vote in was the presidential one. But, as it turns out, they never double-check. So I could vote in that one as well.

I tend to be suspicious of anybody that goes into politics. Especially if somebody says, I'm doing this because I want to do something that's good for people.

Doing the music tours, I travel with a bike that folds up. It means I feel empowered. I'm not some stupid rock star stuck in a hotel room out by the freeway overpass. I can get out my bike and ride on that overpass!

I'm endlessly fascinated by the religious urge as it manifests itself all over the world. But I don't go to church or to a temple. Maybe that is odd. I think we're in a kind of crisis because we don't believe but we know something's missing. And replacing it with platitudes and values based on scientific logic or faith in capitalism is just hopeless. Those are not things to base values on.

I do envy those who have a more conventional lifestyle. Those fuckin' happy people! Why do they deserve to be happy? I have to devalue happiness because I haven't been able to achieve it so brainlessly and effortlessly as others appear to have. So I have to lower its commodity value and say that happiness is not all it's cracked up to be. But, actually, surprisingly, I think I am a happy person.

I used to be more angst-ridden. It's not drugs. Leonard Cohen, I think, said brain cells for depression are the ones that die out first.


#38 danijela

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Posted 04 October 2003 - 02:17

Bowie's Heroes

What was the last great performance that you saw?

This year, I saw Radiohead at the Beacon Theatre [in New York]. I had a shrewd suspicion that they were the best band around, and that convinced me.


Radiohead best act in Q awards ... again

Radiohead were hailed as the greatest band since U2 yesterday when they were voted the best act in the world for the third successive year at the Q Awards.

The band, from Oxford, were honoured last night by readers of the music magazine at a ceremony at the Park Lane Hotel in London.

#39 sapho

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Posted 04 October 2003 - 23:11

Lepa sam, o smrrrtni, lepa kao vecita svetlost u zenicama sunca, ja Antiohova tajna gradjevina, ona koju je gladio i mazio sve dok je nije u drugom stupnju mutirao brojem trideset i sest, a taj je, za ovaj slucaj, bio poguban. - Smrrrtni, divite se mojoj lepoti i zalite je - jer je bila uzaludna.
O Antiose, Antiose, magarce !



:lol: :lol: :lol: :lol: :lol: :lol:

#40 sapho

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Posted 04 October 2003 - 23:20

Posted Image



#41 voja i

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Posted 05 October 2003 - 21:12

TANZ MIT LAIBACH


WIR ALLE SIND BESESSEN
WIR ALLE SIND VERFLUCHT
WIR ALLE SIND GEKREUZIGT
UND ALLE SIND KAPUTT

VON REIZTECHNOLOGIE
VON ZEITOEKONOMIE
VON QUALITAET DES LEBENS
UND KRIEGSPHILOSOPHIE

EINS, ZWEI, DREI, VIER
BRUEDERCHEN, KOMM TANZ MIT MIR
EINS, ZWEI, DREI, VIER
BEIDE HAENDE REICH ICH DIR

EINS, ZWEI, DREI, VIER
MEINE FREUNDE, TANZ MIT MIR
EINS, ZWEI, DREI, VIER
RUNDHERUM, DAS IST NICHT SCHWER

WIR TANZEN ADO HINKEL
BENZINO NAPOLONI
WIR TANZEN SCHIEKELGRUEBER
UND TANZEN MIT MAITREYA

MIT TOTALITARISMUS
UND MIT DEMOKRATIE
WIR TANZEN MIT FASCHISMUS
UND ROTER ANARCHIE

EINZ, ZWEI, DREI, VIER
KAMMERAD, KOMM TANZ MIT MIR
EINZ, ZWEI, DREI, VIER
BEIDE HANDE REICH ICH DIR

EINZ, ZWEI, DREI, VIER
DEUTCHES VOLK, KOMM TANZ MIT MIR
EINZ, ZWEI, DREI, VIER
RUNDHERUM, DAS IST NICHT SCHWER

YOP, YOP, YOP...

WIR TANZEN UND WIR SPRINGEN
WIR HUPFEN UND WIR SINGEN
WIR FALLEN UND ERHEBEN
WIR GEBEN ODER NEHMEN

AMERIKANO FREUNDE
UND DEUTSCHER KAMERAD
WIR TANZEN GUT ZUSSAMEN
WIR TANZEN NACH BAGDAD

EINS, ZWEI DREI VIER
BRUEDERCHEN, KOMM TANZ MIT MIR
EINS, ZWEI, DREI, VIER
BEIDE HAENDE REICH ICH DIR

EINS, ZWEI, DREI, VIER
MEINE FREUNDE, TANZ MIT MIR
EINS, ZWEI, DREI, VIER,
RUNDHERUM, DAS IST NICHT SCHWER

EINZ, ZWEI, DREI, VIER...

Laibach 1998 - 2002 Mute song © 2003

#42 Rad-oh-yeah?

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Posted 05 October 2003 - 22:21

el camino blazing down the road
el camino fast never slow
el camino conquest of the' night
aztec machine speeding to the light

toronado concienda il ma pweeb
toronado she rules the laws of speed
toronado she's a bull of a machine
beauty like i've never seen

cordoba hot siesta at high noon
cordoba she takes me to the moon
cordoba estienda ma chi esta que
el puentes masto mehta

cuondo cuondo cuondo
cuondo cuondo cuondo

(Ween)

#43 zzzzz

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Posted 06 October 2003 - 00:18

RACUNAJTE NA NAS (Rani Mraz)
(Dj. Balasevic-- T. Milakovic-- Dj. Balasevic)


U ime svih nas iz pedeset i neke,
Za zakletvu Titu ja spevao sam stih,
Ne spominjem proslost i bitke daleke,
Jer rodjen sam tek posle njih.

