Christa42

Thanks Nina8!

Love it! Bright and colorful!

If feel when Jo Whiley left it was the beginning of the end and now Zane :(

and well there's this............ and I'm out of the thread :escaping:

sicko hahaha oh here ya go, this is good :P

It was just an ad, here is a full vid I found <iframe width="560" height="315" src="https://www.youtube.com/embed/19tXpRRGeUg" frameborder="0" allowfullscreen></iframe>

Lovely <iframe src="https://player.vimeo.com/video/122280983" width="500" height="281" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>

This is just sad From Gigwise -http://www.gigwise.com/news/99026/bbc-radio-1-cutbacks-to-live-music-and-sessions Thursday 19th March 2015 by Andy Morris [h=1]BBC Radio 1 to slash live music and festival content[/h] Number of band sessions dropping from 250 to 160 per year BBC Radio 1 have announced they are to reduce their live music and festival content by over 36 per cent following a series of cutbacks. Despite the station admitting that live music remains one of the most popular elements of the station, Radio 1 is going to cut down sessions from 250 to 160 each year. Following the departure of both Fearne Cotton and Zane Lowe, it seems that there are major changes afoot. One only hopes that some of the more idiosyncratic live sessions remain: while we suspect the Live Lounge is going nowhere, it would be a real shame if the likes of Huw Stephens' excellent Piano Sessions were axed. Also gone are the days when the BBC would have a huge presence at every UK fesitval. As BBC News reports, the station is going to reduce the number of live events from 25 down to 10. The BBC Trust have agreed to the changes, blaming the limited budget on the license fee freeze from 2010. A statement reads: "We expect Radio 1 to maintain a range of genres and artists within its sessions, including a mix of established and newer artists. We are also narrowing Radio 1's quota for coverage of major live events and festivals so that it excludes special editions of live sessions, and includes only BBC and third-party live events. It will reduce from 25 to 10 events." The trust also recommended that Radio 1 should do more to promote its advice and social action documentaries during the day and that documentaries should be shared between Radio 1 and 1Xtra. Most puzzingly of all the Trust complained that the BBC should work on establishing what is a new act in the age of the internet. They added: "As the current definition of "new" music is becoming invalid, the BBC should work with the music industry to find a more appropriate way to define new music on BBC radio."

Happy Friday! Let's dance people! This made my day! <iframe width="560" height="315" src="https://www.youtube.com/embed/kVJu9AMJJr4" frameborder="0" allowfullscreen></iframe>

Interesting article http://bigthink.com/insights-of-genius/what-radiohead-teaches-us-about-musical-innovation What Radiohead Teaches Us About Musical Innovation The following is a forthcoming article for CreativityPost.com When Radiohead sat down to record the follow-up to their 1995 album, The Bends, lead singer Thom Yorke said he wanted to create a record with, “an atmosphere that’s perhaps a bit shocking when you first hear it.” So the band traded in the guitar-driven sound of The Bends for more diverse instrumentation, “including electric piano, Mellotron, cello and other string, glockenspiel, and electronic effects and rhythm.” In addition, Yorke replaced the introspective and soul-searching lyrics that defined The Bends with a more positive tone. The result was an unconventional sound that,in the eyes of the record company, was unmarketable. Regardless of these initial concerns, OK Computer was released in June 1997 and went on to sell millions of copies, receiving near universal critical acclaim and launching Radiohead into international fame. What’s remarkable about OK Computer is how different it is from The Bends. By any account, The Bends was a commercial and artistic success. It reached number four in the UK Album Chart and went triple platinum in the UK and Canada as well as platinum in the US and the EU. It also landed on numerous end-of-year lists and was ranked 111 on Rolling Stone’s 500 greatest albums of all time. Despite its success Radiohead chose to completely change their sound. Why? Radiohead has never been fully satisfied with their direction. However, this musical malaise drives them to craft novel songs that challenge the listener. Fans of the band know that this is precisely what makes them great. Each album is an innovation, not an imitation. Whereas ten years of Nickelback singles sound identical, the difference between “Fake Plastic Trees” and “Paranoid Android” is far-reaching. Radiohead, of course, isn’t the only band compelled to constantly reinvent its sound. Nor is Thom Yorke the only musician who despises the musical status quo; IgorStravinsky, BobDylan, and others also come to mind. What unites these creative geniuses is their yearning to replace the expected with the unexpected. As Yorke would say, they want to shock the audience. When viewed from an evolutionary perspective, musical innovation appears odd. It’s obvious why we are motivated to eat, drink and reproduce; the origins of our desire to push musical boundaries, on the other hand, are less clear, especially considering that spending a lifetime crafting songs doesn’t appear to serve any adaptive advantages whatsoever. In trying to understand why people like Thom Yorke are intrinsically motivated to innovate their craft, it helps to understand why humans enjoy music in the first place. One line of reasoning, which many cognitive scientists endorse, is that our appreciation for music, as well as our ability to create it, is a byproduct of evolution. That is, music is the product of several cognitive mechanisms that are functional outside of their intended purpose. Steven Pinker, for instance, famously called music ‘auditory cheesecake’ to suggest that music stimulates our auditory system in the same way that delicious food stimulates our taste buds. If music is about auditory pleasure (as a result of a byproduct or otherwise) then good bands write songs that “[stimulate] our senses in novel ways.” Pop music does this especially well. Regardless of your music preference, the catchiness of the latest Rihanna or Lady Gaga single is undeniable. However, Rihanna and Gaga songs illustrate that the pleasure we receive from pop music is usually fleeting. Although pop songs are initially more pleasurable as a function of exposure, they eventually reach a peak and we enjoy them less and less thereafter. In fact, after enough further exposures they can even be annoying - no one has ever rejoiced in having a song stuck in their head.Anyone who listens to music understands this from experience and knows that this pattern is certainly not limited to western pop music. Great bands and musicians that have transcended time and sustained interest over long periods of time follow a different trajectory. Classics such as “The Rite of Spring” and “Like a Rolling Stone” were bemoaned at first because they were exceedingly novel and complex. Whereas pop singles share many similar components (i.e., length, bpm, time signature and placement of choruses and verses), the work of Dylan, Stravinsky and other musical geniuses typically goes against musical norms by introducing new and more complex sounds. With enough exposure, though, listeners adjust and eventually appreciate the novelty. This is why classic aren’t fleeting: innovative instrumentation and complex sounds give us something different with each listen. That is, we don’t get sick of “Paranoid Android”because there is something new with every listen; it takes many repeats for overabundance to downgrade its value. The implication is that great bands and musicians are masters at reverse engineering our cognitive capacities for music in the same way bakers are masters at reverse engineering our taste buds. In both cases, they are taking advantage of what the brain finds pleasurable. Like a good chef, Radiohead’s eminence might be a result of their superior taste. What’s novel to us is stale to them. The evolutionary mechanics behind Radiohead’s musical aspirations are not completely understood, of course, and we might never fully understand why some musicians and bands spend their entire lives creating music. But it appears that a byproduct of our auditory system (in addition to other distinct cognitive processes) gives us a craving to seek out and create novel sounds. The members of Radiohead likely feed off of this evolutionary quark in a way that motivates them to innovate their music for the better. • A special thanks to Mark Changizi for helping me out with this post. Check out this paper of his, which informed some of my ideas here.

