Sunday, December 12, 2010

Raleigh Soliloquy All Parts (1,2 & 3) by Sublime

Raleigh Soliloquy All Parts (1,2 & 3)

Taken from the album Robbin the Hood, by Sublime.
The album is full of fillers, instrumentals and 'Raleigh Soliloquies,' the rants of a mentally disturbed man named Raleigh Theodore Sakers. Raleigh Soliloquy Pt. III has Raleigh singing his interpretation of "You Don't Know What Love Is" by George Benson. 
Raleigh Soliloquy All Parts (1,2 & 3)

=-=-
Part I: Rollie Theodore Sakers

We've got you in this fuckin' movie to exterminate all the lunitics
all at once with a filetering system of God. We're the psyco-
semantic police, you can't even see us. How in the fuck can you do
anything about it?

We're pure intellegence, your not. Your biological product of a
comological universe. Your molecular matter, I constructed you, fuck
you.

I made you up, you didn't make me up, you got it backwards. You know
who you are?
Your fuckin' semantic blockage, that's what made you up.

You're a fuckin' programer named Christine Gontara. You fucked up.

She sucked my cock, fell in love, and she was locked in. She's gonna
get her second chance to suck my cock again. If she turns me down, she's
gonna go striaght to hell, she won't pass go, she'll never fuckin'
win.
She's the cunt that thought she was God, but that's OK, I don't give a shit.
As long as she sucks me off when I tell her. 'Cause she's my zombie.

I capured that mother fucker, and she's my cassette. I want that
cock sucker to send me at least fifty-thousand fuckin' dollars. If
she can't do it I'll try ten. If she can't do that, I'll try five,
but that's it.

If you got a dowry of five thousand dollars, come out here and suck
me off, do what I tell you from now on, then you can join me for
eternal time.
=-=-=-=-=-=-=-=-=-=
Part II: Rollie Theodore Sakers

Raleigh:] You went for line drawings and you fucked up you fuckin'
idiot. You brain-washed yourself you mother fuckin' stupid cock
suckers, because you never studied your Holy Homework. That's two
capital H's there, all the rest are lower case in any fuckin' case.

Supreme Court, you are not the fucking Supreme Court of anything,
except Hell! For the next ten thousand years you will shovel your
shit and eat it, because your on repeat mother fucker. It just
started backwards and you can't do a fuckin' thing about it. The
public are gonna take back every fuckin' thing that you took away
from them you mother fucker.

[Security Guard:] Raleigh.
[Raleigh:] Yes.

[Guard:] This is the deal.

[Raleigh:] Yes, what is the deal?

[Guard:] You either cool it down right now...

[Raleigh:] Or your gonna fuckin die!

[Guard:] ...your outta here.

[Raleigh:] Oh, your gonna put me out? Well I ain't leavin' mother
fucker. Now what are you gonna do, what are you gonna do to this
little kid? Eh?

[Guard:] Your gonna go to the psyche ward.

[Raleigh:] Well good, that's where I wanna go.

[Guard:] Yea, your gonna be right there. So you better cool it down.
You better cool it down right now, I don't want to hear anything
else out of this room or you are gonna go to the psyche ward. This
is your last opportunity.

[Raleigh:] Yea, OK, get it. Let's go.

[Guard:] Shut your fuckin' mouth.

[Raleigh:] all right .

[Guard:] And don't make anymore waves in the house. Otherwise you'r
going to the psyche ward.

[Raleigh:] Well, thats exactly what I'm gonna do, I'm gonna go to
the psyke ward and so I'm gonna shoot my fuckin' mouth off, so get
out of here. Your cutting into my commercial.

[Guard:] You understand?

[Raleigh:] I'm making a fuckin' commercial, I'm a businessman! Get
out of here! Your trying to get in on this fuckin' thing, you ain't
no star asshole, your just a fuckin' errand boy.

[Guard:] Your the craziest son of a bitch I ever...

[Raleigh:] Exactly...I'm an American!

[Guard:] This is the last warning Raleigh.

[Raleigh:] Good, Shut Up!
[background laughter]

[Guard:] Anymore out of you and your going to the psyche ward.

[Raleigh:] See, you lie. You don't eat your feedback.

[Guard:] You need to understand that, as long as you understand
that, that's the rules Raleigh.

[Raleigh:]Whoever comes in this fuckin' room, I'm gonna fuckin' kill
em! That's what I gonna do.

[Guard:] Oh are ya? I'm in your room Raleigh.

[Raleigh:] Well you've come in against...this is my room.

[Guard:] I'm in your room, I'm in you room, I'm in your room.

[Raleigh:] Back out, back out, back out. Words don't bother me man,
actions do.

[Guard:] Let's do it, go for it dude.

[Raleigh:] Well if you come at me your gonna fuckin' die!

[Guard:] Go for it.

[Raleigh:] I ain't going for nothing, you fuckin' reach for me and
I'm gonna take your arm off.

[Guard:] Come on. Come on! [Raleigh:] I ain't comin, you come.
[Guard:] Cool it Raleigh. You understand that? You got it? Either
you cool it or your out of here, that's the only choice you have.

[Raleigh:] Try it.

[Guard:] Your gone dude.

[Raleigh:] Who's gonna enforce it? Call the cops mutherfucker! Call
the cops.

[Guard:] You got witnesses right now?

[Raleigh:] No witnesses, call the fucking cops! I'll call the
fuckin' cops on you, you cocksucker, right now.

[Guard:] Good.

[Raleigh:] 911 - Just like that, and you will never get out of this.

[Guard:] Good. Come on.

