stadium house

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Obama Harris 2020!!!

Can we please get two Black women to run this country?

We really need to go to war with Iraq immediately.
“You got ‘go to war with Iraq’ money?“

We really need a new football stadium in X city.
"We already got football stadiums at the house, just wrap it up in some whitebread.”

There’s no money in the budget to fund renewable energy investments.
“Bring me my purse. Pretty sure you spent $500 on a toilet seat. I saw the receipt next to my Queen Helene handcream.”

Climate change is a hoax invented by the Chinese.
“December humidity and my edges say otherwise.  Cut this carbon.  Today.  Before the street lights come on.”

Black Lives Matter is a terrorist organization.
“You feel terrorized?  I’ll give you something to be terrorized about.  Bring me a switch.”

Where does this country go now that Donald Trump has been elected?  How can we move forward?
“Come on in the house and let me fix you a plate.  Let’s talk it out.”

Last Train To Transcentral
  • Last Train To Transcentral
  • The KLF
  • Assorted KLF
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The Stadium House Trilogy: 3

So here we are – my first song of the week, my favourite KLF single, and the third part of the Stadium House trilogy: “Last Train To Transcentral”.  The previous singles had let a pop audience know what they should expect from the KLF, and “Last Train” is more of the same – but it’s also the most uproarious and joyful yet. Maybe the key is the lashings of house piano, or maybe just that the record has so many different bits and ideas fighting for space – galloping breakbeats, vocoders, crowd samples, MU MU chants, JAMS-mythos drop-ins, and the small matter of the best breakdown they ever pulled off. At the centre of that breakdown is the bit of condensed euphoria I’m going to call The KLF Riff – we just saw it in “Go To Sleep”, buried under a synth line they never used again, and we’re going to meet it tomorrow too.

The part of the Stadium House records that’s aged least well is the rapping – but it’s also, I reckon, the secret key to the songs’ success. It lays bare what the band were actually doing on the Stadium House tracks and why this pop strategy worked where some of their attempts didn’t. For these few months the KLF were a Eurodance act. More, they were Britain’s only great Eurodance act. “Last Train” and its fellows aren’t really rave tracks – closer comparisons would be “Rhythm Is A Dancer”, “Mr Vain”, “No Limit”, “Leave Them Alone”, et al. I love Eurodance – dodgy rap and all - and there are two keys to great Eurodance: first you have to keep the hooks coming, and secondly you have to dissolve utterly the distinction between the awesome and the naff. It’s supremely unselfconscious music, which is why it’s so ticklish that the only brilliant British example were the most self-conscious pop act of their time. Making Eurodance secretly hip - it’s not the KLF’s most celebrated accomplishment, but it’s one of their most delightful.

TOMORROW! The KLF invent – and perfect – a genre; Jimmy Cauty and Alex Paterson go into space (but only one comes back); the psychedelics of censorship – AND MORE!

  • Last Train to Trancentral
  • The KLF
  • The White Room
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Themesong: Get Down

The KLF - Last Train to Transcentral

I picked this song for two reasons. It’s one of the best songs I’ve ever got down to, and right at the beginning there’s the line, “Okay, everybody lie down on the floor and keep calm.” Double meaning!

The KLF are the greatest dance act of all time. I honestly believe that. I don’t think there is any band or artist who can claim to have a better back catalogue of dance anthems than the trifecta of Last Train to Transcentral, 3am Eternal and What Time is Love?.

They have to be the most interesting dance band as well. No question. Who else can claim to have literally burned a million pounds as an artistic statement? Created a pounding industrial techno mindfuck that somehow melts into the hymn Jerusalem? Persuaded Tammy Wynette to sing on a song based around the paranoid Illuminatus! Trilogy of books, appearing on the Top of the Pops TV show alongside a guitar-playing ice cream? Announced their retirement live during Britain’s biggest music industry awards show while playing their biggest hit in a Speed Metal fashion with the band Extreme Noise Terror and shooting machine guns into the crowd? Nobody, that’s who. Oh, and for all you Doctor Who nerds, they’re the guys behind Doctorin’ The Tardis.

It’s amazing to think that the KLF even existed at a time when the most highly regarded British music acts were Simply Red and Wet Wet Wet.

  • popular on youtube: sold out stadium tours, nice house
  • popular on instagram: all expenses paid vacations
  • popular on twitter: big money under the table, solid gig as a media consultant for sony
  • popular on tumblr: i thought that i had black mold in my room but it turns out that's just what my detergent smells like and i'm dying coincidentally
Watch on oneweekoneband.tumblr.com

The Stadium House Trilogy: 1

When the KLF eventually became stars it was via their “Stadium House” trilogy of singles – “What Time Is Love?”, “3AM Eternal”, “Last Train To Transcentral” – and these are what they’re best remembered for now. All three are terrific: total pop, high-impact, hook-soaked spectacles, designed and unleashed as pure event. Here’s “What Time Is Love?”, the first of them.

In the context of 1990-1991 pop, these singles were both desperately needed and inevitable. The UK charts at this point were a battleground and the issue was the legitimacy of ‘dance music’ – house, techno, rave, and their (even then) brood of sub-genres. For its fans, this stuff was reinventing British pop culture – it was the most inventive, exciting, utopian thing to happen in their lifetime. For its detractors, dance music was destroying pop – the music was repetitive, content-free, faceless.

