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Filmmaker Ralph Arlyck first met Sean while living as a graduate student in San Francisco's Haight Ashbury neighborhood at the height of the 1960s. The city was awash with the trappings of America's cultural revolution-the San Francisco State University campus flooded with cops in riot gear, the Haight filled with drifters and idealists, and, on the third floor of Arlyck's building, a come-one-come-all crashpad apartment. It was from this top floor commune that the precocious 4-year-old Sean would occasionally wander downstairs to visit and talk-and one day Arlyck turned on his camera. Sean's casual commentary on everything from smoking pot to living with speed freaks was delivered in simple sincerity throughout the soon-to-be famous 15-minute film. This First Child of the notorious decade may have shaken the audience with his simple sentence- "Sure, I smoke pot"-but it was his barefoot impishness which would encapsulate the hope that lay in front of the nation: a promise of infinite possibility. Thirty years, three generations, and a lifetime later, Arlyck has returned to San Francisco in search of who the adult Sean might have become. And what he finds, to his surprise, tells him as much about his own east-coast migration as it does about the Californian life he left behind-that the choices we're handed and the choices we make are, very often, quite odd bedfellows.
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Armor for Sleep: "Car Underwater"
What To Do When You Are Dead, Armor For Sleep's second installment due to be released February 22, 2005 is a record that will breathe new life into the carcass of thought provoking albums that has been lying on the side of the road which is the post hardcore/emo/rock whatever scene for years. Through the prism of buzz bands that flash and burn in dirty clubs under piles of screaming kids who will denounce them a month later it gets harder for words like longevity and individuality, originality and endurance to surface in the wash of MP3s and P2Ps that carry them to spread and deletion. In every band stickered corner in every smoke filled club from New York to California, Armor For Sleep has been showcasing their unique sound to thousands of kids who show up religiously and repeatedly to sing every word almost to the point of absurdity. In the past two years they have supported Fall Out Boy, Taking Back Sunday, Midtown, From Autumn To Ashes, Further Seems Forever, Bane and countless others. They have also done their own full U.S. headlining tours. If the last two years have been only a prelude to what the band is ultimately capable of, and if the success of their debut album "Dream To Make Believe" is any indication, Armor For Sleep is destined for canonization in the fluctuating music genre they have helped to create from the ground up. "We have seen our friends bands blow up overnight," says singer/songwriter/guitar player Ben Jorgensen, "and we?re always happy for them. We have just been working hard focusing on our sound and touring nonstop until we are so close to the brink of insanity that it hurts." Bands grow. Whether it's constant touring, self-reflection, or just being jaded from the crap bombarding modern rock radio, bands mature. "We?re not afraid to write the songs we want to write," Jorgensen said, admitting that the band was a little timid with their debut album. After working with producer Machine (Clutch, Lamb of God, White Zombie, King Crimson, Vision of Disorder) in an assortment of studios in Hoboken, New Jersey for two months, Armor For Sleep emerged with the 11-song album equipped with their signature evocative vocals, and hauntingly catchy melodies. Noted for his work with progressive metal bands, it was Machine's first time producing a band with a sound like Armor For Sleep, and what came out of it is sure to bring a new kind of reverence to the rock and roll community. With the first lines "Believe the news / I?m gone for good," of the opening track, "Car Underwater," listening to the album is like taking the hand of a ghost as he guides you around to the different people and places he likes to check up on, and in doing so, tells you the story of his life. Digging deeper into the musical styles of their genre, what comes out of What To Do When You Are Dead seems less like an experiment and more like what happens when everything just clicks and gears start turning by themselves, creating an album that promises to shine like fresh flowers on the gravesite of an industry of regenerated soulless music to fall asleep to. What To Do When You Are Dead offers the perfect balance between a self-contained concept album and a powerful collection of songs, completely unaware of each other?s existence. "We wanted this record to be a record where each song could be listened to individually," Jorgensen says "But still have a story flickering through every song, pointing the listener down the path we?ve paved for them." Where Dream To Make Believe dealt very much with time and space, What To Do When You Are Dead moves in cinematic scenes through the passage of life and death. The lyrics have the band's original literary presence that makes this album feel like every line was specifically written to fit with every guitar note, bass line and drum beat in perfect cadence. As the album moves from an actual death, to being in heaven and alone, to floating above the trees of a hometown and walking as a ghost through a graveyard, Armor For Sleep encompasses the feelings so inherent with youth. The feelings of loneliness, of social suicide, and of being an outsider conveyed in their songs put them in time with the music, and in the category of bands that connect with an entire generation, something the bigger bands of today seem to fall short of. But don?t expect them to realize the power they have over the people listening to their records. "We are just doing what we love," Jorgensen says, "what never crosses our minds is what other people will like... we just write music and I just write words that make me feel something in my gut. That is our only platform and always will be." The sound is delicate and combustible, using both clean and distorted guitar tones with a lot of slide power chords and punctuating notes that appear like gunfire across the appropriate tracks. The lyrics are meticulously crafted, smart and well placed and Jorgensen's voice is soaked with reverberation and infectious melody that can be both calm at times or impetuously turbulent. The ancient Greeks never wrote obituaries. Instead they asked only one question: Did they have passion? After their major success in such a short time, it is obvious that Armor For Sleep has a positive answer for that question. What To Do When You Are Dead is that answer.
