søndag, april 29, 2007
Til fastelavn.
lørdag, april 28, 2007
fredag, april 27, 2007
torsdag, april 26, 2007
tirsdag, april 24, 2007
mandag, april 23, 2007
Håndboldseere, hundeejere og ugebladskøbere.
søndag, april 22, 2007
lørdag, april 21, 2007
fredag, april 20, 2007
Og spørger, hvorfor du ikke vil være min
Du siger, at nej, du er i bil
-Mouritz/Hørslev
torsdag, april 19, 2007
Billie Holiday var en af de første jazzmusikere jeg tog til mig, kort efter, at jeg i det små var begyndt at lytte til jazz. Som jeg husker det fordi hun havde arbejdet sammen med Ben Webster. Jeg fik også lånt hendes biografi Lady Sings the Blues fra 1956 på biblioteket. Indtrykket fra bogen ligger stadig i baghovedet når musikken spiller. Racismen, der er så udtalt, men i bogen bliver beskrevet så godt, at biografien mere end noget andet har efterladt mig med et indtryk af hvordan tingene hang sammen i 30'ernes U.S.A.. Prostitutionen, der kun mellem linjerne bliver beskrevet og stofferne, der blev hovedfaktoren i det menneskelige fordærv, der nu engang var Billie Holidays liv. Alt sammen bidrager det til oplevelsen af at lytte til hendes plader, men musikken ville også være blevet husket uden det liv hun førte ved siden af. Signaturmelodien Strange Fruit blev indspillet for Commodore i 1939, efter Columbia havde nægtet at indspille sangen grundet tekstens kontroversielle indhold. Andre af hendes kendingsmelodier stammer også fra Commodore-indspilningerne (1939 + 1944), eksempelvis I'll Be Seeing You og I Cover the Waterfront. Jeg vil dog stædigt fastholde, at hun var bedst i 1956-57 hvor pladerne Body and Soul, Songs for Distingué Lovers og All or Nothing At All udkom (er udsendt samlet som 2cd under titlen All or Nothing At All). Kontrasten til svanesangen Lady Sings The Blues fra 1958 (Columbia) er slående. Gløden er væk og stemmen nærmest også. Som med enhver anden legende skal skidtet lige fejes fra døren for at man kan se hvad der skabte navnet, men muligheden for fejltrin er begrænsede.
tirsdag, april 17, 2007
I don't like mondays
Tell me why
I don't like mondays
Tell me why
I don't like mondays
I want to shoot
The whole day down
-Boomtown Rats
mandag, april 16, 2007
søndag, april 15, 2007
I'm locked in tight, I'm out of range
I used to care, but things have changed
-Dylan
lørdag, april 14, 2007
torsdag, april 12, 2007
Os med fuld tank under høj sol
Det er et minde jeg glæder mig til
Jeg gjorde det samme 11. marts 1998, den kan jeg ikke bortforklare.
onsdag, april 11, 2007
Is it true that E was an unwitting pawn in George W. Bush's assault on American liberties?
True, true! During his campaign for the 2000 Presidential election, George W. Bush used the Eels' Daisies Of The Galaxy as an example of how "wrong and corrupt" "Hollywood" has become. He targeted the album for its cover, depicting schoolchildren and little dogs, with colorful, appealing art, insisting it was targeting children despite the album's tracks containing profanity (including, rather glaringly, "It's A Motherfucker") and adult themes.
It's widely believed among the more political-savvy Eels fans that poor little E was hung out to dry, not because of the album or its contents, but rather because it was given away at a Democratic fundraiser for Bush opponent Al Gore. The fundraiser was thrown by Democratic supporter Dave Geffen, founder of Dreamworks SKG (the label where the Eels then resided), who generously gave copies of several Dreamworks artists' albums to all in attendence.
Four years later, on the floor of the United States Senate, Vice President Dick Cheney was heard to say to Senator Patrick Leahy "Go fuck yourself!" How charming. Not dropping a beat, the official site was quick to point out that it apparently was okay for the Republican Party to exclaim profanities on the floor of America's most sacred chamber, whereas E was to be ashamed for saying things of a similar, but hardly as harsh, nature on one of his records. Cheney explained that it may have been wrong to say "fuck", but it made him feel good. E's response? "See? It DOES feel good... Fuck him."