#rock & revolution

[o-the-mts]

DEEP DIVE - Album Review: Purple Rain by Prince and the Revolution

I am doing a deep dive into the work of the musical artist Prince.  Each week until December I will post my thoughts on albums released by Prince (and his bands and side projects) focusing on one year of his career.  This week I’m reviewing the soundtrack for Purple Rain from 1984. Album: Purple Rain Artist: Prince and the Revolution Release Date: June 25, 1984 Label: Warner Bros. Favorite…

[cherrylng]

Great Guitarists 100 - Graham Coxon, Jonny Greenwood, Stuart Braithwaite, and Wes Borland [CROSSBEAT (November 2009)]

Graham Coxon The reason why Blur, who have never announced their break-up, have been said to have 'reunited' is that his presence in Blur and in the UK in the 1990s was too great. He was a maniacal noise-obsessive himself, even using an electric drill when recording "Modern Life Is Rubbish", but the resulting riffs were terrifyingly poppy. The revolution of the 90s was that guitar heroes were no longer required to have technique, and Graham Coxon's ability to turn everything upside down with his unique sense of time and phrasing was one of the centrepieces of the Britpop era. As a visibly literate and nerdy guitar hero, he may well be one of the first. This year, he continues to be active with his latest solo album and touring with the original members of Blur. -Hitoshi Sugiyama

Selected Albums "Modern Life Is Rubbish" (1993, photo) Blur "Parklife" (1994)

Jonny Greenwood A child prodigy who learned to play the cello and viola from an early age and was once awarded a prize for 'contribution to the development of music at our school' when he was at the prestigious Abingdon School. He has been a key member of Radiohead's predecessor band On A Friday from the time of the band to the present day, playing a central role in the band's sound. In his early work, his guitar playing was rather straightforward, with a strong influence from grunge/alternate rock bands such as Sonic Youth, Pixies, and Dinosaur Jr, but from "OK Computer" onwards, he actively introduced all styles of music, including classical, avant-garde and dance music. He began to play experimental sounds using various effectors, such as whammy, which makes the pitch of the guitar rise and fall to extreme levels. He has always regarded the guitar as a means of expression, which is why he is able to create unique and original sounds. -Takanori Kuroda

Representative albums "The Bends" (1995) Radiohead "OK Computer" (1997, photo)

Stuart Braithwaite From flowing arpeggios to raging feedback. Mogwai's dynamic soundscapes, which move back and forth between "stillness" and "movement", are the product of a flawless ensemble. The band is built on a perfect balance that cannot be created by any one person being left out, but what really stands out (including their looks) is the guitar playing of Stuart Braithwaite, who is also the leader of the band. His sound, influenced by My Bloody Valentine, Sonic Youth, hardcore, and heavy metal, is the cornerstone of the band. He mainly uses a Fender Telecaster and a Gibson SG, with a very conventional amp. However, there are more than a dozen different types of effectors, from distortion to spatial systems, and he switches between them (and sometimes steps on them all!), creating that high-density guitar noise. -Takanori Kuroda

Representative albums "Mogwai Young Team" (1997, photo) Mogwai "Come On Die Young" (1999)

Wes Borland The 90s saw the crossover between rock and hip-hop go from strength to strength. Guitarists had their work cut out for them. How on earth do you bridge the gap between the two? Wes Borland's answer to that question was to stick to riffs. The riff, a traditional rock technique, is treated like a sampling loop in hip-hop. In doing so, he arrived at a method that blends the two well. But for this to happen, every riff had to be catchy. He used every means possible to achieve this. The techniques are diverse, including heavy riffs with drop tuning, arpeggio riffs utilising delays, and simple riffs with only two notes. Although his eccentric looks tend to attract attention, he is in fact one of the leading riff masters of our time. -Junya Shimofusa

Representative albums "Significant Other" (1999, photo), Limp Bizkit "Chocolate Starfish and the Hot Dog Flavored Water" (2000)

[tymime]

When I was first learning guitar (around 13 years old), I was enamored with the wild reckless noise and feedback that Jimi Hendrix and other psychedelic guitarists were doing, as well as the avant-garde weirdness of The Beatles' "Revolution 9" and even John Lennon's Live Peace in Toronto 1969 to a certain extent, which I had on DVD around that time. And I noticed with some frustration that most mainstream rock and even metal music in the early 2000s wasn't really doing that anymore- and my guitar teacher was a bit snobby, and didn't think it was important, more or less concurring with other guitarists at the time that making wacky noises didn't take any "real skill", although those weren't his words. (Not that I had a large enough amp or any pedals to make that sort of noise, although I managed some things on a guitar with microphonic pickups and some found objects.)

It's really only been very recently that I've found rock bands from the '80s and '90s that scratch that itch. Noise rock/pop and alternative bands like Sonic Youth (of course), Nirvana, Smashing Pumpkins, The Jesus and Mary Chain, The White Stripes and several other more obscure bands, including ones from the '60s and '70s, are filling that void and making me feel sorta vindicated. Evidently the screeches and wails of Hendrix didn't live on so much in classic rock and mainstream metal, but found it's way into alternative.

[maximuswolf]

Prince & The Revolution - When Doves Cry [pop rock]

Prince & The Revolution - When Doves Cry [pop rock] https://youtu.be/UG3VcCAlUgE?si=ApUjW-LHdPl-k_Gs Submitted November 07, 2024 at 09:51AM by Old_One_I https://ift.tt/Sm1zO0N via /r/Music

[thesinglesjukebox]

LE SSERAFIM - "CRAZY"

So confusing sometimes to be girling...

