Pic above: A pink turkey.

Pic above: Rachel Tai Kehui, aged 7. Isn't she an adorable and preeeeetty little girl? X)

HAHA. Both pics look so alike, I don't really know which is Rachel and which is the pink turkey (:

And here's Awesome Thomson in his graduation photo.

Lalala. Lipstick lullabies. Lalala.

In the pic above: Thomson spots Rachel with a balloon and is about to eat her (I am Godzilla, Rachel is Japan!).

But then sometimes, Rachel takes the form of an evil catty meow meow and is more than a match for me (As seen in the pic above).

Pic above: When Rachel and Thomson combine (Evil catty meow meow+Godzilla=Godzilla Cat)

Pic above: Soh Thomson, 6 months old. Already an aspiring Godzilla.

Pic above: According to Rachel, this is what happened to Mikey Way. To see the real life pic of Richard McNerdyPants, the playful octopussy, visit Rachel's blog for the post on July 07 2008, Monday. (link below)

http://www.xanga.com/cryoncue/664976151/lalalathundertoiletpaperlalala.html

Above pic: Sometimes, the Flying Spaghetti Monster likes to join in the fun. CONVERT TO PASTAFARIANISM NOW! JOIN THE CHURCH OF THE FLYING SPAGHETTI MONSTER! (link below)

http://www.facebook.com/group.php?gid=2204717621&ref=ts

 Pic above: Now don't you want to be a pastafarian? You'll go to pastafarian heaven where there is a stripper factory and a beer volcano!

For more pics like these, convert to Llamaism too! It's more than a religion. It's a philosophy of life. Llamaism was created by me and is being run by the Thomson the GRANDHOPPER and Rachel the GRANDMASTER/ISLAND MASTER. You won't regret. (link below)

http://www.facebook.com/group.php?gid=18590273762&ref=ts

Haha see, this blog is not all about sad and derpressing stuff. It's hard being sad when Rachel, the other awesomest person in the world, is around (: Pink turkey boogie girl!

Back in mid-80’s London, the term Boogie was used to describe a style of dance music, mainly from the early 80’s, but also the late 70’s, that was popular on the black scene. Many of these tracks had originally featured at the time of their release at specialist club nights in venues like Crackers and the Electric Ballroom, but had subsequently been revived during the Rare Groove era.
We never used the term in the North, although many of the same tracks had been massive with the black music audience following their arrival as US imports. We regarded them mainly as Disco Funk, or in some cases Electro-Funk, which utilised elements of the (then) new technology (Disco Funk being recorded in a more orthodox way, with drum kit as opposed to beat box).
It was also an unfamiliar genre name in America, where these records had originated. London DJ and collector, Sean P, renowned for his encyclopaedic knowledge of Boogie, plus other forms of dance music, recalls some friends going into record shops in the US and receiving blank looks when they asked for Boogie; the staff even enquiring if they wanted recordings about ghosts! This misunderstanding was down to the fact that what we call the Bogeyman in the UK is the Boogeyman in the States.

The word itself has a somewhat dubious background. Here’s something I found online about its origin and evolution, written by American columnist, Cecil Adams:

"Boogie" seems to come, via a circuitous route, from the Latin Bulgarus, an inhabitant of Bulgaria. The Old French term boulgre was used to refer to a member of a sect of 11th-century Bulgarian heretics, and "bougre" first appears in the English writing in 1340 as a synonym for "heretic." By the 16th century, "bougre" grew into "bugger," a practitioner of vile and despicable acts including "buggery," or sodomy. "Bogy" (or "bogie") first appears in the 19th century as an appellation for the devil; later it came to be used for hobgoblins in general. Hence, the bogeyman, which may be the source of the use of "bogey" and "boogies" to mean "Negro". Shortly after these usages became common (in the 1920s), there appeared boogie woogie music, and I guess you can figure out the rest.

