j the producer ties and fringes album download 2018 Producers Guild Awards: 4 biggest snubs – and what they mean for Oscars. The Producers Guild of America Awards threw another curveball into the unpredictable Oscar race Friday when it unveiled 11 nominees instead of its usual 10 for Best Picture. (See complete list of 2018 PGA nominations). It’s great news for Oscar longshots like “Wonder Woman” and “Molly’s Game,” and further confirmation that dark horse “I, Tonya” is surging in the industry, after it scored a Writers Guild Award nomination Thursday over “The Post.” But even with an extra nominee, the PGA inevitably snubbed four major contenders who just saw their Oscar stock dwindle. Or did they? “Darkest Hour” : The PGA Awards like to recognize success and moneymakers — these are producers after all — which is why you’ll find blockbusters and box-office hits in the lineup more often than not that don’t make the Oscar cut (see: “Deadpool” [2016], “Straight Outta Compton” [2015]). “Darkest Hour” has been doing well since going wide on Dec. 22, earning $21.3 million so far, but it was probably too late for an old-fashioned, well-made film like this to build momentum and word of mouth beyond Gary Oldman’ s performance. While the makeup of the academy membership is rapidly changing, “Darkest Hour” still has a shot of making the Oscar Best Picture field if it can score a BAFTA bid to stay in the conversation, and if it appeals enough to the old guard who prefers this kind of bait, kind of in the vein of “Extremely Loud & Incredibly Close” (2011), which was also AWOL at PGA but cracked the Oscar shortlist. “The Florida Project” : Sean Baker ‘s ode to childhood on the fringes increasingly seems like just a play for Willem Dafoe in supporting actor. The film obviously could’ve used the PGA boost, but it’s also the one that could brush off the snub the easiest. “The Florida Project” is precisely the type of art-house indie with a rapturous fan base that will mark it No. 1 on Oscar ballots. It could follow the path of another A24 release, “Room”; two years ago, “Room” was MIA on the PGA ballot, but not only did it make the Oscar Best Picture lineup, it also snagged a surprise nod for director Lenny Abrahamson . Don’t be surprised if enough passion votes pulls Baker into the Oscar director top five as well. “Phantom Thread”: Despite rave reviews and perhaps because of its late December release, Paul Thomas Anderson ‘s sartorial drama hasn’t been able to gain much traction with the industry so far, with misses at the Screen Actors Guild Awards, for Daniel Day-Lewis , and the WGA. Like “The Florida Project,” it’ll need those passion No. 1 votes for Oscar, but an Anderson pic hasn’t made a huge splash at the Oscars since “There Will Be Blood” 10 years ago. “Phantom Thread” may just end up with a similar track record to Anderson’s last two films, “The Master” (2012), which only nabbed three acting nominations, and “Inherent Vice” (2014), which was up for costume design and adapted screenplay for Anderson. “Mudbound”: Like fellow Netflix film “Beasts of No Nation” (2015), Dee Rees ‘ sprawling historical drama missed PGA, which does not bode well at all for Oscar. The academy has a well-known Netflix bias, but maybe the PGA does as well. Producers like data and making money, and Netflix’s day-and-date release strategy and reluctance to release streaming views are bound to be frustrating. Netflix might just have to be content this year with hopefully finally breaking into the major categories in adapted screenplay, for Rees and Virgil Williams , and supporting actress for Mary J. Blige . Be sure to check out how our experts rank Oscar contenders in this and the other top races. Use the drop-down menus at the top of each page to see the other categories. Then take a look at the most up-to-date odds before you make make your Oscar nomination predictions. Don’t be afraid to jump in now since you can keep changing your predictions until just before nominees are announced on January 23. TAV Curator's Pick - Hip Hop. Nujabes – Metaphorical Music | 2018 Reissue | Limited Edition. A TAV Essential Listening Album. A TAV Curator’s Pick. “Metaphorical Music is Nujabes' first solo album released in 2003. It offers a combination of hip hop and instrumental jazz, and features artists like Shing02, Substantial, Five Deez and Cise Starr (of CYNE). Despite the fact that the album has contributing vocals from several artists, it is roughly classified as a breakbeat album.Uyama Hiroto contributed to several notable tracks on the album, including Letter from Yokosuka and Next View, and would appear on subsequent albums Modal Soul and Spiritual State. Metaphorical Music received universal acclaim from fans of Nujabes and critics.” – Wiki. “Metaphorical Music is what I’d like to call the perfect upper. From start to finish the record is an unwinding euphoria trip. There’s just something awe-inducing about Nujabes’s approach to making beats. The traditionalistic boom bap infused with colorful, wavering, watery jazz is what makes me always come