[6.15]

Mark Sinker: You wonder sometimes when time is going to get called on K-pop’s vast factory of choreographed prettiness: when the sugar-spun cornices, colonnades, spandrels and turrets on the Hansel-and-Gretel house finally fall away to reveal the same-old-same-old beneath, the ancient shrivelled industry rooted as ever in who gets to devour whom. With an anagram as a cryptic band-name and hyper-choreographed blankness as a attitude branding (of course they dimple up and giggle sometimes, but you could never call it unscripted), Le SSerafim often make fun gestures at refusal — “I wish for what’s forbidden!” in a 2023 song called "Eve, Psyche and the Bluebeard’s Wife." But as Solomon taught us, the rivers all flow into the sea, yet the sea can always swallow more. You want to refuse too! You want to follow the logic: to imagine the cyborg psychosis unleashed by the machine, the robo-gogo pleasure dancers advancing in your direction, Westworld-android style, insanely beautiful cyberpunk sex-cuties Terminator-trained and complete with in-brain targeting overlay, with crosshairs and scheming calibration figures up the side, until no one even grasps any longer who ordered what. “All the girls are girling girling all the girly girls” (first of all in a Southern accent, as “gals”, and afterwards in posh English diction). You want to read clues into the teen-goth Kraftwerk-style threat that’s kept out of the translated lines: “renew the neuron system / I broke out of the prison in my head." Revolution of the Relentless Mannequins, as they break the glass and swarm through the city. And yes, I love this amping up of the menace; I love the promise that all can be overturned and changed in a moment; in our programming is your doom — to me this is a heartening fiction. So good at what they do! What if they did… something else? Who gets to devour whom? Who gets to dethrone whom? But it’s just pop, and its tremors are painted on air. [10]

Kayla Beardslee: [A whiteboard with “Le Sserafim voguing????” written on it and nothing else.] [4]

Jessica Doyle: With Blackpink seemingly done as a group, it makes sense to try and take the trendy-dancing-model-dols slot while it's open. I just wish HYBE hadn't thrown out their previous approach to song selection when they made the pivot. Songs like "Antifragile" and "Eve, Psyche, and the Bluebeard's Wife" had verve and fun to go with the required pose-striking; "Crazy" consists solely of poses. (And this isn't about their vocal performances; a good deal of the charm of "Antifragile" lay in Eunchae's not having to sing "??? ?? like a lion ? ??? ? ??? desire ?".) We don't even get "Where the heck is Saki? / She's waiting down in the lobby." [4]

Andrew Karpan: A sort of loose fabric of a song, more a dreamscape of crossfaded bounce symbology than a statement about anything in particular (non-derogatory)     [8]

Alfred Soto: The synths wander in from early '10s grime, the beats are in place, the vocals are adequate, but it doesn't stick. [6]

Jacob Sujin Kuppermann: A [10] in terms of grist for the fancam mill ("girls are girling" alone!) but unremarkable in all other regards — tips my scales for a shockingly well-executed reference to Galileo's trial. [6]

Katherine St. Asaph: The girls are girling, the funk is funking, the pace is racing. Learned from "Meet Me at the Loveparade" the power of slightly sinister synth riffs and from Lil Jon the power of dropping in a "WHAT?". [8]

Dave Moore: Love the house music 5th synths against the dah-dah-dah hook, but the whole thing is a bit stagnant. They should stick to what they do best -- arty alt rock.   [5]

Anna Katrina Lockwood: The sublime and the ridiculous would coexist here peacefully, were it not for a meme being beaten to death to punctuate every eight count or thereabouts. Still, it makes more sense than most of the 4th/5th(?) generation non-sequitur clamorousness, though that is faint praise indeed.  [5]

Taylor Alatorre: That the song's signature line has the reedy, metallic tone of a computer status update is appropriate, given the dependable K-pop release schedule of a new project every six months. The girls are all girling now, and they require additional supply depots. It hardly matters that the "craziest" deviation from the house-pop formula is found in the rising-pitch imitation of a mechanical overload, a fearlessly campy sci-fi take on the buildup/drop sequence. Such literalizations are welcome in a single with perhaps the most overused title in pop music; if you're gonna grab the low-hanging fruit, you might as well squeeze it for all it's worth. [7]

Jel Bugle: The beats are good, a robotic voice informs us that “all the girls are girling,” and this is a good thing! But Le Sserafim are not good as my fave K-pop Trinity – (G)I-DLE; Itzy and Asepa – and this song lacks a certain sense of dynamism and excitement. It is cold and robotic and not that crazy. [6]

Ian Mathers: I mean, it's not a great sign when the best parts of the song are the ones where the vocals feel like they're samples dropped into an EDM track and the verses kind of drag. But still, fun! [6]

Nortey Dowuona: Having a nuanced take or going "da." Going "da." [5]

[Read, comment and vote on The Singles Jukebox]

[danielsiegelalonso]

The Evolution of Music: A Historical Look at | Daniel Siegel Alonso

Music has always been dynamic, molding and reflecting cultural shifts across generations. From the smoky underground clubs of Northern England to the gritty, graffiti-laden walls of New York City's punk venues, and the rain-soaked streets of Seattle, the evolution of music is a testament to the ever-changing landscape of human expression. Daniel Siegel Alonso takes you on a witty and insightful journey through pivotal moments in music history: The Beatles at The Cavern Club, punk rock's birth at CBGBs, and the Seattle grunge explosion.