[Raleigh:] I would like an emergency call please, there's a
psychopathic trying to kill me in my fuckin' room, now get them cops
over here to 1-2-3-O-9 Ventura Street please. He is standing in my
door, I told him to get out of here, and he tells me he's gonna put
me in the psycho-tank, for making my production here. Which is a
science fiction magazine! And he's trying to scare me 'cause he
thinks he's big, but he's just a big pile of shit! 'Cause I'll
splatter him all over the fuckin' wall. I hope you record all that.
That's a pre-programming for the police department! And send 'em
over here, 'cause I'm about to kill him in two seconds. Now get 'em
over here as fast as you can please. I hope your recording this.

=-=-=-=-=-=-=-=-=-=
Part III: Rollie Theodore Sakers                                                          

You guys dont know what love is.....

"starts singin"

Lets see whats happenind
Sex is startin up that thing again...yeaaaaah
Well we can stop that thing anytime we want..lets do it..
"" * Track 22 includes several hidden tracks including an alternate
version of "Don't Push" and an untitled dub song that includes
snippets of "Boss D.J." The original Skunk Records release also
contains a cover of Mudhoney's "The Farther I Go," which was removed
from the Gasoline Alley/MCA re-release for legal reasons. ""
=-=-

The Frogs - Influenced by GG Allen

The Frogs are an American rock music band founded in 1980, in Milwaukee, Wisconsin, by brothers Jimmy and Dennis Flemion. The brothers mainly write and perform short, catchy pop songs, but they are also known for their improvised home recordings which are delivered in a comedic style, and often tackle controversial issues such as race, religion, and sexuality (notably homoeroticism). A history of strife has hindered the band, although a devoted fan base that includes many well-known musicians has supported the group.
- - - - - - - - - -   
  The Frogs - I'm Hungry 

 I'm hungry
Feed me now
I gotta eat something
Don't give a shit, give me a piece of a cow
I'm hungry
Come on, where's the meat?
Give me a piece of fruit, that kind
I'm hungry
Don't give a shit about lying around in a nursing home watching TV
Give me a piece of anything!
I'm hungry
I don't wanna be your friend
I'm hungry
Give me what you got on your plate
Get your hands!
I'll take what I want
I'm hungry
I deserve this food
Don't you dare not feed me food!
I'm hungry
Who isn't?
Got something stuck in my throat
Probably a piece of pheasant
What do you put in this food?
Are you poisoning me?
My throat is bent
My throat is all bent up
Help!
Nurse!
My throat!
The bent... the bent throat!
I got a bent throat!
What do you mean, what the fuck?
The throat is bent
You can't eat food with a bent throat
You try fooding eat
You eat, yeah, you eat all right
I watch you eat
I never get no food
What do I get?
Leftovers, leftovers, leftovers
Give me some rightovers for once
My throat
Wait a minute
But I'm hungry
I'm hungry
Oh man, I'm hungry
- - - - - - - - - -  

The Frogs I'm Sad, My Goat Just Died Today


I'm sad because my goat just died today
I'm sad my goat just fell in the hay, hey
We're all sad the goat just died today, well, well, well
We're sad enough to cry, cry-ay-ay-ay
Sad the goat just died tonight
We're sad, his funeral's gonna be out of sight
We're so sad, but in a way we're happy
He didn't suffer too much
He only got the cramps once
Sad, oh, the piece of poop wouldn't come out of his belly
Sad, we had to call Doc Nelly
We're sad
- - - - - - - - - - 
The Frogs - Children Run Away (The Man With The Candy)


 Children in the schoolyard hard at play
Man behind the trees with his candy on the way
Run away
Run away from the man with candy
Run away
Children with the candy in his van
Drive to a secluded location -- down with the pants
Children run away with the man with the candy
Today
Back at the schoolyard, he's hard at play
Joining in with all the children's games
Children run away from the man with the candy
Children run away
The principal has a few words for the man
"Better get out of here and take your van!"
And now he's gone
As he rides past your lawn
Children run away
The man with the candy has come to play
With you today
- - - - - - - - - -  

Saturday, December 11, 2010

Phillip J. Moreau Feb. 8, 1984 - Dec. 4, 2010


Phillip J. Moreau 
Feb. 8, 1984 - Dec. 4, 2010

 
 Phil was more than just a friend, or an acquaintance, he was equal in mind as a brother should be.  I and a selected few others grew close with Phil from an early age and fostered a friendship and camaraderie which will last a lifetime. Irreplaceable, and unconditional love forms between friends of this caliber and a virtuous respect results which connected .

 During his life he lived and learned through good or bad and always seem to make the right final decision. 

As of recent times, Phil was anticipating the continuation of his academic studies with the possibilities to move abroad or remain around Boston. He also had recently talked with me about rejuvenating his practiced talent as a fish-keeper and aquamarine enthusiast.  

Phil accepted a 10gal. fish tank from my Fiance and I back in 2006.  He bought a few tropical freshwater fish and began a highly successful collection of tanks. Including saltwater and Indo-Pacific Ocean 'nano' reef, coral, fish only tanks and mini farming anemones and other invertebrates.  He soon grew his tank collection to a total of 3 tanks and a breeder/feeder tank as a food supply.

  It was not long before Phil had a favorite keep, the Mandarin Goby, scientifically known as "Synchiropus Splendidus".

Obituary
Phillip J. Moreau 
Feb. 8, 1984 - Dec. 4, 2010
  |   Visit Guest Book
  Phillip J. Moreau, age 26, lifelong Maynard resident, died Saturday, Dec. 4, 2010, at his Maynard home. He was the beloved son of Michael and Roseanne (McMahon) Moreau. Born in Concord on Feb. 8, 1984, he attended Maynard Public schools and graduated from Maynard High School in 2002. For many years, Mr. Moreau helped with the family business. 

  He enjoyed music, playing the guitar, was passionate about cars, working out and was a tropical and saltwater fish hobbyist. 

