Svastara

[vladavsnarod]

Marlboro Sues Stones Throw Over Font, Jonwayne Responds With Awesome Sarcasm Jonwayne's limited edition "Cassette" will no longer take away from Marlboro's sales "We can no longer take an enormous market away from such a grassroots company. It was fun while it lasted." On Tuesday (March 18), Los Angeles hip-hop bastion Stones Throw revealed that Philip Morris had hit the label with a cease-and-desist for parodying Marlboro's packaging in a recent release. The offending product? A cassette-only, 24-minute rap tape (actually called Cassette) by unsung MC/producer genius Jonwayne — the kind of dude who names songs

and

. "We had no grand plans," wrote Stones Throw in a post that also included a scan of the letter sent by Morris' legal team. "It was just a low-profile release, maybe a nod to two things going out of style – tapes and lung cancer." The label is accused of "infringing use of [Marlboro's] 'distinctive font' and two registered U.S. trademarks: their insignia, and the pyramid shape. They own that shape." They've been ordered to discontinue and stop selling the limited release, which was almost all sold out anyway, and to destroy the remainder. SPIN spoke to the tape's designer Jeff Jank, who said, "We never gave it a second thought. It was just the kind of thing I’d do on my own tapes back when I was a kid. So the Philip Morris letter was certainly unexpected, but it felt kind of like winning a Grammy." Stones Throw also just announced Jonwayne's Cassette 2, which lovingly spoofs another leading brand (rhymes with "not Pepsi"). We reached out to Jonwayne — responsible for that excellent two-hour memory purge Oodles of Doodles — for comment, and he responded with the sort of smart snark and awesome sarcasm that the occasion clearly deserves. Smoke 'em if you got 'em: It was a no-brainer to use Jeff's cigarette pack design for the cassette, and it still is. No regrets. It's a great design to stop the masses from cigarette use. I, for one, am pleased that the nature of my music in cassette form is keeping so many people from buying their product. We had understood Philip Morris was in the red and needed that push into bankruptcy, so we all sat down and brainstormed into the only idea that would clearly work: cassettes. And IT WORKED. Millions of people from all over the world have contacted me in hopes of letting me know how my Cassette has helped them conquer their addiction of giving Philip Morris their money all the time, and I couldn't be happier. Unfortunately they are shutting us down so we can no longer take an enormous market away from such a grassroots company. It was fun while it lasted. http://www.spin.com/...te-lawsuit-font Edited March 21, 2013 by vladavsnarod

[Lezilebovich]

