Elveeta Presley, being the great-granddaughter of Elvis' unknown but musically ingenious sister Elvette, decided to dedicate her life to music.

"I know that Elvis casts a long shadow; he is The King. But I'm not trying to fool anybody into thinking I'm a female Elvis, even if I am wearing this 'Chicks Rule' T-shirt," Elveeta recently told Rolling Stone magazine before performing at a small music venue. "I'm just being myself, entertaining people by doing what I love."

An up-and-coming singer, Elveeta, unlike Elvis, wrote most of the music she performed. Yet, she loved to pay homage to the early days of Rock by singing such songs as Fats Domino's "I'm Gonna Be a Wheel Someday," one of her favorites.

"I love that song because it's about feeling that you're important even if someone breaks up with you or doesn't like you; you can move past a situation where you were rejected.

"Plus, to me, the song's also about how you can't let someone else make you feel inferior; you're still valuable as a person and we're all trying to progress in life--well, most of us," Elveeta explained.

"I'm gonna be a wheel someday

I'm gonna be somebody

I'm gonna be a real gone cat

Then I won't want you

Everything's gonna go my way

And I won't need nobody

I'm gonna be a real gone cat

Then I won't want you

You can cry, you can sigh

You'll be wonderin' why I don't look at you

When I go strollin' by

I'm gonna be a wheel someday

I'm gonna be somebody

I'm gonna be a real gone cat

Then I won't want you..."

--"I'm Gonna Be a Wheel Someday" by Fats Domino

Get it together

Another sunset.......... I know thats two days in a row.... which for England in April is quite an acheivement anyway.

Musically linked via the lyrics to Get It Together by the Beastie Boys along the lines of communcation, themed by the purposeful inclusion of the telegraph poles and wires.

Get It Together - Beastie Boys

www.last.fm/music/Beastie+Boys/_/Get+It+Together

1-2 1-2 Keep It On

Listen To The Shit Because We Kick It Until Dawn

Listen To The Abstract Got It Going On

Listen To The Ladies Come On And Let Me Spawn

All Your Eggs Then You Go Up The River

Listen To The Abstract That Freaky Nigger

I'm Ad Rock And I Shock And I Tick And I Tock

And I Can't Stop With The Body Rock

See I've Got Heart Like John Starks

Hitting Mad Sparks

Pass Me The Mic

And I'll Be Rocking The Whole Park

I'm The M To The C To The A And It's A Must

The Rhymes That We Bust On The Topic On Lust

And My Moms Is Not Butt, But Fuck It

Let Me Get Down To The Rhythm

Yes I'm Getting Funky And I'm Shooting All My Jism

Like John Holmes, The X-rated Nigger

Listen To The Shit 'Cause I'm The Ill Figure

Nobody's Getting Any Bigger Than This

Get It Together, Get It Together

Phone is Ringing, Oh My God

Get It Together

See What's Happening

Ad Rock Down With The Ione

Listen To The Shit Because Both Of Them Is Boney

Got To Do It Like This Like Chachi And Joanie

Because She's The Cheese And I'm The Macaroni

So Why All The Fight And Why All The Fuss

Becasue I Ain't Got No Dust

Yea, You Know I'm Getting Silly

I've Got A Grandma Hazel And A Grandma Tilly

Grand Royal prez And I'm Also A Member

Born On The Cusp In The Month Of November

I Do The Patty Duke In Case You Don't Remember

Well, I Freak A Funky Beat Like The Shit Was In A Blender

Well, I'm Long Gone Word Is Born

Don't Need A Mother Fucking Fool Telling Me Right From Wrong

I Don't Think I'm Slick Nor Do I Play Like I'm Hard

But I'm a Drive The Lane Like I Was Evan Bernhard

And I've Working On My Game Because Life Is Taxing

Got To Get It Together And See What's Happening

Get It Together, Get It Together

Get It Together

See What's Happening

I Go One Two Like My Name Was Biz Mark

But I Had To Do The Shit Just Let Me Embark

On The Lyric And The Noun And The Verb

Let's Kick The Shit Off 'Cause Yo, I'm Not The Herb

Well, It's Not The Herb But The Spice With The Flavor To Spare

The Moog With The Funk For Your Derriere

While We're On That Topic, Yes I Like To Mention

When It Comes To Boning I'm Representing

Spacing, Zoning, Talkin' On The Phone And

My Brain Is Roaming And I Don't Know Where It's Going

Talking Lots Of Shit A Little Tweaking On The Weekend

I've Got To Get Him By The Reigns Because I Know That I'm Freaking

Well, I'm A Funky Skull And I'm A Scorpio

And When I Get My Flow I'm Dr On The Go

So Q-tip, What You On The Mic For

Because I Had To Talk About The Times That I Rhyme

And When M.C.S Come In My Face, I'm Like Mace

Because I Back Them Off With The Quills

Nigger 'Cause I Tell You, Nigger 'Cause I'll Keep You Under Prills

Resting On Nine One One Sixteenth Ave Off The Farmes Boulevard

I'm From Manhattan M.C.A.'s From Brooklyn

Yea, M.C.A., Your Shit Be Cooking

Praying Mantis On The Court And I Can't Be Beat

So, Yo Tip, What's Up With The Boot On Your Feet

I've Got The Timbos On The Toes And This Is How It Goes

Oh One Two, Oh My God

One Two, Oh My God, I've Got Some Shit

I've Got The Kung Fu Grip Behind My Green Trap Kit

Never Ever Ever Smoking Crack

Never Ever Ever Fucking Wack

I Eat The Fuckin' Pineapple Now & Laters

Listen To Me Now, Don't Listen To Me Later

Fuck It 'Cause I Know I Didn't Make It Fuckin' Rhyme For Real

But, Yo Technically I'm As Hard As Steel

Gonna Get It Together, Watch It, Gonna Get It Together Ma Bell

I'm Like Ma Bell, I've Got The Ill Communications

2010PAD-93

3rd April 2010

and it's a long way down

it's a long way down

it's a long way down to the place

where we started from.

- Sarah McLachlan

I know I will probably take some crap for this, but I am jumping out of my skin at the prospect of Lillith Fair 2010. Every time something reminds me of the fact that it's back this summer, I get all hyper excited. I don't know what it is about that tour, but I just associate such amazing memories with those shows from when I was in college. I can't wait to go spend a day listening to amazing female artists again.

This picture has nothing to do with Lillith Fair. But the song quoted (part of this week's awesome new picks in Musically Challenged) will forever be burned into my brain in the form of the live performance of it that I saw Sarah do at the first Lillith Fair. Magical. That's a crowd sing-along. Good times.

Musically Challenged: Ice Cream - Sarah McLachlan

The txalaparta is a unique music ensemble of stones, woods and pipes and two players who beat out a rhythm that is musically a tour de force of co ordination.

It is an old form of music much in vogue in the Basque region of Spain but has suffered terminal neglect and as a result not much of it is known to the people. The genre of music originated as a mode of communication in the hilly regions of the Basque foothills from one village to another to announce funerals, making of cider etc etc.

There has been a steady resurgence of the music form over the last 15-20 years.

Maika and Sara Gomez are twin sisters from the Basque region who are one of the leading proponents of the txalaparta. They go by the name of "Ttukunak".

They make a fine sight while they play the exotic music and the sound of course to use the cliched term is -"awesome"

You can see a slideshow of photographs on the band's website ttukunak.ning.com/

You can hear some samples of the music here

You can hear some samples of the music here

For more on jazz and upcoming events while in Goa, you must visit www.heritagejazz.com the brain child of Armando Gonsalves.

For more on txalaparta

_DSC5439 copy blue down tfm

You know, I'm not sure if my engagement ring is magic or what, but ever since Andy slipped this baby on my finger, it's become increasingly difficult to get under my skin. It's like a stress defuser. And I needed one. I'm not saying my life is all roses and daffodils now. I'm just doing a better job of letting the small stuff roll right off my back. I wonder how long that will last.

