Various Artists, Spirit Of Joy - Tales From The Polydor Underground 1967-1974

As every label attempts to crush that duplicate mileage out of back catalogues that have long lain inactive. In the 60ss and 70s to the highest degree majors, in bid to avoid looking like 'the man' put out the left field chancers and genuine avant garde rock on subsidiary imprints with cooler name calling and logos. In recent years there have been a some great attempts to represent such labels like Vertigo, Decca's collection of freakery from Deram and EMI's Harvest label amongst others.

Which brings us to Spirit of Joy: Polydor's prime underground mark was Chris Stamp and Kit Lambert's Track Records, and much of this box plant comes from there. As so often happens with such collections the auditor not only comes out with a head-spinningly diverse collection of tunes in their ears, but likewise a grand sense of how broad-minded the so-called 'corporations' of the 60s and early 70s were. For every sure-fire dispatch such as This Wheel's On Fire - Julie Driscoll, Brian Auger & The Trinity or Thunderclap Newman's Something In The Air (penned by Pete Townshend, so maybe not such a gamble after all) you get the crazed sounds of Aphrodite's Child or Second Hand.

Spirit Of joy journeys from the nascent psych of Arthur Brown's still-brilliant Fire! (here appropriately prefaced by its manic spoken word of honor prologue) fillet en route for some genuine rarities such as Soft Machine's first individual, Feelin' Reelin' Squealin', the early work of Fairport Convention on It's Alright Ma, It's Only Witchcraft , recorded when they were still the UK's answer to Jefferson Airplane, along with large hitters like Cream and Eric Burdon and The Animals. Notable points are Caravan's start forays, Van Der Graaf Generator - when they still sounded like a normal pop band - and a truly genius inclusion of The Who's lovely upbeat Dogs; the best strain about greyhounds, ever.

By saucer two you've moved into blues rock with Rory Gallagher's Taste and Jethro Tull stomping around, as well as the agit prop rock of Ladbroke Grove's Pink Fairies. Highlights include a post-Cream Jack Bruce, former Tangerine Dream and an out-there electric John Mclaughlin. And on disc trey it's about time for prog, with Barclay James Harvest and the not-so-tasty Golden Earring. However there's still elbow room for some challenging krautrock with faust and more great jazz rock from Jack Bruce again.

It's a heady rush of that sits on the cusp of failure, simply by dint of the fact that too many bands hither actually 'made it' and escaped the titular underground. But as with today's redundant 'indie' label, it's just a word. What's on declare oneself is wide-ranging, intriguing and still pretty damn far out. That's joyous enough for near music lovers.

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Download Curtis Mayfield mp3