back for more. It’s a simple format, yet so damn effective. His sound is mellow, it’s melancholic, and it’s all too beautiful. The way the piano melody effortlessly flows through tracks with a simple yet enthralling boom bap beat hanging in the background in songs like “Blessing It” and “Kumomi”. The way the fast-paced and manic drumming passages on “Horn in the Middle” break into that iconic trumpet refrain. The way said trumpet refrain is followed by a small piano refrain. It’s all too engaging and hypnotic. The guitar loop on “Lady Brown” and the low key synth pattern on “Highs 2 Lows”. There’s just something innately down to Earth about these tracks. They feel as natural and blissful as a wave caressing your feet, or a summer breeze gracing your cheeks.” – Sputnik Music. Item description: Artist: Title: Label: Format: 2 × Vinyl, LP, Album, Limited Edition, Reissue. Pressing: Release Date: This reissue: 3 rd November 2018 | Original: 2003. Genre: Electronic, Hip Hop, Jazz. Style: Jazzy Hip-Hop, Downtempo, Cool Jazz, Instrumental. Catalog No: Condition: Loud Records. Raekwon – Only Built 4 Cuban Linx. A TAV Curator's Pick. Note: Item sold in Black LP Sleeve. Only Built 4 Cuban Linx. is the solo debut album of American rapper and Wu-Tang Clan member Raekwon, released on August 1, 1995, by Loud Records and RCA Records. The album was loosely composed to play like a film with Raekwon as the "star," fellow Wu-Tang member Ghostface Killah as the "guest-star," and producer RZA as the "director." It features appearances from every member of the Wu-Tang Clan (except for Ol' Dirty Bastard) and affiliates Cappadonna, and Blue Raspberry. It also features an acclaimed guest appearance from rapper Nas, which marked the first collaboration with a non-affiliated artist on a Wu-Tang related album. Upon its release, Only Built 4 Cuban Linx. debuted at number four on the Billboard 200 chart, and number two on the Top R&B/Hip-Hop Albums chart, while selling 130,000 copies in its opening week. . Although it failed to acquire the same initial sales success as previous Wu-Tang solo albums, Cuban Linx achieved greater critical praise, with many complimenting its cinematic lyricism and production. Only Built 4 Cuban Linx. has received acclaim from music critics and writers over the years, with many lauding it as one of the greatest hip hop albums of all time. With its emphasis on American Mafia insinuations and organized crime, the album is widely regarded as a pioneer of the mafioso rap subgenre. It has been esteemed as being highly effective on hip hop music over the next decade, being heavily referenced and influential on acclaimed albums such as Reasonable Doubt (1996) and Life After Death (1997). Along with GZA's Liquid Swords, Cuban Linx is the most acclaimed solo Wu-Tang work. In 2012, Rolling Stone magazine placed it at number 480 on their 500 Greatest Albums of All Time list. - Wiki. “Cuban Linx's first-person narratives are filled with paranoia, ambition, excess, and betrayal, fast rises and faster falls. There are plenty of highlights along the way -- the singles "Criminology" and "Ice Cream," the gentle "Rainy Dayz," the influential posse cut "Wu-Gambinos" -- and everything culminates in "Heaven & Hell" and its longing for redemption. Like the Genius' Liquid Swords, Only Built 4 Cuban Linx takes a few listens to reveal the full scope of its lyrical complexities, but it's immensely rewarding in the end, and it stands as a landmark in the new breed of gangsta rap.” - AllMusic. Item description: Artist: Title: Only Built 4 Cuban Linx. Label: Format: 2 × Vinyl, LP, Album, Reissue. Pressing: Release Date: This reissue: 2003 | Original - 1995. Genre: Catalog No: Condition: Stones Throw Records. Homeboy Sandman - Kindness For Weakness. Stones Throw Records. A TAV Curator’s Pick. “Kindness For Weakness is Homeboy Sandman's third full-length album on Stones Throw Records. The album's title comes from Sandman's internal insight saying “mistaking kindness for weakness is a weakness I need to have more kindness for.” One of Sandman's most poignantly lyrical releases to date, the album centers on the MCs discomfort in his comfort zone and addresses themes such as his personal insecurities, rapper stereotypes and morality. Since signing with Stones Throw Records in 2011, Homeboy Sandman has made himself at home releasing 3 full-lengths – First of a Living Breed, Hallways, and now Kindness for Weakness – along with a series of 5 short records and most recently, releasing a free EP with collaborator Aesop Rock named Lice. Sandman has once again established himself as one of the most productive and creative lyricists of this generation.” – Stones Throw Records. “Homeboy Sandman tapped into a unique energy, and parlayed the vibe into a rap career. The Stones Throw MC, with his penchant for haphazard deliveries and a strong command of rhythm, continues making headway in the indie and underground circles with his latest effort, Kindness for Weakness. Running just over 36 minutes, it’s a quick, concise listen, with everything the Alternative