The Strokes singer Julian Casablancas, 41, dating roadie ...
Julian Casablancas Girlfriend 2020: Dating History & Exes ...
Celebrity splits and breakups of 2020 Gallery ...
Who is Julian Casablancas dating? Julian Casablancas ...
Julian Casablancas - Net Worth, Salary, Bio, Height, Facts ...
Julian Casablancas - Listal
The Strokes lead singer Julian Casablancas, 41, dating band's roadie half his age following divorce from wife after 15 years of marriage. By Kevin Kayhart For Dailymail.com. Published: 20:25 EDT ... Julian Casablancas is a celebrated American rock star with a huge fan base. Let’s discover his Biography, Net Worth, Age, wife/partner, Family, Affairs, Measurements, Achievements & Much More! Biography American star Julian Casablancas is the most outstanding musician in music history, and that success has made the superstar a wealthy musician. He was born on […] Stats. Birth Name: Julian Fernando Casablancas Age: 41, born 23 August 1978 Country of origin: United States Height: 6' 2' Relationship Status: Married Partner: Juliet Casablancas Lists On April 16, The Sun reported that The Strokes frontman Julian Casablancas is now dating a roadie named Kaya who's half his age after quietly divorcing his wife of 15 years, Juliet Joslin — with ... Julian Fernando Casablancas is an American musician, singer, and songwriter. He is the lead vocalist of the rock band The Strokes. In addition to his work with The Strokes, Casablancas has led a solo career during the band’s hiatus, releasing the album Phrazes for the Young on November 3, 2009. Julian Casablancas has had encounters with Courtney Love (2003) and Regina Spektor.. About. Julian Casablancas is a 41 year old American Musician. Born Julian Fernando Casablancas on 23rd August, 1978 in New York City, New York and educated at Dwight School in Manhattan, he is famous for Lead Singer of The Strokes.
/r/QOTSA Official Band of the Week 19: THE STROKES
2020.09.11 13:14 House_of_Suns/r/QOTSA Official Band of the Week 19: THE STROKES
Sometimes you are in the mood for a fantastic gourmet meal. Appetizers. Soup. Salad. Multiple courses. Sauces. Wine pairings. Dessert. A complex, long affair where incredible thought is put into each and every small detail, to create a singular experience. Sometimes you just want a cheeseburger. I have to believe that the more complex you make something, and the more overproduced and over-thought it is, the less and less it appeals to the masses. Radiohead, for example, had a bunch of great early guitar rock albums. They then followed up those straightforward albums by completely changing their sound. I am pretty sure that their latest album was made by setting guitar pedals on fire and mixing those noises in a computer with feedback and whale song and firecrackers and 6 year olds learning the violin and you can guess the result. They still had a number one album. Shit. They are a terrible example. I should never write these things when I am hungry. Look, my point is, there is something to be said for a truly amazing cheeseburger. Our band this week keeps it ultra-simple. They have perfected post-punk garage rock. If you are looking for soaring glissandos and orchestral numbers that have multiple guest singers, this is not the band for you. They are quick, they are dirty, and they are low-down. They are the spiritual heirs to The Ramones, The Dead Kennedys, and The New York Dolls. You guessed it, today’s artist is none other than THE STROKES About Them If you have ever been to Italy, you know that pizza there is gourmet. You can have it multiple ways, with multiple doughs, and the fresh toppings are amazing. It is the OG of the pizza world, and no one does it like them. If you have been to Chicago and had real Chicago Deep Dish, you know it is a religious experience. Almost lasagna like, the multiple seasonings and essences create a smorgasbord of savory and gooey goodness that will harden your arteries after the first bite. It is the most complex pizza to make and when it is done well, it is fantastic. And then there is New York pizza. It is cheese and sauce and pepperoni on baked dough. It is by far the easiest one to make. It is simple. It is quick. It is greasy. And yet, New York Pizza is probably the hardest one to get right, because of its simplicity. There is nowhere for anything bad to hide. Anyone can do a mediocre simple pizza (looking at you, Little Caesar’s ) but it takes amazing talent to take something so simple and make it so good. The Strokes are great at making New York pizza. Well, metaphorically that is. I mean, they may suck at cooking any kind of food. But these five guys from New York are amazing at making simple, driving garage rock. This band has been together since 1998. They feature lifelong Mets fan Julian Casablancas on vocals, Nick Valensi on guitar, keys and backing vocals, Albert Hammond Jr. on guitar, keys and backing vocals, Nikolai Fraiture on bass, and Fabrizio Moretti on drums. Much like our epochal monarchs, the vocalist is the driving force in songwriting. Casablancas met all members back in his youth, and the five proved to be quite the talented live act. With a tight 14 song set, they made rounds on the small bar loop across Manhattan, and even got to a popular club called the Mercury Lounge. Their playing was impressive enough for the Lounge’s Booking agent to quit his job completely and become the band’s manager. They found the time to record some demos, which culminated in the release of The Modern Age EP back in 2001. This thing was lightning in a bottle, and the labels knew it. And so, it sparked one of the most competitive bidding wars for a rock band in recent years. In the end, they signed with RCA and got to work on their debut album. And God, is it amazing. Is This It was a renaissance of sorts. In a time where the radio was (and still is) largely oversaturated by post production monsters of shitty pop, the Strokes are a breath of fresh air. They take their influences and wear them proudly on their sleeves, and shine new light on what made rock so much fun in the first place. This album was recorded on no more than 11 audio tracks: there are no gimmicks, no tricks, and no horses beaten to death. The drums are energetic, punchy, and groovin’. The bass is driving, and harkens back to the urging simplicity of Punk Rock. The guitars dance from ear to ear with these wonderfully catchy, clean repeating lines that’ll be stuck in your head for days. And of course, Casablancas’ confident vocal delivery, recorded with compression & distortion, is as distinct and powerful today as it was back then. Interestingly, the album’s racy cover art garnered some complaints from their label, which led to delays and an alternate cover in the U.S. All the same, critics absolutely adored the record. The band set out on their first world tour, and hit the studio as soon as they got back. As it turns out, Is This It was just the first slice (or the first 11 of them… learn some self restraint already, jeez). In 2003, The Strokes released their sophomore album, Room On Fire. If you liked their debut, you’re in for a treat. Most of the tracks on this record would be right at home on the first album - not that that’s inherently bad, since these ones are just as jammin’. Tracks like 12:51 and Reptilia scratch that itch for pure, catchy guitar rock so, SO well. Also, fun fact: the original producer for the record was going to be Nigel Goderich, but he was fired by the band when they found the efforts - and I quote - “Soulless”. This was notable since Goderich is famed for producing almost every Radiohead album. In the end, The Strokes just went with the same guy they had before. But, when it came time for their third album, change was in the air. They once again tried for their first producer, but guitarist Hammond Jr. decided to introduce the band to a new producer half way through. As a result, there are some ever so subtle production changes, among other developments to their sound. First Impressions of Earth (2006) is a step away from their first two albums - They tried some weird stuff, they tried some new stuff, and they even threw in some old stuff for good measure. Overall, the album definitely has some stand out tracks, but was slightly less well received by critics. Following ANOTHER world wide tour, plus some more tours of the US, the boys were tired. A hiatus ensued. And 5 years later, it was time to get Angular.Angles released in 2011, and if First Impressions was them testing the water, Angles was more like fully dunking in their head. They continued to experiment with the production, and even tried including more keyboard parts. They added backing vocals for the first time, and played around with overdubbing in general. Look, most of these changes sound like nothing today, but this is The Strokes here - this is like convincing your Italian grandfather to try chicken on pizza. All in all, some critics liked their experimentation, while others found the album a bit fractured and inconsistent. Luckily, the wait for the next album was not quite so arduous. People didn’t even know this one was coming - the band pulled a complete media black out, and did not advertise at ALL. If we continue the water analogy, Comedown Machine (2013) is like saying “fuck it” and diving straight in to the pool. This thing sounds more like a new wave, 80’s revival record. The synth is more present than ever, and the vocals are a fair bit cleaner. Critics kind of just shrugged - some applauded the changes, while others questioned if this was even meant to be a Strokes album in the first place. They then waited 7 years to release another record. Look, at least it wasn’t 13 years (COUGHToolCOUGH). Okay, it wasn't really THAT bad, since the band released a 3 song EP back in 2016. Future Present Past was consistent with the style of their recent albums, and it even had some of that classic compressed-to-shit vocal sound. The songs left many hungry for more. They took 4 years, set out some time to work on an album, and found a new creative partner in the form of Rick Rubin. This dude, if you don’t know him already, is a total master of the music world, and I think the only thing longer than his discography is his beard.The New Abnormal, which was released in April of this hell year, is his most recent production credit. This album is their most different yet. As far as that water analogy, you’re now fully submerged, sitting on the bottom of the pool, making out with a fish. The band uses more 80’s sounds than ever before, heavily featuring the synth in places and leaning further into the New-Wave style in general. This time, critics were down for it, and hailed it as the best, most successful development of their sound to date. And that completes their discography. It's an interesting one, and even if you’re not one for synthy-electronica pop, their first few albums are absolutely worth your time and attention. These guys are an inspiration. Much like Josh and the Boys, they pioneered their own sound and are one of the true greats of modern rock. They’ve influenced countless young musicians, including one notable arctic simian - Alex Turner (who really just wanted to be one of the Strokes). Look, if you don't go listen to them right now, I will be angry, and I will revoke your pizza license. Don't try me. Links to QOTSA The Strokes, influential garage rock bois that they are, have musical connections in almost every direction. And as we know, when we mention musical connections, all roads lead to Homme. Julian Casablancas has worked directly on a QotSA album, lending his voice to everyone’s favourite audible grime bath, Sick, Sick, Sick. His distorted delivery was never more at home, since we all know just how slick, energetic, and infectious this song is. Josh and Casablancas have also worked together on a cover of Marvin Gaye’s Mercy Mercy Me, which released as a B-Side to The Strokes single You Only Live Once. Casablancas shares vocals with Eddie Vedder on this recording, and Josh provides the backbeat with his drumming talents. Oh, and before I forget, Josh and Julian have also crossed paths on a charity album by the name of “Live from Nowhere Near You, Volume Two”. Finally, there’s one last connection worth mentioning. Homme, wonderchild that he is, has a production credit on a side project related to the Strokes. Josh lent his hand to Nick Valensi’s band, a group by the name of CRX. Their debut, New Skin, was released in 2016. This record is definitely worth listening to if you’re a fan of the Strokes, and dont mind those 80’s influences. It even has some album art by Boneface, whom we all know and love, so it’s gotta be worth your time. Their Music Hard to Explain -- A throwback video launches a throwback band Last Nite -- A video homage to appearing on the late show. Pretty sure they stole the set to the dating game. NOTE: Julian Y E E T S his mic stand at 1:03. THIS BECOMES IMPORTANT LATER. Someday -- Guest starring Slash. We also get to play Family Feud. I watched this video twice and developed a hacking cough from all the smoking. 12:51 -- If you never saw the original Tron movie, just watch this 2:32 epic for a taste. Reptilia -- EXTREME CLOSE UP The End Has No End -- Late Night TV and Mila Kunis? Sign me up! Juicebox -- A killer bass line anchors this tune ‘Juicy-Juice’ by ‘Stroke’. Heart in a Cage -- a tribute to the indifference of NYC You Only Live Once -- We have a concept video. We all wear white and the room fills with oil. WTF, you wore grey? Get your ass back behind the drum kit. Fuck. Maybe no one will notice. Under Cover of Darkness -- A direct sequel to You Only Live Once, where everyone miraculously survived being imprisoned in a tank of oil only to have to go to an opera house. NOTE: Julian Y E E T S his mic stand AGAIN, this time at 2:07, when he sings the line “Everyone’s been singing the same song for ten years.” THIS VIDEO CAME OUT TEN YEARS AFTER LAST NITE. Coincidence?!?!?! Taken for a Fool -- This is what a video looks like when you are on drugs, if it was shot by someone who is also on drugs. If you get the spins, steer clear. One Way Trigger -- I can’t explain this video to you. You must experience it. You will not look at Captain America the same way again. All the Time -- This video was made up of left over bits from other videos. At the Door -- Heavy Metal meets Watership Down in this 80s-inspired video Bad Decisions -- Man, do the boys ever love starting their videos with someone watching an old CRT TV. Oh, and the clones are a commentary on modern music. Sounds important. Brooklyn Bridge to Chorus -- There is no official video. This is a fan made one set in Miami Vice and the 1980s. This song will make you want to break in someone’s house, toast all their bread, and put it back in the bag. Ode to the Mets -- An endless pull back, through fandom and memory. Show Them Some Love /TheStrokes Previous Posts Tool Alice in Chains King Gizzard and the Lizard Wizard Rage Against the Machine Soundgarden Run the Jewels Royal Blood Arctic Monkeys Ty Segall Eagles of Death Metal Them Crooked Vultures Led Zeppelin Greta Van Fleet Ten Commandos Screaming Trees Sound City Players Iggy Pop Mastodon
