5 James-Bond-Cocktails (inklusive Martini) zum Probieren ...

Cocktail Chemistry - Vesper Martini from Casino Royale

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Cocktail Chemistry - Vesper Martini from Casino Royale

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Cocktail Chemistry - Vesper Martini from Casino Royale

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How to make the Vesper Martini from Casino Royale.

How to make the Vesper Martini from Casino Royale. submitted by tapetkabinett to movies [link] [comments]

How to make a Vesper Martini from Casino Royale.

How to make a Vesper Martini from Casino Royale. submitted by tapetkabinett to videos [link] [comments]

Compared to his movie their his book as an agent a lot harder cause don't drive Aston Martin Called martini Vesper If you don't believe me pick up Casino Royale Ian Fleming first book from 1950

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Not another James Bond update

For anyone who's interested, here's a complete list of all the James Bond references I dropped on my FOREX/Bitcoin scammer.
For anyone who hasn't read it, I told the guy all the cash I had ready to invest was in the form of Bonds- My initial plan was, if he was willing to take possession of the Bonds, I might have actually sent him a package COD, or try to get him to pay the insurance on it- And of course, when he opened the package, there would be a stack of signed pictures of every James Bond, signed very badly- Think "Jim Bond" "Jimmy B" "Jimothy Bond" etc.

But he wasn't taking the bait. So, instead, I told him I had in fact not inherited bearer bonds, but pics of James Bond, and decided I'd run with it from there, dropping Bond hint after Bond hint on him- Here's the list.

My uncle's barrister in South Africa, Alec Trevelyan- 006, played by Sean Bean.

Co-worker fell of a scaffold, scene from Quantum of Solace- Also mentioned he had The Living Daylights knocked out of him

Email from the barrister was labeled For Your Eyes Only

As recipient of my uncle's estate, I was to take care of his eight cats- Octopussy

as well as a few other Nick Nacks- Henchman from Man with the Golden Gun

My uncle spent some time on Her Majesty's Secret Service

He also had some Odd Jobs

Never say never again

From Russia With Love

You Only Live Twice

Diamonds are Forever

Mr. Wint and Mr. Kidd- Henchmen in Diamonds are Forever

My financial adviser, Mr. Mendel- He was the Swiss banker in Casino Royale

Dr. No

Mentioned playing cards at a casino with some high rollers, and my drink got spiked

Told him I could grow my wealth even if it was at 0.07 percent rate of return

The World is Not Enough

Mr. Sakata is the name of the actor who played Odd Job, he was asking me to invest in cutting edge hat tech with a killer app

Helicopter ride at the dia de los muertos parade- Opening scene of Specter, it left me feeling Shaken, not Stirred.

A tiny bit of Solace- A Quantum of it to be precise

Referenced Jaws while talking about my dentist friend- Even told him "All of this has something to do with the Bond."

Sky is not failling

No Time to Die, and Die Another Day in the same damn sentence

Invested in the LOTUS- The underwater car from the Spy Who Loved Me

Also invested in Laser Pelvic surgery, from the "I expect you to die" scene

Said he had a golden touch, bit of a stretch but Goldfinger


Vodka Martinis

Our cash courier, Dominic Greene, the villain from Quantum of Solace- I made sure to ask the scammer to offer the poor guy a glass of water since he dies in the desert, thirsty enough to drink a can of motor oil. (Spoiler alert- Huge spoiler right before this alert.)

Possibly my favorite- Mr. Gould and Mr. Gunn. Gould and Gunn. Golden Gun. Get it? I thought I had peaked with that corny piece of work, but then I also managed to find a way to tell him I was running out of Bond references- And he still didn't catch on.