The Beatles do The Cavern

Close your eyes and imagine: It's 1961, and you're down in the basement of The Cavern Club in Liverpool; it's packed with sweat-drenched, eager faces, and the air thick, dripping with anticipation. On stage, four young lads who would soon become the most famous band in the world are tuning their guitars. The Beatles, with their mop-top haircuts and cheeky grins, are on the precipice of changing music for generations.

Before they were household names, John, Paul, George, and Ringo honed their craft in this humble, dimly lit venue. The Cavern Club was their proving ground, where they transitioned from covering American icons Chuck Berry and Little Richard to showcasing their original material. Here, they first captivated audiences with their infectious energy and groundbreaking sound.

The group's time at The Cavern Club was pivotal. It was where they caught the eye of Brian Epstein, who would become its manager, and later, record producer George Martin, aka the fifth Beatle. This tiny, subterranean venue was the launchpad for a nuclear cultural revolution. The Beatles didn't just play pop and rock music; they constructed an identity, a lifestyle, and, in hindsight, an era. They embodied the spirit of the Swinging 60s, melding rock 'n' roll with a bouncy pop sensibility that was both rowdy and charming.

Anarchy in the Big Apple

Daniel Siegel Alonso fast-forwards to the mid-70s, and we're in an entirely different world. Bankrupt Manhattan, in the bowels of a biker bar on the Bowery called CBGBs--a mouthful of an acronym standing for Country, Bluegrass, and Blues. The stage is dilapidated, and the sound system is a haphazard collection of amps and speakers at best. Here, the raw energy of punk rock was born, thrashing and pogoing its way into the mainstream.

CBGBs became the center of a musical revolt. Groups like The Ramones, Blondie, and Television took to the ramshackle stage, bringing with them a loud, fast, and unapologetically raw sound. Punk was a direct response to the bloated excesses of middle-of-the-road rock and bands like Yes, Chicago, and Fleetwood Mac; punk was do-it-yourself, back to basics, and in-your-face.

The Ramones epitomized this new angsty attitude with their black leather jackets and torn jeans. The songs they wrote were short, sharp, and shocking to audiences accustomed to indulgent guitar solos and elaborate stage productions. CBGBs was more than just a venue; it was a breeding ground for a cultural movement. It embraced the DIY ethic, encouraging emerging bands to play regardless of polish or professionalism. This sense of independence and defiance reverberated with a new generation of listeners disenchanted by the status quo.

The Last Great Rock Revolution

Siegel Alonso jumps ahead another decade to Seattle, a city known more for its rain than its rock-and-roll. Yet, over three decades ago, Seattle was the epicenter of grunge, a new genre that would once again redefine music. The core of this movement was a collection of venues like The Crocodile and The Off Ramp, where bands like Nirvana, Pearl Jam, and Soundgarden first made their mark.

Grunge was a gritty, angst-filled reaction to the over-produced pop and ostentatious hair metal of the 80s. It combined the raw energy of punk from the previous decade with heavy metal's strength, birthing a sound that was both abrasive and softly melodic. Grunge poster boy Kurt Cobain, with his ragged sweaters and unkempt wiry hair, became the reluctant voice of the last analog generation. Nirvana's breakout album, "Nevermind," was a seismic pop culture event, forcing grunge into the global mainstream.

Seattle's grunge scene was characterized by authenticity and a sense of community. Bands often collaborated and supported each other, creating a tight-knit musical ecosystem. The city's isolation from traditional music industry hubs allowed for a unique sound to develop, one that was untainted by commercial pressures.

Connecting the Dots

What ties these three musical moments together is their grassroots beginnings. The Beatles, the first wave of punk rock, and grunge all began in small, dingy venues, driven by pure passion and a craving to disrupt the status quo. Each musical chapter mirrored and influenced the cultural zeitgeist of its time, providing a soundtrack to their respective eras' social changes and attitudes.

The Cavern Club, CBGBs, and Seattle's grunge venues were more than places where bands performed; they were incubators of innovation and rebellion. They nurtured the raw, unpolished energy that would shape the future of popular music.

As Siegel Alonso reflects on these musical milestones, a pattern of evolution emerges driven by a handful of fundamental ingredients: authenticity, community, and a bold embrace of the unknown. Music's narrative is one of constant change, and as these examples depict, it's often in the most unexpected places that the next big thing begins to take shape.

[banarjeenikita]

Vox Amps and Their Place in Rock History: The 90s Era

The 1990s, a pivotal decade in the evolution of rock music, witnessed the emergence of grunge, Britpop, and alternative rock. Amidst this sonic revolution, Vox amps, with their rich heritage from the British Invasion of the '60s, continued to play a significant role. Despite the changing musical landscape, Vox amplifiers maintained their iconic status, proving their versatility and timeless appeal to a new generation of artists. This article explores the enduring legacy of Vox amps during the 90s, highlighting their influence on the decade's definitive sounds and landmark recordings.

The Britpop Surge and Vox’s Resurgence

Britpop, a movement that sought to celebrate and revitalize British pop music's distinctiveness, became synonymous with the '90s. Bands like Oasis, Blur, and The Verve sought inspiration from the British rock lineage, making Vox amps an essential component of their sound. Oasis, in particular, famously relied on the Vox AC30 to achieve their bold, wall-of-sound guitar tones that defined hits like "Wonderwall" and "Champagne Supernova." The AC30's rich harmonics, chime, and bite helped carve the anthemic soundscapes that became the Britpop hallmark, reaffirming Vox's status as a symbol of British musical heritage.

