Lenka Kripac is an Australian singer and actress best known for her song The Show from her debut album, Lenka.
As a teenager, Lenka studied acting at the Australian Theatre for Young People, where she trained with actress Cate Blanchett. Lenka starred in the Australian ABC-TV drama series GP as Vesna Kapek in the 1990s. She also hosted Cheez TV and has guest starred in other Australian TV series, including Home and Away, Wildside, Head Start, and Spellbinder. She appeared in Australian feature films The Dish and Lost Things, as well as in theatre productions. Lenka provided the vocals for 2 tracks on Paul Mac’s 2005 album Panic Room. As Lenka Kripac, she was a member of the Australian electronic-rock crossover band Decoder Ring for two of their albums. She then moved to California in 2007.
After adopting her first name as her sole artistic name, Lenka released her eponymous debut album on 24 September 2008, with The Show chosen to be the first single release from the set. The album peaked at number 142 on the US Billboard 200. Her song Everything at Once was featured in a Windows 8 ad, becoming a worldwide success. Lenka creates paper art type stop-motion animated music videos for each of her singles with her husband James Gulliver Hancock, a visual artist from Australia, for a deliberately childlike effect. She provided vocals on two tracks (Addicted and Sunrise) on German artist Schiller’s album Atemlos, released in Germany on March 12th, 2010.
In 2011 she released her second album Two which was inspired by her engagement and is full of romantic love songs. Despite a warm critical reception, the album failed to match the success of her debut album, with Two reaching peak chart positions of 69 and 88 on the Belgian and Swiss charts respectively. Her third album Shadows appeared in 2013 after the birth of her son.
Behind Bars is the third studio album by British-American rapper Slick Rick, released November 22, 1994, on Def Jam Recordings. The album features production from Vance Wright, Pete Rock, Large Professor, Easy Mo Bee, and Warren G, as well as guest appearances by Doug E. Fresh, Nice & Smooth, and Warren G.
Anthony Gonzalez: “When I was a kid, I had this cassette with someone telling these weird stories on it, and I was in love with it. My brother and I wrote the story for that song based on those cassettes. With that song, I wanted to start with something so ridiculous and basic and childish that then grows to something very touching and human. It’s dangerous, but if you listen to it in the context of the album, it makes sense. There’s always one song on my albums that people hate. I feel like that’s going to be the case for this album, too. [laughs]”
Pitchfork: “Who’s the little girl on that song?”
Anthony Gonzalez: “She’s Justin’s (Justin Meldal-Johnsen, a producer on the album) five-year-old daughter. She’s amazing, a born actress. The first time I met her, she talked to me for 30 minutes non-stop: ‘Anthony, I had this dream.’ I didn’t know her, and she was talking to me like I was a friend.”
Do not go gentle into that good night is a poem written in 1947 in the form of a villanelle and is the most famous work of Welsh poet Dylan Thomas.
Iggy Pop – Vocal Noveller – Guitarscape Leron Thomas – Trumpets
Director: Simon Taylor Director of Photography: Rob Baker Ashton Sound Mixed by Max Bisgrove Producer: Henry McGroggan Production Company: Tomato Location: Sweat Records Miami / special thanks to Lolo Reskin http://iggypop.com
Video by Basa Directed by Diego Huacuja T. Producer: Melissa Lopez Ley Character Design: Diego Huacuja T. Background Design: Max Vera Character Animation: Alberto Bala, Francisco Ortíz, Daniela Espinosa. Animation & Compositing: Diego Huacuja T., Eduardo Moya Production Company: Obsidian Executive Producer: Doug Klinger Head of Production: Anna Heinrich Post Coordinator: Maddie Ogden Director’s Rep: Doug Klinger, Undine Markus @ Reprobates
Hamir Atwal – drums Nate Brenner – bass, drum programming, percussion, keys, vocals Merrill Garbus – vocals, drum programming, DX7, Mellotron, piano, percussion, loops Matt Nelson – saxophone Ross Peacock – synths Mixed by Eli Crews / Mastered by Joe LaPorta
Following the production struggles of The Lord of the Rings, Ralph Bakshi decided that it was time to work on something more personal. He pitched American Pop to Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film with an extensive soundtrack of songs which would be given an entirely new context in juxtaposition to the visuals in a film. While the film does not reflect Bakshi’s own experiences, its themes were strongly influenced by individuals he had encountered in Brownsville. The film’s crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams, each of whom brought their own personal touch to the film. Bakshi once again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film’s story. According to Bakshi, “Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones.”
