quarta-feira, 26 de dezembro de 2012

best music 2012

grimes - visions

best music 2012

beach house - bloom

quarta-feira, 15 de agosto de 2012

just to say this

Julia Davis: laughing in the dark

Julia Davis is famous for creating some of the most uncomfortably bleak comedies of recent times. Now the star of Nighty Night is turning her dark powers to period drama in her new series Hunderby
Julia Davis
Julia Davis: 'I think I’m still quite childishly optimistic in a certain way, which is maybe why I find life quite shocking.' Photograph: Ki Price
The writer and performer Julia Davis is too good-natured to show it much, but she's plainly exasperated by descriptions of her work as "bleak" or "dark". They make it sound as if she's deliberately trying to be edgy, and this doesn't chime with her sense of herself. She enjoys watching old episodes of Friends, she insists; she's partial to 1980s movies and upbeat self-help books, and when she writes, she just writes what comes naturally. "I would never say, ooh, let's do something really dark," she says. Yet she is responsible for what are, without doubt, some of the most unsettling characters in contemporary comedy: smiling suburban sociopaths; meddlesome cold-eyed narcissists; horrifyingly mistreated spouses whose inner agony is trumped only by their deeply British obsession with not making a scene.
The New York Times once described Nighty Night, the series for which she's best known, as "an English Curb Your Enthusiasm", which is entirely inadequate, but understandably so, since there aren't any real parallels on either side of the Atlantic. Larry David's character has a habit of poisoning social gatherings, but Davis's character, the amoral beauty salon operator Jill Tyrrell, has a habit of poisoning people. Nighty Night's first series famously begins with Jill's self-absorbed response to a cancer diagnosis: "Why me?!" "Jill, let's keep this in perspective," replies her husband Terry, played by Kevin Eldon. "It's me who's got the cancer." There follows a plot of startlingly destructive mayhem, in which Jill arranges her husband's funeral – though in fact he's not dead – then busily sets about trying to seduce the repellent husband (Angus Deayton) of her neighbour Cath (Rebecca Front), who has multiple sclerosis. ("You've got quite a large head, Cath. Is that part of the illness?") Clients of Jill's salon seem to die, by suicide or otherwise, curiously frequently. Terry spends much of the time held prisoner in a bedroom. At least three people end up dead. It's possible to imagine a show in which these events were played as lighthearted farce. But Nighty Night is not that show.
It is hard to connect any of this – which is, actually, at the mainstream end of Davis's comedy – with the attentive, open-faced 45-year-old woman, seated carefully on a sofa at the Soho Hotel in London. Even Davis herself seems taken aback when confronted with the full horror of her comedic themes. In 2010, she and Jessica Hynes (seen most recently as the inanity-babbling publicist Siobhan Sharpe in Twenty Twelve) wrote and performed in the pilot episode of Lizzie And Sarah, a tale of marital wretchedness that's often wincingly hard to watch. Davis recalls: "After we did that, I met this bloke, and he said, 'Well, it's basically about domestic abuse, isn't it?' And I suppose… yeah, it is." Unquestionably it is, but Davis seems surprised to have heard it phrased that way. "Weirdly, I met a couple of people afterwards who said, 'Oh, I left my partner the next day after I watched that programme,'" she adds. She smiles brightly. "So that's quite nice."
Julia Davis: Hundersby New series Hunderby bears more than a passing resemblance to Daphne du Maurier’s Rebecca. ‘It’s not going to appeal to a huge audience,’ Davis says, unbothered. Photograph: Des WIllie for Sky Atlantic HD Davis's new series is dark in a more literal sense. Hunderby, which starts later this month on Sky Atlantic, is set in the 1830s and was filmed exclusively using candles and natural light. The plot bears more than a passing resemblance to Daphne du Maurier's Rebecca: Davis plays Dorothy, a scheming housekeeper obsessed with the dead wife of her employer, an English village pastor played by Alex MacQueen. When the pastor falls in love with a shipwreck survivor named Helene (Alexandra Roach) – who, as is only proper, has a dark past she's trying to escape – Dorothy's meddling means their happiness can only unravel into hysteria. Hunderby, Davis is at pains to emphasise, is a "comedy period drama, but it's not a spoof. I didn't want it to be all sketch-ish." (The comedian and writer Barunka O'Shaughnessy, whom Davis describes as "really brainy", helped hone the plot.) Not just the lighting but the costumes, set and language have all been thought through with evident care: if they're not quite historically accurate, they feel as if they ought to be. And in contrast to Davis's earlier work, cast members were banned from ad-libbing. "I wanted the characters played really seriously," she says. "It's all taken very seriously."