Hello, friends. This is my first post here, and, for the time being, may be my only. I'm trying to work out some things here, and could really use some insight, some advice, questions, whatever. Would mean a lot to me. So...don't really know how to keep this short; I guess I'll get to the root of it, straight-up, and then give a bit of backstory: over the last half-decade or so, I've been really struggling to come to terms with, or at least come to a definitive conclusion about my own identity, and very strong feelings I've been having. I've gone through multiple different labels, I've changed my name (more of a pun on it, or a nickname, than anything), I've experimented with changes in dress, and other various things. The essence of it is that I'm male, and by most definitions, straight: I've only ever been romantically and sexually attracted to women, and have never felt any desire towards men whatsoever. Romantically, maybe, but never sexually. I was assumed to be gay through my high school years, and I'm guessing I still largely am: a majority of my friends were girls and gay guys, and although they flocked to me rather than me initiating these friendships, I started to feel much more of a piece with them than I did with fellow straight guys. Sometimes I insist to myself that I miss having (")other(") straight-guy friends ("bromances," etc.), and have only really kept one friendship in this vein, and it's been pretty inconsistent as of late (we go far back). But I can’t say that I don’t have what you could call feminine impulses, identify more with feminine expression, etc. Here’s my history (buckle up) (or skip to the end about where I'm at now if you're short on time/patience): When I was around 14, I recall that something or another set something off in me (arguably in a good way), and I was never quite able to forget it: at first, it started almost as a joke, with me fooling around with my mom's makeup stash and acting effeminate, just to make her laugh. I had next to no idea about the LGBT world, so it was a misguided bit of straight-boy humor; by extension, I was in a role in a school play, in drag (Francis Flute as Thisbe in A Midsummer Night's Dream), which was also meant for (straight-folk) laughs, but I got so much joy out of it, and was more "into" it than I guarantee any other dude in my class would've been willing to display. To be clear, I no longer find these things funny, except how much of a little doofus I was, nor do I think they were necessarily indicators of queer identity, they were just more...buildings blocks, I guess you could say? I only point these out because they were the first time I started to realize that there may have been more to my own identity than I thought, and I presented them as a joke maybe only because I knew deeper down that I had these feelings, but didn't want them to appear as serious expressions of any sort (well, the latter I didn't really have much of a choice with, but, anyway...). When I was 15, I started "acting gay," also around people I was closer to, and also in the form of a joke, but it was so consistent that, at one point, my mom not only questioned why I was doing it so much, but, if I recall, asked me to stop at one point. Come high school, and it seemed to be "common knowledge" that I was gay, and by 16, I thought I'd pretty much settled on the fact that I, at the very least, wanted to begin presenting in a more androgynous manner, after learning much more about the LGBT world though my very small, very queer high school's student body; I recall pretty vividly one afternoon being on my commute back home from school, and feeling a rush of excitement and relief at mentally labeling myself as either an "androgyne" or a "demi-androgyne" (unfortunately, I was struck with an awful two-week flu immediately after this, so I couldn't really maintain this feeling). I began to idolize certain women (immediately, Debbie Harry comes to mind, and she still does), began to listen to certain music that reminded me just how much campy sort of stuff appealed to me, which, by and large, seems to be associated with queer identity, in particular gay male culture (or so I've observed). I fucking adored it: glam-rock (Lou Reed's Transformer, in particular), new-wave like The B-52s and indeed Blondie, '60s girl-group ("Be My Baby" was always some sort of rush of euphoria) and French pop, and then stuff that was from a strong female voice that resonated with me in an "I know exactly what this is all about" way: the music of Björk ("Birthday," in particular), Grimes (I know, I know), Kate Bush ("Wuthering Heights" I used to cry to as early as 8 or 9). Every time there was a show or movie with a gay male character in it, I laughed along with all their jokes as if I was in on something, identifying with and picking up on humor that most straight guys just wouldn't. But, still: I wanted a girlfriend, and when I was 16 and was in my first relationship with a girl, I suppressed these feelings, and began to act more traditionally masculine; people in high school, I heard later, were initially confused by what seemed like a complete 180 for me, in a "who's the new kid?" sort of way. She would usually call herself a lesbian, or a lesbian-leaning bisexual, so I knew she would take no issue with my less masculine way of presenting myself, yet I still felt the need to. And it was fine by me, for a while: there were even moments where I was like "hey, this isn't all so bad, is it? Let's just emulate Julian Casablancas, or something" (admittedly, one of the few straight men I would still be more than fine emulating). But, a few months into our relationship, right after I turned 17, I told her what I felt like deeper down, and she was so sweet and supportive, letting me know that it made no difference to her, and I could be myself to the fullest degree around her. Even lent me some of her tinted lip gloss, and encouraged me to experiment with clothes. This same year, I told my mom, and initially she seemed more than fine with it, too: I remember it was a highly emotional moment telling both of them, and I even explicitly told my mom "I think I might be transgender, or something." It wasn't brought up much after that, though, and by mid-year I was telling her that I was "putting it on hold" for the time being; actually, I don't even think it was brought up at all through age 18, and by that time I'd broken up with my girlfriend, so I didn't really have anyone to talk to about any of it. At 18, I moved in with my great-uncle, and we always made jabs at each other about being "gay," and he would make fun of me (all in good fun) for the movies I'd rent and music I'd listen to (a new female idol of mine became Anna Karina, of French New Wave fame, and my love of French pop was still going strong). I'd just laugh along, but deeper down I was a little uncomfortable, and I kept on suppressing my feelings. We'd have long discussions, and at the end of one, he insisted I was "emasculated" due to my friend groups in high school, which, of course, rubbed me the wrong way. It brought back memories of being told that I likely felt these ways because I had no Strong Male Figure in my life when I was young. I started to try dating again, and noticed I wasn't exactly getting much attention from a large body of my attraction, i.e. straight women. And I wasn't particularly fond of this, and, admittedly, am still not: I thought I needed to begin presenting in a more masculine way to attract girls, and started to try to, even though I wasn't extremely fond of it. To date, I haven't maintained a relationship with a girl (just turned 20), and I blame it on how I present myself: I'm not all-out feminine, but I'm not exactly masculine, either, and they pick up on it. It's just my default, by now: I present in a very obviously "queer" manner, so much so that I don't even notice it, really. It's just me. Sometimes, sure, I have "man-crushes," and want to emulate certain dudes to an extent, but not nearly to the extent that I identify with women. I also sometimes insist I just want to be a more androgynous straight guy who merely doesn't care that much about conforming, but that just doesn't feel like the full extent with it. I hate on myself constantly, to this day, because of the seeming discord between my self-presentations, interests, everything, and my sexuality; I think about all the unrequited love that could result from this, and I just start to get enraged at myself ("why can't you just be either straight or gay, and leave it at that?"), even though it's nothing I can control. So, at 19, I figured I'd let everyone else know: family, friends, everyone. Every single person. So, first, I confided in my trans and non-binary friends, who I knew would be supportive (didn't exactly work out between us, but...that comes later). This was just last year, and it was kind of my Year One: it was messy, and that was largely my own fault. I had to get drunk to come out, and I did it in the most confrontational, obnoxious ways possible, it seemed. It was a whole disaster that can be summed up as: (1. Comes out to select family members, is influenced a bit too much by trans and non-binary friends insisting they're being prejudiced towards me (some of them merely seemed uninterested or annoyed), (2. Makes extremely confusing post on Coming-Out Day (June 2nd?) on Facebook that's received with bafflement, understandably, began insisting on they/them pronouns, (3. Starts going by new name, which, again, was really just a play on my name, but a more feminine-sounding one, (4. Got more and more (unjustly) aggressive towards everyone who seemed even the slightest bit unsupportive, (5. Moved in with my trans friend and their non-binary partner, and became fully integrated into a queer lifestyle, began dressing more androgynously, which I'd always wanted to do. They took no issue with how much I talked about girls, considering they were bi/pan, and it was only 'til we had a falling-out that they started to rail on me for not being enough of a feminist, and for not "properly" coming out, thinking I was faking it all to "fit in" with them, gatekeeping stuff like that. This whole year left a terrible taste in my mouth, to the point where I started to hate myself for ever coming out, for ever having these feelings in the first place. And sometimes, sure, I don't feel like I'm doing things correctly: I have women who I admire endlessly and want to emulate, but am also very sexually attracted to at the same time ('70s Kate Bush comes to mind), which leads me to think "fuck you, why can't you just admire their art, and not them like that?" And, no, I never have come out in the way I should, and my post last year read as more of a drunk joke than anything, because I guess being completely serious about it was still off the cards, despite how much I'd seemed to come to terms with it. For the first few months or so living with them, it was very euphoric, seeming to be accepted without the slightest bit of judgement, told it wasn't the slightest bit weird that I was an ostensible straight male who was simultaneously attracted to femininity, and wanted to adopt it into my own presentation and identity. So I decided I would be non-binary, leaning more femme. I was fine with that conclusion, or so I thought, but then there I was towards then end, trying to squash it again: I started going by my normal name again, I stopped telling people I was queer, I stopped insisting on my preferred pronouns, I stopped dressing androgynously. And, by now, I'm presenting just as I normally would, even though I thought my new "normal" would be presenting in a queer manner: I'm staying with my grandparents now, including a step-grandfather I'm only now getting to know, really, and we keep having talks resembling "man-talks," he's apparently been told by my grandmother (who's more or less supportive, but doesn't bring it up much) about my coming-out, but seems to have disregarded it completely, telling me it "takes a real man" to do certain nice or moderately brave things for them, etc. (ugh...). Lately, I've had some discussions with folks through Instagram, some of whom I don't know very well: one friend of mine going a few years back still makes jokes at my expense about seeming "gay," but not being attracted to men. When I told her that only gay men seemed to be interested in me, which is by and large true, she said "yeah because you look like a fag." I laughed at first at the bluntness, and posted it to my Story for only close friends to see, and some agreed: it lead to a discussion with a trans guy I knew only somewhat, who told me I had "strong egg (new trans) vibes" (and he's judging this only from brief videos he's seen of me) and I told him my history and everything, and at first he told me that I "seemed butch or non-binary," which sometimes I'd agree with, but then I told him the whole deal with how I want to emulate certain women while also being solely attracted to women, and how the two sometimes the two overlap, and he said "that sounds very sexy, you should live your dreams." Fine. But then I started thinking about this girl I met when I was overseas, who I've only been somewhat in touch with, but I have a massive crush on, and, admittedly, hoping she didn't pick up on the same vibes, her being straight as an arrow, as far as I know, but I doubt it, considering the very outwardly queer was I presented myself through social media last year, all of which she saw, and it's lead to a lot of moments of anger towards myself, once again, in the "why can't you just be normal?" vein. So here I am at 20, feeling like I'm right at the beginning again. Closeted. Unsure what to think of all this anymore. Insecure. Embarrassed. Wanting to just be a "normal" straight guy, "to make life easier." Like I've reached seemingly final conclusions over and over again, and have once again hit a wall. Still having those moments where I wish I was how I was perceived in high school, which is to say simply gay, and nothing more than that. Fully integrated in queer culture, to the bone: humor, interests, self-presentation, everything, yet trying to fight against it. Frustrated that a girl I like was (and still is, probably) still put off by my social media presence and probably wants nothing to do with me like that, despite how much we have in common and how much, on the surface, she seems to like me. How much of a problem this remains, i.e. confusing people by presenting in such a queer manner, but insisting I'm only attracted to women, 'cause I am. I'm left here with a solid "¯\_(ツ)_/¯." Half the time, I get angry with myself and try to suppress it all over again. Other half, I embrace it. Most of the time, it's "okay, let's just settle on an agreement; present masculine sometimes, feminine other times, boom, solved." It's all too much. Can't say I always enjoy it, as much as I'd like to. Being called a "young man" or anything of the sort, purely and simply, makes me uncomfortable, but then again, so does all of this, at this point, as much as I hate to admit it. I sometimes tell myself, in my most hateful moments, that I'm just sick and should need help, and all of it is some by-product of my pre-existing mental illnesses. And I hate it. All I can do now is shrug my shoulders. I struggle with depression, and with low self-esteem, so I'm so extremely hard on myself for having these feelings sometimes that it makes me both wonder (a. how I'm ever going to come to terms with myself fully, (b. if I'm going to end up committing suicide, or come close, because of suppressing these feelings, or if fully embracing them would lead to the sort of ridicule and outcasting that would make my life even worse. Thanks for reading, if you got this far, and if I said anything of offense, know I absolutely didn't mean to; I'm still ignorant of a few things, and am trying to learn more. I don't know any of you, but I admire each and every one of you for being yourselves. That's all. <3 Tl;dr...ah, fuck it. Scroll up. Get readin'. Or, last paragraph kind of sums it up.
2020.04.17 10:38 StarChild413A new way to take the fictional character test: do it for your ideal partner (and list your MBTI with your results of course)
So I presume everyone's by now taken this quiz for themselves. Well, I saw some people on Twitter moving on to taking it to find out which character is their soulmate so, you know the drill, list your results (either top match, top 10-20, or everything over 75%) filtering as necessary (for sexual orientation etc.) and your MBTI I'm an INFP and since I'm bi here's every character who my taking-the-quiz-for-what-traits-I-want-in-a-partner listed as over a 75% match no matter their gender (but filtering out the gay males, the too-old etc.)
