#artist: remo-con

[haveyoulistenedtothisalbum-poll]

Tracklist:

Question • Rave Saves You (IIDX Extended Version) • Vermilion (Extended Mix) • Click Again (Extended Mix) • Zapper -Shakin'41- • Voxane (Extended Mix) • Catana • Fake Time Reprise • Condor (Extended Mix) • Golden Cross (Extended Remix) • Fuze (Nhato Remix) • Southern Wind (StripE Remix) • G-Sigh (HDM Rework) • Bleep On Love • Extrema Pt. 2 (Exclusive Live Version) • Meta Dimension (Remo-con Remix) • Don't Believe Da Hype • 6th Mode (Remo-con Mix) • Hello Mr. Breakbeats (Acid Mix) • Narky Light • Cold Front (Live Mix) • Tube • Tube Type • Talkin' Talkin' • Atavism (Mac & Mac Remix) • R.A.V.E. (Remo-con Remix) • Instability • G-Sigh (Nish's DnBoot Remix Live Version) • Fuze • Paper Bag • ロンドンは夜8時 (Remo-con Remix) • Acid Shower (Remo-con Remix)

Apple Music (partially available) ♪ YouTube (partially available)

[fashionbooksmilano]

Specchi Ustori

Demetrio Paparoni, Michelangelo Castello

Tema Celeste Edizioni, Zangara Stampa, Siracusa 1989, 136 pagine, 28x33cm,

euro 35,00

email if you want to buy booksinprogressmilano@yahoo.it

Catalogo della mostra a cura di Demetrio Paparoni e Michelangelo Castello al Museo Regionale di Palazzo Bellomo a Siracusa con Robert Barry, Domenico Bianchi, Mel Bockner, Peter Halley, Per Kirkeby, Jiri Kolar, Jannis Kounellis, Jonathan Lasker, Sol LeWitt, Mimmo Paladino, A.R. Penck, Michelangelo Pistoletto, Remo Salvadori, Keith Sonnier, Gary Stephan, Emilio Vedova, Lawrence Weiner, Bill Woofrow.

Primarily a catalog of paintings, this book does include poetry. Many of the works are untitled. Artists and authors whose works are included herein include: Robert Barry, Domenico Bianchi, Mel Bockner, Peter Halley, Per Kirkeby, Jiri Kolar, Jannis Kounellis, Jonathan Lasker, Sol Lewitt, Mimmo Paladino, Giulio Paolini, A. R. Penck, Michelangelo Pistoletto, Ezra Pound, Remo Salvadori, Keith Sonnier, Gary Stephan, Emilio Vedova, Lawrence Weiner and Bill Woodrow.

17/03/24

[ahi-inc]

2023/06/11 (Sun.) 13:00-20:00 秋葉原重工 - Akihabara Heavy Industry Inc. r05 #3 - Live the Life Remixes Release Tour in Nagoya at Club JB's (Nagoya, Aichi) Door: 3500 JPY +1d Advance: 3000 JPY +1d [Zaiko: https://ahi.zaiko.io/item/356728] Guest: HIROSHI WATANABE aka KAITO ( Transmat / Kompakt ) REMO-CON TAKAMI ( REBOOT / BUZZ×3 ) DJ & Live: AcidGelge -Live Takayuki Kamiya KUME ( Lost & Find ) Earth ( Lost & Find ) Q DJ DIVA 五条 狐萩 隼雄 HAMMER VJ: VJ Akinashi Food: Neo和Dining MiRAI

HIROSHI WATANABE aka KAITO ( Transmat / Kompakt )

ドイツ最大のエレクトロニック・レーベルKompaktのアーティストとしてKaito名義の作品を発表する傍ら、ギリシャのKlik Recordsからも作品をリリースしている。 2002��に制作したKaitoの1stアルバム『Special Life』に収録された「Intension」がFrancois K.のミックスCDに収録されるなど瞬く間に大反響を呼び、10年以上が経過した現在も色褪せることのない名曲として語り継がれている。 その後、Kompaktのコンピレーション・アルバムにも収録された表題曲を含む2ndアルバム『Hundred Million Light Years』を発表。この2枚のアルバムで一躍Kaitoの名は世界中に浸透し、バルセロナのSonar Festivalなどのビック・イベントでライヴを披露した。Kaito名義のオリジナル・アルバムでは常に対になるビートレス・アルバムも制作され、繊細かつ美しい旋律により幅広い音楽ファンに受け入れられている。 3rdアルバム『Trust』に対しての『Trust Less』では更にアコースティックな要素も取り入れ、リスニング機能をより高めた作品となった。本名のHiroshi Watanabe名義では自身最大のセールスを記録した1stアルバム『Genesis』に続き、2011年に『Sync Positive』を発表。タイトルが示す通り、リスナーを鼓舞させる渾身の作品となっている。またリミックスを機に交流を深めてきた曽我部恵一との異色コラボレーション・アルバム『Life, Love』ではメランコリックな音像と歌声が溶け合った叙情的なサウンドで新境地を切り拓いている。 一方、ニューヨーク在住時代に出会ったグラフィック・デザイナー、北原剛彦とのダウンテンポ・プロジェクトTreadでは、シンプルで柔らかい上音と乾いたビートの融合を絶妙のバランスで確立し、ハウス、テクノ、ヒップ・ホップなどジャンルの壁を越えて多方面から注目を浴びることに。限定生産された5枚のアルバムと4枚のEPは不変の価値を持つ名盤として知られている。 2013年にはKompakt設立20周年を記念して制作された2枚組DJミックス『Recontact』を、更にKaito名義としては4年振りとなるアルバム『Until the End of Time』を発表。新生Kaitoとも言える壮大なサウンドスケープが描かれている。 2016年初頭にはテクノ史に偉大な軌跡を刻んできたデトロイトのレーベルTransmatよりEP『Multiverse』をリリース。主宰Derrick Mayの審美眼により極端に純度の高い楽曲のみがナンバリングされるため、近年はリリースそのものが限定的となっている中での出来事。EPと同名のアルバムは、さながら宇宙に燦然と煌めく銀河のようなサウンドが躍動する作品となっている。 歴史を創出してきた数多のレーベルを拠点に世界中へ作品を届け続けるHiroshi Watanabe。日本人として前人未到の地へ歩みを進める稀代の音楽家と言えるだろう。 REMO-CON

