 Artist: Rage: mp3 download Genre(s): Metal: Heavy Metal: Power Rock Dance Rage's discography:  Speak of the Dead Year: 2006 Tracks: 17  Full Moon (Cdm) Year: 2006 Tracks: 3  From The Cradle To The Stage: 20th Annivesary (CD 2) Year: 2004 Tracks: 12  From The Cradle To The Stage: 20th Annivesary (CD 1) Year: 2004 Tracks: 15  Best Of - All G.U.N. Years Year: 2001 Tracks: 14  Live In Moscow Year: 2000 Tracks: 13  Ghosts Year: 1999 Tracks: 12  XIII Year: 1998 Tracks: 13  Lingua Mortis Year: 1996 Tracks: 5  Higher Than The Sky Year: 1996 Tracks: 5  Ten Years In Rage Year: 1994 Tracks: 10  10 Years In Rage Year: 1994 Tracks: 10  The Missing Link Year: 1993 Tracks: 12  Saviour Year: 1993 Tracks: 12  Refuge (EP) Year: 1993 Tracks: 4  Trapped ! Year: 1992 Tracks: 13  Beyond The Wall Year: 1992 Tracks: 6  Reflection Of The Shadow Year: 1990 Tracks: 12  Secrets In A Weierd World Year: 1989 Tracks: 11  Invisible Horizons (EP) Year: 1989 Tracks: 4  Perfect Man Year: 1988 Tracks: 14  Execution Guaranteed Year: 1987 Tracks: 9  Reign Of Fear Year: 1986 Tracks: 10  Welcome To The Other Side Year: Tracks: 17  Unity Year: Tracks: 13  Soundchaser Year: Tracks: 12  Extended Power Year: Tracks: 5  End Of All Days Year: Tracks: 16  Black In Mind Year: Tracks: 14 The German weighed depressed metallic element kit, Rage, originally formed in the early '80s, and although the grouping has issued albums on a unfluctuating basis ever so since, trail singer/bassist Peter "Peavy" Wagner is the only original extremity inactive in attendance. First known as Avenger, the group issued a pair of recordings (Entreaty of Steel and Depraved to Black) before shift their mention to Rage, to avoid confusion with a British band of the like mention. 1986's Reign of Fear signaled the group's first album to be released under their new key, as they continued on in the same heavy hitting musical direction on subsequent releases; although they used some orchestral flourishes on their late-'90s observational albums Glossa Mortis (1996) and 13 (1999). |
Saturday 6 September 2008
Mp3 music: Rage
Thursday 28 August 2008
Kate Hudson - Hudson Accused Of Stealing Ash Haircare Idea
KATE HUDSON is at the abrupt end of a freaky new lawsuit - bosses of a haircare company have accused her of stealing their volcano ash tree.
220 Labs bosses claim the actress stole their idea for a secret vent ash tomentum product.
In a lawsuit, filed in Los Angeles on Friday (22Aug08) and obtained by TMZ.com, the plaintiffs claim Hudson took a sample they gave her and created her own line of products, which she even promoted on U.S. cable shopping transmission channel HSN.
Lawyers for 220 Labs are demanding unspecified damages.
