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Live in Stockholm 1960 by John Coltrane / Miles Davis
(0 Ratings)
Album Favorite

"This album has multiple covers and titles; it seems to be barely official. This is Coltrane’s last tour with Davis. He didn't want to go. His career had already started. He is sulky and petulant on these shows. His playing is edging towards the more raucous howl of his later revolutionary period. The night before this show he was booed in Paris; Miles would leave the stage during his solos. In Stockholm, eight minutes into ‘All Blues’, Coltrane does a remarkable thing. He hits a split note, a strangled harmonic that is clearly unintentional. He plays the same mistake a second time, and I would be prepared to venture that this second time was also accidental. Then he plays it a third time, then a fourth and fifth. It could be that he is going for the rule that if you play a mistake, then you should play it again and it becomes a part. You underline it and make it seem intentional. But it’s more than that. Coltrane is fascinated by this tortured phrase. He becomes obsessed with what his saxophone is doing, or rather what it isn't doing. He is going into a trance and circling the five notes again and again, sometimes with the smallest changes, sometimes repeated in different ways, but always this curious, odd, raspy note in the middle. The audience doesn't exist. It is just him and this one phrase. In total, he repeats the line 33 times. I just counted. The band goes with him as well, from initial worry to uncertainty and finally to outrageous confidence. It is both the dumbest and most intelligent piece of music I've ever heard, and I think about it all the time when I'm making records. It speaks about the power of repetition, the beauty of pure experimentation, and what you can get away with if you show confidence."

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Matthew Krueger (10051 KP) rated the PlayStation version of Twisted Metal 2: World Tour in Video Games

Feb 5, 2021  
Twisted Metal 2: World Tour
Twisted Metal 2: World Tour
1996 | Action/Adventure, Racing
Let The Cars Hit The Floor 2
Twisted metal 2- is a good as the first one. I love this franchise, playing it as young child, i remember just having fun, destorying cars.

The Gameplay: In concept, Twisted Metal 2 is a demolition derby which permits the usage of ballistic projectiles. Players choose a vehicle and an arena—or a series of arenas in the story mode—to engage in battle with opposing drivers. A variety of weapons are obtainable by pick-ups scattered throughout the stage. The objective of the game is to be the last remaining player. Two player duel mode makes a return from the first Twisted Metal, and a co-operative mode allows players to fight through tournament mode with a teammate. However, there is no ending if the game is completed in co-operative mode.

The plot: In 2006, Los Angeles is in ruins and its citizens left to struggle for survival after the conclusion of Twisted Metal, a brutal contest held by Calypso, exactly one year earlier on Christmas Eve. Aboard his airship (running the ticker "CALYPSO RULER OF THE EARTH") in the skies over the destroyed City of Angels, Calypso wonders where the next Twisted Metal will take place; fourteen of the world's best drivers are already assembled to compete for whatever prize they desire. Ultimately, Calypso decides that the world itself shall serve as a battleground. In addition to the remains of Los Angeles, drivers will also battle in Moscow, Paris, Amazonia, New York City, Antarctica, Holland, and Hong Kong.

After defeating all the opponents in Amazonia, the player must face Minion before proceeding to New York City. The Dark Tooth boss fight takes place after the player defeats all the opponents in Hong Kong; once Dark Tooth (and his flaming head) is defeated, the driver meets with Calypso in New York to receive their prize.

Sweet Tooth is my favorite.
  
Here Come the Warm Jets by Brian Eno
Here Come the Warm Jets by Brian Eno
1974 | Rock
9.0 (4 Ratings)
Album Favorite

"This goes back a long time for me. This was a real defining record for Supergrass around '95 when we were first starting out. It was on the tour bus all the time and I remember our tour manager at the time really loving it. He'd wake us up every morning knocking on our door going, 'baby's on fire!', doing this mad Eno impression and that would always lift us up and make us laugh. There were so many lyrics that we'd sing at each other. I'd meet Danny and go, 'Cindy tells me…' It had this really long lasting effect on us. It's brilliant, just brilliant. It's Eno being kind of clever but dumb, sophisticated but raw and I think it's brilliant. I love his voice and the double-tracking on it and I think it ended up being quite an iconic sound. It's very unique. And for all of his technical ability, I love that he plays dumb on some of these tracks, you know, like on 'Needles In The Camel's Eye' and the guitars are big, filthy, dirty and horrible things. I love it. We almost did work with Brian Eno. We had a meeting with him in Paris before Diamond Hoo Ha and I can't remember exactly what happened but I think our timing schedules didn't work out. It was something frustrating that meant we couldn't work with him. It's weird one. It's kind of like, are they different Brian Enos? Is it a danger to confuse the Here Come The Warm Jets Brian Eno thinking that he was going to walk into a studio with us and create something that gives you that feeling because he's a different person now. I think he's amazing and he's proved to be still a musical force. An incredible guy and he was a really lovely chap when we met him."

