El comentario viene a cuento porque un momento clave (EL momento clave) de la película Garden State tiene como protagonista la canción New Slang, de este graaaan grupo.

Y pasa como con Garden State, son sencillos, podrían pasar por una banda que no te cuenta nada nuevo, pero sin embargo suenan tan novedosos... A mi cada vez que los escucho me refrescan, me ponen de buenas. Esas melodías simples... Aaaahhhhhh THE SHINS!!!!

Mi canción favorita se llama Sleeping Lessons y es de el Wincing the Night Away... pero no tiene video, asi que los dejo con Australia del mismo álbum.

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Colin Hay - I Just Don't Think I'll Ever Get Over You

I drink good coffee every morning
Comes from a place that's far away
And when I'm done I feel like talking
Without you here there is less to say
I don't want you thinking I'm unhappy
What is closer to the truth
That if I lived till I was 102
I just don't think I'll ever get over you
I'm no longer moved to drink strong whisky
'Cause I shook the hand of time and I knew
That if I lived till I could no longer climb my stairs
I just don't think I'll ever get over you
Your face it dances and it haunts me
Your laughter's still ringing in my ears
I still find pieces of your presence here
Even after all these years
But I don't want you thinking I don't get asked to dinner
'Cause I'm here to say that I sometimes do
Even though I may soon feel the touch of love
I just don't think I'll ever get over you
If I lived till I was 102
I just don't think I'll ever get over you

(Courtsey:http://www.stlyrics.com/lyrics/gardenstate/ijustdontthinkillevergetoveryou.htm)

My coffee plunger broke and I got over you...

La pelicula la escribe, dirige, produce y protagoniza Zach Braff, famoso por ser JD en la serie Scrubs. Además, Braff escogió cuidadosamente todo el material de la banda sonora y esta fue todo un éxito, tanto en Estados Unidos como en el resto del mundo.

Aquí dejo el trailer de la pelicula, que a mi personalmente me encanta. 

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• Romanticism: Evidence of a remarkable shift in sensibility. New emphasis on imagination, feeling, and a new value of the primitive.
• "In the middle of the century, reason was the guide to certainty; at the century's end, feeling tested authenticity."
• Nathan's LP Connection of the day: "William Blake hinted at the child's superior insight, and Wordsworth openly claimed for the infant holy wisdom inevitably lost in the process of aging. " This pretty much is the entire point of The Little Prince.
• Romanticism was brought on by the concept of revolution. As seen is such work as Pope's Essay of Man and Mary Wollstencraft's Vindication of the Rights of Woman (the first work to mention a joint ideal between men and women to fulfill human possibility).
• The expansion of a "middle class" wealth group changed the economy and allowed for less distinction between rich and poor.
• Inventions were being produced at an alarming rate across the world, changing things drastically
• Romantic's responded to this violent change with fear of where the old was to go when the new was so strong.
• Individualism focused on finding authority in oneself as opposed to in society.
• Jean-Jacques Rousseau writes "...I will even venture to say I am like no one else in the world."
• Individuals could see themselves as unique and most importantly as good people.
• Individualism opened up the door for a whole new psychological style of writing. Even allowing Victor Hugo to explore the psychology of Satan.
• Later in the nineteenth century we began to see the consequences of the new and hope in a perfect world began to fade. That is why most turned to literature, the perfect place was in their imagination.
• Nature became almost a state of mind in nineteenth century literature.
• The ideals of romanticism, specifically emphasis on emotion have become standard for most modern literature and most modern lives in general.

i'm having a wonderful day. maybe i'm in such a good mood because i didn't take the diet pills today. maybe it's because i had a much needed night out last night. all i know is that my head is much clearer. last night i was back and forth between wanting to end it with the boy and wanting to be his girlfriend. i like him. a lot. and he knows it but he won't make the commitment to me. i'm at the point where i can go his way or the other and i as much as i want to go his way, i don't want to get in to deep and get hurt again. i'm not usually huge on the title thing because i couldn't care either way as long as i'm happy. but i do like him and i'm technically not his girlfriend, we're not even technically dating. but we are. whatever. i'm worried that i'll invest too much and he's afraid to make a commitment and who am i to tell anyone what to do. i'm rambling. but honestly. he's not my boyfriend and he can do whatever he wants and sometimes that frustrates me, and scares me. because the last guy fucked me over so much. he couldn't make a commitment either. to me. he could clearly make commitments to other people. bastard. whatever i'm not the kind of girl that needs a title. i hate talking about feelings. i'm pretty much like a guy. BUT STILL i just don't want to get hurt. so i was gonna cut it off completely. BUT i think i'm just gonna continue to go with the flow and if i get hurt, i get hurt. i'll heal and move on. it happens. that's life. and it fucking hurts sometimes but it's all we've got. (okay i kind of stole that line from garden state. kind of)

so that's kind of frustrating me. but that's not the only thing. classes start the 27th. problem is.. i have an interview on the 27th and my class schedule depends on if i get the job or not. it's a full time job so i'd only take a class or two. but i have to register by the 26th. i guess i'm only gonna register for one class but if i don't get the job i'm screwed because then i'm barely going to school, i'm jobless AND i have no medical insurance. laksdjflkjsdf. it's so, so, so frustrating.

