Badd Boy Jasinda

B-Boy Workshop Vol. 1 Breakdance Fundamentales is here, over 2 hours of genuine B-Boy teaching crammed onto one dual layer DVD. Filming and produced in full HD the DVD also contains full English subtitles for every lesson.

Frontiers Music Srl will release the new album from PRETTY BOY FLOYD, titled "Public Enemies", on December 1.

Carla Bozulich - Boy (2014) {Constellation CS1102-2}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 256 Mb | MP3 @320 -> 100 Mb
Full Artwork @ 300 dpi (jpg) -> 26 Mb | 5% repair rar
© 2014 Constellation | CS1102-2
Rock / Alternative Rock / Experimental Rock

Carla Bozulich states in the liner notes that Boy is her "pop" album. She knows the term is subjective. In her definition, the word reflects the multiple locations she wrote and recorded in, the numerous people encountered in her nomadic state of travel, and the various musical genres that can be – and often are – used to create pop. Bozulich doesn't "deconstruct" here. She uses vernacular song forms in an organic process of elocution and expression that makes something else of them while never quite emptying them of form or function. Instead, she finds the cracks that open them, and makes them bleed into others, ordered by an instinctive sense of aesthetic transgression that becomes creation. Boy was primarily written, produced, and played by Bozulich and John Eichenseer.

Through the decade of the 1990's, director John Singleton was known best, of course, for 1991's Boyz N the Hood, and his 2001 companion film Baby Boy is a similarly structured urban drama involving the disadvantages and trials of African American black men in urban settings. The film is once again a challenging look at the central themes that Singleton often raises in his projects, and while critics praised his ability to maintain a realistic perspective within the genre, many black audiences were less than pleased about the stereotypical portrayals of gang-tempted blacks in predictable and disappointing situations. Many viewers agreed, however, that Singleton's film presented far more questions than answers. An interesting answer to one question was David Arnold, whose hiring to write the music for the project was considered a curious move by the fans of the composer only familiar with his small body of soundtrack work. The British composer was widely recognized as the composer of several very large-scale orchestral film scores of the 1990's in America, and the last genre that came to mind when most fans thought of Arnold was rhythm & blues. And yet, Arnold's fans should never have been surprised that he could pull it off, because his ability to adapt his talents to several different genres, whether pop, electronica, jazz, or orchestral, is well established.

At the time of the release of Robert Lamm's debut solo album, Skinny Boy, in 1974, it was easy to think that the singer/songwriter/pianist intended to launch a solo career, even though no announcement was ever made that he was leaving Chicago…