Colour Revolt “Plunder, Beg, And Curse” Review (2008 Ezperanza Plantation)

Available On April 1, 2008 [That's Now] (Buy Now On Emusic.Com)

B-side Records

The Exclusive Company

Mad City Music X

Strictly Discs

While they used to be math-rockers in a former band that I am pretty sure did not include The Church or a calculator (possibly a wrist-watch kind), Jesse Coppenbarger can only count to three and repeat himself. At least that’s what pop-matters.com thinks. The five-member, anti-Brit member guitar juggernaut from Jackson, MS As labels of monotony litter previous critiques of this album like it was similar to a Sugar Ray editorial written by Fred Durst, it is essential that one would not listen to promotional-masterpieces three times on the way to an eagerly pre-anticipated 4-star Fountains of Wayne masterpiece that will inevitably receive a negative 3.5 post-script markdown when they get booed out of an outdoor-hippie festival for playing songs about Subarus and interstate roads. Taking into account that pop does not matter unless it is power-strewn or penned by Brian Wilson, labeling Colour Revolt under that false moniker would be like calling organized religion or genres a good idea that can be streamlined into a decent arrangement. But that is where it gets tricky: no one has any context as to the local music scene of Mississippi because no one from the rest of the world comes to the state on purpose let alone deal on a day-to-day business with the sometimes stale-chips that are the consumers of BBQ in Christian neighborhoods as genocidal and unhealthy as the bible or Shoney’s, respectively with absolutely no respect for either’s ingredients or ultimate price at checkout. Produced by the incredibly gifted Dennis Herring of Sweet Tea Studios, in downtown Oxford Mississippi, the 24-track analogue studio specializes in housing and recording seminally-autocratic frontmen backed by fully-automatic guitar marksmen that has historically included Animal Collective, Modest Mouse, Counting Crows, and Elvis Costello. While it may be hard to understand deep-south, deep-thought perspiration as a daytime reality outside of Oprah’s ego/television series, Colour Revolt manages brains without pretension, wit, and a false-Dent-May complex. As shallowly-woozy readings of Plunder, Beg, And Curse contend that it “is constructed like a theorem that doesn’t know it’s only trying to prove itself; (as the) lead and second guitar ape each other”, a preferable interpretation of that horse-shit might read like “a more colourful, Amer-iconic version of Radiohead minus My Morning Jackets obsession with wordless choruses and dub-sampling” while the word “ape” should probably be preceded by an “r” as a clutch-audible fitting the thematic concept of the dogma of old-milk expired establishments with a picaresque, Messianic that might as well have seen Raffi on the crucifix. To be continued.

1. “Naked And Red”

Ambient guitar ladeling by the Colour Revolt Guitar corps while Patrick Addison simultaneously works his steady-hold on a rolling bass line that proceeds to get twisted seemingly in the devils-distortion while the guitars terse, Lady-And-The-Creepily-Dark-Tramped, Spaghetti-entangled Italiano rhythm guitar track reeks at the hint of some disgustingly vile sound coming out of a Marshall stack bigger than Jimmy Cajoleas murdering an earthly-confined wall of feedback from the inside of an aluminum Frito-Lay truck that couldn’t take the reverberations or religious imagery of a Jesse Coppenbarger on a 21st-century lyrical Crusade.

Naked and Red live at the Spanish Moon in Baton Rouge, Louisiana on April 12, 2008.

Lyrics:

god is swinging from the liquor tree
licking everything he finds
god knows all about you and me
lucky i got something to hide

all along in the evergreens
baby’s got a soul to steal
i know you and you know me
maybe we can make a deal

there goes adam with the devil’s head
his body’s all naked and red
and we’re all naked now in our heads
but i know who’s made my bed

and still i feel sorry for the devil’s head
his mother never taught him no good
and i’m still swinging from the liquor tree
and eden is a hell of a place

eden, eden, eden is a hell of a place
eden, eden, eden is a hell of a place

talk, talk, talk, talk your devils down
sun, sun, sun, sun is coming out
and burn, burn, burn all your witches out
and work, work, work till the day is out

2. “A Siren”- With a mid-70’s back-and-forth intro with method and naturally soulful, shrieked guitar pull-offs the song quickly escalates to softer string work with a predominant bass that accentuates the two backup sirens and a tormented Odysseus sailing through a see of lesser venues all the way to meet a black-out, tour- widowed Persephone at Double Decker in Oxford, Mississippi.

