essentials

gatos pretos

inverno

a melhor época do ano

digital camera

para manter as minhas memórias favoritas

morcegos

ursos

eu sinto-me igual a um às vezes

risos altos

não consigo controlar 🥹

chuva

amo molhar-me

cinema

digital camera

para manter as minhas memórias favoritas

Eyes Without a Face

Alex Turner

Alex Turner became one of Europe’s most popular frontmen in early 2006, when the first Arctic Monkeys album became the fastest-selling U.K. record of all time. Turner had formed the indie rock band several years earlier, while attending Stocksbridge High School with fellow musicians Andy Nicholson, Glyn Jones, and Matt Helders. Looking for a fifth member, the classmates added guitarist Jamie Cook, one of Turner’s neighbors in the High Green suburb of Sheffield, England. When Glyn Jones left the lineup in 2002, Turner became the band’s default frontman and lyricist. Arctic Monkeys launched their own label, Bang Bang Recordings, and released a popular single in May 2005. Things progressed quickly from there, with Domino Records offering the guys a recording contract in June. Recording sessions for their first album, Whatever People Say I Am, That's What I'm Not, were finished in September, and the album officially appeared in January 2006, selling over 118,000 copies during its first day. Nearly 375,000 copies were sold by the end of the week, laying the groundwork for a busy year that also included the release of a five-track EP, the departure of Andy Nicholson, the arrival of replacement bassist Nick O'Malley, and the receipt of the 2006 Mercury Prize. Although the entire band received much attention, Turner was singled out for his strong songwriting and erudite lyrics, which often focused on the ups and downs of nightlife in Northern England. The band released a second album, Favourite Worst Nightmare, in April 2007. Later that year, Turner announced plans to form a side project with Miles Kane, who’d previously toured with Arctic Monkeys as the frontman of supporting act the Rascals. Dubbing themselves the Last Shadow Puppets, Turner and Kane released a lushly orchestrated debut album, The Age of the Understatement, in April 2008. Like Turner’s two albums with Arctic Monkeys, the record topped the charts during its first week. Turner continued collaborating with other artists -- including Dizzee Rascal, Reverend and the Makers, and Tony Christie -- while keeping his focus on Arctic Monkeys, whose third album, Humbug, appeared in 2009. A worldwide tour followed, after which the bandmates began laying the groundwork for a fourth record. Meanwhile, Turner penned six songs for a Richard Ayoade film, Submarine, whose 2011 soundtrack doubled as the frontman’s first solo release. ~ Andrew Leahey

