16 Ene 2012, 21:46 de abbjjkkMy name is Ryan Carter Cheshire I am 25 and I am a single hot and sexy gay man Its just Sex
14 Nov 2011, 14:08 de andresbcn68Hola. Para sobrevivir, RADIO GAY 105 necesita audiencia. Seguimos estancados a 71 horas de escucha sobre 30 días de trasmisión. Entre el 3 de diciembre tenemos que llegar a 288 horas; en caso contrario Radionomy cerrará la radio. Os pido un esfuerzo entre todos de ESCUCHAR RADIO GAY 105 POR LO MENOS UNA HORA AL DÍA. Gracias por vuestra ayuda.
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Hello. To survive, RADIO GAY 105 requires audience. We stuck listening to 71 hours over 30 days of transmission. Between December 3 we have to reach 288 hours, otherwise Radionomy close the radio. I ask an effort from everyone LISTENING GAY RADIO 105 AT LEAST ONE HOUR A DAY. Thanks for your help.
26 Oct 2011, 10:04 de andresbcn68Es un gran placer informaros que RADIO GAY 105, después de 2 años de ausencia, ha vuelto mas fuerte que nunca!! Aquí os dejo los enlaces para escucharla:
RADIO GAY 105, mezcla de manera equilibrada canciones de los 80, 90 y 2000 con los éxitos mas actuales; los géneros musicales son: Pop, Rock, Dance.
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21 Feb 2011, 4:20 de blazongabraFade up to stylish (but bland and clichéd) art gallery. There is no art on the walls. There is simply a long room with a freshly painted white brick wall at the back, and a single door in the front, with considerable space for installations. The floor is the usual hard wood floor with overvarnishing.
Radiohead are poised in the centre of the room, preparing to lipsynch their new video. They are not plugged in; they have no amplifiers. They look at each other sadly, but smugly, as if to say, "yeh I know it really sucks, but it's cool."
While they are enjoying their vainglorious moment, Napalm Death quietly slip through the door, and nonchalantly move toward a convenient outlet. They plug their practise amps in and set up. They are so efficient, that they have accomplished this in just a few seconds, without Radiohead noticing.
With zero warning, Napalm Death begin "The Kill." They play the intro riff very slowly, as if it were sludge-doom metal. When they get to the pause, we pan back to Radiohead to find them terrified. They are trying not to soil themselves. They are only partially successful.
Barney screams "WAIT FOR IT!!"
Radiohead's hair flies backward like an elderly lady's in an Aphex Twin video. They are completely frozen with fear, knowing that the only way out of the room is past That Sound.
Danny Herrera kicks into the familiar drum lick with unprecedented glee, speed, agility and volume. Napalm Death begin the song, which will be ended in approximately 15 seconds.
Immediately Radiohead and their gear fly backwards into the brick wall. The drum kit crushes easily like American (soda) beer cans, the guitars break like Pete Townshend's at Monterey, and the force of the impact causes bleeding from all orifices.
Napalm Death's song ends, and Radiohead, barely conscious, look up bruised and battered, wondering what the hell just happened.
Barney shrugs at the other members of Napalm Death nonchalantly, they break down as fast as they set up, and exit. Fade to black.
22 Dic 2009, 2:49 de TheJanStanI must say that 2009 proved to be another... challenging year for me. If it weren't for these songs and these albums from these artists, I'm sure that I would be alot more... unstable than i am now...
"Memoirs Of An Imperfect Angel" ~ Mariah Carey
Fuk the masses. They are sheep. But I am a (tentative) lamb. This album is hands down my favorite MiMi offering since... since... well... since the 90s. Rapperless since the mid-90s. & the first almost-mood album of her career (the dreadful "Obsessed" ruined that flow) proves that this woman is a true artist when she has a THEME that she's working with (see Butterfly or Glitter). Here's to more concept-driven endeavors from Ms. Carey-Cannon.