Lyrics:

she’s a siren from that tree
she says “come con babe, want to eat?”
she knows all the good and evil i’ve done
she is righteous enough for everyone

oh, we want it all
cause everybody’s in that sea
drowning on their hands and on their knees
even if you need it all
those burned-out wrecks of what’s become
even if you need it all
the ground won’t break to save your fall
even if you need it all

the hypocrites they always say
they think that god is crazy
“i respect him for what he does
but i never knew what he did it for”

oh, we want it all
cause everybody’s in that sea
drowning on their hands and on their knees
even if you need it all

Exterior Bullshit Blogs Comments (Clowns If You Will, In No Particular Order)

1. “I tried to conjure up a recollection of exactly what I liked so much about Colour Revolt in the first place. It wasn’t the lyrics, which is what usually enthralls me about a band”-Wealsoran.Com

2. “And when I heard this band slip into a hot, sticky groove as loudly as my little Yaris could play it, I was reminded, quite pleasantly, of why I was interested in the first place.”-Wealsoran.Com

3. “Rating? 5/10: There are some really strong songs here (as there were on the EP), but unfortunately there are also a lot of unforgettable songs as well”- Ilikewrpi.blogspot.Com

4. “So, I go back in time to when I was a new father and still a husband. I re-read my review of Colour Revolt’s EP…”- (In)Adequacy.Net

 

Some Random Study Guide I Found On A Desktop ( The Answers Make No Sense)

Yackee Your Name____________________________
Spring 2008
Second Exam-Study Guide*

Topic: PS 401 - The Public Policymaking Process Points on Exam: 105 total
Potential Materials: Lectures, Course Readings, Speaker, the News, and Student Presentations
Note: Write legibly. Illegible answers will be counted as incorrect.

*This study guide is representative of the type of questions you will receive on the exam. Thus, the format for the exam will not be a surprise. That said, not all material that will be on the exam will be covered on this study guide.

Multiple Choice (Circle the best answer. Make your mark clear and dark.) 5 points a piece. You may skip one question in this section with no penalty. Put a large X through the question you do not wish to answer. If you do not place an X over any of the questions, then I will grade all but the last one.

Comforting….

http://www.liveleak.com/view?i=5c2_1190308880

Which of the following is not a critical factor in focusing problem identification?
1. Proximity
2. Incidence
3. Causality
4. Beliefs

Kingdon’s Multiple Streams Model best describes the ______ component within the policymaking process.
1. Policy Formation
2. Problem Definition
3. Policy Implementation
4. Agenda Setting

The President’s main method for controlling the public bureaucracy during policy implementation is:
1. Power to pass agency budgets
2. Power to approve senior appointments in the bureaucracy
3. Power to reconcile agency budgets
4. Power to appoint senior officials in the bureaucracy

Which of the following is not a major function of administrative law?
1. Govern the extent to which administration is open to public scrutiny
2. Implement the laws passed by Congress and signed by the President
3. Control the exercise of authority to enforce laws and regulations
4. Regulate the procedures agencies use to make rules

Administrative law is more concerned with process and procedures than policy outcomes.
True or False

Number of public comments received to the Department of Agriculture’s organic food standards.
1. 78
2. 50,101
3. 280,000
4. Over 500,000

Agencies are required by law to take public comments and be responsive to these public comments before issuing a Final Rule.
True or False

Kingdon’s Multiple Streams Model best describes policymaking via___________________.
1. Legislatures
2. Bureaucracies
3. Courts
4. Executive Branch (including President)

Weather And Light Imagery As A Transitional Element In Frankenstein

Critics Say: It’s as classic as Lay’s chips.