Al' zivot pred nama jos bitaka skriva,
I preti nam, preti ko duboki vir,
Ja znam da na ceka jos sto ofanziva,
Jer moramo cuvati mir.

Racunajte na nas.

Sumnjaju neki da nosi nas pogresan tok,
Jer slusamo ploce i sviramo rok,
Al' negde u nama je bitaka plam,
I kazem vam sta dobro znam.

Racunajte na nas.

U ime svih nas iz pedeset i neke,
Za zakletvu Titu sam spevala stih,
Ne spominjem proslost i bitke daleke,
Jer rodjena sam posle njih.
U nama je sudbina buducih dana,
I neki se mozda i plase za nju,
Kroz vene nam protice krv partizana,
I mi znamo zasto smo tu.

Sumnjaju neki da nosi nas pogresan tok,
Jer slusamo ploce i sviramo rok,
Al' negde u nama je bitaka plam,
I kazem vam sta dobro znam.

Racunajte na nas.

#44 Hippie

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Posted 06 October 2003 - 00:44

RACUNAJTE NA NAS (Rani Mraz)
(Dj. Balasevic-- T. Milakovic-- Dj. Balasevic)


U ime svih nas iz pedeset i neke,
Za zakletvu Titu ja spevao sam stih,
Ne spominjem proslost i bitke daleke,
Jer rodjen sam tek posle njih.

Al' zivot pred nama jos bitaka skriva,
I preti nam, preti ko duboki vir,
Ja znam da na ceka jos sto ofanziva,
Jer moramo cuvati mir.

Racunajte na nas.

Sumnjaju neki da nosi nas pogresan tok,
Jer slusamo ploce i sviramo rok,
Al' negde u nama je bitaka plam,
I kazem vam sta dobro znam.

Racunajte na nas.

U ime svih nas iz pedeset i neke,
Za zakletvu Titu sam spevala stih,
Ne spominjem proslost i bitke daleke,
Jer rodjena sam posle njih.
U nama je sudbina buducih dana,
I neki se mozda i plase za nju,
Kroz vene nam protice krv partizana,
I mi znamo zasto smo tu.

Sumnjaju neki da nosi nas pogresan tok,
Jer slusamo ploce i sviramo rok,
Al' negde u nama je bitaka plam,
I kazem vam sta dobro znam.

Racunajte na nas.

:lol:

Posted Image

#45 voja i

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Posted 06 October 2003 - 08:32

Posted Image


Posted Image Posted Image

Novi Kolektivizem was responsible for one of biggest scandals in Yugoslavia coming at a time of increasing instability as it descended towards violent disintegration

Dan mladosti (Day of Youth)

In 1987 NK took part in the competition for the poster and the torch to comemorate the 25th of May (The Day of Yugoslav Youth) and the birthday of Josip Broz Tito.

NK entry won, picked by the juries of the organisers

The poster was reproduced in Politika, the main Yugoslav daily newspaper where an astute member of the public spotted the striking similarity to Nazi artist Richard Klein's painting the Third Reich and duely informed the press.

It was highly embarrasing for the authorities, a country heavily steeped in romaniticized mythology of antifascist, communist partisan struggle. This poster brought home the uncomfortable point that Fascism is very much the same as Communism.

The full scale of the scandal took NK by surprise with news travelling beyond Yugoslavia's borders.

Michael Benson first heard of the NSK through reports of the story in the USA while working with The New York Times, a few years later he filmed Prediction of Fire.

Despite the furore, no charges were brought against NK.


········································
··············


Proclamation

What is a political poster?

What gives the political poster its explosive power?

The political poster is an experience of the twentieth century.

The political poster is a form of public communication.
It impacts the viewer quickly, unexpectedly, effectively, lingering in the memory for a long time.

Its thunderous poetry reverberates through million-strong audiences.

The retrogardist is an artist guided by the desire and ability to analyze with an unerring eye the relations of the beautiful, the raw, the exalted, the holy and the terrible in current events throughout the world. The retrogardist combats using design and all the means at his disposal. He applies the method of the retro principle the way an automobile designer assembles the parts of a car - wheels, steering wheel, engine... The creative processes of reversed perspective, metaphors, hyperboles, time and space warp, unite and link everything that mankind has squeezed from its veins until now. Content and form are only tools which combine themes and symbols into dynamicism, tension, excitement and drama. The political poster must be like a blow into an open wound. New Collectivism has, within the frame of new state ideologies, redesigned and exposed the old classicist form of man, based on the principle of extra-temporal humanist ideals, into a new value, to be dictated by concrete historical events.

The political poster YOUTH DAY by New Collectivism has a soothing influence on stable minds and is a disturbing appeal to the masses.

A poster of New Collectivism is a text, and the text of New Collectivism is a poster!

It's slogan is - humanist propaganda.

NEW COLLECTIVISM, Ljubljana, March 21, 1987

Edited by voja i, 06 October 2003 - 09:19.