So it seems that, with regards to black culture, boogie was originally a racist slur, which was intended to demonise black people, before it was adopted in connection with music and dancing by those it was meant to put down. In this way it became a name used for ‘Rent Parties’ within US black communities in cities like Chicago, Detroit and New York during the 20’s, where musicians played in someone’s home and a hat was passed around the audience so they could put in money, which would help pay the rent. It was at such parties that Boogie Woogie emerged, a style that would have a huge influence on the course of black music (interestingly, Disco pioneer, DJ David Mancuso, cites the Rent Parties of 60's New York as a major inspiration for his Loft parties).
The sub-genre of music that Londoners dubbed Boogie was, in essence, the direct continuation of Disco in its purest form. Many people have forgotten that the genre evolved from the Soul and Funk of black musicians. Later, of course, Disco would become increasingly commercialised, culminating in the blockbuster movie Saturday Night Fever, which elevated the Bee Gees, a white Pop band, to Disco superstardom, whilst a white suited John Travolta would become an iconic figure – the great white hope of the dancefloor. Disco went global, but its original audience, before Studio 54 stole the spotlight, knew that its true stars of the screen were afro haired black kids, who’d been busting all the best moves on Soul Train since the early 70’s.

Throughout the 70’s, the word boogie could be found in the title or lyrics of countless Funk and Disco records, but as the decade rolled on, it was beginning to sound increasingly cheesy to our British ears, especially when a Spanish holiday hit called ‘Yes Sir I Can Boogie’ by Baccara, topped the UK chart in 1977. By the early 80’s a new low had been reached, with Children’s TV character, the robot Metal Mickey, further devaluing the word via his annoying catchphrase ‘boogie boogie’.

However, it began to claw back some of its former credibility thanks to huge underground tracks like Rafael Cameron’s 'Boogie's Gonna Get Ya' and 'Caveman Boogie' by Lessette Wilson, plus the Gunchback Boogie Band’s ‘Funn’, and with the emerging Electro scene it's recuperatation was completed (Extra T’s 'E.T Boogie', West Street Mob 'Break Dancin' - Electric Boogie', Man Parrish 'Boogie Down (Bronx)' etc).

From a London perspective, the Boogie scene, if not yet born, was conceived in the late 70’s at the West End club, Crackers, where DJ George Power would refer to the dancers, regarded as some of the best in the capital, as ‘boogie boys’ and, as Crackers veteran, Terry Farley, informed me, would frequently use the word whilst talking over the microphone (as DJ’s did in those days). Power was a true pioneer of UK dance culture who has only received a fraction of the full credit he merits. Later down the line he’d be the co-founder of Kiss FM, originally a pirate station, which would play an absolutely pivotal role in bringing London’s dance underground to wider recognition.

But it wouldn’t be until after the Crackers days were long gone that Boogie gradually became a category in its own right. A young Sean P remembers going into a shop in Brixton, called Red Records, in the early 80’s and finding a ‘Soul/Disco/Boogie’ section. It struck him as odd that an old-fashioned word was being applied to such a cutting-edge music.

The sub-genre really came into its own around 1985, when Kiss FM (named in tribute to the seminal New York dance station) took to the air and DJ’s like Gordon Mac, Norman Jay, DJ Tee (Tee Harris), Desi D, Tosca and, of course, Paul ‘Trouble’ Anderson began playing club tracks from earlier in the decade (along with other pirate radio DJ’s like Trevor St Francis on LWR and Lyndon T on JFM), describing them as ‘Boogie’. The word Disco had been out of vogue since the 70’s, with the music played on the black scene, pre-Kiss, usually coming under the blanket terms of Soul or Electro, but then a new movement of mainly black kids from South and East London began to refer to this post-Disco groove as ‘Boogie’. The sound was typified by Leroy Burgess, and the big labels included Prelude, West End and Sam, with club support coming from DJ’s such as Trevor Shakes, Dez Parkes, Cleveland Anderson, Henderson Yearwood, Fitzroy Da Buzz Boy and Derek Boland (aka Derek B).

