#David Freese

[cloudtaleblog]

Ummm..hi! You know the ship kid David you made? The Freshgrease one? Do you have a reference sheet for him I cant find really any drawing of him...

i do have a reference for him, but its not a fullbody one. i could make one if you'd like?

[scarlettskyswillrocku]

HAPPY BDAY CLOUDBLOG!!!

@cloudtaleblog here's some art of David Freese I just did :3

[papajay7284]

[kenttsterling]

Anthony Richardson is Ballard’s chance to survive! Pacers going to be BUSY! Freese says no to red jacket!

[dontcallittimetravel]

Happy birthday to David Freese. Last year at the cooperstown legends game, I told you that you broke my heart twice. You cracked a joke and I hated it because it was funny. I haven't been able to be mad at you since, you cardinal bastard #gorangers

[matthewliberatore]

HELP I THOUGHT THIS WAS ABOUT MAJOR LEAGUE BASEBALL.

SPECIFICALLY TALKING TO TEXAS RANGERS FANS ABT 2011 WORLD SERIES GAME 6 WHEN NELSON CRUZ DIDN'T MAKE THAT CATCH IN RIGHT FIELD AND DAVID FREESE TIED THE GAME WITH THAT TRIPLE.

MLB fans, I heard what happened in your finale. I heard what they did (or didn't do) with your boy. I am genuinely so sorry. I'd be flipping tables and crying through a word document if that happened to me

[iamtryingtobelieve]

Oh, clouds of time

Seem to rain on innocence left behind

It never goes away

[fuckyeahvanhalen86-95]

David Lee Roth was back on stage last Thursday (March 23rd) as he joined the all-star cover band The Royal Machines for a performance of Van Halen's "Panama" in Las Vegas.

The concert took place at the Michelob Ultra Arena at the Mandalay Bay as part of a corporate event for Home Depot sales managers. Roth joined a lineup of stars including Billy Morrison, Mark McGrath, Donovan Leitch Jr., Chris Chaney, Josh Freese and Billy ldol guitarist Steve Stevens. Dave made his presence known donning bright yellow pants and delivered his signature ad-libs during the performance, that you can watch here, which was posted to Facebook by Grant Caruthers.

Morrison also posted a pic of DLR's performance with the band on Instagram:

View this post on Instagram

A post shared by Billy Morrison (@billymorrisonofficial)

[longliverockback]

Devo 50 Years of De-Evolution 1973–2023 2023 Rhino ————————————————— Tracks Disc One: 01. Mongoloid 02. Jocko Homo 03. (I Can’t Get No) Satisfaction 04. Come back Jonee 05. Secret Agent Man 06. The Day My Baby Gave Me a Surprize 07. Smart Patrol 08. Girl U Want 09. Whip It 10. Freedom of Choice 11. Gates of Steel 12. Working in a Coal Mine 13. Beautiful World 14. Jerkin’ back ‘n’ Forth 15. Through Being Cool 16. Time out for Fun 17. Peek-a-Boo! 18. That’s Good 19. Big Mess 20. Here to Go [Go mix version] 21. Are You Experienced? 22. Disco Dancer 23. Post Post-Modern Man [Macro Post-Modern mix] 24. Fresh

Tracks Disc Two: 01. I’m a Potato 02. Mongoloid [Booji Boy version] 03. Jocko Homo [Booji Boy version] 04. Be Stiff 05. Uncontrollable Urge 06. Gut Feeling (Slap Your Mammy) 07. Triumph of the Will 08. Soo-Bawlz 09. It Takes a Worried Man 10. Snowball 11. Mr. B’s Ballroom 12. Going Under 13. Love without Anger 14. One Dumb Thing 15. Speed Racer 16. Theme from Doctor Detroit 17. Shout 18. Puppet Boy 19. I Wouldn’t Do that to You 20. Bread and Butter 21. Let’s Talk 22. Baby Doll 23. Some Things Never Change 24. What We Do 25. No Place Like Home 26. Watch Us Work It —————————————————

* Long Live Rock Archive

[mitjalovse]

Some female singers-songwriters from the 90's ended up having a bitter-sweet recall for their work then, i.e. they achieved their biggest success and that was all there was. Meredith Brooks was one such case despite the fact she had more to offer than many assumed at the time. Then again, her example causes us to ask ourselves an important question – how come some musicians manage to get a career out of their hits, whereas some ended up with them as the biggest hurdle? No one can answer that completely, the record labels attempt to do so, yet they merely destroyed many players this way. To return to Brooks – she was a peculiar example thanks to her achieving her success so late and the ageism in the music industry remains present. Then again, she also sounded way too similar to many.

