oingo boingo na Top Model

Favo ir até o final porque só melhora. 
O show do Oingo Boingo acontece na novela, com os atores assistindo e no final vão pedir autógrafo em cima do palco.

Eles tocam Stay, óbvio, e Skin, não óbvio.

tatuagens do danny elfman

morri e fui pro cemitério

Vi o show do Danny Elfman com as músicas do Tim Burton, fui pra jogatina/pizza com a minha blusa do Oingo Boingo, voltei pra casa às 6h da manhã, e eis que eu acordo sozinha meio dia, abro o facebook e vejo que ele só tem, além de fotos das minhas sobrinhas fantasiadas neste e em outros anos, vídeos do Danny Elfman na apresentação de Halloween do Nightmare Before Christmas no Hollywood Bowl, tocando Dead Man's Party com o Steve Bartek. 

Demorei pra entender o que era. Mas era. E ele diz que vai fazer uma coisa que ele disse que nunca faria, e que se saísse ruim era porque fazia exatamente 20 anos que ele não fazia.

É o milagre da reunião!

meu Feliz Halloween

Eu assisti o Danny' Elfman's Music From the Films of Tim Burton - Live From Lincoln Center inteiro hoje de manhã, e além de ter adorado, eu amei ver o Danny Elfman cantando ao vivo as músicas do Jack. Sabendo que o Jack é um alter ego do Elfman da época em que ele queria sair da banda. E. Considerando que há 20 anos ele não cantava ao vivo, e continua foda.

Aí eu entrei na página do grupo pra comentar e vi esse texto de ontem. 

Não conseguia terminar as frases boas, de tanta euforia. Como é bom ler gente que sabe o que está falando, mesmo discordando de algumas coisas. 

Not just “Dead Man’s Party” on a Halloween mix: Oingo Boingo deserves more respect than this

Feel free to use the following controversial statement to bolster your own superior music taste if it’s to your fancy: Oingo Boingo is one of the best, most rewarding and ingenious bands of all time.

Disagree with me? I’m not surprised. But if you do agree with me, I believe you hold to every element of the above “controversial statement.” Oingo Boingo is a band you either adore with frenzied joy or one you don’t care about at all and maybe even deride people for touting. If you don’t mind, I’d like to try to get you to be the former if you’re the latter. It’s Halloween — bear with me.

I’ve got a long history of being the only guy in the room who loves this band. In sixth grade, I’d yet to hear any song of value outside the pre-’80s albums my parents played in their cars. I was sitting in my computer class, feeling as much social anxiety as an 11-year-old probably can, when I heard the horn blasts calling my name. I mustered up the courage to ask my teacher, Mr. Colwell, what and whom I was hearing. He said, perplexed but smiling, “’Dead Man’s Party’ by Oingo Boingo.” Before I sat down, he amended his initial information by saying the “Boingo Alive” version was better. It was the first song I ever bought on iTunes and I listened to it more than 300 times in the first year I owned it.

Since then, I’ve had a lot of favorite bands. Right now, the one I tell people is my number one — and am mostly sure actually is — is Pavement. I only say “mostly sure” because always lurking in the shadows are the specters of Danny Elfman’s wild and skeletal new wave band. I saw a Facebook friend post a status saying he’d have a harder time giving up Boingo than the Beatles, and I think I feel the same way.

It’d probably be easier to just come out and say they were my favorite if it weren’t for the fact that when I’ve done so, the statement has been met 45 percent of the time with “who are they?,” 45 percent with outright pretentious laughter and derision, and only 10 percent with a similar level of enthusiasm to my own. I don’t mind those who haven’t bent an ear to the band’s freak-outs, but the critics drive me nuts. Upon pressing them, it becomes apparent they’ve only heard three songs by the group: “Little Girls,” “Weird Science,” and/or “Dead Man’s Party.”