Former Black Echoes writer and Kiss head of music, Lindsay Wesker, a noted black music historian, remembers the station, during its formative period, featuring as much Boogie as Rare Groove (which focused on relatively obscure 70’s Funk), making its way onto the playlists of now established names like Jazzie B and Trevor ‘Madhatter’ Nelson. It was such a big deal in London that Kiss would even release two volumes of their ‘Boogie Tunes’ compilation on Graphic Records in the late 80’s, making a number of highly sought after tracks available on vinyl at an affordable price (echoing Northern Soul, collecting Boogie and Rare Groove was both time-consuming and a drain on the pocket).
But, returning to the question of how the term Boogie came to represent a category of music in the first place, the first clue I could find was in a copy of Blues & Soul from September 1981. This was in an advert for the launch of Jazzifunk Club’s Saturday night at Camden’s Electric Ballroom. George Power, headlined, supported by Paul Anderson (who’d cut his teeth alongside Power at Crackers), Chris White, Colin Parnell and Boo, with the ad referring to the venue’s 2 floors, which proclaimed ‘Jazz On Top! Soul, Funk ‘n’ Boogie Down Below’.

During the early 80’s, specialist club nights would list the music featured as Jazz, Jazz-Funk, Soul, Funk, Disco, and later Electro or Electro-Funk, but never Boogie – the Electric Ballroom was unique in this respect. The only exception I’m aware of was a little known venue called ‘Gemas New Caprice Club’ in Watford, which, in London’s Groove Weekly magazine, advertised ‘Up-Front Jazz-Funk and Boogie’ in August 1982, having previously used ‘Jazz-Funk’ on its own). However, the trail came to an abrupt end at that point and I couldn’t find any further mention in either Blues & Soul or Groove Weekly during the coming years. It certainly wasn’t classified as a genre by the main London import specialists, like Groove, City Sounds and Bluebird.

I wondered if there was any direct link to Roller Disco, which had come to the UK, with limited success, from the US.  Interestingly, a cash-in Hollywood movie called ‘Roller Boogie’ had highlighted the craze in 1979, and, by co-incidence, the Electric Ballroom would launch a mid-week Roller Disco night in 1982 with Paul Anderson as DJ. Andrew Mason, from New York’s Wax Poetics magazine, had told me that Danny Krivit, who both deejayed at New York’s legendary Roxy (which originally came to prominence as one of the top Roller Rinks in the country) as well being an accomplished skater himself, explained to him that the slightly shuffled clap / snare on the 2 and 4 (as opposed to a steady 4 on the floor beat) was best suited for skaters, who pushed off on alternate legs to that rhythm. Vaughan Mason’s ‘Bounce, Rock, Skate, Roll’ is an obvious example, as is Chic’s classic ‘Good Times’ (which, of course, includes the line ‘clams on the half shell and roller-skates, roller-skates’).

So, basically, the best music to roller skate to, especially in New York, where the most impressive skaters were generally black or Latino, was funkier edged Disco, including many tracks that would later be regarded as Boogie classics in London.

Doing some further detective work, I checked with Danny Krivit to see if the term Roller Boogie was widely used in the US, and he informed me that it was only ever something people might say on a mainstream level, following on from the film, and definitely not how hardcore skaters would refer to the music. It seems that, just as over here, the word boogie was actually considered corny, rather than cool.

So, it wasn’t until a mainly black audience of dance music enthusiasts from London re-adopted the term, to describe the retrospective groove they were into, that Boogie reclaimed its credibility. “Nowadays”, as Sean P points out, “thanks to eBay and the general spreading of the word over the past couple of years, people from the US, Europe and wherever use ‘Boogie’ as a generic term, to describe early 80’s dance music of black origin”.

Born in Belgrade Serbia, street photographer Boogie possesses a rare talent for documenting the human condition. His black and white photographs capture the character and the inhabitants of some of the most tumultuous cities in the world.

