I thought Reeds take about Bowie ruining things was mostly Marc Bolan related?

-Wipers were way ahead of their time, to an almost shocking extent.

-It's stuff like this that convinces me that underground 80s music was the last truly interesting, innovative era. I guess when people say "80s music" and think of Wham! I understand how people could think the decade sucked. But scratch the surface and there's an almost endless supply of still-fresh approaches to music.


That pic made me laugh.

I know Reed couldn't understand Ronson's accent. I think it was Bowie himself who said Reed didn't like the production. To be honest, I've come across Reed saying wildly divergent things about the album.

^

http://www.washingtonpost.com/local/...e0e_story.html

not at all.

every Future project grows on you but if you never listened to him before, it might not be the best place to start.

no that's not him.

Future has been a king for 5 years, he was so ahead of his time from the start and only now the masses are starting to catch up. he comes from Dungeon Family and it shows with the soul and creativity in his music. like every great rap artist he keeps evolving with each project, he's even improved his skills over time and now he's just such a beast.

close minded people whining about "the state of today's hip hop" and belittling legitimate artists. reading these cliche posts makes me feel like i'm in the youtube comment section.

done with this place for good.

can't handle opinions different than yours?

:rolleyes:

sad to see you go, but it's not like people were calling your racist names or threatening to shoot your dog like the youtube comments, was it? most people here are pretty rational and sane most of the time... not all the time, but... yeah.

i think you're being a bit overdramatic.

do you want to live surrounded by a bunch of sycophants who agree with everything you say? that's more boring than the youtube comments.

anyway, free internet etc. i'm sure you'll find another quaalude to love you.

This song is everything https://youtu.be/2wOcOBjB3uU

Public Enemy - Shut Em Down

I guess he's making country music now.

Incidentally, I just sold off a massive stack of Aerosmith LP's and CD's in preparation for a big move. I usually keep at least one token album when I cleanse my collection of a specific band, but I found nothing worth hanging on to this time. I certainly did laugh a lot at the concepts of bricks like Night In The Ruts and Rock In A Hard Place, though.

Louder, I liked Honest and there are some good moments on his mixtapes, and on DS2, but I really don't get an "ahead of his time" vibe from this guy.

There's very little variation in his delivery... he has a pretty limited range. And while I do think there's a kind of dreary, heady charm to his sound, I don't think he's top shelf rap material.

Maybe I'm missing something? Can you recommend like 5 tracks that you believe are his very best? I'll go back over them and give them a closer listen, because I trust your opinion. Preferably stuff that's not on Honest or the Monster mixtape, since I'm very familiar with both of those records.

Wow, man. Are you sure you aren't thinking of, say, Senator Joseph McCarthy, or Adolf Hitler or maybe Magneto or Lex Luthor?

I think you're getting a bit carried away here. Far as I know, Future isn't a runner of human lives. He's just a rapper that you aren't into.

Is Pepper Green Rebecca who was Foreverasskiss?

I love peppers, specially hot chilies! Used to love also that band who took name from those wonderful natural products.

I have now listened Station To Station, Low, Lodger and also again Heroes. They´re all good, they`ve had some really great songs (Golden Years, Wild Is the Wind, Warszawa(really one of the most beautiful Bowie-song, didn´t really wonder why JD took it´s former name from this), Weeping Wall, Heroes, Sons of the Silent age, the secret life of Arabia) but as a whole I like Lodger the most. Still I think the Idiot is a lot greater than any of those. I think it´s quite the same with Bowie as in King Crimson, the later albums are also good, but they have a lack of the warmth of the older albums.

RAP's an anagram for Retards Attempting Poetry.

Ok... but what are you listening to though?

As usual, I'm not sure how to take this, or whether or not to credit it as a serious question.... But I'm fucking fascinated by Taxi Driver, even though I haven't seen it in about 10 years.

I don't think I recall anything about Travis being a virgin. He was an ex-marine, so he probably got a little lay from Iris's East Asian counterparts, but he may well have been an "emotional virgin"; someone who has engaged in the physical act of sex without ever being exposed to the intimacy and safety of sex based on love.

This might explain his odd fixation and disgust with pornography, his association of sex with violence and his inability to understand social norms for courting behavior.

I think a lot of the story is rooted in events that happen outside the narrative of the story we see. The ending, for example... Which, incidentally, reminds me of the ending to The Graduate, described below:
[quote]Quote from Wikipedia:

However, in the final shot, Benjamin's smile gradually fades to an enigmatic, neutral expression as he gazes forward down the bus, not looking at Elaine. Elaine first looks lovingly across at Ben but notices his demeanor and turns away with a similar expression as the bus drives away, taking the two lovers towards a future of uncertainty.
/quote]

In both films there seems to be an honest hope for redemption acting as the driving force for the main character (Travis and Benjamin, respectively), and both films climax in an against-all-odds realization of the main character's fantasy. For Travis, it's his desire to be "a person", and "to be known", which he achieves by resorting to unscrupulous violence under the pretense of protecting a young girl. He's really just forcing his will on her, and forcing himself on the world that he loathes so much. Then he becomes a "hero", which seems a terribly unlikely outcome, but once that definitely suites his distinct psychopathy.

Benjamin's fantasy is realized when he crashed the wedding, in a big "movie-moment" that just doesn't add up with the rest of the film. It's a "happy ending" until his expression changes and he realizes that he has "rebelled" himself into a cage, and the thought that he has no idea who he is with, who he is or where he's going dawns on him, returning him to the state he's in at the beginning of the film.

Travis has a similar moment of blank staring, revealing that something is not right in this heroic ending, and suggesting that Travis is only a hero because of the time and place where his violent urges were realized. At the end you wonder if he's instead a monster... Or if he died I. The shoot-out and was arrested, and is drooling on himself in a padded cell... Or if the entire shoot out was part of a fantasy, and he's still sitting in a porno theatre.

Otherwise the films have nothing in common, but locations of both stories (NYC, Pasadena) are oppressive and horrifying in their own way. And both stories focus on an individual who feels perpetually out of sync with the world around them. Taxi Driver always felt like a commentary on war and the desensitization to (and reliance on) violence that it can instill in people. The Graduate feels like a commentary on upper-class standards of perfection which revolve around seemingly perfect relationships that are anything but, and also the academic pressures of "growing up" on cue.

Ugh what the fuck.