"Straight No Chaser" ~ Mr Hudson
Fuk Kanye. He didn't need to take credit for Mr Hudson's talent. This man still woulda done bad all by himself (see Mr Hudson & The Library). There was really only 1 other album released that year that was as... righteously melancholy as SNC - & it too was filled to the brim with beautifully articulated heartbreak... & that was...
"Complete Me" ~ Frankmusik
Fuk LOVE. That's what Hudson & Frank gave me this year. They both expressed that sentiment so beautifully, so melodically, so... RAWly. & I can so relate to the feeling.
"Kleerup" ~ Kleerup
Fuk avoiding repetition. Although released overseas in 2008, the U.S. finally saw the domestic release in '09. This album is the perfect complement as background OR forefront muzik to any lounge session, smokeout session, spades/dominoes tournament, fellowshipping experience. Just put on "Repeat All" and the electronic music here will prove any non-believer that electronic music can have more soul than any band of live instrumentation.
"Pink Elephant" ~ N'Dambi
Fuk mainstream labels & radio stations. This woman smacked down the Alicias, the Beys, the Keyshias, the Angies with 1 fell swoop of a SOUL record that didn't hafta sound like it was obviously ripping off past divas and pawning the sound off as something new. This album is INDEED neo-SOUL: the samples of the klassix are minimal, but the project is steeped in fresh blood, sweat, & tears. Which is an appropriate segue into...
"Everything Is New" ~ Jack Peñate
Fuk Life. The clever anthem "Let's All Die" reminds me (us) that my (our) time here is ephemeral. There're celebrations to be had. Immediately. Because, sure, I (we) can - & do - so easily get caught up in the tumult that a new day can bring. Fuk that shit. LIVE! For, the fear of death - in my case - has proven to be death itself. Sooo...
"BLACKsummers'night" ~ Maxwell
FUK! Though I've come to the conclusion that I am a toxin for romance & love & all the traditional trappings that seem to come with this passionate relationshipshit, Maxwell does indeed remind me of what is possible when that REAL experience presents itself. Although I may not have experienced it in my lifetime, I still need reminders like this fukkin' project that real LOVE, real JOY, real CONNECTION is indeed possible. I'm such a pessimist anymore that I tend to forget. Routinely.
Each 1 of these consecutive moments has done a stellar job of making me feel. No matter which emotion is evoked from these songs, that particular feeling - for a good 3 to 6 minutes - is heightened to an appreciable level. Of course I appreciate feeling happier after a delicious groove. But, I freely admit that it's the masochist in me that also revels in feeling more miserable than I was before the blasted tune commences. In any event, I'm ALIVE. And every one of these songs lulled, cajoled, or beat me over the head with emotion - pulling me out of a monotonous haze that I found myself in most of the calendar year.
Simian Mobile Disco – Audacity Of Huge
Janet Jackson – Make Me
La Roux – In For The Kill
Jack Peñate – Let's All Die!
Lisa Shaw – Can You See Him
Maxwell – Pretty Wings
Maxwell – Stop The World
Maxwell – Love You
Kleerup – History (With Linda Sundblad)
Kleerup – Forever (feat. Neneh Cherry)
Frankmusik – Run Away From Trouble
Frankmusik – Vacant Heart
Basement Jaxx – Distractionz
Basement Jaxx – Scars (feat. Kelis, Meleka & Chipmunk)
Fol Chen – Cable TV (they won my heart over with that Janet sample)
Christina Aguilera – Falling in Love Again
Bria Valente – Everytime
Mariah Carey – It's A Wrap
Mariah Carey – The Impossible (the reprise)
Mariah Carey – Candy Bling
Melanie Fiona – You Stop My Heart
Kanye West – Paranoid (ft. Mr. Hudson)
Air – You Can Tell It To Everybody
Maral Salmassi – My Shit Is On
Sa-Ra Creative Partners – Spacefruit (my official theme song for the '09)
Radiohead – Life In A Glasshouse (Full Version)
Me'Shell Ndegéocello – Love You Down (yes, THAT "Love You Down")
Brandy – True
Camera Obscura - James
Lily Allen – The Fear
Franz Ferdinand – Feel The Envy
Franz Ferdinand – Die on The Floor
Mika – Blue Eyes
N.A.S.A. – Gifted (Ft. Kanye West, Santogold, & Lykke Li)
Sally Shapiro – Moonlight Dance
22 Sep 2009, 15:52 de empoorWe've been told that "Memoirs of an Imperfect Angel" is Mariah Carey's attempt to deliver an album that brings back her 90s sound. The comparisons between her presence in the start of her career and the current-day personality she has become have even surpassed the music alone—her appearance on the Oprah Winfrey Show took everyone almost twenty years back in time. The hair, the smiles, the fact that she wasn't wearing a mini-skirt, and especially the high notes at the end of her live performance. Apparently, the media wants me to believe that this is still the Mariah Carey I grew up with.