  In addition to his parents, Michael and Roseanne of Maynard, he is survived by his brother, Michael G. Moreau Jr. and his wife Cara of Maynard, one niece, Hannah Moreau of Maynard, one nephew, Dylan Moreau of Maynard, his maternal grandparents, James and Rose Marie McMahon of New Bern, N.C., and his paternal grandmother, Mary (Dee) Moreau of Concord. He was the grandson of the late Leon Moreau. Also survived by many aunts, uncles and cousins.

  • Funeral will be held on Thursday, Dec. 9, from the Dee Funeral Home, 27 Bedford St., Concord Center, at 9 a.m., followed by a funeral Mass in Holy Family Parish, Monument Square, Concord Center, at 10 a.m. 
  • Burial will be in St. Bernard's Cemetery, Concord. Visiting hours at the Dee Funeral Home were held on Wednesday, Dec. 8, from 4-7 p.m. 

 Keep Phil's Boston Globe Legacy Guestbook online permanently!!:
This Guest Book will remain online until 12/5/2011.
  • Dee Funeral Home of Concord. For online guest book, visit www.deefuneralhome.com.

 




















Friday, December 10, 2010

Cocoman & Coco Jammin Productions @ Cross Club - DRUMSTATION - 10.12.2010 – Pátek

 

DRUMSTATION - Special jungle edition with Bizzy B & TDK MC

10.12.2010 – Pátek Vstupné: do 21:00 60,- / po 100,-
Vystupující: DRUMSTATION JUNGLE EDITION(Bizzy B (UK) & MC TDK (UK), D.I.S. (GER) & Dubwiser MC (GER), Ripclaw & Coco Jammin', Mad4ce, Medis), REGGAE STAGE (Peeni Walli & MCs Mad Reefah & Cocoman) …
Bizzy B (UK) & MC TDK http://www.mys­pace.com/bizzyb­brainrecs
D.I.S. & Dubwiser MC (Jungle Lion, Ruff-E-Nuff, DE) – http://www.mys­pace.com/disjun­glelion Ripclaw (Peeni Walli, CZ) http://www.sou­ndcloud.com/rip­claw Coco Jammin' Production (CZ) – http://www.mys­pace.com/coco­jammin
* Jungle stage:
  • 21:00 – 22:30 Ripclaw
  • 22:30 – 00:00 Cocojammin' Production
  • 00:00 – 01:30 DIS & Duwiser MC
  • 01:30 – 03:00 BIZZY B & TDK MC
  • 03:00 – 04:30 MAD4CE
  • 04:30 – ??:?? MEDIS
    • dole:
  • Peeni Walli & MC Cocoman & MC Mad Refah
dole: Peeni Walli Crew ft. MCs Cocoman & Mad Reefah – http://www.peeni-walli.org / http://cocoman­.potuznik.cz
Jeden z nejvýraznějších německých raggajunglových DJů a producentů D.I.S. pochází z německého města Chemnitz a na scéně rozhodně není žádným nováčkem. Hudbě se věnuje od počátku 90. let, kdy jej nejdřív uchvátila energie hardcorové techno scény, ale na cestě za hudební rozmanitostí se v roce 1995 dostal i k rodící se německé digital-hardcorové scéně. Kromě těchto dunivých a frenetických hudebních vlivů jej však také stále víc inspiroval jamajský dub, reggae a dancehall. Tak se celkem přirozeně kolem roku 1997 dostal k jungovému hnutí, kde konečně mohl hudebně zakotvit. A ani po letech neztrácí dech: kromě vlastní produkce a DJských vystoupení se pod hlavičkou své crew Ruff-E-Nuff věnuje také pořádání parties (jeho pozvání přijal třeba Krinjah nebo Jacky Murda). Vystupoval na řadě festivalů a v nespočtu klubů nejen po celém Německu, ale hrál také v Istanbulu, v Moskvě nebo v Calgary. Jeho sety jsou dynamické, excentrické, zábavné a D.I.S. má výjimečnou schopnost naladit se na stejnou vlnu s publikem – nepřekvapí, že ve své selekci zásadně improvizuje a vždy se snaží maximálně vystihnout náladu a vkus lidí na parketu.
Český DJ a producent Ripclaw se hudbě věnuje od roku 2000, kdy si začal pořizovat první drum'n'bassové desky a pokoušet se o vlastní tracky. Kolem roku 2003 jej nadchla nová vlna raggajunglu, která tou dobou vzešla ze Severní Ameriky, a v tomto žánru se od té doby nese i jeho vlastní produkce. V roce 2004 mu vyšly na vinylu skladby „Runaway Remix“ (Mos-Hi 002) a „Go Home Soundboy“ (MAS*H 002), další releasy následovaly po delší odmlce až v roce 2009, kdy byl zařazen na první vinyl brněnského raggajunglového labelu Ankh a také na digitálně publikované Carry On EP amerického vydavatelství Bludclot Recordings. V posledních letech se nejintenzivněji věnuje reggae a dancehallu, především jako člen své sound crew Peeni Walli.
Pod hlavičkou Coco Jammin' Production se vlastní hudební tvorbě od roku 2004 věnuje MC Cocoman, jeden z nejvýraznějších českých reggae zpěváků. Jeho produkce se vyznačuje jak žánrovou pestrostí (ve svých skladbách se pohybuje od reggae a dancehallových riddimů, dubu a dubstepu, přes raggajungle nebo ragga-tek až po industriální a ambientní experimenty), tak i hudební precizností a řemeslnou kvalitou. Tracky od Coco Jammin' také najdete na vinylu – dvě jeho raggajunglové skladby („Everyday“ a „Hail Him Up“) vydal v roce 2006 jako singl francouzský label Toxic. Letos pak další tři věci (tentokrát v duchu ragga-tekna) vyšly na Mikkimově labelu Offbeat Division.
 