I was gonna post this to Metacritic and link it, but turns out they have a character limit and this review was too long. So anyway, I'm Christian. and here's my review of Comedown Machine. There are some distinguishing traits that I should highlight about myself compared to others that have done what I intend to do, including but not limited to me not being a “professional” music reviewer and not being a lifelong fan of The Strokes. I’m a 20-year-old American male that only truly started listening to The Strokes in late 2016, and I only started listening to The Strokes last year. My usual tastes lie in indie and alternative styles of rock, though I dabble in some metal and poppy stuff, as well, not wanting to limit myself to any genres and risk missing something potentially phenomenal. It’s because of this choice open-mindedness with my approach to music that I ignored my high school friend’s advice to “skip anything after First Impressions, it’s just shit at that point” and gave The Strokes’ 4th and 5th LP’s chances (partial pun intended) last February. For the longest time, I saw Angles as The Strokes’ finest work, and I thought Comedown Machine was… existent; it was the cousin who shows up to Christmas dinner because they have nothing better to do, and you acknowledge them but realize you didn’t get them anything any try to avoid eye contact all evening. Winter of 2018 changed my opinion of this forgotten, distant cousin when something in my brain told me to give Comedown Machine a second chance with the lyrics open in a browser tab to accompany me on the journey. Join me on this journey, as I analyze the bastard of The Strokes’ discography, going over the lyrics and musical craft that make up this treasure buried but six years ago. Once considered “garage rock revivalists” by many, The Strokes abandon their past and look forward with their final album released alongside label RCA. The Strokes open their 2013 record with what is, in my opinion, not only the best track on the whole record, but their best track to date. Tap Out has two potential interpretations that I can decipher, with one of these being my preferred and a major contributor to why the track is a masterpiece in song writing. While on the surface it’s a catchy “one-night stand” song with front man Julian Casablancas’ familiar indifference shining through, calling his actions “a talent” and stating he doesn’t “know why” he does what he does, however digging deeper could reveal a deeper, more philosophical meaning. Tap Out could instead be a song about identity crisis and eventual acceptance of where The Strokes and every member ended up during their musical journey up to this point. Critics and fans alike have criticized everything that the group has released after 2003’s Room On Fire, many even begging for a return to that raw, garage-rock sound that laid the foundation for The Strokes’ success which arguably saved modern rock as we know it and allowed it to live on for a new generation of listeners. Many would say that The Strokes re-discovered and made popular a sound that should be treasured, and yet despite the criticism and love for their old sound, fans still yearn for more music. The Strokes “found our city under the water”, the sound so beautiful and treasured like the lost underwater city of Atlantis, and yet fans “gotta get my hands onto something new”. This very clearly confuses the band, these contradicting responses, which Julian makes clear when he states, “you don’t want to be without this, something isn’t adding up”. The band has given the world a sound that debatably rescued rock n’ roll, and yet when they branch away and try to develop, fans and critics alike both want more music, while also despising that the band would DARE try something different… and yet new music is what we all want. Conflicting, isn’t it? Lyrics aside, the opening guitar riff shows that The Strokes aren’t fucking around, scratching away at their bonds and breaking through for their most creatively interesting and musically powerful record yet. Fabrizio Moretti’s toe-tapping drums and Nikolai Fraiture’s politely omnipresent and punchy bass keep the song flowing beautifully throughout, while Nick Valensi (lead guitar) and Albert Hammond Jr. (rhythm guitar) continue what they’ve been doing for over a decade by delivering catchy and impressive guitar riffs that are annoyingly hard to replicate. Reminiscent of the sounds on the band’s third record, First Impressions Of Earth, every part of the track blends together beautifully, piecing together a complex yet easy to follow puzzle, and puzzling the feeling this song tries to convey. This is the first track on a major Strokes record where Casablancas employs a very high vocal range, which will be discussed later, but all you need to know is that it sounds a lot better than you’ve been led to believe. It’s not perfect by any means, but to say that Tap Out has “bad” vocals is a blatant fabrication. This tight, punchy track is the perfect opener for the group’s most experimental project to date, mixing familiar guitar and drum patterns, bringing back basslines that do more than simply mimic the rhythm, and ultimately bring us into the story of the record. The rest of Comedown Machine carries on with themes of conflicting relationships, whether that be personal or still between the band, as the A-side tells a depressing story of trying to come to terms with the consistent narrator’s position in life, and the B-side a failed redemption. The album’s low point takes place directly after its highest with lead single All The Time, which is admittedly a catchy tune, it’s just nothing we haven’t heard before. Comedown Machine is often shunned by fans and critics alike not only for the distance from garage rock that records after Room On Fire have, but also Casablancas’ choice to employ a much higher register of his voice for most of his vocals throughout the record. This falsetto approach to singing is often how those whose range is usually tenor can attempt to sing an octave higher, and for many is hit-or-miss. On All The Time, this fresh approach to singing is completely missing, with a very standard Strokes sound shining through. Is this bad? No, not at all, it’s a solid song, it’s just that for an album that’s usually so creative and unique, it’s borderline boring how vanilla this song can sound, but technically speaking it’s a good song. No instrument is lacking, everything blends together nicely, and perhaps the choice for this song to sound so “normal” is part of the underlying story that the record attempts to tell. Lyrically, we are shown someone that believes that time is not on their side, that it’s “never quite enough” and yet somehow also “all that’s necessary”, coming off the heels of the identity crisis and confusion experienced during Tap Out. Our narrator feels that they’re “livin’ a lie” and “flying too high”, and perhaps this reflects the awkward adjustment into super stardom that the band experienced when their debut record was rumored to be legendary before it even released; hype is a bitch, man. Choosing to show someone having immense trouble settling into their life and lacking sufficient time to adjust, while using a musical style reminiscent of a time where the band likely felt this way is incredible, even if the song itself stands out not for its creativity but for lack thereof. Perhaps Casablancas wanted his emotions during the group’s earlier days when they employed such a sound to be expressed here, thus explaining this return to their old style. One Way Trigger brings the falsetto back for a majority of this sad yet oddly uplifting track. Consisting of incredibly tight drums and both acoustic and electric guitar along with what I can only conclude is a synth for the main melody of the track, One Way Trigger is one of the oddest offerings on the record, which I mean in a good way. It does what The Strokes have always done very well, bringing moody, self-loathy (that’s a word now, I’m calling Webster) lyrics paired with uplifting music, masking the song’s true meaning to all but the closest of listeners (or, you know, the people who actually know/read the lyrics). Casablancas’ falsetto is present, as mentioned, and it’s pushed to what I can assume are uncomfortable lengths, while parts of the track rely on the front man’s lower register to deliver the depressing message. Continuing with the story, One Way Trigger brings us to our narrator not happy with where they are in life, finding it far too difficult to settle down with their partner, and much easier to just tell them to figure things out on their own with lyrics such as “get dressed in your bed while she’s asleep, it isn’t right but it isn’t hard”, and “find a job, find a friend, find a home, find a dog”. Showing both disinterest and remorse, the narrator clearly doesn’t want to be here, and yet they feel bad about the way they are going about doing things, and the scary part is that it’s not even a hard thing to do. The synthetic upbeat melody parallel with the synthetic, disingenuous happiness in the narrator’s relationship as well as the simple 4-chord acoustic backing guitar overshadowed by the gritty, Is This It-era electric solo further represent the relationship, as the narrator’s gritty and desperate need to fulfill their own purpose shines through much louder and rougher than the simple, melodic sounds and feelings of settling down and melting into the rhythm of normal life, longing to be noticed according to the post-chorus and yet wanting to leave being clearly stated in the first verse. The final verse of the song also shows this internal conflict and contradictory emotions, as the narrator states that they “don’t wanna be in there with you”, and yet immediately after they state an opposite feeling of not wanting “to be in there without your loving either”, simply yet wonderfully illustrating the conflict apparent throughout the song and record as a whole. Moretti’s drums reach one of many high points on the record, giving the song its catchy but powerful backbone needed to deliver the message Casablancas is sending, while the present but subtle bass remind us that Fraiture doesn’t fuck around, even when his part is understated relative to some of his other work. As stated, the song is odd, and while a personal favorite, it may be hard to accept that a former garage rock group wrote and performed this track, and I myself initially heard this track and didn’t like it. One Way Trigger isn’t exactly an acquired taste, more so just a song that tastes weird, so if weird is something you like, you’ll like it. Often seen as one of the best tracks the band has ever recorded, Welcome To Japan very boldly speaks about a decision made by the narrator after the events of One Way Trigger, as they go on to continue performing abroad and eventually have an insinuated affair, not knowing that “the gun was loaded” and how they “did it alone” and “did it for fun”, being fully aware of their actions. Sung between a falsetto and a “normal” voice, the overall tone of the song can be described as tense, energetic, and ultimately inevitable, if a song can be described as inevitable. Stating that “if we don’t watch the sun, it will rise” as the very first lyric shows that the narrator wants it made clear right away that this situation was bound to happen as much as the sun is bound to rise, whether we see it coming or not. Initially a somewhat energetic and upbeat song, with intertwining guitars backed by strong bass presence, once the bridge hits, the track slows down and becomes much moodier and more blatantly emotional, much like the initial thrill of an affair will inevitably turn to dread as you’re filled with regret, whether that be because of legitimate sadness or the backlash of your partner finding out the truth. While initially seeming to be all for their actions, the narrator slowly slips back into a conflicted mindset, from statements of not wanting to be there for there partner, not wanting to “pick up your shit for ya” and that they were “ready to do this”, to second guessing themselves, going as far as to say that their once closest friend, their “clone” so to speak was blatantly cheated on, even seeing their own contradictory presence by acknowledging that their former claims of being broken and lost don’t add up when they choose to live aimlessly regardless and have affairs. Attempting to give us a more “groovy” track, Casablancas does what he’s always been great at doing; telling a story to music that doesn’t necessarily match the mood of what he’s trying to say. Punch-tastic (also a real word) bass, rhythm and lead guitar that want you to sit the fuck down and listen with 100% of your ears, and vocals that drone on, wanting to be heard but not wanting to speak for fear of being heard. One of the record’s highest points, Welcome To Japan is both familiar and foreign, completely in sync with the song’s underlying message, wanting to keep the now-familiar life of superstardom, but struggling with this foreign concept of settling down previously touched upon in One Way Trigger. Up next is the almost-title-track 80’s Comedown Machine, which I’ll be completely blunt about: it’s beautiful, and too damn long. While played on guitar during live performances, the album version of this track is either heavily distorted or simply some synths with eerie echoing drums and solid bass, nothing incredibly noteworthy but catchy and well produced. As my best friend, someone who can respect this record for what it does well but would never call himself a “fan” of it, this song is great, but he would never go out of his way to put it on. The Strokes had never used backing vocals that weren’t just Julian’s layered voice until Angles in 2011, and Comedown Machine also experiments with more than one vocal track, with 80’s Comedown Machine having some “ahhh”s in the background of the chorus, sung by Valensi in live performances. The main lyrics of this track suggest that after the affair of Welcome To Japan, the narrator is no longer living with their partner, instead watching from life’s sidelines and attempting to come to terms with their mistakes. This is partially evident from the viewpoint that the lyrics are written. The first 4 tracks on the record are written predominantly in the second person viewpoint, in that the song sings about “you”, as if the narrator is blaming someone else for what is going on, while 80’s Comedown Machine is predominantly first person, using “I” more often than “you”. This reflects that the narrator has at least grown somewhat since the events of the prior track, no longer pinning all of their mental battles on their partner, as they begin to accept what they’ve done. In fact, they even urge their former partner and clone to “close the blinds” and “run away” from them, to get away from watching them and make their own life better. While still lyrically and thematically strong in regard to the narrative, 80’s Comedown Machine overstays its welcome, being repetitive in nature and almost droning on. Perhaps this is the point, to illustrate just how much thought and time went into the narrator’s thoughts since he last spoke with his partner, but even so, a long, almost annoyingly repetitively song is hard to listen to, and if you can’t finish the song, why start it in the first place? And yet, perhaps that’s the point. After all, the narrator wants their partner to go away and avoid being hurt anymore, and maybe they think that they’ve overstayed their welcome in this life… food for thought, ya know? Moving on to the record’s B-side, the ongoing narrative continues into 50/50. It appears that the narrator has convinced their former partner to talk with them, but they clearly don’t have experience in talking with each other if his first words are “why’s she telling me the story of her life?” and perhaps not the best way to win someone back. A rough way to think about someone you’re trying to win back, for sure, but as well know, you can’t just speak like this to someone if you hope to have them open up to you, you have to filter yourself, and this track brings back a heavy vocal filter for Casablancas’ vocals, which once again return to a somewhat normal range that classic fans will appreciate. The guitar is also rough and filtered in much the same way, making this the second track to resemble the band’s older sound, which makes sense; the narrator is trying to bring back what they once had, so bringing back this old sound is thematically fitting. The vocals, powerful and backed by what seems to be genuine desperation, blend well with the heavy use of cymbals and the muddiest basslines we’ve heard so far. Being so heavily filtered, though, nothing sounds low-effort or “bad”, just rough and almost as if the band didn’t practice. This could perhaps reflect the narrator and former partner having this conversation, underprepared and unrehearsed, still cohesive since they have history together but isn’t quite like what they used to sound like or are capable of. With Casablancas stating that this person has taken prisoners inside and thrown wisdom into fire, it is insinuated that the former partner is opening up about how much other peoples’ thoughts play into their own self-image, with shrieks of “don’t judge me” making up a majority of the track’s chorus and maybe even sung by the partner and not our familiar narrator. With these realizations that their former lover was having self-esteem issues, the narrator begins to open their eyes to the fact that a relationship and the struggles that come with it are a two-sided coin, seeing that mental struggles are indeed 50/50. Slow Animals takes place in the same conversation as 50/50, with the narrator attempting to rationalize their thought process in this fucked up world we all call home. One could also listen to the single not found on the record, Fast Animals, which expresses the same thoughts as Slow Animals, albeit in a different way, with a faster tempo and slightly different experimentation (i.e. cowbells). For the purpose of this review, I’ll be looking at the record only, so Slow Animals is where we’ll be landing. At this point, I believe that the record possibly splits into two potential directions; the narrator remains and we get our “happy ending” in a literal sense, or we change narrators to the partner and the record ends with a much less fortunate “fate” (I like puns). Still in 50/50’s conversation, let’s assume that we’re now being narrated by the original narrator’s partner. Now that her former lover is seeing her side of the story, we have a man in disarray finally seeing what they’ve done, and causing a scene while doing so, prompting our new narrator to tell them that “don’t need to be so loud”. Not one for such drama, we continue into the song, as the woman expresses concern for the man’s wellbeing, hoping “nothin’s wrong”, understanding that some people can overreact, such as constant worry about where one’s daughter could be now that they’re old enough to go on dates. This could also be a crude jab at the man, since it’s very likely that the woman involved in Welcome to Japan’s affair was someone’s innocent daughter and the partner is making a clever jab about this, further supported by not wanting to “see or hear or think about it again”, a very normal reaction to someone who has cheated on you. With questions such as “is it gone?”, we can at least conclude that there’s an attempt at patching up this relationship and returning to what once was. Not my favorite track in a musical sense, Slow Animals is a softer, smoother track than much of what came before it, with Casablancas once more bringing his higher range to the table, perhaps implying that he’s willing to change and bring a new self to this relationship’s fresh start. Moretti’s drums employ much more cymbal crashing during the chorus than in other songs on the record, giving a white noise effect, which may reflect that someone in this conversation is struggling to fully grasp what the other is saying, with much of what they are saying only being perceived as noise, even as someone says they hope that nothing’s wrong, it’s hard to accept what’s being said after all that’s happened. However, the laughter that closes out the track may imply that some amount of growth has occurred, and progress was made during this conversation, or perhaps the