However, is it? Mariah Carey, 39, has, in my own opinion, never sounded out of sync with the music of the times she lived in, and the things happening in her own life have always transcended into her albums. So, if this album is truly a plain throwback to the albums she produced in the 1990s, I simply cannot abide it. Nevertheless—and I will repeat myself—is it?
In the spirit of the media's obsessiveness about her 90s sound throwback, "Charmbracelet" was a castrated first attempt to bring back the old Mariah. It turned out to be a lacklustre album with few high notes, because let's be honest, Island Records probably wanted people to forget all about her Virgin Records disaster, and going from screaming disco-pop to crickets-crickets definitely did the job. Even though they killed any musical outbursts in the process, thereby guaranteeing that Mariah sounded bored and still-depressed on every song.
Though this all might just be my own personal interpretation of "Charmbracelet," I bet everyone will agree with me that she broke through that castration-barrier with "The Emancipation of Mimi." I'm not sure what she was on while recording "Emancipation," but we should all have a taste of that specific brand of crack. The production suddenly went from snooze to Hey-Bitch-Why-Aren't-You-Dancing, and every media outlet was calling this her grande comeback to the top of the music industry.
Really? A three year period between albums justifies calling something a "comeback" now? We all know Mariah Carey went nowhere, and we definitely know that "Emancipation" was nothing like her previous albums ("Rainbow" excluded). With "Emancipation" she told the world that she doesn't need to be relevant: the rest of the world needs to be relevant in accordance to her presence. If you want to call "The Emancipation of Mimi" anything, then call it an "industry reckoning"—Mariah making a statement that she was not to mess with. It's like that.
Then came "E=MC²"—which to me was nothing more than an attempt to solidify that reckoning. Some people called it "Emancipation 2" and they were probably right; if not that "E=MC²" felt like something "Emancipation" never achieved: consistent. The initial statement ("Emancipation") contained a lot of great songs, but lacked the overall steadiness of greatness—while "E=MC²" on the other hand achieved consistency. Mariah's musical, writing and production interests had finally come together, and it showed.
So, what does one do after finally feeling like a whole person again? Well, most people would chill and relax, and enjoy their country-sized Manhattan apartments.
Thankfully, Mariah Carey—every time I feel the need to write her full name; she's a corporation, you know—did not feel the need to relax. And thus we return to the original subject of this article: "Memoirs of an Imperfect Angel."
"Memoirs of an Imperfect Angel"
I will stay on topic this time and start-off by stating that the first time I listened to it, it seemed to be an album that followed a few key rules from the Janet Jackson rulebook.
First of all, the album contains a prologue, two reprises, a prelude, and an interlude. Except for one of the reprises and the prelude, these are all almost full-length songs, making them an addition to the songs they're supporting instead of just introductions and endings. Some people don't like interludes; and under normal circumstances, I'm not part of that group. However, I found myself wondering why some of the interludes were included. The "Up Out My Face" reprise is nothing more than an unnecessary continuation of the original's song ending; "The Impossible (The Reprise)" feels almost like an entirely different number than the song it's supposed to be supporting; and "Angel (The Prelude)" does nothing more than establish what we already know: Mariah's voice can replace any man-made instrument.