so i was in the mall the other day shopping out my feelings and i noticed that urban behavior was having a sale. a BIG sale. now i'm not one to shop at stores like urban behavior.. not my kind of store. but i just couldn't resist NINETY PERCENT OFF and buy one get one FREE jeans. I spent $100 dollars and got two fall jackets, a cute top, and two sweaters. TWO JACKETS and STILL only $100!!!

XOXO, missfab.

1. Phantom of the Opera - I think the music in this movie is better than the movie itself, at least the recent one by Andrew Lloyd Webber - it's one of mine and dh's favorite movies, and we always end up getting the music stuck in our heads for weeks afterwards...
2. Garden State - I actually listen to the Garden State soundtrack all the time and love it - it's very indie rock / folky and all the different artists are so good. I think my favorite is probably 'Only Living Boy in New York' by Simon and Garfunkle but the whole thing is excellent.
3. Juno - The only thing better than the movie Juno, was the soundtrack. I especially love that song, "We sure are cute for two ugly people..." - oh the song is called 'Anyone Else But You' and it's by the Moldy Peaches but I like Ellen Page and Michael Cera singing it even better. And again, I always get that soundtrack stuck in my head.
4. Chicago - Cell Block Tango, All That Jazz, Razzle Dazzle - the music IS the movie and both are so, so good! A lot like Phantom of the Opera I guess in that it kind of started with the musical and was turned into a movie later so obviously the music is great, but yeah there you go...
5. Across the Universe - Being born in the 80's, I can say I love the Beatles, but you know I can only love them so much, having never seen them in their hayday, but this movie made the music come alive for me in an awesomely unreal kind of way. And now I love the Beatles in a whole new amazing way. And yeah of course the soundtrack is amazing - how could it not be?

So what are you're Top 5 Movie Soundtracks?

I am mesmerized by love.  

Is love a reaction to some soft skin? Or is love just the realization that the person you're with cares enough about you to stick around and provide for you?  And most importantly, is love all you need?  I suppose you can live by that when you're a teenager and everything else you need is provided for you by your parents.  Love can be as exciting as you want it to be because the security comes from a different area of your life.  But I wonder, what can love not overcome?  Death?  Dukes and contracts?  The maharajah and all his wealth?

I find myself conducting experiments to see how far I can push the love I receive, to test its righteousness, its faithfulness.  Is there a breaking point to true love? And does one fall into true love in that movie-like way?  I wish every single one of my dates involved blonde bimbos trying to get my prom king, a battle with cancer, or a romantic moment in the middle of starlit road, but I've slowly become accustomed to Lord of the Ring and Jason Bourne marathons.

In truth, I do want the quintessential romantic relationship.  I want to be kissed in the rain and I want Hitch to send me a package with a walkie talkie in it rather than calling.  I just don't have the gumption to look for that guy, or to wait around long enough for him to find me.  Or maybe I don't give my guy enough credit.  Our love could certainly nourish the jejune and bring enlightenment to many.  But, at my age, I find myself constantly debating whether this is it or if I could be available for my Mr. Right to plop down next to me in a doctor's office and ask me if I'm the girl who played the retarded football player in a movie once.  Or if I'll end up marrying one adorable but bland boy when another is at my door, faking Christmas carols to trick the husband upstairs as he shows me a poster board that states, "To me, you are perfect."  Or am I too intoxicated by these movie moments to realize that love actually is much more simple?

My favorite idea of love came from the gentleman who plays Silent Bob.  He said he'd find love in an Iris.  It's a film term; a technique used to show an image in only one small, round area of the screen.  An Iris-In moves inward from all sides to leave only a small image on the screen, i.e. the love of my life.  I'd be walking down the sidewalk and suddenly, my eye, mind, soul, etc. would zero in on one person.  And all in the world would be set right.

I want to say I love him.  My boyfriend, of course.  I pretend my kisses speak for me as I gently graze his cheek, his nose, his ear.  My heart beating the mantra I'm chanting in my head: I love you, I love you, I love.  

And is it better to be loved or to love?  I've been in three relationships before this one, all lasting under a year.  Each of them have professed their love for me.  As far as I know, I have been loved.  However, I'm skeptical as to whether or not I have given true love in return.  My relationship usually ends after those three words are dropped at the doorstep of my heart.  I shut down, spinning inward and avoiding all confrontation.  But now, I embrace my own struggle with loving someone; I cherish it.  My life is no longer just about me.  I cannot wait for the day when my love and my lover's love fall into sync with one another, humming the tune to our heartbeats: I love you, I love you, I love.