Hip Hop-listening crowd could ask for. … Kindness for Weakness is a strong album with a permeating message. The whole vibe is original, and exquisite minimalist production tips the scales, in tow with strong lyricism. Homeboy Sandman’s abilities as a MC, paired with a strong supporting cast of guest MCs and producers, execute accordingly without being repetitive. Best of all, he offers up a valuable life lesson: be kind always. The album’s biggest strength is the number of wells from which it draws inspiration. Kindness is more than just good manners; it’s a modus operandi.” – HipHopDX. Item description: Artist: Title: Kindness For Weakness. Label: Format: Pressing: Release Date: Genre: Catalog No: Condition: Sub Pop. Shabazz Palaces – Lese Majesty. A TAV Curator’s Pick. Lese Majesty is the second studio album by American hip hop duo Shabazz Palaces, originally released in 2014 by Sub Pop. Shabazz Palaces the experimental hip-hop duo led by Ishmael Butler, aka Palaceer Lazaro (formerly Butterfly of jazz–hip hop group Digable Planets) and multi- instrumentalist Tendai "Baba" Maraire, son of Mbira master Dumisani Maraire. “Herein bumps and soars Lese Majesty, the new sonic action of Shabazz Palaces. Honed and primal, chromed and primo. A unique and glorified offering into our ever-uniforming musical soundscape. Lese Majesty is a beatific war cry, born of a spell, acknowledging that sophistication and the instinctual are not at odds; Indeed an undoing of the lie of their disparate natures. Lese Majesty is not a launching pad for the group’s fan base increasing propaganda. It is a series of astral suites, recorded happenings, shared. A dare to dive deep into Shabazz Palaces sounds, vibrations unfettered. A dope-hex thrown from the compartments that have artificially contained us all and hindered our sublime collusion. These reveries were sent to Palaceer Lazaro and Fly Guy ‘Dai in the year of gun beat battles in excess; In a succession of days, whilst walking in dreams and in varied transcendental states….(every minute of every day is filled with observation and composition. In action). Songs are committed and gathered by robots at Protect and Exalt Labs, a Black Space in Seattle, Washington. The visual features of Lese Majesty are resultant of the gleanings of fellow Constellationaire, Nep Sidhu. The Black Constellation squads up, protects and exalts the messages within, and colludes accordingly. We thank you.” – Sub Pop. “Spectacular, way-out hip-hop. Ishmael Butler and Tendai Maraire's music seems totally without precedent, and even if sometimes it's just too weird to enjoy, more often it's genuinely thrilling. … Lese Majesty, his second album as one half of Shabazz Palaces, has found itself lauded in some quarters as "the future of hip-hop" – not a phrase that anyone was in a rush to append to Snoop Dogg's pop-reggae inspired Reincarnated, or indeed the goings-on at Cypress Hill's Smokeout festival and Medical Marijuana Expo. Lese Majesty's predecessor, 2011's Black Up, was an album noted for its denseness and complexity. Reviewers struggled to find anything else even on rap's outer fringes to liken it to. If you wanted a comparison from the rock world, you might suggest that Butler and Tendai "Baba" Maraire's work has a similar relationship to hip-hop as Captain Beefheart's late-60s ouevre did to the blues: it takes a heavily codified genre and warps it so dramatically that the result bears almost no resemblance to its musical roots. To extend the Beefheart metaphor further, you could claim that Lese Majesty is to Black Up what 1969's Trout Mask Replica was to its predecessors, the point where the music snips any last slender ties to commerciality and ventures out into the unknown. Breakbeats are chopped up until they frequently lurch from one deeply unfunky time signature to another. Virtually none of the tracks have anything you would describe as a standard structure.” – The Guardian. Item description: Artist: Title: Label: Format: Vinyl, 12", Single Sided, Etched. Pressing: Release Date: Genre: Hip Hop, Electronica. Style: Conscious, Dub, Experimental. Catalog No: Condition: Jive Records. A Tribe Called Quest – The Anthology. A TAV Curator's Pick. The Anthology is A Tribe Called Quest's 1999 greatest hits compilation spanning their entire career. The compilation contains songs from all of their currently existing full-length catalogue, including People's Instinctive Travels and the Paths of Rhythm , The Low End Theory , Midnight Marauders , Beats, Rhymes and Life and The Love Movement. It also contains Q-Tip's "Vivrant Thing", which was featured on the first music compilation for Violator Management. The song would also later be featured on Q-Tip's solo effort, Amplified. The album cover features Erykah Badu with fluorescent stripes of green and orange reminiscent of the traditional colors of the Kente tribe of the north Congo. “For those who haven't discovered that A Tribe Called Quest made several of the best LPs in hip-hop history, Anthology is a perfect way to encapsulate the trio's decade-long