 
 
 





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Tuesday, December 07, 2010

Russian squirrel anti-alcoholism advert goes viral thanks to YouTube


A new anti-alcoholism video in Russia featuring a drunken red-eyed squirrel has gone viral and been watched over a million times on YouTube.

The Russian anti-alcoholism advert, featuring a drunken red-eyed squirrel, has gone viral
The animated creature rants, sings, and tries to climb the walls during the 55 second clip.



The Russian anti-alcoholism advert, featuring a drunken red-eyed squirrel, has gone viralThe controversial advert involves the squirrel talking to the camera in a rambling dialogue which includes ‘chasing spiders up the wall’ and the death of a friend’s wife because ‘she is a devil’.


The public service ad was commissioned by Russia’s health and social development ministry as part of its ‘healthy lifestyle programme’, a spokesperson confirmed.


The advert ends with the slogan: ‘Do you drink? Then I’m coming for you’.


To date the short video has been watched by 1.56 million times on YouTube.


The Russian government has continually attempted to combat drinking in the country, with a recent ban on drink-driving and new minimum legal price limits for vodka.


Around half a million people are believed to die every year from alcohol abuse in Russia.


Watch the controversial ad below:

Monday, December 06, 2010

MiSSiON STATEMENT 2010 - DUSTCREAM (cz) @ Fuck TV Praha



MiSSiON STATEMENT 2010
Bmac @ 13:00

09 12 2010 od 19:30 /
      @ FUCK TV místo konání  
http://www.prostor-underground.cz/
      vstupné 150 Kc


      ars morta universum presents

      :INDUSTRIAL / LIVE ELECTRONICS:
      CON-DOM (uk) myspace.com/controldomination
      mk9 (usa) www.mk9.org
      + special guest DUSTCREAM (cz)  
 f: http://www.facebook.com/?sk=messages&tid=1723724969841#!/



How to get here:
Kde nás najdete:
Křižíkova 45, Praha 8 – Karlín

mapa_under



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Saturday, December 04, 2010

The mashed potatoes sample revealed! - Sheeeeeit If This Gonna Be That Kinda Party I'ma stick my dick in the mash potatoes!

The Facts about this sound clip:
http://thebrandoneffect.blogspot.com/2010/12/mashed-potatoes-sample-revealed.html

The mashed potatoes sample revealed!

The source of a spoken sample used in the song "B-Boys Makin' with the Freak Freak" has been a topic of discussion in the Beastie Boys fan community since the release of Ill Communication, the album on which the song appears, in 1994. Uncredited on the album, the sample -- referred to as "the mashed potatoes sample" by fans -- has been a mystery. Fans have wondered and argued about who the comedian that says, "Shit, if this is gonna be that kind of party, I'm gonna stick my dick in the mashed potatoes" is. Among the names put forth as the possible source to credit were Red Foxx, Moms Mabley, Richard Pryor, Robin Harris, and Rudy Ray Moore. All of them wrong.
  
  Thankfully, questions may be asked again, and that's what happened this week. Parkey, a member of the Beastie Boys Message Board, was able to repeat the question when interviewing Horovitz and Mike Diamond for an article to be published in Clash magazine. Unlike Rusty and me, Parkey had paper and pen. He documented the answer.

Drumroll, please!  . . . . . . . . . .

  The source of the mashed potatoes sample --  is comedian Mantan Moreland from his album That Ain't My Finger.


 Here's some audio clips and sound samples:
File Download Here:

Mantan Moreland - Party Record - Dick In The Mashed Potatoes 

 * * *  Exact TIme Of MASHED POTATO CLIP:   01:39 * * *




* * *  Exact TIme Of MASHED POTATO CLIP:   01:36 * * *



    Mantan Moreland in Charlie Chan
 I uploaded an mp3 of Moreland's skit with the mashed potatoes line. Download it here.
Mediafire:  http://www.mediafire.com/file/kzfkovb8bagj202/Mantan.mp3
RapiShare:
http://rapidshare.com/files/35494860/Mantan.mp3.html

More on Mantan Moreland at:

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Monday, November 29, 2010

Tajemství hradu v Karpatech (1981) ke stažení zdarma

Download links below and Option to watch now via YouTube.
Watch with English Subs now in 10 parts:  

INFO IN ENGLISH:      The Mysterious Castle In The Carpathians (1981)

 

V Karpatském království stojí nad vesnicí Vyšné Vlkodlaky tajemný hrad, jehož majitelem je baron Gorc z Gorců. Na jeho objednávku sestrojil šílený vědec Orfanik zvláštní přístroj, který pomocí světelných paprsků vytváří iluzi skutečnosti. Tento “dálkovid”, zrozený ve fantazii spisovatele Julesa Verna, předběhl o sto let vznik televize. Jak to bylo vlastně s prvním filmovým představením a s objevem televize, odhalí po mnoha dobrodružstvích při pátrání ve strašidelném hradním labyrintu hrabě Felix Teleke z Tölökö, hlavní postava filmového příběhu, který je třetí společnou prací scenáristy Jiřího Brdečky a režiséra Oldřicha Lipského. Parodie na verneovské vědecko-fantastické romány je inspirována pozapomenutým dílem slavného francouzského spisovatele Tajemný hrad v Karpatech a obohacena o nové prvky, například o “karpatský” folklór, pro nějž byl vytvořen i vlastní jazyk.