Artist: Curtis Mayfield: mp3 download    Genre(s):  R&B: Soul     Discography:      Mayfield: Remixed    Year: 2005    Tracks: 10      New World Order    Year: 1996    Tracks: 13      There's No Place Like America Today    Year: 1975    Tracks: 7      Curtis-Live (Remastered)    Year: 1971    Tracks: 18      Curtis (Deluxe Edition)    Year: 1971    Tracks: 17 Perhaps because he didn't queer o'er to the pop audience as to a great extent as Motown's stars, it may be that the background of Curtis Mayfield's talents and contributions assume in clock time to be in broad accepted. Judged just by his records lone, the man's legacy is tremendous. As the leader of the Impressions, he recorded some of the finest mortal vocal mathematical group euphony of the sixties. As a solo creative person in the seventies, he helped pioneer funk and helped innovate hard-hitting urban commentary into mortal music. "Gypsy Woman," "It's All Right," "Citizenry Get Ready," "Freddie's Dead," and "Superfly" are only the to the highest grade noted of his many hit records. Just Curtis Mayfield wasn't just a isaac Merrit Singer. He wrote most of his material at a time when that was not the norm for soul performers. He was among the number 1 -- if not the very first -- to speak openly about African-American pride and community struggle in his compositions. As a ballad maker and a producer, he was a francis Scott Key architect of Chicago soul, writing material and functional on sessions by notable Windy City soulsters like Gene Chandler, Jerry Butler, Major Lance, and Billy Butler. In this sense, he can be compared to Smokey Robinson, world Health Organization likewise managed to find metre to write and bring forth many classics for other someone stars. Mayfield was too an excellent guitar player, and his rolling, Latin-influenced lines were highlights of the Impressions' recordings in the '60s. During the side by side tenner, he would toughen up his guitar cultivate and production, incorporating some of the best features of psychedelic rock and blue funk. Mayfield began his career as an comrade of Jerry Butler, with whom he formed the Impressions in the late '50s. After the Impressions had a openhanded hit in 1958 with "For Your Precious Love," Butler, world Health Organization had sung lede on the record, rent to start a solo calling. Mayfield, while safekeeping the Impressions together, continued to write for and tour with Butler earlier the Impressions got their showtime Top 20 attain in 1961, "Gypsy Woman." Mayfield was heavily steeped in gospel medicine before he entered the pop arena, and gospels, as easily as doo wop, influences would form conspicuously in most of his '60s work. Mayfield wasn't a staunch traditionalist, however. He and the Impressions may have ofttimes worked the call-and-response gospel singing style, just his songs (romanticist and differently) were a great deal veiled or unveiled messages of grim superbia, reflecting the increased trust and self-determination of the African-American community. Musically he was an trailblazer as well, victimization arrangements that employed the punchy, blaring horns and Latin-influenced rhythms that came to be earmark flourishes of Chicago soul. As the staff manufacturer for the OKeh judge, Mayfield was likewise instrumental in loaning his talents to the work of other Chi-town soul singers world Health Organization went on to national success. With Mayfield singing lead and playing guitar, the Impressions had 14 Top 40 hits in the sixties (phoebe made the Top 20 in 1964 alone), and released some above-average albums during that menses as well. Disposed Mayfield's prodigious talents, it was mayhap inevitable that he would eventually leave the Impressions to start a solo calling, as he did in 1970. His showtime few singles boasted a harder, more than funk-driven intelligent; singles care "(Don't Worry) If There's a Hell Below, We're All Gonna Go" ground him confronting ghetto life with a naive realism that had seldom been heard on record. He really didn't arrive at his artistic or commercial stride as a solo artist, though, until Superfly, his soundtrack to a 1972 blaxploitation plastic film. Drug deals, ghetto shootings, the death of cy Young blackened workforce earlier their time: all were described in keen detail. Yet Mayfield's irrepressible falsetto vocals, uplifting melodies, and mythic casimir Funk pop arrangements gave the oft-moralizing material a elegant strength that few others could receive achieved. For all the glory of his past times work, Superfly stands as his crowning accomplishment, not to credit a much-needed counterpoint to the scandalmongering portrayals of the plastic film itself. At this percentage point Mayfield, along with Stevie Wonder and Marvin Gaye, was the foremost proponent of a new level of compelling auteurism in soul. His nonstarter to exert the standards of Superfly qualifies as one of the majuscule disappointments in the history of black democratic music. Perhaps he'd only reached his extremum later a longsighted climb, just the remain of his '70s work didn't match the musical brilliance and lyrical subtleties of Superfly, although he had a few heavy R&B hits in a a good deal more conventional nervure, such as "Kung Fu," "So in Love," and "Only You Babe." Mayfield had a couple of hits in the early '80s, but the decennium generally found his commercial fortunes in a firm downward spiral, despite some intermittent albums. On August 14, 1990, he became paralytic from the neck down when a lighting turnout hide on top of him at a concert in Brooklyn, NY. In the mid-'90s, a couple of tribute albums consisting of Mayfield covers appeared, with contributions by such superstars as Eric Clapton, Bruce Springsteen, and Gladys Knight. Though no backup man for the man himself, these tributes served as an meter reading of the tremendous regard in which Mayfield was still held by his peers. He died December 26, 1999 at the age of 57.