Let’s take this apart. “Little Girls” is the only one I’d understand causing such disdain. It’s a satirical, bubblegum song about pedophilia. I completely understand why someone wouldn’t want to listen to songs about pedophilia, satirical or otherwise, and it would be remiss of me not to say I feel weird about that song too. “Weird Science” is the theme song for a second-tier John Hughes movie about teenage boys inventing the perfect woman. If you have a problem with the misogynist content of such a film and do not like Oingo Boingo as a result, I understand, but would politely hope you can someday divorce the movie from the song in your mind. However, if you’ve heard “Dead Man’s Party” at a Halloween party and thought it was no good, there is no hope for you. You are most likely an unethical and frustrating person to be around.

The strength of Oingo Boingo doesn’t even remotely reside in those few singles, anyway. The fact of the matter is they’ve got a no-misfire ’80s discography. Okay, fine, “Good for Your Soul” leaves a little to be desired, but just swap it out for “So-Lo,” Elfman’s solo album, recorded with his Boingo cohorts to get out of a label dispute, and we’re back to a par for the course.

Each album, from 1981’s “Only A Lad” to 1987’s “Boi-Ngo,” is attacked from a different vantage point with the same weapons: Elfman’s witty lyricism and madman vocals, Steve Bartek’s remarkable guitar work, Johnny “Vatos” Hernandez keeping the drumbeats dancey and dark all at once, a continually inspiring horn section and rotating bass and keyboard players who always found a way to perfectly gel with the band’s escape-the-asylum sound.

“Only a Lad” was their first statement as a new wave rock band after a few years of performance art expressionism as the Mystic Knights of the Oingo Boingo. The only real issue with their debut album is that it sounds a lot like Devo. You know how Devo did that really bizarre cover of the Rolling Stones’ “(I Can’t Get No) Satisfaction”? There’s a similarly deconstructionist cover of The Kinks’ “You Really Got Me” on here. The overall sonic palate of their debut wears a red helmet.

If you can get past the closeness of sound to Mark Mothersbaugh’s, you start to really appreciate Elfman’s ear for satire. Yes, the troublesome “Little Girls” is on here, but so are the less offensive (at least to those of a leftist bent) “Capitalism” and (at least to those who don’t take their more private vices too seriously) “Nasty Habits.” The best songs, though, are the furious title track and “On the Outside,” the perfectly-orchestrated ode to being a square peg everyone’s trying to shove through a round hole.

1982’s “Nothing to Fear” sees Elfman and company divorcing themselves from any discernible Devo copycatting. This is where Oingo Boingo really started to sound like their own band. “Grey Matter” starts things out with a spookier synthline than you would’ve found in any other new wave material, and yet sillier than you would be able to locate in post-punk bands of the same time. “Insects” sounds like a band playing punk in a house filled with bees and “Private Life” is equal parts depressing, disturbing and delightful in its depiction of a social outcast who doesn’t seem to have much of a public life. Plus, you know you’re dealing with a pretty subversive band if “Wild Sex (In the Working Class)” is actually one of your least provocative songs.

1983’s “Good for Your Soul” sounds like Danny Elfman splitting himself into two different vocalists: the madcap yowler of the first two records and the earnest songbird of the band’s remaining records. The album’s opener, “Who Do You Want to Be?” is business as usual, insofar as business usually entailed music akin to blowing up your office building. But the title track has Elfman losing the shrieking intensity of “Who Do You Want to Be?” and supplanting it with a more conventionally pretty voice. It’s ultimately a better way to convey how frightening he finds daily life. “Good For Your Soul” is the first Oingo Boingo song that seems to ask the listener to take it seriously.

As mentioned earlier, the fourth Oingo Boingo album is actually the first Danny Elfman “solo” album. Due to a label dispute, 1984’s “So-Lo” was attributed to the front man alone. Funnily enough, this is where I’d point most Boingo deniers to begin their journey. The arrangements on songs like “Gratitude” and “Cool City” share far more in common with Elfman’s future as a film composer than with any new wave music of the period. His voice soars skyward instead of slipping into insanity, and the music itself enters a level of complexity you’d have a hard time finding with other pop bands of the period. As far as pop goes, Elfman’s genius lies in his ability to amp up both the intricacy of his composition and the catchiness of his choruses in equal measure.