Soccer tonight. I might have missed Monday's game, but with tonight and the tournament I'm playing in this weekend, I will probably wind up having played in five games this week. Hello exercise! Hopefully that'll keep my weightloss chugging along. Only eight-ish months until the wedding. Gotta go full steam ahead! :)

365 Days (self portraits): Day 338

52 Weeks of Feeling Fit: Week 9

Musically Challenged: Let it Be - Nick Cave

Musically dope, fire and smoke.

Day 8 - Travel to NOLA - February 2024

Founded in 1993, the Krewe of Orpheus takes its name from Zeus and Calliope?s musically inclined son. Founding members include musician/actor Harry Connick, Jr. and his father, Harry Connick, Sr., former New Orleans district attorney. With their first parade in 1994, the Krewe of 700 members established itself as a super Krewe. They were the first super Krewe to allow both male and female riders.

The krewe?s throws include a number of sought-after items, including light-up Orpheus medallion beads, three different types of doubloons - Captain's, Krewe, & Musical Legends, four-foot-long stuffed dragons, and their prized throw is a custom decorated tambourine.

Notable floats include the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand. There?s also the Smoking Mary, an eight-unit float that looks like a steam locomotive. And everyone loves the three-unit, 139-foot Orpheus Leviathan Float, the first Carnival float to use extensive fiber optic lighting.

Over the years, Orpheus monarchs have included Fats Domino, Quentin Tarantino, Sandra Bullock, Glenn Close, Whoopi Goldberg, Stevie Wonder, Laurence Fishburne, Forrest Whitaker, Brad Paisley, Anne Rice and Toby Keith.

Unlike many Carnival events which are members-only, visitors are allowed to buy tickets to the black-tie Orpheuscapade, a musical extravaganza after the parade in the Ernest N. Morial Convention Center.

Year founded: 1993

Membership: 1500 male and female riders

Number of floats: 38 floats (including tandems)Day 8

Various pics of the day eight in New Orleans.

Diverses photos prisent en Nouvel Orlean le jour huit.

via Instagram ift.tt/24PuhWj

Musically Inspired

SOOC (apart from square crop)

Her name was Lola, she was a showgirl

With yellow feathers in her hair and a dress cut down to there

She would merengue and do the cha-cha

And while she tried to be a star, Tony always tended bar

Across a crowded floor, they worked from 8 till 4

They were young and they had each other

Who could ask for more?

At the Copa (CO!), Copacabana (Copacabana)

The hottest spot north of Havana (here)

At the Copa (CO!), Copacabana

Music and passion were always the fashion

At the Copa....they fell in love

(Copa Copacabana)

His name was Rico, he wore a diamond

He was escorted to his chair, he saw Lola dancin' there

And when she finished, he called her over

But Rico went a bit too far, Tony sailed across the bar

And then the punches flew and chairs were smashed in two

There was blood and a single gun shot

But just who shot who?

At the Copa (CO!), Copacabana (Copacabana)

The hottest spot north of Havana (here)

At the Copa (CO!), Copacabana

Music and passion were always the fashion

At the Copa....she lost her love

Her name is Lola, she was a showgirl

But that was 30 years ago, when they used to have a show

Now it's a disco, but not for Lola

Still in the dress she used to wear, faded feathers in her hair

She sits there so refined, and drinks herself half-blind

She lost her youth and she lost her Tony

Now she's lost her mind!

At the Copa (CO!), Copacabana (Copacabana)

The hottest spot north of Havana (here)

At the Copa (CO!), Copacabana

Music and passion were always the fashion

At the Copa....don't fall in love

----------

3 months in, and I really struggled with this week. I knew I wanted to do something with feathers, thanks to the amazing Emily Christine and of course the marvellous Little Miss Kimmyshine's Musically Inspired group...it wasn't exactly what I wanted to do (will post some of the other outtakes) but I still like how it came out!

Explore #495 March 29th 2009 - Thank you :)

Musically Challenged

Queen - Show Must Go On

18" of Powder, gonna go play! Have a sweet day everyone :-)

that never goes out - The Smiths

for Musically Challenged. Love this song, love Musically Challenged. I haven't played in a while, and I miss it.

226/365

Better Large

Photographer: Fred H. Politinsky

Subject: Outside the Box Photography

View my photographs on the following websites:

www.flickriver.com/photos/jackpot999

www.fluidr.com/photos/jackpot999

www.flickr.com/photos/jackpot999

GOOGLE at NPR JAZZ PHOTOGRAPHY POOL - FLICKRIVER (Look for photographs by Bebop18.)

ALL OF MY PHOTOGRAPHS ARE COPYRIGHTED. ALL RIGHTS ARE RESERVED. DO NOT USE, EDIT OR COPY ANY OF MY PHOTOGRAPHS WITHOUT MY PERMISSION.

baby you can start again

laughing in the open air; have yourself another dream

tonight

maybe we can start again

- Brandon Flowers, Only the Young

I had to check a groundhog trap today to see if there was a dead groundhog in it. I cannot even begin to tell you how much I do not want to find a dead groundhog. Seriously. It makes my insides hurt to even think about it.

Musically Challenged: Brandon Flowers - Only the Young

Inspired by Alvaro.. :)

Dedicado a Alvaro & Irene ;)

Lyrics by David Summers - Diciembre

~ The one who paints my black-and-white days is you.

View large

So I was invited into this group, "52 Weeks Musically Inspired". I thought I'd give it a try, and this is my first. I've had the idea for a while and never knew how to do it, so I painted this pic and made it b/w, looked for a nice coloured, happy dress, and this one was the only one I could find. Thanks to my sister for "lending" it to me ;)

HAPPY NEW YEAR EVERYONE!

Review by Brad Winter. Post should be up on Discorder soon but I just wanna post these Salem pics now.

Salem w/ Animal Bodies @ the Waldorf Hotel

First off, the show was really, really great. The Waldorf’s Cabaret Room has an excruciatingly good sound system, and a friend of mine put it right when she described how the music touches your brain. The volume was full blast for Salem, whose rich chords, ghostly textures and piercing percussion penetrated intensely. People were dancing and really feeling it. Musically, it was stunning. The band featured live rapping and their characteristic, shadowy female vocals. Visually, they were also stunning. The whole show pretty much consisted of a dark stage where you could barely make out the figures performing, interrupted occasionally by white strobes that flashed in front of the audience. Later in the show the strobes started flashing very fast during Salem’s musical climaxes, causing me to perceive bluish-green colours in the white light. It was a supernatural experience. Animal Bodies opened, and while they are one of my favorite local acts, I unfortunately missed their show that night.

I want to address the genre of music people are generally calling “witch house,” although there are other terms too (some less politically correct than others). I don’t think that the sound should be defined or pinned down so that we can do an iTunes feature on it, but I know that this term springs to mind for many people reading a Salem show review, and I want to contribute to discussing the group’s influences. At first I didn’t understand why it was called “house.” The tempo is typically super slow, which explains the “drag” and “dub” terms used, but house music is usually much faster. But after experiencing the simultaneous danceability and dark emotional richness of the live performance, I made the connection. If you listen to ‘80s house from Chicago (the origin of house music) some of it has droney high pitched synth chords floating overtop a vocalist and rudimentary drum machine sounds. Many of the lyrics discuss longing and lost love, or dismay about their world and the need to move to another planet. Straight up, house music is ghostly and sad. Just like Salem and their peers. Listen to “Face It” by Master C&J and you will know what I mean. I read a quote somewhere (I wish I remember who said it) something along the lines of: “the best dance music is sad.” A huge misconception is exemplified in the Expatriarch blog in their witch house article:

“house” doesn’t fit, as house music has always maintained a joyous connection with the dancefloor, something definitely absent here

Many people look at dancing as a form of light hearted escape when it actually can be an integral component of the experience of human life, and dance music needs to encompass the full spectrum of emotions that any kind of music deals with. Just a thought...

