Mp3 music: Titas

Artist: Titas: mp3 download    Genre(s):  Ethnic Folk Rock Pop Other     Titas's discography:      A Melhor Banda De Todos Os Tempos Da Ultima Semana    Year: 2003    Tracks: 16      Televisao    Year: 2002    Tracks: 11      Volume Dois    Year: 1998    Tracks: 16      Acustico MTV    Year: 1997    Tracks: 22      84 94 Vol.2    Year: 1994    Tracks: 21      84 94 Vol.1    Year: 1994    Tracks: 20      Jesus nao tem dentes no pais dos banguelas    Year: 1990    Tracks: 13      Tudo ao Mesmo Tempo Agora    Year:     Tracks: 15      Titanomaquia    Year:     Tracks: 13      O Blesq Blom    Year:     Tracks: 13      Juntos Ao Vivo    Year:     Tracks: 8      Go Back    Year:     Tracks: 15      E-collection Sucessos CD2    Year:     Tracks: 12      E-collection Sucessos CD1    Year:     Tracks: 12      Domingo    Year:     Tracks: 14      Como Estao Voces    Year:     Tracks: 15      Cabeca Dinossauro    Year:     Tracks: 13      As Dez Mais    Year:     Tracks: 10 One of the nearly of importation groups of the Brazilian rock style that blossomed in the '80s, Titãs' uniqueness was affirmed by their intelligent lyrics, which sometimes resorted to concrete poetry and social criticism. The mathematical group eventually became mainstream and confused their film editing sharpness through and through orchestrations and a declared pop approach shot shot, simultaneously merchandising one gazillion copies of their Acústico record album. The band was formed in São Paulo in 1982 (at first called Titãs do Lê-iê) by Arnaldo Antunes (vocals and main ballad maker), Ciro Pessoa (vocals), Paulo Miklos (vocal, saxophone), Marcelo Fromer (guitar), Sérgio Brito (keyboards), Toni Belotto (guitar), Branco Melo (vocals), Nando Reis (bass voice), and André Jung (drums). In the late '70s, Fromer, Belotto, and Melo were the Trio Mamão. Four other musicians united, and the unexampled chemical group formed was called Maldade. Reis and Miklos were in the grouping Sossega Leão. Reis too played with the Camarões, patch Miklos too worked with the Bom Quixote. Paulo Miklos and Arnaldo Antunes too played in the Aguilar & Banda Performática. Melo, Pessoa, and Charles Gavin were the Jetsons. Gavin, wHO would later fall in the chemical group, was playing with Ira. In that period, a mathematical group of composers with popular inclination (like Arrigo Barnabé, Grupo Rumo, Itamar Assumpção, and Premê) constituted a essence of forefront musicians world Health Organization became known as Vanguarda Paulistana (São Paulo metropolis cutting edge). They met at the Lira Paulistana theatre. In this supporting air, unexampled bands were formed and presented their works. In August 1982, the Titãs do Lê-iê opened in that theatre of operations (without Jung). Departing from a common background knowledge constituted by the Beatles and Tropicalia, they began to write their possess material, which was quite strange, beginning with the birdsong titles: "Bichos Escrotos," "Sonífera Ilha," and "Lilian, a Suja." As time passed, they began to incorporate other music into their sound, like funk, newfangled wave, pop, reggae, and disco music, forever organizing their shows around a dance conception. Their leg presence was marked by an strong-growing and rasping choreography. In 1983, the group was already known as Titãs and lost Pessoa, wHO bypast for Cabine C. Before recording their commencement single, Titãs became steady TV attractions on shows like Chacrinha, Bolinha, Barros de Alencar, Raul Gil, and Hebe Camargo. The contrast of their experimental performances with the bourgeoisie uncouth sensory faculty of these shows (except Chacrinha, which rear be understood as one of the best proponents of the Tropicalia purport) made it evident that the chemical group didn't fit -- non even in the Brazilian rock ranks, which were generally rather well-behaved compared to them. In nastiness of the demos sent to recording companies, the best offers they received were to record compilations with several artists, but they refused, as they agreed that only