1993年よりDJおよび楽曲制作活動をスタート。 99年に制作会社 Y&Co.,Ltd (横田商会) に所属。「Cyber TRANCE」、「HOUSE NATION」(ともにavex trax)シリーズなど人気コンピレーションのミックスや、浜崎あゆみ、AAA、郷ひろみなど多数のアーティストへのリミックス/編曲参加、フジテレビ “SMAP x SMAP” LIVEコーナーの楽曲アレンジ、ディズニー楽曲の公式リミックス、ハローキティへの楽曲提供、ラジオCMのBGM制作やナレーション担当など、幅広いクリエイションを盛んに行っている。 また、ゲーム業界でもその実力は高く評価されており、 コナミ「ビートマニア」シリーズへの楽曲提供も多く、 “Y&Co.” 名義ではフルアルバムを２枚リリースし、代表曲の「DAISUKE」はリリースから10年以上経た今もなお、SNSでバズることも少なくない。さらに千葉ロッテマリーンズや東京ヴェルディ、プロボクシング井上��弥選手の興行などのプロスポーツ関連BGM制作や、東京オリンピック2020閉会式編曲も担当。 DJとしては、98年まで横濱MAHARAJAに在籍後、2001年～06年まで「velfarre Cyber TRANCE」のレギュラーを務める。 その後も日本各地は勿論、イギリス、アメリカ、オーストラリアなど世界各国にてプレイし、オランダの “Dance Valley” や、国内の “サマーソニック”など大型フェスにも出演。そのソリッドながらバラエティに富んだプレイスタイルは高く評価され、自身がレギュラーを務めるラジオプログラム（FMヨコハマ “PRIME TIME”, block fm “Remote Control”）でも、トークを含め長年の好評を博している。 アーティスト “REMO-CON” としては、2004年に1stシングル「G-SIGH」をリリースし、ドイツでもライセンスされるスマッシュヒットとなる。 以降、精力的に楽曲をリリースし続け、07年「Atavism」 に於いては、ヨーロッパの有名誌”DJ MAG"レヴューにて最高の5つ星を獲得。 同年発表の「COLD FRONT」は、英国の名門レーベル “anjunabeats” にもライセンスされた。その後も、”パイレーツ・オブ・カリビアン”オリジナル・サウンドトラックの公式リミックスを担当。 09年には待望の1stアルバム「a life with remote controllers」をリリースし、全国主要都市で記念パーティーを開催。続く2ndアルバム「rhetoric」（オリコン13位）を経て、デビュー10周年にはその記念碑的な作品『DECADE 05-15』を発表。そして自身の運営するレーベル “rtrax” よりリリースされた 「Flowered EP」は、世界最大のダンスミュージック配信サイトであるBeatportの総合チャートにて２位にランクインという大躍進を遂げた。また、配信アルバム 「Beyond The Harder Styles」 もiTunesアルバムダンスチャート１位を記録している。 TAKAMI ( REBOOT / BUZZ×3 )

1995年からDJを始め、現在は国内最長寿テクノパーティー「REBOOT」やアフター・アワーズの決定版「BUZZ×3」のレジデントDJとして活躍中。 他、2012年6月より日本初のダンス専門インターネットラジオblock.fmにて「radio REBOOT」(第3水曜日 20:00～)をレギュラー担当。 東京を拠点にテクノやハウスなどのジャンルを問わず様々なパーティーでゲストプレイし意欲的な活動を行っており、Charlotte de Witte,Amelie Lens,THE ADVENT,CHRISTIAN SMITH,HARDFLOOR,MARCO BAILEY,FILTER HEADS,CRISTIAN VARELA,SIAN,TOMEHADES, Steve Red Head など、ワールドクラスのDJ来日時にも共演し、「TECHNO」を基調として4DECKSを駆使した独自のファンキーな選曲と安定感のあるプレイスタイルは幅広いオーディエンスやDJの間で評価が高い。 また、ロック＆クラブマガジン「LOUD」によるDJ人気投票「DJ 50/50」にも、2006年より連続ランクインを果たしたことから、キャリアと共にその根強い人気の高さが伺える。 2002年9月には、MOON AGE RECORDINGSからリリースとなったデビューEP.「AGAINST THE OVERDRIVE E.P.」はQ'HEY、DJ SHUFFLEMASTER、YAMA、DJ UIROHなどから高い評価を受けた他、ドイツのクラブ誌「raveline」では5つ★の評価を得て話題を呼んだ。 その後、秋葉原重工など数多くのレーベルからリリースを重ね、そのトラックのオリジナリティーの高さからリミキサーとしても作品を提供している。 Official Site http://www.takami.info FB ARTIST PAGE http://www.facebook.com/takami.info Twitter http://twitter.com/djtakami mixcloud http://www.mixcloud.com/djtakami/ soundcloud https://soundcloud.com/takami Beatport https://www.beatport.com/artist/takami/77325 block.fm “radio REBOOT” https://block.fm/radios/19

[fridasofiasblog]

1982

Con tan solo doce años graba su primer disco "Un Sol". Éste será el comienzo de una trayectoria artística excepcional.

