the original, for those who haven’t seen it
the David Cross version
George W. Bush acknowledged for the first time yesterday that the raging violence in Iraq could be compared to the Vietnam War.
ABC News asked Mr. Bush whether he agreed with a New York Times columnist’s comparison of the strife in Iraq as the “jihadist equivalent of the Tet offensive,” which is considered a key turning point in Vietnam.
“He could be right,” Mr. Bush said
Christian band Winterhaven is simply too rockin’ for words. They rock so hard, it’s quite possible that they could be the headlining band in Hell. As The Right Reverend Rabbi Judah asks: “ever wondered what might have become of the Partridge Family if they’d had the fear of God put in ’em.” Winterhaven, we love you. (We originally intended to just post this on our brother site, evangelicalright.com, but it’s too good to not share)
The Devil Is A Liar
(make sure you see the rocking guitar solo)
I Don’t Need A Vice
Check out more here.
A big Hat Tip to The Right Reverend Rabbi Judah
“Nurton” (Blue Pole)
Electronic music pioneer and Krautrock godfather Dieter Moebius is back with his first solo recording in over eight years. His new full-length “Nurton” will appeal to followers of modern ambient electronic music as well as those still enamored with the analogue, sequence-based mood enhancement of the Seventies.
In 1971 Moebius and fellow Berliner Hans Joachim Roedelius formed Cluster, an inventive duo whose unique approach to the emerging instrumentation of the time set a new standard for electronic minimalism.
Cluster diverged from the symphonic, epic-length overtures favored by their more popular contemporaries Tangerine Dream and Klaus Schulze. Instead, the duo experimented with silence and embraced an intimate sense of space rather than portray interstellar space.
Cluster also playfully injected elements of pop, dub, and classical composition into their music.
On “Nurton” Moebius reveals he hasn’t abandoned such clever craftiness. However, modern ears might bristle upon hearing the clunky, rhythmic thump and noodly synthesizer of ‘Gängig’ or the old-school waveforms of ‘Schleudergang’. His new release may be too retro
sounding for some, but Moebius comes by it honestly.
While “Nurton” has a kind of time capsule quality to it, what’s old is made new again. Much of the music here, as on ‘Anfahrt’ and ‘Opaque’, is as comparable to that of new minimal electronic standard bearers To Rococo Rot as it is to any Cluster classic.
“Foo Foo Yik Yik” (Lovepump United)
“In my dreams / Anxiety, paranoia, nervousness / I can’t get what I want / I can’t get there”. Such is also the strange waking state of affairs of Dynasty Handbag, a.k.a. Jibz Cameron.
Having first collaborated with rockers Dynasty and The Roofies and shared stages with other fellow West Coast compatriots Xiu Xiu, Numbers, and Erase Errata, Cameron eventually moved to New York to focus on her own music.
On her first Dynasty Handbag full-length, Cameron sounds emotionally acclimated to Gotham’s urgent, erratic energies. A mix of poetic angst, spare electronics, and Patti Smith styled grunginess; “Foo Foo Yik Yik” captures an artist mesmerized by her new surroundings but swirling inwardly with turmoil.
Cameron’s vocals are the thing. Sampled, pitched, and shrieked, her voice is flexed and contorted but it rarely illicits emotions beyond those associated with fear or despair.
I never thought I’d ever find myself comparing an artist to Thick Pigeon singer Stanton Miranda, but Dynasty Handbag sounds a lot like the old singer; and her music has a similar Eighties weirdness about it too.
While Miranda’s U.K. Factory label mates New Order and Section 25 were just beginning to make waves throughout the underground, New York band Thick Pigeon already had one foot in the closet of soon-to-be-forgotten new wave acts. They were just too weird and tuneless for their own good.
If the Dynasty Handbag follow up to “Foo Foo Yik Yik” fails to deliver something more substantial than this collection of twitchy, nervous electro-wheeze; she likely faces a similar fate.
We know it’s way too early for this, but we wanted to post this while it’s still available. Twisted Sister is set to release an all-new Christmas record. You can stream the whole thing here. MySpace has some clips too.
And here’s members Eddie and Jay Jay rehearsing “I’ll Be Home For Christmas.”
[Hat Tip BrooklynVegan]
New designs drawn up by the architectural firm Ehrenkrantz Eckstut & Kuhn depict Thor’s futuristic vision. A new roller coaster would dart in and out of new buildings along Stillwell Avenue, the first roller coaster in New York City since the Cyclone opened in 1927, according to the developer. Opposite the subway station, Thor is planning a vertical ride to the top of a 150-foot-high water tower that would be decorated with flickering holograms of whales and mermaids.
Where Stillwell Avenue meets the boardwalk, the developer wants to build a giant indoor water park and a three-story, glass-enclosed carousel. All the rides would be winterized. They would also be integrated with a movie theater, arcades, retail stores, and with existing attractions, like the Cyclone, the Wonder Wheel, and the Parachute Drop. Thor Equities would lease out the rides or find an operating partner to run the amusements.
The plan has a catch. Thor says it needs the city to enact a zoning change to allow residential and hotel development in the amusement district. Thor wants to build as many as four towers on its site, comprising two hotels, a time-share, and an apartment building that could rise up to 40 stories….
While some critics have said Thor’s designs are too glitzy, Mr. Zigun envisions something like Las Vegas, Miami Beach, Orlando, Fla., and Atlantic City, N.J., jazzy, modern, and fantastical, as opposed to a “suburban glass fa√ßade,” or an area dominated by mall-like retail stores. Thor changed earlier plans for a mall after residents and city officials complained.
The project architect, Stanton Eckstut, said the design would not be a replica of old-fashioned Coney Island style.
“We don’t want to do something based on a frozen moment in time,” he said. “We want to make it feel like part of the evolution of Coney’s past, but we are not doing a historic reproduction.”