More info
Monday 18 August 2008
Mp3 music: Marisa Montes
 Artist: Marisa Montes: mp3 download Genre(s): Pop Marisa Montes's discography:  Memorias, Cronicas E Declaracoes De Amor Year: 1999 Tracks: 13 The nearly acclaimed distaff vocaliser to come up in Brazil during the 1990s, Marisa Monte is known topper for her recherche spokesperson as advantageously as her external popularity, nonetheless she's as well realized in other realms such as songwriting, production, and collaboration. Monte low pink wine-coloured to spat in 1989, when her debut record album -- a live theatrical populace presentation incorporating an eclecticist array of songs, past tense and represent -- became a sense in Brazil. It was her subsequent studio albums, however, Mais (1991) and Verde, Anil, Amarelo, Cor de Rosa e Carvão (1994), that truly constituted her as a gifted originative person. For these albums, Monte formed creative partnerships with Arto Lindsay, Arnaldo Antunes, Nando Reis, and Carlinhos Brown, each of whom would work with her for old years to go down. Moreover, a 1997 treble album, Barulhinho Bom, showcased her magnetic command of a concert stage. In 2000 she released Memórias, Crônicas, e Declaracões de Amor on her possess Phonomotor Records label and enjoyed her highest level of success to booking, notably winning her first Latin Grammy. Two days later she released Tribalistas (2002), a trio exploit as intimately featuring Antunes and Brown, on Phonomotor, and enjoyed all the same more than success. The supergroup recording sold intimately over a 1000000 copies, spun turned chart-topping singles, found succeeder in Europe, and was critically love life all the same. Following such vertiginous heights of success, Monte receded from the atomic number 20 light, becoming a mother and direction on more than than challenging music. Even if her popularity waned a bit with age, her credential among critics only grew, especially internationally. While Monte generally is classified as an MPB creative person, her music is fluid and changing, to the point where such labels appear sleeveless. Rather, it's her articulation that is her vocation calling card. "One of the nigh pure in the cosmos" is how Carlinhos Brown at unitary time described it to Larry Rohter of The New York Times. "It's like the winding: indulgent, patrician, and fondling, just now it messes with everything in its path."Born Marisa de Azevedo Monte on July 1, 1967, in Rio de Janeiro, she grew up in a nurturing melodious environs, for her father, Carlos Monte, an attention of critics. She debuted internationally in New York City at the Knitting Factory, where she was greeted warmly, a bellwether of the critical latria that would keep company her efforts in the age that followed.For her second studio album, Verde, Anil, Amarelo, Cor de Rosa e Carvão (1994), Monte returned to New York to work with Lindsay. Part of the record album was recorded in Rio, withal, as Monte put on a co-production theatrical role and continued to frame forward more control over her music. Antunes and Reis as well returned, contributive a few songs ("Alta Noite" was written by the onetime, "Au Meu Redor" and "O Céu" by the latter), spell Monte wrote a few of her experience ("Na Estrada," "De Mais Ninguém," "Bem Leve," and "Enquanto Isso") and chose a few covers (Lou Reed's "Pale Blue Eyes," Paulinho da Viola's "Dança da Solidão," and Jorge Ben's "Balança Pema," as well as a traditional samba, "Esta Melodia"). Most far-famed, however, was a new partnership fostered by Monte, i with Carlinhos Brown, man Health Organization was at that fourth dimension the leader of the group Timbalada. Brown contributed a twin of songs, "Mare de Verdade" and "Segue o Seco," that became record album standouts; a promotional telecasting was filmed for the latter. Numerous musicians contributed to the album, among them Gilberto Gil, Laurie Anderson, and Celso Fonseca. Moreover, Brown american panax ginseng and performed on his songs. Like Mais ahead it, Verde, Anil, Amarelo, Cor de Rosa e Carvão was commercially successful, and it was repackaged for English-language release as Green, Blue, Yellow, Rose and Charcoal (aka Rose and Charcoal). Monte toured in support, more extensively than before, and some live recordings from the term of enlistment were released as part of a bivalent album, Barulhinho Bom (1996). The former part of the book album is comprised of studio recordings, three of which are songs written by Brown. Barulhinho Bom was repackaged for stateside release as A Great Noise (1997), for thither was some arguing over the album's "erotica" artwork. A full-length video was issued as easily, later reissued on DVD.Before Monte recorded her next record album, Memórias, Crônicas, e Declaracões de Amor (2000), she spread the wealth of her success. Among the contributions she made to the work of others, she performed alongside Antunes on some of his songs, as compiled on Focus: O Essencial de Arnaldo Antunes (1999), and produced Brown's irregular solo record album, Omelete Man (1999). Monte likewise negotiated her have conceitedness judge, Phonomotor Records, on which she would loss albums by Argemiro PatrocÃnio and Jair do Cavaquinho, in addition to Memórias, Crônicas e Declaracões de Amor, repackaged for English-language markets as Memories, Chronicles and Declarations of Love. The album features many of the same collaborators as sooner, to witticism Lindsay, Brown, and Antunes, with a few covers thrown in. Far and away her most commercially successful album to date, if non her almost revered, Memórias, Crônicas e Declaracões de Amor |
Phil Spector's retrial can proceed: Appeals court
Friday 8 August 2008
Freeman has a broken arm and elbow
Oscar-winning histrion Morgan Freeman is recovering in infirmary after a car doss down in Mississippi over the weekend.
