Forever A Fangirl

The Big Man is Dead: Springsteen's E Street Sax Man Clarence Clemons Succumbs After Stroke - 'Jungleland' Solo [VIDEO]

Iconic rock saxophonist Clarence Clemons died Saturday at age 69 of complications from a stroke, bandmate Bruce Springsteen said:

Clarence Clemons performs with Aretha Franklin on her 1985 recording 'Freeway Of Love':
(VIDEO after the jump)

The story of how Bruce Springsteen and The Big Man began making history together--as told by Clarence Clemons:

One night we were playing in Asbury Park. I'd heard The Bruce Springsteen Band was nearby at a club called The Student Prince and on a break between sets I walked over there. On-stage, Bruce used to tell different versions of this story but I'm a Baptist, remember, so this is the truth.

A rainy, windy night it was, and when I opened the door the whole thing flew off its hinges and blew away down the street. The band were on-stage, but staring at me framed in the doorway. And maybe that did make Bruce a little nervous because I just said, "I want to play with your band," and he said, "Sure, you do anything you want."

The first song we did was an early version of "Spirit In The Night." Bruce and I looked at each other and didn't say anything, we just knew. We knew we were the missing links in each other's lives. He was what I'd been searching for. In one way he was just a scrawny little kid. But he was a visionary. He wanted to follow his dream. So from then on I was part of history.

Cover art featuring Clarence Clemons and Bruce Springsteen on The E Street Band's breakthrough album, 'Born To Run':

In concerts Bruce would always introduce "The E Street Shuffle" with a monologue about how they met with the magicl moment immortalized in the song 'Tenth Avenue Freeze out,' the second song on Bruce Springsteen's breakthrough album 'Born to Run.'         

Clarence Clemons' E Street Band 'Jungleland' Solo - Stockholm - June 7th 09 Bruce Springsteen and the E Street Band:

 

Clarence Anicholas Clemons, Jr. (January 11, 1942 – June 18, 2011), also known as The Big Man, was an American musician and actor. From 1972 until his death, he was a prominent member of Bruce Springsteen's E Street Band, playing the tenor saxophone. He released several solo albums and in 1985 had a hit single with "You're a Friend of Mine", a duet with Jackson Browne. As a guest musician he also featured on Aretha Franklin's "Freeway of Love" ...Clemons published his autobiography, Big Man: Real Life & Tall Tales, in 2009. Clemons suffered a stroke on June 12, 2011 and died due to complications from the stroke on June 18 at 69 years old.

SOURCE: Wikipedia

In announcing Clarence Clemons' death, E Street Band leader Bruce Springsteen said:

"Clarence lived a wonderful life. He carried within him a love of people that made them love him. He created a wondrous and extended family. He loved the saxophone, loved our fans and gave everything he had every night he stepped on stage," Springsteen said in a statement.

"His loss is immeasurable and we are honored and thankful to have known him and had the opportunity to stand beside him for nearly 40 years. He was my great friend, my partner and with Clarence at my side, my band and I were able to tell a story far deeper than those simply contained in our music. His life, his memory, and his love will live on in that story and in our band."

Clemons played on such classic Bruce Springsteen and the E Street Band hits as "Born to Run" and "Thunder Road" and is widely credited with helping to shape Springsteen's sound.

 

After the jump: Clarence Clemons talks about his the musical 'marriage' with Bruce Springsteen; Clemons performing with Aretha Franklin on 1985's 'Freeway Of Love':

Snoop Dogg "Oh Sookie " True Blood - Music Video (HD) inc. Lyrics

HBO — June 17, 2010 — A tribute to True Blood's Sookie Stackhouse from one of her biggest fans, Snoop Dogg. For more information, log onto HBO.com.

No doubt Snoop is pretty funny. He's always been good at getting his message across. I love the dancing "Sookies" in the background and that they are not all tiny in size. They don't even have to really work at being Sookie just dress up like her, throw on a blond wig vaguely styled in Sookie's signature Merlotte's 'do and bop around behind Snoop. Highly amusing. Hey! I've watched "Oh Sookie"  a couple time and I still don't know the exact word(s) that is/are bleeped out the one time that Snoop refers to Jason Stackhouse and  his versus Snoop's sexual prowess (I think).

Snoop Dogg likes "True Blood" star Sookie Stackhouse so much, he made a song and video about her. In "Oh Sookie," the West Coast hip-hop vet pays tribute to the HBO vampire drama's main woman (Anna Paquin), seducing her with player talk like, "I'll order you a gin and juice at Merlotte's," and, "Come close baby, I'm the dog that don't bite -- woof, woof." Snoop also makes a convincing case for why he'd make a better boyfriend than her immortal suitors, Bill and Eric. He won't make her drink his blood  and “We’ll do it in the daytime/Bill won’t know a thing,” he raps before a group of dancers dressed in blonde Sookie wigs and her signature Merlotte’s Daisy Dukes.

Read More : Billboard

The lyrics, which demonstrate an impressive understanding of the show, spell out a comically sexual plea for Sookie to do bad things with him. But, it’s not just Sookie he’s after: “Bring a friend/Matter fact, bring your best friend/Tara/I’ve got some real eggs for her to eat.” In 2009, Snoop professed his love for ‘True Blood’ via his single “Gangsta Luv,” rapping: “Everyday is the same thang, I creep in/ It’s like ‘True Blood,’ I sink my teeth in/ I gotta have it.” A source at HBO reveals the d-o-double-g himself approached them with the idea for the video, and it was shot on location of the show’s Los Angeles set.

Read More: Fancast

...When Snoop Dogg likes something, no matter the genre or medium, he goes all in with it.