Would I have been less critical if the interludes would've been full-blown Janet copies? Chatter and speaking introductions; orgasms and grunts; whole, awkward conversations with an inanimate robot? Perhaps; it would've showcased a more personal Mariah, and would have given us a different way into some of the songs. Yet, she didn't go that way; the interludes never surpass their two-dimensional nature, and while there is little to criticise when it comes to her execution of the interludes, they could've been much more.
Now on to the actual songs, considering that's what the album's really about. Is it a musical return to old-school Mariah Carey? Short answer: No. Grab your copy of "Mariah Carey" or "Emotions" or "Daydream", and compare it to "Memoirs"—you will quickly hear that this is in no way the same Mariah Carey. And though this may sound like a bad thing, in my opinion it's a compliment.
If she would've sounded exactly the same now like she did all those years ago, would that have been a positive commentary on her musical talents? It would not have been. The Mariah that sings on "Memoirs" is so much more a grown woman: a real woman, an emancipated woman. This is the woman Mariah Carey should have been from day one. Instead of wasting her talents on mediocre R&B-crossover songs, she sat down and recorded songs that showed progress, growth and stability.
The Bad (Or, The Nice)
Her crossover roots are still there, though. In "Ribbon" you can hear her slide between tempered R&B and a more hiphop-oriented sound; and she almost pulls it off. "Ribbon" is not one of the winners on the album, because to me it feels unfinished. It's a nice song to have playing in the background, but to actually pick-and-play it—no.
There are only three other songs on the album that have the same faith as "Ribbon": "Obsessed," "H.A.T.E.U." and "Standing O." The first one in this array, "Obsessed," should've been left off the album all-together in my opinion. It's a nice revenge song, that showcases Mariah's claws nicely. Which marks the second time I've used nice to describe a song, and that's really all that "Obsessed" is. Nice. Well, perhaps there's something else: it's extremely out of touch with the rest of the album. It's as-if Mariah recorded "Obsessed", walked into a door, and recorded the rest of the album.
"H.A.T.E.U." is not nice, on the other hand. It's much more than nice, and that's why it's such a shame Mariah's voice ruins the songs potential. While listening to the song, over and over, I wondered whether why she kept restricting her voice throughout the whole number. I didn't want to put all the blame on the awful use of auto-tune, but, I have to. "H." never became the song it should've been because Mariah doesn't need auto-tune. Do you have a lousy voice? Use auto-tune to make it seem hip. Have a superb, world-rocking voice? Use auto-tune to ruin every single note.
Then there's "Standing O," which doesn't suffer so much from auto-tune, but more from a lack of creativity. It's not an awful song—on the contrary, it's a great listen if you don't feel like experiencing inspiration.
The Good (Or, ... The Good)
If you have been waiting for praise, read on. Because from her ridiculously-awesome cover of "I Want to Know What Love Is" (including its awesome interlude) to the pop-sounding, voice-cracking "Up Out My Face", the rest of the numbers are fantastic, and many should deserve Grammy Awards.
"Up Out My Face" is just plain—dare I say it?—hip and cool. From the lyrics to the voice, to the repetition; this is a song that benefits greatly from a fun-sounding and tongue-in-cheek production. Where the repetition of "Standing O" fails, "Up Out My Face" excels.
All right, let's just stop and rewind for a bit. I started off by talking about Janet Jackson, and then almost-completely disregarded my own comment. Because, secondly, now that we're going to discuss "Candy Bling" and "More Than Just Friends", something from the Janet Jackson rulebook comes to mind. Mumbling. Or, to be more specific, alleged mumbling.
Especially in her recent work ("Discipline" excluded for convenience), Janet has been singing like a fourth-grade schoolgirl: very soft, very mellow, and without focusing all too much on enunciation. A lot of times you just want to shake her and yell at her, "Speak up, dammit!"
And that little routine comes to mind when listening to "Candy Bling" and "More Than Just Friends", both great songs with awesome beats and production, but both suffering from the alleged-mumbling syndrome. Especially when Mariah sticks with her whispering voice for more than a few lines it starts to become annoying. One shouldn't need printed lyrics to understand a song.
