Valandui's Weekly Music Video
Conducting From the Grave: The Rise
Anyways, i havent seen the video yet but this apparently happened:
http://sports.yahoo.com/blogs/nhl-pu...173918320.htmlIt was a scene that plays out in many minor hockey leagues, where shots to the chin are as frequent as shots on goal: The Federal Hockey League’s Matt Puntureri of the Danville Dashers and Jesse Felton of the Dayton Demonz – the ‘Z’ is no doubt because they’re EXTREME – skating away from a faceoff to center ice, where the spotlight would fall on their fight.
They skated around. They removed equipment. But at the moment when fists would typically start flying, the complete opposite happened:
Puntureri hugged Felton.
Then he removed a can of beer from his pants, had a sip and flashed a peace sign at the benches.
“I don’t know what that was in his jersey, but he pulled it out and he drank it.” This might be our favorite play-by-play quote of the season.
http://espn.go.com/nfl/story/_/id/10...ogical-testing"I'm not here to be a distraction," Pouncey said.
Is auto-tune the worst thing ever invented in music? I'm starting to believe it is, simply because of its longevity. ****ty rappers will put out entire albums of it. Pretty much every day that I walk through my neighborhood, I hear dummies blasting their own music from their cars (you can tell it's their own by the horrible sound quality and generally ****tiness of it all) and 99% of the time it's auto-tune. Congrats, you literally made yourself sound like everybody else; and by everybody else, I mean Stephen Hawking.
Now, I actually like a lot of hip hop. But not this garbage.
To compress a very long story, I once spent an evening at Groovemaster Studios -- which is run by a producer named Johnny K (Disturbed, 3 Doors Down) -- in Chicago. A buddy of mine ran a studio in Chicago at the time, and a group of engineers and studio owners went down to hang out for a night at the studio as it was being built. I didn't and still don't give two ****s about Disturbed or 3 Doors Down but it ended up being a pretty cool experience because the guy owns the whole building, which is at least five or six very tall stories and the site of an old beer warehouse. As I recall he had one smallish studio built (smallish for him at least, it would be hard to overstate the size of this place) but was working on the main one and had plans to turn other floors and areas into living spaces for bands, a music school, a gym and a bunch of other ****. Oh, and he had a 1930s Cadillac lifted by crane to the top floor and then knocked a hole in the side of the building so he could have it brought in (just so bands could listen to mixes inside of the car). It was kind of mind blowing, like going to recording studio NASA.
Anyway, my buddy, being an even bigger "bring back tape and vinyl" nostalgia dork than me, asked Johnny K about those kind of standard Pro Tool fixes, whether anything is lost when you refine things that much. And Johnny's basic response was that not doing that makes a record sound old. That sound -- that looseness, the "errors" -- is what makes old records sound old.