KeepingIt
Real
[youtube=http://www.youtube.com/watch?v=XSR0Xady02o] This was to promote the new Angeline Jolie and Jonny Depp film - The Tourist. Was on the Pretorian building in Dallas.
Thing is, it is all nice and swanky and stuff, but... well it's a bit lame. Kinda like they've got a bunch of little tricks and slapped them all up one after the other. Wish they'd done something a bit more imaginative. This sort of projection is right at the point where it's not enough to just do it, you have to do something with real stand out, or it's a waste of money. This is all very slick and stuff, but whoever did has done nothing to address the film, really, other than popping the movie poster into the animation once or twice. Weak. And they probably got loads of wedge for it. Rant over.
Amazing. Click here.
The dressing up is not just for fun, say scientists, but an essential part of China’s ambitious strategy to reintroduce captive-bred Giant Pandas back into the wild. It is not yet clear if the Pandas are fooled by the disguises, but researchers at China’s Wolong Panda reserve in Sichuan Province, say that captive-bred cubs must live devoid of all human contact if they are to have any chance of survival. Earlier attempts at reintroducing captive-bred pandas to the wild ended in disaster in 2006 when Xiang Xiang, a male cub who was supposedly trained to adapt to life in the wild, was found dead 10 months later, apparently killed by other wild pandas. In a new strategy, earlier this year conservationists released four pregnant Pandas into a protected area of Sichuan forest in order to prepare their future cubs for life in the wild. In these pictures researchers at Wolong’s Hetaoping Research and Conservation Center take the temperature of a four-month-old cub before carefully returning him to the ‘wild’ where he is monitored by 24-hour CCTV. Although notoriously fussy when it comes to mating, China has in recent years made great strides in its captive-breeding panda program, and this year attained the ‘magic 300′ number of captive-bred animals, the target for starting to reintroduce them to the wild.”
[audio http://dysonology.files.wordpress.com/2010/12/gimmie-shelter-jadells-vicious-remaster.mp3]
"Instead of Charlie Watts on drums we now have John Bonham. Instead of Bill Wyman on bass we now have Jimmy Castor. Instead of Keith Richards on guitar we now have Frank Zappa. Mick is still on vocals, but I brought up Merry Clayton's vocal and did a little drop down section for her around 2:40. She is AMAZING. HOLY SHIT. I stripped off a load of piano, harmonica, and other guitar lines to make it sound a bit rawer, like a 4 piece band."
I was woken from my sleep again by shouting from next door.
"Wake up!" she yelled. "Get up!" she screamed. "You're no good any more."
The last people I lived next to were kindly, gentle folk. The most I really overheard was Sunday evening's poke.
I lived above an old man once whose legs were amputated. His daughter stayed there, smoked a lot, he sleep-talked while sedated.
Considering in abstract all the ways we intersect, The bits of life we hear and share, the private sound's effect -
I wonder if in quiet times they can hear me through the wall, And if I seem a happy chap, or make no sound at all.
(c) me
Megan Galante has amazing pictures and does really beautiful work. Take some time to look at it. This picture is from one of a series of "Celebratory Signs" that were featured on BOOOOOOOM.
x
Great song, great voice, great outfit, great dancers. Absolutely nothing wrong with this version (Thelma Houston also had a number one with her cover of Don't Leave Me This Way). This version was produced by Jimmy Webb (rocking writer who also penned Wichita Lineman for Glenn Campbell). What I like about it though, is that the Stones' original 1968 version was so hardcore, so 'theirs', and such a definitive song of its era that you wouldn't think anyone could do a cover that would be able to stand next to it and give it a run for its money.
Except this one. Thelma comes in guns blazing, rocks it, and the last verse is h e a v y.
[youtube=http://www.youtube.com/watch?v=6Gg1AcIM_8E]
This post by Richard Metzger on Dangerous Minds deconstructs The Beatles' epic 1968 smack-down ‘Helter Skelter’ into individual studio tracks from 1968. It's wicked. Follow the links to see other similar pieces on that website (especially the first one on the Stones).
Since the post about the individual tracks that comprise the Rolling Stones’ classic “Gimme Shelter” went over so well, here’s another in a similar vein, a track by track breakdown of “Helter Skelter” by the Beatles.