That might explain “Oh Sookie,” a new rhyme in which the Doggfather pays homage to the mind-reading, sex-addicted, shape-shifting, bloodsucking and howling residents of Bon Temps, Louisiana, from HBO’s vampire series “True Blood.” In the video for the tune...Snoop offer(s) up his best sexual seduction come-ons while rocking a five-finger “Sookie” ring. he video for the song opens with Snoop — who later rocks a giant platinum “Sookie” chain — pulling into Bon Temps in his newly tricked-out Snoopmobile, complete with a “Tru Pimp” license plate and cloves of garlic hanging from the rearview mirror. Wearing a red, pinstriped suit, he urges Sookie to come close because, unlike so many of the creatures in the swampy town, “I’m the dog that don’t bite.” ... Snoop drops references to Sookie’s telepathy and even offers to buy her a gin and juice at the restaurant where she waitresses, Merlotte’s diner. “Bill ain’t for real, he ain’t true blood/ Snoop is a G, I smoke true bud/ Wanna be a vampire, gotta listen up/ I hit you with the glamour,” he raps while hanging outside Merlotte’s in a pimp fur and later showing off his own TB product, a package of “True Nutz.” MadHipHop

True Blood Men's 'I Heart Sookie' T-Shirt You don't have to be Vampire to capture Sookie Stackhouse's heart, but it just might help.

True Blood Women's Fangbanger Tank Get the Fangbanger Tank seen in the June 2010 issue of Playboy Magazine!Do you only date Vampires? Maybe you're a Fangbanger. Indulge in your addiction this season and beyond with this daring True Blood Men's Fangbanger T-shirt.

Read more :Geeks of Doom Iconic rapper Snoop Dogg really likes vampire drama True Blood, or at the very least, one of the show’s main characters Sookie Stackhouse (Anna Paquin). Evidence of Snoop’s True Blood-fanboyism can overwhelmingly be found in the music video “Oh Sookie” he produced and subsequently uploaded to YouTube to promote the show for HBO.

OMG. LOL. That's pretty awesome. Snoop is a genuine fan of True Blood. I'm in the mom demographic with my youngest kid but my oldest is  in his 20's. We saw Snoop Dogg at Lollapalooza years ago. Snoop is very much a performer. He works it. Both he and HBO are savvy marketers which something I can really appreciate when it's done with style, in this case, Doggy Style. :)

... The video begins with Snoop pulling up to Merlotte’s in a tricked-out Cadillac with a personalized California license plate that reads “TRU PIMP.” He comes bearing gifts like “Tru Nutz” and proceeds to rap amongst a montage of True Blood clips and shots of Sookie look-a-like dancers.

Clarification: Dancers dressed in Sookie's Merlottte work-clothes costumes with blond, ponytailed hair.

This is truly a yummy, slice of pop culture. I love how confounding it is for people who are really unfamiliar with True Blood or with Snoop Dogg but are very familiar with one of them. They either get it or they don't and when they don't, they hate it. LOL. It's supposed to be funny --just like much of True Blood is. It really takes a light heart to enjoy this. To be able to laugh and to give Snoop props for the effort. It's a catchy tune.

The lyrics have numerous references to the show, such as Snoop recommending a Gin and Juice at Merlotte’... Sam Merlotte being a shape-shifter that Snoop sort of belows the belt by referring to him as a ‘bitch.’

Snoop helpfully suggests to Sookie  how she could discretely hook up with him. Chorus: "Oh Sookie, Let me get in your head. Oh Sookie, We can lay in the bed. Oh Sookie, Choose a player like me …We can do it in the daytime, Bill won’t know a thing." ... Snoop (also beckons Tara with): “Bring a friend. Matter of fact, bring your best friend: Tara. I got some real eggs for her to eat. And these eggs come with a whole lot of cheese and greens… ya dig?” 

 

LOST - Video Tribute - The 'Best' of Ben Linus (Music: Michael Jackson's 'Ben')

ABC's March 11, 2010 Tribute to Benjamin Linus.

ElderWand777

Rarely am I glad that I am old enough to remember what was a huge pop hit for the adolescent Michael Jackson. This case is an exception as it is so very perfect. "Ben" is a song about a boy's pet...rat. The lyrics speak for themselves. The best of Ben Linus scenes that accompany it are priceless.

Harry Potter and The Half-Blood Prince Soundtrack Aims High and Soars

By Cyn McCrackan

July 16, 2009

The music soundtrack within a film is inextricably tied to the memory of that film. The best soundtrack music can bring a film to soaring heights, impossible to reach otherwise, lifting the viewer out of her seat and into another life enabling escape from everyday existence, if only for a couple of hours.

Now comes the Harry Potter series, moving into it's sixth film, with what would have been the penultimate film in the series if not for the planned rendering of "Harry Potter And The Deathly Hallows" into two films to better preserve the very last chapters of the phenomenally successful children's fantasy series by J.K. Rowling.

Unsurprisingly, given his acclaimed efforts in his only previous scoring for Harry Potter, 2007’s “Harry Potter and the Order of the Phoenix," composer Nicholas Hooper admirably succeeds in accomplishing this task in his score for “Harry Potter and the Half-Blood Prince, one which is as grand in scope as the books themselves. 

Composer Hooper first stepped into "Potterworld" when director David Yates took over the series with the aforementioned "Order of the Phoenix.” Scoring “Half-Blood Prince,” Hooper expands upon the themes that he and previous composers in the series had already established while contributing a slew of fresh new ones suitable to this darker outing.

The soundtrack features reprisals of the menacing “Possession” theme from “Order of the Phoenix” which Hopper notes is used to connect Voldemort/Tom Riddle to both Harry Potter and Prof. Dumbledore. Listen for it's foreboding sound woven into the score, especially in the second half of "Half Blood Prince."

Astute listeners will recognize several touches of John Williams' previous contributions including "Hedwig's Theme" and a snippet of "The Quidditch Match." Williams' impossible-to-miss signature sound can also be heard in "Ron's Victory" and "Of Love and War."

