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@dritescontrabone-blog
I’m… back?!
I have Tumblr on my phone now
You have all been warned.
Earlier today in the Sub Pop mailbag, we received an enthusiastic message from a college student running for homecoming queen. She asked for a video affirming support from our one time recording artists, Nirvana, in order to aid her campaign in becoming homecoming queen. We dressed up and obliged.
Video forthcoming with the script: "What’s up Virginia Tech? This is Nirvana! Just wanted to wish you guys a Happy Homecoming Week and good luck at the game this Saturday. LET’S GO HOAGIES!" Or something like that.
OW!! MY BRAIN!!
Ever since I declared my new found love for Streetlight Maniesto, the fandom has welcomed me with open arms and made it completely clear that they are one giant cult. I join you in the brotherhood and have made a GIF to prove myself.
Welcome, welcome.
NOICE!
Got this shirt back in 2006. After numerous, awesome mosh pits, many rips and tears, and years of love, I felt this shirt needed to be retired. However, I couldn't do that without having the whole band signing it, which happened last night at the Boulder Theater. Streetlight Manifesto is the best.
Let me tell you a thing, about an amazing man named Patrick Stewart
I went to Comicpalooza this weekend and I was full of nervous energy as I was standing in line to ask Sir Patrick Stewart a question at his panel. I first had to thank him for a speech he had given at amnesty international about domestic violence towards women . I had only seen it a few months ago but I was still dealing with my own personal experience with a similar issue, and I didn’t know what to call it. After seeing Patrick talk so personally about it I finally was able to correctly call it abuse, in my case sexual abuse that was going to quickly turn into physical abuse as well. I didn’t feel guilty or disgusting anymore. I finally didn’t feel responsible for the abuse that was put upon me. I was finally able to start my healing process and to put that part of my life behind me.
After thanking him I asked him “Besides acting, what are you most proud of that you have done in you life (that you are willing to share with us)?”. Sir Patrick told us about how he couldn’t protect his mother from abuse in his household growing up and so in her name works with an organization called Refuge for safe houses for women and children to escape from abusive house holds. Sir Patrick Stewart learned only last year that his father had actually been suffering from PTSD after he returned from the military and was never properly treated. In his father’s name he works with an organization called Combat Stress to help those soldiers who are suffering from PTSD.
They were about to move onto the next question when Sir Patrick looked at me and asked me “My Dear, are you okay?” I said yes, and that I was finally able to move on from that part of my life. He then passionately said that his mother had done nothing to provoke his father and that even if she had, violence was never, ever a choice a man should make. That it is in the power of men to stop violence towards women. The moderator then asked “Do you want a hug?”
Sir Patrick didn’t even hesitate, he smiled, hopped off the stage and came over to embrace me in a hug. Which he held me there for a long while. He told me “You never have to go through that again, you’re safe now.” I couldn’t stop thanking him. His embrace was so warm and genuine. It was two people, two strangers, supporting and giving love. And when we pulled away he looked strait in my eyes, like he was promising that. He told me to take care. And I will.
Sir Patrick Stewart is an absolute roll model for men. He is an amazing man and was so kind and full of heart. I want to let everyone know to please find help if you are in a violent or abusive house hold or relationship. There are organizations and people ready to help. I had countless people after the panel thanking me for sharing the story and asking him those questions. Many said they went through similar things. You are not alone.
X
^ Here is the video of my question to Sir Patrick Stewart
Photos by Eugene Lee, Thank you
Review of the Toh Kay version: The Hand that Thieves
Given as I've already reviewed the Streetlight version, I'll try to keep this one a little more brief, but wow.
Let me begin by saying both albums surprised me so much more than I expected: The Streetlight album surprised me first with its unexpected style, the Toh Kay album surprised me because..... I like it better than the Streetlight version. Am I getting old? That must be it. The mid-20s decline. Yikes.
Well, apparently this album is currently "cancelled" thanks to a certain record company, but luckily, it seems to be littered across the internet. So let's go.