This is probably as close as it is possible to be in the recording studio with the Beatles during the White Album sessions in 1968. Record producer Chris Thomas, then a “tea boy”/intern at EMI Studios, later said of this session: “While Paul was doing his vocal, George Harrison had set fire to an ashtray and was running around the studio with it above his head, doing an “Arthur Brown.”
If you’re really bored you can open them all up in different windows and try to sync ‘em up…
First McCartney’s frenzied vocal. Superb! How do you improve on something like this? You don’t because It’s fucking perfection. “It’s coming down fast….!”
[youtube=http://www.youtube.com/watch?v=xLlkV3PG3J4]
Next up the first guitar track. Many previously unheard nuances, both here and in the scratchy-sounding secondary guitar layer below. At times it sounds like it’s Kurt Cobain playing guitar, not George Harrison or Paul McCartney (who plays lead guitar here).
[youtube=http://www.youtube.com/watch?v=snCOLR-bVSc] [youtube=http://www.youtube.com/watch?v=CB0xVxtApFI]
It’s actually John Lennon on bass here. So primitive sounding in comparison to McCartney’s nimble bass-lines.
[youtube=http://www.youtube.com/watch?v=QCieoJNW5lQ]
Finally the drums. Yet another example of how very fine a drummer Ringo is, what else is there to say? Ringo Starr said of this session: “‘Helter Skelter’ was a track we did in total madness and hysterics in the studio. Sometimes you just had to shake out the jams.”
[youtube=http://www.youtube.com/watch?v=XflhqGCwktM]
More Beatles on Dangerous Minds
Thank you Tara McGinley!
a m a z i n g [youtube=http://www.youtube.com/watch?v=ejbNVWES4LI]
[youtube=http://www.youtube.com/watch?v=ljg_EgXMjO0] I like the second day.
(spotted on someone else's Facebook) [youtube=http://www.youtube.com/watch?v=rEUxlwb2uFI]
"And I'm still carrying the gift you gave, It's a part of me now, it's been cherished and saved, It'll be with me unto the grave And then unto eternity." (Bob Dylan)
Script, direction: Andreas Hykade Design, animation: Andreas Hykade Animation assistance: Angela Steffen Art work: Natalia Eck Compositing: Christof Hoffmann Sound, Music: Heiko Maile Funding: MFG and FFA Production assistance: Simone Fischer Production: Thomas Meyer-Hermann Studio FILM BILDER 2010
Covers an entire SUV. One sleeve at each end.
The Frog Prince, by Brothers Grimm
One fine evening a young princess put on her bonnet and clogs, and went out to take a walk by herself in a wood; and when she came to a cool spring of water with a rose in the middle of it, she sat herself down to rest a while. Now she had a golden ball in her hand, which was her favourite plaything; and she was always tossing it up into the air, and catching it again as it fell.
After a time she threw it up so high that she missed catching it as it fell; and the ball bounded away, and rolled along on the ground, until at last it fell down into the spring. The princess looked into the spring after her ball, but it was very deep, so deep that she could not see the bottom of it. She began to cry, and said, 'Alas! if I could only get my ball again, I would give all my fine clothes and jewels, and everything that I have in the world.'
Whilst she was speaking, a frog put its head out of the water, and said, 'Princess, why do you weep so bitterly?'
'Alas!' said she, 'what can you do for me, you nasty frog? My golden ball has fallen into the spring.'
The frog said, 'I do not want your pearls, and jewels, and fine clothes; but if you will love me, and let me live with you and eat from off your golden plate, and sleep on your bed, I will bring you your ball again.'
'What nonsense,' thought the princess, 'this silly frog is talking! He can never even get out of the spring to visit me, though he may be able to get my ball for me, and therefore I will tell him he shall have what he asks.'
So she said to the frog, 'Well, if you will bring me my ball, I will do all you ask.'
Then the frog put his head down, and dived deep under the water; and after a little while he came up again, with the ball in his mouth, and threw it on the edge of the spring.
As soon as the young princess saw her ball, she ran to pick it up; and she was so overjoyed to have it in her hand again, that she never thought of the frog, but ran home with it as fast as she could.
The frog called after her, 'Stay, princess, and take me with you as you said,'
But she did not stop to hear a word.