career into one manageable portion. All of their best and biggest songs are here, from the early neglected joint "Luck of Lucien" to classic jazz-rap from The Low End Theory like "Jazz (We've Got)," and their 45-rpm peak with "Award Tour," all the way to their last big hit, "Find a Way," from 1998's The Love Movement. Yes, anyone who enjoys hip-hop needs to own at least Midnight Marauders and The Low End Theory , but Anthology succeeds in delivering all the highest points from a great hip-hop group's career. The collection also includes the first solo track from Q-Tip, 1999's "Vivrant Thing." – AllMusic. Item description: Artist: Title: Label: Format: 2 × Vinyl, LP, Compilation, Reissue. Pressing: Release Date: This reissue: 2015 | Original - 1999. Genre: Style: Conscious, Jazzy Hip-Hop. Catalog No: Condition: Lex Records. BadBadNotGood & Ghostface Killah – Sour Soul. A TAV Curator’s Pick. “BADBADNOTGOOD and Staten Island rap champ Ghostface Killah - inspired by 1960s and 70s music and taking inspiration from the recording techniques and production of that era, and eschewing sampling in favour of live instrumentation, BBNG with producer Frank Dukes have created a dramatic, cinematic musical staging for Ghostface’s vivid storytelling. Sour Soul also features guest spots from MF DOOM, Elzhi (Slum Village / J Dilla), Danny Brown and prodigal new rapper Tree (Project mayhem). “As far as dream collabs go this one is hard to beat” Complex. “He might be the best, most colourful storyteller rap has ever seen” – Pitchfork on Ghostface. “How the group redefines the genre is through their unconventional influences, youthful vigor and musical experimentation” - Hypebeast. “As self-confessed hip hop heads as well as jazz academics, BADBADNOTGOOD have the audacity to mix the unexpected and pull it off with finesse.” – Dazed & Confused. “. even given the fairly proud lineage of wild musical juxtaposition, these kids are making waves.” - The Guardian “ – Lex Records. Item description: Artist: Title: Label: Format: Vinyl, LP, Album, 180 gram. Pressing: Release Date: Genre: Style: Jazzy Hip-Hop, Rap. Catalog No: Condition: Pay Jay Productions / Mass Appeal. J Dilla - The Diary [RSD 2016 release | Limited Edition] Pay Jay Productions / Mass Appeal. A TAV Curator's Pick. “Initially intended for release in 2002, The Diary is the final batch of unissued material that Dilla had assembled for release during his lifetime, lending crucial insight into the producer’s prowess and thought process in the period leading up to his break with the major label system and the extremely fertile period that followed (which encompassed the making of the canonical classics Ruff Draft, Jaylib, and Donuts). The Diary features vocal performances by J Dilla, Snoop Dogg, Bilal, Kokane, Frank and Dank, Nottz and Boogie, over production by Dilla, Madlib, Pete Rock, Hi-tek, Nottz, House Shoes, Supa Dave West, Bink! and Karriem Riggins. The album was announced in an interview with Nas on Zane Lowe’s show on Beats1 with the never-before-heard song “The Introduction.” The Diary was Dilla’s attempt to take advantage of the attention afforded him after his brightest period as a behind-the-scenes hit-maker and influencer. However, the project stalled and the album was literally shelved, the reels languishing in storage in Detroit as a relocated Dilla began a creative renaissance in Los Angeles. The Diary in this, its final form, was painstakingly assembled over a ten year period from two-track mixdowns and multi-track masters found in J Dilla’s archives after his death in 2006. The completion of The Diary was overseen by The Estate of James Yancey’s Creative Director Eothen Alapatt, long term general manager of Stones Throw Records and A&R for Donuts and Jaylib, whose previous archival Dilla work includes the expanded Ruff Draft issue from 2008. The Estate of James Yancey is overseen by California’s Probate Court on behalf of Yancey’s four heirs – his mother, Maureen “Madukes” Yancey, his brother John “Illa J” Yancey and his two daughters, Ja’Mya Yancey and Ty-monae Whitlow. The musical landscape has shifted mightily in the wake of J Dilla’s final album. Donuts’ release and Dilla’s subsequent death forced a critical and fan-level reexamination of his work and importance on the global stage. J Dilla was marginalized in the years leading up to his death, as he, battling the rare blood disorder that would eventually take his life, eschewed the major label-led music industry where he created or aided some of the music industry’s brightest – D’angelo, Erykah Badu, Common – in the late 90s and early 00s, moved to California from his native Detroit and dug deep into the deepest recesses of his creative spirit to offer a new take on hip hop’s decades old art form of sampling. After Donuts, the likes of Kanye West and Pharrel Williams could be heard echoing words read on a fan’s shirt from one of J Dilla’s last European tours in 2005: J Dilla Changed My Life. They were not the only ones: Justin Timberlake opines openly that the world needs more Dilla. J Dilla became a