Traditionally photojournalism focuses more on content--recording a moment or an event--and less upon formal concerns. However, Boogie gracefully integrates both a documentarian's eye with a finely honed artistic sensibility. Many of his images are at once deeply poignant, and totally unsettling.

Boogie’s work has taken him from Serbia, to Cuba and throughout South America. In his new book, Sao Paulo, he features his remarkable impressions from one of Brazil's poorest and most troubled urban metropolises. Boogie has also produced a new skate deck featuring his photography.

Both the deck and the book are now available here.

More images of both the deck and the book after the jump.

This is JUST a taste.  I'm gonna do an official Introduction To Boogie post.  Maybe I'll have Dam-Funk and even Haircut co-host it with me.  Until then, enjoy these gems and the links below.

OH YEAH!!  That Dam-Funk interview is still comin' y'all!!  It's not a myth.  I'm just waiting for my brotha to have some extra time.  You can look forward to ALL sorts of Dam-Funk goodness that NONE of us have EVER heard, starting with his high school days all the way through to stuff he's working on now!

The dancing in some of these is priceless.  In this case it's a bit more disco than boogie, but still pretty great.

Previous related posts you do not want to sleep on:

The Scene - Some electric boogie from the Motor City

Turntable Lab - Grown and sexy boogie funk mix (free download)

Dãm-Funk - “One Day Later Radio #36″ Boogie-funk mixtape (free download)

dãm-funk - “DontMakeMeFuckYouUP” (free download)

Dãm-Funk! Remember the name!

EDDIE HAZEL - GAMES, DAMES, AND GUITAR THANGS (1977)

1 California Dreamin' (6:16)
2 Frantic Moment (3:42)
3 So Goes The Story (3:55)
4 I Want You (She's So Heavy) (9:25)
5 Physical Love (5:32)
6 What About It? (3:46)
7 California Dreamin' (Reprise) (1:30)
8 Smedley Smorganoff
9 Lampoc Boogie
11 Unkut Funk

via BEATS AND BLOOD.

**Editor's addition: Check that Bugz In The Attic link above and listen to "Consequences Live."  SO GOOD!

Surf Girl

Pics by BOOGIE (www.artcoup.com)

In this song the guitar sound is awesome, distortion and feedback... and loud. There isn't a bad track on this album and it's quite difficult to single out the best one, so it comes down to my personal choice and World In A Jug is just short and to the point.... a blast.

I love the sound of a really distorted guitar.., that dirty sound with all the feedback, and Canned Heat had a guitarist who could get that sound just right. He was called Henry Vestine or "The Sunflower"... and he developed a style all of his own that really made Canned Heat's music so great to listen to. Look him up on the internet, he was quite an interesting character.., his father had a crater on the Moon named after him and they reckon that some of Henry's ashes have been kept so that one day, when it's possible, they can be taken there.. great story.

Anyway, back to the desert island island collection and World In A Jug. If you play it turn it up, you get the best effect that way and you can have a little boogie with Canned Heat on a Sunday afternoon.. As for me?.. well, I'm going up to my local bar shortly to watch Italy v Spain in the last quarter final of the Euro 2008 football tournament... a fine way to spend a Sunday evening. That's in the real world.... But if I was stuck on a desert island then this evening I might be found tinkering around with my beach shack up there, listening to Canned Heat and using an old piece of driftwood as a makeshift guitar to strum along with The Sunflower... lovely.

[audio http://sq.txdnl.com/mwt/g/r/o/o/grooverider/playlists/194479/1596343.mp3]

The Herd estaba liderado por un jovencísimo Peter Frampton, que con 17 añitos y con canciones tan soberbias como “I Can Fly” o “From The Underworld” se convirtió en uno de los rostros más populares de la televisión británica. Pero su éxito apenas duró dos años.