Salem captures the essence of Chi house’s haunted ghostly roots and delivers a slowed down approach with modern, piercing percussion. Wikipedia cites Texas rap imprint Swishahouse as the originator of Salem’s percussion technique. The hip hop influence is undeniable, even if you don’t take the rapping into account. I can’t help but feel like I’m in a southern rap video when I dance to this kind of music! As a dance music nerd, percussion is what I respond to the most, and the intricacy of Salem’s rhythms is strong and moving. Whatever this new sound is, Salem does it right.

From your feet up to your hair - more than anything I swear

I wanna be - your underwear

From Bryan Adams

I wanna be your underwear

(also inspired by JJ)

318/365

Musically Challenged - Dirty Town - Mother Mother

"...my bank account is a shoebox in the ground

and empty..."

Remote died today, which reminds me that I need to put a new one on order like three hours ago. Oops. I really missed having a remote when romping around in some of these old houses, it's kind of a must have if you ask me.

Going out to an abandoned school hopefully Wednesday if I'm a big jerk and I sneak away without the guy who told me about it :P I know, I really should wait till Sunday...will see. I think I can. I always love how kari looks so cute in here abandon exploring, I'll try and leave next time in a dress with leggings, but I'm just a little hippie kid at heart....sometimes I miss livin' and thinkin' and dreamin' like I used to when I bounced around the country hiking all the time and sleeping outside or at communes in New Mexico...but it's really not that easy lol, I like working plumbing :)

<3 xoxox

ift.tt/2i87CRb

Built in 1908 during the Edwardian heyday of the band movement before the Great War, the Queen Alexandra Bandstand is a beautiful and well maintained example of creative bandstand design. It was named after the then British Queen, wife of Edward VII.

Erected in the central median strip of Ballarat’s premier boulevard, Sturt Street between Doveton and Mair Streets, the Queen Alexandra Bandstand is surrounded by leafy oak trees and other deciduous European exotic trees. It is the second bandstand along Sturt Street, the other being the Titanic Memorial Bandstand. The Queen Alexandra bandstand is built in a polygonal form surmounted by a Moorish or Russian influenced onion dome. The bandstand has particularly fine wrought iron detailing incorporating musical motifs, including harps, horns and Edwardian styled music stands and is an important and exotic element of the streetscape of Sturt Street.

The Queen Alexandra Bandstand it is now one of the few remaining examples of bandstands in Victoria. It serves as a tangible reminder of a highly popular form of entertainment, prominent on the community agenda for many years. The construction of the bandstand and its survival until now also reflects the prominence of music in Ballarat's cultural and civic identity.

whiteness.

i'm clearly phoning this one in.

i wanted to play again in Musically Challenged. but i've hardly time to take any photos to pair with songs right now.

instead i sifted through the lyrics of the ten weekly songs and then i dug, dug, dug through the photos i've taken in the past several weeks, looking for a hit. however, nothing stood out to me, nothing was that well suited. no cobblestone streets or a halo streetlamp that scream 'Sound of Silence'. (or whisper, as the case may be)

so i leave you, once again, with further proof that my predilection towards the pacific ocean and kid reflections is alive and well.

_______________________

"American Boy," by Estelle

Take me on a trip, I'd like to go some day

Take me to New York, I'd love to see LA.

I really want to come kick it with you.

You'll be my American Boy. American Boy.

_______________________

* i'm actually delighted to have discovered this song, though. thanks, Musically Challenged!

it's got this funky but tranquil thing going. not something i'd normally gravitate to, but glad i had a listen. plus it's got three Best Things Ever in it: a British singer, Kanye West, and Adidas shell toes.

---

edit: this totally fits with TOTW: "Happy Happy, Joy Joy", as well! the kid is clearly happy splashing around!

Two weeks in NOLA for the mardi gras 2017

Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.

In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.

The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.

They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.

Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.

In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.

- Rooney, Blueside

**Explored**

I'm not sure how well this shot fits the song, but I gave it a shot. For one of the weekly song choices posted by Pikespice in Musically Challenged this week.

This was taken just outside of Prehistoric Forest, where a bunch of old kiddie rides were dumped. They were fun to shoot. I have some cute shots of Tom, Ashley and Shannon shooting them too. :)

Musically Challenged: Rooney - Blueside

Day 54 Year 4 Musically Challenged

Roddy Woomble--My Secret is my Silence

Hardcore Superstar

Alcatraz - Milano

17 Novembre 2013

Jocke Berg - vocals

Vic Zino - guitar

Martin Sandvik - bass

Magnus "ADDE" Andreasson - drums

ph © Mairo Cinquetti

Many bands play it safe – Hardcore Superstar doesn't.

The Swedish four-piece had the balls to marry two styles that grew up hating each other. We're talking about thrash metal and sleaze rock. The former hard, aggressive and ugly, the latter catchy, melodic and decadent.

The bastard child's name?

– We play street metal, offers drummer Magnus "Adde" Andreasson. Thrash and sleaze both come from the gutter. They wear big sneakers, they are a bit stupid and they both read pulp fiction. I can't believe that nobody brought them together before.

Hardcore Superstar did just that with the band's fourth and eponymous album, released in 2005. But the quartet didn't arrive overnight, rather paying its dues during a rocky but rewarding ride.

The roots can be traced back to the late eighties, when Adde was talked into playing the drums by older friend and neighbour Jocke Berg.

– I played the guitar and we tried our best with songs such as "Paranoid" and King Diamond's "Shrine", Jocke remembers.

The young teenagers, hailing from a small town just outside of Gothenburg, ended up in different bands, who in turn chose different routes from their Iron Maiden inspired beginnings. Adde opted for heavier stuff in Dorian Gray whereas the Jocke fronted Glamoury Foxx went in a glammier direction. Incidentally, Jocke took up singing thanks to one Thomas Silver, fellow guitar slinger in Glamoury Foxx.

Eventually, Jocke and Adde ended up together again. This time in Link, a classic rock oriented outfit with grunge leanings. They were joined by guitar player Fredrik "Fidde" Johansson and bass player Martin Sandvik, the latter having originally tried to lure Jocke away to his own band, Wanted. Link did the occasional gig and recorded a couple of demos before Adde headed west to pursue his dream.

– I kind of grew tired of Link, he confesses. I moved to Los Angeles to study at the Musicians Institute.

Link recruited drummer Mika Vainio and kept going until parting ways with Fredrik Johansson in the fall of 1997. The guitar player wanted to take the band in a psychedelic and arty direction – the other three just wanted to rock.

– I remember showing Fidde the riff to "Hello/goodbye", Martin says. He turned his back on me and started to play scales on the guitar. He obviously thought the riff sucked.

The remaining members couldn't be bothered, forging ahead and adopting the name Hardcore Superstar. Well, there was one little problem. Jocke already was quite a frontman, but being the sole guitar player? Naaah. As luck would have it, Thomas Silver had just left local rockers Green Jesus Saviours. Hardcore Superstar had a club gig lined up in Gothenburg, so Jocke asked his old bandmate to help out. Things clicked immediately and Thomas signed up as a permanent member.

His connection with Gain Productions helped Hardcore Superstar get "Hello/goodbye" and

"Someone special" onto a compilation album. The response was phenomenal and Gain duly offered the band a contract. And so in early 1998 the boys set out to record their debut album.

– We were influenced by the LA metal scene of the eighties, says Martin. You know, LA Guns and Faster Pussycat and the likes. But we also dug Oasis, as can be heard in "Someone special".

The result, "It's only rock'n'roll", was released in October 1998.

– Putting out an album was awesome, Jocke gushes. I felt like a rock star. And then we got to support Motörhead in Scandinavia. It was like "wow, we've made it!".