critical signpost for these stars, and others: the archetype figure that birthed everything they loved and cared for in hip-hop.” – J Dilla.com. “PayJay Productions, Inc. was the company James Dewitt “J Dilla” Yancey founded in 2001 to house his production company and his publishing company. The Estate of James Yancey has revived PayJay as a functioning imprint, and announced the release of J Dilla’s long lost vocal album, The Diary. The tracks come straight from multi-track masters found on 2-inch tape shortly after Dilla’s passing in 2006. Many were mixed by Dilla himself. Those that weren't have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using Dilla’s original demo mixes as his guide, Cooley attempted to finalize Dilla’s vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. The Diary is an album of vocal performances recorded between in the early 2000s over production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins and others. The Record Store Day vinyl issue of The Diary includes a special 7” pressing of "The Ex" that will only be found on the RSD issue of the LP.” – Record Store Day. How Korean Pop Conquered Japan. Thousands of Japanese protestors gathered in Tokyo last month, but they weren't rallying against nuclear power, the country's revolving-door Prime Minister position, or the long-stagnant economy. Their wrath, rather, was directed at soap operas. In late July, Japanese actor Sousuke Takaoka was fired from his promotion agency after criticizing the Fuji TV network on Twitter for airing so many Korean programs that he felt "brainwashed." By August 21, a reported 6,000 people had gathered outside of Fuji TV's headquarters, carrying Japanese flags and shouting "No more Korean wave." In Japan—a country that has prided itself on producing and exporting its own fantastical pop culture—Korean entertainment has come to gobble up massive portions of melodrama and musical market share. Not only do Korean dramas air frequently on TV, but in the past year Korean pop groups like Girls' Generation and KARA have shattered sales records and become primetime fixtures on Japanese television programs, thanks to a mish-mash of Western club-friendly and a sped-up tempo appropriate for an arcade. This boom in Korean entertainment isn't just about units moved or appearances on talk shows; Korean media, especially pop music, has exploded in the Land of the Rising Sun because the K-Pop architects have embraced everything that the Japanese music industry has shunned for years. The Korean Wave is a global phenomenon, but its arrival in Japan can be traced back to a show about memory loss. In 2003, Japanese network NHK aired the South Korean drama Winter Sonata , centering on a music prodigy who emerges from a car crash with amnesia. The show became a surprise hit, especially among older women, prompting Winter Sonata -themed tour packages and a classical concert tour of Japan featuring music from the series. That same year, K-Pop made its first big inroads into Japan, as Korean singer BoA climbed the music charts. In BoA's wake, Korean boy bands TVXQ and Big Bang achieved similar success. Since then, K-Pop has come to rival J-Pop in popularity. In August 2010, KARA and Girls' Generation (also known as SNSD, mostly in the Western world) crashed the Japanese charts with their singles "Mister" and "Genie" respectively. Both of those songs also had been hits in their native Korea, and, after undergoing some translation, proved just as popular in Japan. Today, both outfits have had runs at the top of the charts that have broken sales records for foreign artists in Japan, while their debut albums have all been certified as at least platinum. Girls' Generation's self-titled album even went double platinum, a first for any Korean girl group. More significantly, Korean pop groups are becoming ingrained in this island nation's music landscape. While Western artists like Lady Gaga and Beyoncé are definitely popular in Japan, they are essentially fleeting visitors, only stopping by when they have a new album to hock. They'll fly over, do some TV appearances and maybe a brief tour, then vanish. This latest crop of K-Pop artists, though, is sticking around. KARA and Girls' Generation are becoming regulars on television, whether it's to perform a single or just being lampooned by the Japanese version of Saturday Night Live . In 2011, both groups released songs exclusively for the Japanese market, sung entirely in Japanese (the members of each group have learned Japanese), which have been predictably popular. Korean groups such as 2NE1, Brown Eyed Girls, and 2PM also have followed them into Japan. The latter, a boy band, debuted their first single at No. 4 on Japan's Oricon Charts, the nation's most prominent music-ranking list. Story continues below. Part of K-Pop's success in Japan can be attributed to globe-hopping musical production. Ian Martin of The Japan Times writes that Korean acts take most of their cues from Western music, meaning a lot of European electro house (2NE1's Diplo-ish "I'm The Best") and American