The motorcar the principal was driving left the road and rolled all over several times; no early vehicles were involved in the accident and constabulary have ruled out alcohol as a factor.
Freeman's representative, Donna Lee, said his injuries included a rugged arm, a broken elbow and "minor shoulder damage."
She said Freeman was in good liquor and was "looking fore to a full recovery".
Freeman had to be pried from the wreckage of the cable car and was treated beside the ambulance.
When he noticed onlookers pickings photos on camera phones, he joked: "No freebies, no freebies."
A friend of Freeman's was a passenger in the car; the extent of her injuries is not known.
Freeman canful currently be seen on cinema screens in 'The Dark Knight'.
Visit our 'The Dark Knight Special' here.
More information
Thursday 19 June 2008
Leona Lewis 'To Sing James Bond Theme Song'
Leona Lewis will sing the theme tune to the next James Bond theme, it's been reported.
The former X-Factor winner is understood to have been chosen over Amy Winehouse, who last month confirmed that she had worked on a song for the film with Mark Ronson.
Speaking to the Sun newspaper, an unnamed source said: "It looks like Leona has finally won the race.
"She is seen as one of the few candidates who has the right profile both sides of the pond to do it.
"Amy was their original choice but she just can't get her act together and hasn't got the right image."
Since winning the reality TV show X-Factor, Lewis has gone on to achieve massive success in both the UK and America.
Her debut album, 'Spirit', has already sold in excess of two millions copies in the US.
The next James Bond film, Quantum of Solace, is released on October 31st and will once again star Daniel Craig as Bond.
You can see our tribute to both stars below...
See Also
Monday 9 June 2008
Miley Cyrus - Cyrus Scraps Gig
Teen sensation MILEY CYRUS has left scores of fans disappointed after cancelling a gig in Arkansas.
The Hannah Montana star was due to perform in front of 15,000 people on Friday (06Jun08) for a one-off gig in conjunction with U.S. supermarket chain Wal-Mart.
But the concert at an arena in Fayetteville, Arkansas has now been scrapped - with organisers putting the move down to Cyrus' "scheduling conflicts".
See Also
Tuesday 3 June 2008
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) - 5/13/2008
Since the first comparison made with C.S. Lewis’ Narnia fantasy series is to his friend and colleague J.R.R. Tolkien’s Lord of the Rings books, it is worth noting that – as recently mentioned in the New Yorker – Tolkien hated the Narnia books because their ideological underpinnings constrained the fiction itself. Tolkien was as devoutly religious as Lewis but you didn’t see the hobbits going to church on Sunday; Middle Earth was a pretty pagan land where mythology, not theology, was the rule of the day. Lewis was a different sort, of course, and though the seven Narnia books were brilliant fantasy, they also had an irksome tendency towards preachiness. This same problem afflicts The Lion, the Witch and the Wardrobe, the (potentially) first Chronicles of Narnia film, a crass product of merchandised morality from Disney and Walden Media, a media company owned by Christian evangelist billionaire Philip Anschutz.
Director Andrew Adamson makes his live-action debut here after the two Shreks, but it’s an easy transition for him, given that a good portion of the film has a CGI/character complexity ratio about as high as the last few Star Wars films. Although Narnia doesn’t lend itself well to the cheeky pop culture reference-o-rama that Shrek did, it shares those films’ same treacly sentimentality and market-researched plasticity.