Finally, as of our last encounter, I managed a Timothy Dalton reference, along with License to Kill. I have not heard back from him yet, it's been a quiet few days. I did report the guy to the CFTC, but I think I will also be sending him the biggest glitter bomb I can find since I have his home address.
submitted by DrOpticsPlus to scambait [link] [comments]

We got an answer to the “how is Bond never phased by his life” in Casino Royale

In 1995’s Goldeneye, Alec Trevelyian says: “I wonder if all those vodka martinis silence the screams of all the men you’ve killed or if the arms of those willing women help you find forgiveness in all those you’ve failed to protect”. An interesting analysis from 006, someone who knows 007 the best. Throughout the movies we see each version of Bond kill an absurd amount of bad guys without the blink of an eye and some of his Bond girls end up dead fairly quickly as well. Jill and Tilly Masterson in Goldfinger, Tracy Bond in OHMSS, there’s a lot and I know I’m forgetting a ton. He does all this and never mentions it, he keeps on and keeps up with his witty jokes. In Casino Royale, also directed by Martin Campbell just like Goldeneye, after Bond kills the two guys in the stairwell he goes back to to his room and chugs a glass of bourbon and looks himself in the mirror like “wtf is my life”. The weight of the people he kills and those who have died because of him (like Solange in The Bahamas earlier in the film), weigh heavy on his psyche. Booze help sooth this. They “silence the screams of all the men he’s killed”, and after Vesper dies, someone he truly loved, he becomes a true womanizer to forget about her . In Quantom of Solace he sleeps with Fields and she dies. In Skyfall with the girl on the boat and she’s later shot by Silva. He sleeps with Monica Belluci in Spectre. He sleeps with women now to “find forgiveness for all those women he failed to protect”, like Vesper. Martin Campbell answered his own question back in ‘95 and I’m all for it. He made Bond an even more complex character.
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Skyfall (Bond 23 Review)

