Kimya dawson mediafire

Hope he's doing well. First you come for the energy, then you come back because of the catchy music, then you stay for the lyrics. Love this band! Punisher by Phoebe Bridgers. This album blew up in , and I was a little late to it, but I've been incredibly impressed by its staying power.

A wonderful example of a record becoming a sensation that also holds up as a wonderful artistic statement. Bridgers just impresses more and more. Bryce Cannatelli. Forever Only Idaho by Harrison Lemke. Big, strummy songs that recall the heart-on-sleeve earnestness and lo-fi glory of early Mountain Goats. Coxswain by Routine Layup. Wry songs from this Washington artist that recall the homespun charm of early Mountain Goats.

Strangers by Jesse Adelman. Be the Cowboy by Mitski. Bandcamp Daily your guide to the world of Bandcamp. No matching results. Explore music. Get fresh music recommendations delivered to your inbox every Friday.

Hidden Vagenda by Kimya Dawson. Animorph Co-op. Ryan Remains. Whyte Rushan. Sophia Michael. Kelley Kavanaugh. Javier Pacheco. Ryan Rix. Frozen Lazuras.

Greggy Valentine. Stop Maintaining. Euan B. Lediana Karreci. Tierney Atkinson. Serious callers only. Cole Perry. Hilary Cartie III. Catherine Valentine.

Roshan Joshua. Stephen Simpson. Ginger Drage. The album starts out with the same song that starts the movie out. Ellen Page and Michael Cera also sing their own rendition of the song. The movie captured my heart and the soundtrack captured my ears. Blog at WordPress. Limerick Records. The couple produces some amazing material. Their vocal harmonies are heavenly.

Juno OST Music from the Motion Picture March 9, Juno, the latest hit movie on teen pregnancy, has swept the nation with its witty dialogue and touching story.

You are currently browsing the archives for the Indie Pop category. Create a free website or blog at WordPress. So did you ever feel like suddenly you were in, like, the side that you didn't want to be on?

AYKROYD: Well, I always felt, you know, whatever artists we ever played with or worked with or that were in the movies or records, that they never were being paid enough, and I always tried on my own to kind of supplement that. But what I felt more was that, you know, John and I, when we did the Blues Brothers, we were in existence to serve these great artists and to, you know, perhaps maybe, you know, reintroduce them to our audience.

And we always felt a great reverence for James Brown, Ray Charles, Aretha, and never felt that we were their equal, but we felt that we were really in service to their gift. And I think that's why people like Steve Cropper and Duck Dunn and Tom Malone and Al Rubin and Marini, you know, our great band that we had--I think that's why they joined us, and they realized that, you know, we had a great reverence and respect for the music.

And that's why they were so behind us. All of us felt in service to these great artists, as I do feel today, like--when I was back in Chicago, we were working on--I think it was--I guess it was "The Blues Brothers" movie--Albert Collins came in to play at Wise Fools.

And he pulled up in his car, and he was unloading his amp and the drums, and I was sitting waiting for him to go on stage, and I looked at him, and nobody was helping him.

And I got out there and basically was his roadie for the evening. And that was the most satisfying--one of the most satisfying feelings I've ever had, that I could tangibly really help this man get on stage and play his music. And he didn't know who I was. I was just a guy who was helping him to pull his equipment in out of the rain and to get on stage. And I really feel honored that I was able to do that.

And in college, I was a stage manager with the Sock 'n' Buskin group at Carleton University, which is a great school in Ottawa, Canada. I was a terrible stage manager 'cause I wanted to be an actor. But the producers and directors of these shows had sensed that, and they kind of let me come on stage.

We did "Tom Paine"; I played the king of France and a few other things in there. And I basically, you know--just little stuff, did some guerrilla theater, some Ferlinghetti and that type of stuff, you know, anything to kind of get out there and get involved and have fun.

