popisdead’s Neighborhood

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Snow Patrol - Shut Your Eyes

Snow Patrol

Bonjour,

Aujourd'hui une petite citation tirée de Requiem pour Mathusalem, un épisode de Star Trek - The original Series :
Les hommes restent méconnus, c'est leur malchance, c'est aussi leur privilège.

Star Trek était vraiment une belle série humaniste, en espérant que le film de 2009 n'est qu'un prélude à quelque chose de plus profond ...

à Bientôt.

Merci à toutes pour vous être inquiété de moi.
Ce soir ma voix est un peu revenue...
Pas terrible, j'ai une voix bizarre mais je parle!!!
Je me soigne, mon petit mari me chouchoute, tout va bien.
Plein de bisous à toutes.

Garfield

Last night I had a dream, the second of a new theme. In this dream my grandma (who died of cancer in 1983) has come back to life or reappeared from wherever she'd been hiding. I conjectured perhaps she had been in an induced coma all this time, until they finally cured her. And when she comes back home, my grandpa gets his mind back. This is the new recurring theme. Grandpa Frank has alzheimer's and every time I see him there's a bit less of him there. But in my dream world he goes back to his old grumpy yet good-humored and almost entirely sane self. When grandma comes home.

Their house is the childhood home base that my dreams seem to seek out by default. I never feel safe or happy there in my dreams. There are often problems with the plumbing and the lock on the bathroom door. The main plot point in this particular dream is the appearance of Adolf, one of grandma's long-dead cats. I look out the kitchen window and see him sitting in the middle of the dirt yard where grandpa now keeps his backhoe. I recognize his crooked Hitler mustache. He is bigger and rounder than any non-dream housecat. I announce to grandma that Adolf came home and open the door for him. He rushes inside out of the bitter cold and I sit on the kitchen floor where he uncharacteristically snuggles up on my lap (he was a weird, unfriendly cat). I realize with  low-level concern that he is way older than cats are supposed to live. I ask grandma, "When was Adolf born?" She tells me, "45 weeks after your cousin." Even in dream math I realize this is simply not possible. My cousin was born in 1973.... which would make this dream cat over 30 years old. This reasoning launches me toward consciousness, where grandma is still dead and grandpa will never be sane again.

Another theme often found in my dreams: Moving in with my mom in some unfamiliar place that always has complex architecture and more rooms than one would think. The last dream like this was last week, and she and I had moved into an apartment complex much like the one I live in now. In this dream the multitude of rooms we share are spread over two units on opposite sides of the hall (and yet it is still somehow one apartment). It dawns on me that if we divide the space it could be almost like having my own apartment, and I go down the hall to suggest this plan. I find mom has gone insane and is making a variety of loud cat noises. This is not altogether improbable in real life. I try to talk to her quietly and rationally, but she continues to make cat noises. There are a bunch of young women neighbors who come over to help her (wearing fuzzy slippers and pink bathrobes). I decide I can be of no help and lock myself in the other apartment.

J'ignore qui est l'auteur de ces clichés, ils m'ont été transmis par fichier Powerpoint, de ce genre de fichiers qu'on envoie par e-mail à toutes ses connaissances, ceux qui sont emplis de bêtises plus ou moins humoristiques, plus ou moins déshabillées, plus ou moins potaches, ou de ceux qui sont emplis de sublimes photos.

Ce fichier-là faisait partie de la dernière catégorie.

Le Port de Sauzon

075

Les Aiguilles de Port Coton et la Côte Sauvage 

105

3 comments

Au hasard des balades le long de la Côte...

160

264

Everyday People

Sly & the Family Stone

Pour faire un tube commencer par prendre les mots d'Everyday People (1968) du groupe Sly and the family Stone, ajouter quelques notes de Tapan zee (1977), un morceau de Bob James sur l’album BJ4 et si en plus, vous avez le talent du groupe hip hop américain Arrested Development, vous parviendrez peut-être à jouer cette chanson People everyday (1992):

People Everyday

Arrested Development

À l'opposé de l'image du gangsta rap se développant dans les années 90 aux Etats-Unis dans le milieu du rap et du hip-hop, les membres d'Arrested Development, par leurs textes engagés, prônant le retour à la nature et à la simplicité, créent un véritable mouvement musical à cheval entre le funk, le rap et les rythmes tribaux africains.