Grunge and Alternative Rock: A New Context for Classic Tones

Across the Atlantic, the grunge and alternative rock scenes were taking the world by storm, led by bands like Nirvana, Pearl Jam, and Soundgarden. While these genres initially seemed to favor raw power and gritty textures, Vox amps found their place in the studio and on stage. The versatility of Vox amplifiers, particularly their capacity to deliver clean tones with depth and warmth or aggressive overdrive when pushed, made them a valuable tool for artists experimenting with dynamic range and tonal diversity. The use of Vox amps during this era underscored the brand's adaptability to various musical contexts, beyond its association with the jangly pop of the '60s.

The Studio and Stage: Vox Amps in the '90s Music Production

The '90s also saw Vox amplifiers being used in innovative ways in recording studios. Producers and engineers, attracted by the distinctive Vox clean tones and the rich harmonic distortion, often chose the AC30 for layering guitar tracks to achieve depth and complexity in the mix. This practice was not limited to rock genres; even artists in adjacent genres found the clarity and character of Vox amps conducive to their sonic experiments. On stage, Vox's reliability and distinctive aesthetics made them a favorite among guitarists looking for both visual and sonic identity.

Innovation and Expansion: Vox in the '90s

Responding to the era's demands, Vox continued to innovate, introducing models that catered to the needs of contemporary musicians while drawing on their rich legacy. The introduction of the Valvetronix series, which combined traditional tube amp circuitry with digital modeling technology, exemplified Vox's commitment to innovation. These amps allowed musicians to access a wide range of sounds, from classic Vox chime to high-gain modern tones, broadening the brand's appeal.

Legacy and Influence

As the '90s progressed, Vox amps solidified their position as a staple in rock music's evolving landscape. The brand's ability to adapt, innovate, and maintain relevance amidst changing musical tastes underscored its enduring legacy. Vox's contribution to the '90s rock scene went beyond mere instrumentation; it became a part of the cultural fabric, shaping the sound and aesthetic of a decade.

Conclusion

The '90s era, marked by diverse musical innovations and the redefinition of rock music, saw Vox amplifiers maintaining their iconic status and expanding their influence. From the Britpop stages in the UK to the grunge clubs of Seattle, Vox amps contributed to the decade's sound, demonstrating their versatility and enduring appeal. As we look back on the impact of Vox amps in rock history, their role in the '90s serves as a testament to the brand's adaptability and the timeless nature of its sound, cementing Vox's place in the pantheon of musical innovation.

[kosher-martian]

I guess I review music now?

No one: Absolutely no one:

The Kosher Martian: Hello and welcome to my review of Nickelback's No Fixed Address

I'm a fan of Nickelback and I won't apologize for it. I have two of their CDs (The Best of Nickelback Volume 1 and No Fixed Address) but I've also listened to their other work through YouTube. I am not an authority on music whatsoever. I do not keep up with the latest popular music. If you sat me down and made me list bands and artists who made their big break after 1992, I might be able to mention a dozen or so. I bought the album and I just thought I should subject you to my opinions of it. Thoughts on the album as a whole: The album is a bit of a mixed bag. Most of the songs are in search of a new sound for Nickelback, but the end result is a mix of that classic Nickelback grunge-but-not-grunge, rock-but-not-rock, country-but-but-country sound mixed with some other random sound that doesn't always mesh. Overall the first half of the album is great and the back half has a lot of totally forgettable filler that I will skip from now on.

Thoughts about each song on the album:

"Million Miles an Hour" - This is a great album opener and a fun, fast-paced song. It's arguably the heaviest-sounding song, I would say it hits my definition of a metal song. If you mixed this in with some Metallica and Fozzy tracks, I don't think anyone would notice. I strongly believe this has earned its place on a car select screen in a PS2 / PS3 era street racing game.

"Edge of a Revolution" - I think this was their attempt at a protest song a la Twisted Sister's "We're Not Gonna Take It". Tonally it's a bit weird hearing Nickelback talk about something that feels topical. Their lyrics always have a nostalgic / backwards-looking vibe to them, so to see them so amped up and talking about the problems of modern society (I think the song is just as applicable in 2024 as it was in 2014), it's a bit of a trip to say the least.

"What Are You Waiting For" - For whatever reason, this just sounds like vague, half-remembered knockoff of "Secrets" by OneRepublic. If you wanted to know what Disney's The Sorcerer's Apprentice would sound like with Nickelback as the leitmotif instead of OneRepublic, this is the song for you.

"She Keeps Me Up" - Okay, this one is just strange. It's a little funky, it's a little pop. It works.... but I feel like it shouldn't? Like a lot of pop songs, there isn't much going on lyrically. It gets stale pretty quickly and I found myself wanting to skip to the next track before the song was halfway over.

"Make Me Believe Again" - Lyrically, this feels closer to Nickelback's older work. Musically it sounds pretty modern. Somewhat forgettable. This was the point on the album where songs started to become more forgettable.

"Satellite" - This sounds like unused content from their previous album, Here and Now. If you like "Lullaby", you'll like this song.

"Get 'Em Up" - This is a fun little story song about bank robbers. I don't have much to say other than it is just fun.

"The Hammer's Coming Down" - This is the song that plays during the credits of bad YA movie you found on Crackle or Tubi.

"Miss You" - In 2029 this will be used unironically in an indie film about two teens who fall in love just before the COVID-19 pandemic hits and follows them as they spend the next three years dating each other exclusively through Zoom. It will be called Love in Quarantine or Our World on Pause or something. The girl will come from a family of handwashing libs who wear masks and go to George Floyd protests and the boy will be the quiet artsy son of a bunch of proud American Patriots who break quarantine, have coronavirus parties, and force the boy to go to Back the Blue rallies. An important part of the film will be the boy's father being put on a ventilator and his mom encouraging the boy to stay in quarantine so he can one day meet the girl he loves. The film ends with them holding hands for the first time since 2019.