Spooky Tooth nunca fueron tan populares. Sólo por su segundo trabajo (Spooky Two), que incluía la obra maestra “Evil Woman”, merece que se les recuerde. Mike Harrison tenía una voz desgarrada e inconfundible, Gary Wright a los teclados era el alma del grupo, pero el que dotaba de un ritmo innovador a cada una de las canciones era el bajo afilado de Greg Ridley, con un sonido muy similar al de John Entwistle en The Who.

Cuando el superhéroe Steve Marriott decidió abandonar el pop psicodélico que le había famoso junto a los Small Faces para acercarse más al blues y al hard rock, les propuso su idea a sus amigos Frampton y Greg Ridley. Se llamarían Humble Pie y publicaron su primer trabajo “As Save as Yesterday is” en abril de 1969.

Había nacido una de las primeras superbandas (retales de otras bandas) de la historia del rock. CSN&Y estarían lo más arriba en esa lista (Crosby ex-Byrds, Stills ex-Buffallo Springfield, Nash ex-Hollies, y el fabuloso Neil Young apareciendo y desapareciendo de la formación como el río Guadiana). A la derecha de CSNY estarían los Cream de Eric Clapton y a su izquierda los Yardbirds de Jimmy Page y su derivación Led Zeppelin.

Humble Pie comenzaron tan cerca del blues como del folk. Sus dos primeros discos así lo demuestran. El single “Natural Born Boogie” llegó al número 4 de las listas británicas y les dio el éxito al instante. A partir de ahí Marriott se fue acercando cada vez más al rock duro. A principios de los 70 sus giras eran incendiarias y su melena cada vez más larga. “Town and Country”, “Humble Pie”, “Rock On” y el directo “Rockin’ at the Fillmore” son álbumes casi perfectos. En el 72 Peter Frampton dejó el grupo para convertirse en una megaestrella años más tarde con su celebérrima “Show Me The Way”. Marriott seguiría cuatro años más haciendo discos muy buenos (destacar sobre todos “Smokin”), pero las ventas no acompañaron.

Dejaron grandes canciones para la historia del rock: Shine On, Alabama ’69, Desperation, Stone Cold Fever, I Don’t Need No Doctor, Home and Away, 30 Days in The Hole, C'mon Everybody…

Me ha divertido mucho encontrar el vídeo de una de mis favoritas del segundo disco: “The Sad Bag of Shaky Jake”.

Listen her music here.

DJ T-Ina Darling evokes in her songs the ambiguity of feelings brought forth by life in and between residencies: the undisguised pride at getting a fat grant overseas and the jealousy it triggers in other artists make her rap like grime-idol Dizzee Rascal, while the fear of loneliness in yet another country which one needs to get to know makes her turn back to a blues register.

Links:
- Official page
- MySpace page
- NEID page
- Femmes With Fatal Breaks page

What's this guy's deal? I want to be happy like him.

I think it's actually really interesting that this LOMO company is able to perpetuate(?) the use of [the dying medium] film. It would be like SONY trying to convince me to buy a picture-tube television, because they're so MOD and would be so much COOLER than these hot thin sexy (oh god, orgasm) flat-screen TVs, but I guess in this case it works, film IS dying but let these last days of film go out with a bang (BOOM!.......shaka-laka...).

So yeah, this is what I was just talking about. If you walk through Reed Space you'll notice that their walls are covered in photos, like that creepy scene from that movie with Robin Williams, remember? In his apartment, he had all those pictures of a family he was stalking -no, not Mrs. Doubtfire, oy-vey, One Hour Photo. Anyway, yeah, Reed Space, not as creepy.

Oh, this camera is pretty cool looking. I like how professional photographers always have a fancy flash on their ginormous cameras and then you've got something funny like this with a gigantic flash. Imagine THOSE wedding photos with this camera. Seriously, IMAGINE IT, right now. Do it.

