CHHS Percussion Ensemble: "Stinking Garbage" Video
Related Videos
Hurra Torpedo: "Total Eclipse of the Heart"
Hurra Torpedo, a band that uses kitchen appliences for percussion, does their tribute to Bonnie Tyler's 1983 hit song.
"Fast Times at Ridgemont High" trailer
It's awesome! Totally awesome!
"Christmas Vacation" DVD clip: "Is it plugged in?"
Make merry as Chevy Chase, Beverly D'Angelo, Randy Quaid and an ensemble of comedy favorites strive to gift-wrap the "perfect Christmas" for the Griswold family. The most successful of the three vacations.
Daily Debrief: Sigh, e-voting still stinks
As Election Day approaches, many voters across the country are still skeptical about the accuracy and efficiency of electronic voting. On this Daily Debrief, CNET chief political correspondent Declan McCullagh tells Kara Tsuboi why he prefers voting by paper and pencil, when e-voting technology will be up to snuff, and how Congress really messed this one up.
BOL 1068: You can't survive the stink!
AT&T let's you pay for their network holes, Chrysler puts auto manuals on DVD (and how are you supposed to use that in the car?), MySpace says it's video portal now, USB 3.0 is here, Europe gives Google a green light to sell ads to the black marketers, and when you're dead on the web, you're dead.
Milwaukee, Wisconsin's Decibully is a band's band. Featuring numerous multi-instrumentalists and having earned a strong reputation for their live performances, Decibully brandishes a wide variety of influences, mixing a rich blend of finely interspersed layers tinged with country-esque flourishes, subtle electronic twinges, and rockist undertones. Formed as a trio in Fall 2001 by William J. Seidel (vocals, guitar, percussion, Rhodes), guitarist W. Kenneth Siebert and keyboardist Nick Westfahl, the group soon added Ryan Weber (lap steel, synths, guitar, percussion), bassist Justin Klug, and drummer Jason Gnewikow to further round out their sound. Decibully spent the rest of 2001-02 practicing when time could be found, touring and self-releasing their debut album You Might Be A Winner, You May Be A Loser, But You'll Always Be A Gambler. When Gnewikow moved to New York, he was replaced on drums by Aaron Vold. At the same time, banjo player Eric Holliday joined the band. Following a successful January 2003 tour, Decibully returned to the studio to begin working on their second full-length, the tentatively-titled When We Learned How To Dance. In late May 2003 Westfahl was replaced by Nicholas Sanborn on keyboards and the band began looking for a label. Prior to Decibully, Seidel and Weber were founding members of Camden. In 1999, Camden recorded demos with Chris Rosenau, guitarist for Pele and Collections of Colonies of Bees. Based on their prior relationship and having seen Decibully live numerous times, Rosenau contacted Polyvinyl Records via a two o'clock in the morning phone message lauding the band. A few days later, an unmastered, incomplete version of the album arrived by mail. Band and label began talking and, following a return to the studio, the album was released as City of Festivals on October 14, 2003 followed by a self-booked national tour and an appearance at Polyvinyl's 2003 CMJ Showcase. With nearly a hundred shows played in support of City of Festivals, Decibully again returned to the studio to begin recording their follow-up album to the Polyvinyl debut. City of Festivals had been a mix of different songs written while the band was undergoing personnel changes. A little over half the songs had been written before the band became the solidified line-up that toured in support of City of Festivals. From the initial roughs sent to Polyvinyl, it was obvious the dividends from touring were paying off in the studio. Sing Out America! (scheduled for release March 8, 2005), Decibully's third album, is the first one to be written entirely by the band as a cohesive septet from start to finish. Although more stylistically varied than previous albums, the continuity of Sing Out America! reflects the consistency that can only be found by a band spending so much time on the road together. Sing Out America! is the most representative work the band has turned in to date, bringing their recorded output in step with their live show.
"Dirty Dozen" DVD clip: "Jake the Trouble Maker"
Lee Marvin portrays tough-as-nails Major John Reisman, assigned to command a squad of misfits on a suicide mission against Nazi brass on the eve of D-Day in occupied France. With no other chance for redemption, this group of convicts, psychos, lunkheads and losers will earn their freedom, "if" they can survive. Filled with explosive excitement, military grit and anti-authority gibes, "The Dirty Dozen" has become a classic of the war-movie genre and earned a rightful place on the AFI list of "100 Years...100 Thrills." Nominated for four Academy Awards when it was released in 1967, "The Dirty Dozen" remains a milestone among ensemble action flicks.
Starship Troopers gameplay footage 3 (PC)
The Starship Troopers take on a huge beetle in this awesome clip.
Quick Tips: Reduce address bar suggestions
This trick keeps the 'awesome bar' from overwhelming you.
The Constantines: "Nightime/Anytime, It's Alright"
When the Constantines headlined the Sub Pop showcase at the 2004 SXSW Festival in Austin, Texas; the band's show concluded with them standing on the speaker stacks clapping and keeping time for the audience as the room sang the band's recent set closer (Lou Reed's "Temporary Thing") back at them. This scene lasted a full five minutes, five minutes of finale without the band playing a single note and thus the increasingly impatient promoters, fearful of running over their strict Texan curfew, couldn't even unplug the band to get them off the stage. But then the purpose of the stage is constantly called into question at Constantines shows. Bryan and Steve will regularly move their mic stands into the crowd and Doug frequently hands out percussion to the faithful gathered together near the band. The greatest rock and roll is always transformative, a concept that the Constantines grasped from their inception and one which was so readily on display at this show. The boundary between band and crowd is blurred; inhibitions are lost, along with voices, and ultimately you feel more alive than you did before the band took the stage, before you stopped noticing the stage.