Download Franco De Vita mp3

Alain Eskinasi

   
Artist: Alain Eskinasi

   Genre(s): 
New Age
   

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Discography:


   
 Many Worlds, One Tribe

   Year: 1996   
Tracks: 11

---

 





Lamas Daughter Splits From Bachelor Fiance

Mutha's Day Out

   
Artist: Mutha's Day Out

   Genre(s): 
Other
   

---

Discography:


   
 My Soul Is Wet

   Year: 1993   
Tracks: 12

---

 





Dark Inversion

Canadian Idol Top 24: Tetiana Ostapowych

Tetiana Ostapowych, 25
Toronto, ON

Trying out for Canadian Idol is nothing new to some hopefuls who have stood in the audition room before.

Tetiana Ostapowych, 25, of Toronto gave the singing competition a shot in Season 1 six years ago, but  wasn�t lucky enough to get to the gold-ticket round.

�I auditioned for Idol the first season, so I was quite young, but still in college and I wasn�t as prepared and knowledgeable as I am now, so I completely blew it,� she says. Since then this Top 24 competitor has done some songwriting for other musicians while recently living in Los Angeles. Her musical influences range from John Mayer and Peter Gabriel to Betty Rice and Nina Simone.

�I was in L.A. this past year and I was doing a bunch of songwriting for other people. I haven�t really done so much for myself as an artist, so I�m starting to do that,� she says.

Ostapowych, who admits she used to line up her teddy bears and sing to them when she was a kid, says the journey to this point in the competition was challenging, but it helped having two friends by her side for support who have also made the Top 24 � Oliver and Sebastian Pigott. The three friends all know each other from their time at Etobicoke School of the Arts.

�I had a big crush on Oliver in high school, I used to sneak out of the house and go and watch his shows,� says Ostapowych. �They�re both so talented � and I�ve been gaining a lot of confidence myself just from hanging out with them.�

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Michael Nyman

   
Artist: Michael Nyman

   Genre(s): 
Instrumental
   Rock: Instrumental
   Soundtrack
   Other
   

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Discography:


   
 The Very Best Of: Film Music 1980-2001 (CD 2)

   Year: 2001   
Tracks: 20


   
 The Very Best Of: Film Music 1980-2001 (CD 1)

   Year: 2001   
Tracks: 19


   
 The Claim

   Year: 2000   
Tracks: 15


   
 Wonderland

   Year: 1999   
Tracks: 11


   
 And Do They Do - Zoo Caprices

   Year: 1999   
Tracks: 13


   
 Wonderland

   Year: 1998   
Tracks: 11


   
 The Suit and The Photograph

   Year: 1998   
Tracks: 13


   
 The Claim

   Year: 1998   
Tracks: 15


   
 Concertos

   Year: 1997   
Tracks: 20


   
 After Extra Time

   Year: 1996   
Tracks: 26


   
 The Kiss and Other Movements

   Year: 1995   
Tracks: 7


   
 Noises, Sounds, and Sweet Airs

   Year: 1995   
Tracks: 20


   
 Six Days Six Nights

   Year: 1994   
Tracks: 16


   
 The Piano

   Year: 1993   
Tracks: 19


   
 The Piano

   Year: 1993   
Tracks: 19


   
 Time Will Pronounce

   Year: 1992   
Tracks: 4


   
 The Essential Michael Nyman Band (Compilation)

