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  • blastyle

    hello, I've made a music video for Burial's Endorphin which I would like to share with you: or

    21 Abr 2013 Responder
  • rocketsandwich

    Dude, that's crazy

    14 Jan 2013 Responder
  • sinztye

    I guess you had some Talking Heads avatar last time I wrote you. thanks for the add!

    12 Jan 2013 Responder
  • rocketsandwich

    my nigga

    11 Jan 2013 Responder
  • peirastic

    jiggly david byrne is the best david byrne.

    5 Dez 2012 Responder
  • sinztye

    this ain't no fooling around!

    26 Nov 2012 Responder
  • XamaraJonas

    Thank you :)

    28 Ago 2012 Responder
  • rocketsandwich

    For the sake of future daays

    11 Ago 2012 Responder
  • rocketsandwich

    top notch

    11 Ago 2012 Responder
  • jamaisencore34

    hey thanks dude! same to you.

    13 Set 2011 Responder
  • samhal

    Awesome music taste buddy!

    29 Jun 2011 Responder
  • easterntrees

    well, I don't know about the monkees, but pre-1966 beach boys isn't an unfair comparison. and in any event, you're not alone--I've discovered that most people remember the music and influence of the 1966-70 beatles much better than their earlier incarnations, despite their image from 1963-64 being everywhere.

    2 Mai 2011 Responder
  • easterntrees

    so, I'm not sure it's fair to say that anything about their beatlemania phase--appearance or otherwise--is disingenuous, or a misrepresentation of who they 'really were' as musicians or people. if they had been deliberately held back at some point in their career and prevented from evolving by someone (which did happen all the time to others, like donovan), then that would make this more difficult to suss out. but the beatles were successful largely because they did what they wanted to, and they were so hugely successful that nobody tried to stop them, even if that person disagreed with whatever their idea was. I think you also wrote somewhere that epstein's death was the reason/break they got to stop touring, which isn't accurate. eppy died almost exactly one year after their last concert, almost three months after sgt pepper was released. they had decided to stop touring in 1965, against eppy's wishes--which they could do because from 1963 onward, they were in control of themselves.

    25 Abr 2011 Responder
  • easterntrees

    in fact, all brian epstein really did was put them in trendy suits and ask them to treat their audience like they treated each other--that is, pretty friendly and jokey, etc--rather than pretending to be badasses in order to impress their audience (which john, paul, and george all agree was both a front AND necessary to maintain order in some clubs in hamburg). but aside from various financial missteps, that was more or less all the influence epstein had over them; he loved these guys, remember, and believed in giving them the freedom to make their music and do what they did. the early beatles had no other 'management' besides just eppy, and they were certainly never anything close to being a 'boy band' by today's standards. (which I've heard people claim from time to time, not necessarily you.) plus, from day one, they began to evolve in the way that would make them successful/famous--just their differences from 1963 to 64 alone are substantial, to say nothing of 64 to 65, of course.

    25 Abr 2011 Responder
  • easterntrees

    it sounds like you're talking specifically about the popularity of their various appearances, which makes total sense. I was kind of in disbelief about what you were saying at first because it seemed like you meant the popularity of their gestalt (music, personalities, and appearance) to people and not just their appearance. but as far as that goes, you're absolutely right. their 'look' during the beatlemania period is pretty pervasive these days--as on the cover of the rock band game, for a random example--and I think that this is true, like you said, because that look is very accessible. and you're right in pointing out that it was intentionally designed to be, but I think it's important to put that into perspective as well. I believe you said somewhere that you felt the beatles were resistant to or didn't like their 'moptop' phase, which isn't really the case. the thing they were most recognized for, their haircuts, was entirely of their own device. (with help from astrid kircherr.)

    25 Abr 2011 Responder
  • easterntrees

    I think you may have misunderstood what I was saying. I'm certain that they enjoyed taking any and all drugs consumed in hamburg, especially because john and paul are both on record confirming this--which is why I said their use was "recreational." and you're right, they were certainly taking higher dosages than the more legitimate use would dictate. but there is a grand canyon-sized chasm between phenethylamines taken orally and hyperconcentrated psychostimulants of any variety. this is comparable to the profound difference between cocaine and crack cocaine, and just like a coke user can't be called a crack user, the huge difference between amphetamines and methamphetamine dictates a distinction.

    25 Abr 2011 Responder
  • areUthewalrus00

    yea i guess i get what your saying but that came across all wrong dude :)

    24 Abr 2011 Responder
  • easterntrees

    the point about the drugs they took in hamburg is that they were OTC-type meds that they used recreationally, like bennies (benzedrine, a bronchodilator) and prellies (preludin, an appetite suppressant), all legal in germany at the time and nothing quite as crazy as methamphetamine of any preparation would have been. think ephedra in the 90s. but what I'm really most interested in is what you have to say about which is the most well-known beatles era. I'm still not sure from your shout whether you believe that to be their 'moptop' era or not--especially because you point out yourself that 12 of their top 15 songs are from 1966 or after, not the beatlemania period. if you do think that the earlier stuff is their most popular phase with the public, can you tell me why? and by the way, I wouldn't have left you a shout if it didn't seem like you're clearly into the beatles on a critical level and likely interested in knowing more.

    24 Abr 2011 Responder
  • easterntrees

    meanwhile, someone like magic alex, whose real name is alexis mardas, was a social/business acquaintance of the beatles (mostly john) and not part of their recording lives. at least, he wasn't until he claimed (to john) that he could build a much better studio than abbey road in the basement of the apple records building. as you might expect from a guy who claimed to have invented a flying saucer and electric paint, the room he partially built was nearly entirely non-functional and contained little of anything a recording studio requires. later, he would try to curry favor with john by attempting to seduce cynthia (john's first wife), thinking john would then be able to divorce her on an adultery charge. nobody but the beatles liked him, and he kept a wary distance from people (like george martin) they worked with who actually knew about the things he pretended to be an expert in.

    24 Abr 2011 Responder
  • easterntrees

    the beatles were very demanding of the studio environment, even in the early days before they started deliberately playing around with it firsthand. george martin was also a producer who cared a great deal about their input and was willing along with his staff to be technically creative. this is particularly true for geoff emerick, their second head engineer, who's credited with creating all kinds of standard practices in recording today, like recording the kick drum with the mic inside the drum itself. all of this happened because the early beatles' music itself asked for it; later on, of course, they would pick up this thread of experimentation and run with it, leading to recording ideas like john's voice through the leslie speaker on TNK that I mentioned, or pretty much all of sgt pepper. they got written up all the time for "equipment misuse" by EMI for doing this stuff at abbey road. really, they invented the whole idea of studio experimentation in the context of pop music.

    24 Abr 2011 Responder
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