The period setting perhaps makes Davis's twisted visions slightly more palatable, but Hunderby remains sufficiently comfortless that it probably doesn't herald her transition from cult figure to prime-time star. "As with all my things, it's not going to appeal to a huge audience," she says, sounding unbothered. Plus it's on Sky Atlantic – "And nobody I speak to has Sky Atlantic. Including me."
The thread that runs through all Davis's work is a preoccupation with what she calls "wrong relationships" – monsters and their victims, couples who can't stand each other, people smiling and bustling in an effort to convince themselves they're not teetering on the precipice of hell. "Oh, come on, Lizzo!" Hynes's outwardly jolly character chides a weeping Davis in Lizzie And Sarah. "Where would I be if I got all upset about Michael making love to me with a pillow over my face and, as he finishes, screaming, 'I hate you, I hate you, I hate you'?" The BBC was widely criticised for not commissioning the series – Davis's former collaborator Simon Pegg led the complaints – but the pilot is so disturbing that it's hard not to feel a twinge of sympathy for the corporation. "I see a lot of things," Davis says, when asked where she gets all this from. "All the time, I'm watching relationships. You meet someone, or you see people in public, and you think, 'Yeah, but what they're really thinking is…'"
She was always thin-skinned, she remembers – not the cliché of the depressive comic, though she has certainly struggled with depression, but instead simply unable to screen out the daily cruelties of life. "As a child, I just found a lot of things quite difficult. I found school quite overwhelming. There were just too many people. I wish I could have gone to a school with about five people. And if I saw someone bullying someone else, for example – I don't mean because I'm a perfect person, because I'm really not – but I'd always be, well, why? Why is someone being horrible?" She wasn't righteously enraged, but alarmed and confused. "I actually think I'm still quite childishly optimistic in a certain way, which is maybe why I find life quite shocking."
She was born in 1966 and grew up in Bath, in the heart of Jill Tyrell's West Country. Her father was a civil servant and her mother a secretary; she frets repeatedly during our interview about how they'll respond to reading it. "My dad shares a lot of my sense of humour, even though he's more externally conservative. My mum? Less so. Truthfully, I don't think she really likes a lot of what I've done. And the thing is, she'll read that, and go, 'How could you say that?' But it's true. She actually used to say to me, when I was young, 'I don't have a sense of humour' – talking about herself."
Davis once dated her interest in comedy to the age of seven, when she recalled making her grandparents laugh by imitating "an old Scottish man". But it wasn't a focus during her teenage years, or even while studying English and Drama at the College of Ripon and York St John – a course that appealed, she claimed, because she'd heard you needed only two A-levels to get in. She had to postpone her studies for months because of serious glandular fever. "If you're ill and you can't get better and you don't know why and you're prone to introspection," she told one interviewer, "then you are going to think about God and life and death… and stuff that maybe at 20 you shouldn't."
Returning to Bath, she worked in dead-end jobs and started comedy double-act The Sisters Of Percy with her friend Jane Roth; it soon expanded into an improvisation group that included a Welsh radio DJ named Rob Brydon. The loose assemblage of satirists that included Armando Iannucci, Chris Morris and Steve Coogan was just achieving national prominence, and Davis vividly remembers thinking she could do what they were doing. She eventually wangled a role in a Radio 4 comedy with Arabella Weir, then got a part in 1998's Big Train; Morris, who directed the Big Train pilot, recruited her for his sinister radio series Blue Jam and its TV successor, Jam. Davis also appeared alongside Coogan on his 1998 national tour, cementing her place in that ensemble.
Julia Davis composite From left: in Black Mirror; with Mark Gatiss in Nighty Night; Human Remains; as Fanny Cradock in Fear Of Fanny; and with Adrian Scarborough in Gavin And Stacey. Photograph: Channel 4; BBC (2); Baby Cow There's a sketch in Jam that serves, for Davis, as a comic keystone. Against the programme's usual dreamy soundtrack, and in dialogue so slow it seems drugged, Davis and the actor David Cann play a self-involved couple only vaguely interested in the fact that their seven-year-old son should have been home from school hours ago. "Do you think we should call someone?" "Naah... he probably just decided to stay overnight at the school." A fortnight later, they make half-hearted inquiries ("Just calling about Ted in primary three... just wondered if he's been standing outside the school for a couple of weeks?"). Eventually, they learn that a body has been found, and are asked to go to identify it. "We're just sort of... doing something at the moment. How about bunging him in a cab?" Davis didn't have children at the time but now, as the parent of five-year-old twin boys with her partner, the Mighty Boosh comedian Julian Barratt, she appreciates even more clearly the role of gallows humour as psychological defence.