For many, this is a dream collaboration between two of the most cherished artists in hip-hop, pitting the dusty, wig-twisting originality of Madlib's smoked out sounds capes against DOOM's nostalgic, visual rhyme style. Brothers from another mother, DOOM and Madlib have long admired each others work, first meeting face-to-face in Southern California in summer 2002, and since then they've shared a whole bunch of Cali-green, run through countless bottles of Grey Goose vodka and Heineken (well, that would be DOOM) and assembled over twenty tracks into a superb psychedelic romp of the highest caliber. The closest one can come to describing this beautiful chaos is a sublime companion piece to Madlib's previous evil adventure, Quasimoto's "The Unseen." But, as DOOM himself would ask anyone asking for a description: "He's the villain, so what about it?" In recent years the metal-faced maniac has released albums under the aliases of Viktor Vaughn, King Gheedora and Monster Island Czars. But rewind to 1993: DOOM (then Zev Love X) made his debut with the groundbreaking album 'Mr. Hood' as part of the group KMD, which has since achieved critical acclaim and cited as a key record in hip-hop's "Golden Age." Zev Love X, Subroc, and Onyx had just finished work on the follow up, "Bl_ck B_st_rds", a politicized commentary on the portrayal of race by the media, when their label Elektra decide to shelve the album over the controversial cover art which depicts a 'blackface sambo' character hanging from a gallows. Shortly after KMD were dropped and Zev Love X's brother Subroc was killed in a car crash. Like true-life story from the pages of a comic book, Zev Love X disappeared completely from public view, going back to the lab and fashioning new beats and lyrics, only to reemerge as the masked MF DOOM with the now classic "Operation Doomsday" in 1999. "Zev Luv X still exists, DOOM is a character, neither one of them is really me, they're a fa?ade I use to voice a certain view," Explains the MC behind the mask, Daniel Dumile. "Zev was like you're average nerd cat, might drop a jewel here and there, might tell you something you don't now, humble and modest. Whereas the DOOM character is more aggressive, on some real take over shit, but still trying to play likes he's a good guy. It's not so much I changed; I just took on another character." A string of creatively inspired singles on the influential Fondle 'Em label in the late 90's heralded DOOM's return. "Being from the underground, there's not so much bureaucracy, you can come out how you wanna come out. It's music straight up and down, if you're good you're good." DOOM sees himself as a conduit for his music. "I try not to tamper with it too much, I'm like the narrator or the spokesman. My music is raw, yet at the same time it can be easy listening." The spontaneity in DOOM's working process whether writing lyrics or building beats, calls to mind the spontaneous prose of Kerouac or the 'cut up' techniques of William Burroughs, in its praise of the purity of the original thought. Nostalgia is a central theme for DOOM: "I love cartoons, I still watch them to this day. I have an 8 year old son, he comes home and we just watch them together," smiles DOOM. "Dexter Laboratory, and of course all the Japanese shit, Dragonball Z, all them ill." DOOM's music harnesses the instinctive, inherent power of childlike thought; "There's no in-between with kids, they're so pure they can feel something if it's fat. As you get older you lose that innocence and purity of the original thought, so called 'growing up'," DOOM ponders. "I mean - you gotta keep that, that's the essence right there." Using his music to test the limits of his mind, DOOM finds creative inspiration in everything he does: "Any artistic genre feeds what I do as a musician, I do paintings, but music inspires my painting, and paintings or art inspires my music. Creativity and imagination is the key to what everybody's trying to figure out on Earth, it's the one thing that bridges everything together. It can solve a lot of problems with all this war and retarded shit that's going on." From the mellow keys of 'Accordion' with Madlib's deft tinkling to the bumping bass groove of 'America's Most Blunted' and the soulful beats of 'Fancy Clown' under his Viktor Vaughan guise, Madvillain sees Madlib on top form providing the freshest, most blunted foils for DOOM's ill flows. "Music is a universal language and I'm trying to show that all of us laugh at the same things, I'm trying to bring us all to more of an understanding. We need to bring this whole thing together," explains DOOM. With their Madvillain double-team, MF DOOM and Madlib have made a sure-fire classic sure to take the world by storm - will anyone dare step try and stop them?