Šta se govorilo na tribini o „Susretu rokenrola i pop-folka u Srbiji“ Kako su rokeri prešli kod Cece Željko Šašić, folk pevač: Ljudi ne znaju da ja na drugom albumu imam i pesmu „Voli me, voli“, posvećenu Milanu Mladenoviću iz Ekatarine Velike Aleksandar Petrović Alek, bubnjar: Kada sam dobio ponudu da sviram sa Svetlanom Ražnatović i Lepom Brenom, mnogi su me pitali: „Kako možeš?“Autor: D. PetrovićJa sam ceo život hevi metalac, nekada mi je bilo nezamislivo da ću svirati sa Cecom i Lepom Brenom, a sada mi se čak i sviđa ta muzika - rekao je Aleksandar Petrović Alek, bivši bubnjar beogradske grupe Eyesburn, sada član pratećeg benda Svetlane Ražnatović i Fahrete Jahić, na preksinoćnoj tribini „Susret rokenrola i pop-folka“, koju je organizovao Institut za noviju istoriju u Rimskoj dvorani Biblioteke grada Beograda. Alek je objasnio da je pre dvadesetak godina, kao član kultnog beogradskog death metal benda Bloodbath, izbegavao da sluša ne samo narodnu već i domaću rok muziku.- Dok sam svirao u Bloodbath, bilo mi je nezamislivo i da ću svirati muziku koju sam kasnije izvodio sa Eyesburn. Pa sam i to počeo da sviram. Onda, 2006, došlo je do nekih nesporazuma u bendu, Eyesburn je prestao da postoji. Do tada smo lepo živeli od prodaje albuma i svirki. Zarađivali smo solidne pare. Ja škole nemam, bubnjeve sviram od trinaeste godine, morao sam nešto da radim. Dobio sam ponudu da sviram sa Cecom i Brenom. Mnogi su me pitali: „Kako možeš?“ Objasnio sam im da sebe posmatram kao profesionalnog muzičara i idem tamo gde je bolje - rekao je Alek.Uslovi rada sa folk divama su, kaže, izuzetni. Na svirke u inostranstvo putuje se avionom, spava se u hotelima, plata je redovna i dobra. On kaže da se vremenom „uživeo u sviranje folk muzike“.- Trudimo se da narodne pesme liče na world music - kaže Alek, objašnjavajući da je okretanje folku svetski trend i među rokerima. „Bio sam prošle godine na Metal kampu u Sloveniji, i na tom festivalu je najveće oduševljenje izazvao Korpiklaani, finski metal bend, koji ima gajde i violine, a njihova svirka je između Ortodoks Keltsa i Ritma nereda“ - objasnio je Alek.Folk pevač Željko Šašić, predstavljen kao utemeljivač pop-folk muzike u Srbije, setio se da je pre početka „narodnjačke“ karijere bio žestok roker, tada u najužem izboru za novog pevača Generacije 5.- U međuvremenu sam potpisao ugovor sa Siti rekordsom, Marinom i Futom, snimili smo prvi album i izdvojili su se hitovi „Crna ženo“ i „Gori more, tope se planine“. Danas ljudi pesmu „Crna ženo“ prepoznaju po filmu „Do koske“ Bobana Skerlića. Kompozitor Futa je mene video kao nekog novog Dejvida Koverdejla. Bio sam jedan od prvih pevača folka sa dugom kosom. Tada, posle moje ogromne popularnosti, svi folkeri odjedanput su počeli da puštaju kosu. Ljudi i ne znaju da ja na drugom albumu imam i pesmu „Voli me, voli“, posvećenu Milanu Mladenoviću iz Ekatarine Velike - rekao je Šašić.Istoričar Aleksandar Raković, urednik tribine, objasnio je da je narodna melodija sedamdesetih godina prodrla u jugoslovenski rokenrol.- Čini se da je jedan od prvih primera stapanja rokenrola i novokomponovane narodne muzike, ako ne i prvi, pesma Hanke Paldum koju je komponovao Milić Vukašinović „Voljela sam, voljela“ (1979). Tokom osamdesetih u novokomponovanu narodnu muziku uselili su se gitarski rifovi, a stadionski nastupi nekih zvezda poput Lepe Brene vizuelno su podsećali na velike rokenrol spektakle. O popularnosti novokomponovane narodne muzike svedoči činjenica da su i pevači koji nisu spadali u mejnstrim tada imali astronomske tiraže. Na primer, Šemsa Suljaković je s albumom „Pristajem na sve“ (1986) ostvarila tiraž od oko 850.000 primeraka - rekao je Raković.Devedesetih, kako je objasnio, narodnjaci su zadominirali javnim medijskim prostorom.- U konglomerat turbo-folka ušli su početkom devedesetih i neki urbani beogradski mladići koji su potekli iz miljea rokenrol kulture, da bi u pop-folku napravili karijeru i stekli reputaciju, kao Željko Šašić. S njima, ali i drugima, s rokenrol bendom u pozadini, pop-folk muzika je dobila urbani karakter i danas možemo da zaključimo da narodnu muziku sluša i urbana omladina. Uglavnom ta urbana omladina je činila 200.000 ljudi na koncertu Svetlane Ražnatović na Ušću - kaže Raković.Rok kritičar Branimir Lokner objasnio je da je Srbija idealna sredina u kojoj se mešaju čak i one stvari koje nisu za mešanje, dok je filozof Miša Đurković, viši naučni saradnik Instituta za evropske studije, rekao da je turbo-folk kovanica koju je izmislio Rambo Amadeus.- Posle, devedesetih, propao je rokenrol, koji je u SFRJ bio neka vrsta državnog projekta. Država se devedesetih povlači iz kontrole muzike, to prepušta tržištu, i tako dolazi do ekspanzije narodnjaka - rekao je Đurković.