"Obviously, that [sketch] was coming from fear, and you laugh because it's so awful. It's about the total horror involved in becoming a parent, and the things you can't face even thinking about. If I was in a drama about stuff like that, I really wouldn't be able to cope with it. So the comedy is definitely some kind of coping mechanism."
There are standup comedians notorious for "pushing the boundaries of comedy", but that's never been Davis's concern. It would be more accurate to say her comedy serves as the protective clothing that makes it possible to plunge into the pain. (The exceptions are her movie roles so far, a strange smattering of appearances in such films as Love Actually and the disastrous Sex Lives Of The Potato Men.) She appeared, along with Brydon, in the hit series Gavin And Stacey, but among fans, her most celebrated work is probably still Human Remains, six stand-alone character studies she wrote and performed with Brydon in 2000. The loveless couples inflicting silent indignities on each other linger in the mind far longer than most comic creations. So does the slow-witted bride-to-be whose fiance wants her to wear "a long hat" at their wedding to obscure her face, and the B&B-owning swingers obliged to care for a comatose family member. ("Ignorance is bliss, I've always thought so," says Davis's character in the latter episode, "but then that to me is the beauty of a coma.")
The small handful of interviews Davis has given over the years act as a kind of barometer of her inner life: doomy in 2004, then cautiously happier, joking about her failed experiments with therapy, by 2010. Having the children, Walter and Arthur, didn't magically transform her into a sunny optimist, but it disciplined her depressive tendencies: you can't just lie in bed, she told one interviewer, when there are children running about who might fall down the stairs.
Does she ever worry that a happier temperament might interfere with her kind of creativity? That she might become too happy? "I don't think there's any chance of that," Davis says. If anything, the fragile joys of parenthood have only attuned her further to joy's flipside. "There's an intimacy, a pure thing, that you can have only with them, and you know it can't last, because they're so tiny... There's just a wishing that those high moments could be all the time." She looks at them, she says, and thinks: "Are you born with this personality that's going to be too sensitive, like me, and find things alarming?" Then again, "there's something about their joyousness that makes you go: 'Wow. Was I like that?' And it does remind you – yes, I do sort of remember bounding out of bed. It makes you feel, oh, OK, somewhere in me there's that kind of person still."
I should know better, but can't help wondering aloud whether a household of two comedians entails constant one-upmanship via jokes, or tensions over who gets to use a particularly funny bit of dinner-table conversation in his or her professional work. The answer is no (and actually, when you think about it, how unbearably annoying would that be?). "But of course there are [tensions]," Davis says. "Because comedians do frequently have a depressive side to them, and then if you combine that with who's working and who's not working…" Again, she seems to take herself aback: "This is generally an area I don't go into." Anyway, she continues, "what's really good is that our comedy's so different... I genuinely like the Boosh a lot, and I'd love to write for something like that. But I don't know how."
During the first years of motherhood, she feared losing altogether the creative outlet of writing and her sense of herself as a working writer and actor. But these days there's a bit more time to write, and she gets recognised in the street – as Jill Tyrell – just frequently enough to find it reassuring. "Because of feeling a slight panic about being a mother, and losing my identity, and going, 'What the hell am I doing?', it's quite a nice reminder that the [professional] bit's still there, and still working."
Even so, she says, "I do sometimes imagine what it would be like to just travel around the world all the time, with the children – to be so peaceful that you didn't want to write any more." She doesn't make this sound like a particularly likely scenario. "I wish something deeper could change in me," she says. "But I think that angsty thing is always going to be there."
Our interview over, Davis says her goodbyes with an abundance of friendly manners. But something is distracting her. As she gets up to leave, she says: "I just hope my mum doesn't think I'm too depressed."
Hunderby starts on Sky Atlantic HD from 27 August.