O filmu

Zařazení: Komedie / Sci-Fi / Horor / Fantasy
Délka filmu: 97 min
Z roku: 1981
Film z: Československo
Další jména filmu:

Ve filmu účinkovali

Režie: Oldřich Lipský
Herci/Herečky: Evelyna Steimarová, Jan Hartl, Barbora Štěpánová, Rudolf Hrušínský, Ladislav Županič, Mirko Musil, Václav Kotva, Augustín Kubáň, Jan Skopeček, Vlastimil Brodský, Gabriela Beňačková, Karel Houska, Michal Dočolomanský, Jiří Lír, Miloš Kopecký, Jaroslava Kretschmerová, Helena Růžičková, Oldřich Velen, Vilém Lipský, Otakar Brousek st., Míla Myslíková, Samuel Adamčík, Václav Mareš

Hodnocení

Naše hodnocení: 98%
Hodnocení uživatelů: 83%
Rozdíl hodnocení: 15%

Tajemství hradu v Karpatech ke stažení zdarma

=-=-
CD 1Code:
http://rapidshare.com/files/6097172/THVK-1.part1.rar
http://rapidshare.com/files/6099415/THVK-1.part2.rar
http://rapidshare.com/files/6134118/THVK-1.part3.rar 
http://rapidshare.com/files/6098387/THVK-1.part4.rar 
http://rapidshare.com/files/6136570/THVK-1.part5.rar 
http://rapidshare.com/files/6139332/THVK-1.part6.rar
http://rapidshare.com/files/6145099/THVK-1.part7.rar
http://rapidshare.com/files/6146936/THVK-1.part8.rar

CD 2 Code:
http://rapidshare.com/files/6150012/THVK-2.part1.rar 
http://rapidshare.com/files/6156203/THVK-2.part2.rar
http://rapidshare.com/files/6160546/THVK-2.part3.rar
http://rapidshare.com/files/6166870/THVK-2.part4.rar
http://rapidshare.com/files/6172633/THVK-2.part5.rar 
http://rapidshare.com/files/6175360/THVK-2.part6.rar
http://rapidshare.com/files/6179684/THVK-2.part7.rar
http://rapidshare.com/files/6134566/THVK-2.part8.rar

pass rar : yWw
=-=-
http://rapidshare.com/files/33869595/tajemstvihraduvkarpatech.part1.rar
http://rapidshare.com/files/33869618/tajemstvihraduvkarpatech.part2.rar
http://rapidshare.com/files/33869265/tajemstvihraduvkarpatech.part3.rar
http://rapidshare.com/files/33869731/tajemstvihraduvkarpatech.part4.rar
http://rapidshare.com/files/33869583/tajemstvihraduvkarpatech.part5.rar
http://rapidshare.com/files/33870056/tajemstvihraduvkarpatech.part6.rar
http://rapidshare.com/files/33869468/tajemstvihraduvkarpatech.part7.rar
http://rapidshare.com/files/33868306/tajemstvihraduvkarpatech.part8.rar

no pass
=-=-


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Sunday, November 28, 2010

Punk alba ke stažení - Punk Albums for Download

Punk alba ke stažení - Punk Albums for Download

PODPORUJEME HUDBU NE KOMERCI! (not mainstream)

N.V.Ú.

ZAKÁZANÝ OVOCE

Nová a dobrá skupina, to je jejich první cd (kromě dema).
jejich saxofonistka hraje (jen jednu skladbu) s N.V.Ú.

ZakázanÝ Ovoce - Funguy

the EXPLOITED

SpS

Dead Kennedys

V naší muzice je určitá prvotní energie, kterou nenalézáme, pokud poskakujeme okolo dospělé muziky v nějakém discu nebo něčem obdobném(Jello Biafra) .

Sex Pistols-Never Mind The Bollocks

ser na to že je tu bordel
sex pistols - never mind the bllocks

VISACÍ ZÁMEK

holky říkaly že punk je jinde, ale je tady

Visací zámek - punk

E!E

alkohol z lidí dělá E!E

tři sestry

THE FIALKY

the CLASH-the essential clash (2003)

houba

PUNK FLOID

Thursday, November 25, 2010

GROOVY CARNIVAL @ Klub NaPlavka 3. 12. 2010 - Roots n Future DJ's & DJ Mikuláš & Orea

GROOVY CARNIVAL @ Klub NaPlavka 3. 12. 2010 - Roots n Future DJ's & DJ Mikuláš & Orea

funk’n’soul’n’swing’n'roll

K tanci a poslechu zahrají R’n'F DJs a hosté:
DJ Mikuláš & Orea

Groovy Carnival

You know where/víšgde

Klub: Náplavka
Ulice: Hořejší náb.
Město: Praha







Tuesday, November 23, 2010

DJ-Producer Rusko Goes One Dubstep Beyond Original Mixes ;)

   See below for the hard fact data on DJ Rusko! I suggest you play these videos whilst your reading, my favorite is hardlinked to the title :)



  From epic drum solos to Autotune, the music industry has long conflated overdoing it with artistry. But DJ-producer Rusko’s everything-and-the-kitchen-sink style is intentionally overindulgent — and getting bigger by the minute. On his debut full-length album, O.M.G.!, blaring car alarms, shattering glass, and videogame sound effects are layered atop heavy dubstep, a UK-spawned genre of underground club music that fuses drum-and-bass grooves with synthesized riffs and pumps it all out at a thudding 140 BPMs. But that wasn’t quite enough, so he invited a Pitchfork-sanctioned who’s who of guest artists, including rapper Gucci Mane and Dirty Projectors’ singer Amber Coffman.
Now his over-the-top sound is snaking its way into pop music. M.I.A. tapped him to work on her latest, and queen of excess Britney Spears just hired him to produce several songs on her upcoming album. “I can’t say no to anything,” Rusko says. “I just hope you don’t get sick of me.”




HERE WE GO ON ABOUT  "RUSKO"

BORN
Caspa: I was born in Islewood in 1982.
Rusko: I was born in 1985 in Leeds, sort of between Leeds and Yorkshire. So I was brought up in Yorkshire and went to the college of music to get a music degree in Leeds, learned the trade up there and then moved down here to apply the skills. (laughs) But I`m still reppin`.