Skyfall (Bond 23 Review)
Probably the best made Bond film, though it just misses the top five because of several factors. Skyfall feels different from Craig’s first two films. It made the wise decision of not referencing lingering plot threads from previous films, allowing it to stand on its own. Perhaps, this is why Quantum of Solace and Spectre are not well-regarded: they tried to build off previous installments and retroactively hurt the stories of their predecessors.
Skyfall draws heavily from the past, returning to the style of earlier entries. Casino Royale is my favorite Bond film, but I do think it was heavy-handed in in its attempts to differentiate Craig from previous Bonds. Bond responding with “Do I look like I give a damn?” when asked if he wants his martini shaken or stirred feels less like a mythology gag and more of a dig against the tropes the franchise created. Shaking up the formula is fine, but changing too much runs the risk of losing what made the franchise what it was in the first place. I appreciated how Skyfall simultaneously deconstructed (an overused word today) and reconstructed the character.
As jarring as it is to see Bond go from being a loose cannon novice to a veteran closer in characterization to the previous Bonds, Craig’s played out Bond addicted to alcohol is quite close to the novels, and nicely picks up where the Dalton films left off. Skyfall realized that Casino Royale was a one-time thing and returning to the formula while adding enough fresh elements was the right way to go. Licence To Kill and Skyfall proved that the films can still be fresh without stripping back almost every aspect of the films.
The cast is great. Judi Dench gets an expanded role as M and it is nice to see her relationship with Bond become a strong focus. As sad as it was to see Dench go, I think her character had a fitting end. Skyfall repeats quite a few beats from previous films, but integrates them quite nicely. Javier Bardem’s Silva is similar to Christopher Walken’s Zorin due to both being major psychopaths. Bardem’s first scene was fantastic and I thought the concept of Bond facing off against a former MI6 agent was done much better than in GoldenEye, where Sean Bean’s Trevelyan was pretty much your typical Bond villain in the end. The mid-plot twist where Silva “wanted to get caught” was the worst aspect of the film for me though, and Q was quite idiotic for plugging in a known cyber-terrorist’s computer into MI6’s servers. Also, the train almost hitting Bond underground made no sense unless Silva had predicted that Bond would follow him. He definitely should have come up with a better plan for preventing Bond from stopping Silva’s assassination of M. Bond films are not the best written films, but they made up for their inconsistencies by not taking themselves seriously. A problem with the Craig films is that they take themselves seriously, but also fall prey to poor writing. This only makes their flaws more evident, which is why Spectre is a mess. Bérénice Marlohe has a small role as Severine. She is similar to Andrea Anders, another ill-fated Bond girl who wants to leave her life as mistress to the villain. The love scene with Bond is a bit off considering she was a child sex slave, but I would not go so as far as to call it rape. The late Albert Finney is nice as Kincade, though one can only imagine how it would have been if Sean Connery accepted the role as intended. After ten years, Q and Moneypenny return, portrayed by Ben Wishaw and Naomie Harris respectively. No one can ever beat Desmon Llewelyn, but Wishaw is a fine counterpart. Playing up Q’s computer skills to the point of having him design advanced security protocols was silly considering he then made the mistake of plugging Silva’s computer to the servers. Harris probably has the best chemistry of any young female in Craig’s era. I have heard some take issue with the implication of Moneypenny sleeping with Bond, but Lois Maxwell (forever the best Moneypenny) and Connery (tied with Dalton for my favorite) had conceived a backstory where Bond and Moneypenny had a romantic weekend and decided to stay apart, so it is not too far off from the originals. Ralph Fiennes makes his debut as the new M and I think he has done a fine job so far, playing one closer to Bernard Lee and Robert Brown while having a larger role.
One area where Skyfall absolutely outclasses Casino Royale is in cinematography. Ignoring the subject of films of the past twenty years using color grading, this is the best-looking Bond film, superior to On Her Majesty’s Secret Service, in my opinion. The Shanghai and Scotland scenes are breathtaking and it is nice to see some nice shots without a yellow palette. Skyfall is an artistic film, and Sam Mendes ran out of ideas quickly. Filmmaking has changed and using the same director for multiple films is not going to work like it used to. Martin Campbell had eleven years to refine his skills, but Mendes’s lack of originality between Skyfall and Spectre is very evident.
The same can be said of Thomas Newman. I have a fond spot for Newman’s score, despite lacking the “Bond” feeling John Barry and David Arnold delivered. It is tied with The Spy Who Loved Me for my favorite non-Barry score. “Shanghai Drive” and “The Chimera” are two of my favorite tracks. The immersion when watching Spectre for the first time in theatres was broken when I kept hearing cues from Skyfall.
Despite being a good film, Skyfall is a bit harder to watch again. It is slower than Craig’s first two films, but this also works to its advantage since this is the first time we have had a Bond film that does not throw constant or tacked-on action at your face since Licence To Kill. Pacing is subjective, but the middle does drag on with Silva’s nonsensical scheme. The opening and ending both provide great action scenes as a respite. Skyfall was the first Bond I saw in theatres and the pre-title sequence, which is a welcome return to the traditional style, still excites me. The climax at Skyfall is unparalleled by none but Licence To Kill. I felt that the Aston Martin DB5’s previous appearances in Goldeneye, Tomorrow Never Dies, and Casino Royale were blatant attempts at nostalgia, but there is some purpose to the DB5 here. Craig’s films were grounded in reality, but the return of the gadget-laden car brilliantly supported the film’s theme of returning to the old ways.
The ending with the old MI6 crew back, and the wooden office with a leather door (a sight that brings tears to one’s eye) was a true return to where we left things off in 1989 and we could finally have Bond undertake traditional adventures while maintaining the originality Craig’s era brought (or so we thought). It may not surpass Casino Royale, but Skyfall deserves applause for respecting Bond’s past while moving forward.
submitted by Cyborg800_2004 to JamesBond [link] [comments]

[Bond film series] James Bond can't read, that's why he never bothers with paperwork. He's winging it pretty well. Good for him