In a film that carries so much emotional weight the magic and wonder of "Ron's Victory" as well as “Inferi in the Firestorm” are crucial to bring balance to the film.

Draco Malfoy, who assumes a critical role in "Half-Blood Prince," has earned his own theme, "Malfoy's Mission," which as composer Hooper notes, is intended to denote "mystery, evil, and sadness." If you've read Half-Blood Prince you'll agree that indeed Malfoy is in a constant emotional flux regarding this rite of passage mission.

Further plumbing emotions is a new composition, “In Noctem” which encompasses much of the emotional weight of the film, while “Ron’s Victory” and “Inferi in the Firestorm” evoke the sense of wonder and magic prominent in the earlier films.

With the “Half-Blood Prince” score, Hooper successfully manages to convey the enigmatic and the fancy juxtaposed against mischievousness and hopelessness. The result is no less than magic. Without being so informed I would have had no clue that Nicholas Hooper has now made the Harry Potter franchise's composer roster a triad and that he was not with the series from the start. Composer Hooper has made the series a part of his repertoire as if it were always so while bringing past Potter themes into the series with seeming effortlessness. It is important I think that viewers keep in mind that the Harry Potter films are now a large body of work which began with 2001’s “Harry Potter and the Sorcerer’s Stone,” and as such needs to have an over-arching sense of being "as one" musically.

This gives the audience, be they listeners or viewers a real sense of how these characters have matured since the young trio arrived wide-eyed and innocent at Hogwart's Academy.

"Harry Potter and the Half-Blood Prince: Original Motion Picture Soundtrack" contains no less than three love themes, "Ginny" within which is the previously-noted snippet of the signature "Hedwig's Theme," "Harry and Hermione," and "When Ginny Kissed Harry." While keeping the long-running series' music integral to it's characters growth, Hooper also keeps flowing the continuity which carries the viewer along while reminding us just how far we all have come on this journey with Harry and Company.

"Harry Potter and the Half-Blood Prince: Original Motion Picture Soundtrack" is in stores now. It is composed by Nicholas Hooper. The film, starring Daniel Radcliffe, Emma Watson, Rupert Grint, and and Michael Gambon, is now playing at your local theater.

EDIT to add: A great little video clip from the scoring of Harry Potter and the Half-Blood Prince which takes you behind the scenes to watch conductor/orchestrator Alistair King and orchestrator Jeff Atmajian as they score composer Nicholas Hooper’s opening track to the film.

7.09 - Battlestar Galactica - All Along The Watchtower - NEW Katee Sackhoff - Bear McCreary LIVE, Battlestar Galactica Orchestra In Concert /Corrected

Battlestar Galactica Bear McCreary with Katee Sackhoff "All Along The Watchtower" Live 6-13-2009 (here they are pictured in June in LA but you get the idea.)

Thanks to filmsinfocus!

What a treat to see Katee Sackhoff and Bear McCreary on the piano together with that haunting little tune The Final Four Theme--then to All Along the Watchtower--Bear's version! 

Beginning with Kara Remembers this moves to the Final Four Theme then to Heeding The Call, then to All Along The Watchtower. It turns into something huge. I mean awesomely bombastic at its pinnacle. I love it! So powerful.

About this :Note from Bear McCreary "Kara Thrace herself, Katee Sackhoff, joined me on stage at the grand piano to play Kara Remembers I played the left hand part, and she plucked out the Final Four Theme, just as she did in the climax of Someone to Watch Over Me. Once we had the Final Four Theme going on the piano, the band snuck in, building to Heeding the Call and finally All Along the Watchtower.

What do you think of Bear McCreary and the Battlestar Galactica Orchestra live (in the video)? 

Pretty great band, huh? 

The Battlestar Galactica Orchestra, featuring all kinds of awesome, will tour in the US--hopefully Canada (maybe?) and possibly internatonally (I know for a fact Bear and Co. have a huge, dedicated fanbase overseas). 

If you want to see Bear McCreary and the Battlestar Galactica band LIVE you have to make it happen by taking your support of Bear and BGO live. If you and some friends are the real deal as far Bear and Co., in other words a real BSG fan, it's very likely I think, that you would dig seeing Bear. His music made such an impact on the show. To state what is obvious: BSG would not be the BSG we love without Bear.

Did you hear the NPR piece on Bear and the band and their playing live? Here is the link. NPR Music on BSG's Bear McCreary and his live, sellout Shows

I will be back later to talk more about Bear and the Orchestra and the LIVE gigs they have lined up in  San Diego at the upcoming geek event of the year--ComicCon! (which is killing me because <sob> I cannot be there.)

From Battlestar Galactica Orchestra site -

"Bear McCreary’s score for “Battlestar Galactica” honors, absorbs and transforms the traditions of classical, popular and cultural music from around the world.  Within his score, massive Japanese taiko ensembles struggle to overpower arsenals of Scottish bagpipes.  The wistful strains of erhu and duduk are set against string orchestra and rock band.  A lush piano sonata lulls one moment, a bluesy and distorted dobro energizes the next.  Armenian text is sung gently over images of bloodshed, while Indian-inspired melodies intertwine with heavy metal."

So check out the brand fraking new Battlestar Galactica Orchestra site and make sure to stop by the forum to say hi-- and then go blog about it! Twitter about it. Just spread the word that you'd love if the Battlestar Galactica Orchestra would come to your area to play LIVE.

Bear McCreary - Caprica Soundtrack Release - 'Battlestar Galactica' Beyond Background Music

Perhaps the best way to express how great a talent Bear McCreary is is to say that Battlestar Galactica, my favourite television show of all time, which concluded its four-year run this year, would not be Battlestar Galactica without Bear McCreary's creation of it's superb scores. His style is like no other, obviously classically trained yet at times tribal-sounding, Bear qualifies the music he composed on Battlestar Galcactica as "ethnic rock-pop-classical soundtrack music." 