1985

A los quince años gana su primer Grammy americano por la canción “Me Gustas Tal Como Eres” (dúo con Sheena Easton) y se consagra como el primer cantante hispano más joven en obtener uno. Este mismo año gana: “La Antorcha de Plata” y un reconocimiento en el "Festival de la Canción de San Remo (Italia)" por el tema “Noi, Ragazzi Di Oggi”

1987

Es el debut con la disquera Warner Music lanzando su quinto álbum “Soy Como Quiero Ser” de la mano del productor y compositor Juan Carlos Calderón, con el cual, comenzaría una estrecha amistad. Éste álbum fue un éxito rotundo: Recibió internacionalmente cinco discos de platino y ocho discos de oro.

1988

Graba su sexto álbum “Busca Una Mujer”, cuyo primer sencillo “La Incondicional” marca un récord histórico en la radio latina, metiéndose siete meses seguidos en el primer lugar de todas las listas de popularidad. Este disco tiene siete sencillos que ocuparon el puesto #1 en “Hot Latin Tracks” de Billboard durante más de un año.

1990

Con el disco “20 Años” vende en tan solo una semana más de 600.000 copias. Seis sencillos del álbum entran simultáneamente en el TOP 100 de México. Realiza una gira por USA y América Latina con un éxito sin precedentes. Este mismo año gana dos “Antorchas de Plata” en el Festival de Viña del Mar y con ello se consolida como el artista más joven e importante de Latinoamérica. También recibe el premio “Excelencia Europea” en España y su primer “World Music Award” en Mónaco siendo el primer artista latino en recibir dicho reconocimiento como “Best Selling Artist”.

[denimbex1986]

'New to Netflix on April 4, 2024, Ripley is the third adaptation of Patricia Highsmith's acclaimed 1955 novel The Talented Mr. Ripley. The story concerns Tom Ripley (Andrew Scott), a wily forger and con man who steals the identity of the wealthy European playboy Dickie Greenleaf (Johnny Flynn) and lives a life of luxury. Although it's the first TV translation of the classic crime story, the Netflix original series joins the 1960 French film Purple Noon and the 1999 American movie The Talented Mr. Ripley as fictional adaptations.

However, while each mostly remains faithful to Highsmith's novel, several significant differences regarding the ending can be found. In particular, the final moments of Ripley's grand scheme conclude on a much different note in the 1999 film and the 2024 TV show. For those interested in the chief differences between the two acclaimed adaptations, it's time for a side-by-side comparison between Ripley's criminal endeavors and how faithful they remain to Highsmith's novel.

What is The Talented Mr. Ripley?

Published in November 1955, The Talented Mr. Ripley is a crime novel by Patricia Highsmith. The acclaimed psychological thriller concerns Tom Ripley, a small-time con artist and grifter scraping by in New York City in the late 1950s and early 1960s. Ripley's dead-end life changes for the better when he is hired by shipping tycoon Herbert Greenleaf. Herbert believes Ripley attended school with his son, Dickie Greenleaf, whose whereabouts in Europe are unknown. Herbert hires Ripley to find Dickie, paying for his travel expenses and giving him a salary for his efforts.

Once Ripley locates Dickie and his friend Marge Sherwood in Italy, Ripley slowly ingratiates his way into their lives. Upon witnessing the lap of luxury Dickie lives in, Ripley slowly schemes to steal Dickie's identity and live his lavish lifestyle of wealth and privilege. In Highsmith's novel, the most crucial event occurs off the coast of San Remo, where Ripley murders Dickie in cold blood on a small fishing boat with an oar.

After killing him, Ripley takes Dickie's possessions, throws his anchor-tied body into the water, and deliberately sinks the boat. Ripley continues to live off Dickie's trust fund, enjoys his wealthy lifestyle, and constantly changes his disguise to resemble Dickie. Meanwhile, Ripley communicates with Dickie's friends and family to assure them he's still alive.

In both Anthony Minghella's 1999 film adaptation and Steve Zaillian's 2024 Netflix TV show, Highsmith's story is faithfully told up to this point. The big difference in the TV and film adaptation comes during the final act. While Ripley ultimately gets away with his criminal charade, a few minor story beats have been altered from the text. In addition to Ripley's ambiguous fate, some details regarding Dickie's corpse, the murder weapons, and the boat disposal stand out.

Differences Between Ripley and The Talented Mr. Ripley

Although Ripley faithfully retells Highsmith's novel almost verbatim, notable differences become clear during the fatal boat ride. In the novel and the 1999 movie, Ripley (Matt Damon) sinks a small fishing boat underwater following Dickie's (Jude Law) murder. In the show, Ripley attempts to burn the boat with petroleum but only partially succeeds. After his plan fails, Ripley stacks rocks in the boat until it submerges underwater. In the novel, movie, and TV show, Ripley continues to live as Dickie in an apartment in Rome and Venice as the final act approaches. However, in the movie, Dickie's corpse is found by the police. In the TV show, Dickie's corpse is never found.

Another minor difference between Ripley and The Talented Mr. Ripley relates to the death of Dickie's longtime friend, Freddie Miles. When Freddie becomes suspicious of Ripley's activity and confronts him about Dickie's whereabouts in Rome, Ripley murders him in cold blood inside his apartment. In the novel, Ripley bludgeons Freddie to death in the head with a big glass ashtray.

However, in the movie, Ripley fatally bashes Freddie (Philip Seymour Hoffman) with the head of a marble statue. In the TV show, Ripley bludgeons Freddie (Eliot Somner) to death with a paperweight. Although the murder weapon has been changed, the Roman location and the way Ripley murders Freddie more or less remain the same in all three adaptations.

The Ending of Ripley vs. The Talented Mr. Ripley

The most substantial difference between Ripley and The Talented Mr. Ripley comes during the finale. In the novel, Ripley convinces Dickie's family that Dickie murdered Freddie before committing suicide. Ripley ends up sailing to Greece after forging Dickie's will and inheriting his fortune. Ripley gets away with his crimes and secures enough money to enjoy a wealthy life. However, his life of luxury is marred by the fear and paranoia of being caught as he constantly looks over his shoulder.