The initial 1000 copies of the album sold like hot cakes, and the second pressing sold out as well. Legendary UK label Music For Nations took notice, but Mika Vainio's interest was waning. The drummer jumped ship in late 1998. The band was bummed out but quickly decided that this might've been a blessing in disguise. There was this guy in LA with a bit of skill behind the drums, remember. Thomas called Adde, suggesting he'd get his ass back to Sweden to play some proper rock'n'roll.

– I said yes on the spot, Adde remembers. I felt done with LA, especially after being in a pub brawl that sent me to the hospital. I was back in Sweden in less than a month after Thomas' call.

Everything gelled as soon as the prodigal son returned. Hardcore Superstar signed to MFN but instead of having "It's only rock'n'roll" re-released – as the label was pushing for – the band insisted on re-recording its best tracks plus a few new songs.

– We wanted Adde to be on the album, Martin says. Plus we'd written "Liberation", "Have you been around" and some other great stuff.

The choice proved to be a wise one as soon as "Bad sneakers and a piña colada” was unleashed unto a wider audience in the spring of year 2000. The old songs benefitted from better playing and better production and "Liberation" and "Have you been around" both became successful singles. Together with lead-off single "Someone special", they climbed the domestic charts and made Hardcore Superstar the first Swedish rock band to make it big in the new millennium. Pretty much the rest of the year was spent on the road. Hardcore Superstar played 169 gigs, including a European tour and visits to Japan and Canada.

– Those were our first proper tours, Martin says. Being in a tour bus for six weeks straight and getting to experience Japan was incredible.

Still on an adrenaline high, the band didn't waste any time making a new album. This time, the objective was to explore the possiblities of the recording studio to the max. If "Bad sneakers..." was a case of "wham bam, thank you, ma'm", the follow up "Thank you (for letting us be ourselves)" – released in September 2001 – was a meticulous piece of work. Hardcore Superstar's American seventies' classic rock record, if you will.

– That was our Aerosmith phase, Adde offers. "Thank you..." might not have been what people were expecting or wanting, but we wanted to stick our necks out. We really enjoyed taking our time and using all those expensive, vintage instruments. We even had a string quartet on there.

The album was recorded with producer Roberto Laghi at the helm. Halfway through the project, Hardcore Superstar got the chance to open for AC/DC at a sold-out show (more than 50 000 people) at Gothenburg's Ullevi Stadium. The band shared the stage with friends and fellow local heavy hitters Lok, with whom they'd recorded the single "Staden Göteborg" earlier in the year. The reworked punk rock song – written by the Troublemakers – was the theme song for the music event Popstad Göteborg and had received lots of air play. Supporting Angus Young & Co remains a career high point.

– AC/DC is the ultimate party band, Adde gushes. The music is about pure energy. That's exactly what we're trying to achieve with Hardcore Superstar.

As a huge bonus and ditto honour, the guys were invited to open for AC/DC in Turin, Italy, again a few days later. "Thank you (for letting us be ourselves)" spawned the singles "Shame" and "Mother's love/Significant other" ( a double A-side). The album and the singles all went top 20 in Sweden and Hardcore Superstar once again toured Europe and Japan.

A familiar pattern ensued. The band went straight to work – and the record turned out to be a very different beast to its predecessor. Released in the summer of 2003, "No regrets" was a sonically raw and decidedly more Britsih sounding affair. Misfits had always been a big influence, but spurred on by Roberto Laghi the quartet discovered, or rediscovered, bands like Buzzcocks, The Ruts and The Stranglers. The album was preceded by the single "Honey tongue" and "Still I'm glad" followed. Both made an impact on the domestic charts, but the latter's title was not a good description of the mood in the Hardcore Superstar camp. Quite the opposite.

The heavy touring and heavy partying had taken its toll and spirits were low. After yet another European tour, things became ugly when the band went to the US for selected shows. Hardcore Superstar attended a party thrown at the Swedish consulate in New York City, and Thomas Silver got into a fist fight with a journalist from Swedish tabloid Aftonbladet. The short tour was completed, but the members knew they needed time apart.

– We were so tired of each other, Adde sighs. Tired of everything that had to do with Hardcore Superstar. It could've been two of us getting into a fight.

Back in Sweden, Hardcore Superstar went on a hiatus. The decision was made easier due to the demise of Music For Nations. The future was looking very uncertain, but there would be a twist of fate. Adde inherited an old house and spent the summer of 2004 refurbishing it with help from Martin. When at work, the guys blasted classic albums such as "Appetite for destruction", "Dr Feelgood" and "Among the living" and found themselves smiling again.

– It was like a revelation, Adde remembers fondly.

– We just went "this is what Hardcore Superstar should be about!". We had drifted away from our roots, in a way. It was time to write music from the heart and not listen to anyone but ourselves.

Adde and Martin had a new album mentally mapped out from the word go, and the writing process that followed was smooth and enjoyable. When all four members reconvened after more than six months apart, the chemistry was there again. Sparks were flying at rehearsals and everyone was pleased with the new and heavier direction, the self-proclaimed street metal.

Hardcore Superstar knew they had come up with their strongest material to date. In order to keep the vision pure, the band enlisted friends Johan Reivén (ex-Lok) and Christian "Rizsa" Isaksson to co-produce the record (with Adde and Martin) that was to put Hardcore Superstar back on the map. No-one outside that inner circle was allowed to listen until the album was wrapped. As a teaser, the single "Wild boys" was released in June. But even such a strong song couldn't fully prepare the media and the audience for what was to come.

When "Hardcore Superstar" finally arrived on the Gain label – yes, the band was back "home" – in November 2005, jaws dropped. The album was given excellent reviews worldwide and songs like "We don't celebrate Sundays", "My good reputation" and "Bag on your head" – all three eventually picked as singles – became anthems.

The tour was a runaway success, with not just old fans turning out to celebrate the comeback.

– At last we appealed to the old school metal fans. It was so cool to have those long-haired and bearded dudes with denim jackets playing air guitar in front of us, Martin says with a smile.

The live power of Hardcore Superstar was captured on the dvd "Live at Sticky Fingers", recorded in Gothenburg in March. The band toured Europe, made two triumphant trips to Japan (including an appearance at the prestigious Loud Park Festival) and played a number of European festivals, including a rousing performance in a jam-packed tent at the Sweden Rock Festival.

Having found a musical style and "modus operandi" that worked, the band was eager to start working on its a new album. It was decided that Adde and Martin should once again handle production duties, with old conspirator Roberto Laghi engineering.

The single "Bastards", recorded as a one-off and released in the summer of 2007, proved this was a good idea. It went gold in Sweden and showed that Hardcore Superstar were still on a creative roll. Before going into IF Studio – the Gothenburg studio previously known as Studio Fredman but now owned by In Flames – to record the album, Hardcore Superstar played some festivals. The most remarkable thing was the return to Sweden Rock Festival, this time as support act to Aerosmith on the main stage. Filled with confidence, the guys didn't have a problem immortalizing their new songs. The idea was to build on the strengts of "the black album".

– We knew exactly what we wanted to do, Adde says.

The recording process was more enjoyable than ever, and you can really hear that we were super confident. Musically, we went for diversity. You know, making the hard stuff even harder and the choruses even grander.

"Dreamin' in a casket" came out in November of 2007 and showed that "Hardcore Superstar" was no fluke. The album became another big-seller and the band went on tour to support it.

However, all was not hunky dory. Thomas Silver had lost a bit of his fire and found it hard to be on the road.

At the end of the first leg of the tour, he announced that he was quitting the band. Losing a long-standing member was a heavy blow, but Hardcore Superstar came up with a solution pretty much on the spot. The young and talanted Swede Vic Zino – whose band Crazy Lixx had been the support act on the tour – was chosen to fill the vacant spot for the Australian and Japanese dates that were just around the corner.

The Bosnia-born guitar player did a great job and was asked to join the band on a permanent basis. After some serious thinking, he accepted.

– I co-formed Crazy Lixx, so parting with my childhood friends was a tough thing to do, Vic confesses. But I just couldn't turn down an offer to join Hardcore Superstar. Since the black album, I've been a big fan of the band.