The next day, just as the princess had sat down to dinner, she heard a strange noise - tap, tap - plash, plash - as if something was coming up the marble staircase, and soon afterwards there was a gentle knock at the door, and a little voice cried out and said:
'Open the door, my princess dear, Open the door to thy true love here! And mind the words that thou and I said By the fountain cool, in the greenwood shade.'
Then the princess ran to the door and opened it, and there she saw the frog, whom she had quite forgotten. At this sight she was sadly frightened, and shutting the door as fast as she could came back to her seat.
The king, her father, seeing that something had frightened her, asked her what was the matter.
'There is a nasty frog,' said she, 'at the door, that lifted my ball for me out of the spring this morning. I told him that he should live with me here, thinking that he could never get out of the spring; but there he is at the door, and he wants to come in.'
While she was speaking the frog knocked again at the door, and said:
'Open the door, my princess dear, Open the door to thy true love here! And mind the words that thou and I said By the fountain cool, in the greenwood shade.'
Then the king said to the young princess, 'As you have given your word you must keep it; so go and let him in.'
She did so, and the frog hopped into the room, and then straight on - tap, tap - plash, plash - from the bottom of the room to the top, till he came up close to the table where the princess sat.
'Pray lift me upon chair,' said he to the princess, 'and let me sit next to you.'
As soon as she had done this, the frog said, 'Put your plate nearer to me, that I may eat out of it.'
This she did, and when he had eaten as much as he could, he said, 'Now I am tired; carry me upstairs, and put me into your bed.' And the princess, though very unwilling, took him up in her hand, and put him upon the pillow of her own bed, where he slept all night long.
As soon as it was light the frog jumped up, hopped downstairs, and went out of the house.
'Now, then,' thought the princess, 'at last he is gone, and I shall be troubled with him no more.'
But she was mistaken; for when night came again she heard the same tapping at the door; and the frog came once more, and said:
'Open the door, my princess dear, Open the door to thy true love here! And mind the words that thou and I said By the fountain cool, in the greenwood shade.'
And when the princess opened the door the frog came in, and slept upon her pillow as before, till the morning broke. And the third night he did the same. But when the princess awoke on the following morning she was astonished to see, instead of the frog, a handsome prince, gazing on her with the most beautiful eyes she had ever seen and standing at the head of her bed.
He told her that he had been enchanted by a spiteful fairy, who had changed him into a frog; and that he had been fated so to abide till some princess should take him out of the spring, and let him eat from her plate, and sleep upon her bed for three nights.
'You,' said the prince, 'have broken his cruel charm, and now I have nothing to wish for but that you should go with me into my father's kingdom, where I will marry you, and love you as long as you live.'
The young princess, you may be sure, was not long in saying 'Yes' to all this; and as they spoke a brightly coloured coach drove up, with eight beautiful horses, decked with plumes of feathers and a golden harness; and behind the coach rode the prince's servant, faithful Heinrich, who had bewailed the misfortunes of his dear master during his enchantment so long and so bitterly, that his heart had well-nigh burst.
They then took leave of the king, and got into the coach with eight horses, and all set out, full of joy and merriment, for the prince's kingdom, which they reached safely; and there they lived happily a great many years.
The End.
[youtube=http://www.youtube.com/watch?v=B10BxYZqa1Q] PUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDI PUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDI PUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDI PUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDI PUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDIPUDDI
[audio http://dysonology.files.wordpress.com/2010/12/02-octet-in-f-d803-ii-andante-un-poco-mosso.mp3]
"Lines for Winter"
Tell yourself as it gets cold and gray falls from the air that you will go on walking, hearing the same tune no matter where you find yourself -- inside the dome of dark or under the cracking white of the moon's gaze in a valley of snow. Tonight as it gets cold tell yourself what you know which is nothing but the tune your bones play as you keep going. And you will be able for once to lie down under the small fire of winter stars. And if it happens that you cannot go on or turn back and you find yourself where you will be at the end, tell yourself in that final flowing of cold through your limbs that you love what you are.
by Mark Strand.
Strand wrote this for his friend Rosalind Krauss when she got the blues. I like it.
(photo copyright me though - it's on the river Thames near Hammersmith bridge on a cold day)