In Mary Shelley’s Frankenstein, the author invites us to compare the birth of the monster with Victor’s imprisonment in England to show that one person’s private actions can never elude an effect on the world. By calling attention to the light imagery in the various allusions to heaven, Shelley allows the reader to see parallels between the various connotations of the idea of light, as it is relevant to Victor’s disillusionment with his dreams of greatness and his love for Iced Earth, The Edward Winter Group, and Youtube.

Video:
Mary Shelley’s Frankenstein
Young Frankenstein

Audio: Iced Earth’s “Frankenstein”

Lyrics:

A mastermind in the old watchtower,
Prying eyes must never find,
Playing God in the final hour!
Insanity - Such a fine line,

Overwhelmed by the mourning process,
And the loss of his dearly loved,
The Doctor’s work is now obsession!
What is life? - What’s beyond?

He wants to know what it’s like to be God,
Creating life with his own hands,
To reanimate lifeless tissue,
The Devil’s work - The doctor’s plan,

A man of wealth and a genius mind,
A slave to passion and his morbid side,
Robbing graves of the nearly dead!
Erratic tendencies - A troubled mind,

I will create in my own image,
If God can then why can’t I?
No thought of the consequences,
I’ve got to know the meaning of life,

I will create in my own image,
If God can then why can’t I?
No thought of the consequences,
I’ve got to know the meaning of life,

Lightning strikes, it’s the witching hour,
The monstrosity comes alive,
A victim of man’s vanity!
Born in delirium - A deranged child,

He turns his back on his own creation,
Chaos ensues, the innocent die!
Who’s the monster!? Who’s the victim!?
Crucify!!! Crucify!!!

I will create in my own image,
If God can then why can’t I?
No thought of the consequences,
I’ve got to know the meaning of life,

I will create in my own image, (I will create!)
If God can then why can’t I? (Why can’t I!?)
No thought of the consequences,
I’ve got to know the meaning of life, (The meaning of life!)

After devoting himself entirely to science, Victor’s initial claim of creating life out of lifeless matter is preceded by a conceit reinforcing his naïve belief that his scientific experiment is in the world’s best interest. Upon the creation of the monster, Victor assures the world that, “the sun [light] does not more certainly shine in the heavens than that which I now affirm is true [his discovery]” (37). As the references to the word “heaven” throughout Frankenstein can be most nearly interpreted as unearthly ambition, Shelley intentionally pairs the words “light” and “heaven” with the advent of the monster’s creation as a testament to Victor achieving an unmatched, God-like ability to manipulate nature like The Edward Winter Group.

Links To Purchase The Edward Winter Group (Around Town)/Iced Earth*/Young Frankenstein

1. Amoeba Music: amoebamusic.com

2. B-Side Records: b-sidemadison.com

536 State St, Madison, WI

3. The Exclusive Company- myspace.com/exclusivecompany6

508 State St, Madison, WI

4. Mad City Music X-

600 Williamson St, Madison, WI

5. Strictly Discs- strictlydiscs.com

1900 Monroe, Madison, WI

But just as light is used to accentuate the notion of scientific discovery, it also foreshadows society’s inevitable destruction of Victor. Prior to his imprisonment by Mr. Kirwin, “[Victor] looked on the heavens, which were covered by clouds that flew before the wind, only to be replaced by others: [he] looked upon the sea, it was to be [his] grave” (150). In contrast to the passage on page 37, Shelley blocks the heavens with clouds to imply that the “godly ambition” Victor contains within his mind, is not an accurate manifestation of society’s perception of him. Whereas Victor’s character is portrayed as some sort of untouchable scientist of his own design early in the novel, he is now subject, as a prisoner, to the harsh realities of average men: authority and law. This sudden shift from acting as a God-like figure to being treated as a citizen accused of a crime, parallels the juxtaposition of a cloudy “heaven” and the “sea” (as his grave) (150), in that this comparison represents the constant failure of Victor to conform to the world while at the same time predicting the monster’s suicide at the end of the novel.