[nothingunrealistic]

The Guthrie Theater has revealed the cast and creative team for Little Shop of Horrors with book and lyrics by Howard Ashman, music by Alan Menken and directed and choreographed by Marcia Milgrom Dodge. In this musical, an employee at a failing florist shop attempts to build business with a peculiar — and bloodthirsty — exotic plant. The show opens on Friday, June 28 and will play through Sunday, August 18. […] The cast of Little Shop of Horrors includes China Brickey (Guthrie: A Christmas Carol, Murder on the Orient Express) as Audrey, Time Brickey (Guthrie: debut) as Denizen of Skid Row/Puppeteer, David Darrow (Guthrie: The Tempest, Sunday in the Park With George, The Parchman Hour) as Orin/Others/Denizen of Skid Row, Gabrielle Dominique (Guthrie: Guys and Dolls, West Side Story) as Crystal, Robert Dorfman (Guthrie: The Tempest, Frankenstein – Playing With Fire, Indecent) as Mushnik, Erica Durham (Guthrie: debut) as Chiffon, Yvonne Freese (Guthrie: debut) as Denizen of Skid Row/Audrey II Puppeteer/Puppeteer, Kiko Laureano (Guthrie: debut) as Denizen of Skid Row/Puppeteer, Joey Miller (Guthrie: debut) as Denizen of Skid Row/Puppeteer, T. Mychael Rambo (Guthrie: Sunday in the Park With George, To Kill a Mockingbird, The Music Man) as Denizen of Skid Row/Audrey II Live Voice, Will Roland (Guthrie: debut) as Seymour and Vie Boheme (Guthrie: West Side Story, Refugia) as Ronnette.

finally… will roland seymour krelborn

[cloudtaleblog]

Full Name: David Freese

Pronouns: He/They

Gender: Genderless

Species: Parasite

Birthday: July 13

A Fresh/Greaser kid because they deserve one. Based off the 60s and he never shows his eyes. :)

[uptightcitizensbrigade]

About All Born Screaming

“All Born Screaming”

There is a figure staggering down the street, lurching through a skewed landscape toward a grim new beginning. Rabid, man-sized; disconsolate and grieving in the violent daylight, the smell of death alive on her clothes. No mask, no costume. In fact—though try not to stare—her office wear is somewhat askew. Even her language is ruptured: what was once tightly refined is now impressionistic and felt. No wonder: “I find myself at the precipice of life and death, and reckoning with that,” says Annie Clark, the musician better known as triple-Grammy-winning iconoclast St. Vincent, on the cusp of releasing her seventh album.

Ever since she covered Big Black’s “Kerosene” live in 2011 and the subsequent cataclysmic 7” split “Krokodil”/”Grot,” fans have known that some evil lurked in Clark’s guitar. (Take it back even further if you like: This is someone whose college noise band was named Skull Fuckers.) On All Born Screaming—the first half, at any rate—that lacerating aggression possesses a St. Vincent album for the first time, unleashing a reeling thrash laced with the formative DNA of Albini at his most corrosive and the ugly, spectacular catharsis of Nine Inch Nails, and opening up a brand new fracture in her songwriting. “It’s my least funny record,” says Clark with knowing wryness.

Brawny lead single “Broken Man” is unhinged by loss and lust, unveiling our debilitated antagonist in a desperate confrontation that begs “lover nail yourself right to me / If you go I won’t be well / I can hold my arms right open / But I need you to drive the nail.” “Reckless” loses its footing in the post-loss oblivion. The mischievous “Flea” casts all-consuming desire as an invasive pestilence. “Big Time Nothing” is a mordant catwalk sashay through the deafening assault of self loathing. “There is the feeling: I want everything because I feel nothing,” says Clark. “I am bereft. I am in love. But I want more love too. There’s no drugs and abstraction on this record. It’s cut to the pink meat, hungry for life, even if it’s brutal. Because life is brutal.”

For that reason, All Born Screaming is Clark’s first entirely self-produced record (having co-produced all of her previous records). “I had to walk through the fire with this one alone,” she says. “There was no way to find it except sitting with yourself in a room, singing, playing with modular synths, turning knobs, moving electricity around and trying to find those six seconds of lightning in a bottle that I could build an entire song around. I’m obsessed with production. I’ve obviously done it on all of my records, but this time, I wanted to be the first and final filter for this material. It meant sitting with a lot of self-doubt—like Bowie says, ‘when you feel that your feet aren’t quite touching the bottom, you’re just about in the right place to do something exciting.’”

Production 101 is knowing the right people for the job, and All Born Screaming boasts “a tight little wrecking crew,” says Clark. “A curated group of rippers.” On “Broken Man” and “Flea,” that’s Dave Grohl on drums. (If we’re tracing this virulent seam back through Clark’s work, recall the surviving members of Nirvana inviting her to help induct the band into the Rock and Roll Hall of Fame in 2014.) “Dave is one of the greatest drummers ever because he’s a great songwriter,” says Clark, noting that Grohl heard the “Yes-style prog section” of “Flea” just three times before he knew “every phase and turnaround. My engineer, Cian Riordan, has a video of me in the studio when Dave was playing. I’m in my chair hearing the first take, and I immediately stand up and, like, my hair is on fire.”