The score for American Pop was composed by Lee Holdridge. As the result of his reputation as an innovator of adult animation, Bakshi was able to acquire the rights to an extensive soundtrack, including songs by Bob Dylan, Jefferson Airplane, Janis Joplin, The Doors, George Gershwin, The Mamas & the Papas, Herbie Hancock, Lou Reed, and Louis Prima, for under $1 million in permissions fees. Due to music clearance issues, the film was not released on home video until 1998.
Stream & download: https://dannyelfman.ffm.to/littoc Director: Sven Gutjahr Created by Berit Gwendolyn Gilma & Sven Gutjahr Producer: Berit Gwendolyn Gilma Production Manager: Philip Treschan Featuring: Dæmon Clelland aka SHREK 666 Co-performer: Carra Art direction: Berit Gwendolyn Gilma Cinematography: Sven Gutjahr / 1st AC: Philip Treschan Set design: Joan Ling-Li Nesbit-Chang Gaffer: Esra Tanriverdi Character design & prosthetics: Dæmon Clelland Make-up: Leana Ardeleanu Custome design: Dæmon Clelland & Joan Ling-Li Nesbit-Chang Choreographer: Franka Marlene Foth Insert performer: Danny Elfman Videographer additional footage: Melisa McGregor Make-up additional footage: Lizbeth Williamson Casting assistance: Roberta Caminneci Pizza boy: Alexander Elschner-Linda Cat: Mango Strip Club: Angels Berlin Filmed in Berlin, 2021 —————————— Official Site: https://www.dannyelfman.com/
Music & Lyrics by Danny Elfman Produced by Danny Elfman Recorded by Noah Snyder Additional Engineering: Nick Rives & Matt Tuggle Mixed by Zakk Cervini Mix Assistant: Nik Trekov Mastered by Joe LaPorta at Sterling Sound Vocals, Guitars & Synths by Danny Elfman Drums – Josh Freese Guitars – Nili Brosh Bass – Stu Brooks Percussion – Sidney Hopson Strings – Lyris Quartet String Orchestration by Steve Bartek Orchestration Assistant – Marc Mann Midi Prep – Orlando Perez Rosso Executive Produced by Laura Engel Project Produced by Melisa McGregor Danny Elfman’s Representation – Kraft-Engel Management —————————— Love In The Time Of Covid (Lyrics by Danny Elfman)
Living a life in a nutshell – Living a life in a nutshell Stay inside and you’ll do well – break any rules and they might tell
World outside is humming — The mountain goats are sunning This shit ain’t no fun, open the door and run….
Now nobody likes you, what a shame Now nobody likes you, now nobody likes you… Ooh, she likes me – ooh, she likes me, messages excite me Ooh she likes me….
Love in the time of Covid
Keeping it, keeping it all inside I want to see you, I want to see you Without your clothes, without your skin Without your skin – Without your skin Sinning, sinning, sinning – Zoom me at midnight
I want to see you – without your clothes, without your skin I want to see you – without your skin without your skin
Living a life in a nutshell, staying inside is a tough sell Sniffing around for some intel – if I run out of buds it’ll be hell Outside birds are singing – church bells are ringing I’m filling up with feeling – open the door and run
Now nobody likes me (Nobody likes you)
Ooh, she likes me – her videos excite me, Under the virtual moonlight, we got a date at midnight
Love in the time of Covid
Watching the cat, watching the cat, Bouncing off the walls (I feel like that) – let’s make a rendezvous It’s almost like having you in the room, I want to have sex (too soon) – I can almost feel you Starting to spin, staring to spin Looking up, looking out, looking in I’d give the world just to touch your skin.