   Year: 1992   
Tracks: 12


   
 Prospero's Books

   Year: 1991   
Tracks: 14


   
 Prospero's Book

   Year: 1991   
Tracks: 14


   
 The Draughtsman's Contract

   Year: 1989   
Tracks: 7


   
 The Cook, The Thief, His Wife and Her Lover

   Year: 1989   
Tracks: 5


   
 The Cook, The Thief, His Wife And Her Lover

   Year: 1989   
Tracks: 5


   
 Cook, Thief, His Wife and Her Lo

   Year: 1989   
Tracks: 5


   
 A Zed and Two Noughts

   Year: 1989   
Tracks: 12


   
 The Man Who Mistook His Wife For A Hat

   Year: 1988   
Tracks: 21


   
 Drowning By Numbers

   Year: 1988   
Tracks: 13


   
 Carrington

   Year: 1987   
Tracks: 19


   
 The Draughtman's Contract

   Year: 1982   
Tracks: 7


   
 The Fall Of Icarus CD 2

   Year:    
Tracks: 5


   
 The Commissar Vanishes CD 1

   Year:    
Tracks: 5


   
 Michael Nyman Live

   Year:    
Tracks: 16


   
 Gattaca

   Year:    
Tracks: 24


   
 Balanescu Quar

   Year:    
Tracks: 22

---

Celebrated for his modular, repetitive style, minimalist composer Michael Nyman was among experimental music's most high profile proponents, charles Herbert Best known in connexion with his film rafts for director Peter Greenaway. Born in London on March 23, 1944, he studied at the Royal Academy of Music and King's College, London, under communist composer Alan Bush and Thurston Dart, a musicologist specializing in the English Baroque. Under Dart's care, Nyman was introduced to sixteenth and 17th-century English rounds and canons, their repetitive, contrapuntal lines highly influencing his possess later act upon; Dart also encouraged him to journey to Romania in the interest of seeking out the country's native common people music traditions. Upon graduating during the mid-'60s, Nyman establish himself disconnected from both the drink down music of the multiplication and the school of modern composing heralded by Stockhausen; as a result, from 1964 to 1976, he worked non as a composer only as a music critic, writing for publications including The Listener, New Statesman, and The Spectator. In a review of British composer Cornelius Cardew, he first base introduced the countersign "minimal art" as a means of musical description.


During this same period, Nyman did stay playing, appearing with artists ranging from the Scratch Orchestra and Portsmouth Sinfonia to Steve Reich and the Flying Lizards. In 1974, he wrote the influential quran Experimental Music -- Cage and Beyond, an exploration of the influence of John Cage on a generation of composers and performers. Perhaps its most profound wallop was on Nyman himself, world Health Organization through writing the al-Qur'an seemed to attain his have muse; in 1976 he recognised an invitation from Harrison Birtwistle, Director of Music at the National Theatre, to format a identification number of 18th-century Venetian popular songs for a production of Goldoni's Il Campiello. Nyman's arrangements consisted of medieval instruments -- rebecs, sackbuts and shawms, bass drums, soprano saxophones, and the like -- designed for maximum volume to create a distinctive instrumental color; when the output complete, he began composition original music only to keep the same grouping of musicians together. Originally an acoustic building block, when rechristened the Michael Nyman Band in the early '80s, gain became essential to their artistic.


Nyman's showtime major success came in 1982 with the score to the Greenaway film The Draughtsman's Contract; his subsequent collaborations with Greenaway on pictures including 1988's Drowning By Numbers, 1989's The Cook, the Thief, His Wife and Her Lover, and 1991's Prospero's Books stay among his most high profile industrial plant, their notoriety advent at the peril of overshadowing his forays into opera, chamber music, vocal music, and dance heaps. The signatures of Nyman's ferment include non only when his habit of propellant repetition, only too a palette of idiosyncratic instrumental touches -- clunk keyboards, "rude" bass clarinets, and barytone saxophones, and extreme high school and low-down octave doublings. Mozart was a central influence in practically of his work out, including 1976's In Re Don Giovanni and 1983's I'll Stake My Cremona to a Jew's Trump; Schumann, meanwhile, was the major stirring behind the acclaimed 1986 chamber opera The Man Who Mistook His Wife for a Hat, piece Bartok shades 1988's String Quartet No. 2, commissioned for the Indian terpsichorean and choreographer Shobana Jeyasingh.


In 1990, Nyman composed Six Celan Songs, a work based on the poems of Paul Celan, for the German nightclub vocaliser Ute Lemper, with whom he first-class honours degree worked on the scotch for Prospero's Books. His most emotional compositions to date, they served as the clear impulsion for his score to Jane Campion's 1992 plastic film The Piano, easily Nyman's best-known work; like so many of his compositions, he obsessionally reworked the music to The Piano time and time over again, the haunting melodies reappearing arranged for standard piano concerto, for 2 pianos, for chamber ensemble, for soprano saxophone and strings (Lost and Found), and for soprano and string quartette (The Piano Sings). While 1992's The Upside-Down Violin reflected Nyman's continuing captivation with traditional ethnic musics, 1993's MGV, or Musique a Grande Vitesse, returned to the propulsive sounds of the Michael Nyman Band. Other major whole works include 1992's Time Will Pronounce, 1993's Yamamoto Perpetuo (a composition for unaccompanied fiddle scripted for Alexander Balanescu), 1994's solo cembalo work Tango for Tim, and 1995's String Quartet No. 4. Among Nyman's plastic film heaps: 1995's Carrington and 1997's Gattaca.

