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That’s worth remembering now, in the face of two big commemorative events. The first, Thursday through Sunday at the Jazz Standard, features the same ensemble heard on “Centennial: Newly Discovered Works of Gil Evans,” an extraordinary album released this week on what would have been Evans’s 100th birthday. The second, next Monday at the Highline Ballroom, will showcase the Gil Evans Orchestra, stocked with alumni and guests and led by the bandleader’s son Miles Evans. Both engagements seem likely to shed new light on Evans as a composer and arranger, which says something about the enduring mystique of his art.
After that it’s a one-two punch of brutality: a quick-paced “Blown Away,” in which a young woman hides in her basement, waiting out a tornado that she hopes her abusive, alcoholic father sleeping upstairs doesn’t survive; followed by “Two Black Cadillacs,” in which a wife and a mistress conspire to kill the man they share, not a murder ballad so much as a murder celebration. Ms. Underwood enjoys rage; her huge voice, both naïve and muscular, is well suited to it. Her best songs have historically been in the range between fury and resentment.
The red-headed stranger from Blue Rock, Montana Rode into town one day And under his knees was a ragin' black stallion And walkin' behind was a bay The red-headed stranger had eyes like the thunder And his lips, they were sad and tight His little lost love lay asleep on the hillside And his heart was heavy as night Don't cross him, don't boss him He's wild in his sorrow He's ridin' an' hidin' his pain Don't fight him, don't spite him Just wait till tomorrow Maybe he'll ride on again
Willie Davis for The New York Times Eric Church at the Hammerstein Ballroom this month. More Photos » Mr. Church’s whiskey-soaked gospel is not quite the same as the squeaky-clean traditionalist orthodoxy that grips much of Nashville these days, but it is orthodoxy nonetheless, a belief in the fundamental roughness of country music, even its transgressive potential.
Clad in a modest dress and made up to look like she’s not made up, Taylor Swift wanders pensively through a bare wilderness in her new video for “Safe & Sound.” It’s the first single from the upcoming “Hunger Games: Songs from District 12 and Beyond” and a rarity in today’s pop landscape: a true soundtrack hit. The clip, which was directed by Philip Andelman, strives for Post-Apocalyptic Rural; you almost expect to see zombies off in the mist, lumbering toward brains. But nothing attacks Swift on her walk through the wilderness, and the only activity she encounters are fires off in the distance — an omen of storms and doom approaching. Nothing much happens in the video, but its muted color palette, patient pace, and most of all that looming threat make it unusually effective.
The Quietus | Opinion | Black Sky Thinking | The New Bleak: Trauma, Haunting And The Cultural Obsession With Darkness“Darkling I listen; and, for many a time I have been half in love with easeful Death, Call'd him soft names in many a musèd rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To case upon the midnight with no pain, While thou art pouring forth thy soul abroad In such an ecstasy!” John Keats, Ode To A Nightingale Dark and thorny is de pathway Where de pilgrim makes his ways But beyond dis vale of sorrow Lie de fields of endless days Harriet Tubman, (1820-1913) “I caught the darkness baby, and I’ve got it worse than you.”
http://www.youtube.com/watch?v=jxvR7ZUjaJk Lyrics to 25 Minutes To Go : : Shel Silverstein lyrics They're buildin' the gallows outside my cell.
Posted by JacobSloan on February 20, 2012 Can they compete with our own Supremes? No word on where to download their hit song ‘We Will Defend General Kim Jong Un at the Risk of Our Lives’.
Description : Marianne Faithfull I'm On Fire Lyrics. Find below the song I'm On Fire performed by Marianne Faithfull. This I'm On Fire song comes from the album Unknown.