Sacado de // From –> https://twitter.com/JoePerry/
Me and @chriscornell from @soundgarden pic from Johnny Bionelli pic.twitter.com/917kQ1l4xb
— Joe Perry (@JoePerry) junio 8, 2014
Traducción: Yo y Chris Cornell de Soundgarden, fotografía por Johnny Bionelli.
Sacado de // From –> http://grungebook.tumblr.com/
Sacado de // From –> http://www.billboard.com/
En la portada de historias de Billboard de esta semana, el número uno es Iggy Azalea, quien tiene algunas palabras críticas hacia la joven superestrella que no es ajena a la controversia.
El objetivo fue Lorde y el asunto de su reciente colaboración con los miembros restantes de Nirvana en el Rock and Roll Hall of Fame Induction Ceremony el 10 de abril en Brooklyn.
«No tengo nada en contra de ella, pero creo que cuando estás haciendo un tributo a alguien que está muerto, generalmente debería ser algo entre iguales,» comenta Azalea. «Lorde no está al nivel de Kurt Cobain. No importa si la clavó en la actuación o no, simplemente creo que no es lo apropiado».
Si queréis saber más, pasaros por –> http://www.billboard.com/articles/news/6113852/iggy-azalea-lorde-nirvana-rock-hall-tribute-kurt-cobain
In this week’s Billboard cover story, reigning Hot 100 No. 1 artist Iggy Azalea had some critical words for another young superstar who’s no stranger to controversy.
The target was Lorde and the topic was her recent collaborative performance with the surviving members of Nirvana at the Rock and Roll Hall of Fame Induction Ceremony on April 10 in Brooklyn.
«Nothing against her, but I think when you’re doing a tribute to someone that’s dead, generally it should be the person’s peer,» Azalea commented. «Lorde is not Kurt Cobain’s peer. No matter if she killed the performance or not, I just don’t think it’s appropriate.»
If you want to read more –> http://www.billboard.com/articles/news/6113852/iggy-azalea-lorde-nirvana-rock-hall-tribute-kurt-cobain
Sacado de // From –> https://twitter.com/CT3GUITAR/
Yo y el batería de Scream con la totalmente increíble Scheila Gonzales.
Me and the drummer from Scream hanging with the totally shredding Scheila Gonzales.
Sacado de // From –> carticles/oral-history-soundgarden-superunknown-anniversary-reissue/
Somewhere between a man beating himself bloody with spoons and a producer ripping a door off its hinges, Soundgarden made the record they’d been waiting nine years to unleash. Already beloved in the Seattle rock scene, and reaping the benefits of their town’s early ’90s grunge celebrity alongside their friends Nirvana and Pearl Jam, the band’s previous album, 1991’s Badmotorfinger, had gone platinum and earned a Grammy nomination for Best Metal Performance. They’d helped spur Sub Pop records on to greatness, hit the road with Guns N’ Roses, and commanded the mainstage of Lollapalooza.
But the band that so identified with muscular, pistoning hard-rock believed they were also capable of a deeper pop melodicism, of more nuanced anthems. By the summer of 1993, frontman and guitarist Chris Cornell, a longtime Beatles and Pink Floyd devotee, and bassist Ben Shepherd, a blithely experimental hand with tunings and dynamics, had begun crafting songs that would defy headbangers’ expectations. They recruited the producer Michael Beinhorn — who’d helmed releases by the Red Hot Chili Peppers and Soul Asylum — to help realize their ambitions.
The six months of recording, engineering and mixing that went into Superunknown did not progress as in-step with that idealism. The band clashed constantly with Beinhorn — whose methodical repetition was at odds with their down-and-dirty recording habits — and all began to doubt the results. But their vindication would come, unsubtly, in the radio ubiquity of «Black Hole Sun,» two Grammy wins, and the enduring career the band had cemented for themselves as a result of the album’s success. Furthermore, the record handily dispelled any notion of Soundgarden being reductive metalheads: From the roiling surf-pop guitars of «My Wave,» to Cornell’s menacing, discomfiting vocal operatics on «Mailman,» to the tetchy, bluesy crawl of «Limo Wreck,» and the Gonzo nonchalance and psychedelic-pop agility of «Black Hole Sun,» Superunknown thrived in its eccentric outer limits.
Here, 20 years after the album’s release, is the story behind its creation from the people who were there, plus a Bill Nye the Science Guy cameo, because Seattle was pretty weird back then.
If you want to read the whole article –> carticles/oral-history-soundgarden-superunknown-anniversary-reissue/