sheer ridiculousness of trying to make things work was simply too funny to hold in. As previously stated and implied, Comedown Machine is a weird album, the weirdest record that The Strokes’ have released to date, and Partners In Crime confuses and baffles us, with scratchy, catchy guitars, an eerie synth that matches Casablancas’ vocal melody, and an overall presentation of “what in the fuck am I listening to right now”. Lyrically confusing, one might conclude that the previous conversation in fact failed to reach a resolution, and now our original narrator has nearly snapped, resorting to borderline creepy gibberish in a last-ditch effort to win his partner back. Saying the day isn’t “okayish” among other negative observations, the narrator concludes that they may need a lawyer, a nice little nod to underrated Strokes’ track Red Light, and that “where there’s a forest, we don’t belong”, attempting to explain to their former partner that any natural setting just isn’t going to work for them, they simply don’t belong in a place like everyone else may belong. Further trying to prove their point, they even point to a friend “locked up at the zoo” and asks why they aren’t leaving town together. Casablancas is no stranger to criticizing society for being chaotic, with too much focus on fitting in and pleasing others, so having the narrator point to someone who has become trapped by this system and describing it as a “zoo” is fitting, wanting the former partner and himself to escape this life and live for themselves. Forget a normal relationship, we’ll do things differently! However, this isn’t as successful as the narrator may hope for it to be. Back to the music itself, Partners In Crime is one of the record’s stronger tracks in a musical sense, for every reason previously stated, with special mention to the closing guitar riffs being as hard and ear-scraping as they are, truly encapsulating the drama of our ongoing narrative. The first and only track on Comedown Machine to be primarily narrated by the former partner, on Chances we join the partner as she makes her decision to leave the man and go out on her own, deciding what’s best for herself at the moment, taking their chances alone and away from this man she’s been “waiting up” on. Telling the man to get on his horse and go, and not so subtle way of accusing the man of his cocky nature via the idiom of a high horse. The track even hints at the partner having thought about a breakup in the past, with opening verses tapping into past memories of “waiting on”, “waiting for”, and “waiting by” the man, and we’ve reached a point where they simply can’t continue, and they now see what’s going on and where this relationship is heading. As with any conclusion to a conversation, the tone has slowed down and this is reflected by the music backing the vocals, a gust of synthetic wind leading us into the track’s simple, nearly unfiltered main guitar riff. Perhaps reflective of the opening and honesty of the female narrator, Chances is one of the purest songs on the record, with only a droning, wavy synth being a “fake” instrument in this track. Reminiscent of the droning synth in the background of Tap Out’s chorus, Chances reminds us that this story has been ongoing and stretches back much farther than the first track on the record, and the lyrics pointing toward the narrator’s feelings being about splitting long ago also support this. The former partner almost celebrates their new freedom, too, sarcastically giving a sarcastic “cheers” to “days he decides he’s got time”, but also being upset by the circumstances, closing the song with thoughts of what could be. Happy Ending is where Comedown Machine “crashes”, so to speak, as the original narrator, the man, offers his last-ditch effort to get his partner back. No longer is he upset about stories of her life, he begs her to “say it all” and “get it all of your chest”. Pleading to be shown where to go, despite not wanting to know every little detail, the man is desperate for one more chance. Blaming his actions on “teenage angst” that can affect all ages of life, the man has clearly learned nothing from his actions, even acknowledging the numerous times his partner had forgiven him for his idiocy, changing his mind about leaving to be with the band “200 times before”, but this time is different. One of the tracks on the record with writing credits to all five members of the band, Happy Ending is a 50/50 (pun intended) mix of new and old Strokes’ sounds, with a synthetic tire screech opening into signature Valensi/Hammond Jr. guitar synthesis, smooth but menacing bass courtesy of Fraiture, and annoyingly impressive and clean drums from Moretti. Casablancas mixes a classic, strained vocal approach with his newly adopted but already familiar falsetto approach, singing parts of the song where he begs for forgiveness with his old self, and the sorrier, sadder lyrics being sung by the new falsetto, reflective of the narrator’s inability to choose an identity and ultimately a lifestyle that will make both him and his partner happy and content. Indeed, Happy Ending is anything but, and incredibly demonstrates that a breakup does not always mean that both parties will be better off. Immediately transitioning into the next track, Comedown Machine closes with a cult favorite in Call It Fate, Call It Karma. After the indecisive vocal approach in the previous track, Casablancas has fully embraced his falsetto, even the lower parts of the track being in what we previously saw to be the upper echelon of his voice. Lacking a drumline throughout, reminding us of the Strokes’ demo I’ll Try Anything Once, this track is the bitter conclusion to Comedown Machine’s narrative, with a simple progression of chords being a majority of the song’s musical backing, potentially played on a piano or simply a heavily distorted electric guitar. Casablancas sings through a walkie-talkie-esque filter, perhaps reflecting that the narrator may feel as if there is a distance or thick wall between himself and their former partner, muffling his desperate words. Asking the partner to leave their door open and to maybe let them in, the narrator has finally realized that they took their great situation for granted, and now simply waits around in the hopes of seeing the partner again, whether they speak again or not. Once more asking for the woman to speak by asking “don’t you wanna remind me”, even admitting “I wanted to understand your face” and accepting that they didn’t completely understand the emotional toll their actions had taken and only took the partner’s reactions at face-value. Closing the beautiful track with confessions of watching the woman, waiting around for them with hopes of getting to see them, and finally understanding that they truly needed this person to be happy, Casablancas and crew slowly fade out as the man screams for what they need, slowly disappearing as the record keeps spinning, reaching white noise, then silence. Comedown Machine is probably the most ambitious project released by The Strokes to date, telling an overarching story of failed redemption to nearly a dozen songs that could accurately be called “genre experiments”. Familiar yet new, fresh and sweet but bitter and soft on the edges, Comedown Machine grows on listeners the more they slap the CD in or rest the needle down and let it spin. With notable low points but even more high points than any one human can count, Comedown Machine is much like how the narrator saw their partner throughout most of the story; an obligation. It’s no secret that The Strokes barely acknowledged and still don’t acknowledge this record very much, with the accepted reasoning being that it was a contractual obligation so the band could part ways with record label RCA. Whether or not this is true, the record remains underappreciated and underrepresented in the world of alternative music, eerily close to how the partner in the album probably felt due to the neglect by the man. Was this intentional? Have I completely overanalyzed this album? Is there truly a narrative and I’m not just taking coincidences and stringing them together like a moron? I’ll let you all decide that, but I can at least give you something conclusive; Comedown Machine is near perfect of a listening experience, both in quality and artistic direction, and it truly baffles me that a band once known for its skill in simplicity in a total different genre managed to craft something so intricately stunning. Comedown Machine – The Strokes Rating: 9/10
And any kind of moral limits that maybe even a Dick Cheney would have put on get completely removed for Hillary Clinton--
Any way to make a dime is basically Hillary Clinton's methodology
So those are those constructs
Those are the structures that you look for over and over again
Much like a doctor looks for the same--type indeed once he knows the progress of a disease, or once he knows the key symptoms, he doesn't try to say well it's got to be over here--on your foot, when you're obviously having trouble breathing--that that sort of thing
So that that's what I'm saying in this analysis is so much more important than the news
News is the beginning
News the stuff that's being reported that takes up all of Fox News from beginning to end in the end
And that's the closest to fact--is 1%
Digging is the rest
The 99% this story will unravel and only one and one and only one way and that is digging
And you have to go to Uranium
You have to go to the people to the people inside the Frank Giustra partners--those 1,100 partners that's the Navy here
The Navy Admirals Club the Army Army Navy Admirals investment club
That's the NATO generals as I've said before on the other side of the ocean
That's the folks like Steve Bannon that are involved in the hedge funds, that are putting together hedge funds from Robert Mueller
That's the whole people that enforce this metal monopoly, which is the FBI, FBI and the constructs the FBI created, like NNSA, and the kind of ripping that away from the NRC
And then you've got to include the CIA School of Mines at the end of the day, because you have to understand the motivation of the folks that are doing these things
So I just wanted to comment on a couple of videos in general
I love the videos yesterday because it was digging digging digging
There was no cheesy--release the memo
I think release the memo is great I love all the public reaction
But look at how little the Congressman listened
Nobody yesterday got out on the steps like I did and said, "we need to release this memo today"
Now there were people that went on television that said that
But literally you need to have that press conference outside the halls of Congress
And call a press conference and say we need to do this this needs to happen today
This is this is an outrage that this isn't released and immediately
We're probably going to have to wait till--Monday or Thursday or Friday after the State of the Union!
How can you talk about the state of the union, without talking about that whole process!
That whole attack by Hillary on the electoral process with the FBI
And to understand this "metal monopoly"--this Uranium monopoly--this will go on forever
Because of nuclear non-proliferation this will go on forever
Key technologies will be developed in the nuclear labs, like this Silex technology
It will be always under the control and auspices of the FBI for nuclear development
The reactor technology is the same is the same way
Because it's national security they'll always be able to sell small reactors to different governments
The Hillary Clinton's will always have this power of pay and play
So if you don't crack this FBI secrecy now, with the memo, if there if there have no constitutional restrictions ever then all the things that go after--which is all the pay to play--is protected
Things like building us a demonstration plant in Piketon, Ohio and allowing six to eight years of money to be invested with these centrifuges
And then all of a sudden saying, "oh well it didn't go well"
Where did those centrifuges go?
Following the centrifuges I believe they went to Iran, or to the UAE
But they were--mothballed for a while
What them a mining industry they call it "playing the piano"
And then they were moved to different partners--to pay to play partners
If you don't have transparency at the front end and something as simple as a four-page memo, none of this will ever be unwound
So I see all this pay-to-play, especially with the FBI, is almost the crux of democracy
If this CIA School of Mines, and this metal monopoly that the FBI has, really non-proliferation monopoly for all time--for the rest of the world
They can do underwater testing--for finding oil and gas, which I'm not necessarily against as long as it's in a controlled method
I can understand the space program. I think we have SpaceX...I don't mind the development that on a private basis
It's just when it's done in secret on the taxpayer dime, and then it comes out later--ten years later--like two people--two high school kids just came up with this and it's a it's a fantastic rags to riches story
That's my objection is when it becomes a school play or even worse yet a puppet show
Now with what we know about Fusion GPS and Andrew McCabe, and how closely they were working together with Department of Justice and Christopher Steele, and MI6, ex MI6 I should say, and how close they were they were working with Russians spies to be brought in the country, this is much easier to say now
But as I have argued with Lee over the period of time this Guccifer is a cover and to throw--not a real person
We've argued about that
But the reason why I say it's a cover and a throw is: first you're covering the DNC thefts, the sweeping of the money, and the sweeping of the NGP van information, but the other thing it's going to be a throw now that--that Trump is going to be the nominee
So you put in Manafort when--that Trump's gonna be the nominee
Manafort's got a charge hanging over his head as we know now that was sealed
And you get at Manafort to pretty much do whatever you want him to do okay
Now now Roger Stone worked with Manafort and I don't believe Roger stone knew that Manafort was under indictment at the time
But basically this is Andy's Andy McCabe's tried-and-true methodology, which is entrapment entrapment entrapment, using informants
He learned that from John Brennan, his mentor, coming up from
I think Andy went to Duke not really St. Louis University
And I believe that he when they recruit teams, they named him after their--favorite team or favorite sports team or whatever
And I believe he recruited a team called "the Dukes"--these Russian guys in Russian hackers
We'll get to that later
But anyway let's get to the timeline and looking at Guccifer as an entrapment, a throw, it's not just a throw, it's also it's not just a throw it's also an excuse it's a cover
So let's say this word 'timeline' represents the June 9th meeting
You put in Veselnitskaya who you've had again, trying to entrap everyone at these Trump events these Trump rallies with this operative from the New York Times
Does that sound like somebody who might have gotten paid by Fusion GPS? yeah
So they're driving all around, you got Akhmetshin, who is driving all around, offering secrets from Peter Smith
And the Hillary Clinton deleted emails somehow that the Russians have those
They're working independently
And then they come together here at Trump Tower, with your other person that you've compromised, which is Paul Manafort
And now who are the two targets? The two targets are going to be Donald Trump jr., and they're also going to be Kushner
Now Trump jr. hasn't been around in Washington as long as Kushner has
And he says "no" to the deal
But the plan was hey we're gonna offer these DNC leaks, that are gonna be coming out
We're gonna offer this DS DNC emails at this meeting
Maybe they did, maybe they didn't, but if they were just talking about the Magnitsky Act, and just talking about Russian influence there with Veselnitskaya, then that could be, and then they came up with this plan later
Or they could have offered both of those, since both Akhmetshin was there and Veselnitskaya I say that both of those--what I call the dangles-- both of those--kind of baits were offered
The reason why Magnitsky is interesting is they put in the Magnitsky Act--this kind of pay-to-play group with the DNC and Hillary, to basically squeeze Russian oligarchs to get more out of the money than than the original pay-to-play agreements
But now it was working against them, because remember they couldn't get Vero Pharmaceuticals into the country, because they because of their own barriers that they had encouraged to write
So now they're trying to knock down those barriers
Vero Pharmaceuticals was later sold Abbott Laboratories and Rahm Emmanuel wants to make that deal happen
So he's got Veselnitskaya in there trying to--lobby Congress the next day after this meeting okay
So here's our set up now, we're gonna try to have--these Freitag low light cameras right there
And we're gonna try to have a hard drive, something can't have just a thumb drives, got to be a hard drive, it's got to be something that's large enough that people can see on a camera a jury...we got the whole setup going
Now that they have these two contacts, we're gonna be offering this to the different people the different surrogates of Trump
Now, did--in order to prove that these emails finally do exist--they're not taking the bait here from June 14th all the way till the convention
Which I think is July 25th
And then Julian Assange pushes him out
What I think they did was they released these emails to Roger Stone
And that had Roger Stone pass him on to Julian Assange
They are admitted to communicating
Now the other thing they could have done and may be shown him a few emails
But the the person I think would be more likely as the person that they did Uzbeki truckers with
If you don't remember Craig Murray--the ambassador to Uzbekistan--I believe he was the key person from MI6, friend of Christophe Steele's
Christopher Steele that organized the is Uzbeki truckers, the Saipov truckers
So I believe he communicated those to Julian Assange
And he was standing outside of Julian Assange's place there when you saw Jason and Trisha go there
So very close to the British Embassy Hillary's house very close to the British Embassy
Just kind of makes sense from a proximity point of view
And that's but again, I want to emphasize here having dealt with WikiLeaks before and then the precursor organization, they don't know where they're getting the information from
If DNC comes out and says it's Seth Rich, he really does not know
He has a good idea but he does not know I know people find that hard to believe
But anyway Guccifer claims responsibility
The first thing they do is throw out a whole bunch of Trump trash
They try to get people to come pick it up and say it's a Stradivarius
Nobody wants to come and get it
The other thing they do is they try to throw out their fake donor list
Braverman knows it's not true
Everyone knows it's just a bundler list to funnel and wash and launder a whole bunch of other ratline money okay
So that all works until the convention conventions 25th still not going anywhere
So they keep trying to rewarm the Guccifer story
Rewarm new hacks...keep that bait going to the Trump campaign
But the Trump folks just never go for it
They're too busy on the road--having these rallies to be honest
They're they're just traveling at a breakneck speed
And Hillary is--the reason why she's not traveling is she's having these meetings constantly try to figure out what's the next entrapment we can set up
So maybe Roger Stone saw an email, maybe he didn't, maybe he talked to Julian Assange, and they were trying to lure him, to pick up some of those emails for Trump
That's probably the more likely of the two scenarios
And just and nobody ends up taking the bait until Guccifer just kind of dwindles out of importance
That's why, when we get into this August timeframe, when Guccifer basically is gone spoil, they have to go to the other insurance policy
Which is the entrapments aren't going to work anymore
We need full-on deep dives
Everybody across the board
I think they had those anyway
But we're gonna need to present that information
We've got a few things here let's go for it
Now is Flynn compromised?