"Got Me Runnin' Round" (featuring Flo Rida) - I'm sure this is for someone but it just isn't for me. I don't know who Flo Rida is, but his contributions were.... fine. Not the worst track on the album, but not the best either.

"Sister Sin" - This song is so utterly forgettable that it ended without me noticing.

Final thoughts: Kosher? Pareve. Martian? 7 Red Planets 🔴 out of 10. Mars Attacks!

[ciyapaofficial]

Back Print Oversized T-Shirts for Men: The Bold Fashion Statement You Need | Ciyapa

In the realm of men's fashion, back print oversized t-shirts have carved out a distinctive niche that's turning heads and setting trends. These baggy tees for men are not just garments; they're bold fashion statements that scream individuality and creativity.

Amped-Up Style: Back print oversized t-shirts are the embodiment of style with an edge. Unlike traditional tees, these garments put the focus squarely on the back, allowing you to make a bold statement with eye-catching graphics, intricate designs, or even personalized messages. It's a canvas for your creativity.

Streetwear Revolution: This trend owes much of its popularity to the streetwear movement, where oversized and baggy clothing is a defining characteristic. Streetwear fashion has transcended urban landscapes to become a global phenomenon, and back print oversized tees are at its core. They exude an effortless coolness that's hard to ignore.

Comfort Beyond Measure: While they're undeniably stylish, baggy t-shirts are also incredibly comfortable. The relaxed fit offers unparalleled freedom of movement, making them perfect for everyday wear. Whether you're skateboarding, hanging out with friends, or simply lounging at home, these tees ensure you stay comfortable without compromising on style.

Unisex Appeal: Back print oversized t-shirts are a prime example of fashion breaking free from gender norms. They're not limited to any gender and are embraced by people of all identities. This inclusivity adds to their allure, allowing everyone to enjoy the trend.

Versatile Wardrobe Addition: These tees are versatile in their ability to adapt to various style preferences. You can rock them with ripped jeans and sneakers for a rugged streetwear look, or pair them with tailored trousers and boots for a high-fashion twist. The juxtaposition of baggy comfort with sharp style is a unique fashion statement.

Statement-Making Graphics: The back print is where the magic happens. From artistic motifs and band logos to iconic movie quotes and pop culture references, the graphics on these tees can convey your interests and passions. They spark conversations and invite intrigue.

Effortless Confidence: Sporting a back print oversized t-shirt isn't just about following a trend; it's about exuding confidence. The relaxed fit allows you to embrace your body and movement, fostering self-assuredness that can be felt in how you carry yourself.

[luckyfortune]

Go to Accessories for Every Urban Streetwear Lover

Written by Christy Chavira

Hey guys, it’s Christy here!

A recap of what ‘Lucky Fortune” covers is about the latest women’s urban streetwear trends and the various staple pieces for interchangeable outfits. Urban streetwear clothing has created a revolution that combines comfort, fit, and high-end fashion. It is an outlet to express your creativity and demonstrate who you are through what you wear and how it is worn. 

This week we’ll be going through some of the main accessories that can make your outfit stand out and the different ways to rock them. Why accessories? Small things add up and accessories are the best way to make an outfit come to life. 

Make it Pop! Accessories can elevate and enhance a look to a new level. It even allows you to create interchangeable outfits by mixing and matching them into different looks. Making your staple streetwear purchases more sustainable and long wearing. It is the perfect way to express your personal style and add your own twist to a streetwear look. Let’s get into it!

Headwear 

An outfit can go from simple to interesting just by adding a stylish hat. Hats are an essential to streetwear fashion and can be worn for any season. There are many different styles to choose from beanies, bucket hats, to caps. One way to style them is choosing a solid or complementary multicolored hat as a splash of color for a neutral outfit. Or select a hat color that contrasts your shirt and shoes. 

Source: https://www.google.com/amp/s/www.vogue.com/slideshow/cute-baseball-caps-for-women/amp

Also, texture can help add an extra dimension to your outfit. Here we have Bella Hadid seen in a fuzzy 90’s style bucket hat in the streets of New York. What a great element to add with a black oversize trench coat with a pair of jeans and boots. If you’re thinking, hey that looks really cool I want a fuzzy bucket hat now! There are similar looks in stores such as Urban Outfitters and ASOS.  

Source: Bella Hadid Is Bringing Back the Fuzzy Bucket Hat | Glamour

Fanny Packs

Fanny packs are a good way to add an element of style while giving you functionality. As it helps keep your belongings within eyesight. The style is perfect for walking through busy streets while being fashionable at the same time. It can be accessorized for an everyday outfit to elevate your fit even higher. It can also make a simple look stand out by having a bold pattern or bright color to tie your outfit together. Here we have celebrities like Kendall Jenner and Bella Hadid rocking them.

Source: Rock the 90s Fanny Pack like Rihanna, Kendall Jenner, Bella Hadid! (goxip.com)

Not only are they great because of their practicality, but also their versatility. You can wear them over your shoulder, on your chest, or just swing it across your back. There is no wrong way of wearing it. Here is a cool fanny pack option from Free People.

Source: Hudson Sling Bag | Free People

Sneakers/Trainers 

Sneakers are generally one of the more well-known items of streetwear and they can be a good way to add more style to your fit. The styling options are seemingly endless. You can style them with oversized pants, biker shorts, jeans, sweatpants, or even a mini skirt with a chunky sneaker. There are many varieties of sneaker options such as Nikes, New Balance, and Jordans. Here is a chic outfit of a leather blazer, trousers, and a pair of Nikes.