I could fawn over Bear's signature sound but he has many. Some once you hear them, your ears will alert you to later when hearing an entirely different soundtrack. This happened during an early episode of Terminator: The Sarah Connor Chronicles, which Bear also scored."That's Bear!," I exclaimed when a hint of one of his amazing compositions seeped a tiny bit into Terminator--just long enough for me to recognize it.

Bear worked last year on scoring a miniseries, "Caprica" that is to air on the SciFi/SyFy network this fall. It has been released in DVD from and on CD it's called appropriately, "Caprica."

I've been listening to it this week and it's good. Yes absolutely, Bear pulled off his stated-upfront mission to "pay tribute to Battlestar Galactica without imitating it."

In an NPR interview with Bear, host Guy Raz said that at times Bear's work is "almost devastating." 

I don't think it can be phrased better.

It can touch you that deeply. I admit to tearing up along with some of Bear's best work as well as having had my heart rate seem to pick up as Bear's soundtrack draws me in and along with him.

Bear McCreary has an uncanny sense of matching the score to a scene, though as his sold-out concerts indicate, his music stands on it's own. Many a time I've noticed a theme or two of his running through my head the day after viewing one of his shows and hearing some new pieces of his work. Now the same thing is happening after having given the Caprica soundtrack a couple of listens. It's very beautiful and it tells a story that I'm very excitedly looking forward to.

Bear's music can elevate a scene to the sublime and though he's still a young guy, he has quite a notable body of work building. Bear says in his liner-notes for the Caprica soundtrack that he hopes it will be "a seed from which the the Caprica musical universe will grow."

I'll look forward to hearing more music from Caprica after it debuts and in the meantime "Caprica," the CD will continue to be a new, amazing piece to enjoy.

To my fellow Battlestar Galactica fans, yes there are moments on Caprica where you are transported into BSG territory--usually with a very light touch, though after viewing the miniseries you'll see and hear where some of Bear's trademark sounds are very appropriate and I cannot say it enough, enhance each scene.

Bear McCreary is currently scoring the music for Galactica's series prequel, Caprica, to be aired on the SciFi (SyFy by the time it debut) Channel.

Some links you may like-

Caprica series and music updates from Bear McCreary

NPR Music on BSG's Bear McCreary and his live, sellout Shows

The Shape of Things to Come (full track)

All Along The Watchtower(BSG) (full track)

More BSG on NPR -How 'Battlestar' Brought Me Home From Iraq

For some fun facts about Bear McCreary and his new Caprica soundtrack as well as the upcoming SyFy Channel miniseries and series, Caprica, click below.

Battlestar Galactica - Islanded In A Stream of Stars - Video Recap, Meet the New Cylon Six- "Sonja" Many Other Sixes Preceded Her *Photos*

BattlestarWiki

S4E20 "Islanded In A Stream Of Stars"

Summary

"The new Quorum motions to abandon and strip Galactica of her parts when it becomes clear the ship is damaged beyond repair, and the Final Five argue with Adama about sending out a rescue mission for Hera. Meanwhile, Kara turns to Baltar to determine the truth about her resurrection, Boomer returns to Cavil with Hera, the Cylons experiment with Anders by turning him into a Hybrid, and a devastated Helo begs Adama’s permission to find Hera on his own. "The new Quorum motions to abandon and strip Galactica of her parts when it becomes clear the ship is damaged beyond repair, and the Final Five argue with Adama about sending out a rescue mission for Hera. Meanwhile, Kara turns to Baltar to determine the truth about her resurrection, Boomer returns to Cavil with Hera, the Cylons experiment with Anders by turning him into a Hybrid, and a devastated Helo begs Adama’s permission to find Hera on his own."

There are now a good handful of great Battlestar Galactica sites. Still, my top choice has been and remains, BattlestarWiki. They've got the goods along with some insights that I often miss until later viewings(if not completely).

Now I can put this promo photo in it's proper perspective. It's not from "Someone to Watch Over Me" (last episode). It's from "Islanded In A Stream Of Stars"--and it's Boomer with the kidnapped Hera. Both of them are projecting into Boomer's dream home whilst in a Raptor on their way to rendezvous with Cavil at the Cylon home world, known as "the Colony."

Here's a good thumbnail on the newest in-charge Six (Tricia Helfer),

Sonja

Sonja, shown Season 4.5 with a random Eight.

Summary((BattlestarWiki): Sonja is one of the platinum blonde Sixes, similar in appearance to Caprica/Virtual (Head!) Six. She is elected to represent the rebel Cylons in the Fleet's new Quorum. Her first duty is to request the Cylons be given custody of Sharon Valerii in order to put her on trial for treason. Given her new posistion, the Colonials have accepted at least part of the deal the Cylons made through Tyrol and now have the representation they wanted in the Colonial Government. ("Someone to Watch Over Me")

Very neat-o piece found by

Galactica Sitrep

Video by Tretboot.

Gauis and Six Talk About Sex: (BattlestarWiki)

• Baltar and Six discuss jealousy and women, prompted by Playa Palacios's behavior:

Gaius Baltar: She's only human. (notes Six's reaction) You're not jealous?

Number Six: Love isn't about sex, Gaius.

Gaius Baltar: Now there's an enlightened point of view.

Number Six: I've been thinking... and as far as I'm concerned, you can have any woman you want. But always remember, I have your heart.

Gaius Baltar: Yes, of course you do.

Number Six: (deadly serious) I can always rip it out of your chest if I need to.

Gaius Baltar: (coughs, as if in reaction to a pain in his chest)

Different faces of Six after jump - :)

John Lennon ~ Murdered at 40 on December 8, 1980 / 11.21.08 Update: Vatican Officially "Forgives" John Lennon For Jesus Joke

A Vatican newspaper has forgiven the late English singer John Lennon for saying four decades ago that The Beatles were more popular than Jesus.