FAMILY
Caspa: My mum works in a doctor`s office as a receptionist, and my dad works in the council. My old man`s a... Read more RUSKO

BORN
Caspa: I was born in Islewood in 1982.
Rusko: I was born in 1985 in Leeds, sort of between Leeds and Yorkshire. So I was brought up in Yorkshire and went to the college of music to get a music degree in Leeds, learned the trade up there and then moved down here to apply the skills. (laughs) But I`m still reppin`.

FAMILY
Caspa: My mum works in a doctor`s office as a receptionist, and my dad works in the council. My old man`s a record collector, he`s mainly into punk but his collection`s varied – from Elvis, 50`s stuff to the 60`s, 70`s, 80`s…he`s into everything really, but he`s especially into punk, big time. Music was always around me, but I was never a music person, really. Before I got into music, I used to play basketball. I was quite serious with basketball; I played for England and got a scholarship to America. But I dislocated my shoulder – I`ve done it about 15 times now. I used to play basketball all the time, semi-professionally, and I was really serious about it but I had to stop playing because of my shoulder. I was always interested in music growing up but whenever I stopped playing basketball, I started paying more attention to it. I`d always wanted to DJ but didn`t have time before then, so I started to DJ a bit and then I learned to produce, and got deeper and deeper and deeper into it…
Rusko: My mum used to be in a band, right up until 3 months before I was born. It was kind of like weird folk, country music, she used to sing and play the mandolin. (Caspa laughs) What are you laughing at? I`m only telling my story! What do you expect me to say – I was born in fucking Croydon, raised in the ghetto selling drugs and now I make dubstep? (laughs) It`s not like that, it`s a nice story! I wish I had a ghetto story but no, my mom used to sing in a folk band in Yorkshire. Before I was born, I was at the front of the stage in my mum`s belly – so yeah, before I was even born, I was rockin` it on stage. Her band was called Ventura Highway – she`ll absolutely love that I just dropped that name!

MUSICAL ROOTS
Caspa: Growing up, I was listening to jungle. At school, jungle was what it was all about so I had loads of tape packs and that. My Brockie & Det tape is one I`ll always remember. But I was also into hip hop heavily, I`d listen to Mobb Deep, Wu Tang Clan, early Nas stuff, Talib Kweli, then I got really into the Rawkus type sound, Pharoahe Monch, Common, everything like that. So musically, I was all over the place. My dad was listening to punk, my brothers were into hip hop, at school there was jungle, so there were all these influences all around me. My roots are just everywhere, really.
Rusko: Because of my mum`s band, there were always guitars and stringed instruments flying around the house when I was growing up; music was always all around me. I`ve still got a banjo at my flat, yeah I play a bit of banjo…then moved on to bass and saxophone, which I stuck to – those were the two instruments I focused on for my degree. I studied music performance, rather than the technical side of production. I`ve never taken any classes in production. I never used to really go to my lectures at college; I used to always be in the studios using all the nice equipment. I was never really an electronic kind of person, although I am now, but I just come from playing real instruments and real music, that`s my background, really. I only started DJing to promote the music I was making – a lot of people are DJs and then they start producing; I was the other way around.

FIRST PROJECTS
Caspa: I stopped playing basketball at 18, so that`s the age I got my first pair of decks. I couldn`t even mix records; I was awful at the time, absolutely awful. I started playing out…well, I never played out at all until I started to produce. I made a tune called `Bassbin` on Fruity Loops, one of my first tunes, and I sent it to J Da Flex, who used to be on 1Xtra. He`s one of the guys that started the dubstep scene, but it wasn`t called dubstep back then, it was called dub garage or dark garage. I sent him the tune and he played it on `Hot Off The Press,` which was the part of his show for unknown producers` tunes to be played. Then two days later I had a phone call from a guy called DJ Lombardo, who was basically a dubstep pioneer, and he told me that he`d heard my tune on J Da Flex`s show. He said he wanted to sign it to his label Fragile Beats. Once I signed that, I started getting into DJing more and from there I got offered a show. Fragile Beats was, back then, the biggest dubstep label around and Rinse FM asked me to do a show to represent Fragile Beats. So from there, I started to get DJ bookings because I was associated with Fragile Beats and Rinse FM. It just kind of came out nowhere, really. It`s strange how it panned out. I`d only started pissing about on Fruity Loops because I wanted my own dubplates. I didn`t know anything about producing at all; I just threw sounds around and ran with whatever sounded good. I was just so into the bass-heavy sound - I loved the dark garage sound. I would go down FWD as often as I could; this was probably back in 2002. Then I`d go back home and try to recreate what I`d hear, and that`s how I kinda fell into production. Once I got associated with Fragile Beats and Lombardo`s label, I started to hanging `round some of the artists who produced, and obviously they had been doing it for a long time. So I`d sit in the studio with people like Search & Destroy, Dub Child and I`d be thinking, “How`d they do that bit?” They taught me a lot, and that`s how I progressed into production.
Rusko: I used to do a lot of live producing – I`d record live instruments and putting electronic stuff in them, all sorts of things like that, from a very young age. I used to have a little drum machine when I was about 14. My mum used to go mad because I would always be on her computer – remember when your mum got her first computer and it was the most precious thing ever? It was like that. I was always on her computer once I figured out how to hook up my drum machine up and once I figured out a way to hook up my mum`s record player to it. That was the start, really. So I`ve been producing for a long, long time – I`m the first one to say I`m not a DJ, I`m not DJ Rusko. (laughs) I`ve always been into electronic music, I just come from the other end. I come from dub, really. Dub is the one for me. The whole studio ethos behind dub, and making dub, is what got me into making electronic music. If I`d grown up in London, I would`ve been into garage and all that kind of stuff – but growing up in Leeds, there isn`t any of that. It just doesn`t exist; you don`t even hear about it because there`s just so much dub and dub reggae. I miss it so much living in London now - in Leeds, most nights there`s some kind of dub soundsystem but down here there`s just not as much demand for it. I started off by making dub tunes and then Mark from Iration Steppaz started playing some of them. Iration have a shop up in Leeds, so I`d take my tunes, try them out on the system in their shop and they`d be like “do this…do that…do this…” So I`d come back with another one a few days later and talk to them about it. It was kinda like trial and error, being guided the way a little bit by those boys. That was before dubstep was really dubstep; I was just making dub music, trying it out. I remember Digital Mystikz doing a set at Sub Dub and that was it. Dubstep was like what I was doing musically, but it was just a little bit more - made the beats a bit faster and harder…I was just dub, no step. It`s only within the two years that I`ve put a `step` on the end. (laughs) I used to make hip hop and dub under the name Rusk, so I ran with Rusko for my dubstep productions.