one birdsong wouldn't be enough to award the diversity of their do work and they would unravel the risk of being labelled with that song's style. Their first LP came out in August 1984 through WEA. Titãs brought the naïve hits "Sonífera Ilha" and "Marvin," and sold only 50,000 copies. One of the reasons for the bad reception was the outlet of "Sonífera Ilha" as a single. This was followed by a national tour where the spontaneousness of erstwhile multiplication was deserted. The group's choreography was now through by a professional. Before the end of the year, the band participated in a high-audience TV Globo special, and André Jung at peace for Ira, at the same time that Ira's Charles Gavin joined Titãs. In 1985, their mo release, Televisão, was recorded. The album, with production by Lulu Santos and artistic instruction by Liminha, was released in June. The record sold 100,000 copies and was lauded by critics world Health Organization approved of their hardcore focus; crude aggressivity blended with platitudinous, brega elements; and pop and contemporary grooves. On November 13, 1985, Tony Belotto was arrested with 30 mg of diacetylmorphine, which he confessed to getting from Arnaldo Antunes. The law searched Antunes' apartment and set up 158 mg of the dose, arresting him immediately. Belotto was freed by bail as an addicted Antunes remained in gaol until December 9. After their condemnations, both served their sentences in liberty. The denunciation, though it didn't stimulate the rending of the band, produced the cancellation of 13 shows. The site was recorded on Gavin's "Estado Violência" (initially called "A Lei Que eu Não Queria"). In April 1986, the dance orchestra recorded Cabeça Dinossauro. Under the impact of the police force episode, the record album brought "Estado Violência" and "Polícia." The songs yielded a generalized unfavorable judgment against the institutions named in the titles -- "Igreja" (church) and "Família" (kin) -- along with other controversial tunes, such as "Porrada" and "Dívidas." "Bichos Escrotos," from their early times, was vetoed by censoring due to its profanity, only circumstance manifestly propelled the success of the vocal, which was soon played on several radio stations in edited versions. The album, released in June, was standard as a chef-d'oeuvre. The album sold 380,000 copies and was elected by the major newspaper Jornal do Brasil (Rio de Janeiro), along with some artists, as the topper album of the '80s. In Rio, they played with great success at the Teatro Carlos Gomes, and their trail of aggressiveness followed them there, where their fans destroyed the theatre's seating. In November 1997, Jesus Não Tem Dentes no País department of State Banguelas was released. The album sold 250,000 copies with the institution of programmable electronics and more sophisticated arrangements. "Nome Aos Bois" lists a row of fascists and "Lugar Nenhum" assaults the impression of a body politic. This album was as well well-received by critics. The album was presented in Rio on January 6, 1988, and in São Paulo 6 years afterward, both during the Hollywood Rock Festival, where they surpassed their competition, wHO included the Pretenders. This phase introduced jam-packed stadiums in the band's day-after-day life. On July 8, the dance orchestra recorded the unrecorded record album Go back with their hits in a execution at the Montreux Festival, on a rock candy night shared with T'Pau and 10,000 Maniacs. The show's audience was very cold, but the album sold 320,000 copies in Brazil. In 1989, the dance orchestra recorded their sixth record album, Ô Blésq Bom, which recovered elements very beloved to Tropicalia, admixture a duo of Northeastern cantadores with lyrics about diseases ("O Pulso") and morbidity ("Flores"). The album sold 230,000 copies, and a national spell followed. In 1992, Antunes left the grouping to conform to his solo vocation. Titãs continued their successful path with the WEA albums Tudo ao Mesmo Tempo Agora, Titanomaquia, and Acústico, which sold 1 1000000 copies.