So yeah, Suzette, (update, 6/29/08) what can I say about Suzette? She gave me a good talking to, like, "hey, I don't appreciate you blogging about me. I am insulted." (fingers, 'snap snap') So I offered to take whatever it was that I wrote about her, that offended her so, down. I felt bad cause it seemed uncomfortable for her the whole time we spoke. I totally saw her glares and heard her whispering to her friend earlier on during the night and I totally was thinking "hmm...maybe I should deny I am related to this website" if she recognized me and decides to confront me. Then I thought, wow, that would be even more ridiculous and I would totally loathe myself more for doing so. Wait, what was my point? I don't think there is one. This is the internet. Oh Ms. Lee... thank you for not taking that swiss army knife out and stabbing me with it, I appreciate it.

This guy is showing the other, blacker, guy his work in the Lomo book. I was just saying the other day how Lomo is kind of a funny name for a camera and then started to think how funny the word Lomosexual was. THANK YOU! THANK YOU! I'll be here all week [Laugh-track please].

This guy designs for the Reed, as I will call it from now on. Whenever Jeff does some sorta internet video, this guys right there.

Oh god, this guy. How OLD is he? I feel like an old man. So yeah, this guy, I saw his picture in Theme magazine. I said, "hey, I've seen you before, you were in that ping pong thing in Theme" (because we all want to be recognized) and he responded by asking me to keep it on the DL and I said, "I'm old and I don't know anyone with the initials D.L." and we parted ways, because I am an old-fogey compared to this kid.

So yeah, he's got feminine features. I thought he was beautiful.

Tak is awesome, he's got a site. You talk to him and his English isn't that great but the fact that's he's got these dreads, has a website and is a photographer living in New York city makes him pretty fucking crazy-awesome. I was like, "soo... I went to your site" and he was all "yeah, I don't update it" and I was all "okay, that's cool" and THAT concludes MY experience w/ TAK, by greatest friend in the world.

So the internet, I like how there's this whole streetwear community where "Yeah, I've seen your picture, but I don't know who the fuck you are and why you're all over the place." Wait, my site's like that, sorta, but I go to these things, I meet these people and they're generally okay, sometimes nice or sometimes not interested in meeting me cause I can't help them with their careers -ugh, gross.

Anyway, I met Jessica Gueco a.k.a Yoshi who was actually really nice and friendly. Originally I saw her blog and I was totally all, wow, short-hair (I-LOVE-SHORT-HAIR) and thinking, she's one hot biddy, and let me just say that that's all it takes for me to read anyone's blog, yeah, I know, I'm classy, fuck you. But forget all that for minute, she was definitely awesome cause well.. cause I'm kinda-sorta a douchebag sometimes and the first thing I said when I saw her was, "uhmm...hello... you're Jessica, right? I'm Jimmy FROM THE BLOG (ugh...I loathe myself)" but she was all nice and we started discussing how, even though I like going to all these street-wear things, I don't work in street-wear and she responded, "it's okay, I was a poly-sci major." Uhmm... Hello!? How awesome is she for trying to build rapport even though I'm not in the street-wear game!?!? (I just said street-wear game...uhmm vomit). But yeah, she's totally nice and not single.

Who knows about my arm-pit fetish? THAT'S RIGHT, EVERYONE! now...

The end, thank you, stop reading, my blog is terrible, please don't bother me and sending me fan mail. Okay, I don't get fan mail, but this blog is still terrible.

Oh, you know what? I totally took video of this whole thing so check back in a week if you're interested. A week or until I figure out how to edit mp4 video clips. Shalom.

Künstler - Showmanagement - Shows - showag – 4vision

Künstler aus Schleswig-Holstein - Städte und Umgebung – Pinneberg

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After the failure of their attempted sovietisation of the collective BOOGIE, the loveable Scousers SPIDER had to rethink their strategy. Amazingly, this involved getting a second major record deal, moving from RCA to A&M, toughening up their sound and unleashing their ultimate BOOGIE anthem "Here We Go Rock'n'Roll"!