In the 1999 movie, Ripley also ends up in Greece, but the story veers from the novel quite dramatically. In the final moments, a friend of Marge named Peter Smith-Kingsley joins Ripley on the ocean liner to Greece. Upon confronting Ripley about posing as Dickie, Ripley apologizes to Peter for lying to him before fatally strangling him on the boat. The movie ends with Ripley returning to his cabin alone to ponder his murderous actions.

The Netflix Miniseries Ends on a Cliffhanger

In Ripley, the story concludes in Venice instead of Greece. Dickie's body is never found, and his family continues to search for the "fugitive playboy." In Venice, Herbert Greenleaf arrives and accepts that his son Dickie killed himself and Freddie as a result of being a failed artist, unaware that Ripley orchestrated the entire ruse. Although Ripley gets away with his crimes happy and wealthy, the TV ending leaves viewers dangling on a cliffhanger. Marge Sherwood sends a copy of her book to Inspector Ravini (changed from Inspector Roverini in the movie), who is mortified when he sees a picture of the real Dickie Greenleaf.

The implication is that if Season 2 of Ripley gets renewed, Inspector Ravini will continue to pursue Ripley across Europe. This slightly differs from the novel and movie, which depicts Ripley continuing his trip to Greece with a tinge of melancholy after getting away with his elaborate crime spree. In any event, Highsmith's source novel is so rich that few story beats need to be changed to retain the dramatic impact of Ripley's criminal endeavors.

The success of The Talented Mr. Ripley led to the "Ripliad," a series of five novels Highsmith had published between 1955 and 1991. Although Oscar-winning screenwriter Steve Zaillian (Schindler's List) changed a few story specifics to accommodate an 8-episode TV format, they remain faithful to the spirit of Highsmith's landmark crime novel.'

[nullapophenia]

im mildly tempted to just. make a post that i can tack [music that my brain files under lisa] onto. because theres a lot of songs i cant really do anything with and also i think its funny to inflict people with the otoge autism

fuck it im doing it. hi. this will get updated every so often

cool note: most of these if you imagine a notitg modchart you will understand my vision. its the otoge autism

Camellia - AMBERGRIS

lapix - Flying Castle (Extended Mix)

Frums - Living Will

PSYQUI - Still Lonesome

Camellia - SCREW // owo // SCREW (LÒwÓng Version)

USAO - Blows Up Everything

tn-shi - INVERSION

REMO-CON - Matt Silver (Jorts Remix)

Abstract 64 - Restart

Mameyudoufu - SOBOK

Getty - Images (yes, that is the artist and title of the song. yes that makes it a struggle to find.)

t+pazolite - Call me it.

BlackY - Downburst

Silentroom - The Deliverer

Maozon - Stasis

Feryquitous - StufeStern

[micro961]

Lucrezia Arcifa - “L’unica cosa che hai”

Il singolo dell’artista sugli stores digitali e nelle radio

“L’unica cosa che hai” è il singolo d’esordio della poliedrica e talentuosa Lucrezia Arcifa, dal 22 settembre nelle radio in promozione nazionale. Una ballad pop elegante, dalla produzione impeccabile con arrangiamenti equilibrati, di tendenza, pur mantenendo una forte personalità. Interpretazione perfetta dell’artista che padroneggia la sua voce con gran maturità nonostante la sua giovane età, su melodie che entrano in testa sin dal primo ascolto. “L’unica cosa che hai”, edita da LA MIA SONG con la direzione artistica di Remo Elia, è il trampolino di lancio per Lucrezia Arcifa nel mondo discografico e radiofonico italiano, disponibile all’ascolto sui principali stores digitali.

Storia dell’artista

Lucrezia Arcifa nasce ad Alba il 4 dicembre del 2003 e vive a Vezza d'Alba, un paese in provincia di Cuneo. Per un anno ha frequentato l’università di Mediazione linguistica a Torino, data la sua passione per la lingua inglese; adesso però vuole cambiare, incominciando un nuovo percorso presso l'università Dams a Torino, dove potrà avvicinarsi ancora di più al mondo dello spettacolo. Le sue passioni per la musica ed il canto nascono già dalla tenera età e si avvicina ancora di più a questo mondo negli anni dell'adolescenza con artisti come: Elvis Presley, Amy Winehouse, Beyonce, Coldplay, Negramaro e molti altri. Da due anni frequenta a Pollenzo una scuola di canto e a breve inizierà a prendere lezioni di piano, uno dei suoi strumenti preferiti. Ha partecipato a diversi talent, ottenendo ottimi risultati, come: VB Factor, Rising Voice Contest e molti altri. Dotata di una vocalità intensa, ricca di Sfumature capaci di accarezzare orecchie, cuore ed anima sin dal primo ascolto e di una sensibilità comunicativa degna delle più grandi interpreti della discografia nazionale, Lucrezia Arcifa, con classe, eleganza, stile e carisma attinge alla musica d'autore italiana strizzando al contempo l'occhio alle più moderne tendenze internazionali e confermandosi come una delle artiste più incisive e talentuose della scena nostrana. Non mancano le collaborazioni con professionisti del settore musicale, ed è proprio grazie all'incontro con gli autori Remo Elia (già per Carmen Consoli, Ivana Spagna, Tiromancino, Sal Da Vinci e molti altri) e Oliver Bruno Lapio che scrive il suo primo singolo “L'unica cosa che hai”. Il singolo esce con la casa discografica LA MIA SONG di cui Remo Elia è il direttore artistico.

[arte1h]

TITOLO: Ara Pacis

DATAZIONE: 13-9 a.C.