For Brit critics and media gatekeepers, dance music created a dilemma. This, clearly, was it, the Big One, the transformative “youth movement” a decade plus of mythologizing punk rock had left them trained and ready for. The ones who liked it fell into evangelical frenzy, some are still living off it now. But a lot of others felt alienated and left behind, and there was another problem, too. Dance music and the support structures of the UK pop establishment – the press, the charts, TV shows like Top Of The Pops – really weren’t adapting well to one another.

Dance fans – huge generalisation here – cared more about going out than about reading magazines, or dreaming about stars, or even buying records. But the rest of commercial pop was pitiably weak. For the 52 weeks of 1991, no fewer than 36 saw a film or TV tie-in top the UK charts. The best –  “The Shoop Shoop Song” – had a bit of gusto but that could hardly disguise a moribund music scene.

Club culture was the only interesting game in town but it was turning off as many as it seduced. So press and TV latched onto anything which promised to translate dance music into terms they could relate to – playing up singers’ star quality, getting excited about fusions with indie, jumping onto hot concepts like a dog on a sausage. The KLF were absolutely beneficiaries of this.

Latin American Architecture Since 1945 | MoMA

The intent of the exhibition Latin American Architecture Since 1945, which explored contemporary architecture in Latin America, was not only to expose the American public to the work of the region’s leading architects, but also to demonstrate the advanced modernity of its cities, “which we ourselves still only anticipate,” as curator Arthur Drexler wrote in the preface to the exhibition catalogue. The 1955 exhibition brought together photographs, photomurals, and special stereo viewers depicting 49 buildings—including complex university developments, public housing projects, stadiums, hotels, industrial buildings, churches, private residences, and a nightclub—that together captured the Latin American building boom, foregrounding famous architects such as Brazil’s Oscar Niemeyer and Venuzuela’s Carlos Rául Villanueva. It was organized by the museum’s International Program, which was founded in 1952 to circulate exhibitions to museums around the world. See images of the installation, great views of the scene at the opening reception, and more at mo.ma/52exhibitions.

(via Latin American Architecture Since 1945 | MoMA)

I wasn’t allowed to play with Pokemon as a kid, and my parents weren’t big on video games (our first console was a PS2), so my exposure to Pokemon and other games was very limited. Because of that, the few chances I had to play on my friends’ Super Nintendos and N64′s were magical. 

This game in particular brings back memories of binge-playing Mario Kart 64 and Pokemon Stadium at my cousins’ house during the summer. I never got the hang of actually battling Pokemon, but I played the shit out of these mini games. :]

6 x 14″, ink and watercolor

Available as a 4 x 9″ print here!

There’s James McAvoy’s Charles Xavier, now focused on founding his School For Gifted Youngsters (“He’s almost euphoric in what he’s created and in what he intends to create beyond the school”, says Singer). Michael Fassbender’s Magneto is “trying to start a new life,” says Kinberg, “which is not easy as he’s the same man who dropped a stadium on the White House!”, while Jennifer Lawrence’s Mystique is trying to go solo. “It’s partially her journey, but it’s also a film about the true formation of the X-Men,” says Singer.
—  EMPIRE Magazine
10

We’ve always defined ourselves by the ability to overcome the impossible. And we count these moments, these moments when we dare to aim higher, to break barriers, to reach for the stars, to make the unknown known. We count these moments as our proudest achievements. But we lost all that. And perhaps we’ve just forgotten that we are still pioneers, that we’ve barely begun, and that our greatest accomplishments cannot be behind us.

That our destiny lies above us.

Note: these gifs were made from this video. Go and watch it and feel your heart soar for this team. It is a phenomenal compilation.

Because I don't know when to quit--another DOFP coulda woulda shoulda:
  • Wolverine: *gets up after Erik drops the baseball stadium around the White House* Charles? CHARLES?? Goddammit, where the hell did he go?
  • Erik: This calls for drastic measures. *pulls out megaphone and levitates* I'm straight!
  • Charles: *from somewhere beneath the rubble* You were not yesterday!
  • Erik and Wolverine: Found him.
Park Ji Sung to Meet “Running Man” Cast, iKON, and Song Joong Ki on the Soccer Field

Korea’s national soccer representative, Park Ji Sung, has been announced as an upcoming guest on the popular SBS show “Running Man!” Not only will Park Ji Sung be getting his own special episode, but he is slated to face up against a variety of celebrities on the soccer field. The producers revealed that they’re currently discussing the filming with the popular soccer star, and they’re planning to have the player film sometime in January in conjunction with another match.

The match will take place in China in Shanghai’s House Stadium, at the same venue the upcoming 2016 Asian Smile Cup in China will be held. Besides the regular “Running Man” cast members, actor Song Joong Ki; soccer players: Jeon Hyuk Sik, Lee Dong Guk, Kim Dong Jin, Kim Jae Seong, Lee Chang Su, Lee Chung Seong, Jang Hyun Su, Jeong Dae Se, Ji So Yeon, and Han Guk Yeong will be participating.

In addition, rookie group iKON will be taking part in the filming as special guests. They currently scheduled to put on a performance at the event. According to the producers, the writers haven’t yet fully planned out the concept for the special episode yet. Filming is planned for after the completion of the match, and the writers are still working and debating over the details of the filming.

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