In the setup with the Kislyak
Kislyak has been a key bagman for the Clintons for a long time
Does Flynn fall for it or doesn't he fall for it?
I think Flynn might have said hey--before I before I go into this position with Trump I--I I have to do my last deals here, if I'm gonna do anything as a private political consultant
Or maybe he didn't say that--we don't know yet
That'll come out at the trial, but he might have intimated that to Kislyak and that's how they got Flynn on that charge
The story really here though in summary is the timeline is they keep offering offering offering different stuff to Trump
And all the associates
And they keep trying to set them up with the Kislyak...and all these other operatives from Akmetshin, and it just doesn't work
None of it works
So they're left with the detritus of their setups
They're left with the detritus only to testify against them, in an odd way
It only has now provided us more information about modus operandi in order to return lawsuit against them
Now one thing I wanted to say in my three lawsuits is I have 12 defendants in each lawsuit
So in no way I didn't want to do 13 in no way am I saying I'm letting any one particular letting the whole group off--the whole conspiracy
I'm going to let one conspirator off the at a time for more information and more evidence just like the FBI would do
So don't get the idea that I'm dropping my lawsuits in any way sense or form
That's just the strategy that I'm moving forward with
A couple of days ago two days ago I did this video about Sandia Labs
And I made the note that Sandia is close to Los Alamos
Sandia is close to Lawrence Livermore
And Sandia is close to Hawaii
Now I also made the comment if you were doing weapons testing, that would be a great location Sandia
I talked about mr. Deep Uranium being out there stationed there, doing weapons testing
And I talked you've probably seen different commercial press reports about HEU being on planes at Livermore
And being on planes at Los Alamos
And this is where people are going to be sampling, just much like Bob Mueller was sampling this stuff out to different research labs around the world
That's why I think you're seeing people getting caught with this stuff that are not Bob Mueller
Bob Mueller gets to fly military jets,
But let's say let's go back to megatons to megawatts
Now, if you don't remember what that is we're gonna go to the ship here, and we're gonna ship this all into Savannah
It's gonna come in, it's gonna be highly enriched Uranium
Now that could supply foreign weapons programs if you had a one two three agreement with a foreign nation, like any of these nations over here
UAE, as well as you can do a secret program through UAE to Iran
It's gonna be just like Iran-Contra
The thing is you think you would maybe want to down-blend it here in Lynchburg, Virginia a little bit, to provide fuel for these different power companies
But what if somebody said, "hey wait a minute, hey wait a minute, we can store all that stuff here in Parkersburg, West Virginia excuse me Clarksburg, West Virginia and that way we'll keep it...
...and then if we have any one two three discussions that come along with UAE or Iran or other deals that we make with Turkey etc all these major powers, we can actually station FBI personnel remotely like in Saudi Arabia and be kind of a local supply house for all these different weapons and research programs
It's really not going to be a weapons program we're going to call it a research program
We could put people over in the Ukraine
We could put people in Pakistan
We could put people in India
We could put them all over all these different countries we could put them in France
We could put them in Estonia we could put them in England
All over the world basically, we'd have FBI agents Australia New Zealand etc China North Korea
Even if the CIA might want to do that South Korea anybody who had a research program
So you could have people flying from Los Alamos, and flying from Lawrence Livermore all over the world with HEU in their pocket, even though they're not supposed to
And every once in a while they catch somebody, you'll see those articles
But for the most part at any time we needed to do a peaceful nuclear explosion, and I know some people don't like that idea,
But I think underwater nuclear explosions are quite reasonable, as long as they're done far enough away
And it is good for developing resources
We could just fly this stock from out from Sandia to Hawaii to do that experiment
Now remember Sandia can withstand a Delta Force attack
So it's very secure there I've also been to the Parkersburg location it's extremely secure
Now I'm gonna use a name I don't like saying the name Rothschild
So I'm gonna just say the name Rich instead
So you think back to Marc Rich...so you
Now there's a Rothschild involved in Genie Energy
I'm going to just say Genie Energy the Rich involved in Genie Energy
Now could Seth Rich be involved in that family?
Could Bob Mueller be married to a Rich or a Rothschild?
I don't know it's kind of conspiratorial whenever you say the name Rothschild-- I'm always afraid to say it
But he does have a couple of relatives out here there's a Susan out here I believe that is in works for Northrop Grumman
Or has a son named Aaron that's works for Northrop Grumman
And I think Seth Rich's real name is Aaron rich and he works at Northrop Grumman
As I've said before, this whole thing kind of centers around space and nuclear
The space side is more the Comey side with the Lockheed...and Bridgewater--those investments
And the nuclear side is really the Bob Mueller side, along with I think there's gonna be a contractor for General Dynamics that's going to be the McCabe side
So I think there's going to be three families that are all gonna be kind of in this cabal I guess you would say
Now I don't know if it's gonna turn out to be John McCabe of BDM which is a division of General Dynamics
Which was the key company that received all this
At the time I think was called GE Hitachi at that time
But I think it becomes General Dynamics they changed the names quite a bit
And that's where Andy really becomes the third leg of the chair here
Andy really is the family that's controlling the reception of the of the Uranium
So the GE Hitachi program that we've been talking about--this third generation of Silex equipment, that spins this stuff--potentially much more efficiently than then gas diffusion turbines excuse me of centrifuges--is what we're talking about
So third generation laser SILEX is supposedly going to be ten times better
Well that was known back in 1994 as this ore was coming in, wouldn't you want to just say, "hey hey wait you're a Rothschild you're rich you're whatever if we're all involved in this, we're all government contractors, shouldn't we sit on this?"
Isn't there gonna be a research need from some of these countries over the next couple years?
Should we sit on this and wait?
We can always go to Wyoming--remember Wyoming has that Shinkolobwe mine--that's the main that speeds that power plant the Idaho National Labs for these nuclear sub power plant development
While we're sitting and waiting to see if this technology comes out, we can just feed it through there--to that to these power plants being made
Now I believe General Dynamics is also the company that makes these power plants
I think it's a division of General Dynamics
I think it's going to be Austal or it's also going to be electric boat but a division of General Dynamics makes it
So hey let's not go crazy let's stay right here in Savanna the home of the Navy nuclear system
Let's send out these HEU systems
Let's use the HEU for our nuclear Navy
As the one two three agreements come in we'll have another U need there
And also we'll have a research need around the world for the different developing research programs around the world through Los Alamos and Lawrence Livermore
Livermore Will kind of cover the Russians and kind of cover the Chinese
I believe Los Alamos is going be more for the Europeans
Then well every once in a while we'll do it was a peaceful nuclear explosion, potentially, to see if there's oil or gas somewhere
And we'll have a pretty good system for taking this HEU, which is down in Savannah--it could be at the Savannah River Site, which is also a highly secure site--or if I'm Andrew McCabe, I would prefer that it be in Clarksburg
I know that's Andy McCabe's vault
He loves that
He calls it the FBI vault it's called the FBI vault that's where I would keep it
Now the other thing is nuclear waste the nuclear waste in this system is in Y12 here
This is in Knoxville, Tennessee
And also I've got a nuclear waste side out here in Patel that Patel manages out here in Washington
It goes to different government contractors
But in this in these tailings that are made from these processes, when you're spinning Uranium, there's these tailings,
And the tailings are still can there about a half a percent of Uranium
If we could spin those, if we could somehow spin those, and get those up to the three percent requirement or the two percent requirement for fuel, we could backfill the Uranium need--the low enriched Uranium need--the one or two percent need or three percent need with these tailings, potentially
So what if we did this: since we don't own the if since we don't own these centrifuges here, let's start a program in 2003, that's experimental
And we'll get all the best and latest greatest centrifuges here
But then we'll kill the project
And exactly that is exactly what happened and I'll try to pick the right article here
So Rothchilds I know that it seems you odd and weird
The last thing in the world 450 days or I guess hundred sixty-five days into this I wanted to be talking about what's the Rothschilds
I've avoided that word so much
But--Genie Energy and there is that one guy who's on the board with Dick Cheney
And--I know that--George Bush is a silent owner's not far behind
And then you've got Larry Summers and you've got--the crew
And--if resources for the future and all that
So you have to kind of follow it
And then you start following it down, and you see the Mueller intertwinement,
And the McCabe intertwinement with the Rothschilds
And even Comey potentially
And then you start looking at these places in Aurora, Colorado that worked for General Dynamics called BDM
So BDM yeah and say overhead persistent overhead persistent infrared reconnaissance
Or battlefield management
A couple of Rothschilds worked there
A Susan Rothschild
And Mueller's wife has connections to Rothschild
It's just looking like the Rothschilds are very connected
And I know there are a very big mining family--I understand that: mining and oil mining and oil
But it really is turning out to be this David Rothschild's got this intelligent choices in in Sugar Land, Texas
And then somebody called me a viewer said, "you're making this way too hard--if it's a million dollar quarter pounder--what's an ounce of highly enriched Uranium worth versus an ounce of gold?"
Well this Mueller said sixty thousand
I think would be a lot more than that, if the quarter pounders eight million, that's what Bob highly enriched Uranium got offered
And when he was doing his rounds with the ten samples in Sofia
But, you know, it's worth a lot more than an ounce of gold it's worth 60 times as much as an $1,100 ounce of gold
So even at this lower estimate, it's worth 60 times as much
I would rather have an FBI
I would rather have an NNSA
And I would rather have $60,000 an ounce, with a complete--Pinkerton or Wackenhut or G4S--set of of kind of protective--police for my ratlines
And then I could take whatever else I want under the ratlines under color-of-law
So maybe it is--we followed mining and oil and pipelines all along the way with Dyncorp
Maybe it is the Rothschilds--I'm I'm starting to give up--resistance here with Blackrock and Blackstone ventures and all the black weapons and all the Colorado's CIA type tie-ins and the Q level clearances
I'm giving up my resistance to the Rothschilds being the first family of Uranium
I guess that's the bottom line
So I don't really do much in the folklore type stuff
But it's interesting folklore of the when there was primogenitor in old england and the first son got this in the land
The second son apparently would become a Knight of Malta
And that was so that the each country would have some control or give something back to the Vatican, I guess
And their symbol was the Red Cross...and
Now this Q post is out with the Red Cross
And I thought, well is that a rock--Rothschilds are Jesuits--and they are Knights of Malta
And as was I think Comey and all of those guys are all Knights of Malta
Allen Dulles was a knight of Malta
I think Podesta's a Knight of Malta
The real advantage for me a Knight of Malta is you get a diplomatic passport
So don't touch my bags if you please mr. customs man
That's the big benefit
And they have a lot of consulates all over the world as well
So that's another nice part about being--all of those different Maltese consulates are are safe havens
As well as the Maldives I think, may be under the control of the Knights of Malta--I'm not sure
But I think it may be from the old Spanish when in the Spanish broke off I think it may be under Spain but given privileges and by the Knights of Malta
So and I did a show on this a while back
And my shopkeepers in Europe
The people that gave me some Intelligence about where John Podesta's artwork was, and Tony Podesta's artwork as well as blood diamonds...