LUOGO DI RITROVAMENTO : Roma campo Marzio

LUOGO DI CONSERVAZIONE : Ara Pacis Museum Roma

TECNICA: Marmo

DETTAGLI: l’Ara pacis è stata edificata Sia per celebrare le imprese militari di Augusto, sia per celebrare la pacificazione dei territori conquistati.essa la forma di un recinto quadrangolare in marmo, con due ingressi e una scalinata sul lato ovest.al suo interno presenta l’altare vero e proprio ovvero la mensa.l’esterno è interamente decorato in bassorilievo e presenta due registri decorativi differenti.quello superiore è di tipo figurativo, separato da quello inferiore con motivi vegetali da un meandro con le svastiche. accanto all’ingresso e nella parte posteriore dell’Ara pacis(Ovvero sui lati est e ovest) vi è inoltre la rappresentazione di scene mitologiche relative alla fondazione di Roma, con valore propagandistico e di esaltazione.tra le quali vi è la Saturnia tellus, Enea e la scrofa bianca e l Romolo e Remo allattati dalla luna. Sui lati invece il Nord e sud sono rappresentati due lunghi cortei, uno di sacerdoti l’altro dei familiari di Augusto. Si pensa che si tratti di due processioni simboliche e non diventi veramente accaduti.il fregio dell’ara Pacis presenta una forza plastica maggiore rispetto al fregio ionico del Partenone con una processione in onore di Atena , Per i pesanti panneggi e le figure disposte su tre piani. L’ara pacis ha subito un interramento a causa degli straripamenti del Tevere. Nel 1938 è stata ricomposta nella sede originale del campo Marzio accanto al mausoleo di Augusto e posizionata all’interno di un padiglione temporaneo che però inizio a mostrare i primi segni di deterioramento. Perciò nel 2006 è stato inaugurato un nuovo museo dall’architetto statunitense Richard Meier, il quale fa parte di un gruppo di artisti chiamato white artist, Per il fatto che ha realizzato un intero museo bianco e circondato da vetrate per far entrare la luce naturale, ma per permettere alla rapaci s’di rimanere protetta dall’inquinamento, conservando però la continuità tra interno e esterno.

[appears]

20th Anniversary

Ayumi Hamasaki: evolution (2001.01.31)

evolution is where it all started. It is the very first Ayumi Hamasaki CD I ever bought, way back in the early 2000s at the Virgin Megastore in downtown Chicago. Till that point, I had only cursory background information and a few RealAudio samples, but had never bought any albums (I had ordered a few CDs off of the Internet, but they hadn’t arrived in the mail yet). After bee-lining straight for the Import section on the lower level like I always did, and flipping through every single CD, beginning with A all the way down to Z, I picked out a few CDs that looked promising. I then had to whittle it down to one, because that's all that I could afford with the money I had saved up over time. I remember there being a few other Ayu CDs, namely the ayu-mi-x II version US+EU and version JPN CDs, but they were about $25 apiece. I think they might have had Duty, as well. I eventually bought two of those three from the store on later trips, but evolution just made sense as the first: it had 10 songs and was only $13. Sold! I remember opening the CD very, very carefully, making sure to save the original plastic it came in, and popping the CD into my Discman, where I proceeded to listen to it for the rest of the day while walking around the city and on the train ride home. For me, those first few notes of "evolution" never cease to take me back to that day in my life.

"evolution" was released at the peak of Ayumi Hamasaki's career in January 2001, debuting first at an annual COUNTDOWN LIVE concert to commemorate the new millennium. Though only the second song she had ever composed herself (aside from lyrics, and credited, as always, under the pseudonym CREA), it already had all of the classic elements of her style: a soft, slow ballad-like opening, followed by the introduction of faster and heavier elements, that resounded in layers of drums, guitar, distortion, and fuzzy vocal effects. I didn't really like the whole song right away: I loved the intro, and wished it was just as gentle and slow as it suggested, but over time, the time you had back before so much music was freely available at a click and you could skip to the next thing as soon as you felt bored after three seconds, and all you had was radio and your CDs which you practically learned to love through re-play because you wouldn't be able to afford another one for another month, it quickly became one of my go-tos, a song that I blasted often and learned all of the lightning-fast lyrics to. But I did like most of the remixes: all of them are in club and house styles, with many of the usual and now-legendary names like DJ Remo-con, Izumi "D.M.X" Miyazaki, and RAM RIDER contributing their takes on the title track, and Laugh & Peace and Seiki Sato adding two remixes for "End of the World" and "SURREAL" respectively. One of the advantages to having six remixes of the same song on one disc was that it made you intimately familiar with the vocal track -- this is one Ayumi song that I know from front to back, upside down and sideways, and probably backwards, too.

On the other hand, it can get a bit tedious as well, and the limits of using the same vocal track of a rock song to front upbeat club tracks doesn't always translate so well -- what a producer did with the vocals could really help him or her stand out with how skillfully they managed to make it work. To be fair, I liked dance music a lot around the time I bought these, so I probably wasn't the best person to ask about a fair assessment. Twenty years removed, these songs have become so entangled in my DNA that there is no way I can judge them in any objective way.

I purchased this CD twenty years ago, on April 21, 2001, and still have it in the original packaging, complete with hype sticker and the giant, nostalgic Virgin Import sticker. It comes in a standard maxi-single case with no paper backing, a foldout sheet with lyrics and song credits, and an OBI. This single was later released on two different 12" vinyl records. The Japanese version with the same image on the picture sleeve, only included three songs: the title track, the "Oriental Hot SPA" mix, and the "Razor's Main Mix" version, the latter which is not on the CD maxi-single. An overseas American version came in a blank, black record sleeve and included two tracks: “Razor's Club Mix” and “Razor's Dub” mix. I own both of these, and as far as I know, the Razor remixes were exclusive to these vinyl versions, though many more remixes of "evolution" would follow on singles and albums for many years after this single was released. This single, along with LOVEppears, which showed up a week later, prompted me to continue buying more Ayumi CDs, helping to spawn one of my longest and most loyal love affairs with an artist and genre to date. That makes this single, and this particular copy of it, absolutely priceless.