R&B touches (Girls' Generation's "Mr. Taxi" and KARA's "Mister") among other influences. In the case of Girls' Generation, it especially helps that most of the tracks on their Japanese debut album were sculpted by Western producers. These touches might not necessarily impress Western ears, but in Japan they ring revelatory. A common stereotype about Japan is that it's a nation stubborn to change, and in regards to J-Pop, this is completely correct. Most of the popular tracks of today could have been frozen back in the mid '90s and thawed out at any time, the combination of goofy numbers and sappy ballads remaining basically unchanged for the past two decades. Japanese music plays it safe, resulting in a bland popscape where artists have very little opportunity to expand internationally. Meanwhile, K-Pop has conquered Japan and most of Asia, and is even taking baby steps into the Western world. More On Pop Music. Image also plays a critical role in separating the two countries' pop music. A crass way of summing it up is this: K-Pop stars out-sex their J-Pop counterparts. The members of Girls' Generation show a fair amount of skin in their music videos, while many fans were drawn to KARA by a chunk of choreography Wikipedia dubs "the butt dance." Beyond straight-up sex appeal, K-Pop groups look and act like real adults, whereas J- Pop outfits often emphasize adolescent cuteness. K-Pop unit T-ara's 2009 video for the song "Bo Peep Bo Peep" centered around a member of the girl group going to a club and hooking up with a guy in the bathroom, an elevator, and his apartment. The Japanese clip, in advance of T-ara's official Japanese debut later this month, finds the members wearing cat ears and playing un-erotically with one another: the sexuality of the original replaced with Hello-Kitty-approved cuteness. The most popular Japanese act of the moment, AKB48, is a collection of 48 singers usually wearing high-school uniforms while behaving like 15-year-old girls. It's been a tried-and-true path to pop success; Japanese singers have been donning their staple sailor suits since the '70s-a fashion shtick that's far from progressive. Girls' Generation and KARA aren't glimmering examples of feminism, but at least they look and act like grown women. As is often the case with any new trend, the Internet also gave K-Pop a kick start on its way to routing J-Pop. Before Girls' Generation and KARA officially debuted in Japan, curious fans of other Korean cultural exports discovered these groups via YouTube. This e-exposure helped build a bigger fan base, one guaranteed to buoy these girl groups once their music reached Japanese shores. Most Japanese music companies, meanwhile, vigilantly remove unofficial clips from video sites. In one recent incident, Lady Gaga's official YouTube account was briefly suspended after she posted an unauthorized clip of her appearance on J-Pop boy band SMAP's variety show. Instead of embracing exposure from one of the West's most popular entertainers, J-Pop powers that be opted to shut her down. J-Pop juggernauts won't be vanishing from the charts anytime soon, but Korean pop has found a way to win big on Japan's home turf and rile up the xenophobic fringes. The only question remaining isn't whether Korean cultural powerhouses will stick around, but, rather, will J-Pop artists reinvent themselves or stay stuck in their schoolgirl-style sonic time warp? The DJ Producer. Bath based U.K. techno/hardcore techno DJ, DJing since 1989 (Originally under the name DJ Quickcut), recording since 1994. Used to work in Bass Bomb Records in Bath. Frontman for experimental hardcore techno label "Rebelscum" and frequently records with Julian Cobb aka DJ Hellfish (owner of Deathchant records), and French hard techno DJ Emanuel Dauchez aka Manu Le Malin. Also in the past produced Drum and Bass on High Octane records as Suspicious Circumstance. In 2005 he came under European managment from the Dutch The Third Movement record label / DJ agency. He DJs all across Europe on a regular basis. J the producer ties and fringes album download. You may recall a couple of years ago there was the first Cancer Gets LOST charity auction, well as it is the 10th anniversary of the start of the show the organisers, Jared Wong and Jo Garfein decided they had to go back and do it all again. If you didn't know about the previous CGL auction you may wonder why a Fringe site is talking about it, well apart from it being a really cool thing to do, it also has some great Fringe items included in the auction lots. You may want some screen used amber from Walter's lab, how about an observer hat given out at Comic Con donated by Bad Robot, or a Season 5 DVD set signed by John Noble himself. There are quite a few Fringe items up for auction along with a lot of cool items from other TV shows and films. Including LOST (of course), The Walking Dead, Breaking Bad, Once Upon A Time, Alcatraz, The Following, Arrow, Orange Is The New Black, Game Of Thrones, and many more. 100% of the proceeds (hammer price) from Cancer Gets LOST items will be donated