I expect I have some explaining to do before this gets relegated to /ShittyFanTheories/
James Bond has been around for decades. His 25th film will be out in a few months. That's at least 25 high stakes missions facing of against the likes of international terrorists, criminal conspiracies, and rival intelligence agencies. You would expect this to entail a lot of paperwork. Bond doesn't seem to read much of it. Granted, this wouldn't make for action packed cinema. But even the more cerebral Bond films don't see 007 reading all that much. He'll get a verbal briefing, handed a folder, and he'll look through the pictures. It's more digestable for the audience, it's a more cinematically compatible way to deliver exposition... but it'd also make it easier for you hide the fact you can't read.
Now, the various Bonds have different attitudes and different approaches to their missions. These attitudes even change between entries in the series. Some of the Bonds are more flippant (Brosnan destroying the manual for the invisible Aston Martin in Die Another Day). Some are laser focused on revenge and aren't stopping to gather intel (Dalton in License to Kill, Craig in Quantum of Solace). One is an absolute know-it-all who repeats non-sequitors on trivia he picked up somewhere (Moore). These are all justifications Bond would use to cover up for the fact that his peers never see him read.
In the version of Bond we get in the novels we can follow his internal monologue. If he reads something, we read it with him. He also can't hide something from the audience. If he's pretending to do something we see the pretence. This isn't true of the cinematic version of Bond. We don't hear his thoughts. He can stare at a piece of paper for an entire scene but we've no way of certifying that he's absorbing any of it. The only proof we have is him repeating the information that was written down. In Casino Royale (2005) Vesper shows him her business card when they first meet. He repeats her name back to her. But for all we know he was given a verbal heads up on who he'd be working with on his mission. In the same scene he has a menu in front of him the whole time but we cut away before he has to recommened a dish or order one.
He always orders the same cocktail. He has never once tried to read a cocktail menu. There is no guarantee that the bar he goes to serves a martini, but it's a popular drink, making it a safe bet.
Tbh, if he can read he's just being needlessly flippant and reckless when approaching these high stakes missions. I'd rather believe this highly trained superspy is struggling to overcome/hide a disability, and succeeding against the odds, than he's arrogantly endangering the whole world because he wants to show off.
More details in video form: https://youtu.be/9CeUOu4BuE4
Edit: At the point where this post has been up for 7 hours and had over 100 comments (including numerous ones of my own) I'm noting that none of the counterpoints posted so far feature Brosnan's Bond, despite his 4 film run as the character. This lends credence to my suspicion that he is the least literate Bond.
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Rebooting James Bond, again.

Rebooting James Bond, again.

007, reporting for duty.
As the world waits for No Time to Die to arrive, people are already talking about where the franchise might go next. Are we getting a sequel? A reboot? Spin offs?
Let's say they reboot it. After the gritty, more modern and (relatively) realistic take on the Bond mythos, let's imagine a return to form. A return to the more classic feeling, larger than life Bond stories, while still keeping a more modern aesthetic.
James Bond in...
Directed by-
Christopher McQuarrie
Written by-
John Logan
Music by-
Benjamin Wallfisch
Richard Madden as James Bond
Antje Traue as Sofia Wolff (Bond girl)
Viggo Mortensen as Lukas Richter (villain)
Jason Isaacs as Anatoly Ivanov (Russian contact)
Richard E Grant as M
Toby Jones as Q
Emilia Clarke as Moneypenny
Title theme-
Enjoy the Silence by KI Theory
The film is set in 2002, in the post 9/11 world amidst the chaos of the war on terror. An up-and-coming James Bond is assigned to investigate German private military contractor Lukas Richter, whose company Skybound is suspected of espionage against NATO.
Richter is attempting to seize control of a system of military satellites mounted with advanced laser weapons. With the satellites he intends to force the governments of the world to a standstill under his command. Secretly, he is being aided by the organization calling itself SPECTRE.
Bond is aided by GSG 9 officer (and love interest) Sofia Wolff, and the film takes him to Paris, the Swiss Alps, St Petersburg and eastern Berlin at the climax.
The themes of the movie are security vs liberty, whether a safer and “silent” world is worth giving up one’s freedom, one’s voice.
Bond a mix between the gritty, cold hearted assassin of the books and the snarky, debonair charmer of the movies. He’s riddled with pain over his orphaned childhood (and the events of Casino Royale are implied to have happened), constantly drinking and womanizing and gambling to distract himself from the pain of it all. He puts on a brave and cheerful facade with his colleagues, while in the field he is utterly ruthless.
Somebody like Richard Madden would have little trouble as Bond given his past work in Philip K. Dick's Electric Dreams and Bodyguard.
The villain, Lukas Richter, is a decorated former soldier who broke bad and went private after a mission gone wrong in Afghanistan in 1997, where he put civilians in danger and received a scar after a brief tussle with Bond. Seeing the world as irreparably broken he decides those with the power should make the rules however they see fit, and becomes an ally of SPECTRE. He's a warning of what James could one day become; an patriotic soldier who led a violent life until it finally broke down any morals he had and replaced them with bitter cynicism.
Viggo Mortensen is a fine actor and would add an extra layer of depth to an otherwise straightforward bad guy.
Sofia Wolff is a tough as nails badass who in many ways is a match for Bond. Hard drinking, sleeps around a lot and has a sarcastic remark for almost any occasion. She also has contrasting tastes. He likes cars, she likes motorcycles. He drinks vodka martinis, she downs whiskey. She carries a Walther P99 while he favors the classic PPK. And for the sake of playing with cliches, it’s Wolff that first makes a move on Bond.
Antje Traue is really cool, easily one of the highlights of Man of Steel (a movie I still enjoy) and perfect for a modern Bond movie.
Grant, Jones and Clarke are all talented and likable actors who’d more than fit their supporting roles. Moneypenny in particular is a close confidant to Bond, at the moment his only friend in MI6.
Hope you guys like it. If you have any ideas for actors, gadgets or stories, post it in the comments below.
submitted by Elysium94 to fixingmovies [link] [comments]