For more on the song, please check out this retrospective I wrote back in 2015.

[haveyoulistenedtothisalbum-poll]

Tracklist:

Intro • Atavism • Konzert • G-Sigh • Shamila • Prototype • Not Interested 2093 • Funkanoid • Cold Front [Remodeled Edit] • Bleep On Love • Narky Light • Streams • Synchronicity [Remo-con Remix] • Onegoa [Remo-con Tech Dance Remix] • G-Sigh [Remix 09]

Bandcamp

[marcopolorules]

TENTATIVA DE CELOS⠀ ⠀ ¿Cómo te va la vida con otra?⠀ Más fácil, ¿verdad? Golpe de remo.⠀ ¿Cuándo -¿pronto?-⠀ por un puente seguro⠀ se alejó de ti el recuerdo⠀ de mí, una isla que flota?⠀ (En el cielo, no en el agua.)⠀ Almas. No amantes,⠀ sino hermanas son nuestras almas.⠀ ¿Cómo te va junto a una simple mujer?⠀ ¿Sin divinidad alguna?⠀ Tras haber derrocado a tu reina⠀ (tú mismo privado del trono),⠀ ¿cómo vives?, ¿te preocupas?,⠀ ¿te enfadas? ¿Cómo estás al levantarte?⠀ Con ésa que te ha atado al cuello⠀ su tributo inmortal, el tedio, ¿cómo te va,⠀ pobrecito mío?⠀ "-Estoy harto de convulsiones, de dolor:⠀ voy a agenciarme un hogar."⠀ ¿Cómo te va con cualquiera,⠀ a ti, que fuiste elegido por mí?⠀ ¿Es la comida más comestible?⠀ y si te cansa, mala suerte.⠀ ¿Cómo puedes vivir con un idolillo,⠀ tú, digno antes del Sinaí?⠀ ¿Cómo vives con ésa, tan distinta a nosotros?⠀ ¿Una extranjera, costilla de tu pecho?⠀ ¿La vergüenza, ese azote de Zeus,⠀ aún no te ha herido la frente?⠀ ¿Cómo te va la vida? ¿Estás sano?⠀ Y las musas, ¿te llaman aún a veces?⠀ Y la dicha, ¿se hace ver? ¿Alguna vez?⠀ ¿Y esa llaga inmortal -la conciencia-⠀ qué, mi pobre?⠀ ¿Cómo vives con un producto⠀ del mercado? ¿Pesa mucho?⠀ Tras el mármol de Carrara,⠀ ¿cómo te va con una prótesis de yeso?⠀ Del mismo bloque tallamos a Dios,⠀ para romperlo acto seguido.⠀ ¿Va bien una cienmilésima,⠀ para ti, que conociste a Lilit?⠀ ¿Estás ya harto de esa mercadería novedosa?⠀ Cansado de mi magia,⠀ ¿cómo te va con una mujer terrestre⠀ que carece de sextos sentidos?⠀ Venga, con franqueza, ¿sois felices? ¿No?⠀ ¿Cómo se vive en un abismo⠀ sin profundidad amor mío?⠀ Cuesta, ¿verdad?⠀ ¿Te cuesta tanto como a mí con otro?⠀ ⠀ *Sorry, but I am unable to translate the poem correctly⠀ ⠀ Marina Tsvetáyeva⠀ & Juan Martinez Parente @juanmartinezparente (artist) https://www.instagram.com/p/CIVDErwHt_r/?igshid=dy4bjqrscd1y

[cvhens]

COHEN GARCIA —- TASK 02. playlist

follow the source link for playlist. click under read more for song deep dive

two good things , modern baseball   /   blue monday , health   /   con altura , rosalia ft. j balvin   /   yer killin’ me , remo drive   /   diamond veins , french 79 ft sarah rebecca   /   yo perreo sola , bad bunny   /   mediocre at best , sorority noise   /   tkn , roalia ft travis scott   /   roses(remix) , saint jhn   /   chasing pavements , adele   /   twin sized mattress , the front bottoms

MUSIC TASTE

Cohen’s music taste tends to range. Primarily, his taste can be split up between contemporary pop-punk, and electronic dance music. Growing listening to music like American Football, it transferred into a love for contemporary and alternative pop punk. Sure, Green Day or All Time Low was fine but he liked stuff a bit more scrappy than that. 

Otherwise, Cohen needs stuff he can move to. If it’s not eliciting that trash can feeling, then he wants to be able to get out energy. Typically he listens to music around the house or working out, so he needs a good beat and rhythm. While he likes a lot of electronic music, he also likes dance pop, or really, anything with a good beat. 

While he does seek out Latinx music, he just also happens to be in love with Rosalia and has been his current musical fixation. But it’s music that he always trusts to get himself moving and hyped, regardless of it coming from the residential queen Rosalia or another Latinx artist.

Which ends with Adele. His all-time favorite artist is one he doesn’t often talk about. While Cohen doesn’t mind using aspects as the butt of the joke, Adele’s an artist he holds close to himself, so while he personally doesn’t find it all that funny how much he likes her, he knows that it still might be the butt of a joke. But Adele’s first album came out not long after he had left Mystic to go to LA. For a guy who’s spent most of his life looking down on the singer-songwriter genre, he gave the album a listen, and there was something so raw and personal and honest about it, which was not at all anything that Cohen had in his life. He recognizes it’s kind of corny, but that album did a lot for him then, and 21 only fucked him up further. It’s definitely a private type of listen, but he’ll die on the sword of Adele.