I am discovering the strength of my love and look forward to the expansion that will surely come.  I'm not quite ready to allow the mystery of love and its definition in my life to be fully exposed, so I will love to the best of my ability and hope for love in return.

Fondly,

M

[She] exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures."

[caption id="attachment_338" align="alignright" width="212" caption="So kooky! Yet so conventionally attractive (phew). "][/caption]
Natalie Portman in Garden State, I'm looking at you! Why do I hate this kooky archetype so much? Well, for one, she's always really fucking annoying, wittering on about pet cemeteries or rainbows or whatever crap the scriptwriter picked at random from his (and these characters are pretty much always written by men, presumably those who wish more girls would be pixie-like rays of sunshine rather than real people with boring stuff like jobs and political opinions) Big Book Of Kook. But here's the core of the MPDG's irritatingness:

the Manic Pixie Dream Girl archetype is largely defined by secondary status and lack of an inner life. She's on hand to lift a gloomy male protagonist out of the doldrums, not to pursue her own happiness.... Oh, Natalie, your unconventional ways are so inspiring, and your beauty is surprisingly non-threatening!

I've got to disagree with the inclusion of Shirley Maclaine in The Apartment in this list, because her character is actually pretty world weary and cool; likewise, Holly Golightly is a bit too reserved for a true MPDG. And I think of Katherine Hepburn in Bringing Up Baby more as an archetypical screwball comedy pratfaller than a kooky pixie lady (although technically, of course, she fits the bill). But the definition of the MPDG remains spot on. No wonder none of them ever seem to have any female friends. You can never imagine any of the MPDGs saying anything funny or snarky - they just like laughing at life! Everything's just so crazy! So they've made transforming some boring bloke's life into their calling, and will work tirelessly until the boy du jour has learned how to ride a vintage motorbike, or indulge in some light shoplifting, or wear an unusual hat, or receive mildly non-vanilla sexual services, or whatever it takes to loosen him up. In fact, when you think about it, being a Manic Pixie Dream Girl all sounds like a lot of work, really. Kind of makes me grateful for my office job.

It was on getting to the quarry scene that I was hit with just how perfect the music was. The film as a whole is filled with great tunes, all of which seem to compliment the mood. This tune, Simon and Garfunkels' THE ONLY LIVING BOY IN NEW YORK is PERFECT which gives the scene a poignant, beautiful quality.

Today I bring to you the mind-blowningly incredible (yet tragically disbanded) South Carolinian alternative rockers Jump, Little Children. It's funny because if you take the comma out of the band name, they seem to be imperatively encouraging you to sneak up on small children and beat them senseless. Oh, punctuation, where would I be without you? Off jumping little children, I guess. But let's forget my little grammar lesson--I'll leave that to Eats, Shoots and Leaves.

Jump, Little Children was formed in 1991 at the North Carolina School of the Arts. They began their career playing Irish folk but soon began incorporating more of an alternative rock/pop sound into their original work. Their work ranges from electric guitar-heavy alternative rock to peacefully acoustic and folksy pop. Whatever the orchestration in the background, lead singer and guitarist Jay Clifford's voice drives right through it and is among the purest and most distinct in music today. He never seems over matched by a song or sounds like he's straining his voice; it is always effortless and beautiful.

On the other hand, when Matthew Bivins takes the lead on vocals, Jump, Little Children's sound changes entirely. Often backed by Clifford's harmonies or ethereal background vocals, Bivins spins tales slam poetry-style atop the atmospherically appropriate bass and drums. The vignette style lyrics read like scenes of a play and Bivins' performances of these songs are known to captivate audiences at live shows.

I have two picks for today. One Jump song featuring Clifford and another featuring Bivins.
While there are many Clifford Jump songs I could pick from, my personal favorite is a track off of the 2001 record Vertigo called "Lover's Greed:"

(Close Your Eyes ran a close second; you can find it here.)

As for a Bivins number, it was difficult to choose. It's a toss-up between The Singer, Body Parts and Habit. Because this is a great live performance, and because I can't find The Singer on YouTube, I give you pick #2: Habit.

If you like these, I suggest you check into more Jump, Little Children (official site / myspace). Sadly, the band is on indefinite hiatus after a messy situation with their record label, but they have plenty of music in their repertoire, and it's all good. Also, they're all pursuing their own side projects. Jay Clifford's new solo CD, Driving Blind, is absolutely incredible. You can check him out at his myspace. I highly recommend his song "Know When to Walk Away"--even if Zach Braff is making the video for it. I hope it's sooo quirky and hip and underground like Garden State.