ISHTAR

“El miedo puede mantenerte prisionero. La esperanza puede liberarte” (Stephen King)

[ISHTAR @ishtar_14]

@netflix 🥹❤️👏🏼

[ISHTAR @ishtar_14]

@Sanfeliu 💙

[Rincón Curioso @RincnCuriosoo]

Real. 🖤

[Batfox Pictures @Batfox_Pictures]

One of Red Hot Chili Peppers’ most enduring ballads was left off the album it was recorded for. “Soul to Squeeze” came from the Blood Sugar Sex Magik sessions, but with the record already packed with material, the band ultimately left it off. Produced by Rick Rubin, the song surfaced as a B-side before receiving a wider release on the 1993 Coneheads soundtrack and becoming a hit in its own right. Its lyrics reflected Anthony Kiedis’ struggles with addiction and isolation. At Bizarre Festival in 1999, the returning John Frusciante helped bring “Soul to Squeeze” back to the stage as the Californication era revived the band’s fortunes.

[Batfox Pictures @Batfox_Pictures]

Years before Radiohead recorded “High and Dry”, Thom Yorke had already written an early version while playing with his pre-Radiohead band Headless Chickens. Radiohead eventually revisited the song during sessions around The Bends, although Yorke later became dismissive of its straightforward sound. Released in 1995 as a double A-side with “Planet Telex”, it featured on The Bends, produced by John Leckie, and reached No. 17 in the UK. Its success helped establish Radiohead beyond the shadow of “Creep”. At Pinkpop on 27 May 1996, “High and Dry” captured a band whose second album had transformed their reputation and pointed towards something far more ambitious.

[Batfox Pictures @Batfox_Pictures]

A conversation on holiday helped produce one of Alex Turner’s sharpest portraits of growing older. Turner wrote “Fluorescent Adolescent” with his then-girlfriend Johanna Bennett, contrasting memories of a wild youth with the routines and disappointments of adulthood. The track featured on Arctic Monkeys’ 2007 second album Favourite Worst Nightmare, produced by James Ford and Mike Crossey, and reached No. 5 in the UK. Its memorable video featured a violent confrontation between clowns and a group of men, with Stephen Graham among the cast. Performing it on the Late Show with David Letterman brought one of the band’s biggest early songs to American television.

[ISHTAR @ishtar_14]

@latercera Hermosa

[Santiago Segura @SSantiagosegura]

No conozco a NADIE que conociese al gran Juan Tamariz y no le hiciese sonreír (a veces solo con pensar en el).
Su humor y su magia nos conquistaron.
Un abrazo a su familia y un recuerdo mágico de todos los fans que deja en este lado del escenario…

[Honor Y Gloria ❤🔥 @JoviNomas]

El dueño del vehículo PPU JC KG 34, ABANDONÓ a su perro en Stgo centro en Cumming con San Pablo. Transeúntes intentaron rescatar a la mascota para resguardarlo pero este siguió al vehículo y le perdieron el rastro. Hagámoslo famoso por maldito

[Quique Neira @QuiqueNeira]

Un compañero viene molestando a mi hijo en el colegio. Lo denunciamos y otros apoderados dijeron haber vivido lo mismo con sus hijos. Nos quejamos en la escuela y nos "citaron" a convivencia escolar. Insólito. Tuvimos que sacar al niño del colegio hoy.
Mundo al revés.

[Batfox Pictures @Batfox_Pictures]

By 2018, “Mr. Brightside” had become something bigger than a Killers song, and Glasgow provided spectacular proof. Written by Brandon Flowers and Dave Keuning after Flowers discovered his girlfriend with another man, the track first appeared on the band’s 2004 debut album Hot Fuss and originally peaked at No. 10 in the UK. At TRNSMT on 8 July 2018, The Killers saved it for the very end, beginning with the Jacques Lu Cont remix before exploding into the familiar version. With Glasgow Green singing virtually every word back at the band, the closing performance demonstrated how a song about jealousy had evolved into a communal anthem.

[Batfox Pictures @Batfox_Pictures]

An experimental guitar effect helped give “With or Without You” its haunting, endlessly sustained notes. The Edge used a prototype of the Infinite Guitar, developed by Michael Brook, allowing notes to ring and swell rather than decay normally. That unusual texture became central to a song built around emotional conflict and the pull between competing parts of a relationship. “With or Without You” opened the singles campaign for U2’s 1987 album The Joshua Tree, produced by Daniel Lanois and Brian Eno, and became the band’s first US No. 1. In Paris that year, U2 were performing it as their transformation into one of the world’s biggest bands was unfolding.

[Batfox Pictures @Batfox_Pictures]

Despite its title, "Losing My Religion" isn't about abandoning faith. Michael Stipe borrowed an old Southern expression meaning to lose your temper or reach the end of your patience, using it to tell a story of unrequited love and obsessive uncertainty. Peter Buck's mandolin, an instrument he had been teaching himself to play, gave the song the unusual sound that became its signature. Included on Out of Time, it unexpectedly became R.E.M.'s biggest international hit. Live, that instantly recognisable mandolin makes the song unmistakable before Stipe even begins to sing.

[Batfox Pictures @Batfox_Pictures]

Although it became one of Red Hot Chili Peppers' biggest hits, "Soul to Squeeze" was almost left behind. Recorded during the Blood Sugar Sex Magik sessions, the song didn't make the final album and instead first appeared as a B-side before finding a much wider audience through the Coneheads soundtrack. Its reflective mood and John Frusciante's melodic guitar work revealed a gentler side of the band that contrasted with their explosive funk-rock reputation. This performance at Bizarre Festival in 1999 shows why the song had become a live favourite in its own right.

[Amelia @CafeConNapalm]

Por favor RT!!

[Batfox Pictures @Batfox_Pictures]

Pete Townshend created the hypnotic opening of “Baba O’Riley” using a Lowrey organ, feeding notes through its repeating marimba-style setting to produce a pattern that sounded almost electronic. The title combined the names of Townshend’s spiritual teacher Meher Baba and composer Terry Riley, whose minimalist music influenced the track. Originally conceived for Townshend’s abandoned Lifehouse project, the song instead opened The Who’s 1971 album Who’s Next. By 1979, drummer Keith Moon had died and Kenney Jones had joined the band, giving performances like this a noticeably different rhythmic character while “Baba O’Riley” remained a cornerstone of their live shows.

[La Tele de Antes @teledeantes]

Actores invitados en Miami Vice. Un lujo.

[Batfox Pictures @Batfox_Pictures]

Richard Ashcroft found the heart of “Lucky Man” in something unusually simple for The Verve: recognising when life is already good. Inspired by the sense of stability and happiness he had found in his personal life, the lyric trades the turmoil surrounding much of the band’s history for gratitude and contentment. Musically, however, nothing is restrained. Urban Hymns surrounds that sentiment with sweeping strings and a steadily expanding arrangement that becomes increasingly cinematic. Live in 1997, the contrast is what makes it work: an intimate realisation carried by a band capable of making it sound enormous.

[Batfox Pictures @Batfox_Pictures]

Before The Strokes became one of the defining bands of the 2000s, "Hard to Explain" was the song that convinced many listeners they were hearing something genuinely new. Its clipped guitars, detached vocals and relentless momentum became a blueprint for the post-punk revival. Featured on Is This It, this performance at T in the Park in 2006 shows why the song remained one of the band's most electrifying live moments.

[The Clinic @thecliniccl]

Solo cinco horas de trabajo al día: isla griega busca voluntarios para cuidar gatos a cambio de alojamiento gratis

https://t.co/nSQbtCLUJW