Animation by Jesse Kanda Art Direction and production by Berit Gwendolyn Gilma Videographer: Melisa McGregor Make-up & Hair: Lizbeth Williamson
Music & Lyrics by Danny Elfman Produced by Danny Elfman Recorded and co-produced by Noah Snyder Mixed by Zakk Cervini Mix Assistant: Nik Trekov Mastered by Joe LaPorta at Sterling Sound Vocals, Guitars & Synths by Danny Elfman Drums – Josh Freese Guitars – Robin Finck & Nili Brosh Bass – Stu Brooks Percussion and Additional Drums – Sidney Hopson Orchestration by Steve Bartek and Mikel Hurwitz Choir orchestration by Marc Mann Midi Prep – Orlando Perez Rosso Copyist – Scott McRae Executive Produced by Laura Engel Project Produced by Melisa McGregor Danny Elfman’s Representation – Kraft-Engel Management
Sorry (lyrics by Danny Elfman)
I’m So Sorry…
There isn’t time – for revolution There isn’t time – to evolutionize or hide Those things most precious – Our most precious Things that got erased, corrupted, infiltrated I’m so sorry – I’m so sorry
I’m gonna try, I’m gonna try To get away from your compelling Mist of lies and misconceptions No protection, no escape Where I will never have to see your fucking face You suffocate me
I can’t breathe while you’re alive I can’t breathe while you’re alive You suffocate, you suffocate And I’m so sorry that I didn’t die Or just evaporate into a toxic cloud
It’s gonna break – it’s gotta break, It’s made of glass, it’s gonna break And all the hate that you collected And infused into protected piles of shit Glass eyed devotees will flock to your gates Your house is on fire — your house is on fire
Pull it forward – pull it back Your eyes are empty, cold and black We gotta break it, we gotta break it We gotta break that fucking jack whip on a broken hip – my life is a joke if I can’t even breathe.
Sorry you exist because you suck the fucking air out of my lungs I am not afraid to die – still alive, still alive And I won’t let you bury me
Willie Nelson explores the deep corners of the Frank Sinatra catalog on his new album That’s Life, out February 26th. In addition to tackling classics like “You Make Me Feel So Young” and “I’ve Got You Under My Skin,” Nelson interprets lesser-known Sinatra recordings like 1959’s “Just in Time” and “A Cottage for Sale.” “I’m just glad to be able to do another tribute to him,” said Nelson, who released his first Sinatra tribute, My Way, in 2018. “I’m anxious to get it out there.”
On Friday, Nelson released another track, “I Won’t Dance,” a standard composed by Jerome Kern and recorded by Sinatra in 1957 for A Swingin’ Affair!, his 12th studio album (He cut it in 1962 for Sinatra–Basie: An Historic Musical First too.) Nelson recorded the track — which has also been covered by everyone from Fred Astaire to Lady Gaga and Tony Bennett — with Diana Krall. The two star in a joyful animated video by Manuel Casares and Antonio Corral (a.k.a. Crocantes), an animation team who say their video was “inspired by classic cartoons, fashion illustrations and Hollywood glamor, screwball and slapstick comedies.”
Nelson has called Sinatra his favorite all-time singer. “He had a great choice of songs,” Nelson said recently. “He picked all the best songs in the world to record — and of course he had access to them. But I loved his phrasing. He and I recorded a couple of songs together many, many years ago. We did ‘My Way’ together, and we did ‘A Foggy Day (in London Town).’ We did a commercial together one time, I forget what it was for. Some satellite or something. I got to hang out with him a little bit but not as much as I wanted to.”
Written by Patrick Doyle for Rolling Stone magazine.
Dylan was just 20 years old when he appeared on the Folksingers Choice radio program on WBAI FM in New York City. He’d arrived in Manhattan just a few years earlier and was playing in the coffee houses of Greenwich Village, at one in particular he was paid “a dollar plus a cheeseburger.”
During this hour-long interview with Cynthia Gooding, Dylan played some of his own songs (“The Death of Emmett Till”, “Standing on the Highway”) and covers of classics by Howlin’ Wolf, Hank Williams, and Woody Guthrie. We scored this Blank on Blank with Dylan tuning up his guitar and playing his harmonica.
It’s a wonderful snapshot in time, with a young Dylan before he was famous and before he even released his debut album. He’s nervous and funny. He’s just a guy with a guitar with a little mischief underneath.
EXECUTIVE PRODUCER: David Gerlach. ANIMATOR: Patrick Smith. PRODUCER: Amy Drozdowska. COLORIST: Jennifer Yoo. SOUND DESIGN: Mixology Post / Doug Moss. PHOTOS: New York Public Library, National Archives, Unsplash, Bigstock, and Wikimedia Commons.