In an article praising The Beatles, L'Osservatore Romano said Lennon had just been showing off.

Read the whole story here      

If Lennon were alive now he'd be 68! I think he'd have a pithy comment about this pardon.

BBC NEWS Charles Wheeler on the reaction to John Lennon's claim in 1966 (old-timey videotape)

I have a blog with a name that was in inspired by the Beatles song The End from the last line--though  to my dismay it seems that it was a McCartney song with little input from Lennon though as usual, credit went to both: "Lennon-McCartney." I’d chosen it for my first WordPress blog after about 8 years with it for my email addy. The blog, which is about a year old is The Love You Make.

John Lennon was killed about a week after my 21st birthday–which sort of took the wind of that
milestone. It was years before I could listen to a song of his without thinking of how he died.

I wonder if his loved ones will ever be able to?

Source

The line “And, in the end the love you take is equal to the love you make” is essentially the Beatles closing statement. It is the last lyric on the last album they recorded. Let It Be was the last album they released, but it was recorded earlier. This contains the only drum solo Ringo ever performed. He hates solos and had to be persuaded to do it. Lennon, McCartney and Harrison took turns doing guitar solos. Each had a distinctive style which McCartney felt reflected their personalities. “Love You” is repeated 24 times. This starts over the end of “Carry That Weight.” It is the last song in a suite at the end of Abbey Road. This ends with a 30-piece orchestra.

 

Gimme A Little Of That Human Touch

Now that it's 2008 I can say that I'm seeing Bruce in the spring which is something that makes me happy. This is one of my favourites of his--maybe more so now than years ago. Anyway, the lyrics started playing in my head tonight, especially these:

Oh girl that feeling of safety that you prize
Well it comes at a hard hard price
You can't shut off the risk and the pain
Without losing the love that remains
Were all riders on this train

<awesome guitar break>

So you've been broken and youve been hurt
Show me somebody who ain't
Yeah, I know I ain't nobodys bargain
But, hell, a little touch up and a little paint...

The entire lyrics are after the video which has a definite mid 1980's- feel to it. Bruce does look pretty hawt in it though I miss Miami Steve Van Zant and Clarence Clemons on camera. I'm curious too who is doing the female vocals. edit/checked--some were Patti.

Glad Bruce came to his senses about a life partner. :)

bruce springsteen "human touch"
Uploaded by miklo

You and me we were the pretenders
We let it all slip away
In the end what you don't surrender
Well the world just strips away

Girl, aint no kindness in the face of strangers
Aint gonna find no miracles here
Well you can wait on your blesses my darlin'
But I got a deal for you right here

I ain't looking for praise or pity
I ain't coming 'round searchin' for a crutch
I just want someone to talk to
And a little of that Human Touch
Just a little of that Human Touch

Ain't no mercy on the streets of this town
Ain't no bread from heavenly skies
Ain't nobody drawing wine from this blood
Its just you and me tonight

Tell me, in a world without pity
Do you think what I'm askin's too much
I just want something to hold on to
And a little of that Human Touch
Just a little of that Human Touch

Oh girl that feeling of safety that you prize
Well it comes at a hard hard price
You can't shut off the risk and the pain
Without losin' the love that remains
We're all riders on this train

So you've been broken and you've been hurt
Show me somebody who ain't
Yeah, I know I ain't nobody's bargain
But, hell, a little touch up and a little paint...

You might need somethin' to hold on to
When all the answers, they don't amount to much
Somebody that you could just to talk to
And a little of that Human Touch

Baby, in a world without pity
Do you think what I'm askin's too much
I just want to feel you in my arms
Share a little of that Human Touch
Feel a little of that Human Touch
Give me a little of that Human Touch

Copyright © Bruce Springsteen (ASCAP)

Music & Lyrics: Stadium Arcadium

And on a lighter note...
The Red Hot Chili Peppers won four Grammys the other night. I only recently discovered Stadium Arcadium (via Rolling Stone). I've loved some of their other stuff--but not all. Stadium Arcadium is a 2-disc set containing lots of really good songs. Something for everyone, really.

One of the articles I read about the RHCP's is that Anthony Kiedis is not a great lyricist.

I'm not sure who he's being compared to but I find some of his phrasing really enjoyable & original-sounding. I mean does everything have to be s-p-e-l-l-e-d out or can the lyrics sometimes be open for interpretation?

This is just a really cool rock song. In this performance I especially dig the guy doing the harmonies, and the guitar and drum work. Anthony does his thing just fine, though he does seem a bit subdued.

Of course the recorded version is perfect. ;)

Stadium Arcadium Red Hot Chili Peppers lyrics

   

Artist: Red Hot Chili Peppers Album: Stadium Arcadium Year: 2006 Title: Stadium Arcadium

Bells around St. Petersburg
When I saw you
I hope I get what you deserve
And this is where I find
Smoke’s around your perfect face
And I’m falling
Pushin' a broom out into space
And this is where I found the way

Chorus:

The Stadium Arcadium
A mirror to the moon
(Mirror to the moon)
Well I’m forming and I’m warming
(Warming to you)
State of the art until the clouds come crashing
Stranger things have happened both
Before and afternoon
(Before and afternoon)
Well I’m forming
And I’m warming
(Warming to you)
Pushing myself and no I don’t mind asking now

Alone inside my forest room and it’s stormy
I never thought I’d be in bloom
But this is where I start

Derelict days, and the stereo plays
For the all night crowd that it cannot face

And I’m calling

Tedious weeds that the media breeds
But the animal get's what the animal needs

And I’m sorry

Stadium Arcadium
A mirror to the moon
(Mirror to the moon)
And I’m forming and I’m warming
(Warming to you)
The state of the art until the clouds come crashing
Stranger things have happened both
Before and afternoon
(Before and afternoon)
Well I’m forming
And I’m warming
(Warming to you)
Pushing myself and no I don’t mind asking now

And this is where I find
Praise of coast that wraparound your citizen
Kind enough to disavow
This is where I stand

Stadium Arcadium
A mirror to the moon
(Mirror to the moon)
Well I’m forming and I’m warming
(Warming to you)
The state of the art until the clouds come crashing
Stranger things have happened both
Before and afternoon
(Before and afternoon)
And I’m forming
And I’m warming
(Warming to you)
Pushing myself and no I don't mind asking

The Stadium Arcadium
A mirror to the moon
(Mirror to the moon)
Well I’m forming and I’m warming
(Warming to you)
State of the art until the clouds come crashing
Stranger things have happened both
Before and afternoon
(Before and afternoon)
Yeah I’m Forming
And I’m warming
To you

 

Pete Townshend ~ Slit Skirts

Some days this song just resonates with me a bit more.