On the immaculately restrained, Portishead-narcotic opener “Hell Is Near” and the dreamily gone “So Many Planets,” that’s new Foo Fighters drummer Josh Freese. There’s Justin Meldal-Johnsen (bass), Rachel Eckroth (keys), David Ralicke (brass), Mark Giuliana (drums), and Stella Mozgawa (drums). Then there’s the invaluable contribution of Welsh creative genius Cate Le Bon, who yanked Clark out of the weeds during a period of frustration and self-doubt, and offered stalwart reinforcement, helping her to surmount a few key obstacles. Case in point: Cate shines on the title track, "All Born Screaming,” a near-seven-minute epic closer propelled by a bassline so perfectly suited that it’s impossible to imagine the song without it. "I had that guitar part but was struggling with the song's overall tone.  Cate listened to it and said ‘Give me a beer, a bass, and three hours’,” and worked out the title track’s puckish low end. “She’s my favorite modern songwriter, period,” says Clark, hinting at future collaborations to come.

As for the life and death we’re dealing with here? The details are immaterial. This isn’t music-as-true-crime designed to be picked apart for clues. On the album’s pivot into the second half, “Violent Times,” we’re waking up and understanding the stakes have irrevocably changed, and who hasn’t felt that these past however many years? The difference, in the album’s back end, is the realization that we must love one another or die, set to an expansive, enveloping palette that steps back from the guitar offensive: Gainsbourg-worthy grandeur on “Violent Times,” the “what if someone who loved 2 TONE did it all wrong?” of “So Many Planets,” about the stumbling search for a place to call home. “The first half is reckoning with loss and how life is basically impossible,” says Clark, “but the second half is: but we get to live it so we better fucking dig in.”

Perhaps compassion and hunger can light the way: “The Power’s Out” is a classically gorgeous St. Vincent portrait of a city’s pushers, parents, racers, and queers waking up to some disaster but finding beauty in the slo-mo confetti cloud of debris. And the racing valediction of “Sweetest Fruit” exalts individuals who attempted to stake out life’s outer reaches. “Take a big swing and fail, but my God, at least you were trying for transcendence,” says Clark.

Perhaps love can, too. The still life of opener “Hell Is Near” marks “the beginning / our beginning / begin again.” “That’s the only reason to do something, the reason to live,” says Clark. “Maybe I go the long way around saying that in this record, but at the end of the day it’s a very dark record about love. I have great love in my life. I’m so lucky. I’m not the rat in the maze in that regard any more.” It comes into focus on the back of priority shifts, shuddering sudden dislocations from the culture’s priorities, old disguises dropping to the floor on the title track’s skittish, happy shrug, “all of the wasted nights fighting mortality when in the ashes of Pompeii lovers discovered in an embrace for all eternity”, as she sings on “Violent Times.”

Unlike the ‘70s cosplay of Clark’s previous album, here, there’s no aestheticizing pain or conceptualizing loss. On Daddy’s Home, Clark says she needed to “become the music my father loved in the hope it would heal me, give me the agency as ‘daddy.’ That was probably largely misinterpreted, but I have no regrets—it’s what I needed to do.” With this record, she says emphatically, “I want to fuck people up.” As the title states, we’re All Born Screaming. It’s both a horrifying condition and whaddya-gonna-do acceptance. “If you’re born screaming, that’s a great sign,” says Clark, “because it means you’re breathing. You’re alive. My god. It’s joyous. And then it’s also a protest. We’re all born in protest in a certain way. It’s terrifying to be alive, it’s ecstatic to be alive. It’s everything.”

[albumaday2024]

Day 12: American Idiot

Green Day

September 21, 2004

Album Art by Chris Bilheimer

A Punk Rock Opera. American Idiot is a concept album inspired by the political climate in America and events such as the Presidency of George W. Bush, 9/11, and the Iraq War. The basic plot tells the story of the Jesus of Suburbia, a lower-middle class American teen who hates his home town and leaves for the city, St. Jimmy (who is an alter ego of the Jesus of Suburbia) and Whatsername.

Green Day wanted to expand their punk rock sound by adding elements of New Wave, Latin, and Polka Music. They took inspiration from the albums The Rise and Fall of Ziggy Stardust and the Spiders from Mars by David Bowie, Tommy by the Who, and Quadrophenia by the Who. They listened to Broadway cast recordings and even contemporary music like Eminem, Kanye West, and Lincoln Park for inspiration. According to Billie Joe Armstrong they wanted to take "Classic rock and roll elements, kick out the rules, put more ambition in, and make it current."