TRACK BREAKDOWN

two good things  -   trying hard not to look like I'm trying that hard, failing miserably at everything including that. Making plans in my head right before I go to sleep, trying to think of who could make a better me than me. Maybe I'll  shoot him an email, maybe he'll give it a go, then I'll be free to just evaporate, disperse or implode.

blue monday  -  dance track.

con altura  -   Esto es pa' que quede, lo que yo hago dura. Demasiadas noches de travesura. Vivo rápido y no tengo cura. Iré joven pa' la sepultura.  //  This one is so it sticks, I go hard. Too many nights of mischief. I live fast and I don’t have a cure. I'll go to my grave young.

yer killin’ me   -   You make me want to start rolling fat ass blunts 'til I start choking. Anything that's bad for me. Yer killing me.

diamond veins  -  dance track

yo perreo sola  -  dance track

mediocre at best  -   Nobody likes me, that's what I tell myself. I live alone in my own hell. I want to be the person you want me to be, that I know that I'll never be.

tkn  -  dance track

roses  -  dance track

chasing pavements  -   Should I give up or should I just keep chasing pavements? Even if it leads nowhere.

twin sized mattress  -   She hopes I'm cursed forever to sleep on a twin-sized mattress, in somebody's attic or basement my whole life, never graduating up in size to add another.

[otographicmusic]

Various Artists “Otographies"

Buy / Stream

Catalog Number : OTOC-006 Release Date : 2020-03-11 Format : CD, Digital

Track Artist : Kenji Sekiguchi, KIWAMU, Masanori Yasuda, Kazusa, Shingo Nakamura, aran, Nhato, Kyohei Akagawa, KaNa, OCOT, Taishi, Dominant Space, Hiroyuki ODA Remix Artist : REMO-CON, Blacklolita Artwork : SoU Mastering : Nhato Text : Kenji Sekiguchi Management : Kenji Sekiguchi Distribution : Ultra-Vybe, Label Worx

[f-michielin]

i’ve been tagged by @pandarth-picks, thank you!

The rules are: list 10 artists you like before answering some questions

1. Francesca Michielin

2. Ermal Meta

3. Shakira

4. Mans Zelmerlow

5. Marco Mengoni

6. Alma

7. ABBA

8. Loreen

9. Sau

10. Roxette (ok i’m reaching, I can’t find that many artists that I listen so often to)

What was the first song you heard by 6?

Requiem

What’s your favourite song by 8?

My heart is refusing me

What kind of impact has 1 left on your life?

I felt like for the 1st time I’ve found an artist whose songs truly speak to me, because never before had I listened to an album without having a song that I always skip. Other than that, 2640 coincided with the time when I was doing a student exchange in Italy, so the songs remind of my living in Italy... Oh and I also got to meet Francesca during the instore tour, which is an amazing memory :)

How many times have you seen 4 live?

twice

Is there any song by 3 that makes you sad?

Sombra de ti, Antes de las seis, Lo que mas... hmm guess the answer is yes

What’s your favourite song by 7?

My love, my life or The winner takes it all

What are your favourite lyrics by 5?

"Ma sono un sognatore con i piedi a terra Cerco di trarre da ogni storia un’esperienza E di sorridere battendo la tristezza”

What’s your favourite song by 9?

Boig per tu / Jo ho espero tot de tu

How did you get into 2?

After last year’s San Remo festival... I mean I knew him from the previous editions, but somehow didn’t feel very interested at the time. Happens.

How did you get into 10?

When I was in primary school I heard It must have been love on the radio and liked it a lot immediately so I checked out more of their music on youtube.

I tag @bookishspells @ermalmeta and @bingrossos

[denimbex1986]

'When one of the adaptations of a popular novel is as masterful and blistering as The Talented Mr. Ripley (1999), it is best not to touch it again. Unless you bring in Andrew Scott to play the enduring titular shifty sociopath...

If the Anthony Minghella directorial starring Matt Damon, Gwyneth Paltrow, and Jude Law was full of sunshine and a tropical colour palette, Steven Zaillian—who has directed and written Ripley for television—shoots his version of the psychological noir entirely in black and white. The effect is breathtaking...

Oscar-winning cinematographer Robert Elswit’s camerawork is so exquisite, that as he makes us travel from the Amalfi coast to San Remo, Rome, Palermo, and finally Venice, much like Tom Ripley, we’re in awe, entirely charmed, and in no mood to leave.

The sound design is exemplary too. You hear every crackle of each cigarette that’s smoked, the ruffling of fabrics, the clamouring of footsteps on expensive wooden floors, the laboured dragging of bodies, the crashing of the waves, the shrill ringing of unanswered telephone calls, the rambling of a lift, and the thud of it abruptly coming to a halt. It all deliciously adds to the tension...So pointed is its understanding of sound’s incredible potency and just as striking is its execution.

Scott is phenomenal as Tom Ripley, a con artist scraping off a meagre living out of petty white-collar crimes in post-WWII New York City. It’s 1961. One day, out of nowhere, he gets summoned by a shipping magnate who mistakes him for a close friend of his wandering son Dickie (Johnny Flynn), who left for Europe years ago and never returned. Tom takes his chance and is sent to Italy on a fully-funded mission to get Dickie back. Enamoured by the utterly privileged lifestyle of Dickie and his girlfriend Marge (Dakota Fanning), Tom first tiptoes on the periphery of their utopian world as an acquaintance, then begins to slowly suck its lifeblood as a leech, before destroying it entirely by killing Dickie and assuming his identity. Tom isn’t as outright evil as Moriarty, the character from the BBC's Sherlock that first put Scott on the map. His villainy is more straight-faced, quotidian, inscrutable, and plausible, making it infinitely more chilling. Scott—who is at the centre of every scene—plays him with such palpable blankness that you can see the bottomless emptiness inside of him. It’s a terribly restrained performance and yet with him in the foreground, all it takes is a twitch of a muscle, a slight change in the movement, and a shift in his eyes...