It's partly a slice of my life, reversed.

(Couldn't get the You Tube linkage to work so you hafta click the link.)

The Who or in this case Pete Townshend going it alone... well, live is better, IMO.

http://www.youtube.com/watch?v=-6tKXtqZG04

I was just thirty-four years old and I was still wandering in a haze
I was wondering why everyone I met seemed like they were
Lost in a maze

I don't know why I thought I should have some kind of
Divine right to the blues
It's sympathy not tears people need when they're the
Front page sad news.

The incense burned away and the stench began to rise
And lovers now estranged avoided catching each others' eyes

And girls who lost their children cursed the men who fit the coil
And men not fit for marriage took their refuge in the oil
No one respects the flame quite like the fool who's badly burned
From all this you'd imagine that there must be something learned

Slit skirts, Jeanie doesn't wear any slit skirts
I don't ever wear no ripped shirts
Can't pretend that growing older never hurts.

Knee pants, I don't ever wear no knee pants
Have to be so drunk to try a new dance
So afraid of every new romance

Slit skirts, slit skirt
Jeanie isn't wearing those slit skirts, slit skirt
She wouldn't dare in those slit skirts, slit skirt
Wouldn't be seen dead in no slit skirt

Romance, romance, why aren't we thinking up romance?
Why can't we drink it up true heart romance
Just need a brief new romance

Let me tell you some more about myself, you know I'm sitting at home just now.
The big events of the day are passed and the late TV shows have come around.
I'm number one in the home team, but I still feel unfulfilled.
A silent voice in her broken heart complains that I'm unskilled.

And I know that when she thinks of me, she thinks of me as him,
And unlike me, she can'tt work off her frustration in the gym.

Recriminations fester and the past can never change
A woman's expectations run from both ends of the range

Once she woke with untamed lovers' face between her legs
Now he's cooled and stifled and it's she who has to beg

Slit skirts, Jeanie never wears any slit skirts
I don't ever wear no ripped shirts
Can't pretend that growing older never hurts

Knee pants, Jeanie isn't wearing any knee pants
We have to be so drunk to try a new dance
So afraid of every new romance

Slit skirts, slit skirt
Jeanie isn't wearing those slit skirts, slit skirt
She wouldn't dare in those slit skirts
Wouldn't be seen dead in no slit skirt

Romance, romance, why aren't we thinking up romance?
Why can't we drink it up true heart romance
Just need a brief new romance

Band Aid 20

Band Aid 20

Oi! I'm still getting way too many hits. I'm waaaaay over my bandwidth allotment and have been for a while. I'm trimming older posts all over the place but I still had 1200 1351 hits today. While most of my blog is disposable, there's a couple posts that I simply will not take down (Anish Kapoor's Cloud Gate and a few others I've listed on the first page). So whilst checking the count today I noticed I'm getting hits for a post from last Christmastime about the song, Do They Know It's Christmas? by the insta-group Band-Aid. Since I pretty much quit reading the BBC on-line news--just not enough time, I had no idea that a remake of  "Do They Know..." was in the works. Well it done and released and since people are hitting me anyway, I thought I may as well give the people what they want. :D

From Wednesday, 17 November, 2004, 10:35 GMT

Bono sings famous Band Aid line

 

Bono: "I just tried it more of a whisper"

Producers of the new Band Aid single have chosen to use Bono's version of a controversial lyric from the song.

The U2 frontman sings "Well, tonight thank God it's them instead of you" 20 years after singing it the first time.

Darkness star Justin Hawkins had also recorded a version of the line, saying his version was better.

Bono flew into Britain late on Sunday to record the well-known line of Do They Know It's Christmas?, which gets its first radio play on Tuesday.

Bono said he "really, really loathed" the powerful line from the song.

He added: "I hated singing it in the first place. I really didn't want to sing it again."

"I did an impersonation of Bruce Springsteen," said the singer, who was persuaded by Bob Geldof to perform the line in 1984 and had to be persuaded once more to record the lyric.

Madonna support

       

                                 

I did it and I did it better than him - so, his management kicked up a stink                                                          Justin Hawkins on rivalry with Bono                                                                                                                                                                                     R&B star Beverley Knight's account of the weekend                             Full Band Aid 20 line-up

        Madonna has lent her support to the new Band Aid single by recording an introduction to the song's music video.

The pop queen will tell fans to "feed the world" before the video gets its premiere on BBC One on Thursday.

Madonna was not among the stars who assembled to record the song in London at the weekend.

Bono returned from Ireland to record the new rendition and said he took a different approach to his emotional 1984 contribution.

"Rather than that raw, I just tried it more of a whisper tonight," he said.

The Darkness' Justin Hawkins had earlier claimed: "I did it and I did it better than him.

"So his management kicked up a stink and it obviously means a lot to him. "

The single will get its first radio play on stations around the UK at 0800 GMT on Tuesday and will be released on 29 November. It will raise money for food aid in Darfur, Sudan.

The video will be unveiled at 1755 GMT on BBC One on Thursday.