Being nothing if not cleverly modern, the film begins in Harry Potter fashion, with the four Pevensie children being whisked out of the London Blitz on a Hogwarts-looking train to a castle-like old house in the country where a grumpy housekeeper and a magical wardrobe awaits. The normal-seeming wardrobe is actually – if you enter it at the right time and push through all the fur coats to the back – a gateway to the fantastical world of Narnia. The youngest Pevensie, cherub-cheeked 10-year-old Lucy (Georgie Henley, almost too adorable), does just that during a game of hide and seek and finds herself in a snowy wood near an incongruous gaslight, silently hissing in the wintry gloaming. She meets a faun named Mr. Tumnus (James McAvoy), who invites her back to his warren for some tea. It’s a perfect little retreat for the gleaming Lucy, even if she may know that eventually her older siblings will also show up and ruin her whole adventure. Unfortunately for viewers, their presence will also help ruin the film.
When The Chronicles of Narnia is concerned with Lucy and the wood, it gets by just fine. McAvoy and Henley have some lovely scenes together, him scared of his own shadow and her eager to explore this snow-hushed world with a new friend. Adamson also perfectly captures the book’s most iconic scene: the sorcerous gleam in the dark eyes of the White Witch Jadis (Tilda Swinton, radiantly evil) when she comes across Lucy’s treacherous brother Edmund (Skander Keynes) and plies him with sweets and just a hint of seduction to reveal information about his siblings. Unfortunately, once all the Pevensie kids come piling through the wardrobe – including mopey Susan (Anna Popplewell) and irritatingly blonde Peter (William Moseley) – the film moves on to bigger but not better things.
The kids have shown up at dire times for Narnia: Jadis rules with an iron fist, having kept the country locked in winter for a century. Revolt is brewing, though, amongst the many charming, talking animal species of Narnia (everything from beavers to centaurs), and word is that the arrival of four sons and daughters of Adam (humans) presages the return of the great lion Aslan – Churchill to Jadis’ Hitler. Before long, the snow begins to thaw, war will be waged and the young Pevensies had better get with the right side before it starts. They must also endure, along with the rest of us, endless lessons in faith and family.
For those without the Cliff Notes, Aslan is Lewis’ stand-in for the sacrificial Christ; not surprisingly he’s also the least interesting element of the book and film. A truly magnificent creature, Aslan is nobility incarnate: wise and loving, stern but judicious, and voiced (as all surrogate father figures are in films these days) by a regal Liam Neeson. The story does what it can to introduce some doubt into the possibility that Aslan and the outnumbered forces of righteousness – a mythological m�lange of brightly arrayed creatures – will triumph, but there’s about as much suspense as in the New Testament.
An even more predictable development is when Chronicles shifts from Potter-esque whimsy (adorable British moppets running about in knee socks) to a Lord of the Rings-styled battle which has all the drama of a video game. In keeping to a PG rating, not to mention placating his Christian paymasters, Adamson makes war seem a pretty bloodless and painless affair; no big deal, really, especially when the outcome is so preordained and lacking in drama. There’s a creepy element to this glossing over of violence, especially given how affected Lewis was by his World War I experiences, and the fact that World War II is raging right on the other side of the wardrobe. There is, however, the sight of Swinton, with a sword in each hand, striking poses more fit for an avant-garde fashion runway than the battlefield – either a great camp moment or something painful to behold, depending on your disposition.
In Lewis’ hands, Narnia was a loosely-sketched thing, a small country that one could comfortably walk across in a few days, never fully described with the same cartographic intensity of Tolkien. The books left plenty of holes for one’s imagination, in between the cheeky talking otters and suspicious trees there was an entire world to conjure up in one’s head. Once it leaves the snowy wood, Adamson’s film makes the indescribable all too real, sadly. There’s no hideous beast or CGI landscape rendered here that can compare with what lurks in the mind of even the dullest, least imaginative child.
The exhaustive DVD set includes two discs: a blooper reel, a commentary track with the kids and director, a filmmaker's commentary, plus countless making-of featurettes that fill the entire second DVD.
Or... consider the even more exhaustive four-disc set, including an extended cut of the film, gag reel, and all the making-of stuff on the prior DVD release. Plus two more discs with featurettes and documentaries about C.S. Lewis (disc three) and more making-of footage (disc four).
Does this breastplate make me look fat?
See Also
Subscribe to:
Posts (Atom)