to the American Cancer Society. There are also items that the auction partner, Blacksparrow Auctions, have added where a percentage of the hammer price will be donated. All items are clearly marked about which are CGL and which are BlackSparrow. All of the details and information are on the Cancer Gets LOST website. Direct link to the page where the Fringe items start. Fringe at the Paley Center for Media - From my perspective. By cortexifan Email Post 7/02/2014 12:46:00 PM Categories: Fringe, Paley Center for Media. On a recent trip to L.A., I had the (intended) opportunity to visit the Paley Center for Media. The current exhibition features Warner Bros.Television Out of the Box, presenting costumes, props, scripts, and more from iconic TV shows, past and present. Let's take a look, shall we! Almost Human premieres this Sunday and Monday. By Dennis Email Post 11/15/2013 12:45:00 PM Categories: Almost Human, Fringe, J.H. Wyman, J.J. Abrams. The new FOX Sc-fi drama Almost Human begins its two-night series premiere this Sunday and Monday (11/17 & 11/18) at 8:00 pm (7:00 pm central). The show, brought to you by the creators of Fringe - J.J. Abrams, J.H. Wyman, Brad Anderson, et. al - is a mix of Fringe, Robocop, and Blade Runner. You can read the official description after the break. I've seen the Pilot episode, and really liked it. It will feel very familiar to Fringe fans, almost what we would have gotten if Fringe had stayed in the future. While we won't be blogging about Almost Human here, please check out out Almost Human Wiki at AlmostHumanWiki.com. Also, if you have any suggestions for a good Almost Human blog, please leave them in the comments! Fringe Panel at Dragon*Con 2013. By Dennis Email Post 9/16/2013 04:08:00 PM Categories: Audio, Interview, Jasika Nicole, Michael Cerveris, Seth Gabel. Lincoln, Astrid, & September at DragonCon 2013 Michael Cerveris, Jasika Nicole & Seth Gabel participated in a Fringe panel at this year's Dragon*Con. "The actors answer a full hour of fan questions about their time on the show, the fate of Gene the cow, what it was like behind the scenes, their future plans, and much more. At the end of the panel they are asked to choose between Star Wars and Star Trek, and Seth’s answer is hilarious!" The entire audio is available at GoldenSpiralMedia.com. TV Guide: JH Wyman on Fringe Finale and Almost Human. By Dennis Email Post 7/20/2013 10:52:00 AM Categories: Almost Human, Fringe, Interview, J.H. Wyman. In the series finale, Walter (John Noble) sacrificed himself by traveling to the future with September's son so that the Observers would never invade the past. In the closing moments, we saw the series flash-back to the day in the park when The Observers originally invaded, but this time, they don't show up. Peter (Joshua Jackson), Olivia (Anna Torv) and young Etta are able to go home as a family. Though a touching swan song, Fringe fans still lamented the fact that Walter didn't get to be part of the happy family. "I'll make you not sad," Wyman tells TVGuide.com. "Walter is only happy when his brain is being challenged. Walter went to the future, and how do you know he didn't find a way back once again?" Wyman notes that he meant for Peter's expression when he received the "white tulip" letter from Walter to be ambiguous. Did he recognize it or not? "Maybe someday there will be a Fringe movie and I'll explain some of the things that I want to explain, but I also wanted to let people make their own opinion. I wanted it to be as special to each person individually and let them make their own assumptions and live with it. I have a lot of story I can tell still and I love those characters so much." Check out the rest of the interview for his comments on his new show Almost Human. BTW, I have seen the pilot for Almost Human, and it has a very Fringe vibe, and it looks like it could be one of my new favorite shows! Fringe at the 39th Annual Saturn Awards. By cortexifan Email Post 7/01/2013 12:28:00 AM Categories: Anna Torv, Lance Reddick, Saturn Awards. Fringe Stars Will Appear on "Almost Human" By Dennis Email Post 6/28/2013 05:06:00 PM Categories: Fringe, Interview, J.H. Wyman. For the rest of the interview, visit IGN.com. Are you planning on watching "Almost Human"? Fringe: What Would You Ask JJ Abrams or Lance Reddick? By Dennis Email Post 6/16/2013 05:51:00 PM Categories: Awards, What Would You Ask? Best Network Television Series Best Actor (Joshua Jackson) Best Actress (Anna Torv) Best Supporting Actor (John Noble) Best Guest Starring Role In A Series (Blair Brown) Best Guest Starring Role In A Series (Lance Reddick) We know for sure that JJ Abrams and Lance Reddick will be attending, but there could be more Fringies as well. Is there anything you still want to know about Fringe? Post your questions in the comments and we'll try to get as many answered as possible! Fringe Season 5 Soundtrack Available On iTunes. By Dennis Email Post 6/13/2013 04:26:00 PM Categories: Fringe, Season 5, Soundtrack. While the release of the Fringe Season 5 Soundtrack CD (do people still buy