They had told me that they said, "look Maltese Falcon, the whole the whole show Maltese Falcon was about--go to shop the owners that have the Maltese Falcon to pay for your rites of passage"
And Casablanca was the follow up, which is another place Hillary could go and all the people that are looking for safe haven
And the Casablanca was the follow up, which is you're gonna get your letters of transit, and then that's how you get out to get out of Europe to South America
So was that secret--message? Who knows
But but I cannot ignore anymore this Rothschild connection
And especially when it starts looking like Andy McCabe
And also Mueller may be connected to the Rothschilds
So interesting what's 60,000 dollars an ounce versus an ounce of gold
Is a gold mining company really a cover for Uranium mining country company
You got Barrick Gold, right by the capital
There's no gold by the capital, but there sure is a lot of influence for Uranium at the capital in terms of non-proliferation and security
And--you look at Haiti and you start thinking was that weird gold company that Hillary Rodham Clinton's brother was in
Was THAT really a cover for Uranium?
Hard to know hard to know
Those mountains of Mirabilais--a hard to know if they had Uranium or not
That's the last missive for today and 101 tomorrow
It's day 101 and I'm gonna try for a simplified version of version 3 yesterday
So I'm gonna have this CANDU 7-inch Uranium fuel rod here represent highly enriched Uranium
So this is not I'm just using this as a symbol
But this is coming into the United States beginning in 1993
There's 550 tons of it coming in from Russia
Now I believe it came from the port of St. Petersburg
And it went and stopped in Belgium on its way here to the United States and then came in to the Port of Savannah
Again, I need to check that
But I do have documentation a little bit later 2005 of this company called Transport Logistics and the CEO talking about it coming into this port
I believe that's where it was from the beginning of the program
So it trickles in and then gradually goes up in into 2002 the early 2000s for the first ten years
And I think about half of this - of this let's say this is 125 tons each two of these come in in in the first 10 years
And there's two more kind of left to still come in
I'm not sure exactly where we stand on how many if the program is over or not
But the bottom line is here it's coming into San Diego
This is the years your nuclear school
Here's all your Navy investment folks
These are smart cookies they know all about nuclear technology
They know the uses of this nuclear technology for not only military use
But they also know because of their connection with the National Laboratories--the FBI and NN double NSA--they know about other uses for it - like small reactors for both military and commercial purposes, for mining applications, and oil and other remote applications
So here it comes
This is extremely valuable
It's at least sixty thousand dollars an ounce
I think it's actually worth more than that the million dollar quarter-pounder is the visual that I've chosen
And you could just say, "hey if we have a secure place to store this let's store this for a while and maybe backfill"
So there's a backfill strategy, maybe
So you have a customer that's gonna be buying all this fuel
Remember you you don't need 90 percent Uranium
You only need to supply maybe 2 percent Uranium maybe 3 percent
We can check with the Nuclear Regulatory Commission exactly and we are with exactly what the fuel levels were
But if you could falsify or fudge or fake the paperwork--we've seen that before--down here as Uranium One, you could keep this stuff
And basically resell it for these other uses, higher uses, which is like the nuclear reactors or the small reactors
The Navy reactors are the small reactors okay
So let's say you have a vault Clarksburg for West Virginia is where I think it is other people speculate it's at Oak Ridge National Laboratories other people say it started at Oak Ridge and then move to the FBI Center in Clarksburg
So they could have a more secure hold on this
We can argue about all those things, but I think it's going to be one of those two places that it's held until it finds a use like this for a Navy reactor for u.s. Navy or the English Navy, potentially other navies around the world in the Middle East as well
We just don't know the details of that we need to drill down
Same thing for the reactors
This is going to be a little bit more of a Q level clearance type program and
Again, probably NATO allies first and then these other type of near allies like Pakistan and India...second
Or it could be the other way around it could be the near allies first because there's all kinds of regulation in the NATO partners
And then NATO partners after that
So we don't know that either
We can see there's a lot of opportunities
And you can see already if you're John Podesta your eyes are lighting up
2016.03.24 05:49 thegreyicewaterSpotify lists alternate writing credits for Comedown Machine
So if you play Comedown Machine in Spotify, and click the "lyrics" view, at the bottom of lyrics, it lists the writing credits for each song. Interestingly, while ASCAP's music registry credits the writing of each song on the album to all five dudes, Spotify has different writing credits for each song... Tap Out Julian Casablancas, Nick Valensi, Fabrizio Morretti All The Time Julian Casablancas, Nick Valensi, Nick Fraiture One Way Trigger Julian Casablancas, AlbertHammond Jr, Nick Valensi Welcome to Japan Julian Casablancas, AlbertHammond Jr, Nick Valensi 80's Comedown Machine Julian Casablancas, AlbertHammond Jr, Nick Valensi, Nick Fraiture, Fabrizio Morretti 50/50 Julian Casablancas, Nick Valensi, Fabrizio Morretti Slow Animals Julian Casablancas, Nick Valensi Partners in Crime Julian Casablancas, AlbertHammond Jr, Nick Valensi Chances Julian Casablancas, Mike Busbee, Nicolas Molinder, Jocaim Persson, Nick Fraiture, Michelle Lewis, Johan Fransson Fransson, Nick Valensi, AlbertHammond Jr, Fabrizio Morretti (I'm gonna guess this Spotify is glitching here and combining credits from another song) Happy Ending Julian Casablancas, Nick Valensi, Fabrizio Moretti Call It Fate, Call It Karma Julian Casablancas, AlbertHammond Jr, Nick Valensi, Fabrizio Moretti
2015.07.16 17:11 Woolite123A Beginner's Guide to: The Strokes
The Strokes In early 2006, I began my true love affair with music. Prior to this point in time, I relied on relatives, namely my father, in my exploration of music. His love for musical acts ranging from The Clash to Johnny Cash to Fleetwood Mac and Yes had been bestowed upon me. I soaked up as much as possible, learning about the history of classic and progressive rock - a common stepping-stone for many a musical career. During my thorough research I somehow stumbled upon a garage rock band who would alter my perception of music dramatically - The Strokes. In light of rumors of their potential breakup, I decided to take the time to review their tumultuous and confusing career arc. A career, which seems to have started with a flash of brilliance and perhaps, has dwindled to the point of no return. In 1998, New York musician and singer Julian Casablancas formed a small local band with childhood friends Nikolai Fraiture and Albert Hammond Jr along with classmates Nick Valensi, and Fabrizio Moretti. Following several recording sessions in New York, the band now named “The Strokes” released a short EP entitled The Modern Age. At the time, the New York rock and roll scene was fairly dead – hosting only a few local acts, which would go on to become The Mooney Suzuki, The Yeah Yeah Yeahs and Interpol. As a result, The Strokes became a highly sought after act, sparking the largest bidding war for a rock group in years. Cover - The Modern Age Examples: The songs on this EP, along with The Strokes EP appear on their debut Following the booming success of The Modern Age EP, The Strokes signed with RCA record company, one of the many labels that saw a future for The Strokes. After many hours of studio time, Casablancas and The Strokes released Is This It in 2001. The record gained nationwide praise from even the harshest of music critics. The theme throughout seems to be the struggles finding love in the big city. The album kicks off with the self-titled track, which focuses on a cycle of love and loss. In “Trying Your Luck”, Casablancas speaks about the single life in New York, crooning “At least I’m on my own again/ Instead of anywhere with you”. The lyrics aren’t anything too special, but the atmosphere of pedal effect-driven Lo-Fi guitars makes this seem like something truly unique. The bass, rhythm and lead guitars paired with Casablancas’ voice, which sounds like an additional instrument, are arranged in a manner which makes the album feel carefully orchestrated and constructed. Rather than your typical rock and roll that seems slightly organized, Is This It feels like the work of a driven perfectionist and orchestrator. Casablancas not only serves as the main creative force of the band, but also seems to play the role of an orchestra concertmaster, carefully organizing the chaos of all the moving parts. The masterful creation and synthesis of this album however has it’s downsides, and this album suffers from Illmatic syndrome – a debut so powerful and well constructed that upcoming works suffered. Pressure consistently rested on the band’s shoulders and with each release they heard the same criticism as Nas “Sure it’s good but it’s nowhere near their debut”. Following Is This It, The Strokes were harkened as leaders of a new era in rock and roll – a renaissance you might say - of the great works of rock legends. They were seen as the great saviors of a mislead genre, who would take rock back to its roots. Little did The Strokes know, the carefully constructed title of their debut would ironically go on to become the mantra of fans in following years – Is This It? US Cover - Is This It UK Cover - Is This It (NSFW-ish?) After the massive success of Is This It, The Strokes spent the next two years split their time between touring and recording in the studio – living out their childhood dreams as American rockstars. And after significant time in the studio carefully trying to avoid the sophomore slump, The Strokes finally released Room On Fire. Room On Fire is in many ways quite similar to their debut, as they follow a very similar instrumental formula, with Lo-Fi and garage rock influences. Thematically, it focuses instead on the band’s strange relationship with their newfound fame, from frustration with the media’s pressure to their celebration of life in the spotlight, living out their dreams. It’s a fully fleshed out cliché – the rock star struggling with newfound fame, and it’s not one many of us has the (mis)fortune of experiencing. Examples: Is This It? Alone, Together Last Nite Cover - Room On Fire Room on Fire’s lead single and most successful song “Reptillia” is a perfect representation of this juxtaposition, as Casablancas harps “The Room is on Fire and she’s fixing her hair” and “I’m not drowning fast enough”. In “Automatic Stop”, they fight the losing battle of distinguishing real friends from the fake friends seeking their newfound riches and fame. Casablancas belts out “Wait I’m gonna give it a break/I’m not your friend, I never was” in the refrain and “I know you want me, but this is too important/Now I’ve got a different view” in the chorus. The subject matter comes off as a little repetitive, mostly stories of unrequited love and the weird balance of living in the spotlight – things we’ve heard about in rock since it’s beginning. However, the instrumentation throughout really makes this album another standout. The guitars evoke space-age sounds, imitating a late 70s psychedelic rock band attempting to imagine the sounds of fictional alien weaponry. It’s bizarre yet it captures the sounds of old garage bands perfectly, all while implementing something new. Their callback to the distinct sounds of their idols is a very fascinating phenomenon that’s thoroughly enjoyable throughout Room On Fire. Examples: Reptillia Automatic Stop What Ever Happened? Despite the fact that Room On Fire remains a fantastic album, it was compared to their masterful debut, catching a fair amount of criticism from critics nationwide. As a result, The Strokes took a three year break to work on their upcoming album. Casablancas, a self-proclaimed perfectionist, isolated himself from the band for large stretches, often battling with alcoholism and addiction to cigarettes. He claimed he wished to keep his distinctive singing voice which resulted from habitual smoking, but also felt quitting would be best for his health and would keep his vocal cords in better condition. It was an odd juxtaposition that resulted in a confusing time for Casablancas. The result of his writing in this odd period of his life would go on to become First Impressions of Earth. Cover - First Impressions of Earth After it’s first single “Juicebox” hit the airways in September of 2006, excitement for First Impressions of Earth reached new heights. Compared to their previous work, First Impressions feels claustrophobic, disjointed and somewhat depressing. Casablancas sounds utterly exhausted when singing and the instrumentation is much darker and heavier, relying on much more bass. The album’s new, darker sound was seen to many as a disappointment, especially from a band that was previously known for their uplifting music. The themes are equally depressing, as lyrics about Casablancas’ depression and alcoholism begins to creep more into the frame, particularly on “Razorblade” And in “On The Other Side” Casablancas pleas for friendship simply stating “I’m tired of everyone I know… Nobody’s waiting for me on the on the other side” and
“I hate them all I hate myself for hating them So I'll drink some more, I'll love them all I'll drink even more I'll hate them even more than I did before”.
It’s an interesting look into the mind of a seemingly tortured mind but it’s far from the most pleasant listening experience. But perhaps the best description of the band’s attitude throughout First Impressions of Earth is sung on “Heart in a Cage”, in which they tackles their harshest critics, claiming:
“I don't want what you want I don't feel what you feel See I'm stuck in a city But I belong in a field”
Examples: Juicebox You Only Live Once Heart in a Cage Cover - Angles After an extended hiatus, The Strokes made their return to the limelight in a magnificent fashion – with the lead single “Under Cover of Darkness”. And their 2011 album Angles once again finds the band changing directions artistically. Gone are the days where Julian Casablancas moans and warbles depressingly into the microphone. Instead, Angles attempts to recreate the upbeat new wave rock of the late 1970s. It’s once again far from the genius of their first two albums but Angles instead finds itself releasing small flashes of artistic brilliance. “Taken for a Fool”, “Gratisfaction” and “Two Calls of Happiness” which capture the sounds of late 70s/early 80s new era rock brilliantly, without straying from the artistry of their first two albums. However, it seems too forced at times, with overbearing synthesizers and electronic effects in songs such as “Games” and “You’re So Right”. What is intended as a callback to older sounds ends up sounding more like a cheap imitation at times. Regardless, Angles is still a very solid record if you’re looking for something new. Examples: Machu Picchu Under Cover of Darkness Taken for a Fool Cover - Comedown Machine In 2013, The Strokes released their newest and perhaps last album – Comedown Machine, which sees their return to garage rock roots. “All the Time”, the album’s only single and opening track is a brilliant garage rock song that sounds like it’s straight out of Is This It. And “One Way Trigger” has an incredibly infectious guitar riff that compliments both Casablancas’ voice and anyone in a dancing mood. Unfortunately, Comedown Machine suffers from the same issues as Angles. Many of the tracks in the middle stretch of the album tend to sound a little more like try hard impersonations of various genres and come off as a little boring. But more than 10 years after the release of their Magnum Opus and one of the most influential albums in the post punk/garage rock revival, they struck gold again – or at least silver. For once, fans have found another album that doesn’t make them scream Is This It? Examples: Tap Out Partners in Crime Happy Ending I suppose The Strokes’ downfall is something we’ve been expecting for quite some time – everything from their retro sound to their strange fascination with cigarettes and adorning of leather jackets screams gimmick. Somehow they made it last and it’s been a thrilling ride. Let’s just hope it all doesn’t end quite yet. Thanks for reading guys! Any comments, concerns, etc are welcome and encouraged. I'll add links to my other guides (mostly hip-hop) in the comments in case anyone is interested. In case you wish to check out the article in it's full glory, here's another link.