Overall, I just feel like this version was so authentic. Tomas typically writes all his songs, and you can tell. What really sets this apart from all other Toh Kay releases is the integration of other instruments, notably upright bass and some limited drums. There's also some melodica (at least it sounds like melodica) sprinkled throughout the album, and vocal harmonies on all the tracks. I especially enjoyed the female vocals on "Oh Me, Oh My".
I enjoyed being able to hear the lyrics to "Ungrateful" a little better than I could on the Streetlight version, and couldn't help but smile at the reference to one Tony Brummel, who seems intent on being a cancer on the music industry.
I also enjoyed hearing the horn lines that I loved from the Streetlight version being played on an acoustic guitar, which leads me to another point about this album: The recording quality. Everything is so clear and pure, and whoever responsible for mixing this album (probably Tomas) deserves a medal. I never intended in my life to become an audiophile, but these things happen sometimes. Hopefully I'm not TOO pretentious about it...
Also, "They Broke Him Down" was the only track I flat out didn't care for on the Streetlight version. On this version, I actually enjoyed it. Again, it just sounds so authentic in comparison.
In an effort to keep things short, the Toh Kay version of this album is fantastic, and I highly suggest you get it by any means necessary. I don't have a favorite song. It's all great.
My review of the Streetlight version: http://dritescontrabone.tumblr.com/post/48866397676/streetlight-manifesto-the-hands-that-thieve-a-review
Hi guys It’s with a very heavy heart that I have to announce the following: 1) The Toh Kay album “The Hand That Thieves” has been canceled for the foreseeable future. More details will come to light in the coming days. 2) Due to Victory Records refusal to send us copies of our own new album,...
Christmas isn't going to happen.
Streetlight Manifesto: The Hands That Thieve (A Review)
Sssshhhh. Don't tell anyone, but the new Streetlight Manifesto Album, The Hands That Thieve, was leaked about five days ago, and I may have listened to it. I may have listened to it several times. Please don't tell Victory Records or the RIAA. For Streetlight fans, this album was the Christmas that got pushed back again and again because mommy and daddy were fighting and trying to get the upper hand in their divorce settlement. I think the fans (myself included) have been angered by, but forgiven Tomas Kalnoky for his mistakes in the matter, mostly because he came clean about it, unlike a certain record label. But outside drama aside, when this album leaked, all those bitter feelings fled, and I got right down to listening to the album I've been waiting for since 2007, which was, comically, the first time I went to college. The first listen through this album, I couldn't help but note just how very different it is from the previous two original albums, and in fact the style of the cover album released. Remember back when Tomas Kalnoky said Streetlight Manifesto was "Horn-based folk rock", and we all laughed at his effort to not call himself Ska? Well, this album.... this album is horn-based folk rock. Elements of ska, though still existent, are far fewer in this album, while the Punk/Metal influences are more heavily laid on top of the folk base of the song writing. The opening track, "The Three of Us", is probably the closest thing to a previous Streetlight Manifesto song we encounter on the album. This track was previously released as a single, and I remember not being such a fan of the mixing on the single version. I'm not sure if my gain was just up a bit more on my computer this time, but my general complaints would seem to be remedied. Nadav Nirenberg's playing sounds like an actual trombone, instead of something out of Finale. Thank god. The thing I love about this track is that the lyrics aren't over-abundant, instead letting the music do most of the talking. The lyrics themselves are awesome, but more scarce than the typical Kalnoky song. One complaint: The saxes are under-mixed, while the trombone and trumpet dominate (although DCI folk would say that's not a bad thing, I like Jim Conti and Mike Brown's playing). The second track, "Ungrateful" is exactly what I'm talking about when I say this album is "different". If you've heard Kalnoky's very first project, GIMP, this song seems to have its roots there. Very straight-ahead punk, with occasional horn magic over it. The intro is very different as well, with some cool muted trumpet over quiet guitar before the song