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The brief, brief from the band for this song was "lapdancers" which became a man obsessed with a lap dancer. Just so long as it involved the band and a lapdancing club. So we came up with the idea of a man so consumed with rage that it ultimately becomes his salvation..and er..some lapdancers. The shoot began in a nite club in Margate, Kent, co-owned by one of the bands brothers, however the nitemare began a few hours earlier, when at 4pm our lead actress had to pull out leaving us four hours to find a replacement who would be prepared to come to Margate and pole dance in front of a bunch of strangers all night for free. Further more our first A.D was on a shoot and over running. Many frantic calls and emails later the planets aligned and we found Joceline, an actress and model, who as luck would have it lived moments away from the studio where our first A.D had just wrapped. So off we all convoyed down to the coast. We arrived at the nite club at 11 to start shooting at midnight only to find out that it closed at 2am. The sunrise was at 4am so this left us two hours to shoot. We threw half the storyboard in the sea. The club cleared an area upstairs so we could shoot close ups of the dancers, meanwhile our extras got stuck into the free bar. Unfortunately our extras idea of smart dress wasn't quite the same as ours, so we wrangled the four guys who did wear suits into the front of every shot. The bar was cleared by 2.30am and we were done by 5am following some sneeky lighting miracles to cheat the threat of impending daylight that was creeping through the windows. More information is available at www.visualabuse.com
Tekzilla Daily: Listening to forgotten tracks on iTunes
Out of the thousands of songs on your iPod, there's gotta be a bunch you've been neglecting. Patrick will show you how to revisit those golden oldies you forgot you even owned.
Their first full-length CD, Datarock Datarock (Nettwerk Music Group June 12, ), takes the feel-good vibe of "Computer Camp Love," turns it up to 11, and blasts a power chord of throwback nostalgia that'll knock you straight out of your Reebok Pumps. Love letters to Laurie Anderson ("Laurie") and references to Close Encounters of the Third Kind ("Princess") are just the tip of the iceberg. The album's infectious first single, "Fa Fa Fa," pairs up dance-rock drums with funk-strummed guitars and a chorus that'll have you jonesing for the nearest copy of Talking Heads' 77. "Ugly Primadonna," meanwhile, is pure four/four Groovebox robotics and space age Casiotone melodies.†† On "I Will Always Remember You" (featuring Annie), Fredrik does his best Wayne Newton, verbally undressing you with his velvety pipes over a bed of freeze-dried strings before formally "sexing you down" on "Sex Me Up." But more so than any other track on the album, the opening "Bulldozer" perhaps best encapsulates the band's true modus operandi. Whereas Kraftwerk glorified the Trans-Europe Express and the Tour de France, Datarock prefer to sing the praises of a more proletarian method of transportation: the BMX. Which, according to the Fredrik and Ket-Ill, "is better than sex."
In 1955, a tough skinny guitar-slinger who called himself J.R. Cash walked into the soon-to-be-famous Sun Studios in Memphis. It was a moment that would have an indelible effect on American culture. With his driving freight-train chords, steel-eyed intensity and a voice as deep and black as night, Cash sang blistering songs of heartache and survival that were gutsy, full of real life and unlike anything heard before.
That day kicked off the electrifying early career of Johnny Cash. As he pioneered a fiercely original sound that blazed a trail for rock, country, punk, folk and rap stars to come, Cash began a rough-and-tumble journey of personal transformation. In the most volatile period of his life, he evolved from a self-destructive pop star into the iconic "Man in Black" - facing down his demons, fighting for the love that would raise him up, and learning how to walk the razor-thin line between destruction and redemption.
The story of the young Johnny Cash and his incendiary love affair with June Carter Cash comes to life in "Walk the Line," directed by James Mangold from a script by Mangold and Gill Dennis, based on Cash's books "Man in Black" and "Cash the Autobiography". Joaquin Phoenix plays Johnny Cash and Reese Witherspoon is June Carter. Phoenix and Witherspoon sing every note of their roles themselves in live performances that capture the spirit of the music that drove Johnny and June's relationship.
At the film's core is the passionate and revved-up music that knocked the complacency out of popular culture in the 1950's, which Mangold felt could only be captured in its most emotional and authentic from by having the principal cast perform many of the film's songs live. "The early fifties were the height of the smooth post-war sound, Doris Day and 'easy listening,'" says Mangold. "Musak was invented the year John released his first singles; even country music of the early fifties was highly produced, the edges smoothed for greater 'appeal'. One of the things I wanted the music in the film to convey was the startling roughness, the good humor, the cockiness, the urgency, heat and fire that shook people when these boys first played to crowds."
This movie was nominated for numerous Academy Awards. Click here to see videos of other Oscar nominees on Download.com.
when it comes to the much talked about sound of berlin, modeselektor would be the choice you can bank on. their ?dreck (=crud) elektro? (arte tv) has made it into the favourites of mr radiohead himself - thom yorke. for almost 10 years now the duo stands for guaranteed humour-dipped, musically exciting and dance stimulating night-time entertainment, while the rest of germany is long asleep. in france they might be even better known, as they are constantly invited to play in paris as well as in the provinces.