It was complicated and there's no reason to point fingers at anyone. There are so many moving parts to the festival and, in this case, a bit of miscommunication and a sincere desire to come up with a solution simply didn't work out the way anyone wanted it to. But we have all moved on. - AC.
The stuff that we have not released sits in an archive. We hope we'll be able to release more and more of it over the years. In order for us to do so we have to have the cooperation of the artists and their labels / publishers. So it can be a challenge to get everybody on board. We've had success with partners like YouTube and this year, Xbox, to provide us with the resources to make it work for everybody. Fortunately, one of the benefits of producing the festival is that I do get copies of many of the recordings. I really wish it was easier for us to share all of this with you but you're welcome to come by my place any time and check out a set or two. - RF.
We started the discussion with Kanye well over a year ago. It was time to leave the past behind. He's one of the major artists of our time..so there wasn't any skepticism from us and he was ready as well. We initially had some conversations about him doing something last year...a surprise show...totally out of the box. But it didn't quite work out. The conversations continued however and now we're on for 2014. But it wasn't forced. It evolved pretty organically. - AC.
Fortunately no. The closest thing to that was the Mumford & Sons situation last year and we were really lucky Jack Johnson just happened to be coming to the festival to hang out. He stepped in last minute to save the day. It was one of the coolest things we've had an artist be willing to do for us. Jack is the man. - RF.
I know it's not a perfect system but it's the best we've been able to come up with so far. The right environment for comedy is indoors and in a seated area and we're unable to make the tent any bigger. Because of the demand of comedy at the festival and the space constraints we know that there's frequently going to be long lines to get into the tent. The system we developed was to help prevent people from having to wait in a long line without knowing if they were going to get in so we decided to give out tickets. We know one of the flaws is that people now line up earlier to get those tickets as they get released. We're totally open to suggestions and its one of the reasons we're doing this AMA tonight. - RF
The SuperJam is probably my favorite part of the festival but organizing it is one of the more challenging and stressful tasks. It does start with us thinking about what players we'd like to see perform together that never have. It usually starts with a core of one or two people like last year with Jim James and John Oates. Then we work with those artists to put the rest of the pieces together. For the "?" SuperJam, it really is a question mark but we have a lot of interest from people that will at least hold par with what we've done in the past. It's frequent that some of them come together really late. Last year we didn't even know if the hip hop one was going to happen until about 2 weeks before the festival. It's a big commitment for the artist to make so it takes a lot of convincing. If you haven't seen the behind-the-scenes of last year's Rock and Soul SuperJam, it's pretty cool stuff: Link to www.youtube.com - RF.
Because Julian Casablancas is the coolest… Plain and simple, we liked the joke. With BLAM we're approaching the lineup announcement in a way that's never been done before. Part of that is experimentation. We knew Taran had a funny take on Julian (whom we have nothing but respect for) and decided to give it a shot. We were well aware of the potential for confusion, we took the risk. We got a good laugh out of it, hopefully most of the community did as well. We see Bonnaroo as bigger than any year's single lineup - that's why you saw Ben Folds in the BLAM! SuperJam, though he's not booked for 2014. Some will say the lineup announcement isn't the best place for that. Maybe it isn't, maybe it is. Regardless, we'll continue to take chances and experiment as we go. You're the coolest Casablancas!
Sure. It can be a lot of fun. There's a small group of us who get together at least once or twice a week and start brainstorming about who we would like to have perform at the festival. We do research to see who's planning to tour, who has a new record or special project coming out...we have bands reaching out to us and we're making inquiries ourselves...we ask the fans what they would like to see...and we're very passionate music fans ourselves, so we have strong ideas of our own. And we start to make decisions and gradually the line up starts to take shape. - AC.
Fortunately we've been able to get so many of our musical heroes to play. The first one we landed that was a "I can't believe we're doing this" kind of thing was Neil Young. Having Phish was a huge deal personally because they were that transformative band for me. Some of the ones that come right to mind are Prince, U2, The Rolling Stones and… Beiber. More seriously though, there's some geeky jazz stuff like Gateway, anything with Jimmy Page, what else…? Lionel Richie is one that after seeing his show at Jazzfest in New Orleans a few years ago it became kind of a white whale get. - RF.
This is such a difficult question to answer. Led Zeppelin still comes to mind...I haven't given up yet! But also Prince and U2 are some of the big ones. Bonnaroo has been an amazing ride in terms of opportunities to work with and present so many great artists that I love...from Bruce Springsteen and Paul McCartney to Ornette Coleman and Baaba Maal. Some of my most unforgettable moments of Bonnaroo often take place on some of the smaller stages too and having the opportunity to introduce others to some wonderful surprises is a special pleasure for me. And, yes, Daft Punk, too! - AC.
We've always booked a diverse line up.Phish played in 2012 too. This year we have Yonder Mountain, Umphrey's McGee, Tedeschi Trucks Band...off the top of my head. When we book our festival each year, our only goal is to keep it fresh and exciting. Music is continually transforming and reinventing itself - and the jam band scene has also evolved and transformed. It's one of the many things that makes music so powerful and exciting. We strive to ride the wave. - AC
Seriously...this is a hard question to answer. The music business is very relationship based. You need to get out there, meet people, volunteer for street teams or festivals, introduce yourself, share your enthusiasm, not get easily discouraged, create opportunities, work hard, make yourself invaluable. There's no clear path...you have to clear it yourself. But check out our internship program at Link to welldunn.or too - AC.
Every now and then when I have some quackin' time. It's pretty cool and flattering that we have a fan forum that's so active. Reading it provides us a great opportunity to get unfiltered feedback. - RF.
We were definitely blessed at the beginning to have a instant community based on the jam scene that was part of the fabric of the first bunch of years. It's still really the core of the scene in many ways but of course like that scene ours has evolved over the years. I think over the last few years it's become even more positive and family-like. Everything from the way people have embraced and live the Bonnaroovian Code to high fives at the arch to the missed connections stories that come out after the festival. Just like everything in the world, communities always evolve and change. I'm optimistic that Bonnaroo's culture will continue to be one of great positivity and inspiration. - RF.
No. We have a Ratdog show at the Tennessee Theatre in the next month or so and we've had several discussions with Phil Lesh and / or Further about coming back to Bonnaroo as well. No truth to the rumors. - AC.
I don't blame you for being frustrated about this. I've been really disappointed in this myself, particularly the backup last year. It's something we can do better and we're working towards that. We assigned a team internally to focus on this. PArt of the problem is just sheer volume at those peak times when everyone wants to enter but we already have a few fixes we feel confident will improve the situation. - RF
The main thing that comes to mind was when traffic was backed up 20 miles on the interstate the first year of the festival. We had major problems getting artists and equipment into the festival as a result. I remember a particular moment backstage where I though we completely messed up the whole thing and everyone was going to think it was a disaster. Luckily we had the best fans in the world. Everyone was patient. And it all ended up working out. It wasn't until Saturday night when Widespread Panic was playing and I ran into my brother who told me what an amazing time everyone was having that I realized it was going to be okay. Since then, luckily, we've been able to build the exit off the interstate and make tons of other traffic improvements that today result in very limited wait times. Probably no more than getting into the parking lot of an NFL game. - RF.
Thanks for recognizing the work we've done so far to make this the best it can be. It's one of the main challenges that festivals face and we put a lot of work into how we design the site to create the optimal sound conditions. We've gotten some of this feedback before. Personally, I've always experienced pretty good sound at the Which Stage. There have been some times when we've noticed the engineers that come with the bands have had challenges dialing in the best sound but the Which Stage sound system is more than adequate for that area. - RF.
Thanks for all your support. It's so awesome for us to hear about people who are as passionate about the festival as you are. Flattering to say the least. One of the reasons the Bonnaroovian Code was officially developed was to help instill in newcomers the ethos of the core scene that was there from the beginning. We hope you've seen some improvement in regards to the energy that many people bring to the event. Hopefully over time and with the support of longtime festival-goers like yourself it will get better and better. At the same time, Bonnaroo is, has been and always will be a big city and there are realities of big city life that even Bonnaroo can't escape. We encourage everyone to be mindful of their surroundings and belongings. If you see something that doesn't look right, say something to a Bonnaroo staff member. We've told them to be responsive to any tips that come their way. Like a good city manager, we are aware of the problems regarding theft and have been working with our security teams to do everything possible to at least limit them. We know that most of the thefts aren't actual Bonnaroo fans but usually opportunistic people from outside the community who prey on the festival. This is an area that local law enforcement has pledged to help us address and at least reduce these instances. - RF.
We're not biased of course: Outside Lands, Forecastle, Mountain Oasis, Big Ears :) Also...thunderous applause for Governor's Ball. But, how about mad props to anyone with the bold and daring spirit to do something as crazy as launching their own festival! - AC.
We've thought about and been approached by a few different legit people doing this kinda thing but we really prefer to be behind the scenes guys. Thats why we're producing events instead of performing at them. We did some of this early on and continue to experiment with documentary-type content but a full look behind the curtain isn't something we're looking at right now. - RF
Let's see: Outside Lands...Forecastle...Mountain Oasis...Big Ears...we're not biased or anything. Actually, let's give thunderous applause to Governor's Ball...and really to anyone crazy and daring and creative enough to try to launch their own festivals. Mad props to them all! - AC.
Sure. Radius clauses are common. For festivals and also sometimes for stand alone concerts (although usually that isn't an issue). A radius clause basically restricts when and where an artist can play in relation to a booking. A promoter or a festival are usually guaranteeing an artist a certain fee and incurring a lot of expenses to produce their show. They want to protect their investment. Plus a festival hopes to have a unique character and draw from a wider geographic base. So that's why radius clauses exist. Beyond that, it's a negotiation. - AC.
After 12 years, this has become an impossible question to answer. There are so many incredible memories...but one of my first and most vivid remains Neil Young & Crazy Horse under the full moon in 2003. - AC.
At this point, it never ends. Discussions with headliners sometimes span years before they actually play the festival. We first met with Radiohead's team in 2003 but they didn't play until 2006 due to their schedule. Our initial conversations with Paul McCartney's team were in 2007. There's a lot of scheduling to coordinate sometimes. We're already working on 2015 and beyond. - AC.
The main reason we ended up here was because of the Itchycoo festival that happened in 1999. That started the development of the site and put it on the radar of a few people that we were connected to who then told us about it. Also, we thought we'd help you guys with the Tullahoma rivalry. Go Red Raiders! We love Manchester and Coffee County and all consider it our second homes. - RF.
The first time we went to The Farm was in the fall of 2001. My three partners and I - Jon, Rich, Kerry - drove up from New Orleans where we were living at the time to check it out. Pretty instantly we knew this was the place. It's incredible for us to think about now because we had no idea what we were doing. We'd never put on a show beyond a 3,000 capacity theatre show and had no real idea of what a good festival site looked like. Then we had some of the staff we had hired to work on the event, guys who had worked on the big Phish festivals, come check it out, they confirmed it was a great place. It's home for us now. - RF
Yes we have a plan to fix this! We know this is one of the problem areas with our drainage infrastructure. We've tried a few things over the years to fix it that obviously have not worked that well but we think we now have the solution. That area is where majority of the site drains through so a tough nut to crack. But don't complain that you miss the long jump competition when it's no longer there! - RF
This is not true, actually. Unfortunately, their schedule simply didn't work out for Bonnaroo. They had some apparently irresistible offers that weekend in Europe which they chose to take instead. - AC
Last updated: 2014-03-03 20:03 UTC This post was generated by a robot! Send all complaints to epsy.
We have tried to book The Strokes every single year that Gov Ball has existed. They essentially have had an open invite to play when they wanted. We got a call from their agent at the very last minute, saying that they wanted to reunite and play at the festival. Dream come true for us. We're New York City kids, and they are the greatest NYC rock band of our generation. BOOM -JW.
When we first heard about Tropical Storm Andrea it was 8 days out from the first day of the fest. By that time we have a Meterologist on call 24/7 to give us updates on the storms track, it's potential impact, etc. and we used that data to prep the site as much as we could for the coming rain. Unfortunately everything we did to prep the grounds was entirely negated by the massive amounts of rain we received. It was the most rainfall NYC has gotten in a 36 hour period EVER. That being said, during our repairs we did add in a new drainage line to help deal with rainfall, and we have had many convos with all city departments about how to address expected rainfall in the safest and best way possible. We have a new Weather plan which the City of NY have helped with, and we are better suited to deal with rain in 2014. That being said, and just being totally honest here, if we get 6 inches of rain in 36 hours again it will be another crazy year. However, let's think positive - it's gonna be beautiful and sunny and awesome! - T
Cost of beer last year was around $7-$8. Again, we try to keep it reasonable considering the cost of a beer in NYC. You'll need whatever ID proves you're above 21. This is obviously a very strict rule. A valid UK drivers license will work. Regarding recs for NYC - we work with partners like Cultivora to put together city guides. Keep your eyes peeled for that in the future. -YR.