kicks into overdrive. I imagine I'm too old to survive any mosh pit to this song now, but I did get to feel like I was fifteen again, and sometimes that's fun. If you're looking for something musically on par with "The Blonde Lead the Blind", this isn't the right song to look to. If you're looking to jump around like you would to "1234,1234", then this is the perfect song to do so to. "The Littlest Things" is another track that sounds a bit more like something off of "Somewhere in the Between". Wonderful hornlines, harmonies, and typical rapid-spoke lyrics by Kalnoky. A general complaint I have for the entire album is how the gang vocals were done. For most of the album, they were recorded in a very pop-y fashion, and sometimes overpower the rest of the music. Luckily, this didn't happen in "The Littlest Things", and I can say it is one of my favorite tracks on the album. Track four is the title track, "The Hands That Thieve". I can honestly say this whole track took me by surprise, and I had to check that my computer hadn't switched to Floof and the Time Bandits during the intro (for those who know what I'm talking about, it sounds very much like "Resurrection"). Awesome horn lines, and one of the few tracks where I can hear the bari sax pretty well. Nadav Nirenberg just freakin wails through the whole thing, and I'm absolutely jealous of his high chops. The track is generally very high energy throughout, and ends with a wonderful break down sing-along Streetlight style. But then it fades out. What was up with that? Since when does Streetlight fade out? Next up is "With Any Sort of Certainty", which had its acoustic version released by Toh Kay as a single, before Victory launched a mislead and narcissistic effort to get it purged from the internet. Thanks, Tony Brummel. Anyways, the Streetlight version kicks the acoustic version up into high gear, and has much more punk influence among it, with only a smattering of Ska guitar going on. Overall, it's very true to its folk roots in application (written on acoustic, after all). Then there's the Avant-Garde tribal breakdown bit, probably orchestrated by the jazz nerds in the band. Out of the dissonance, Tomas' voice and guitar comes rising out of the chaos, leading into an amazing set of acapella gang vocals. "If Only for Memories" continues the direction of being completely different, being more of a straight-ahead Latin song than anything else. One of my favorite tracks on the album, but also probably the most glaring example of the pop-y gang vocals that I'm not a fan of. Seriously, just listen to this track. It's amazing. "They Broke Him Down" is next, and I'm honestly not a huge fan of this song yet. It almost feels like straight pop-punk, has over-abused gang vocals, and the saxes sound like midi tracks. But lots of other people really like it, so you should probably draw your own conclusions and not let my nit-pickiness get in the way. "Toe to Toe". I've had this song stuck in my head for the past day. It's probably the catchiest song on the album, though sometimes I feel the chorus is forced a bit in its energy. The rest of the song is generally somewhat laid back, and I almost wish they would have stuck with that. Still, this track is worth listening to if only for Mike Brown's sweet sweet Bari solo and Matt Stewart tearing it up in the middle. "Oh me, Oh my" is one of the new songs Streetlight played on their previous tour. It's almost a guilty pleasure song, as it's really catchy. It's musically very well done, but lyrically, I feel it's not quite the level we've heard from Kalnoky in the past. It has a lot of lyrical cliches, but again, a guilty pleasure just by how catchy it is. Solid tune. The album wraps up with "Your Day Will Come", which lots of people keep comparing to "The Big Sleep". I honestly don't see that comparison, but nonetheless this song is wonderful. Starts out a bit quieter, with only guitar and vocals, and eventually works its way up into a perfect album closer. I love how this tune highlights Kalnoky's and Jim Conti's vocal harmonies so well. Just lots of cool different elements in this tune. Thatcher's drumming really frees up Kalnoky's guitar abilities to play some counter-melodies (true for the entire album, actually), and the whole band is just really on point. Overall, this album was worth the wait, and it was wonderful to see the band head in so many different directions. One more complaint on the whole album is that the bass is really tough to hear, which is a shame given how awesome Pete is at the bass. But seriously worth checking out, as it proves to be another SM masterpiece.