With Vic properly on board, Hardcore Superstar played several European dates as well as some high profile Swedish shows. Selling out Lisebergshallen, the second biggest indoor venue in Gothenburg, was a high point.

There have been many in the ten-year history of the band – and there are many more to come.

To celebrate the birthday of one Wolfgang Amadeus Mozart, a treble clef brooch, on a page of sheet music.

I'll leave it as an exercise for someone to try to identify WHAT music that is, but it should be fairly easy to guess...

ift.tt/2hm9pSo

Hardcore Superstar

Alcatraz - Milano

17 Novembre 2013

Jocke Berg - vocals

Vic Zino - guitar

Martin Sandvik - bass

Magnus "ADDE" Andreasson - drums

ph © Mairo Cinquetti

Many bands play it safe – Hardcore Superstar doesn't.

The Swedish four-piece had the balls to marry two styles that grew up hating each other. We're talking about thrash metal and sleaze rock. The former hard, aggressive and ugly, the latter catchy, melodic and decadent.

The bastard child's name?

– We play street metal, offers drummer Magnus "Adde" Andreasson. Thrash and sleaze both come from the gutter. They wear big sneakers, they are a bit stupid and they both read pulp fiction. I can't believe that nobody brought them together before.

Hardcore Superstar did just that with the band's fourth and eponymous album, released in 2005. But the quartet didn't arrive overnight, rather paying its dues during a rocky but rewarding ride.

The roots can be traced back to the late eighties, when Adde was talked into playing the drums by older friend and neighbour Jocke Berg.

– I played the guitar and we tried our best with songs such as "Paranoid" and King Diamond's "Shrine", Jocke remembers.

The young teenagers, hailing from a small town just outside of Gothenburg, ended up in different bands, who in turn chose different routes from their Iron Maiden inspired beginnings. Adde opted for heavier stuff in Dorian Gray whereas the Jocke fronted Glamoury Foxx went in a glammier direction. Incidentally, Jocke took up singing thanks to one Thomas Silver, fellow guitar slinger in Glamoury Foxx.

Eventually, Jocke and Adde ended up together again. This time in Link, a classic rock oriented outfit with grunge leanings. They were joined by guitar player Fredrik "Fidde" Johansson and bass player Martin Sandvik, the latter having originally tried to lure Jocke away to his own band, Wanted. Link did the occasional gig and recorded a couple of demos before Adde headed west to pursue his dream.

– I kind of grew tired of Link, he confesses. I moved to Los Angeles to study at the Musicians Institute.

Link recruited drummer Mika Vainio and kept going until parting ways with Fredrik Johansson in the fall of 1997. The guitar player wanted to take the band in a psychedelic and arty direction – the other three just wanted to rock.

– I remember showing Fidde the riff to "Hello/goodbye", Martin says. He turned his back on me and started to play scales on the guitar. He obviously thought the riff sucked.

The remaining members couldn't be bothered, forging ahead and adopting the name Hardcore Superstar. Well, there was one little problem. Jocke already was quite a frontman, but being the sole guitar player? Naaah. As luck would have it, Thomas Silver had just left local rockers Green Jesus Saviours. Hardcore Superstar had a club gig lined up in Gothenburg, so Jocke asked his old bandmate to help out. Things clicked immediately and Thomas signed up as a permanent member.

His connection with Gain Productions helped Hardcore Superstar get "Hello/goodbye" and

"Someone special" onto a compilation album. The response was phenomenal and Gain duly offered the band a contract. And so in early 1998 the boys set out to record their debut album.

– We were influenced by the LA metal scene of the eighties, says Martin. You know, LA Guns and Faster Pussycat and the likes. But we also dug Oasis, as can be heard in "Someone special".

The result, "It's only rock'n'roll", was released in October 1998.

– Putting out an album was awesome, Jocke gushes. I felt like a rock star. And then we got to support Motörhead in Scandinavia. It was like "wow, we've made it!".

The initial 1000 copies of the album sold like hot cakes, and the second pressing sold out as well. Legendary UK label Music For Nations took notice, but Mika Vainio's interest was waning. The drummer jumped ship in late 1998. The band was bummed out but quickly decided that this might've been a blessing in disguise. There was this guy in LA with a bit of skill behind the drums, remember. Thomas called Adde, suggesting he'd get his ass back to Sweden to play some proper rock'n'roll.

– I said yes on the spot, Adde remembers. I felt done with LA, especially after being in a pub brawl that sent me to the hospital. I was back in Sweden in less than a month after Thomas' call.

Everything gelled as soon as the prodigal son returned. Hardcore Superstar signed to MFN but instead of having "It's only rock'n'roll" re-released – as the label was pushing for – the band insisted on re-recording its best tracks plus a few new songs.

– We wanted Adde to be on the album, Martin says. Plus we'd written "Liberation", "Have you been around" and some other great stuff.

The choice proved to be a wise one as soon as "Bad sneakers and a piña colada” was unleashed unto a wider audience in the spring of year 2000. The old songs benefitted from better playing and better production and "Liberation" and "Have you been around" both became successful singles. Together with lead-off single "Someone special", they climbed the domestic charts and made Hardcore Superstar the first Swedish rock band to make it big in the new millennium. Pretty much the rest of the year was spent on the road. Hardcore Superstar played 169 gigs, including a European tour and visits to Japan and Canada.

– Those were our first proper tours, Martin says. Being in a tour bus for six weeks straight and getting to experience Japan was incredible.

Still on an adrenaline high, the band didn't waste any time making a new album. This time, the objective was to explore the possiblities of the recording studio to the max. If "Bad sneakers..." was a case of "wham bam, thank you, ma'm", the follow up "Thank you (for letting us be ourselves)" – released in September 2001 – was a meticulous piece of work. Hardcore Superstar's American seventies' classic rock record, if you will.

– That was our Aerosmith phase, Adde offers. "Thank you..." might not have been what people were expecting or wanting, but we wanted to stick our necks out. We really enjoyed taking our time and using all those expensive, vintage instruments. We even had a string quartet on there.

The album was recorded with producer Roberto Laghi at the helm. Halfway through the project, Hardcore Superstar got the chance to open for AC/DC at a sold-out show (more than 50 000 people) at Gothenburg's Ullevi Stadium. The band shared the stage with friends and fellow local heavy hitters Lok, with whom they'd recorded the single "Staden Göteborg" earlier in the year. The reworked punk rock song – written by the Troublemakers – was the theme song for the music event Popstad Göteborg and had received lots of air play. Supporting Angus Young & Co remains a career high point.

– AC/DC is the ultimate party band, Adde gushes. The music is about pure energy. That's exactly what we're trying to achieve with Hardcore Superstar.

As a huge bonus and ditto honour, the guys were invited to open for AC/DC in Turin, Italy, again a few days later. "Thank you (for letting us be ourselves)" spawned the singles "Shame" and "Mother's love/Significant other" ( a double A-side). The album and the singles all went top 20 in Sweden and Hardcore Superstar once again toured Europe and Japan.

A familiar pattern ensued. The band went straight to work – and the record turned out to be a very different beast to its predecessor. Released in the summer of 2003, "No regrets" was a sonically raw and decidedly more Britsih sounding affair. Misfits had always been a big influence, but spurred on by Roberto Laghi the quartet discovered, or rediscovered, bands like Buzzcocks, The Ruts and The Stranglers. The album was preceded by the single "Honey tongue" and "Still I'm glad" followed. Both made an impact on the domestic charts, but the latter's title was not a good description of the mood in the Hardcore Superstar camp. Quite the opposite.

The heavy touring and heavy partying had taken its toll and spirits were low. After yet another European tour, things became ugly when the band went to the US for selected shows. Hardcore Superstar attended a party thrown at the Swedish consulate in New York City, and Thomas Silver got into a fist fight with a journalist from Swedish tabloid Aftonbladet. The short tour was completed, but the members knew they needed time apart.