DJING
Caspa: After I put a few productions out, I put out quite a big tune on Tempa in 2005, probably the tune that did it for me – it was called `Rubber Chicken.` It was one of the first tunes that started to really use that `wob wob` sort of sound. Once I put that tune out, I got hit up a lot more for gigs – they`d never heard me DJ before, but they just wanted to hear me play my new tunes. My first gig abroad was in Denmark and the second one was Finland, then I did a tour in Australia, so I just jumped straight into it basically. Rusko and I started DJing together after we made a tune together called `Custard Chucker.` We were remixing each other`s tunes as well. So even though we`re separate artists, people started associating us with each other and booking us together for gigs. We can do a good set together because we play the same sound…
Rusko: I reckon we`re best when we play back to back. If I get booked to play a one hour set, I`ll end up playing exactly the same tunes as Caspa – we end up arguing who gets to play what! (laughs) We`ve got almost identical record bags.
Caspa: We work well together as DJs for that reason.



Rusko: Plus we have a quick turnaround; all the artists on our label are knocking out tunes constantly. So your DJ box one month looks completely different the next; the turnaround of tunes is fast. That`s good, because people get bored of tunes so quickly, they`re hungry for it, they want to hear more, more, more, more…

LABELS & PRODUCTIONS
Caspa: I started a label called Dub Police to put out tunes from up and coming artists that no one`s heard of, a platform for them. I was speaking to one of friends and he`d asked if I`d heard this producer named Rusk. I went on his Myspace and liked the tune he had up so I emailed to ask him to send me some more tunes over. He sent load of tunes over and I said, “I like that one, that one and that one, want to do a release on the label?” And it all started to come together from there – the releases did well, people were playing the tunes out, he moved down to London…
Rusko: I moved down the street from him and started helping on board with Dub Police, helping out with the label and that kind of stuff so it kind of rolled out from there. We live near each other, it`s almost like we live together!
Caspa: The first release came out in 2006 and he moved down here…what, about 6 months ago?
Rusko: Yeah, about that. I`d been making dub and I made about 4 dubstep tunes, only 2 minutes long each, to play as interludes in my own DJ sets. It was little more than an experiment. They weren`t even proper tunes – four 2 minute dubstep interludes – to have a go at it and put in my set, and two of them ended up getting put out on the first EP. So I thought I`d try it out - move to London and make dubstep. It was a proper gamble moving down to London; I didn`t know a single person in London apart from Caspa so I was literally leaving my family, my girlfriend, my home, everything. The first few months were hard – no job, no money, all my friends were still living up north, it was hard work. Luckily it`s all come back together now, but it was a real gamble – on one release, it could either go one way or the other…and it`s gone further, way further, than I expected it to.
Caspa: Living the dubstep dream. (laughs)
Rusko: I still make a bit of dub and hip hop on the side because when you`re travelling around doing gigs, all people want to talk about and hear is dubstep. I get sick to the back teeth with it! So when I go home, sometimes I just want to make some nice, chillin, melodic hip hop; I don`t necessarily want to go home and do more dubstep. Usually when I go home after a weekend of dubstep, I`ll go home and crack on with some drum n bass, dub, hip hop.
Caspa: I try to make a bit of drum n bass on the side, but I don`t have time like I used to anymore!
Rusko: We just like to have a bit of fun. A lot of dubstep is really serious, but we try to not take ourselves too seriously. I`ve got a tune called `Mr Chips` that`s on the mix, it`s got the `Catchphrase` sample in it! It`s all about things like that; I`m totally not on a serious tip.
Caspa: All music gets a bit serious when it becomes popular, the scene tends to get more serious. It`s one thing to be serious about what you do and be passionate about it, but you can still have a laugh with it. If you get too serious, you get up your own arse.
Rusko: The content of the music, the actual musical content in the tunes, is quite serious – all the Digital Mystikz stuff and that kind of sound is serious music. Whereas our stuff is – well, it`s party music, it`s a bit more tongue in cheek. And, in some ways, it`s almost closer to drum`n`bass.

FABRIC
Rusko: The first time I played was on a Saturday night, in Room 2, on the same night as Monolake. It was crazy – it was good to play to a techno crowd.
Caspa: I played with DJ Yoda, Andy C, Pendulum on a Friday night in Room 1. I loved it. For me, if you play at fabric, then you`re establishing your scene. Fabric`s fabric – it`s legendary.
Rusko: Yeah, definitely, of course.
Caspa: To even be on the same lineup as legends like Andy C, Hype…
Rusko: It`s pretty obvious that we love drum`n`bass. So we`ve been coming to fabric for drum`n`bass for quite a while. It`s amazing to play in the club ourselves, and to hear our own tunes played down there. At a drum`n`bass night at FABRICLIVE a few months back, three separate DJs – TC, Clipse and Chase & Status - played `Cockney Thug` throughout the night. No other dubstep was played in that room all night, so 8 hours of drum`n`bass, only one dubstep tune was played, and it was played three times! That`s crazy to me. Switch & Sinden have been dropping it at FABRICLIVE too.