terça-feira, 31 de julho de 2012

segunda-feira, 14 de maio de 2012

Karen McCluskey tying the knots

final perfeito para uma série que sofreu uma baixa de qualidade nas últimas 4 temporadas...
marc cherry redimiu-se com um final que colocou no centro das decisões a personagem mais emblemática da essência original da história, viver no subúrbios americanos com todos os segredos, intrusões mas também felicidade que isso acarreta...
we will miss u

uniqlo thirst

quinta-feira, 10 de maio de 2012

russians do it smarter

A Irina Shayk é manequim

A Sara Sampaio também

A Irina apareceu na Sports Illustrate

A Sara Sampaio fez a campanha menor da Victoria's Secret

A Irina é a cara da Intimissimi e esteve em Lisboa

A Sara é a cara da Calzedonia e esteve em Lisboa

A irina namora um futebolista milionário... a sara que se saiba não.

do u feel sex heat enough

quarta-feira, 2 de maio de 2012

ET phone home... age appropriate

so so so cute i love these type of movies

i remember this shit... (ana cristina de oliveira)

.fantastiC Cat asks "French Horn Rebellion" 3 questions

1) What is your main inspiration when writing songs (bands, moods, fashion, whatever)?

I try to capture moments when I'm feeling really good, and put that into musical form. It's most difficult to put any kind of emotion into an art form, but for some reason I have the easiest time doing it when I'm happy and feeling positive. More than anything, I just want to make something people can dance to.

2) What are your plans for this year, just touring or another record?

This year we are working 100% on our next album. I don't imagine us doing a tour until later in the year, if not at the beginning of 2013. It's a ton of work putting a new record together, and we want to make sure this next one is really special. 

3) Do you wish to became this massive pop band or to stick true to your music and be less known, any plans coming to Portugal?

I think we are just going to continue being who we are-- some fun-loving dudes from Milwaukee who like to get down. If we have a song that has cross-over success, so be it, but more than anything, I just want to make some upbeat music that will improve a person's day-to-day. 

As for Portugal, we would love to come. I will definitely put that on the request list to our booking agent come next tour! 

Thank u so much Robert!

French Horn Rebellion are brothers Robert and David Perlick-Molinari.

on set "Julia Davis's Hunderby"

cant wait

domingo, 22 de abril de 2012

grab it

from eurovision to euroglam


Casta quase extinta na ilha, daí a ser pouco divulgada.
Cultivadas quase exclusivamente no Funchal a uma altitude de cerca 120m e na área de Campanário a uma altitude não inferior a 400m.
Produz essencialmente vinhos mais velhos - Frasqueiras
Teor de açúcar: 11º
Açúcar residual: 2,5º Baumé
Uvas colhidas a meio da vindima.
 “As uvas de Terrantez, não as comas nem as dês, para vinho Deus as fez”.