Ageha

   
Artist: Ageha

   Genre(s): 
New Age
   

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Discography:


   
 The Art Of The Wise Woman Shamanistic Music For Self-Healing

   Year: 1998   
Tracks: 2

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The Dark Knight - movie review

Have you ever noticed how one measly letter separates "laughter" from "slaughter?"



I almost missed this off-the-cuff joke -- it's spray-painted on the side of a semi
as the Joker (Heath Ledger) descends on a police convoy hustling doomed district
attorney Harvey Dent (Aaron Eckhart) beneath the streets of Gotham. But it beautifully
captures the balancing act director Christopher Nolan attempts in The Dark Knight, an anticipat
ed blockbuster that seems capable at any point of plunging headlong into hilarity
or insanity, moral stability or absolute chaos.



Anticipation. It's safe to say it has been building at a steady clip ever since Gary
Oldman's Lt. Jim Gordon handed Batman (Christian Bale) a Joker card in the closing
minutes of Nolan's masterful Batman Begins. The director's groundbreaking reboot thoroughly
reinvented the Caped Crusader for a new generation, and the idea that Nolan would
unleash the Joker for a sequel set geek pulses racing. Message-board chatter heated
up with the casting of Ledger in the iconic role, then reached thermonuclear levels
following the actor's untimely death in January.



With growing anticipation comes overwhelming expectation, which can work to a film's
advantage or set it up to stumble. When Nolan revived a dormant Batman franchise
in 2005, he had only to contend with our hazy memories of Joel Schumacher's camp
y, tasteless sequels. This time out, he's measured against his own achievement. Batman Begins
remains one of the finest comic book adaptations of all time. In aspiring to advance
the franchise, Nolan overreaches. The Dark Knight sets numerous goals. Many are reached,
but some are missed.



The sequel is massive in scope, sprawling with ideas, dizzying with its action, and
challenging with its moral quandaries. But Nolan cuts noticeable corners to cover
his expansive canvas. The film is unwieldy where Begins was focused. Double-crosses
can disrupt the narrative flow, creating confusion in Nolan’s elaborate screenplay.
At best, The Dark Knight is flat-out exhilarating, a roller-coaster plunge into the heart
of darkness. At worst -- primarily in its third act -- it's a tad exhausting.



It's also not a Joker story, despite all of the attention paid to Ledger's maniacal
interpretation of Batman's soulless foe. The Joker is but one card in Nolan's very
stacked deck.



Dark Knight chooses instead to focus on Harvey Dent, a champion of justice destined (in
the comics and on screen) to become the villainous Two-Face. Months after the events
of Begins, Batman and Gordon have stepped up efforts to reduce organized crime in
Gotham. The city's do-gooders are making a dent in crime -- pun intended -- thanks
to Dent's fearless approach to wiping out Gotham's corruption.



The Joker acts as the wrench in Dent's plan, the thorn in Batman's side. Nolan wisely
omits the character's back story and paints him as a modern terrorist waging war
on our home turf. Ledger plunges to unspeakable depths to embody the Joker's anarchistic spi
rit. His tongue lolls. His eyes dart. His voice rings with equal amounts of menace
and glee. The Joker's consistently unpredictable, as well. How appropriate that Hans
Zimmer and James Newton Howard's haunting score resembles an air-raid siren warning of impe
nding doom, because the Joker always has something deadly up his sleeve. But he's
mysterious to a fault. The Joker's grand schemes often had me wondering how he pulled
certain things off, when he had time to kidnap certain characters, rig various s
tructures with dynamite, or generate a proper bankroll for his endless stream of
guns, bazookas, automatic weapons and explosives.



Dark Knight pushes the concept of escalation that was introduced in Begins and extends
through the sequel. Yet while everything is bigger, not all of it is better. Nolan
and company nail Harvey Dent's tragic character (Eckhart is fantastic as the pious
civil servant), but mishandle Two-Face. Batman purists may be annoyed by changes Nolan
makes to Dent's wicked transformation, and his status at the end of this film is
a head-scratcher. Stylistically, Dark Knight is a departure for Nolan. An international
mission to Hong Kong helps the film feel like a Mission: Impossible sequel, while Wayne now
possesses enough toys to make an unflappable 007 envious. Maggie Gyllenhaal steps
in for Katie Holmes, and we feel the emotional weight attached to her character.
Michael Caine and Morgan Freeman, however, get less to do this time around.



With so much going on, though, there's more to appreciate than nitpick in Dark Knight.
And it's tough to fault a filmmaker who reaches beyond the stars with what could
be dismissed as a comic book property.



It simply boils down to a matter of taste (for the theatrical). I preferred Batm
an Begins over The Dark Knight. Nolan's introductory film embraced explanations, took time with
its mythology, accepted the character's limitations and established the boundaries
of Batman's fictional world. Dark Knight builds on that foundation, for sure, but thrusts
ever forward when all I really wanted it to do was stop for a second and soak in
the glorious chaos.












Alfred, we're going to need some more TVs.

See Also

• It’s a Real ‘Kumbaya Moment’ - and It’s Not What You Think
• Disturb
• Food 911: What to Do After Splurging
• Robbie Fulks