Curls for the win! (Nettie :heart::wings:)

Relive all 13 minutes of Apple’s iconic silhouette ads in one video Rob LeFebvre (11:23 am PDT, Mar 18th) Coldplay & Viva La Vida begins at 10:15 <iframe src="https://www.youtube.com/embed/wQL8jurAGgQ" allowfullscreen="" frameborder="0" height="315" width="420"></iframe> Do you remember the first time you saw one of these cool iPod & Itunes commercials? Surely you were impressed with the motion, the cool white earbuds and silhouetted dancers, and the hip soundtrack pulsing out from your TV. It was like nothing we’d ever seen before. Ciat/Day’s iconic silhouette ads captured the cool of the iPod brand without trying to make us identify with any specific actor or band (at least at first). The iPod came out in 2001, but it wasn’t until 2004 that it had any kind of mass-market success, due to both the fact that iTunes went PC, and these ads. You can now watch all 22 of these iconic ads in one long, 13 minute stretch, thanks to the Steve Jobs Documentary]. n addition to the iconic silhouette dancers in front of a brightly colored background, subsequent ads got specific, with U2, Eminem, Paul McCartney, Bob Dylan, and Coldplay getting their own iPod & iTunes spotlight as the campaign continued through 2008. Other artists whose music pumped up the jams for the wildly successful advertisements include Gorillaz, Jet, N.E.R.D, Steriogram, Daft Punk, The Black Eyed Peas, Ozomatli, Wolfmother, The Fratellis, The Ting Tings, Mi Swing Es Tropical, and Wynton Marsalis. The evolution of this advertising idea came full circle with 2005’s “Wild Posting” ad featuring “Ride” by The Vines. It shows a young, hip urban dweller walking past a city wall plastered with the silhouette ad posters, all of which animate with dancing when he walks by with his iPod 3G, a nod to the “classic” nature of the new product. The ad campaign was discontinued in 2008.

Awesome video! <iframe width="560" height="315" src="https://www.youtube.com/embed/hxiwXQS4yQM" frameborder="0" allowfullscreen></iframe>

Noah's death was brutal, I still keep thinking about it and Glenn's face, ughhhhhhh I could not watch Talking Dead, to upsetting

omg i love it and all its headbangin glory

UGHHH it was wrong of course Anywho, Davide Rossi had a wonderful tweet the other day, He is now in Black Submarine 2 of whose band members are Nick McCabe and Simon Jones from The Verve <blockquote class="twitter-tweet" lang="en"><p>Possibly the happiest and saddest day of my life... <a href="https://t.co/6SHhV6OvM5">https://t.co/6SHhV6OvM5</a></p>— Davide Rossi (@rossidavide) <a href="https://twitter.com/rossidavide/status/575416868179210242">March 10, 2015</a></blockquote> <script async src="//platform.twitter.com/widgets.js" charset="utf-8"></script>

I want more Jonny singing :loveshower:

omgzzz so frickin good <iframe width="560" height="315" src="https://www.youtube.com/embed/BXAaKALfmWA" frameborder="0" allowfullscreen></iframe>

So are they doing some small shows in Europe? thought I saw some tweets about it

All grown up at 20! God I love this album

oooohhhh Lovely

cannot wait for this loving the artwork

:dazzled:

oh and there must be a correlation between the "W" on some of the walkers heads and the "A" Stamp Rick got on his hand? and the poor horse!! omg 2nd horse we have seen die on this show uggghhh

no liking this cocktail party at allllll! I have a feeling there is something in the Kool Aid . Carol and Rick are scaring me now. Had a major moment with Daryl and his spaghetti, love that man