Tapan zee

Bob James,

J Tillman - Year In The Kingdom J Tillman Tour Dates 11/10/09 Pike Room  Pontiac, MI 11/11/09 Horseshoe* Toronto, ON 11/12/09 Motore* Montreal, QC 11/13/09 Space* Portland, ME 11/15/09 Middle East* Cambridge, MA 11/16/09 Bell House Brooklyn, NY 11/17/09 First Unitarian* Phila, PA 11/18/09 9:30 Club* Washington, DC 11/19/09 UVA Chapel Charlottesville, VA 11/20/09 Grey Eagle* Asheville, NC 11/21/09 Earl* Atlanta, GA 11/23/09  Bottletree* Birmingham, AL 11/24/09 One Eyed Jacks NOrleans, LA 11/26/09 Walter’s* Houston, TX 11/27/09 Mohawk* Austin, TX 11/30/09 Modified Phoenix, AZ 12/01/09 Casbah San Diego, CA 12/02/09 Troubadour* Los Angeles, CA 12/04/09 Great American Music* SF, CA 12/11/09 "The Crocodile"* Seattle, WA 12/12/09 Mississippi Studios, OR with PGM Read More Fleet Foxes http://weheartmus... Fleet Foxes are a five-piece Seattle-based band signed to Sub Pop and Bella Union. The band came ...

J. Tillman @ The Music Box Theatre, Minneapolis, MN 11.6.09
+ abridged album review

J Tillman ♥ Music Box

Despite his minor fame with unpopular, critically-ignored Fleet Foxes, Josh Tillman has been active in the music scene since 2004.  This past September he released Year in the Kingdom, a 9-track odyssey through stoic mountain towns by way of moderate folk sensitivity.  Merely 28, Tillman evokes an image of timeless worldly servitude that befits his preferred musical genre but also confuses.  He acts the part in person—bearded, casually nondescript, a man of few words; yet once he hits that first note, it’s obvious there’s something judicious beneath the weathered layers.  For one, the quality of his voice is beautiful.  There is simply no masculine way to describe it.  The probability that Tillman drinks and indulges like a big boy is high, but you wouldn’t know by listening to him sing.  Perhaps the impressive facial shrub is actually a clever disguise, masking a sweet, even-tempered fellow who rescues kitties and bakes things for charity.  Doubtful, but my point being Tillman’s ambiguity—it’s equally believable that he wandered into town from the wide blue yonder as it is that he stumbled on stage from the local, artist-packed watering hole.

Year in the Kingdom remembers a simpler era that Tillman was not alive to experience.  Softer tracks cite 60s folk influences like Joni Mitchell, had Mitchell penned her songs in a humble log cabin, without basic comforts save for canned beans and a faithful canine companion.  The sparse “Age of Man” is a few twangs/few stringed instruments short of Americana territory, while “Though I Have Wronged You” reminds us that Tillman isn’t seriously concerned by FF comparisons.  At times matter-of-factly somber (“There is No Good in Me”), the album lulls its listeners into a false feeling of peace (albeit reflective, disquieting peace) that does not prepare the ears for the sheer force of Tillman’s live rocking.

Kingdom-the-album clashed awesomely with Friday night’s show at the Music Box Theatre in Minneapolis.  I now have a physical point of reference for the expression “it blew my mind,” as I’m pretty sure I lost a piece of my skull when Tillman blew my mind.  Similar to the structure of the studio tracks—gentle start, build-up, full instrumental progression—the show began as one would expect had they listened to Kingdom:  Tillman + band = traditional 3-dimensional engagement.  Then, maybe a third of the way into the set, all hell broke loose.  Cue roar of full instrumental capacity, skin-tingling whine of amped slide guitar, psychedelic transformation, and crazy apeshit thrashing.  On top of everything unholy, we, the audience, bore witness to grown men playing plastic recorders and finger cymbals. Surely I wasn’t the only one to lose some head mass by the end of the night.

Cerebral hemorrhage notwithstanding, strong tracks like “Though I Have Wronged You” sounded ridiculously swollen with intensity and deliberate flair.  Not showy, per se; rather, phrenic but perverted by foggy invention.  It was like walking into the Louvre for the first time—extraordinary but strangely unfocused, as if the senses were forced into overdrive.  Had I lapped a taste of Tillman’s sweat*, the experience would’ve been complete.  Unfortunately, there was no exchange of bodily fluids; there wasn’t even an encore (a mumbled “thanks” and the musicians made their hasty exit).  It didn’t matter.  How do you follow an act like yourself?

J Tillman ♥ Music Box, Minneapolis (11/06/09)

A few random thoughts without homes:  in high school, Tillman visited Crown, a conservative Christian college in St. Bonifacius, MN; Miracle Whip is the default condiment of Fargo, ND, this according to the band; Josh’s younger brother, Zach, opened the show and also played bass for the elder Tillman’s set.

J. Tillman is currently on tour in support of Year in the Kingdom.  Upcoming shows include stops in Chicago and New York.  For more information or to listen to select tracks, visit his Myspace at http://www.myspace.com/jtillman. 

* I’m not a creeper, promise.

 11/09/2009 03:26:24 ♥ lara (/lara206.vox.com) ♥ weheartmusic.com ♥ myspace.com/jtillman