CDs?) is still over a week away (June 25), the entire album is available for download on iTunes for $9.99. The 24 tracks can also be purchased individually for 99¢ each. FRINGE — the supernatural sci-fi crime drama from J.J. Abrams — is back for its fifth and final spellbinding season. The year is 2036. The Observers have become ruthless rulers, limiting free will and speech, and are slowly poisoning Earth’s atmosphere so that only their own kind can survive. All is not lost, however. A series of videotapes, preserved in amber, hold detailed plans for overthrowing the Observers and restoring the planet and its people. The Fringe team will undertake the most important mission of all time: retrieve the tapes, follow their clues, decipher the code, and prepare for the battle to save humanity. Join Fringe scientist Walter Bishop, FBI agent Olivia Dunham, Peter Bishop, and Olivia and Peter’s now-grown daughter, Henrietta, for 13 episodes filled with struggles, surprises and sacrifices in this explosive and emotional final season. Composer Chris Tilton hangs on to the FRINGE musical reins for the series’ epic finale and delivers some of his finest and most dramatic scoring yet. Holy Naked Tuesday! The Fringemunks release first Season 3 song in almost 2 years. By David Wu Email Post 5/29/2013 01:26:00 AM Twenty months have passed since David Wu's Fringemunks last released a song recap of a Fringe Season 3 episode. Twenty. The wait is over, and a new song (a parody of Mumford & Sons' "The Cave") is available for you to hear. That's not to say that these twenty months were unproductive. The Fringemunks, after all, did release seventeen Season 4 songs, three Season 5 songs, a contest entry song, and a Christmas album all in that time span. So why the delay with Season 3 songs, of which only three remain? "It might be part psychological, part difficulty, part indifference" says Wu, who now only needs to complete song recaps for episodes "Reciprocity," "LSD," and the season finale "The Day We Died" to finish the Season 3 album. Of the 100 total Fringe episodes, this new release - "Epis. 3.20: 6:02 AM EST" - is the 82nd song recap. Although it recaps a 2011 episode, Wu uses the musical and lyrical sensibility that he has been employing in more recent material. "It has to reflect how I feel about the episode now, because we are in the 'now', and we're no longer in the past," says Wu. "And it works for this song. It is from Walter's point of view, and he has changed. He is crying. Instruments in his head are different and more profound and direct." With lyrics such as Last year, I received a sign from Thee / a white tulip You sent to me / I believed you had forgiven me , the Fringemunks are at their most spiritual - complete with fanfare horns, subtle organs, and banjo-like steel guitar meshing together in the song's instrumental backdrop. And yet amidst the spiritual content, there is the comedy. I bumped into Olivia, who screwed Peter the previous night , goes one of the earlier lyric lines. It is a nod to the other Season 3 songs, while also showing that the project isn't afraid to go where most lyricists don't care to venture. "Whatever the case, there's no way I would have written these same lyrics two years ago," says Wu. The Fringemunks started off with a buzz in Fall 2008, just a few weeks into Fringe 's five-season run, but now each new song is lucky to get a few "likes" and "shares" on Facebook, or even retweets on Twitter. "These are lean times for Fringe fan projects, now that the show is over," Wu admits. "But with this new song release, and the 18 remaining, there is light at the end of the tunnel, and still a lot of great music to make and lyrics to write for this project. And being that fan projects are now a bit thin, this means that the Fringemunks likely obtain more of a percentage of the audience, albeit a smaller cumulative amount." The project almost came to an end after Season 3 broadcasts ended. "At the time," says Wu, "the series' end was not defined, so I knew that committing further to The Fringemunks would mean that it would put a damper on the rest of my side music career as long as there were unreleased songs. It reached a boiling point, when I said 'forget it.'" In early Fall 2011, Wu in fact announced the project's retirement, to the dismay of many. But this retirement was short-lived, as Wu devised a plan for the Season 4 songs. "Basically I was going to parody the entire White Album (the nickname for the Beatles' eponymous 1968 album), in order. The season premiere would be - and was - a parody of 'Back in the U.S.S.R.,' while the finale would have parodied 'Revolution 9' and 'Goodnight.' It was a crazy idea, abandoned after four songs - but it saved the project. And the 4 songs are among the best, even if the subject matter wasn't the greatest." Yet all the while, the Season 3 episodes remained on the shelf. "I always knew I wanted to finish them," says Wu, "but I just wasn't in the mood at the time." But now, with only three songs remaining from that middle season, the album's stock is up.