Walliams completes swim to Africa

Little Britain star David Walliams and Olympic rower James Cracknell today completed their swim to Africa in aid of the UK charity Sport Relief.
The pair crossed the 12-mile Strait of Gibraltar in four hours, 36 minutes.
They set off from Tarifa, southern Spain, and finally reached dry land at Punta de Cires in Morocco.
36-year-old Walliams was overcome with sickness during the swim but carried on, and the duo also encountered a pod of whales.
They were cheered on by Cracknell's wife, TV presenter Beverley Turner, and 'Dragons' Den' star Theo Paphitis, who arrived in a yacht to lend his support.
The journey was the final stage of Cracknell's Cross-Continent Challenge.
The 35-year-old had already rowed 22 miles across the Channel and cycled 1,395 miles through France and Spain to reach today's starting point.

Pressure shifts to SAG after AFTRA deal

Guild returns to negotiation table

Related Content AFTRA, AMPTP sign tentative deal Complete coverage: SAG/AFTRA

Now what?


With AFTRA reaching a tentative deal with the Alliance of Motion Picture & Television Producers after round-the-clock talks during Memorial Day weekend, attention now turns to SAG and whether the guild will follow the lead of its sister union as it revs up talks for its primetime/theatrical contract. SAG and AFTRA contracts with Hollywood producers expire June 30.


SAG returned to the table Wednesday after a three-week break following suspension of formal talks with the studios' org, the AMPTP, which began April 15. AFTRA, which had twice postponed its talks so that SAG could continue with its bargaining, started its negotiations with the producers May 7 and reached its tentative agreement early Wednesday morning.


In a statement, SAG president Alan Rosenberg said he did not know the details of the AFTRA/AMPTP deal but, along with staff, will "thoroughly analyze and evaluate the principles" of the agreement.


Despite Rosenberg's inability to immediately sit down with his sister union's negotiators, SAG almost certainly will be under great pressure to conform with the template provided by AFTRA as well as with those of the earlier agreed DGA and WGA contracts.


The tentative AFTRA contract, set for review by the union's national board June 6-7, does not stray far from those already negotiated this year by the WGA, DGA and AFTRA in its Network Code. Left by the wayside, as with the other unions, are attempts to get increases in DVD residuals.


AFTRA did bargain an increase in wages for traditional media, more contributions by employers to the union's health and pension plan and preservation and coverage of low-budget programs. Much of the contract focused on the ever-changing Internet landscape and includes a "sunset provision" allowing both sides to revisit new-media issues within the three-year agreement.


"It's really a victory," AFTRA president Roberta Reardon said Wednesday. "All this 'made for new media' stuff is brand new, and nobody knows what it's going to look like in the future. We need to have some structure there, to make sure our members can participate."


With the sunset provision, Reardon said it was important for both sides to realize that the industry is in "an experimental period" when it comes to new media. The ability to come back to the table on new media allows both AFTRA and the AMPTP to take "a very forthcoming look at the deal and see how the business is working.


"The studios understand that it's changing," she said. "It's easier for everybody to negotiate together instead of against each other."


But while solidarity may be a future goal, SAG still has to negotiate solo its primetime/theatrical contract. AFTRA voted to suspend its joint bargaining agreement with SAG prior to formal talks starting up in April. And while SAG boasts more members, the union's leaders have acknowledged that it will be harder to push key issues like consent for clip use.


Industry watchers echo the sentiment.


"There's going to be a lot of pressure on them with the AFTRA deal," Troy Gould entertainment attorney Jonathan Handel said. "SAG is going to be a slow process where it may go past June 30 and we may be in a de facto lockout.


"They're not going to fold easily," he added. "It's only going to be the pressure of a deadline that's going to get the SAG deal done."