Source: https://stylebyemilyhenderson.com/blog/how-to-style-womens-sneakers

Here we have another urban streetwear inspired outfit with wide-leg jeans with a chunky sneaker. The outfit is effortless yet chic for on the go. Plus, pairing sneakers and jeans is a timeless option and will never go out of style. 

Source: https://www.google.com/amp/s/www.popsugar.com/fashion/How-Wear-Jeans-Sneakers-44530807/amp

Sunglasses

Sunglasses come in various styles that have become a way to show off your personality. Eyewear is a playful accessory as it can create a cutting-edge look. Options of sunglasses can be cat eye, visor wrap, aviators, to rounded and rectangles frames that can stand out in the crowd. There is a range of frames and colors for every mood. 

Here is a style of futuristic shades from ASOS. What a fresh take! The visor wraparound sunglasses have become the latest trend.  

Source: https://www.asos.com/us/asos-design/asos-design-visor-wrap-sunglasses-in-silver-with-mirror-lens/prd/204437577?clr=silver&colourWayId=204437589&cid=4545

Here we have Rihanna in New York rocking skinny rectangular sunglasses. This style is not going anywhere for these tiny specs.

Source: The Most Flattering Sunglasses for Oval Faces | Who What Wear

Jewelry 

Bracelets, rings, earrings, and necklaces are able to take your street style game to the next level with minimal effort. One way is to layer your jewelry. For instance, picking a statement necklace, try to layer various other necklaces with it. That can be either different lengths, shapes, or colors that will match perfectly with your outfit. 

Source:  (159) Pinterest

And lastly, shake it up and add color to your jewelry pieces. Applying a bit of color to your silver and gold bracelets can bring a new spin to your look. Never be afraid to blend in colorful pieces and experiment. 

Source: Rainbow Bead Bracelet – Jennifer Miller Jewelry

*I do not own any rights to photographs, sourced from links above.*

#urbanstreetwear #accessories #fashion #streetwear #streetstyle

[thejewofkansas]

The Weekly Gravy #69

The Weekly Gravy #69

Rock & Rule (1983) – *½ As a general rule, films with pun titles aren’t good; as another general rule, films which bill the soundtrack above the cast and crew aren’t very good either. Rock & Rule‘s poster and opening credits alike prioritize the original songs by Cheap Trick, Debbie Harry, Lou Reed, Iggy Pop, and Earth, Wind & Fire, but even if the songs were better (and they’re not that…

[madforfashiondude]

New-York Historical Society Presents The Rock & Roll World Of Legendary Impresario Bill Graham

New-York Historical Society Presents The Rock & Roll World Of Legendary Impresario Bill Graham

Immersive Audio Experience Featuring the Music of David Bowie, Rolling Stones, Janis Joplin, and Other Rock & Roll Icons and a Recreation of the Fillmore East’s Famous “Joshua Light Show” Bring Visitors into the Rock & Roll World Bill Graham and the Rock & Roll Revolution On View Now Through August 23, 2020

Bill Graham between takes during the filming of “A ’60s Reunion with Bill Graham: A…

[x--daughters-of-darkness--x]

HALESTORM: Behind-The-Scenes Footage From Making Of 'Back From The Dead' Video

HALESTORM has shared behind-the-scenes footage from the making of the official video for the band's new single, "Back From The Dead". The track is taken from the group's upcoming fifth full-length album, due in 2022. Directed by Dustin Haney (Noah Cyrus, Luke Combs) and produced by Revolution Pictures, the clip features frontwoman Lzzy Hale and the rest of the band in a morgue and cemetery somewhere between life and death.

Lzzy says: "'Back From The Dead' is about survival, not in a physical sense, even though I know we all have been touched by death especially these last few years. This song is personal and written from a mental health perspective. I wanted to give myself and the world a hard rock song we could shout out loud as the gates opened again. I was on the edge of this world getting completely lost in oblivion, but even though it was the harder of two choices, I didn't just let the darkness and depression in my mind dig me an early grave. I didn't just sit and let it take me. I've erased my name from my headstone, so save your prayers, I'm back! I hope this song, as I pass it on to you, reminds YOU of your strength individually and that you are not alone."

She continues: "The video was so much fun to film! Dustin Haney is an amazing director. Dustin and his team really helped bring my words to life and the video is one of the most cinematic pieces we've done in years! I hope this song, as I pass it on…reminds YOU of YOUR individual strength and that you are not Alone. Raise your horns!"

By breaking rules, bucking trends, and busting down doors, HALESTORM has surged through rock 'n' roll on a singular path without compromise or apology. Along the way, the Pennsylvania-bred and Nashville-based quartet — Lzzy Hale (vocals, guitar), Arejay Hale (drums), Joe Hottinger (guitar) and Josh Smith (bass) — has collected a Grammy Award, scored successive number ones at radio, garnered multiple gold and platinum certifications, and performed to sold out crowds on five continents.

Going against the grain again in 2021, the band weathered the flames of chaos in 2020 and returned stronger than ever with their most empowering and undeniable anthems to date.

"Throughout the pandemic, I was writing a lot of melancholic and hopeless songs about the ups and downs of the world," admits Lzzy. "I've been in this group longer than I haven't been in it. We've always had shows. Even when I was 13 years old, we had a couple of bowling alley gigs once a month. This was the first time I didn't know if we would ever play again. However, I started to use music in the same way I did as a teenager—to get myself through this situation that was plaguing us all. I sidestepped and said, 'Let's keep our heads up, get our attitude back, be a light in the dark for a second, and celebrate the fact we're surviving and there's hope for the future.' So, we started to write songs that were a reminder to ourselves of who we are and what we're capable of. That became the mission statement."