bats family

ai que lindos 🥹

esse peluche perfeito

ele é eu e eu sou ele

tik tokzinho

sou viciada em repostar vídeos

música

todo o dia e toda a hora

Dexter

ainda a ver

EsDeeKid

carros antigos

cartinhas

escrevam pfv

A$AP Rocky

ver filmes

1/2 por dia

The Smiths

The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. Sonically, the group was indebted to the British Invasion, crafting ringing, melodic three-minute pop singles, even for their album tracks. But their scope was far broader than that of a revivalist band. The group's core members, vocalist Morrissey and guitarist Johnny Marr, were obsessive rock fans inspired by the D.I.Y. ethics of punk, but they also had a fondness for girl groups, pop, and rockabilly. Morrissey and Marr also represented one of the strangest teams of collaborators in rock history. Marr was the rock traditionalist, looking like an elegant version of Keith Richards during the Smiths' heyday and meticulously layering his guitar tracks in the studio. Morrissey, on the other hand, broke from rock tradition by singing in a keening, self-absorbed croon, embracing the forlorn, romantic poetry of Oscar Wilde, publicly declaring his celibacy, and making no secret of his disgust for most of his peers. While it eventually led to the Smiths' early demise, the friction between Morrissey and Marr resulted in a flurry of singles and albums over the course of three years that provided the blueprint for British guitar rock in the following decade. Before forming the Smiths in 1982, Johnny Marr (born John Maher, October 31, 1963; guitar) had played in a variety of Manchester-based rock & roll bands, including Sister Ray, Freaky Part, White Dice, and Paris Valentinos. On occasion, Marr had come close to a record contract -- one of his bands won a competition Stiff Records held to have Nick Lowe "produce your band" -- but he never quite made the leap. Though Morrissey (born Steven Patrick Morrissey, May 22, 1959; vocals) had sung for a few weeks with the Nosebleeds and auditioned for Slaughter & the Dogs, he had primarily contented himself to being a passionate, vocal fan of both music and film. During his teens, he wrote the Melody Maker frequently, often getting his letters published. He had written the biography/tribute James Dean Isn't Dead, which was published by the local Manchester publishing house Babylon Books in the late '70s, as well as another book on the New York Dolls; he was also the president of the English New York Dolls fan club. Morrissey met Marr, who was then looking for a lyricist, through mutual friends in the spring of 1982. The pair began writing songs, eventually recording some demos with the Fall's drummer, Simon Wolstencroft. By the fall, the duo had settled on the name the Smiths and recruited Marr's schoolmate Andy Rourke as their bassist and Mike Joyce as their drummer. The Smiths made their live debut late in 1982, and by the spring of 1983, the group had earned a small but loyal following in their hometown of Manchester and had begun to make inroads in London. Rejecting a record deal with the Mancunian Factory Records, the band signed with Rough Trade for a one-off single, "Hand in Glove." With its veiled references to homosexuality and its ringing riffs, "Hand in Glove" became an underground sensation in the U.K., topping the independent charts and earning the praise of the U.K. music weeklies. Soon, Morrissey's performances became notorious as he appeared on-stage wearing a hearing aid and with gladioli stuffed in his back pockets. His interviews were becoming famous for his forthright, often contrary opinions, which helped the band become a media sensation. By the time of the group's second single, "This Charming Man," in late 1983, the Smiths had already been the subject of controversy over "Reel Around the Fountain," a song that had been aired on a BBC radio session and was alleged to condone child abuse. It was the first time that Morrissey's detached, literary, and ironic lyrics were misinterpreted and it wouldn't be the last. "This Charming Man" reached number 25 on the British charts in December of 1983, setting the stage for "What Difference Does It Make"'s peak of number 12 in February. The Smiths' rise to the upper reaches of the British charts was swift, and the passion of their fans, as well as the U.K. music press, indicated that the group had put an end to the synth-powered new wave that dominated Britain in the early '80s. After rejecting their initial stab at a first album, they released their debut, The Smiths, in the spring of 1984 to strong reviews and sales -- it peaked at number two. A few months later, the group backed '60s pop vocalist Sandie Shaw -- who Morrissey had publicly praised in an article -- on a version of "Hand in Glove" that was released and reached the Top 40. "Heaven Knows I'm Miserable Now" reached number ten, becoming their highest-charting single amid a storm of controversy about its B-side, "Suffer Little Children," which was about the notorious Moors Murders. More controversy appeared when Morrissey denounced the hunger-relief efforts of Band Aid, but the group's popularity was not affected. Though the Smiths had become the most popular new rock & roll group in Britain, the group failed to make it outside of underground and college radio in the U.S., partially because they never launched a full-scale tour. At the end of the year, "William It Was Really Nothing" became a Top 20 hit and Hatful of Hollow, a collection of B-sides, BBC sessions, and non-LP singles, went to the Top Ten, followed shortly by "How Soon Is Now," which peaked at number 24. Meat Is Murder, the band's second proper studio album, entered the British charts at number one in February of 1985, despite some criticism that it was weaker than The Smiths. Around the time of the release of Meat Is Murder, Morrissey's interviews were becoming increasingly political as he trashed the Thatcher administration and campaigned for vegetarianism; he even claimed that the Smiths were all vegetarians, and he forbade the remaining members to be photographed eating meat, even though they were still carnivores. Marr, for his part, was delving deeply into the rock & roll lifestyle and looked increasingly like a cross between Keith Richards and Brian Jones. By the time the non-LP "Shakespeare's Sister" reached number 26 in the spring of 1985, the Smiths had spawned a rash of soundalike bands, including James, who opened for the group on their spring 1985 tour, most of whom Morrissey supported. However, all of the media attention on the Smiths launched a mild backlash later in 1985, when "That Joke Isn't Funny Anymore" was pulled from Meat Is Murder and failed to reach the Top 40. "The Boy with the Thorn in His Side" revived the band's fortunes in the fall of 1985, and their third album, The Queen Is Dead, confirmed their popularity upon its release in the spring of 1986. Greeted with enthusiastic reviews and peaking at number two on the U.K. charts, The Queen Is Dead also expanded their cult following in the U.S., cracking the Top 100. Shortly before the album was completed, former Aztec Camera guitarist Craig Gannon became the band's rhythm guitarist, and he played with the band throughout their 1986 international tour, including a botched American tour. The non-LP "Panic," which was criticized as racist by some observers for its repeated refrain of "Burn down the disco...hang the DJ," reached number 11 late in the summer. A few months after its release, Marr was seriously injured in a car crash. During his recuperation, Gannon was fired from the band, as was Rourke, who was suffering from heroin addiction. Though Rourke was later reinstated, Gannon was never replaced. The Smiths may have been at the height of their popularity in early 1987, with the non-LP singles "Shoplifters of the World" and "Sheila Take a Bow" reaching number 11 and ten respectively, and the singles and B-sides compilation The World Won't Listen (revamped for U.S. release as Louder Than Bombs later in 1987) debuting at number two, but Marr was growing increasingly disenchanted with the band and the music industry. Over the course of the year, Morrissey and Marr became increasingly irritated with each other. The singer wished that Marr would stop playing with other artists like Bryan Ferry and Billy Bragg, while the guitarist was frustrated with Morrissey's devotion to '60s pop and his hesitancy to explore new musical directions. A few weeks before the fall release of Strangeways, Here We Come, Marr announced that he was leaving the Smiths. Morrissey disbanded the group shortly afterward and began a solo career, signing with Parlophone in the U.K. and staying with the Smiths' U.S. label, Reprise. Marr played as a sideman with a variety of artists, eventually forming Electronic with New Order frontman Bernard Sumner. Rourke retired from recording and Joyce became a member of the reunited Buzzcocks in 1991. Rank, a live album recorded on the Queen Is Dead tour, was released in the fall of 1988. It debuted at number two in the U.K. A widely criticized, two-part The Best of the Smiths compilation was released in 1992; the praised Singles compilation was released in 1995. Joyce and Rourke sued Morrissey and Marr in 1991, claiming they received only ten percent of the group's earnings while the songwriters received 40 percent. Rourke eventually settled out of court, but Joyce won his case in late 1996. ~ Stephen Thomas Erlewine