But if they thought restoring the words rock and roll to their BOOGIE would bring about the collapse of Thatcherism, yet again they were to be proven sadly wrong. Their dismay at the inability of the Great British public to recognise the power of collective BOOGIE and how by doing so they could transform the inherent nation of the monarchist nation state into a forward looking sociodynamic theocracy of BOOGIE believers caused massive internal dissent.

And so it was that SPIDER managed to get a THIRD major record deal, this time with PRT. But gone was the youthful idealism. A late night putsch saw the death of the old SPIDER and the arrival of Nu-SPIDER with a mantra called "Gimme Gimme It All", a love song to the brilliant mind and physical beauty of Maggie "The Thatch" Thatcher. Their old fans were alienated and the new audience they were seeking stayed true to their Spandau Ballet loving roots, no doubt helped by their firm belief that everything from Liverpudlia is pure evil. And a desire to hold on to their hubcaps. The SPIDER dream was dead. Hope was swept from the land, and Great Britain was plunged into a wintry BOOGIE free epoch we're still living through.

The members of SPIDER dispersed far and wide;
Drummer Rob E Burrows (2nd right above) decided to stick with politics and try to forge a career elsewhere. He failed and is now leader of the Conservative Party.
Bassist Brian Burrows (far left above) managed to turn his perverse hobby of animal sodomy into a paying career in entertainment. Using the stage name Bob Carolgees he became a mainstay on childrens TV fisting a small terrier called Spit.
Lead guitarist Sniffa (far right above) also stuck to the world of entertainment, and as draq queen Lily Savage ended up with a daytime TV show, and was honoured in this years Queens Birthday Honours list. Arise, Sir Sniffa.
Singing guitarist Col Harkness (above 2nd left) moved to America to puruse his musical dreams. One day he went into the wrong audition room and ended up playing the role of David St Hubbins in the movie Spinal Tap. Not the sharpest tool in the box, he didn't know he'd went to the wrong place and believed he was playing in a real band. To this day, no-one has had the heart to tell him.

Buy "Rough Justice" from Amazon

Dr, Hook - Sexy Eyes
Sexy Eyes appears on the album Greatest Hits (And More).
Lyrics:
was sitting all alone
Watching people get it on
With each other
They were dancin cross the floor
Turning, moving back and forth
They were lovers
One more lonely night for me
I looked up, what did I see?

Sexy eyes, movin cross the floor
Got me wantin more, sexy eyes (sexy)
Sexy eyes, gettin down with you
I want to move with you, sexy eyes

I got up and took your hand
And we both began to dance to the music
Ooh, your magic cast a spell
It didn't take long till we fell
And we knew it
No more lonely nights for me
This is how it's gonna be

Sexy eyes, move across the floor
Got me wantin more, sexy eyes (sexy)
Sexy eyes, gettin down with you
I wanna move with you, sexy eyes

No more lonely nights for me
This is how it's gonna be
Sexy eyes, movin cross the floor
Got me wantin more, sexy eyes (sexy)
Sexy eyes, gettin down with you
I wanna move with you, sexy eyes

Sexy eyes, gettin down with you
I wanna move with you, sexy eyes
Sexy eyes, gettin down with you
I wanna move with you, sexy eyes

♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥*♥* ♥*♥*
Hello my sweet friends. Hope this finds you all well.. I want to Thank all of you for the Love and Support you have given me and for the time you all take to watch all my videos, rate them and for leaving me your kind, generous comments and messages.. Ty for your friendship and for making a DIFFERENCE!!.. WE ARE ONE!!
Much Love, Peace, Light, and Laughter for you and your family.