In a way, it's always been the mission statement…

Since roaring to life in 1998, HALESTORM has uplifted audiences with a combination of sonic ass-kicking, provocative songwriting, and unshakable hooks. The four-piece received a Grammy Award in the category of "Best Hard Rock/Metal Performance" for "Love Bites (So Do I)". The song also minted them as the first female-fronted band to hit #1 on the Active Rock radio charts. Thus far, their discography spans two gold albums "Halestorm" and "The Strange Case Of..." , a platinum single "I Miss The Misery", and two gold singles "Here's To Us" and "I Get Off". Between surpassing one billion cumulative streams worldwide, they've notched two consecutive Top 10 debuts on the Billboard Top 200 with "Into The Wild Life" (2015) and "Vicious" (2018). The latter represented a critical high watermark with Rolling Stone citing it as "a muscular, adventurous, and especially relevant rock record." In its wake, "Uncomfortable" emerged as their fourth #1 at rock radio and earned their second Grammy Award nomination, while Loudwire christened HALESTORM "Rock Artist Of The Decade" in 2019. Not to mention, they have supported everyone from HEAVEN & HELL and Alice Cooper to Joan Jett on the road.

Even as the world went dormant during 2020, Lzzy remained prolific. She lent her voice to collaborations with everyone from Dee Snider of TWISTED SISTER, IN THIS MOMENT, APOCALYPTICA, and Mark Morton of LAMB OF GOD to EVANESCENCE, Cory Marks, and Mongolian phenomenon THE HU. Additionally, she joined forces with a trio of legends — Corey Taylor of SLIPKNOT, Scott Ian of ANTHRAX and original SLAYER drummer Dave Lombardo — for the theme song to Netflix's "Thunder Force". Plus, the group contributed a cover of THE WHO's "Long Live Rock" to the documentary of the same name. Expanding her presence across television, she hosted the AXS TV "A Year In Music" series, joined the cast of Hit Parader's "No Cover" as a judge, provided the singing voice for Bella Thorne in the Prime Video hit "Paradise City" and launched her own show "Raise Your Horns" on Rolling Live. On the channel, she appeared in Mike Garson's David Bowie tribute with a performance of "Moonage Daydream" alongside Broadway star Lena Hall. She also participated in the platform's Ronnie James Dio tribute, supporting the Stand Up And Shout Cancer Fund.

At the same time, she remained a huge proponent of encouraging the dialogue around mental health. She participated in a Grammy Mental Health panel and empowered the next generation of rock musicians as the keynote speaker at the Little Kids Rock Modern Band Summit. She also made history as Gibson Guitars' first-ever female ambassador.

"I've learned a lot about myself through all of these different projects," she admits. "I said 'yes' to various adventures, and it made me a better artist."

Working out of her home studio in Nashville, Lzzy and the band channeled this renewed spirit into the music at the onset of 2021. Collaborating with Scott Stevens of THE EXIES, the musicians hit their stride and cooked up the single 'Back From The Dead'. Dramatic distortion and drums rumble as she screams, "I'm back from the dead!" HALESTORM come out swinging as punchy verses give way to a call-and-response chorus shocked to life with a searing solo and thunderous groove.

"We needed a reintroduction," she exclaims. "We needed something that simply said, 'Hey, we're back'. The live show is the time we feel as truly alive as we can be. When you walk out on stage with your guitar strapped on, your guys are next to you, and you have an audience looking at you, it's everything. We're celebrating the fact we're all back together again. Whatever it is that was trying to destroy that part of myself and my bandmates that our fans need couldn't do it. It failed miserably. We're fucking back."

From the moment the band graced the stage at a secret Nashville gig, they were indeed "back," albeit louder, heavier, and emboldened by an unbelievable year. Amped up to jump back in, their tour schedule took shape with festival dates followed by a co-headline run with EVANESCENCE in the fall.

Readying their fifth full-length album, they're delivering the soundtrack for a world ready to roar again.

"We've lost a lot of people, but we can start healing again," she leaves off. "I appreciate the little things even more. I don't only feel this confidence in myself, but also in every one of my band members. We're not the same people, none of us could ever be. HALESTORM is my source of my joy. It's my connection. It's the closest thing to my religion. We're moving forward. With this next album, I hope we're able to create a greater sense of community. We have a beautiful opportunity. When you listen to it, I want you to feel like you can walk through any fire."

[maximuswolf]

Prince & The Revolution - Raspberry Beret (Official Music Video)[Rock]

Prince & The Revolution - Raspberry Beret (Official Music Video)[Rock] https://youtu.be/l7vRSu_wsNc?si=ldcH9VYCNWazIw_- Submitted October 06, 2024 at 10:41PM by ChickenChoochie https://ift.tt/0D5opqh via /r/Music

[themusicview]

We woke up one morning and fell a little further down - a Godspeed You! Black Emperor retrospective - Pt. 4: Yanqui U.X.O.

It’s difficult to imagine now, what with approaching two decades of continuous fighting, but the missile that launched Operation Iraqi Freedom was the shot heard round the world for many years. The American news cycle was choked by references to terrorism, the public could not stop talking about it, and the consequences are still being felt. Point being, if Madonna couldn’t resist talking about the war, how could Godspeed.

Perhaps the most interesting part of this album is that Godspeed were largely left to do their own thing. Produced by the great Steve Albini, who famously produced In Utero, the result is one of the rawest records Godspeed has ever released. The samples and mixing are gone, in their place is a wall of noise.