                                 

Bob Geldof and his friends are here to remind you that none of us can forget - not ever                                                           Madonna

"Twenty years ago I performed at Live Aid," she will tell viewers. "You saw me and my generation demanding a change.

"Once again, here we are 20 years later and more people die of hunger in Africa than war and Aids put together.

"In a world of plenty, it is hard to imagine that there are African children going to bed tonight hungry.

"Bob Geldof and his friends are here to remind you that none of us can forget. Not ever. Feed the world. I am honoured to introduce Band Aid 20."

The video will feature stars including Coldplay's Chris Martin, Will Young, Jamelia, Sugababes and Busted, who took part in the recording sessions at the weekend.

The single will be titled Band Aid 20 to mark the 20th anniversary of the original song, which featured stars such as George Michael, Duran Duran and Phil Collins.

It was organised by Geldof after he saw news footage of the starving in Ethiopia, and sold more than 3.5 million copies in the UK alone.

Sold on CD for £3.99 and also available as a download, the new version is hot favourite to be Christmas number one in the UK this year.

Retailers expect to sell about 500,000 copies in its first week.

Woolworths and Virgin Megastores will give their proceeds to the Band Aid Trust charity, while Chancellor Gordon Brown has decided not to charge VAT.

---

Band Aid 20 - Who sings what

Chris Martin (Coldplay) - It's Christmas time, there's no need to be afraid. At Christmas time, we let in light and we banish shade

Dido - And in our world of plenty we can spread a smile of joy. Throw your arms around the world at Christmas time.

Robbie Williams - But say a prayer, Pray for the other ones. At Christmas time it's hard, but when you're having fun.

Sugababes - There's a world outside your window, and it's a world of dread and fear.

Fran Healy (Travis) - Where the only water flowing

Fran Healy and the Sugababes - Is the bitter sting of tears

Fran Healy and Justin Hawkins (The Darkness) - And the Christmas bells that ring there are the clanging chimes of doom

Bono - Well tonight thank God it's them instead of you

Will Young and Jamelia - And there won't be snow in Africa this Christmas time

Ms Dynamite and Beverly Knight - (Oooh) Where nothing ever grows, no rain nor rivers flow

Group of 10 and Joss Stone - Do they know it's Christmas time at all?

Tom Chaplin (Keane) - Here's to you

Justin Hawkins - Raise a glass for everyone

Dizzee Rascal - Spare a thought this yuletide for the deprived, if the table was turned would you survive

Busted - Here's to them

Justin Hawkins - Underneath that burning sun

Dizzee Rascal -  You ain't gotta feel guilt just selfless, give a little help to the helpless

Joss Stone and Justin Hawkins - Do they know it's Christmas time at all?

Tom Chaplin - Feed the world

Tom Chaplin and Chris Martin - Feed the world

Tom Chaplin, Chris Martin and Sugababes - Feed the world

Everyone - Feed the world, let them know it's Christmas time again (repeated)

Fran Healy - Wooo

Group of 10 - Feed the world

Everyone - Feed the world (repeated to end)

Joss Stone - Ad-libs over outro             

Eminem ~ Mosh Video

Please watch and listen to a powerful piece of music for our times.
Eminem Mosh
(Click to the Vets site below for other modes of viewing the video.)

Thanks to Internet Vets For Truth

Eminem - Mosh
Intro:

(Kids: I pledge allegiance to the flag of the United States of America..

(BOOM)

(Kids: And to the Republic..)

Eminem: People..

(Kids: For which it stands..)

Eminem: Hahaha..

(Kids: One nation under God.. Indivisible..)

Eminem: It feels so good to be back!

Verse 1:

I scrutinize every word, memorize every line
I spit it once, refuel, re-energize and rewind
I give sight to the blind, my insight's through the mind
I exercise my right to express when I feel it's time
It's just all in your mind - what you interpret it as
I say to fight, you take it as I'ma whip someone's ass
If you don't understand, don't even bother to ask
A father who has grown up with a father-less past
Who has blown up now to rap phenomenon
That has, or at least shows, no difficulty multi-taskin' and juggling both
Perhaps mastered-his-craft slash entrepreneur
Who has helped launch a few more rap-bags
Who's had a few obstacles thrown his way
Through the last half of his career
Typical manure, moving past that
Mister kiss-his-ass-crack, he's a class-act
Rubber-band man, yeah, he just snaps back

Chorus:

Come along, follow me, as I lead through the darkness
As I provide just enough spark that we need to proceed
Carry on, give me hope, give me strength
Come with me, and I won't steer you wrong
Put your faith in your trust, as I guide us through the fog
To the light at the end of the tunnel we gon' fight
We gon' charge, we gon' stomp
We gon' march through the swamp
We gon' mosh through the marsh
Take us right through the doors
Come on..

Verse 2:

All the people up top, on the side and the middle
Come together, let's all form this swamp just a little
Just let it gradually build, from the front to the back
All you can see is a sea of people, some white and some black
No matter what color, all that matters we're gathered together
To celebrate for the same cause, no matter the weather
If it rains, let it rain
Yeah, the wetter the better
They ain't gon' stop us - they can't
We're stronger now, more then ever
They tell us "No", we say "Yeah"
They tell us "Stop", we say "Go"
Rebel with a rebel yell
Raise hell - we gon' let em know
Stomp, push, shove, mush..
Fuck Bush
Until they bring our troops home, c'mon, just..

Chorus:

Come along, follow me as I lead through the darkness
As I provide just enough spark that we need to proceed
Carry on, give me hope, give me strength
Come with me, and I won't steer you wrong
Put your faith in your trust, as I guide us through the fog
To the light at the end of the tunnel we gon' fight
We gon' charge, we gon' stomp
We gon' march through the swamp
We gon' mosh through the marsh
Take us right through the doors
Come on..

