I forgot to say Nemesis will be seeing the ballots BUT will not know who it belongs to
that is only for my eyes to see
We already 3 noms in, keep them coming and tell your friends
Will you be 'accidentally' leaking the ballots again?
I forgot to say Nemesis will be seeing the ballots BUT will not know who it belongs to
that is only for my eyes to see
We already 3 noms in, keep them coming and tell your friends
Will you be 'accidentally' leaking the ballots again?
Thanks, yeah I'm a lot better sistren <3. It sucks that I have to work tomorrow tho.Aw, I hope you feel better sis.
Will you be 'accidentally' leaking the ballots again?
29 – SPEAKERBOXXX/THE LOVE BELOW, Outkast (2003)
28 – FUNERAL, Arcade Fire (2004)
26 – CHUNK OF CHANGE, Passion Pit (2008)
24 – 4, Beyonce (2011)
23 – KALA, MIA (2008)
ALBUMS 20-11 COMING SOON
Good choices Soulscribe.
I would have placed Funeral much higher when comparing to most of the other albums on the list, IMO it is in a different league to albums like Back to Basics or Speak now.
Stefan;45570834 said:THE WORLD HAS VOTED TO SKIP
Larry Jackson ‏@thelarryjackson
@LanaDelRey @FakeEmile @JohnEhmann Just got word that the Born To Die album is now over three million in sales. Something to appreciate.
I forgot to say Nemesis will be seeing the ballots BUT will not know who it belongs to
that is only for my eyes to see
We already 3 noms in, keep them coming and tell your friends
I swear Philly gays are in love with Unapologetic. I think the entire album has played since I've been here.
Loooovvveeee Song is on now. Bop, tbh...
Brandy's "Put It Down" would have been a much better song without Bruises. ;___;
Roy, the very idea of you going to the club only to post on Pop-GAF amuses me.
Roy, the very idea of you going to the club only to post on Pop-GAF amuses me.
I swear Philly gays are in love with Unapologetic. I think the entire album has played since I've been here.
Loooovvveeee Song is on now. Bop, tbh...
I swear Philly gays are in love with Unapologetic. I think the entire album has played since I've been here.
Loooovvveeee Song is on now. Bop, tbh...
Where is this heavenly place?
Cory you're in Philly right?? I'm at iCandy. Lol
Wrong.
All Christmas music, all the time.Ok totally random but can someone explain to me what the radio "freeze" they always talk about on ATRL is? I get that its some sort of phenomenon that essentially fucks with radio till mid January when things settle down..... I have some guesses, but thats all they are.
Just curious.
Ok totally random but can someone explain to me what the radio "freeze" they always talk about on ATRL is? I get that its some sort of phenomenon that essentially fucks with radio till mid January when things settle down..... I have some guesses, but thats all they are.
Just curious.
LOL it's Tuesday night and I'm here for work. In other words I'm bored as hell
I don't post when I'm here on the weekends getting crunk. Except that one time. *.*
Yeah thats kind of what I figured thanks. People on atrl making it sound way worse than it probably is......
Fuckin MUSE is giving me life right now.....
Do you know the song? I'm still rather partial to Starlight.
Madness
This is the only later-period Muse single I really like.
There is nothing bad about all Christmas music, all the time for a solid month.
Do you know the song? I'm still rather partial to Starlight.
Stefan;45572444 said:Wait...
Nevermind.
... I don't get it. :|
Stefan;45572548 said:For a moment there I thought you were praising a song by Taylor, since she too has a track that's titled Starlight.
Brandy's "Put It Down" would have been a much better song without Bruises. ;___;
Brandy's "Put It Down" would have been a much better song without Bruises. ;___;
Dusty's consistent soul style throughout her forty-year career demonstrates that she was not selectively mimicking musical devices or engaging in what might be called "vocal blackface" but had embraced African American musical traditions wholeheartedly. In countless interviews for radio, television and print media, Dusty acknowledged and promoted the many black American singers who had influenced her sound and to whom she was profoundly indebted; indeed, as has been often quoted, she said that singing with Martha and the Vandellas at the Brooklyn Fox in 1964 was "the biggest thrill of my life". Her Brooklyn performance with the Vandellas and other Motown acts, including Smokey Robinson and the Miracles, the Temptations, and the Supremes, led Dusty to vigorously promote Sounds of Motown, the historic 1965 special edition of Ready, Steady, Go! that was as important to the Motown artists' careers in Europe as the Beatles' Ed Sullivan Show appearance had been in the United States in 1964. Unlike many of her British predecessors in the jazz field, who appropriated elements of jazz without attribution and with little affinity for the culture from which it came, Dusty was scrupulous throughout her career in attributing the source of her sound to African American musical traditions. Her role in the internationally broadcast Sounds of Motown made clear to Dusty's fans both this connection and the importance she placed on acknowledging it. Martha Reeves has said that Dusty
introduced the Motown sound to England. I think she can take credit for that.... There were other ladies who embraced our music and did cover versions: there was Cilia Black, Petula Clark, there was Lulu... however, Dusty was the one who got into the music and actually did cover versions and glorified the music; she was in awe of us and we were in awe of her.
