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March 31st, 2009UncategorizedAt some point during his youth, I get the sense that Neil Young looked death in the eye and didn't like what he had seen. He chose a different path and because of that decision, we have been blessed to share in the vision of one of music's greatest and most brilliant artists. There are those faster of guitar and more technically sound, but Young's genius lies in his ability to transcend genre and style with his own creative spirit. He is Rodin with a piece of rock, Picasso with paint brush and Dostoevsky with pen. -
March 30th, 2009UncategorizedNow I got a mixtape of tunes from the Roots. The Roots fans will love this!! This mixtape has plenty of exclusive material that that even an occasional Roots listener will enjoy. J Period definitely knows how to put a mixtape together.
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March 29th, 2009Uncategorizedhis album was originally was released in 2001 but was re-issued in 2005 (below is the 2005 cover image). Some nice California Hip Hop on this album.
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March 28th, 2009Uncategorized
Classi Assi & F.U.N.K. present: MOVE IF YOU WANNA
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March 25th, 2009Uncategorized
Here's to the man himself, Mr James Joseph Brown Jr. aka :- Soul Brother Number One
- Sex Machine
- Mr. Dynamite
- The Hardest Working Man in Show Business
- Minister of The New New Super Heavy Funk
- Mr. Please Please Please Please Her
- The Boss
- The Godfather of Soul
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March 23rd, 2009Uncategorized
Have you met Danny-Boy? Allow us to introduce you to this Velvet Kitten burlesque strip tease performer!
In an old-fashioned burlesque style of strip tease, this special guest entertainer provides a particularly amusing experience in today’s burlesque scene with his enjoyable number! If you missed his unveiling in last weekend’s show, he’ll be making another appearance at this Saturday’s Velvet Kitten burlesque show at Rembrandt’s Dutch Pub! 10 pm show time!
A little history of Danny-Boy: Danny was the musical director and saxophone player of Hyena’s Fort Worth burlesque show, the Red Light Burlesque Revue, debuting in 2005. This former UNT jazz major works continually as a musical director and also as a band leader, sound designer, and actor. He also was the co-writer/co-producer and musical director of LCB’s first production, Cirque de Amore, and continually works all Velvet Kitten live music productions. You can often catch Danny-Boy playing at open jams and with local jazz bands in DFW. He is also the musical director and sax player of the Shish Boom Band, premiering this March at the Hyena’s new Dallas location in our new classic burlesque revue, Sugar Moonlight.
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March 22nd, 2009UncategorizedWar Stories details the amazing journey that took Jordan and War, the band he helped create, from the ghettos of LA to stages and concert halls all around the world. I’ve been thinking about writing a book, based on my experiences in the 60s and into the 70s, musically and personally. Thinking about that got me thinking about the music, so this is the first chapter of my musical autobiography, the soundtrack to my life story.
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March 21st, 2009UncategorizedIn Hollywood, the acting there is much less dramtised (is that a word even?) and much more realitic
In Bollywood, every event is exxagerated by 10 times and of course, its totally unrealisti if they keep popping up on various mountains around the world and waving their scarves.But thats not why.
Cos the songs and the drama can actually work for some movies.
In Hollywood, for most movies, the actors must audition for the part they want. Even big shot actors. This keeps their acting skills brushed up and their willingness to try various characters.
In Bollywood films, the directors are the ones that assign an actor for a specific film. The actor is, of course, allowed to decline. So, it only makes sense that the actors and actreses are cocky, and think of themselves as big diva's because so often the directors are the ones that practically beg them to act in their movie.
Hence, Indian actors and actresses will never be as good as they can be because nothing is pushing them to possess better acting skills. Besides, half of them are just pretty model-face turned actress anyways. So maybe if the Directors start introducing auditions (in which actors have to prove their skills once and for all), and not kissing up to the actors asses, maybe India's acting talents would not be so stagnant after all. -
March 20th, 2009Uncategorized
Pleasure & Pressure Vol. 1 was recently released (about two weeks ago) on San Francisco-based Solid Bump Records. I think my face nearly melted off when I heard the first track “Blackout!” by SF residents White Girl Lust… It sends a nostalgic tingle from my nose to my finger tips. Truly-fucking-love this track. Then I explored the EP further… the funky warble of DreDay on “Spider People” is ass dropping goodness. Laberge’s “Funk Music” and “So Much More” are sensuously touching funk-house tracks that drip with sexploitation fever. Laberge has a gift for gently leading in keyboard riffs at the right moments to take you on a trip to a 1976 soul lounge complete with complimentary brandy.
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March 17th, 2009Uncategorized
Yello is a Swiss electronica band consisting of Dieter Meier and Boris Blank. They are probably best known for their singles "The Race" and "Oh Yeah", which feature a mix of electronic music and manipulated vocals.
The band was originally formed by Boris Blank (keyboards, sampling, percussion, backing vocals) and Carlos Perón (tapes) in the late 1970s. Dieter Meier (vocals, lyrics), a millionaire industrialist and gambler, was brought in when the two founders realised that they needed a singer. The new band name Yello was chosen as a pun based on a statement made by Dieter Meier: “a yelled Hello”. Meier and Blank's first release was the 1979 single called "I.T. Splash". The LP Solid Pleasure, featuring the hit dance single "Bostich", was released the following year.
In 1983 Yello received substantial media attention with the release of "I Love You" and "Lost Again". Perón left the band in 1983 to start a solo career. With their 1983 album You Gotta Say Yes to Another Excess, the band began a working relationship with Ernst Gamper, whose "corner cut" logo would represent them for three albums, and who would design covers for the group beyond the demise of this logo