– We were so tired of each other, Adde sighs. Tired of everything that had to do with Hardcore Superstar. It could've been two of us getting into a fight.

Back in Sweden, Hardcore Superstar went on a hiatus. The decision was made easier due to the demise of Music For Nations. The future was looking very uncertain, but there would be a twist of fate. Adde inherited an old house and spent the summer of 2004 refurbishing it with help from Martin. When at work, the guys blasted classic albums such as "Appetite for destruction", "Dr Feelgood" and "Among the living" and found themselves smiling again.

– It was like a revelation, Adde remembers fondly.

– We just went "this is what Hardcore Superstar should be about!". We had drifted away from our roots, in a way. It was time to write music from the heart and not listen to anyone but ourselves.

Adde and Martin had a new album mentally mapped out from the word go, and the writing process that followed was smooth and enjoyable. When all four members reconvened after more than six months apart, the chemistry was there again. Sparks were flying at rehearsals and everyone was pleased with the new and heavier direction, the self-proclaimed street metal.

Hardcore Superstar knew they had come up with their strongest material to date. In order to keep the vision pure, the band enlisted friends Johan Reivén (ex-Lok) and Christian "Rizsa" Isaksson to co-produce the record (with Adde and Martin) that was to put Hardcore Superstar back on the map. No-one outside that inner circle was allowed to listen until the album was wrapped. As a teaser, the single "Wild boys" was released in June. But even such a strong song couldn't fully prepare the media and the audience for what was to come.

When "Hardcore Superstar" finally arrived on the Gain label – yes, the band was back "home" – in November 2005, jaws dropped. The album was given excellent reviews worldwide and songs like "We don't celebrate Sundays", "My good reputation" and "Bag on your head" – all three eventually picked as singles – became anthems.

The tour was a runaway success, with not just old fans turning out to celebrate the comeback.

– At last we appealed to the old school metal fans. It was so cool to have those long-haired and bearded dudes with denim jackets playing air guitar in front of us, Martin says with a smile.

The live power of Hardcore Superstar was captured on the dvd "Live at Sticky Fingers", recorded in Gothenburg in March. The band toured Europe, made two triumphant trips to Japan (including an appearance at the prestigious Loud Park Festival) and played a number of European festivals, including a rousing performance in a jam-packed tent at the Sweden Rock Festival.

Having found a musical style and "modus operandi" that worked, the band was eager to start working on its a new album. It was decided that Adde and Martin should once again handle production duties, with old conspirator Roberto Laghi engineering.

The single "Bastards", recorded as a one-off and released in the summer of 2007, proved this was a good idea. It went gold in Sweden and showed that Hardcore Superstar were still on a creative roll. Before going into IF Studio – the Gothenburg studio previously known as Studio Fredman but now owned by In Flames – to record the album, Hardcore Superstar played some festivals. The most remarkable thing was the return to Sweden Rock Festival, this time as support act to Aerosmith on the main stage. Filled with confidence, the guys didn't have a problem immortalizing their new songs. The idea was to build on the strengts of "the black album".

– We knew exactly what we wanted to do, Adde says.

The recording process was more enjoyable than ever, and you can really hear that we were super confident. Musically, we went for diversity. You know, making the hard stuff even harder and the choruses even grander.

"Dreamin' in a casket" came out in November of 2007 and showed that "Hardcore Superstar" was no fluke. The album became another big-seller and the band went on tour to support it.

However, all was not hunky dory. Thomas Silver had lost a bit of his fire and found it hard to be on the road.

At the end of the first leg of the tour, he announced that he was quitting the band. Losing a long-standing member was a heavy blow, but Hardcore Superstar came up with a solution pretty much on the spot. The young and talanted Swede Vic Zino – whose band Crazy Lixx had been the support act on the tour – was chosen to fill the vacant spot for the Australian and Japanese dates that were just around the corner.

The Bosnia-born guitar player did a great job and was asked to join the band on a permanent basis. After some serious thinking, he accepted.

– I co-formed Crazy Lixx, so parting with my childhood friends was a tough thing to do, Vic confesses. But I just couldn't turn down an offer to join Hardcore Superstar. Since the black album, I've been a big fan of the band.

With Vic properly on board, Hardcore Superstar played several European dates as well as some high profile Swedish shows. Selling out Lisebergshallen, the second biggest indoor venue in Gothenburg, was a high point.

There have been many in the ten-year history of the band – and there are many more to come.

Hardcore Superstar

Alcatraz - Milano

17 Novembre 2013

Jocke Berg - vocals

Vic Zino - guitar

Martin Sandvik - bass

Magnus "ADDE" Andreasson - drums

ph © Mairo Cinquetti

Many bands play it safe – Hardcore Superstar doesn't.

The Swedish four-piece had the balls to marry two styles that grew up hating each other. We're talking about thrash metal and sleaze rock. The former hard, aggressive and ugly, the latter catchy, melodic and decadent.

The bastard child's name?

– We play street metal, offers drummer Magnus "Adde" Andreasson. Thrash and sleaze both come from the gutter. They wear big sneakers, they are a bit stupid and they both read pulp fiction. I can't believe that nobody brought them together before.

Hardcore Superstar did just that with the band's fourth and eponymous album, released in 2005. But the quartet didn't arrive overnight, rather paying its dues during a rocky but rewarding ride.

The roots can be traced back to the late eighties, when Adde was talked into playing the drums by older friend and neighbour Jocke Berg.

– I played the guitar and we tried our best with songs such as "Paranoid" and King Diamond's "Shrine", Jocke remembers.

The young teenagers, hailing from a small town just outside of Gothenburg, ended up in different bands, who in turn chose different routes from their Iron Maiden inspired beginnings. Adde opted for heavier stuff in Dorian Gray whereas the Jocke fronted Glamoury Foxx went in a glammier direction. Incidentally, Jocke took up singing thanks to one Thomas Silver, fellow guitar slinger in Glamoury Foxx.

Eventually, Jocke and Adde ended up together again. This time in Link, a classic rock oriented outfit with grunge leanings. They were joined by guitar player Fredrik "Fidde" Johansson and bass player Martin Sandvik, the latter having originally tried to lure Jocke away to his own band, Wanted. Link did the occasional gig and recorded a couple of demos before Adde headed west to pursue his dream.

– I kind of grew tired of Link, he confesses. I moved to Los Angeles to study at the Musicians Institute.

Link recruited drummer Mika Vainio and kept going until parting ways with Fredrik Johansson in the fall of 1997. The guitar player wanted to take the band in a psychedelic and arty direction – the other three just wanted to rock.

– I remember showing Fidde the riff to "Hello/goodbye", Martin says. He turned his back on me and started to play scales on the guitar. He obviously thought the riff sucked.

The remaining members couldn't be bothered, forging ahead and adopting the name Hardcore Superstar. Well, there was one little problem. Jocke already was quite a frontman, but being the sole guitar player? Naaah. As luck would have it, Thomas Silver had just left local rockers Green Jesus Saviours. Hardcore Superstar had a club gig lined up in Gothenburg, so Jocke asked his old bandmate to help out. Things clicked immediately and Thomas signed up as a permanent member.

His connection with Gain Productions helped Hardcore Superstar get "Hello/goodbye" and

"Someone special" onto a compilation album. The response was phenomenal and Gain duly offered the band a contract. And so in early 1998 the boys set out to record their debut album.

– We were influenced by the LA metal scene of the eighties, says Martin. You know, LA Guns and Faster Pussycat and the likes. But we also dug Oasis, as can be heard in "Someone special".

The result, "It's only rock'n'roll", was released in October 1998.

– Putting out an album was awesome, Jocke gushes. I felt like a rock star. And then we got to support Motörhead in Scandinavia. It was like "wow, we've made it!".