THE MIX
Caspa: When I set up my Dub Police label, it was for new artists - and it still is – so we`re constantly bringing through new artists. When we play down FWD, which is pretty much the home of dubstep, we`ll play a set where most of the tunes are unknown. We play new artists and bring people through, from all over the world – European artists, American artists. The fabric mix represents that; we`ve put unknown tunes artists on there that are from all over.
Rusko: Sweden, Norway, America…
Caspa: But then we obviously have represented the UK as well, like Coki from Digital Mystikz, Skream…we play whatever`s good. The mix is very much the sound of now.
Rusko: We drew up a list of the biggest tunes we`ve been playing the last few months and narrowed it down so it`s purely from trial and error when we play out; there`s not any brand spankin` new stuff. Tried and tested tunes that we know will work together. It`s all angles covered. Caspa: If you listen to our sets, there`s no doubt about it: we are party DJs.
Rusko: It`s jump-up party music. Like I said, it`s a lot like drum`n`bass. The majority of people in dubstep think “drum`n`bass” is a dirty word, they`re trying to get away from the whole drum`n`bass scene. They`re trying to do their own thing separately - they`ve got something to prove I guess.
Caspa: I think the dubstep scene is afraid of what happened to the drum`n`bass scene – it`s all held down by rules, formulas – like, “if it`s not like this, with this long of an intro, it won`t get played.” It`s a very watered-down, diluted, narrow-minded way of thinking.
Rusko: The drum`n`bass style of performing and mixing is kind of what we bring on the mix. It`s kind of like fast mixing, heavy basslines, double-dropping, cutting, chopping – we DJ in the style that Hype or Andy C would bring.
Caspa: But then we`ve also put a lot of deep, dubby tunes on there.
Rusko: Because that`s us and that`s what we love. It is pretty relentless but it builds up quite nicely: it`s not just a “power hour” option of a rinse-out all the way through!
Caspa: It`s a journey, but it`s our journey.

====================================

Discography[7]
[edit] Albums

    * Caspa & Rusko - FabricLive.37 - Released: December 10, 2007
    * O.M.G.! - May 4, 2010

[edit] EPs and Singles

    * "SNES Dub" 2006 (Dub Police)
    * "Acton Dread" 2007 (Dub Police)
    * "Cockney Flute" 2007 (Dub Police)
    * "Babylon: Volume 1" 2007 (Sub Soldiers)
    * "BetaMax" 2007 (Veri Lo Records)
    * "William H Tonkers" 2007 (2nd Drop Records)
    * "Roma" 2007 (2nd Drop Records)
    * "Dubstep Warz" 2008 (Dub Files)
    * "Get Your Cock Out" 2008 (Dub Files)
    * "Girl From Codeine City" 2008 (Dub Thiefs)
    * "Acton Dread Remix" 2008 (Dub Thiefs)
    * "Gone 2 Far" 2008 (Sub Soldiers)
    * "2 N A Q" 2008 (Sub Soldiers)
    * "Mr. Chips" 2008 (Sub Soldiers)
    * "Hammertime" 2008 (Sub Soldiers)
    * "Cockney Thug" 2009 (Sub Soldiers)
    * "Woo Boost" 2010 (Mad Decent) # 194 UK
    * "Hold On (feat Amber Coffman)" 2010 (Mad Decent) #96 UK

[edit] Remixes

    * "When Science Fails Remix" 2007 (Z Audio)
    * "Fire Remix" 2008 (Not on Label)
    * "Flickery Vision Remix" 2008 (Vizo Records)
    * "C'est La Vie" (Rusko Masher) by HK119, 2008 (One Little Indian)
    * "Take Me to the Hospital Remix" 2009 (Ministry of Sound)
    * "I Can Dream Remix" by Skunk Anansie, 2009 (One Little Indian)
    * "Alejandro (Rusko's Pupuseria Remix)" 2009 (Not on Label)
    * "Feelings Gone" 2009 (XL Recordings)
    * "Pro Nails" 2010 (Asylum Records)
    * "Day 'N Night" 2008
    * "Bionic Commando" 2010 (Not on Label)
    * "Splash" 2010 (RAM Records)
    * "Gadget GoGo" 2010 (Not on Label)

[edit] Appearances

    * License To Thrill: Part Two 12" - Dub Police (2007)
    * Tempa Allstars Vol. 4 12" - Tempa (2007)
    * Rinse: 01 - Rinse Recordings (2007)
    * C'est La Vie 12" - One Little Indian (2008)
    * Cold Shoulder 12" - XL Recordings (2008)
    * Watch The Ride - Harmless (2008)
    * Exclusive Mix for Fenchurch - Sub Soldiers (2008)
    * Radio 1 Essential mix (13/12/2008)
    * ???????? 13 - ????? (2009)
    * Amnesia Studio Mix - Zeno Dub (2008)
    * Beatdown - Fabric Records (2009)
    * Goresteps Most Hated - Borgore (2009)
    * Neonspread 2 - EMI Music Japan Inc. (2009)

Caspa: The future is what we`re doing now. We`re just gonna carry on what we`re doing and enjoy it. Just keep rolling with it and hopefully it will get bigger and better…
Rusko: I think the future of dubstep is definitely out of the UK. Last year was pretty much exclusively releases from UK artists on the record racks; this year, the record racks are filled with German producers, American producers, Swedish producers… I reckon it will be half and half soon – 50% UK producers, 50% rest of the world. There aren`t really any countries left that dubstep DJs aren`t getting bookings anymore: every country`s caught on to it. It`s spreading.


 Inspired by:
http://www.praguedj.com/news/286-leeds-dubstep-legend-rusko--lucerna
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