In a world of bands where truth often gets bogged down in the mire of genres, trends and politics, Over it would like to think they have stayed afloat. Out of Orange County, California, by way of Alexandria, Virginia, they have taken in the road and a host of adventures, discovering the things they value most. For this band, what matters is the sincerity of every last one of their hundreds of performances, a personal connection with their fans, and the quest for the inspiring song. Over it lives for furious sounds and a hopeful future. Nearly five years ago in the Fall of 1998, chance drew the members of Over It together. Peter, Nick, Seth and James were four bright-eyed teenagers then, staring down the dawn of what was to become a dazzling, liberating vision. "Looking back, it seems ironic that music left such an indelible mark on the four of us," relates Munters, the group?s lead vocalist and guitar player. ?The suburbs offered us no big brother bands to emulate, and beyond the dark outskirts of DC no form of music-centered scene or shows really existed. Still, somehow the boys in Over It found and sought out the sounds that opened their minds to the possibility of music as a serious creative outlet. Recording and touring in support of their indie-released demo ep, "Over It" and a full length album, "The Ready Series" (both on Oakland?s Negative Progression Records) became more and more a priority for the band as they waited for Ulrich (drums, 20) to finish high school. So much that in the spring of 2001 Munters (22), Watts(21), and Bailey (21), already attending universities, decided to push their education to the back-burner, and persuade their youngest band-mate to wait for college, instead joining them in the full-time pursuit of their love for music. To this day, the band reflects on this decision as the most pivotal turning point in Over It?s story. "We were all good students, but distracted from our studies by the rewards we found in the studio and on the road," remembers Watts. "We just told one another that if we could survive as a productive force, hear our songs featured on dozens of compilations worldwide and find content at each day?s end, we owed it to the world to work fully toward a musical destiny." Following the release of their "Hindsight 20/20" ep in 2001, the band garnered the attention of Santa Barbara?s own Lobster Records, who recognized the bands unflagging work ethic and positive energy. Encouraging Over It to continue and amplify their rigorous touring and eventually relocate to the Southern California markets, Lobster helped spawn "Timing Is Everything", the band?s second full length, and most critically acclaimed work to date. Received by good press, and the approval of a growing fan base, the record propelled Over It through several national tours and two-week stints on the grueling and infamous Vans Warped Tour in both 2002 and 2003 (as well as ?04). ?Being on warped tour was all at one our greatest blessing and the most burdensome weight the band has carried," notes Munters. "We drove our van alongside the coaches of so many-of our idols, and touched base with more fans than we ever thought we would meet, working all day and driving all night to find as much as we could. It was truly a testament to how far a little dedication and sincerity can take four friends." Nearly three years later, the band is still full of wonder and grateful for the path they?ve traveled. None of us ever thought to just step up and live a dream, that?s just the way it keeps happening.
Normally it's a great honour if a big pop band like Franz Ferdinand asks an underground producer to remix a song. If then also Royskopp, Yello, Annie, Mylo and even Roxy Music call the guy and ask for a mix you can be quite sure that the producer must be more than just one of the many new one hit club wonders. And if next this artists starts to record his solo album and people like Soulwax, The Rapture and Radio 4 want to sing on it, it's not unlikely that there is something special going on. All this is happening to Swiss born, but Berlin-based disco producer, DJ and painter Robi Insinna aka Headman. You can easily call Robi one of the leading figures of the new disco movement. His first HEADMAN album "It Rough" was released back in 2003 on the small German label Gomma and set new standards in club circles. It was immediately nominated album of the month" in Jockey Slut Magazine/ UK and called one of the most important and innovative albums of the year by DJ?s such as Trevor Jackson, Ivan Smagghe or even Hell. The title track (with a Chicken Lips re-work on the 12") caused a huge fuss in clubs around the world. Since then he has been building up a worldwide underground reputation as remixer, producer and DJ regularly playing hot clubs like Bugged out or Optimo in the UK as well as Tribeca in New York and FUN in Berlin. This year he even has been invited to play at occasions like the MTV music awards aftershow party in Lissabon or the famous Colette Shop Parties in Paris. He also is currently travelling with SOULWAX as Tour DJ all over Europe. Besides the records on his main label Gomma, Headman has also recently been asked to publish a single on London's Output records. He also started an own little inprint (Relish records) and from time to time he puts out records under his moniker Manhead. But his main project is the HEADMAN music: The Headman style is a very special version of (balearic) Disco, combining the organic sound of 70ies Leftfield Disco and Rock with the energy of 90ies house. The new album includes songs Robi recorded with Stephen Dewaele from Soulwax/2many DJs (he performed on the first single ROH), Matt Safer from The Rapture, Anthony from Radio 4 and Erol Alkan from London?s TRASH Club. The remix for the first single ROH was done by Trevor Jackson aka Playgroup. The second single MOISTURE includes two club mixes by Robi himself and the kicking MUSTAPHA 3000 remix. Robi`s projects are especially notable for their artwork. He studied painting at the famous Brera Art academy in Milan/ Italy and starts to get known also for his big Head paintings. (The ON album will include a 16 page booklet showing paintings made for every song on this CD) For more information for Insinna?s paintings please check out www.relishrecords.com/art (www.headman.org)
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.
From the animated b-boy dancing to the mad flow, Boba Fett shows off his lesser-known skills in this amazing fan film. The author writes: "Boba Fett sings a song about Star Wars from his perspective. I've been working on this for 2 months. If it does well, I may make a version 2 with the whole song. The song is by MC Chris. You might recognize his voice as MC Pee Pants from Aqua Teen Hunger Force."
Video showreel of different folk dances of Russian Federation filmed onboard the cruise ship Silja Opera