And I gotta tell you, Terry, I mean, I have had fun. My whole life, my whole professional life has been fun. I don't think really, you know, I can--I don't really think I can call it work. It's just been really, really fun. Did you ever do the equivalent of, you know, the Bass-O-Matic or those Ronco commercials? AYKROYD: Well, one of my first jobs in broadcasting was working for City-TV in Toronto, which was this whole new concept in urban television that really--basically today your news desks across America, Channel 7, 4 or 2, wherever you want to be in network, with the graphics and the presence, the seemingly sort of active presence of the newscaster--this is from Moses Znaimer's City-TV.

He basically changed the whole format and the whole delivery of news in North America. And I worked for his station; I was a game show announcer. And I also did, you know, the shock box announcing ph , so I actually had to do that fast rap stuff for, you know, car companies and beer companies and all that.

So, sure, I was actually doing it professionally when I first started out. And I was hired by none other than Ivan Reitman, who we went on to do the "Ghostbusters" thing together.

Yeah, I was a mailman in Toronto when I first moved there. I knew I wanted to go to Toronto, work with Lorne Michaels again. I had gone there to do a special with him when I was 19, went back to Carleton University, couldn't concentrate--you know, I had to be in show business--dropped out of school, much to the chagrin of my parents. I got a job driving mail truck in Toronto, and then I shifted to the broadcasting. GROSS: Let me ask about one of the parody commercials you did, and this is a terrific video compilation of your best--or some of your best sketches from "Saturday Night Live.

It's like a blender that turns fish into a delicious shake. No, no, my aunt, the late Helene Goujean ph --she's a lovely woman, my mother's sister.

She was, in fact, the Julia Child of Canada. She had a television show and a cuisine shop in Montreal during the '60s. And she--I went to her house for lunch, and she was a, you know, master gourmet chef, and she was very well known for it. She was on the network, the TV up there. And she said she was making a fish soup. And I saw--she dropped the whole fish into the blender. The bones--you pick the bones out like you were eating a fillet. Don't worry about it.

And we're sitting there, you know, and we were just kind of laughing over things, and I was thinking about that. And it's hard to get Paul to laugh, you know, because he's so intellectual, so smart.

You know, you gotta be at a certain level. When he started to snort, I said, man, I got something if I can make Paul laugh this easy. And I went away and I wrote the scene based upon that night and my aunt's real experience with the fish in a blender.

And I remember a woman wrote me a letter; she was very upset that I would change the molecular state of the fish from solid to liquid, you know, on television. She was really, really upset about that. You have a bass. You're trying to find an exciting new way to prepare it for dinner. You could scale the bass, remove the bass's tail, head and bones and serve the fish as you would any other fish dinner.

Yes, fish eaters, the days of troublesome scaling, cutting and gutting are over, because Super Bass-O-Matic 76 is the tool that lets you use the whole bass with no fish waste, without scaling, cutting or gutting. Here's how it works. Catch a bass, remove the hook and drop the bass--that's the whole bass--into the Super Bass-O-Matic Now adjust the control dial so that that bass is blended just the way you like it.

Lonnie, Junior and the band, the girls and I, we're going to do a little song for you now, a little Mack Rice number. Hey, all you married men, if you're tied up, you better stay tied up, because it's cheaper to keep her. Unidentified Actor: Singing Six and three is nine; nine and nine is Look there, brother baby, and see what I seen.

Come on, baby, don't you want to go? Oh, come on, baby, don't you want to go back to that same old place, sweet home Chicago. I'm Terry Gross back with Dan Aykroyd. One of his many "Blues Brothers" spin-offs is a radio show called the "House of Blues Radio Hour," in which he interviews many musicians. It was no difficulty to see many swinging Americans enjoying each other a great deal. The two most swinging foxes have the hots on for us and are coming here tonight to let us hold on to their big American breasts.