The initial 1000 copies of the album sold like hot cakes, and the second pressing sold out as well. Legendary UK label Music For Nations took notice, but Mika Vainio's interest was waning. The drummer jumped ship in late 1998. The band was bummed out but quickly decided that this might've been a blessing in disguise. There was this guy in LA with a bit of skill behind the drums, remember. Thomas called Adde, suggesting he'd get his ass back to Sweden to play some proper rock'n'roll.

– I said yes on the spot, Adde remembers. I felt done with LA, especially after being in a pub brawl that sent me to the hospital. I was back in Sweden in less than a month after Thomas' call.

Everything gelled as soon as the prodigal son returned. Hardcore Superstar signed to MFN but instead of having "It's only rock'n'roll" re-released – as the label was pushing for – the band insisted on re-recording its best tracks plus a few new songs.

– We wanted Adde to be on the album, Martin says. Plus we'd written "Liberation", "Have you been around" and some other great stuff.

The choice proved to be a wise one as soon as "Bad sneakers and a piña colada” was unleashed unto a wider audience in the spring of year 2000. The old songs benefitted from better playing and better production and "Liberation" and "Have you been around" both became successful singles. Together with lead-off single "Someone special", they climbed the domestic charts and made Hardcore Superstar the first Swedish rock band to make it big in the new millennium. Pretty much the rest of the year was spent on the road. Hardcore Superstar played 169 gigs, including a European tour and visits to Japan and Canada.

– Those were our first proper tours, Martin says. Being in a tour bus for six weeks straight and getting to experience Japan was incredible.

Still on an adrenaline high, the band didn't waste any time making a new album. This time, the objective was to explore the possiblities of the recording studio to the max. If "Bad sneakers..." was a case of "wham bam, thank you, ma'm", the follow up "Thank you (for letting us be ourselves)" – released in September 2001 – was a meticulous piece of work. Hardcore Superstar's American seventies' classic rock record, if you will.

– That was our Aerosmith phase, Adde offers. "Thank you..." might not have been what people were expecting or wanting, but we wanted to stick our necks out. We really enjoyed taking our time and using all those expensive, vintage instruments. We even had a string quartet on there.

The album was recorded with producer Roberto Laghi at the helm. Halfway through the project, Hardcore Superstar got the chance to open for AC/DC at a sold-out show (more than 50 000 people) at Gothenburg's Ullevi Stadium. The band shared the stage with friends and fellow local heavy hitters Lok, with whom they'd recorded the single "Staden Göteborg" earlier in the year. The reworked punk rock song – written by the Troublemakers – was the theme song for the music event Popstad Göteborg and had received lots of air play. Supporting Angus Young & Co remains a career high point.

– AC/DC is the ultimate party band, Adde gushes. The music is about pure energy. That's exactly what we're trying to achieve with Hardcore Superstar.

As a huge bonus and ditto honour, the guys were invited to open for AC/DC in Turin, Italy, again a few days later. "Thank you (for letting us be ourselves)" spawned the singles "Shame" and "Mother's love/Significant other" ( a double A-side). The album and the singles all went top 20 in Sweden and Hardcore Superstar once again toured Europe and Japan.

A familiar pattern ensued. The band went straight to work – and the record turned out to be a very different beast to its predecessor. Released in the summer of 2003, "No regrets" was a sonically raw and decidedly more Britsih sounding affair. Misfits had always been a big influence, but spurred on by Roberto Laghi the quartet discovered, or rediscovered, bands like Buzzcocks, The Ruts and The Stranglers. The album was preceded by the single "Honey tongue" and "Still I'm glad" followed. Both made an impact on the domestic charts, but the latter's title was not a good description of the mood in the Hardcore Superstar camp. Quite the opposite.

The heavy touring and heavy partying had taken its toll and spirits were low. After yet another European tour, things became ugly when the band went to the US for selected shows. Hardcore Superstar attended a party thrown at the Swedish consulate in New York City, and Thomas Silver got into a fist fight with a journalist from Swedish tabloid Aftonbladet. The short tour was completed, but the members knew they needed time apart.

– We were so tired of each other, Adde sighs. Tired of everything that had to do with Hardcore Superstar. It could've been two of us getting into a fight.

Back in Sweden, Hardcore Superstar went on a hiatus. The decision was made easier due to the demise of Music For Nations. The future was looking very uncertain, but there would be a twist of fate. Adde inherited an old house and spent the summer of 2004 refurbishing it with help from Martin. When at work, the guys blasted classic albums such as "Appetite for destruction", "Dr Feelgood" and "Among the living" and found themselves smiling again.

– It was like a revelation, Adde remembers fondly.

– We just went "this is what Hardcore Superstar should be about!". We had drifted away from our roots, in a way. It was time to write music from the heart and not listen to anyone but ourselves.

Adde and Martin had a new album mentally mapped out from the word go, and the writing process that followed was smooth and enjoyable. When all four members reconvened after more than six months apart, the chemistry was there again. Sparks were flying at rehearsals and everyone was pleased with the new and heavier direction, the self-proclaimed street metal.

Hardcore Superstar knew they had come up with their strongest material to date. In order to keep the vision pure, the band enlisted friends Johan Reivén (ex-Lok) and Christian "Rizsa" Isaksson to co-produce the record (with Adde and Martin) that was to put Hardcore Superstar back on the map. No-one outside that inner circle was allowed to listen until the album was wrapped. As a teaser, the single "Wild boys" was released in June. But even such a strong song couldn't fully prepare the media and the audience for what was to come.

When "Hardcore Superstar" finally arrived on the Gain label – yes, the band was back "home" – in November 2005, jaws dropped. The album was given excellent reviews worldwide and songs like "We don't celebrate Sundays", "My good reputation" and "Bag on your head" – all three eventually picked as singles – became anthems.

The tour was a runaway success, with not just old fans turning out to celebrate the comeback.

– At last we appealed to the old school metal fans. It was so cool to have those long-haired and bearded dudes with denim jackets playing air guitar in front of us, Martin says with a smile.

The live power of Hardcore Superstar was captured on the dvd "Live at Sticky Fingers", recorded in Gothenburg in March. The band toured Europe, made two triumphant trips to Japan (including an appearance at the prestigious Loud Park Festival) and played a number of European festivals, including a rousing performance in a jam-packed tent at the Sweden Rock Festival.

Having found a musical style and "modus operandi" that worked, the band was eager to start working on its a new album. It was decided that Adde and Martin should once again handle production duties, with old conspirator Roberto Laghi engineering.

The single "Bastards", recorded as a one-off and released in the summer of 2007, proved this was a good idea. It went gold in Sweden and showed that Hardcore Superstar were still on a creative roll. Before going into IF Studio – the Gothenburg studio previously known as Studio Fredman but now owned by In Flames – to record the album, Hardcore Superstar played some festivals. The most remarkable thing was the return to Sweden Rock Festival, this time as support act to Aerosmith on the main stage. Filled with confidence, the guys didn't have a problem immortalizing their new songs. The idea was to build on the strengts of "the black album".

– We knew exactly what we wanted to do, Adde says.

The recording process was more enjoyable than ever, and you can really hear that we were super confident. Musically, we went for diversity. You know, making the hard stuff even harder and the choruses even grander.

"Dreamin' in a casket" came out in November of 2007 and showed that "Hardcore Superstar" was no fluke. The album became another big-seller and the band went on tour to support it.

However, all was not hunky dory. Thomas Silver had lost a bit of his fire and found it hard to be on the road.

At the end of the first leg of the tour, he announced that he was quitting the band. Losing a long-standing member was a heavy blow, but Hardcore Superstar came up with a solution pretty much on the spot. The young and talanted Swede Vic Zino – whose band Crazy Lixx had been the support act on the tour – was chosen to fill the vacant spot for the Australian and Japanese dates that were just around the corner.

The Bosnia-born guitar player did a great job and was asked to join the band on a permanent basis. After some serious thinking, he accepted.