Why I feel Quantum of Solace is a better film than Skyfall

Despite the common consensus that Daniel Craig’s second outing is a weak entry in the series, I swear this film improves every time I watch it and is deserving of re-appraisal.
Critically panned back in the day, and for mostly understandable reasons – Quantum of Solace had a troubled production in the midst of the 2007-08 Writer's Guild strike, that would result in the feature having the bare bones of a script and, according to Daniel Craig, leaving himself and the director to haphazardly pen scenes, in some cases on the day of shooting.
Such a rushed affair does not bode well for a sequel to what is arguably the most perfect Bond of all-time, Casino Royale. And upon release, I remember leaving the cinema feeling confused and having a bit of a headache. Critics were correct to point out the at times incomprehensible editing choices and rapid cuts that made certain action set pieces feel like an epileptic fit. However, on this rewatch, I found it to be much less of an issue than originally thought and, at the risk of making everyone reading this groan with a cheap, A-Level Film Studies level insight, worked well to convey Bond’s fractured, relentless state of mind following the lingering trauma of Casino’s third-act.
To begin to explain my delusional admiration for Quantum, for a film that had real problems in the writer's room, good god is this a much better script than Skyfall. Characters actually feel human and dialogue authentic – no cringeworthy, half-baked one liners in sight, no obnoxious, fourth-wall breaking references to past glories (yes I'm aware of the Goldfinger painted lady callback, but this works in the context of the scene and doesn’t feel out of place) and most notably, the relationship between Bond, his leading lady Camille and his lovably wry Kerim Bey-esque contact and friend, Mathis, believable and engaging. This does wonders for my investment in the piece and goes a long way to patch up what is admittedly a pretty skeletal plot. Like Casino, the film’s sparing use of dry humour is made all the more effective when it lands and never feels incongruous with the established gritty tone of the Craig timeline; something Sam Mendes would fail to grasp four years later.
I was also impressed by Quantum's willingness as a mainstream movie to showcase a cynical, post-9/11 worldview on foreign policy, the oil industry and Western government officials casually getting in bed with terrorists and despots. Once again in the Craig era, the enemies are not goateed French bastards wishing to eradicate humankind and repopulate the earth exclusively with sexy models – it's sellout politicians enabling dictatorships and poverty profiteers. By depicting not only human relationships but also the nature of 21st century geopolitics in such an authentic light (as much as is possible within the escapist fantasy of Bond), this serves to make the stakes feel all the more real and further justify the harder-edged interpretation of the character and the world he inhabits. Despite this, Quantum never comes across as preachy – it simply treats the disillusioned reality of global affairs and entrenched corruption as a given.
While Mark Kermode humourously viewed the film's relentless action as "teletubbies bouncing around in a padded cell", the meaninglessness of the violence struck me as intentional and if not, certainly worked on a thematic level. As M puts it, this is a broken Bond driven by "inconsolable rage", going apeshit and killing every lead; another body stacked up without consequence and bringing no solace, not even a quantum of the stuff, until the very end. And at this point in time, the concept of Bond "going rogue" was actually still fresh and exciting (fast-forward to the utter clusterfuck that was Spectre and I'm bloody well sick of his cavalier attitude to work).