But I digress. There are five songs left on the list to talk about, and I'll start off by applauding Mariah for her cover of Foreigner, and the incredible prelude that goes with it. Many people don't like it and tell me that the timing is off, to which I say, it's a cover, people. It shouldn't need to follow the same timing and pacing; I actually believe it's a great improvement. The emotional baggage that is presented in the song really comes to the foreground in this way, and the relaxed build-up serves a presentational point. There is one annoyance in the song though: why isn't it about a minute longer? It fades-out in the best part of the song right now. Minor annoyance, though.
I have nothing intelligent to say about why I feel "Inseparable" is a superb song. Everything just fits—from the story-lyrics to the supportive execution of the music—and, furthermore, it feels like a pure Mariah Carey extraction. The same can be said from "The Impossible," a snug fit that also has the added benefit of providing Mariah with a way to show-off that she does know how to whisper-sing while enunciating.
"It's a Wrap" is a song that relies heavily on Mariah's voice, and which wouldn't have worked with a different artist. The song showcases the layers of her voice, puts a spotlight on her shouting abilities, and asks you to join in with your own singing—or, *cough*, at least that's what I got from it.
And that leaves just one song to discuss: "Angels Cry," the masterpiece song on the album. As you may have noticed, when it comes to applauding songs I have less to tell than when I'm criticising them, and the same applies here. "Angels Cry" is a song you just fall in love with. Ever been asked why you fell in love with someone, and you couldn't think of anything besides the clichéd obvious? I have the same with "Angels Cry." "What do you mean, why? Just listen to the song; isn't it bloody obvious why I did? That sound, those lyrics, the emotion and feeling, that awesomely fierce-yet-mellow ending, ... Pure excellence!"
Yes, I will say that "Memoirs" overall sound has more to do with Mariah's earlier albums than the recent batch that came from the House of Carey. The restless nature of "Emancipation" and the creative blandness of both "Glitter" and "Charmbracelet" (and perhaps also "Rainbow") have very little influence on "Memoirs" ("Obsessed" excluded; that one would've fit on "Emancipation").
However, run away from people who proclaim that this album is old-school Mariah Carey. The title, "Memoirs of an Imperfect Angel" is a perfect description of what this album really is. It's the coming together of a willingness to sit back and enjoy life and music, and the talent to excel at providing your musical colleagues with a fuck-off message. Anyone who dared to doubt Mariah's ability to shine nineteen years after her debut, has been set right. There's only one, true and holy God, and her name is Mariah Carey.
22 Ago 2009, 18:21 de hawken1" ‘What kind of magic is this?’ are the words that squeeze themselves, popping out in a Minnie Mouse squeak (and we mean that in a good way), from the quite breathtaking pipes of Stockholm’s Sara Hedin, or Kin if you’ve got a soundcloud dropbox. Which we have. Have we mentioned it?
What kind of magic indeed. With a growling thrum of backing tracking, think Depeche Mode booted out the back of a transit on a cold, dark winter’s night, think Lykke Li taken by the darkside, think Kyle with Winehouse’s problems, think Emilliana Torrini on 45, Bjork dating Goldie… oh, hang on…"
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17 Ago 2009, 17:40 de METALEROARGdo not ask... I'm without comments
9 Jul 2009, 13:04 de METALEROARGI hate growing up and getting old xD
17 Mar 2009, 15:24 de clubmimiMon 16 Mar – David Archuleta w/ Lesley Roy
David Archuleta performed at the Marquee Theater in Phoenix, yesterday. I have to say for those that didn't see the Idols Live 2008, you missed David, but surely could have made it up with this performance.
With girls lined up for days to see this new talented sensation, David Archuleta didn't fail to perform. His vocals were spectacular and his personality still shines right through.
He performed different songs from his recently self-titled album. Song like Crush and some others as well as bonus tracks from Wal-Mart & iTunes versions were performed. There was an unreleased track called "Zero Gravity," that David performed it was fun and I totally think it will be a great single. But I'm not his A&R.
I look forward to hearing from David for decades. If you haven't listened to his new album, David Archuleta, you should.