They were originally working on an album called Cigarettes and Valentines, but the master tapes were stolen. They decided to start their next record from scratch and the masterpiece that is American Idiot was born. It won a bunch awards including a Grammy for Best Rock Album in 2005.

______________________________________________________________

Punk Rock, Alternative Rock

Producer: Rob Cavallo

Label: Reprise Records

Recorded from April 2003 - March 2004 at Studio 880 in Oakland and Ocean Way in Hollywood

Musicians:

Billie Joe Armstrong: Leading and Backing Vocals, Guitar

Mike Dirnt: Bass Guitar, Backing Vocals, Lead Vocals ("Nobody Likes You") ("Governator")

Tré Cool: Drums, Percussion, Lead Vocals ("Rock and Roll Girlfriend")

----------------------------------------------------------------------------

Rob Cavallo: Piano

Jason Freese: Saxophone

Kathleen Hanna: Vocals on "Letterbomb"

Engineers: Doug McKean, Chris Dugan, Reto Peter

Assistant Engineers: Dr. Vibb (Brian Vibberts), Stimie (Greg Burns), Jimmy Hoyson, Joe Brown, Dim-e (Dmitar Krnjaic)

Mixing: Chris Lord-Alge

Mastering: Ted Jensen

[rouzys]

for the record i love baseball i love the cardinals i used to sing the anthem at cardinals games as a kid with my school but i don’t know anything about baseball. i just sit in front of my tv for four hours and watch the cards lose horribly forever fueled by when i watched them win the world series thirteen years ago. none of the numbers mean anything to me. i don’t know anyone’s names. albert pujols. yadi. matt carpenter. david freese. the last time i went to a game i was like 14 and they lost 11-2 and my dad and i left in the 7th inning

[greensparty]

Stuff I'm Looking Forward To in April

Welcome to the 2nd quarter of 2024! In addition to April Fools Day (April 1), Eid al-Fitr (April 9-10), Patriots Day / Marathon Monday (April 15 in MA), Tax Day (April 15), Earth Day (April 22), Passover (April 22-30), Armenian Genocide Remembrance Day (April 24) and there's also a solar eclipse on April 8, here is what's on my radar this month:

Movies:

Coup de Chance

Not sure if I'm "looking forward to this", but I'm curious about Woody Allen's new one as he has hinted this would be his last. Whatever your opinion is of Woody Allen, as a filmmaker he has made some solid films. Opens 4/5.

Civil War 

Alex Garland has had a mixed bag as a writer/director with Ex Machina being his best so far. His new one has been creating quite a buzz about a dystopian not-so-far future where journalists try to make it to D.C. before rebels descend on the White House. No coincidence this is being released during an election year. Opens 4/12 (review to come).

Challengers

What got my attention about this tennis drama wasn't star Zendaya, director Luca Guadagnino or the score from Trent Reznor and Atticus Ross. It's the fact that it was filmed in Massachusetts and more specifically it filmed a little in Bedford, where I grew up. Opens 4/26 (review to come).

Music:

Pearl Jam Dark Matter

Pearl Jam's 12th studio album is finally year. The band's last album was 2020's Gigaton, which I noted was their best album since their 2006 self-titled album. I'm digging what I've heard so far and hopes are high for this one! Album drops 4/19. (Review to come).

Bruce Springsteen Best of Bruce Springsteen

The Boss has released a number of compilations over the years, his 1995 Greatest Hits being among my favorites. Now there's a new compilation with 18 hits ranging from 1973 to 2020. Album drops 4/19 (review to come).

St. Vincent All Born Screaming

St. Vincent is back with her 7th studio album. This one features appearances by numerous guests including Dave Grohl and Josh Freese of Foo Fighters. Album drops 4/26.

TV:

Curb Your Enthusiasm finale

I've been enjoying Season 12 of Larry David's social assassin. This is the final season (or so they say) and the season/series finale is set to air on HBO on 4/7. End of an era!

Conan O'Brien Must Go

I'm a huge fan of Conan O'Brien, going back to Late Night with Conan O'Brien (read my memories of attending his show here) and since then he's bounced back from the Tonight Show debacle with a great run on TBS and his fun podcast. Now he's back with a travel show meeting fans all over the world! Series premiere on 4/18 on Max!

Fake Holidays:

Record Store Day

The day we celebrate independently owned and operated record stores is one of my favorite holidays of the year! It's on 4/20 this year!

Independent Bookstore Day

Not to be outdone, independent bookstores get their day of celebration on 4/27.

Film Festivals:

Salem Horror Fest

I have been lucky enough to cover this genre film festival in Salem, MA since 2018. This year they are hitting some venues beyond Salem as well. Fest runs from 4/25 to 5/5!