Dominic Greene may have been consigned to the dustbin of Bond villain history in popular culture, along with Kristatos and Jack Wade’s evil twin from The Living Daylights, and apparently not worthy of having his stock casting photo proudly blu-tacked to the wall of a crumbling Mi6 in a cheap effort to taunt Bond in Spectre, but I don't see why. Sure, he doesn't have some token physical disfigurement and his scheme to deprive Bolivia of its water resources isn't as fanciful as using a big bastard space laser to explode the world's nukes. His evil is one without bells and whistles or Roger Moore era camp – he's a sleazy, slippery little fucker without pomp, who deserved a belly-full of motor oil by the time the credits rolled. This I much prefer than the flamboyant, bleach-blonde and frankly misguided comic relief excuse for a villain we get in the following film.
Quantum’s leading lady, Camille Montes, is easily the second most compelling Bond girl in the Craig era and she too carries her own personal demons – their relationship is one of mutual catharsis and an opportunity to ‘bond’, not over martinis or foie gras in a fancy casino, but rather discussing their dead, unavenged loved ones in a cold cave. In a way, it’s rather nice they don’t shag at the end, signifying he doesn’t view her as a disposable pleasure and has enough respect not to try it on. But to be fair, they do look very sweaty and smelly after that ferocious conflict in the desert hotel, so it would probably have been rude to assume sex was on the cards (if I were in her position, I’d want to get home, have a nice big bath, order a curry and watch a few episodes of Frasier before bed).
It’s a shame they didn’t bring back Camille for future outings, as I would’ve loved to have seen her alongside Craig again, only this time joining forces in a legitimate mission. This is an extra disappointing pill to swallow considering they are bafflingly bringing back that walking piece of cardboard, Madeline Swann (no offence, Léa Seydoux) for No Time to Die – a woman who’s ‘deep’ emotional connection to Bond is entirely predicated on the fact he happened to shoot her dad in the leg with a machine gun in 2006. I mean seriously, Bond and Camille shared more chemistry in five minutes than Bond and Swann in the entirety of Spectre, ugh…
Technically speaking, this film has some gorgeous visuals to admire when the camera very infrequently remains still, it features one of David Arnold’s best scores with some lush, sweeping orchestrals and the occasional ghostly callback to Vesper’s theme, and on a superficial level, Craig looks his absolute best as Bond here with some timeless sartorial choices, before they would start putting him in tiny, skin-tight suits in following adventures. There are some cool arty moments such as the Tosca shootout, that I felt elevated what could’ve been a pretty unremarkable sequence to, forgive the pun, operatic heights.
Onto the bad, which I will keep short and sweet as everyone is already acutely aware of this film’s shortcomings and likes to overinflate. The theme song is a bag of shite and practically devoid of melody, the editing could’ve been a little more coherent at times, the bizarrely unsatisfying “I told you everything you wanted to know about Quantum but the audience probably won’t be interested, so let’s just skip over it” line, and the gunbarrel design looks like it was mocked up in Photoshop in two minutes and should have had its rightful place at the beginning.
In my view, Quantum has aged like a fine wine but critics and many in the fan community were left cold upon release. Unfortunately, I would argue the wrong lessons were learned from these less favourable reactions and the following outing, Skyfall, would serve somewhat as a course correction for the series – swiftly undercutting the new lean, mean and down-to-earth tone for a cartoonish yet mopey pastiche of classic Bond.
submitted by kristopherm3 to JamesBond [link] [comments]