[Takeshi]

daft punk uskoro objavljuju novi album. medju saradnicima su nile rogers i giorgio moroder. :Hail:http://youtu.be/da_Yp9BOCaIhttp://youtu.be/eYDvxo-M0OQhttp://youtu.be/JMJwcOiBoZEhttp://youtu.be/YwNJjCi5oFU

[Mala_ptica]

Takeshi uvek pusti pravu stvar

[Papovac]

veceras u 23. 00 na rts digital dokumentarac o brajan inu

[Indy]

Na ABC National radiju Robert Forster prica o David Bowieu. Mp3 (~8mb) ovde.

Robert Forster of seminal Australian group The Go-Betweens joins Weekend Arts for the first in a series of audio relections on significant music figures.This week he looks back over the career of David Bowie and explains why his contribution to music is still important.

[Lancia]

and explains why his contribution to music is still important.

valjda 'always gonna be'.

[Jimmy Kowalski]

Sun 5 May 2013 12:00 BBC Radio 6 Music Quentin TarantinoMatt Everitt chats to legendary movie director Quentin Tarantino, who discusses his early love of Elvis Presley and the Patridge Family. Known for his strong film soundtracks from movies such as Pulp Fiction, Quentin also tells Matt his thoughts about the use of music in film, and how he goes about choosing a playlist to compliment a script.

[bad music for bad people]

shit happens i tako te gluposti - raspali se loins, nema više :(koje sranje u tri pizde lepe materine. u subotu poslednji koncert ikada: http://www.singingloins.co.uk/ ako ima neki srećković da mu nije daleko nek se iscima i popije piće sa najvećim likovima i najboljim bendom na svetu.

[Lancia]

shit happens i tako te gluposti - raspali se loins, nema više :(koje sranje u tri pizde lepe materine. u subotu poslednji koncert ikada: http://www.singingloins.co.uk/ ako ima neki srećković da mu nije daleko nek se iscima i popije piće sa najvećim likovima i najboljim bendom na svetu.

e jbg.

[Papovac]

e do qurca, retko dobri ljudi

[Indy]

Steta.

[bad music for bad people]

http://medwaybroadside.wordpress.com/2013/05/02/aint-the-world-a-lovely-place-farewell-to-the-singing-loins/

[Papovac]

milos vasic o bob dilanuhttp://www.vreme.com/cms/view.php?id=1111912

[Takeshi]

u muzeju moderne umetnosti u njujorku, the national upravo izvode svoju pesmu "sorrow", ponavljajuci je neprekidno u trajanju od sest sati.

In celebration of this season’s last Sunday Sessions, MoMA PS1 presents the durational performance, A Lot of Sorrow, by Icelandic artist Ragnar Kjartansson. For the original work Kjartansson sought out US rock band, The National, to perform their song, Sorrow, repeatedly in a six-hour live loop. By stretching a single pop song into a day-long tour de force the artist continues his explorations into the potential of repetitive performance to produce sculptural presence within sound.Sorrow found me when I was young,Sorrow waited, sorrow woncommences the song by The National, whose music and lyrics repeatedly conjure notions of romantic suffering and contemporary Weltschmerz—themes Kjartansson often uses in his own work employing references as wide-ranging as Ingmar Bergman, the German Romantics, and Elvis Presley. As in all of Kjartansson’s performances, the idea behind A Lot of Sorrow is devoid of irony, yet full of humor and emotion. It is another quest to find the comic in the tragic and vice versa.

today's set list:

Edited May 5, 2013 by Takeshi