Things seemed to reach critical mass with 1985’s “Dead Man’s Party.” Their most popular songs are both here: the title track and “Weird Science”. But if you can make it past the opening synth marimba (yes, marimba) riff accompanied by Elfman wearily intoning, “There’s life in the ground,” without feeling an immense amount of dopamine coursing through your system, Halloween may not be the holiday for you. Other ways to gauge whether you should ever attend a costume party again include whether you don’t start dancing like a maniac to “Heard Somebody Cry,” singing the chorus of “Stay” by the end of the first listen and playing air guitar to “Help Me.” If you can’t get behind the experience this record offers, I’d hazard a guess you don’t like “Ghostbusters” or carving pumpkins, either. It’s fine if that’s the case — it just isn’t something I’d bring up on a first date, if I were you.

Most Boingo fans I’ve spoken with point to “Dead Man’s Party” as the pinnacle of the band’s career. It’s their best-known album, the songcraft is top notch and their sound is as developed as it ever would become. But I’d have to give the honor of best Boingo album to their somewhat self-titled 1987 release, “Boi-Ngo.” It sounds quite a bit like its predecessor; all the elements that made the former great are here, too. But this is, ultimately, the trump card for any Elfman apologist.

Almost every song on “Boi-Ngo” is a ten out of ten. “Home Again” reminds the listener immediately why this is a band so intertwined with October 31st. “Where Do All My Friends Go?” is a vocally layered, alternately sparse and lush song as friendly to new wave as it is to doo-wop and “Elevator Man” is a dance-as-you’re-driving song if there ever was one. “New Generation” is perhaps the weakest offering here, but my two favorite songs in their catalogue follow it: the mortality-obsessed yet joyful ballad “We Close Our Eyes” and the ecstatic, organ-driven love song “Not My Slave.” Closing out the set are the resigned yet hopeful “My Life,” the nutcase guitar-and-horns blast of “Outrageous” and the altogether perfect “Pain.”

After this, Oingo Boingo lost some steam. Danny Elfman was gaining notoriety as a film composer and it seems like most of his ingenuity ended up getting channeled in that direction. Their last two records, 1990’s “Dark at the End of the Tunnel” and 1994’s “Boingo,” sound like a far less dedicated band recorded them. They flirt with the strains of alternative rock popular throughout the early ’90s, and the dalliance doesn’t have quite the same impact. After developing such a unique sound, it’s hard to enjoy when a band goes back to parroting what’s popular.

Perhaps I’ve been too harsh. You may have perfectly valid reasons to not enjoy Oingo Boingo beyond the ones I’ve already listed. Ultimately, everyone’s taste is subjective and different. But for anyone who ever felt like they were “on the outside looking in,” to borrow a phrase from the band, these guys are the whole package. Their early work is the best kind of furious parody, denigrating the straight-laced and counterculture alike for their judgments toward any given misfit, which makes the emotional maturity and authenticity of their records from 1984 on seem a little more pure.

All this to say: If you’ve got an open mind and an ear bent toward the eerie and enjoyable, Oingo Boingo is worth a listen if you haven’t heard them beyond the basic Halloween party mix. If you still think they’re just some ridiculous novelty band, that’s fine too. Just remember Danny Elfman wrote some fantastic songs about people just like you.

memes

an evening with

last band standing

Duran Duran capa da Billboard

e

Danny Elfman lenda da Disney 

rolling stone ahazando

Não consegui ler outra coisa que não a Rolling Stone hoje. Me lembrou da vez em que eu arranquei uma página de uma Rolling Stone no cabeleireiro que tinha uma entrevista com o Brandon Flowers dizendo que era fã de Oingo Boingo.

Eu preciso estudar e não consigo parar de postar.

As manchetes e frases destacadas são um horror, mas as entrevistas e os artigos são fantásticos, com muito conhecimento de causa, e bem pesquisados.