By setting the final chapter on Walton’s boat, Shelley reinforces the implications presented on page 150, by making the sea the site of both Victor and the monster’s death. The monster’s suicide signals the end of the motif of “light” as addressed in the monster’s farewell:“ the light of that fire [has] faded away; my ashes will be swept into the sea” (24). So as the promise of Victor’s experiment has faded into complete obscurity, the notoriously antisocial scientist dies before returning to the culture of the civilization that he has always isolated himself from.

So in conclusion, instead of providing the world progress, Victor’s story digresses from an idealistic promise of science to a tragic relationship between two people who are directly affected by the presence of one another: the monster, a source of scientific novelty to Victor; Victor, a source of companionship to the monster. We can begin to see that the connotations of light to the monster’s life as well: beginning with the promise of his unique creation in the laboratory (37) and ending tragically on the cloudy day when he murdered Henry Clerval (150).

Geoffrey Melcher

DMX Raps For Enthusiastic Crowd At Orpheum- By Andrew Gordon

Source ( The Badger Herald, University Of Wisconsin Madison Student Newspaper)

http://badgerherald.com/artsetc/2008/04/14/dmx_raps_for_enthusi.php

DMX performed to an enthusiastic crowd with definite police presence at the Orpheum Theatre Thursday. Opening for him were a large number of underground rap groups, some affiliated with Nasty North Records.

DMX was characteristically late, so another MC came out and wanted to freestyle, but the crowd’s boos and chants for DMX forced him to retreat.

Around 12:30 a.m., DMX came out onto the stage and quickly whipped the crowd into a frenzy. As energetic as ever, DMX performed an hour of career-spanning hits. DMX’s days of selling out arenas are past, but those in attendance were captivated by his stage presence and theatrics.

Before performing “A’yo Kato,” a sentimental jam off of 2003’s Grand Champ, DMX poured out an entire bottle of Hennessy dedicated to the memory of those who have fallen.

Later, DMX plugged his forthcoming double album Walk With Me Now and You’ll Fly With Me Later. X spat a new verse a cappella to prove that he was still on top of his lyrical game without leaking any new beats.

The highlight of his set was the highly recognizable “Party Up.” With the crowd chanting along with every lyric, DMX used his most famous track to transport the audience back to the peak of his late ’90s success.

Bodega, one of the more polished opening groups, performed a mix of hyphy and crunk rap. Their sound was very much like Lil’ Jon and the Eastside Boyz. Bodega even incorporated a rapper yelling “yeah” over most of their tracks like Lil’ Jon.

After Bodega, the audience was graced with the presence of white rapper Double A. An Eminem wannabe, A is square in the now-stereotypical white rapper mode. The highlight of A’s set was an attempt to break the mold of white men who can’t rap by spitting blazing lines without a beat. As impressive as the beat-less raps were, the audience did not seem into him. Bodega then came back to the stage to perform with A. Playing a song they already performed in their own set, Bodega and A left the crowd wanting more.

After a slew of other rappers — and another song or two played twice — Madison’s own ProFound and Lil Brah came on stage. Playing a more pop-influenced, polished, lyrically-substantial and energetic form of rap than any group before them, ProFound and Lil Brah definitely got the crowd excited.

In light of Wednesday’s incident at Indiana University, where DMX’s on-campus concert broke into a riot and front-row revelers were sprayed with tear gas, the increased police presence and security kept the crowd in line. Police were appreciative that the audience came to enjoy the music and not cause trouble.

“I thought that everybody was well-behaved,” said University of Wisconsin police officer Tony Fiore after the concert.

About The Author…

He’s Jewish. He has flashy shoes. He is a sophomore at University Of Wisconsin Madison majoring in bread-making (Business).