Among the biggest issues both unions have had to tackle was the AMPTP's proposal to establish an online clip library and require actors to give up individual consent for nonpromotional use. For decades, actors have had the right to separately bargain the use of their clips that fall outside the scope of promotional use. But with the popularity of YouTube and other sites, the AMPTP has proposed the online clip library to combat piracy and create a new revenue-generating platform. SAG left negotiations several weeks ago without any deal on clips, with its leaders calling the issue a "boulder" blocking a new deal.


The AFTRA-AMPTP deal for now preserves that right to consent; however, it also provides for the producers and AFTRA to develop within a three-month time frame "mechanisms" for the performer to allow or withhold consent. For programs produced after July 1, the performers can bargain the clip consent issue with the employer at that time.


In a briefing on negotiations sent to members last week, SAG said: "We understand that employers are looking for new business models to keep up with the technological boom. In fact, we offered to allow actors to consent and negotiate for future clip use at the time they are hired, starting in July 2008. But the AMPTP did not agree to our counterproposal."


What changed with the AMPTP between the time SAG made that offer and AFTRA negotiating essentially the same proposal is unclear.


Still, some industry watchers view AFTRA's clip consent agreement to be irrelevant.


"The actors don't actually have any meaningful way to not consent because the negotiation takes place at the same time they're hired," Handel said. "If there's a deal and the studio says 'We want your consent' and the actor says no, the studio can say: 'Fine. We'll hire someone else.'


"The actor has no leverage," he added. "It's a fig leaf put over the issue."


But despite this stumbling block, Handel said, "Economically, that's the only way you can have a clip business."


Said labor attorney Scott Witlin, who represents producers, "The studios didn't get everything they were looking for, but I think they got something that they think they can work with going forward.


"The producers have a tough issue with all these Internet sites," he added. "They're operating under greater restrictions than YouTube."


AFTRA's contract covers a dozen shows in primetime and cable, including "Curb Your Enthusiasm," "Flight of the Conchords" and "Rules of Engagement." The union, which covers 70,000 members, including 52,000 actors, previously negotiated its daytime TV contract, which its members ratified in late April. SAG reps 110,000 actors, of which 44,000 also are AFTRA members.

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Conchords' album takes flight

Conchords' album takes flight

A Mate of New Zealander comedians wHO play struggling musicians on a furore tally television show officially graduated to stardom today when their debut album went to No.3 on the US pop chart.

 The self-titled album from Flying of the Conchords, wHO deliver their own show on cable television tV channel HBO, sold 52,000 copies in the hebdomad ended Apr 27, according to tracking firm Carl August Nielsen SoundScan. In the sue, they outsold pop idol Ashlee Simpson, whose freshly album opened at No.4 with 47,000 copies. Climbing bittersweet Earth simon Marks her commencement release that did not go to No.1. Mariah Carey outpaced everyone with gross sales of 182,000 copies for her reigning chart-topper E=MC2. Flight of the Conchords consists of Jemaine Clement and Bret McKenzie, whose quirky clowning series has won a devoted followers. The show is define in Fresh York, where their bumbling call for stardom is met with numbness by nightclub owners and the world. Along the way, they recount their experiences in witty common people ditties. HBO has renewed the point for a second season. Earlier this year, Flight of the Conchords south Korean won the comedy Grammy for their EP The Distant Future, which reached No.116 on the Billboard 200 chart. Both albums were released by Seattle-based Sub Pop Records, which is possibly charles Herbert Best known for its achiever with grunge-rock triad Nirvana. The label is owned by Charles Dudley Warner Music Mathematical group Corp. The new album's chart performance easily sets a newly platter for a New Zealand playact, surpassing the No.12 crown for pop-rock triad Crowded House's self-titled 1986 debut.