Ha, this got a lot of feedback from folks and much of that feedback was totally unexpected. We posted the picture right after Coachella posted their lineup, and it was a gesture to the old East Coast vs. West Coast days in hip hop. For the record there will NOT be any holograms at the event, and we apologize for any confusion about such a thing! - T.
The tragic events that occurred at Electric Zoo have lead to new protocols and additional oversight from the City of NYC and the Parks department. More city agencies (and more folks from each agency) are involved in our planning meetings, and we are required to do many additional things, mostly safety related. That being said, the city has been a pleasure to deal with and they have been very professional and practical about things. Safety is their number 1 priority, and we feel the same way, so our interests are aligned there. - T.
Some artists submit themselves and ask to play the festival. Some we reach out to and we ask. As the festival has grown in stature and popularity, we certainly get more and more artists asking to play. Choosing the artists is basically a combination of art and science. You want to book acts with a proven track record of selling tickets in the market. You want to book acts that haven't played the market in a while, and people are drooling to see them again. You book acts that have a new record coming out, and thus will have their own marketing push behind them. You also want to book some young, lesser known acts that you believe in, and think will become bigger come festival time. And sometimes I just book an artist because I love them and I think they are awesome :)
Each of the three partners got into the music business by starting as interns at various different companies. One of us was an intern at Superfly Productions, who do Bonnaroo & Outside Lands, and he ended up getting a full time job there at the conclusion of his internship. Another was an intern at Atlantic Records and then get a job at Paradigm, a major booking agency. The third partner worked at various festivals around the country and then went to business school. Each of us had different areas of expertise (one was operations & production, another was booking, and the last was marketing & sponsorship). We learned as much as we could from our respective jobs and then once we hit our ceilings we decided it was time to start our own shop. - T.
Ha. Thanks! You're Doing Great is just a funny saying we like. It's positive, and oftentimes hilarious in context. Anyhoo... Super VIP and Cabana tix are the highest tier of tix one can purchase. You might have seen guest or artist wristbands on some people. Last year's attendance was our greatest, for sure. It was the first year we did 3 days and had 4 stages. We also expanded our grounds to allow for more capacity. No artist is too popular, no. Some might not be a great fit, but too popular is not a metric for us. The budget is very large. Dream headliners for me are probably The Talking Heads Reunion, Phish, and LCD Soundsystem (or something like that). We always try to be unique and we'll work with the OutKast camp to see what's possible. -YR.
We chose EventBrite because of the people who work there and the strength of their technology and ticketing platform. Their on-site operations person is an old friend of ours and incredibly smart and we knew we could trust ticketing on-site if it was in her hands. Additionally their sales guy was also an old friend of ours and he bent over backwards to get us a deal we thought was most fair. Lastly, and arguable most importantly, their technology/ticketing system and the data you can pull from ticket purchases was unsurpassed by any other ticketing company we talked with. If you have good people you can trust, you're in good shape, and if you have a platform that can get you data that can help understand your consumers, you're in fantastic shape. - T.
Pearl Jam. They already had plans to be in Europe for their summer tour. Next time!! Also, Jagwar Ma. They're an awesome up and coming young act. They already had plans to be in europe as well. They rule. - JW.
You're welcome! Here's your best bet - Link to governorsballmusicfestival.com But from Harlem you can either walk over the bridge (depending on how close your are the to east side) or take the MTA bus from 125th St on the east side. You can always take a cab as well. There are no unannounced bands, no. -YR.
It's a huge, constantly moving puzzle. On the artist side of things, it's putting together a lineup that is unique and awesome enough to get people to commit to a full weekend festival. On the operations end, it's dealing with city gov't officials. There's tons more too! -J.
We added a drainage line to the west side of the park which will allow for much better drainage in the event of heavy rainfall. Additionally, we have worked with the parks department to repair the grass so that it is stronger and better equipped for patron traffic and the outside elements. And toughest artists to get was definitely The Strokes. - T.
You can see the info on our tickets page, but: - VIP viewing areas located at each stage that will provide a comfortable, close, and rockin' viewing experience. - VIP lounges at each stage will provide fans with access to an exclusive, shaded area, and limited comfortable seating. - A cash bar (credit cards can also be used), offering not only beer and wine, but also spirits. Whereas GA ticket holders can only buy spirits at the liquor lounge. - The VIP lounges will also provide special and much more comfortable air conditioned restroom facilities. -YR.
We'll be releasing single day tix in the coming weeks, yes. We'll release the by-day lineup a couple days before then as well, to allow you to plan and decide whether you want to go all 3 days or just one, etc. -YR.
The viewing areas are close to the stage, slightly just off to the side. We'll provide a map as soon as we can, but try googling gov ball 2013 map for reference - they won't be much different than last year. -YR.
One of the bigger misconceptions is that people tend to think booking a band for the fest is similar to inviting someone to your birthday party. There is a TON more to it than that. NYC is a very important market to 10 out of 10 artists, and they need to choose their play very carefully. Timing, slot, billing, money, etc all come into play. -JW.
As of right now (and plans could change), 3-day GA ticket holders will not be given a wristband. Those folks will use their phone and the festival app to show their ticket each day. Single days will be the same. VIP patrons will have an RFID wristband. Re-entry is not allowed (i.e. folks can enter and exit the festival once each day). -T.
Currently set at 45,000/day. We work with many different agencies to make sure the capacity we set is safe and also provides for a comfortable experience. We also are aiming to expand the grounds and take on more space than we did last year. -YR.
Interesting question. Frankly I'd say the lineup is probably the answer. Otherwise Gov Ball is set in NYC, so you have the opportunity to explore all the other wonderful things this amazing city has to offer. -YR.
We put a serious emphasis on security and safety at the festival. We work incredibly closely with our security vendors, NYPD, medical teams, etc. to make sure the event is as safe as possible. Security is positioned all around the festival, as are medical stations, and NYPD has a presence outside the gates in order to immediately address any situations that may arise. If you have any additional questions or need more granular info, email us at [email protected]. - T.
We are working on expanding the grounds, yes. We like what Ezoo did with using the soccer and we are trying to take over that field too. Not confirmed at this juncture however. The main stage will be the same size as 2013, the other two stages will be slightly bigger, and the tent stage will be around the same size. We are spending a bunch more money on Visual Design this year to make the whole experience a bit more...magical. - T.
I majored in history, minored in political science. but most, if not all, of my out-of-the-classroom activities were music biz related. -JW.
I went to business school and majored in management, minored in marketing. Got an internship with a music festival promoter and that became a full time job and then once i stopped learning, i left and joined my two friends and we started this company/festival! -T.
Yes, the festival does have a strict 11pm curfew. This curfew is required by the City of NY, NYPD, and the Parks Department. We would LOVE to be able to go later, but alas, it's not in the cards for us. - T.
MillerCoors is our beer partner / sponsor, so we try to offer a variety of their product line. As a craft beer fan myself (I personally love Bell's Hopslam and everything Creature Comforts in Athens does), I'm working with the good folks at Miller to see what's possible. Although sometimes on a nice sunny day a High Life really hits the spot. It is the champagne of beers, after all. -YR.
We have a bunch of footage we are trying to figure out what to do with from 2013. Ideally we'd give it to a distribution partner to play on a larger platform. If that doesn't work, we may just upload select tracks to our YouTube page. We shall see! - T.
We spent high 6 figures repairing the park from all the mud last year. During the repair we made some capital improvements to the park to help better deal with heavy rainfall, so the park is better prepared to deal with extreme weather. Obviously with the massive amounts of mud we had last year, many folks didn't have the best time. Unfortunately weatherain/mud is the nature of the beast when it comes to music festivals and we all have to embrace it to a certain degree. On our end, as the producers, we will continue to improve our responsiveness to cases of extreme weather so fans can have the best time possible, no matter what the conditions are. - T.
Last updated: 2014-01-26 18:50 UTC This post was generated by a robot! Send all complaints to epsy.
2013.03.26 19:51 SwoodishReviewing new Strokes album "Comedown Machine" at a 
Writing reviews as the song plays, I'll let you know the overall feel at the end. Also note, I'm just an Ent with no professional critic talent, but I love The Strokes so I thought I'd share with any fellow fans.
Tap Out - Julian Casablancas pulled off a new way of singing here, sounds a lot like the singer from MGMT, nevertheless the solo and switching of the guitar and bass of this song is great. 5 Stars
All The Time - I think this track has been out in a while, I'm not too fond of the intro and I think it takes a while to actually enjoy cause I certainly did not like it the first time listening. It's got a poppy feel to it that reminds of me of some of their tracks on "Is This It?", but it's just a little too retro. Also it's got about a 30 second fade out at the end. Yuck. 3 1/2 Stars.
One Way Trigger - I think this was the first track released off the new album. Intro makes me feel like I'm in a NES game and didn't remind me of anything The Strokes have done in the past. Later in the song it starts to get a little more familiar and actually listenable. The guitar solo isn't dragged out and fits nicely. 3 1/2 Stars.
Welcome to Japan - Certainly the first song to fit the Stroke-y feel I was missing, with an added variety of the simple Riffs the Strokes are used too, simple and I like it, definitely goes head to head with "Tap Out". 5 Stars.
80s Comedown Machine - A little slow, but it still has that Strokes feel too it. Really not much too say about this song, little variety. 3 Stars.
50/50 - Great start that lightened the mood from track 5. This song was probably one of the most alive ones so far. However Casablancas was surely experimenting with his vocals in this one, hitting higher pitches than I've heard even in his solo work. I'd really like to see how he does it live. 4 Stars.
Slow Animals - Much more of an indie than retro feel to it than the last few songs. Buildups into the chorus is nice, keeps a soft feel throughout the song like Track 5. The end picks up a little bit and makes the song that much more worth listening to, though a little overdone. 4 Stars.
Partners in Crime - Reminded me of something like a combination off Is This It again. I think they tried to recreate some of the same sounds from their first Album. Even so, I really enjoyed listening to this song, the chorus made me chuckle a bit. I feel like it might get old a little fast. 5 Stars.
Chances - I'm still at a probably solid [3-4] and this song made me feel like I was floating. It was a great song, but nothing like The Strokes have ever made before. 4 Stars.
Happy Ending - Once again that first album feel. In this song it just sounds like a compilation of a bunch of bands, yet I had a strange attraction towards it. Everything flows nicely. 3 1/2 Stars.
Call it Fate, Call it Karma - The intro of this song almost made me not want to give it a chance, It's odd, and it doesn't change. 3 Stars.
All in all, I enjoyed the album over Angels, I felt Comedown Machine has a couple better songs, I don't think it deserves ALL the negative reputation it's getting, but The Strokes surely couldn't find a sound right for them. Overall Album - 3 1/2 Stars. Remember, to each his own, I'd say if you like The Strokes, look into getting this album. Also note, I'm just an Ent with no professional critic talent, but I love The Strokes so I thought I'd share with any fellow fans.
The Strokes singer Julian Casablancas, 41, dating roadie ...
The Strokes Slow Animals Lyrics
Hijup Travel Goes to Medan with Indah Nada Puspita #QGxPartner
The Strokes - Tap Out
New - YouTube
The Strokes - Fast Animals - YouTube
Partner with Grace Empire
Partner - Lost My Pick, Can I Borrow One?
Julian Casablancas - 11th Dimension - YouTube
The Strokes - Chances - YouTube
The Voidz: Leave It in My Dreams - YouTube
We hope you will partner with us to fill the void in peoples lives. 3 WAYS TO GIVE: 1. MOBILE - (a) Text the word graceempire to the number 77977 ... Daft Punk ft. Julian Casablancas - Instant ... The song Chances from the new Strokes album, Comedown Machine. Lyrics I waited for ya I waited for ya I waited on ya But now I don't You didn't see it I didn... The song Fast Animals from the B-side of the album Comedown Machine. Lyrics Yeah yeah yeah yeah yeah yeah Yeah, you don't have to be so loud Everyone can hea... Julian Casablancas; Licensed to YouTube by SME, [Merlin] Beggars (on behalf of Rough Trade); UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, PEDL, LatinAutor - Warner Chappell, BMG Rights ... Surprise! A new song from us to celebrate we are touring to the West Coast for the first time EVER. 2019 January 24 - Big Fun Festival, Winnipeg MB February 20 - Fox Cabaret, Vancouver BC ... Paolo Conte - Sparring Partner by gr3gintheplace. 4:12. Poldoore - Honey Don't Cry by MineurDuSon. ... Daft Punk ft. Julian Casablancas - Instant Crush (Official Video) by Daft Punk. 5:40. Music guest The Voidz performs 'Leave It in My Dreams' for the Tonight Show audience. Subscribe NOW to The Tonight Show Starring Jimmy Fallon: http://bit.ly/... 'Tap Out' is a song by The Strokes. It's the opening track for their fifth studio album, 'Comedown Machine' scheduled to be released on March 25, 2013. JULIAN CASABLANCAS - The Voidz Interview A Fistful of Vinyl - Duration: ... The Strokes Partners in Crime Lyrics - Duration: 3:22. Enigmatic Stars 26,445 views. 3:22. Can't Stand Me Now ... Julian Casablancas's official music video for '11th Dimension'. Click to listen to Julian Casablancas on Spotify: http://smarturl.it/JulCasSpot?IQid=11thD As...