De cor dourada, é ligeiramente mais encorpada que o Verdelho, produzindo vinhos com carácter muito exótico com notas de especiarias.

3 tugas no ATP500 de barcelona

A frederico gil e rui machado junta-se joão sousa que acabou de se apurar para o quadro principal. Ténis masculino português em bom plano.

quinta-feira, 19 de abril de 2012

serão assim tão diferentes???

do ponto de vista da escrita??? Não!!!... foram ambos mal escritos, e nenhum deles possui maturidade suficiente para fazer crescer personagens para além do cliché... cada um ao seu jeito... não andam tão longe um do outro como a crítica quer fazer passar... assim seja a democracia cinematográfica... a merda vem de todo o lado...

comercial festival

comercial telenovela

.fantastiC Cat asks "Montag" 3 questions

1)what's the concept behind the new montag material?
The idea was to write music spontaneously and to release almost immediately after. An album requires fine tuning and a lot of energy is spent on polishing the sound... to the point that when the album is released, it usually feels like old material to the musician who wrote it, which can be so frustrating. I wanted to free myself of that process and experiment with new ways of writing and releasing music.

2)i know u were a big fan of trish keenan, how did her music was in touch with what u create being an artist and a person, not only a musician?
Trish Keenan affected me as a person because we were friends. It was not just a fan / band relationship, it went beyond that very early on. I am not sure how it happened, I guess friendship happens for no reason, a connection that is mutual and felt in two people. I met Trish before I even started making music so I think what brought us together was a shared love for music itself.

3) any plans coming to europe and portugal particularly as montag in a near future?
I am not planning to tour anytime soon as "Phases" keeps me busy in the studio every month. It's unthinkable to start touring before "Phases" is finished. I would absolutely loved to play in Portugal. Many friends of mine tell me that Lisbon would likely become my favorite city. I guess I'll have to experience it one day!

Montag is Antoine Bédard solo project

from Going Places

Thank u so much Antoine

quarta-feira, 18 de abril de 2012

tomorrow i have Antoine Bédard aka Montag answering .fC C 3 questions so stay tune

as for today... i must say u guys need to re-watch the insanely The Simple Life Season 2 (pairing the funniest duo Paris and Nicole) to ever hit the so called reality TV... those girls are smashiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiing funny without scripts... they worth 1000 times more than 90% of the so called movies that hit us every single year from shitty LA
here's a clip


serious, stay away from this fucking show... cause it sucks

ultimate cliche wannabe "sex and the city" (they even mention the god damn show) indie jerkoff, not cool, i'm telling u NOT COOL...
in shock HBO commissioning  this shit

is this as bad as it looks??? we'll see

.fantastiC Cat asks the "Acid House Kings" 3 questions

1) what are your main inspirations when writting songs (bands moods influences)?
Before we wrote and recorded "Music Sounds Better with You" I was listening a lot to French music from the 60's. France Gall, Brigitte Bardot, Françoise Hardy and so on and I think that influenced the songs a bit. Everyone in Acid House Kings has a fairly varied taste in music nowadays, but we only put the influences from Pop into use in the Kings. 

2) every single year it's amazing the number of new musical projects coming from sweden, is it something in the water? what makes sweden such a paradise for exciting bands like yours???
Some say it's because we don't have anything better to do. Others claim we inherited it from Abba. I don't quite know, but there's a true independent spirit amongst most bands in Sweden. People do what they wanna do. They don't make music to become succesful. They don't make a particular kind of music because their management tells them they should make that music in order to popular. They make it because they love it. And that's the reason we have a good scene I guess.

3) what do you know about portugal and portuguese music, any plans touring here this year???
Hm.... honestly, very very little. You have to teach us about the scene in Portugal! Touring, who knows...

AND i WILL for sure...

Thank you so much 
Johan Angergård

Acid House Kings are:
Johan Angergård
Niklas Angergård
Julia Lannerheim

from new album "music sounds better with you"

and my favorite song from them, when i found out about them and i was blown away with their distinct talent