There's nothing preventing them. After all, there's no other pair of Czech brothers who cruise and swing so successfully in tight slacks. I enjoy talking about these great, great times. And you, as an American female, should know I am no threat to you. I am so distant from you now. He was very suave and very continental. And then I had this, you know, Czech engineer who had moved to New York City and was kind of disoriented in the culture.

GROSS: Well, who had you observed that inspired this character, who thinks he's a real, like, American swinger, and he's just The guy who told me the story about running from the tanks--you know, he was a Czech, you know, immigrant, and he told me about running from--you know, during the Dubcek era running from the Soviet tanks. So I don't know where he is now, what his name is, but he's definitely responsible for me starting to originate that character.

AYKROYD: Well, you know, he was--his whole modus operandi was the gold chains and the polyester shirts and, you know, the whole thing about the--you know, his existence was to try to get some great foxes to come home with him. And, you know, I wasn't into the swinging scene, but I was, you know, in New York, kind of single and living at that time.

I mean, how could a woman even talk to this guy for more than 10 minutes? But I didn't. I sat there and I pumped him for whatever he had to do. I think he was selling plumbing fixtures at the time. He was like a very sophisticated--in terms of his education, he was an architect and an engineer, but he was selling plumbing fixtures.

And he was really fascinating. And I just--you know, it was one night in a bar that I met this guy, and from that, you know, you get the wild and crazy guy. We were living together as, you know, a kind of, I guess, unmarried couple or whatever you want to call it. People do that in this country, don't they? And we were living together, and I used to do that at home to try to--as sort of--as foreplay.

And from that, you know But he's got certain physical infirmities that prevent him from--oh, eeh, ah--hernias and all that kind of thing. So Rosie and I wrote that together based upon us just living together and kind of laughing because, you know, I mean, look at me.

You know, I'm not Ramon Novarro. GROSS: Well, it's just really funny because it's a--it's like a male prostitute, but the guy looks incredibly straight and square. Absolutely, yeah. But there's no--hey, Terry, let me tell you right now, give it a whirl. Give it a whirl because you might enjoy what you don't see. GROSS: Did you ever laugh uncontrollably during a sketch and not--you know, and kind of lose what you were supposed to be doing? AYKROYD: I--no, I was--we really--John and myself and Billy, we really--that was something at "Second City" that we--we were really taught not to do that because you don't want to break the integrity of a scene, and that was really important to us.

And that discipline carried over to "Saturday Night Live. Yeah, I mean, later on we used to see people do it and that, but it was something that John and Billy and I really didn't--you know, we didn't like it when it happened. I think during the Nerds, where I'm the fridge doctor ph there and I come over, and, you know, Billy's there with Gilda, they were cracking up, and I can understand why they were cracking up.

But, you know, it was something we prided ourselves in not doing. If we could prevent ourselves from cracking up, we really prided ourselves.

But I think the "Second City" training really lasted. About three years old, I was imitating the announcers on TV. And my dad cut off the top of a hockey stick and tied some tape around it and put a cord on the bottom and gave me, you know, a fake microphone when I was four years old. And, you know, of course, in primary school and I school, I imitated all the teachers.

And then I met guys who could imitate the teachers better than me, and then we sort of formed, you know, these imitation squads. And, you know, my grade 11 math teacher, Father Paul Baxter, God rest his soul--I was not one of his favorite students--there were 10 of us that did him.

And we would have--and one time we all came dressed as him to school in the white lab coat with the little Coke-bottle glasses. And, like, he had kind of a backward walk. He kind of wheeled back to the blackboard. And that's where it all really started. And then it was 10 of us doing him, and he got a little amusement out of it, but it didn't last long. He has a new book of interviews from his program the "House of Blues Radio Hour.

I don't know if this happens to you, but sometimes when I'm preparing an interview, I'll read something about someone, and I'm not sure if they really said that or if it's really true because it sometimes isn't. So let me read you something that I read that you had said, and you can tell me if it's true. And if it is true and it's too personal, you can tell me that as well.