Album of the Year 2019 #26: Men I Trust - Oncle Jazz

Album of the Year 2019 #26: Men I Trust - Oncle Jazz
Hello everyone and welcome back to Album of the Year 2019, the yearly series where the users of indieheads talk their favorite albums of the year. Up today, simonthedlgger goes in-depth on the massive Oncle Jazz from Men I Trust.
Artist: Men I Trust
Album: Oncle Jazz

Apple Music
I can’t believe the odds. It’s December 26th, my favorite holiday not named Halloween. A day of leftovers and familial decompression. Outside, the year is ending. Pine trees, some still webbed with lights, lay on sidewalks.
Historically, December 26th is grey and cloudless. Cold, but not necessarily wintry. A void of a day, ideal for lounging and reflection.
“Have a lay in,” says the universe.
On December 26, it is constantly evening.
And now, there is a playful bounce of synth, murmuring bass like a bear waking from a long nap ... a swell of brightness:
“You’re listening to Oncle Jazz .”
Allow yourself, listener, for seventy ephemeral, December 26th minutes, to be swept away in jazzy philosopop fantasy. All smiles, slide across the kitchen floor in your brand new socks, treat yo self to a warm beverage and snacks, nest in bed as opening titles fade like a path into the deep forest.
I can only suggest you take that path. We’re about to Oncle Jazz.
Men I Trust are a three piece indie pop band from Montreal, Quebec, Canada. The band was established by producemulti-instrumentalist Dragos Chiriac and bassist Jessy Caron in 2014. The pair released their self-titled debut that year, followed by Headroom in 2015, both of which featured numerous guest vocalists. After guitarist Emma Proulx became the permanent singer of Men I Trust, the band put out a series of successful singles from 2016 through early this year. After a few delays, Men I Trust released their third full length album and first as a trio on September 13, 2019.
Review by simonthedlgger

Men I Trust Radio

It’s easy to view Men I Trust as more “chill but danceable” Spotify recommendation-core. The formula is simple enough: breathy vocals over sustained synth, walking bass with jazz and/or R&B flavour, restrained rhythm section. Elevator music, if the elevator were taking you up to a Blockbusters/indie bookstore combo in the heart of Bushwick.
Except, this is not our stop. Ours is an elevator ascending the Ivory Tower, granting us view of all Fantasia. Our elevator alights the lobby of the Tranquility Base Hotel and Casino, where Men I Trust and The Martini Police tradeoff headlining gigs.
On closer inspection, Men I Trust’s music is neither simple nor restrained (though, production is artfully subdued throughout). It’s not even very relaxing, only enough to lull you into a vantage from which you feel comfortable enough to see yourself—perhaps for the first time—as something small within something very large, and to realize that largeness is contained within an even larger space, and so on until the mystery swallows you.
(That is not to say Men I Trust do not have their utterly charming moments, i.e. the deliriously joyous sing-along opening of “Days go by and I still don't know how and why I still make my way without you, without you.”)
On Oncle Jazz, Men I Trust plays timewarped pocket groove music, pulling together elements of modern pop, softrock, plenty of jazz (on show in their latest instrumental single, “Alright,”), and of course assorted lofi/synth/indie/sweet dreams pop, to make something distinctive, comforting but unnameable.
Several interludes further expand the scope of the Oncle Jazz structure, from the absurd funk of “Slap Pie” to the smoking “Fiero GT," lest we forget the balletic mystery of closer “Poplar Tree," which would sound fitting over melancholy credits to a Miyazaki film.
There’s a votive quality to the loop-like nature of the band’s arrangements, cycling frames that range in form from waves of Sega ambience to controlled yet driving beats which draw equally on the electronic and organic. So much happens within the confinements of these loops, yet every moment remains isolated, carefully placed. The songs sound like secrets, but not puzzles for the sake of puzzles: there is an answer to every riddle, a worthwhile conclusion.
“We like to use a lot of repetitive movements in melodies and chord progressions to give the songs a prayer-like rhythm,” Dragos told Crack Magazine, describing the band’s desire to draw listeners deeper into their sonic narratives. The recurring musical movements are complemented by an economy of words the band often discusses:
“I will ... find the way in which I can concentrate [a thought’s] meaning, saying the most with the least words. It’s Bernstein’s idea of poetry and it’s also a necessary constraint inherent to the song genre,” Dragos told me. “Sometimes, these ideas end in Men I Trust songs.”
The band takes this minimalist approach to either ends of the spectrum, always leaving room for the listener to process and derive meaning. Compare the simplicity of “All Night” (“You wrap my feet in coloured blankets, so I stay here all night. You keep the one with many moons and stars, it’s always for my shoulders,”) to the stark poetry of “I Hope to be Around” (“I dream of my future, remote from time bounds, becoming myself without any end.”)