– I co-formed Crazy Lixx, so parting with my childhood friends was a tough thing to do, Vic confesses. But I just couldn't turn down an offer to join Hardcore Superstar. Since the black album, I've been a big fan of the band.

With Vic properly on board, Hardcore Superstar played several European dates as well as some high profile Swedish shows. Selling out Lisebergshallen, the second biggest indoor venue in Gothenburg, was a high point.

There have been many in the ten-year history of the band – and there are many more to come.

Medical Students Protest musically!

Voigtlander Perkeo II. Kodak Portra 160 Home Developed Tetenal C41 Kit

Explored.

...

One night of magic rush

The start a simple touch

One night to push and scream

And then relief

not much magic today, I wanted to keep it nice and simple to show how awesome my new (and super cheap) gary fong lightsphere wannabe works. I totally made it! which is AWESOME. i am finding new and interesting ways to do cheap photography!!! my new favorite site is www.diyphotography.net and some others.

the lightsphere wannabe was something i came across while researching diffusers. you can find the dubbed "ak49" (because it only costs literally 49 cents!!) at this link here

many thanks to Burnt Umber for hooking it up with the materials from The Container Store in Miami. (his wife works there! its AWESOME!!!!! the material costs only 25 cents a sheet which is enough to make one diffuser)

i LOVE it. i also love my Joe Demb flip-it! diffuser kit. I am not a big fan of the sto-fen omni bounce. I think I got robbed. it doesnt even go on my flash easily, but I'm going to keep it just in case I might need it some day when the flip-it and the "ak49" dont cut it.

in the meantime.....I missed you guys!!!!! I have alot to mail out in the coming days, and i have an xmas shoot with my aunt and uncle's family tomorrow night, I will be putting the Demb flip-it into practice and see how that goes. I'll keep you guys posted!

for now I will be using hot shoe flash and working on how to bounce and diffuse the light before I venture (afford) triggers and more flashes to go off camera.

strobist info: hot shoe flash with head tilted back to 95/85 degree angle towards white wall with "ak49" to bounce light off wall for fill. flash was on manual at 1/16 power and zoomed for 35mm.

photo info: the photo was shot at 18mm and cropped in. added a screen blending mode layer and soft light blending mode layer at drastically reduced opacity and a cyan photo filter at a low opacity. backdrop is anti-pill fleece. i love fleece its so easy to use.

project 365: day 197

My Face is My Canvas: Emulation #13

Musically Challenged: Heartbeats - The Knife

decluttr

i live underwater and you live on the moon.

You can't breathe around me and i can't breathe around you.

Another one of my Musically Challenged picks (go play! I'm not asking...i am TELLING!). I loved Tanya Donelly best as part of Throwing Muses and then in Belly, but her solo stuff ain't too bad...especially the first album.

342/365

ift.tt/2jqaRp5

For More Videos Follow Our Youtube Channel FUNKARO: www.youtube.com/channel/UCMzuYuaMNzBLNWi5yVBioiw

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Muse... This was an absolute visual extravaganza. Musically it was Muse, they delivered

The Living Room at Kolbotn, (Hulda and Arne Garborg's home)

Artist: Harriet Backer

Creation date: 1896

Throughout Harriet Backer's 50-year career, women's rights changed radically. Being a woman and an artist became accepted. Backer was talented and determined, inspiring a new generation of women and men in the Norwegian art world.

In Backer’s family, art and culture were part of how the children were raised. Her older sister Agathe was musically gifted and wanted to become a pianist. She had to go abroad to learn, and Harriet became her sister's traveling companion. This gave Harriet the opportunity to visit art museums and get to know the historical masters of the art world at a young age. Agathe eventually became a renowned composer and concert pianist, while Harriet became an important artist.

Backer showed an early talent and interest in art, but embarked on full-time studies rather late in life. In 1874, at 29 years, she decided to travel to Munich. The art community in Norway was small, so one had to go abroad.

The art academies in Europe were reserved for men in those days, but women could receive private tuition or attend "women's classes". During her years in Munich, Backer had several teachers. In 1878 she moved to Paris to continue her studies.

Being accepted for exhibition at the Salon in Paris was an important step on the path to becoming a professional artist. In 1880, Backer was accepted with the painting Solitude. Hundreds of artists exhibited at these exhibitions at the same time, and the paintings hung close together, from floor to ceiling. The jury thought Backer's painting was excellent, and she was honoured with a diploma, known as a Mention honorable.

In Munich, Backer learned to paint in a style characterised by a high level of detail and dark colours. We see this for example in Avskjeden (The Farewell), from 1878. When she came to Paris, she was greatly inspired by impressionism. In one of her best-known paintings, Blått interiør (Blue Interior), painted five years after Avskjeden, the transformation of her painting style is evident. Clear and pure colours dominate the composition. From this point on, the interaction between figure, interior and light effects became a theme that permeated Backer's paintings. How to create contrasts between the light indoors and outdoors? How are colours perceived in lamplight compared to daylight? She approached her subjects with these issues in mind.

Backer started her career with a desire to become a portrait painter. She painted many friends and acquaintances, and also received portrait commissions. But it is her interior scenes she has become best known for. She painted interiors from all walks of life – from farmhouses to bourgeois living rooms. For the most part, Backer's rooms are populated by women.

I think I serve the cause of women best by concentrating like a man – Harriet Backer

In 1888, Backer established herself in Norway, and from 1892 to 1910 ran a painting school in Kristiania. She became a popular teacher. Her openness to new ideas in both art and social development was appreciated. She sympathised with the women's movement, but did not actively participate in political work.

In the women's cause, Backer was recognised more for what she did than what she said – as a renowned artist she was an important role model. Together with friend and fellow artist Kitty Kielland, she was a pioneer who paved the way for women to have the opportunity to choose art as a career path.

About Harriet Backer:

Born 21 January 1845 in Holmestrand.

Lived in Paris in 1878–1888.

Started an art school in Kristiania in the 1890s. Backer’s students included Nikolai Astrup, Halfdan Egedius, Harald Sohlberg, Henrik Lund, Helga Ring Reusch, Astri Welhaven and Sara Fabricius (Cora Sandel).

Died 25 March 1932 in Oslo.

Important works:

Solitude (1878–1880)

Blått interiør (Blue Interior) (1883)

På blekevollen (Bleaching) (1886–1887)

Ved lampelys (By Lamplight) (1890)

Barnedåp i Tanum kirke (Baptism at Tanum Church) (1892)

Inngangskoner (Women in Church) (1892)

Interiør fra Uvdal stavkirke (Interior from Uvdal Stave Church) (1909)

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www.visitoslo.com/en/articles/national-museum/

On 11 June 2022 the new National Museum opened in Oslo. This is the largest museum in the Nordics. The new museum now consists of the collections of the former National Gallery, the Museum of Contemporary Art, and the Norwegian Museum of Decorative Arts and Design.

The new museum has a permanent exhibition of about 6 500 objects. Design, arts and crafts, fine art as well as contemporary art will be exhibited alongside each other. As such, the permanent exhibition highlights interesting connections between different collections that previously have been on show at three different museums. Additionally, audiences will be able to see the most famous paintings by the Norwegian painter Edvard Munch, including The Scream (1893) and Madonna (1894).

The building was designed by Kleihues + Schuwerk Gesellschaft von Architekten, with emphasis on dignity and longevity over sensationalist architecture. Great care was given to achieve a balance with the museum’s surroundings and the existing monuments in the area, such as Oslo City Hall and Akershus Fortress.

The most eye-catching feature of the new museum is the large, illuminated exhibition hall on top of the building. It will be used for temporary exhibitions.

The rooftop terrace offers a unique view of the inner Oslo fjord. The square in front of the main entrance has become an urban meeting place, with benches and a café that invites you in to take a rest.

www.nasjonalmuseet.no/en/visit/locations/the-national-mus...

news.artnet.com/opinion/new-national-museum-norway-2129606

www.forbes.com/sites/davidnikel/2022/06/14/what-to-expect...

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