***

Olha só, vejam vocês, o que não é a internet. Direto de novembro de 2006: Q&A with Brandon Flowers

Danny Elfman on Film Scores, 'Simpsons' and Working With Tim Burton

"Jack wanted out of Halloween Town and at that time, I was ready to get out of Oingo Boingo and didn't know how. My band was my Halloween Town and coincidentally, we also performed every Halloween"

From Rush With Love

"Rush sometimes sounded like they had formed their entire style around that one heavy bit in the latter (Genesis) act's 'Watcher of the Skies'."

Hear Duran Duran's Funky 'Pressure Off' With Nile Rodgers

 "They are like my second Chic, says Rodgers"

Watch U2 Play 'Gloria' for First Time In 10 Years at Chicago Show

dia bom

Hoje eu tive uma aula de canto muito boa, a primeira depois do workshop. A primeira sem música também, só exercício.
Depois fui na galeria pegar minhas camisetas, e fiquei vendo uma orquestra chamada Ôncolo Tim Maia 70 enquanto esperava.

Assisti o último episódio de Sense8 com o Mário, e fomos no Si Señor almojantar.
Obrigada Netflix por usar como thumb a última cena (Y)

Depois dormi das 19h até 1h30, e acordei para irmos no Madame Satã, dançar um synth com a minha camiseta nova.

Estava lindo, espaçoso sem estar vazio e funcional, como sempre. Como eu gosto do Madame, é uma experiência.
Eu quase chorei com um cara fantasiado de espantalho assombrado que estava dando susto nas pessoas escondido na porta da pista, gritando "pula fogueira iá iá" meio soturnamente.
Eu não chorei, mas eu gritei.
O Mário viu um gato preto passando no andar de cima. É muita personalidade.

music of danny elfman

Achei uma página de facebook do Danny Elfman com mais dignidade, mais gente e mais fotos.

This is my private life

Minha vida está a playlist do oingo boingo.

Tudo de mais chato, automático, cansativo e perverso possível. 

Fui indo de música em música querendo usar o título pro post.

Não sei o que acontece com o começo de maio. Ano passado em dois dias eu fui demitida, perdi o freela e meu tio foi pro hospital pra não voltar mais.

Agora, em dois dias, a mãe do wagner morreu, a mãe da minha professora morreu, a Carol saiu do projeto brigada, meu pai foi demitido.

Pus o thiago na radio uol pra receber 700 reais e trabalhar melhor que eu.

Quando alguém me chama atenção pra avisar de alguma coisa eu sinto que é a pior notícia possível. Principalmente se o telefone toca :S

Isso me lembra aquela carta do tarot, a torre. As coisas ruins que tem que acabar e estão demorando, vão acabar. 

tequilla + dia dos mortos = dead man's party

 

dia de muitas festas ontem

califórnia

o xilofone

Almoço no Hooters.

- Eu gosto de xilofone, que nem nessa música, xilofone com rock. O Oingo Boingo usa bastante.

Música seguinte: Only a Lad (essa versão).

E essa não tem xilofone.

Um mundo de cada vez

Hoje eu dava um braço pra continuar lendo meu livro no ônibus.

A gravação do The Wall é a pior parte do livro. Eles tiveram que sair da Inglaterra em um mês com as famílias inteiras porque estavam à beira da falência e... ok, passaram a primavera e o verão gravando no sul da França, em Nice.
Mas ainda assim, era de manhã, de tarde e de noite, e a única razão da banda estar gravando outro disco era a falência, e o Roger Waters agia o tempo todo como se tivesse fazendo um favor de deixar o resto da banda tocar no álbum.
O Richard Wright tava cheirando muito e morando no estúdio pq tava se separando da mulher e as filhas dele eram as mais velhas do grupo e estavam na escola; o Nick Mason gravou sua parte primeiro e foi correr no Le Mans, e o David Gilmour tava ali tentando trabalhar e impedir que o Water demitisse o Wright e o Mason da banda.

Mas aí o ônibus chegou.

E agora que eu tenho que pegar dois ônibus pra vir pro trabalho, tenho também que andar o tempo de uma música longa do ponto final até o prédio. Não sei porque tava Believe Me Natalie do The Killers lá, fazia tempo que eu não habilitava essa música. Fiz bem, voltei a gostando mais dela.