Manish Vyas

   
Artist: Manish Vyas

   Genre(s): 
New Age
   

---

Discography:


   
 Sattva - The Essence Of Being

   Year:    
Tracks: 7

---

 

Uma Thurman Talks About Her 'Life,' Her Rebellious Teen Years And The Future Of 'Kill Bill'

Uma Thurman Talks About Her 'Life,' Her Rebellious Teen Years And The Future Of 'Kill Bill'

Virtually since the bit she stepped come out of a giant star seashell in Terry Gilliam's "The Adventures of Baron Munchhausen" in 1988, audiences bear taken notice of the ethereal beauty of Uma Thurman. In the deuce decades since, she's more than proven herself as an accomplished worker, viz. in the films of Quentin Quentin Jerome Tarantino (she earned an Oscar nod for "Pulp Fable" and the admiration of stacks with the "Toss off Billhook" saga).
At 38 geezerhood old, Thurman is now actually old enough for another actress to play the younger versions of her characters, which is exactly what Evan Rachel Wood does in "The Life Earlier Her Eyes." In the fresh drama, both Wood and Thurman play Diana — Wood as the rebellious teenager caught in the heart of a Columbine-like incident, and Thurman as Diana on the 15th anniversary of the tragedy.

MTV caught up with Thurman to discourse why she thinks she constantly over-analyzes everything, the futurity of the "Kill Bill" films (and thither is 1!) and the "Lord of the Rings" part she had to turn down.
MTV: This is a plastic film that's very often around looking for before and expression. Would you view yourself a reflective individual?
Uma Thurman: As well a great deal so. Yea.
MTV: How so?
Thurman: I simply convey very caught up in my head and think everything over 9 meg times. [Laughs.] It's really drilling to be me.
MTV: Your character for certain has a rebellious streak when she's played as a stripling by Evan Rachel Wood.
Thurman: She's rebellious. She's misunderstood. She's lonely. She's trying to find herself as a thomas Young charwoman. She's finding her own voice. She's trying to relate to her teachers. She's trying to find herself as a student. She's quite incredible.
MTV: How lots of that could depict Uma at 17?
Thurman: I was already performing in films by 17. I had made "The Adventures of Power Munchhausen." I had made four-spot films by 18! So I had a different life. [My reference] says in the motion-picture show, "When's it passing to start?" I matte up that a lot. I matt-up that so badly. So I went and got a job. I was very, very restless. Rattling eagre to receive my lifetime started, rattling panicked about it almost.
MTV: Why were you so restless?
Thurman: What real got me was I somehow knew you didn't last out animation with your parents, wish, that wasn't passing to be sufficiency. And I then got in truth scared, wish, well, then what volition I do? If I can't stay put here, what am I leaving to do? It became an obsession. It's my explanation for wherefore I was variety of so aegir to commence my grownup life as a child.
MTV: This moving picture revolves about a horrific violent do in a school. It's intelligibly a different form of force than we've seen in your films earlier.
Thurman: Well, only in the Quentin Tarantino films I've made. Otherwise I don't experience a history of making films involving violence. He's sort of playing my little exception to that.
MTV: If you're departure to make an exception, it power as well be for soul like Quentin.
Thurman: Mightiness as well. I mean, it's so much fun! Front, I can't complain. I think there's something über-modern both in "Pulp magazine Fable" and in the "Kill Handbill" movies. Being a part of that has been an amazing experience for me.
MTV: He was talking at one spot around anime. Take you guys of all time talked more around that?
Thurman: His anime stuff is strong. Right now, he's putt the deuce films together with an suspension with an added zanzibar copal succession he had already written. So additional stories are in on that point, in liveliness.
MTV: Will you be doing the voice of the bride?
Thurman: It has nothing to do with me. It has to do with another quality. You'll have to escort.
MTV: I've heard you near appeared in the "Overlord of the Rings" films.
Thurman: Yeah, I was asked. I wish well I had done it. I had a small kid at the clock time, and I couldn't go off for a twelvemonth. I was but overly attached to domicile. It scarce caught me at the wrong moment.
MTV: Ar you a big winnow of those books?
Thurman: Huge! Oh, I truly wish I could've been able to take that plunge, and mayhap I should've, simply I just couldn't at the time.
MTV: Was it to be Miranda Otto's character, Eowyn?
Thurman: Eowyn.
MTV: Another project I heard you almost did was a Francis Edgar Stanley Kubrick pic. Is that true?
Thurman: I was expiration to get a film with him. For a long time I was scheduled to fix a film with him.
MTV: Was that "Wartime Lies"?
Thurman: Yes. I was contracted to do it, and things happened and he shelved the photographic film. He never made the cinema.
MTV: What was your fundamental interaction with him like?
Thurman: Well, we just wheel spoke on the phone. Just it was devastating because it was an incredible portion. It would take been the share of my life history, the best constituent I ever had been offered or had written for me, or anything.
Checker out everything we've got on " The Life Earlier Her Eyes."
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RECORD RACK: Hayes Carll, The Kooks and more