Verse 3:

Imagine it pourin', it's rainin' down on us
Moshpits outside the oval office
Someone's tryin to tell us something
Maybe this is God just sayin' we're responsible
For this monster - this coward that we have empowered
This is Bin Laden
Look at his head noddin'
How could we allow something like this without pumpin' our fists
Now, this is our final hour
Let me be the voice, and your strength and your choice
Let me simplify the rhyme just to amplify the noise
Try to amplify it, times it, and multiply it by sixteen million
People are equal at this high pitch
Maybe we can reach al CIAda through my speech
Let the president answer our high anarchy
Strap him with a AK-47, let him go fight his own war
Let him impress daddy that way
No more blood for oil, we got our own battles to fight on our own soil
No more psychological warfare to trick us to thinking that we ain't loyal
If we don't serve our own country, we?re patronizing our hero
Look in his eyes, its all lies
The stars and stripes, have been swiped
Washed out and wiped and replaced with his own face
Mosh now or die
If I get sniped tonight, you?ll know why
'Cuz I told you to fight

Chorus:

Come along, follow me as I lead through the darkness
As I provide just enough spark that we need to proceed
Carry on, give me hope, give me strength
Come with me, and I won't steer you wrong
Put your faith in your trust, as I guide us through the fog
To the light at the end of the tunnel we gon' fight
We gon' charge, we gon' stomp
We gon' march through the swamp
We gon' mosh through the marsh
Take us right through the doors
Come on

Outro:

Eminem: And as we proceed to mosh through this desert storm.. in these closing statements, if they should argue, let us beg to differ.. as we set aside our differences, and assemble our own army to disarm this weapon of mass destruction that we call our president for the present.. and mosh for the future of our next generation.. to speak and be heard.. Mr President.. Mr Senator..

(Kids: Hear us, hear us?.. Hahaha)

Johnny Aroo'

Photo that I took at the Children's Choir performance yesterday.
I hadn't realized it's a cross until I was told later. I was too caught up in the performance and the stained glass (a fetish of mine). It's pretty subtle, isn't it ? (I colourized it, as I don't know when to leave things alone as a "real" photographer" does.)

At Chris's performance at All Saints Lutheran Church yesterday, his choir did a song, the title of which is listed as "Johnny Aroo'". Much of it sounded similar to "When Johnny Comes Marching Home Again" (hurrah, hurrah) but the somber lyrics of Johnny Aroo' are much different than the celebratory words of "Marching Home..." The song Marching Home evolved, according to several Internet sources, from "Johnny Aroo," an Irish lament. The American version started circulating during the Civil War. What strikes me most about the two versions of "Johnny" is how the lyrics and tone are so strikingly different. About the only thing common to them both is the subject, Johnny, (but not the events that occur to him) and the tune, which to most of Americans is instantly recognizable.
After I first heard the kids sing this song last spring, I turned to my spouse and said "This is an anti-war song." Even upon first hearing this version, the song had me in tears. Now, having read the lyrics to the two versions of "Johnny," (the 'Net says there are at least three, there could be more is my bet)  the American one quite buoyant and joyful, and the orignal Irish lament, which though sounding upbeat, mourns for a man coming home from war as a blind quadriplegic (alas, the lyrics to the version the kids did--by Ron Jeffers--haven't yet been found on-line). I salute the choral director for "sneaking it in." She was more overt when she introduced the pretty "Prayer Of the Children"--referring to the "events and war in the world these days..."

I cried during that one too. I defy anyone with a heart to remain untouched by it--thinking of the Iraqi, Chechen, and Sudanese children (yeah actual visuals flashed through my mind--burned, mangled bodies, starving babies--the whole nine yards--it's reality--just because I don't have to live within it--doesn't make it any less real).

I applaud this woman who's both a master of  her art and the mom of four young children, for her courage in speaking out (or singing, as the case may be), yet remaining within a safety zone so she can she keep her job, while only those who want to delve into the lyrics of Johnny Aroo' are even going to realize that it's a harsh truth of our current reality.

This is the original Irish lament from which "When Johnny Comes Marching Home" was taken. It shows a much more stark and realistic view of the consequences of such a war.

While goin' the road to sweet Athy, hurroo, hurroo
While goin' the road to sweet Athy, hurroo, hurroo
While goin' the road to sweet Athy
A stick in me hand and a drop in me eye
A doleful damsel I heard cry,
Johnny I hardly knew ye.

With your drums and guns and drums and guns, hurroo, hurroo
With your drums and guns and drums and guns, hurroo, hurroo
With your drums and guns and drums and guns
The enemy nearly slew ye
Oh my darling dear, Ye look so queer
Johnny I hardly knew ye.

Where are your eyes that were so mild, hurroo, hurroo
Where are your eyes that were so mild, hurroo, hurroo
Where are your eyes that were so mild
When my heart you so beguiled
Why did ye run from me and the child
Oh Johnny, I hardly knew ye.

Where are your legs that used to run, hurroo, hurroo
Where are your legs that used to run, hurroo, hurroo
Where are your legs that used to run
When you went for to carry a gun
Indeed your dancing days are done
Oh Johnny, I hardly knew ye.

I'm happy for to see ye home, hurroo, hurroo
I'm happy for to see ye home, hurroo, hurroo
I'm happy for to see ye home
All from the island of Sulloon
So low in flesh, so high in bone
Oh Johnny I hardly knew ye.

Ye haven't an arm, ye haven't a leg, hurroo, hurroo
Ye haven't an arm, ye haven't a leg, hurroo, hurroo
Ye haven't an arm, ye haven't a leg
Ye're an armless, boneless, chickenless egg
Ye'll have to put with a bowl out to beg
Oh Johnny I hardly knew ye.

They're rolling out the guns again, hurroo, hurroo
They're rolling out the guns again, hurroo, hurroo
They're rolling out the guns again
But they never will take our sons again
No they never will take our sons again
Johnny I'm swearing to ye.