Nova Iorque

New York · New York · New York, NY, USA

90s

melhor época

80s

amo principalmente os cabelos gigantes

The Weeknd

The Weeknd is the alias of alternative R&B enigma-turned-pop star Abel Tesfaye, whose aching accounts of emotionally and physically toxic indulgences have translated to multi-platinum sales and Grammy recognition. The singer and songwriter made his early-2010s breakthrough with morose ballads that seemed to have no designs on mainstream appeal. Within a few years, however, Tesfaye had scored Top Ten hits with an Ariana Grande duet ("Love Me Harder"), the lead single from a major motion picture ("Earned It"), and a retro-contemporary disco-funk single ("I Can't Feel My Face"), the last of which was nominated for a Nickelodeon Kids' Choice Award despite its subject (cocaine). Tesfaye received early support from Drake and scored his first Top Ten R&B/hip-hop placement as the featured artist on the fellow Torontonian's "Crew Love," but he swiftly outgrew his status as a Drake affiliate with his own hits and a streak of appearances on high-profile tracks by Wiz Khalifa, Future, Beyoncé, and Lana Del Rey. Tesfaye debuted the Weeknd in late 2010 with three songs uploaded to YouTube. Made with producer Jeremy Rose, they served as a low-key prelude to three mixtapes self-released as free digital downloads the following year. First was with House of Balloons (March), where clear traces of radio-friendly contemporary R&B à la Trey Songz, Jeremih, the-Dream, and Drake were synthesized with the progressive left-of-center likes of Spacek and Sa-Ra. Recorded in collaboration with producers Doc McKinney and Illangelo, among others, the set garnered widespread coverage within days of its release. A similar second mixtape, Thursday (August), preceded several appearances on Drake's album Take Care. Featuring a cover of Michael Jackson's "Dirty Diana," Echoes of Silence (December) completed the trilogy just before the end of the year. The following June, "Crew Love," off Take Care, reached the Top Ten of Billboard's Hot R&B/Hip-Hop chart. A few months later, Tesfaye was featured on another charting single, Wiz Khalifa's "Remember You." After Tesfaye signed with Universal Republic, the three Weeknd mixtapes were remastered and bundled with three new songs for Trilogy, issued in November 2012. Despite consisting of material previously available for free, the set debuted at number four on the Billboard 200 chart. The following April, Tesfaye won Juno Awards in the categories of Breakthrough Artist of the Year and R&B/Soul Recording of the Year. Trilogy was certified platinum by the RIAA the next month. Kiss Land, much darker in tone than its title implied, followed in September 2013 and debuted at number two. Out of its several singles, only "Live For," featuring Drake, touched the Hot R&B/Hip-Hop chart. Tesfaye had much more success with a series of non-album singles that followed. "Often," released in 2014, was a Top Ten R&B/Hip-Hop hit. He was featured on Ariana Grande's "Love Me Harder," which reached the Top Ten of the Hot 100 and went platinum in the U.S. "Earned It," featured in Fifty Shades of Grey, repeated the same feats. In 2015, Tesfaye issued "The Hills," a booming, nightmarish ballad co-produced by Illangelo, and "Can't Feel My Face," an upbeat Max Martin collaboration, as the first two singles from Beauty Behind the Madness. Both songs topped the Hot 100. The album was issued that August and debuted at the same position. At the 58th Annual Grammy Awards, it won in the category of Best Urban Contemporary Album, while "Earned It" received the nod for Best R&B Performance. Through the end of 2015 and into 2016, Tesfaye was featured on Disclosure's "In the Night," Kanye West's "FML," Future's "Low Life," and Beyoncé's "6 Inch." "Starboy," produced by Daft Punk, was released in September 2016 as the lead single from Tesfaye's album of the same title. It became the singer's fifth Top Ten pop single prior to the November arrival of Starboy, which landed on top of the Billboard 200. The album's success was sustained with the second single, its other Daft Punk production, "I Feel It Coming." Appearances on singles by Nav, Lana Del Rey, and French Montana were scattered through 2017. The following year saw the Weeknd appear on the track "Pray for Me," with Kendrick Lamar -- one of the lead singles from the official soundtrack for Marvel's Black Panther movie. In March of 2018 he dropped a surprise EP titled My Dear Melancholy,. The release marked a return to the darker sound and aesthetic of Trilogy and featured contributions from Gesaffelstein, Skrillex, and Mike WiLL Made-It. ~ Andy Kellman