RECORD RACK: Hayes Carll, The Kooks and more

Hayes Carll

"Problem in Thinker"

(Lost Highway)





* * *1/2 It's hard to decide right away which is more impressive, this 28-year-old Texan's delightfully crafted tales of life in the bars and side roads of rural America or the vibrant euphony he couches them in, a rootsy, country-based grudge thick with roadhouse blues.

So why pick out? Carll, world Health Organization plays May 3 at the Stage country festival in Indio, follows in the mighty footsteps of such Lone Star State of matter country-folk-rock luminaries as Townes Van Zandt, Guy Clark and Joe Ely. There's a bit of Steve Earle folksy philosopher lurking on that point likewise, only Carll's voice, as a author and a singer, is as uncommonly distinctive as it is assured.

The drawl even so, this is no simple-minded party-hearty Southern commonwealth rocker. This honky-tonk minstrel tosses forth witty couplets with disarmament informality: "Advantageously, I'm state of nature as a meleagris gallopavo, higher than a Christmas Day moon / Discharge as my billfold on a Dominicus afternoon," he sings in "Wilderness as a Turkey." Describing the nose dive he plays six-spot nights a week in "I Got a Gig," he observes, "Burnt fried chicken and Lone Star beer / Cops and the kids drink free 'round here."

Dylan clearly is an influence likewise, possibly a tad excessively clearly in the "Rainy Day Women #12 and 35"-inspired "A Lover Care You." But even when Carll's sources are exhibit, it's as well much sloppy fun to grouse about for long. And "She Left Me for Jesus of Nazareth" is a brilliant exemplar of how to simultaneously salute and parody a time-honored musical comedy genre.

Whatever they've got in the water system polish there is golden. Or perchance it's just the beer.

-- Randy Lewis

Finding their place in Britt sway

The Kooks

"Konk"

(Astralwerks)

* * *1/2 When you call your band after a David Jim Bowie song and your record album subsequently the Kinks' recording studio, you're proudly flying the flagstone of classic Brits rock music, only you're besides painting a blubber target on your chest. If you don't make a respectable run at those standards, you'll end up looking a little silly. So give this quartette from Brighton credit for brashness and even more for making good on the challenge in its s album, out today.

The Kooks purport to take their station in the Brit careen tradition, non monkey with it a circle. They consider that tangy, tuneful songs built on guitars, bass and drums, "ooo-oooh" and "sha la la" harmonies and syncopated hand-claps is still all you need to press out the shrubby bittersweet brew of youthful emotion.

This balloting for constants and continuity signals a choice to rest sealed from the work that's reshaping pop up at street horizontal surface these days, but for those world Health Organization talk this language, "Konk" should advance the Kooks close the level of Franz Ferdinand V among the current practitioners. They're non quite as truancy and moral force, only they're effortlessly buoyant and heartfelt, and "Do You Wanna" stomps along with an infectious power that evokes "Carry Me Out."

Elsewhere they range of mountains from wistful to anthemic, with isaac M. Singer St. Luke Pritchard portion as an engaging fellow traveller through a landscape of possibility and discontent. His forcefulness is the believability and closeness of his natural, nasal bone voice.

--

Richard Cromelin

Within BJM's signature moods

Spears parenting book is postponed

Spears parenting book is postponed

A Christian publisher in the US has said that it has postponed plans to release a parenting

Koxie

   
Artist: Koxie

   Genre(s): 
Chanson
   

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Discography:


   
 Koxie

   Year: 2007   
Tracks: 13


   
 Gare aux cons

   Year:    
Tracks: 1

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Moldy Peaches' Dawson rides 'Juno' success

Moldy Peaches' Dawson rides 'Juno' success

Kimya Dawson is talk, but you know her eyes ar surveying the road in the lead.

“We’re on a commission to