Huggies Kassandra

FRIDAY, JUNE 13TH 2008

PAY DAY!
W/ SPECIAL GUEST: BILLY GOODS (FUNKMOSPHERE, 1983)

SPACE FUNK, BOOGIE, LATIN, DIRTY DISXO, & MORE…

DJs:
DAM FUNK (STONES THROW, FUNKMOSPHERE)
TY-G (HVW8)
COMPUTER JAY
JA$ 1000
RANDALL X

9-2AM/ 21+/ NO COVER
EVERY 2ND & 4TH FRIDAY(S)

LOCATED AT VINE BAR
1235 VINE ST.
HOLLYWOOD,
CALIFORNIA

SUPPORT BY: HVW8.COM + DRAFTSMEN/ KEEPDRAFTING.COM

This is how Detroit likes to get down.  Make sure you wait until Napolean Dynomite starts dancing... you'll see...  Roll the tape.

Big up the A-Side fam and Haircut for the post.

Learn Spanish.

François Petit, Luc Ambry et Pierrot Margerin tournent depuis le début des années 2000 dans le nord de la France et peu à peu leur notoriété grandit dans l'univers du swing manouche. Mais plus qu'un énième groupe d'un genre rebattu et exploité jusqu'à l'os, Sarabalouf fait preuve d'inventivité en allant chercher du son dans le rock, le blues, la world music. Du coup, on s'éloigne des traces des adorateurs obtus de Django et des gardiens jaloux du temple manouche et ça fait du bien à un genre qui sent parfois le renfermé. Quatre albums dont un live sont disponibles

Allez écouter leurs brûlots jouissifs sur Myspace :

Leur site : http://www.samarabalouf.com/

Sinon ils tournent partout dans le monde et avis aux gens de l'Est, il seront à Epinal le 4 juillet au Festival Bouge L'Eté et à Besançon aux Estivales le 1er aout.

A long, long time ago, in a distant land, the world was ruled by the Kings ov BOOGIE. With their flowing manes, tight trouser, sneakers and 50% moustaches, they loomed over the times known as the seventies like leviathans. But power had corrupted and weakened them, so although they were still worshipped, rumblings of discontent were beginning to surface against the STATUS QUO, who held the secret of the BOOGIE close to their manly, bedenimed chests.

Chief amongst the rabblerousers were a band of Scouse urchins who went by the name of SPIDER. They had worshipped at the altar of the QUO, but lamented the passing of the John 'Coggin The Cog' Coughlan, and rejected his replacement Pete 'Pete' Kirchner. They repudiated the Sacrament of the Holy Big Fat Mama, and decided to take the BOOGIE back to the people, stirring their loins with three bars and many, many apostrophes.

They did not let lack of talent hinder them, or the fact that only 25% of them could grow a moustache, a source of eternal shame in Liverpudlia. They had a MISSION to BOOGIE. And BOOGIE they did paying no regard to Paul Suter of Sounds who wrote in 1980; "SPIDER are four guys from Merseyside who stand as much chance of superstardom as my grandmother does. . .and she's dead."

Instead, they operated in guerilla style, roaming the country with whoever would have them (see Gillan tour dates - we had proper tours in them daze) below. After a few indie releases, they infiltrated the mainstream when RCA records signed them, and unveiled their first major MANIFESTO statement - "Talkin' 'Bout Rock'n'Roll". For a time the MAN quaked at their reckless use of apostrophes, but despite their cadre of followers secreted in places like Chorley Joiners Arms, Ashton Under Lyne Spread Eagle, Macclesfield Birds Head and the Greenwich White Swan, it wasn't enought to bring the QUO crashing down.

Despairing at the resilience of the man, they came back strongly, merging the anarcho politics of Crass and the left wing radicalism of the Levellers into a second MANIFESTO - "Why D'Ya Lie To Me", a lament against the coalition between the STATUS QUO and Maggie 'The Thatch' Thatcher. Tragically for the SPIDER, the great apostrophe famine of '83 was in full swing, and their call to action fell on deaf ears, as the downtrodden masses of the Matlock Northwood Club, Margate Ship Inn, and Gravesend Red Lion fought in the streets over discarded semi colons to feed their families.

Check back soon for Part 2 when SPIDER launch their radical manifesto of a new art movement for social change.

Buy "Rock 'n' Roll Gypos" from Amazon

Spider on the Oxford Road Show, 1983