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LoganCrews (2861 KP) rated The Dreamers (2003) in Movies

Dec 3, 2020 (Updated Dec 3, 2020)  
The Dreamers  (2003)
The Dreamers (2003)
2003 | Drama, Romance
Actual lines of dialogue from this movie:

"𝘐 𝘥𝘰𝘯'𝘵 𝘣𝘦𝘭𝘪𝘦𝘷𝘦 𝘪𝘯 𝘎𝘰𝘥. 𝘉𝘶𝘵 𝘪𝘧 𝘐 𝘥𝘪𝘥, 𝘩𝘦 𝘸𝘰𝘶𝘭𝘥 𝘣𝘦 𝘢 𝘣𝘭𝘢𝘤𝘬, 𝘭𝘦𝘧𝘵-𝘩𝘢𝘯𝘥𝘦𝘥 𝘨𝘶𝘪𝘵𝘢𝘳𝘪𝘴𝘵."
"𝘐'𝘮 𝘵𝘰𝘰 𝘸𝘦𝘵 𝘵𝘰 𝘢𝘯𝘴𝘸𝘦𝘳 [𝘵𝘩𝘦 𝘱𝘩𝘰𝘯𝘦]."
"𝘠𝘰𝘶'𝘳𝘦 𝘢 𝘣𝘪𝘨 𝘮𝘰𝘷𝘪𝘦 𝘣𝘶𝘧𝘧, 𝘳𝘪𝘨𝘩𝘵? 𝘛𝘩𝘦𝘯 𝘸𝘩𝘺 𝘥𝘰𝘯'𝘵 𝘺𝘰𝘶 𝘵𝘩𝘪𝘯𝘬 𝘰𝘧 𝘔𝘢𝘰 𝘢𝘴 𝘢 𝘨𝘳𝘦𝘢𝘵 𝘥𝘪𝘳𝘦𝘤𝘵𝘰𝘳... 𝘮𝘢𝘬𝘪𝘯𝘨 𝘢 𝘮𝘰𝘷𝘪𝘦 𝘸𝘪𝘵𝘩 𝘢 𝘤𝘢𝘴𝘵 𝘰𝘧 𝘮𝘪𝘭𝘭𝘪𝘰𝘯𝘴."

The far less entertaining 𝘊𝘳𝘶𝘦𝘭 𝘐𝘯𝘵𝘦𝘯𝘵𝘪𝘰𝘯𝘴 meets... idek, the really long talky parts from 𝘛𝘦𝘵𝘳𝘰? A woeful experience - uses a ton of intellectual jargon but says next to nothing. On the one hand, perfectly emulates this sort of 20-something who thinks they're the most original being on the planet despite being another clichéd story no one wants to be around... but on the other, at what cost? These people seem beyond insufferable to be around - three pretentious, odious fucks sit around drinking wine and smoking while spewing superficial first-year-film-major histrionics, jerking off, and smelling each others' underwear. Every bit as lumbering, surface-level, and pompous as that sounds. Usually I'm all for these conceited combinations of toxic people, self-destruction, and explicit sex but this is virtual parody levels of this sort of "wants to be a 70s movie really bad" cinema. Has a few good scenes that actually find a palpable mood but otherwise exists almost solely to brag about how many old movies it's seen, uses both those aforementioned films and the real life 1968 Paris riots as not much more than mere window dressing while failing to confront whatever shred of an idea it briefly poses for a scene or two. Eva Green and the dad are the only two tolerable performances. All but begs you to find it audacious and daring with a shit-eating sneer while simultaneously gutting the homosexuality from the original text so this won't steer *too* far off the hetero curve. And then it ends with a total "who cares?". Pretty but dumb. The sex stuff is kind of decent, though.
  
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