Despite being a crime thriller, Ripley is neither violent nor gory. If anything, it’s spectacularly artistic. From Dickie’s picturesque home in Atrani to the tastefully done apartment that Tom rents in Rome, or his palatial house in Venice, the many stunning sculptures scattered all through Italy that the camera keeps cutting to, or the running Caravaggio analogy, or the series recognizing Tom for the master artiste that he is, or its quiet commentary on how art belongs to everyone, Ripley’s appreciation for beauty and eye for detail marks every scene.

However, Ripley is a slow burn. Moreover, since it’s set in Italy, the characters speak Italian more than English, adding authenticity to its milieu but making it less accessible. Large chunks are dedicated to disposing of bodies. There’s lots of walking up and down the stairs, too. And its arthouse treatment may feel a little ostentatious. But the view is so worth the climb. Among its many joys, Ripley is a magnificent period drama—deeply mysterious and atmospheric, like only stories from a time of no smartphones, CCTVs, and social media could be.'

[globabrand]

Fred Ward, ‘The Right Stuff’ And ‘Short Cuts’ Actor, Dead At 79

Ward, who appeared in films such as “The Right Stuff,” “Short Cuts,” and others, died on May 8 at the age of 79.

There was no mention of a cause of death.

Ward began acting in the early 1970s after three years in the United States Air Force. Ward was a renaissance guy who worked as a short-order cook, a boxer, and a lumberjack in Alaska. In 1979, he had his first major part in Clint Eastwood’s film “Escape from Alcatraz.”

“The Right Stuff,” starring Fred Ward, was released in 1983.

Ward played real-life Mercury 7 astronaut Virgil “Gus” Grissom in “The Right Stuff.” In “Henry & June,” he played Henry Miller, a chain-smoking, hard-drinking author who travels to Paris in 1931 to write his book “Tropic of Cancer.”

Ward obtained the film rights to “Miami Blues” in 1988, in which he played Hoke Mosely, a veteran Miami cop attempting to apprehend a suave ex-con.

Ward went on to work with Robert Altman in “The Player,” appeared as a gangster in Alan Rudolph’s “Equinox,” and portrayed a TV news presenter in Tim Robbins’ “Bob Roberts.” In the 1993 film “Short Cuts,” he played one of three guys who discovers a body while fishing.

In an emailed statement, Hofmann said, “The unusual thing about Fred Ward was that you never knew where he was going to come up, so unpredictable were his career choices.”

“Summer Catch,” “Sweet Home Alabama,” and “Abandon” are among Ward’s other cinematic credits. Ward has been on television in shows such as “The United States of Tara,” “Grey’s Anatomy,” “Leverage,” “True Detective,” and others.

Ward, who is also an artist, has recently focused part of his creative energy on painting.

His wife of 27 years, Marie-France Ward, and son Django Ward survive him.

Miguel Marquez of CNN contributed to this report.

R.I.P. Fred Ward, From Tremors And The Right Stuff

At the age of 79, actor Fred Ward passed away.

Ward was born in San Diego and lived a variety of lifestyles before breaking into acting in the 1970s. He is most known for his appearances in Tremors, The Right Stuff, and other films. The California native worked as an actress in New York for six months before hitting the road and working as a logger in Alaska, construction worker in California, and even a boxer, where he injured his nose three times.

Continue reading

Ward traveled to Rome, where he dubs Italian films and collaborates with neorealist legend Roberto Rossellini. In 1973, he made his acting debut in the three-part television series The Age Of Medici, directed by Rossellini. Ward returned to the United States and had minor roles in episodes of Quincy M.E. and the Brooke Shields pinball-spoliation cult classic Tilt before making a mark in Don Siegel and Clint Eastwood’s Escape From Alcatraz in 1979.

Ward leaned into his tough-guy character actor groove in the early 1980s, appearing in Walter Hill’s Southern Comfort and assuming the lead in Michael Nesmith’s futuristic, Mad Max-inspired Time rider: The Adventure Of Lyle Swan. His portrayal of Gus Grissom, the second American to travel into space, in The Right Stuff, an Oscar-winning real story about the US space program, raised his prominence.

Ward starred as Remo Williams in Remo Williams: The Adventure Begins in 1985. The Destroyer was based on a pulp book series, and Orion Pictures, who produced the film, planned it to be the first in a series: a “red, white, and blue-collar Bond.” Ward signed for three films, and while Remo Williams has gained a cult following in recent years, it was critically lambasted and bombed at the movie office in the fall of 1985.

The story continues…

Throughout the late 1980s, Ward continued to work in modest roles in cinema and television, and in 1990, she reunited with Right Stuff director Phillip Kaufman for Henry & June, a loose version of Anas Nin’s book of the same name about her connection with Henry and June Miller. The film is notable for being the first to obtain the NC-17 rating. The X rating was infamously co-opted by the adult film industry, and NC-17 was created to separate serious, non-pornographic films with adult themes; it’s also worth noting that several newspapers and television stations refused to advertise films with the X rating. Ward told the Washington Post in 1990, “There’s that sort of stench on it.” “They believe they’re going to Debbie.”

Ward also produced and appeared in the cult neo-noir Miami Blues and played Earl Basset in Ron Underwood’s monster movie favorite, Tremors, in the same year.

Ward spent the rest of the 1990s in big-budget comedies (Naked Gun 33 12: The Final Insult), two made-for-television films (Cast A Deadly Spell, Bob Roberts), and collaborations with Robert Altman (The Player, Short Cuts). Ward spent the rest of his career as one of the most memorable character performers on the big and small screens, with appearances in Joe Dirt, ER, Grey’s Anatomy, and his final performance on HBO’s True Detective.

Any memorial contributions should be donated to the Boston University Chronic Traumatic Encephalopathy Center, according to Fred Ward’s wishes.