09-15-00, the album opener, begins quietly and sedately. A guitar and harpsichord slowly fade into audibility, followed by drums and guitar. The cinematic qualities of the previous effort aren’t exactly present here, instead there is the presence of noise. Noise and the crescendo. The usual array of instruments are present, guitar, bass, drums, but the band also makes use of a few curious additions: timpani, harpsichord, and The album notes connect the song to the start of the second Palestinian intifada, in which the state of Palestine fought against the oppression of the Israelis. This is where a curious theme is brought into the Godspeed discography - the revolution. Being anarchists, Godspeed has always been about change, but this is one of the only times that they have been so blunt and open about it. This is music about the oppressed and the downtrodden, those left behind in the wake of capitalism. They will return to this theme later in their discography, but for now just keep this in the back of your head.

Rockets fall on rocket falls, the second track, is much the same. The track opens with an ascending guitar lick that will get stuck in your head in some form. The best way I can describe this track in its entirety is the Rite of Spring as written by early 2000s emo kids. The drums do a ton of work when they do come in and allow the track to accelerate into the build. Distorted guitars disintegrate into an almost classically composed section. If you told me that this track was actually a section from a late Beethoven piece I would have believed you. Woodwinds and guitars fill out the atmosphere of the track to the point where it feels the most soundtrack like without being fully cinematic. However, when the guitars do come back in, it is nothing short of cataclysmic. It feels earthshaking in a way that is difficult to explain. One more build takes us out of this track. It is easily the highlight of the album and one of my personal favorites that the band has ever put out.

Motherfucker = redeemer, the final two part track, has the quietest introduction ever. It feels like a pit orchestra warming up. A lone glockenspiel sounds an A as the rest of the band noodles around. It gives the listener an opportunity to catch their breath before the insanity that is to come. The guitar, when it does come in, builds quickly, augmented by tremolo violin and a rapidly tapping drum section. This is part of the reason why I love Godspeed so much, why so many people love them; even on albums that don’t necessarily have a concept, there is no mindlessness. Every instrument is perfectly placed, every sound has a purpose, nothing is wasted. For as long as these songs are, for as indulgent as they can be, the craft here is nothing short of immaculate. The end of the first build is filled with these stabs of noise that fall from thousands of feet up. This dies away quickly, and is replaced with an atmospheric western section that wouldn’t sound out of place on f#a#. Another reprieve, a moment of tension building to allow the track to rocket back up again. And while it doesn’t immediately, we are given this almost weeping, contemplative section to close out the first part. It is incredibly impactful.

The second part kicks off with a drone that honestly wouldn’t sound out of place on one of Trent Reznor’s many projects. Human voices, are augmented by what sounds like bowed guitars. The drone begins light, but evolves over the course of 5 minutes into something dark, angry, and deranged. This is broken by a baseline that wouldn’t sound out of place on a Tool song. Of course, the more obvious comparison would be Mogwai, another contemporary of the band, but with far less grand ambitions. The build up is similarly intense, but swung to give it a more accelerative feel. The most interesting choice they made was the sudden cut to silence. Literally, it feels like the band unplugged their amps, there isn’t even reverb. There is a hidden track on this album, that takes quite a bit of doing to find. It was released later on Adrian Girt’s sound collage album Droopy Butt Begone as George Bush Cut Up While Talking. It is here that the band’s politics most completely reveal themselves in their music. It is a terrifying collage of sound. Clapping that sounds like static, a George bush speech cut up into something unrecognizable and apocalyptic. It is a lambasting of Bush’s nonsense politics, and the people who bought into it. The man could literally say, “I am against kindness” and you would still cheer. It is a critique that has only grown more and more apt with the current era of American politics.

Yanqui U.X.O is powerful noise rock with a powerful message and, though it wasn’t the most well received upon its release, the shadow of this album has only grown not just due to its compositions, but because, though nobody would know this at the time, this would be the last thing we got from Godspeed for 12 years.

Yanqui U.X.O (CD)

I have to say, for all of the incredible releases Godspeed has put out, this is the one that I have the least fondness for. Part of the reason why Yanqui U.X.O. is still regarded as Godspeed’s worst is, I feel, due to the press receiving the CD version rather than the Vinyl version. It is not bad, godspeed has no bad album, rather it is incomplete. To borrow a comparison from video games, it is the handheld port of the console release. The only track that remains untouched is rockets fall on rocket falls, the remainder of the album is split up or heavily truncated. Motherfucker = redeemer loses the ambient intro and plunder phonics outro that helps to form the thesis for the entire album, and 09-15-00 loses its monolithic nature. In total, over 8 minutes of music is cut from the cd release.

Honestly, I would rather listen to a vinyl rip as opposed to the CD version. You can skip this one.

[rprandliberal]

"Pistol is a six-episode limited series about a rock and roll revolution. The furious, raging storm at the center of this revolution are the Sex Pistols - and at the center of this series is Sex Pistols’ founding member and guitarist, Steve Jones. Jones’ hilarious, emotional and at times heart-breaking journey guides us through a kaleidoscopic telling of three of the most epic, chaotic and mucus-spattered years in the history of music. Based on Jones’ memoir Lonely Boy: Tales from a Sex Pistol, this is the story of a band of spotty, noisy, working-class kids with “no future,” who shook the boring, corrupt Establishment to its core, threatened to bring down the government and changed music and culture forever.

https://collider.com/pistol-series-images-danny-boyle-sex-pistols/amp/

https://deadline.com/2022/03/pistol-steve-jones-fx-hulu-debut-date-1234990076/amp/