To use Farah Jasmine Griffin's succinct description of Billie Holiday, these women were "take no shit hip chicks" who were perceived to be in control of their musical and sexual lives, and while Dusty made frequent public defenses of her femininity, she projected similar independence and agency both professional and personally. Dusty eschewed the suffocating image of the good girl, which, whether accurate or not, was projected publicly by most British female solo singers of the period, and was branded a troublemaker and a hell-raiser for her transgressions of behavioral gender norms. These transgressions ranged from speaking out against apartheid in South Africa, to ruminations on which she chose not to marry or have children to public disclosures of her own promiscuity and bisexuality.
When confronted with conventionally trained British session musicians' strict adherence to the printed score, Dusty found it difficult to communicate the individualistic sound she wanted from the drummer, the bassist, or the guitar - sounds that would have required them to diverge from the printed score or adopt nonstandard playing techniques. As Derek Wadsworth (trombonist and arranger for Dusty's band, the Echoes) observed, the musicians often pretended not to know what she was talking about or claimed that the sounds she wanted were either impossible to produce or not worth the effort it would take to produce them. Despite such resistance in the recording studio, Dusty was determined to capture, for example, something of the exhilarating sound of Motown's Funk Brothers or Jame Brown's backing band, the Famous Flames; to this end, she paid for her band members' tickets to see Brown in concert in London so that they could study the Flames' playing techniques and instrumental arrangements. Dusty's suggestions to Wadsworth were so detailed and astute that he altered his academic style of arranging according to her tastes. He said, unequivocally, "I learned the art of arranging from Dusty."
Though John Franz is listed as the producer on virtually all of Dusty's hit records in the 1960s, Dusty herself was, for all intents and purposes, the actual producer who was responsible for their sound. She said in a 1973 interview: "All the hit records I had in England were found, produced, and almost promoted by me. I never took any credit ... But I did the whole bloody lot myself." Thus, production credit was informally (rather than legally) claimed by Dusty and has been heartily confirmed by musicians such as Derek Wadsworth. Certainly, for Dusty to have seized such authority in the highly sexist and very white world of London recording studios in the 1960s required the determination of a "take no shit hip chick" whose musical imagination challenged the race and gender boundaries of popular music in the mid-sixties.
If they want to sling mud around, they've picked the wrong person because I have a far more deadly aim.
Just A Fool
15/11 Day 01: 0.001
16/11 Day 02: 0.080 (+ 0.079)
17/11 Day 03: --
18/11 Day 04: 0.087 (+ 0.007)
19/11 Day 05: 0.178 (+ 0.091)
20/11 Day 06: 0.357 (+ 0.179)
21/11 Day 07: 0.543 (+ 0.186)
22/11 Day 08: 0.716 (+ 0.173)
23/11 Day 09: : 0.679 (- 0.037)
24/11 Day 10: 0.793 (+ 0.114)
25/11 Day 11: 0.980 (+ 0.187)
26/11 Day 12: 1.029 (+ 0.049)
27/11 Day 13: 1.026 (- 0.003)
28/11 Day 14: 1.063 (+ 0.037)
29/11 Day 15: 1.098 (+ 0.035)
30/11 Day 16: 1.265 (+ 0.167)
1/12 Day 17: 1.345 (+ 0.080)
2/12 Day 18: 1.428 (+ 0.083)
3/12 Day 19: 1.561 (+ 0.133)
4/12 Day 20: 1.644 (+ 0.083)
5/12 Day 21: 1.685 (+ 0.041)
6/12 Day 22: 1.741 (+ 0.056)
7/12 Day 23: 1.864 (+ 0.123)
8/12 Day 24: 1.954 (+ 0.090)
9/12 Day 25: 2.136 (+ 0.182)
10/12 Day 26: 2.181 (+ 0.045)
11/12 Day 27: 2.339 (+ 0.158)
12/12 Day 28: 2.491 (+ 0.152)
13/12 Day 29: --
14/12 Day 30: --
15/12 Day 31: --
16/12: Day 32 2.827 (+ 0.118)
17/12: Day 33: 2.910 (+ 0.083)
18/12: Day 34: 3.113 (+ 0.203)
19/12: Day 35: 3.222 (+0.109)