Shatner gained a new starring role on television as a police officer in T. J. Hooker, which ran from 1982 to 1986
He began appearing in many roles in television and movies, such as two classic episodes of The Twilight Zone, Roger Corman’s Big Bad Mama, and the TV movie The Horror at 37,000 Feet, which many fans believe is his worst work.
K. Flay is the face of the future of hip-hop. A smart, funny white girl from the suburbs. Who could have guessed?
Move over, gangsters and thugs. Get ready for the next evolution of hip-hop music. Just like in everything, bored overprivileged white people have hijacked another art form and transformed it into something new. I am talking about Nerdcore rap, the recent generation of nerdy white kids making beats on their lap-tops and rapping about video games and comics. Leading the way here are MC Chris, MC Lars, YT Cracker, Schaffer The Darklord (STD), MC Frontalot, and, of course, K.Flay.
K. Flay is the real motherfucking deal.
Her name Kristine Flaherty, and she started making music a few years back while getting degrees in psychology and sociology at Stanford University. She has opened for Ludacris and Snoop Dog, and toured with Passion Pit. She hasn’t even released a full album yet, but you can download some insane mixtapes and her amazing EP at her website, http://www.kflay.com/site/. She is an incredibly talented remix artist as well, recently killing it with her official remix of a tune off the new Beastie Boys album, “Don’t Play No Game That I Can’t Win.”
The song that follows, “Doctor Don’t Know” is a great example of K.Flay’s distinct, original sound. Her genre-bending beats and rhymes made me an instant fan.
Check out her awesome collaboration with the great MC Lars for further evidence.
Single & Famous.
Want to know what it is like to be young, hot, and talented?
Watch this clip.
In an interview on http://www.thebaybridged.com, she says of her influences :
“I’ve always been drawn to confessional lyrics. Regardless of the genre, that’s what really captivates me as a listener. Once I figured out that I liked making music and was semi-competent at doing so, it allowed me to open up and dig into my own head. Right now, my motivation for writing songs and composing music is discovery through self-expression. Which might sound a little art-school pretentious, but I mean it in a totally middle-school-girl-writing-in-a-diary way.”
In the same interview, when asked about her shows being categorized into a certain genre, she responds, “From my perspective, it’s okay for shows to be a little like mini festivals, in that you’ve got artists on stage who represent different genres but appeal to a similar crowd or a similar aesthetic or all just tell weird jokes. As an audience member, I like to be introduced to something new at shows, something unexpected. So it’s been cool for me to be that unexpected element at a lot of gigs. Plus, I haven’t really figured out my own genre yet . . .”
Her live shows seem to vary depending on her mood, switching from longing acoustic jams to frenetic hip-hop flows. Check out the video below, as she speeds it up, and out-raps all of those “fastest rapper alive” geeks on YouTube.
“Smog! Mass illiteracy! No, but really, I’m splitting my time between recording new material, playing live shows, and working on a fresh performance setup. It’s a cool cycle. The studio stuff gets me hungry to go out and play; the live show gets me excited to create new stuff.”
Man Man is an incredible band, hatched from the mind of Honus Honus, right around the time we all expected the world to end in fire and computer failure, the year of our lord 2000. They are a glorious mixture of chaotic sound experiments mixed with incredibly insightful and provocative lyrics.
According to their Facebook page, all was a chaos, unimaginably limitless and without shape or form. Eon followed eon, particle became mass: then, lo! out of this boundless, shapeless mass something light and transparent rose up and formed the heavens. And from the heavens fell five shapes, loud and heavy and jumbled, and from these rough forms were shaped and sculpted the first firsts: Honus Honus (the High-August-First-Voice), Sergei Sogay (the Divine-Center-of-Four-Strings), Pow Pow (the August-Beat-Divinity), Critter Crat (the Divine-Twang-and-Everything-Else) and Chang Wang (the Other-Twang-and-Wondrous-Everything-Else).
Their live shows seem to be loose free-form jams, including the audience as much as possible to create a unique experience each night. They like to warm up by walking up and down the streets of whatever town they have landed in, performing live, using the world around them as percussion instruments.
There is so much lovely commotion to be made, Man Man famously does not break between songs during their live shows, but rather moves, revolving-door fashion, from one song to another, commandeering and discarding any of number of the instruments lying at their feet as the mood strikes and the music dictates.
Comparisons to the usual avant-garde forefathers – Captain Beefheart, Frank Zappa, Tom Waits – persist, but Man Man are decidedly not identity thieving or even overtly referencing these spiritual godfathers in their music, but rather are acting as torchbearers of the unusual, the spontaneous and the plainly fucking funny in an increasingly homogenized world. “I’m just making the songs I know how to write,” says Honus. “The one thing I want to clarify is that this is an organic project — who we are, the kind of lives we lived before we met each other, and the lives we have together. [That’s] what makes this band and this music what it is. I would say being broke is one of my biggest influences. That and being in and out of relationships. Those are bigger influences than listening to a Beefheart record.”
They claim their major influences to be Baseball, Basketball, and Beyonce.
It would truly be a mistake to write off Man Man as simply “experimental,” “psychedelic” or even “jokesy,” for they are some, but mostly none, of that. Their music is clearly rooted in rock, blues and pop, and they can really play all those instruments.
Their honest influences include, but are not limited to:
Lord of the Flies. Boar Hunting Expeditions. Aztec Pajama Rituals. Kilgore Trout. Real Genius. Phillies. Sun Ra. Mind Stickers. Vietnamese Hoagies. Purple Bottomous. Yeti Mating Rituals. Tragedy. Allen Iverson. Holy Mountain. Nina Simone. Dock Ellis. Piston Honda. Avocado Bros. Mr. Jarry. Mr. Hojjy. WHISKEY TROUBLE. Watermelon Sugar. Girls Girls Girls. Darth Mii. Doctor Bogs. Bobby McFerrin. Kung Fu. Log Flumes. Soda Popinski. Turkeymoth. Sex. Mistakes. Broken Hearts. Green Mango Mayhem.
Their music speaks for itself, in such fantastic songs as “Pirhanas Club”,
“The Ballad of Butterbeans”,
and so many more.
“Engwish Bwudd” is a stand-out song, if only for the grinning gimmick of the Jack and the Beanstalk refrain.
“Poor Jackie” starts off innocuously enough, but transforms into a dirge of pure desperation that would probably make Frank Zappa do cartwheels in his grave.
“Rabbit Habits” is about as honest a song as has ever been written, with a great video included.
“Whalebones” is a song of such startling depth and raw emotional power that I can hardly stand to listen to it without losing some much-needed eyeball moisture.
The new album “Life Fantasic” is out now on ANTI records.
Well worth a purchase or legal download.
Check it out, students, and don’t forget to check back here often for more cool music suggestions.