Chegando no trabalho li que na verdade o Terra não vai acabar.

Depois eu tive um almoço engraçado, choveu em mim aquela chuva grudenta, bem melhor que a de ontem.
Ai ontem, foi aquele fim do mundo, depois do 12 12 12.
Nada, mas nada deu certo.

Hoje tá mais assim
play

top 5 final

Recentemente eu decidi que o The Clash entra na posição 5 do meu top 5 em vez do a ha, devido ao quesito "ir em qualquer lugar pra ver qualquer membro da banda de qualquer jeito".

Eu fui e fiquei no Glastonbury pra ver o Mick Jones, e não pretendo ir no show solo do Morten Harket, logo a lista está fechada sem muita ordem de preferência em:

Duran Duran
Talking Heads
Rush
Oingo Boingo
The Clash

waiting for you

play

Viver um dia de cada vez é ouvir a mesma música que você ouviu saindo de casa chegando.
No random.

Essa música é muito interessante.
Assim como muitas músicas do Oingo Boingo, ela parece que fala de amor mas na verdade fala de preguiça.


ever since my memory began not long ago
I've waited here so patiently for you to telephone
now it's true, I wait for you to get me out of here
until that time I sit and hide
shaking in my general fear

(tchuru tchuru)
waiting for you
(tchuru tchuru)
to rescue me
(tchuru tchuru)
be everything I want you to be
(tchuru tchuru)
you're super savage
(tchuru tchuru)
in my soul
(tchuru tchuru)
you'll calm the fire when it's out of control

can't tell the right things from the wrong
I tried to find out but it takes to long

I'm waiting for you to come to me

I read my news
watch the tube
watch it all night long
I try and tell the difference from
the right things and the wrong
sometimes when I stare real hard
I think I see your face
It seems so real that I could swear
It jumps right out of the tv set

but when I wake up in my bed
I haven't found you yet
it is not fair

meu top 5

Fique feliz outro dia, fechei meu top 5 de banda, depois de muito ponderar.
Não tem uma ordem, vou por na cronológica:

Duran Duran
a-ha
Talking Heads
Rush
Oingo Boingo

O critério foi: "ouço seu nome e compro o ingresso sem pensar"
Nem em preço, lugar, ou se é show ou flip rsrs

o retorno, mas não forever

Tô sofrendo muito de fazer um trabalho sobre o Danny Elfman haha.
Com o mais singelo capricho do coração.

Até descobrir duas coisas:
Uma, que não foi ele que compôs o tema do Batman Forever :s
Isso abalou o começo do trabalho bastante, porque há meses, desde quando o professor falou "escolham um artista para", eu me imaginava tocando o tema do Batman em classe.
Agora vou me sentir tocando o tema "errado".

A segunda eu não descobri, lembrei.
Que em 2007 eu também fiz um trabalho sobre o Danny Elfman, que eu posso dizer agora, com muita má vontade.

O que aparentemente se estende ao ano inteiro de 2007.

78 - 83

Deixa pro Danny Elfman gostar de Clash e fazer essa música
Capitalism
porque se revoltou contra a revolta rsrs
Qual seria a banda mais Outcast do mundo: Oingo Boingo ou Rush?
Sim porque a biografia das duas é parecidíssima, tirando o fato de que o Danny Elfman abertamente abominava rock progressivo.
No entanto, tanto ele quanto o Neil Peart citaram o Talking Heads como "uma coisa boa" que eles ouviam na época.
O Neil Peart ainda citou o Police, banda pra quem o Oingo Boingo já abriu shows.
O David Byrne era tão art school quanto o Simon.
Só que além de odiar a revolução, o rock progressivo e os críticos, o Danny Elfman também disse que odiava o Duran Duran e rejeitava a música que o Springsteen representava.

Nessa hora difícil cabe ao fã ser feliz.
Veja eu e o Brandon Flowers, por exemplo, gostamos muito de Duran Duran e Oingo Boingo e Bruce Springsteen.