Hello. I am the director/animator guy of Toh Kay’s With Any Sort Of Certainty video. You may have seen it. In fact, 55+k of you did in the first 48 hours. That is until the fine folks at (asshat record label) issued a takedown complaint to Youtube and Vimeo, for Tomas’ own original song and my own original animation. They took it off of my Vimeo account. That felt… weird. At this point, (asshat record label) is working their hardest to make sure the video goes away, possibly for good. The issues between Tomas and (asshat record label) go back through many acrimonious years, and I just happened to have my own work dragged into it by a record label trying to prove a point. They have lawyers. I do not. So I can’t fight them and it may take a long time for it to get ironed out enough that I can repost it again.
I worked very hard on this video. It means a lot to me. And I was so pleased and gratified to know that it meant a lot to some of you who saw it. Thanks so much for your emails and stuff. You guys are great. Both Tomas and I will have the video on our sites, but who knows how long that will last. And we both want as many people to see/hear it as possible, and to have it readily available for new people to see and hopefully connect with and enjoy.
And so, here is a download link for the full 1920x1080 video. It should be good for about 2 weeks. Enjoy it. Upload it anywhere and everywhere. Remix it. Torrent it. Blog it. Tumblr it. Tweet it. Steal it. Give it. Um… print it out and post it on walls? I don’t know. Whatever the spirit moves you to do.
Neither of us want to see this thing we’ve worked on go away. You can’t ever really erase something from the internet, especially music and art. It just gets out there, that’s what’s so great about it. It lasts. And with your help it should only be a quick and easy Google search away from anyone who wants to see it.
Thanks so much for caring. Go and buy some stuff directly from Tomas and support him during this fucked up situation. And if you are so inclined, check out my work and my prints here.
Thanks!
Next shows for both bands!
Yep! Another double-header day for me! April 7th, check out Contraband at The Cup in Boulder where we'll be playing a free show! After that, literally walk a single block to the Boulder Theater, and check out The Dendrites opening for The Mighty Mighty Bosstones! SUNDAY FUN DAY!!!
Here are the links to both:
http://www.bouldertheater.com/event/mighty-mighty-bosstones
https://www.facebook.com/events/540589499309330/?fref=ts
Check it out! Dendrites AND Contraband throw down!
Next show for both my bands! Get it, Fort Collins!!
The victim-blaming, slut-shaming reactions to the Steubenville rape case keep pouring in. You can check out my first post on it here. Pointing out the worst responses and reactions to this all would not be complete without posting a clip of CNN grieving over the “ruined lives of the boys.” Watch...
People hurt my brain sometimes.
sorry i draw stupid shitty comics about myself when i don’t know how to deal with my own emotions
my roommate just handed me this on his way to the kitchen. I laughed too hard at this.
[TW: rape] For readers interested in learning more about how not to be labeled as registered sex offenders, a good first step is not to rape unconscious women, no matter how good your grades are. Regardless of the strength of your GPA (weighted or unweighted), if you commit rape, there is a possibility you may someday be convicted of a sex crime. This is because of your decision to commit a sex crime instead of going for a walk, or reading a book by Cormac McCarthy. Your ability to perform calculus or play football is generally not taken into consideration in a court of law. Should you prefer to be known as ‘Good student and excellent football player Trent Mays’ rather than ‘Convicted sex offender Trent Mays,’ try stressing the studying and tackling and giving the sex crimes a miss altogether… Trent Mays and Ma’lik Richardson are not the “stars” of the Steubenville rape trial. They aren’t the only characters in a drama playing out in eastern Ohio. And yet a CNN viewer learning about the Steubenville rape verdict is presented with dynamic, sympathetic, complicated male figures, and a nonentity of an anonymous victim, the ‘lasting effects’ of whose graphic, public sexual assault are ignored. Small wonder, then, that anyone would find themselves on the side of these men—these poor young men, who were very good at taking tests and playing sports when they were not raping their classmates.
Mallory Ortberg of Gawker, critiquing CNN’s disgusting response to the Stuebenville rape trial verdicts.
Her commentary is spot on.
(via cognitivedissonance)
CNN needs to get better at their stuff.