Oncle Jazz

The clarity with which Men I Trust operates is evidenced not only in the deliberate arrangements and concise lyricism of Oncle Jazz, but the actual conception of the record. Initially delaying the album after touring prevented the trio from finishing, then calling an audible the night before Oncle Jazz was scheduled for upload to major streaming services, there is never a sense of hurry when discussing Men I Trust. Rather, tranquil precision.
Achieving the ideal mix played a large part in the album’s prolonged incubation, with eight singles being remixed for their place among the 24 track album (several considerably so). The songs settle softly in the mix, warm pop rhythms bouncing off watery jazz. “I don’t think loud songs will give the best listening experience in years to come,” Chiriac told Billboard. I agree: Oncle Jazz invites you to absolutely bump the volume, clarifying the perfectly shaped bass tones and depth of reverb, the myriad details, without going deaf (fun fact, I did a write up on Angel Olsen’s All Mirrors for popheads, and the mixes on these two albums could not be further apart).
On “Seven,” you can hear prospective lovers whispering across a dying campfire. The rustic “Pines” paints an immense but lonely landscape (“She moves like wind by deserted pines who stand tall, unstirred,”).
After completing touring obligations, the band returned to Oncle Jazz. “When we spend too much time on the road, we miss being able to settle, to write and record without disturbance,” Dragos says over email. “Listening to a finished song, or album, is the most fun part of recording.”
Recording for Oncle Jazz took place in the green quiet of rural Quebec, which no doubt influenced the hushed mix (they’ve described the album as consisting of all “winter songs,” which isn’t a bad description by any means, but the undeniable warmth of Oncle Jazz makes one wonder what a summery MIT album sounds like). “It put us in a really different creative mood ... there’s nothing to do outside of the house except for walking and thinking about music,” Proulx said (Billboard). Indeed, the band have frequently described how their music focuses on the ways individuals play a small role within the macroscopic natural world; this sense of humble realization is all over the record. When further pressed, the band typically says songs are simply about friends. The interplay of the cosmic and intimate is one of several unifying threads that elevate Oncle Jazz from a standard LP release to a greater musical movement.
For, Oncle Jazz is its own radio station; at one point on the album, Emma clues the listener in: “You’re listening to Radio Men I Trust,” and I can’t help but responding, “Yes, I sure am,” every time. It’s a station wound in the layered textures of the Arturia Mellotron and Yamaha DX7; though, as with any decent station, there are a bevy of unexpected gifts.

My friend, you know, you had your time awhile..but I'm willing to give you mine.

Late in the Oncle Jazz sequencing comes “Something In Water” like a plaintive siren out of the mists, “In this land with no sea, hoping time forgot me, 'cause I don’t need your love, only your full weight on me.” Guitars take the forefront, a rarity on Oncle Jazz, especially the submerged acoustics and posthardcore/proggy chorus lead that surprises at 2:22.
“Dorian” consists of brilliant world building by the Zora River, recalling dreams of C.R.E.A.M. and nights spent shooting the shit with friends outside the corner store. You’ve heard the chorus melody a million times since you were young, but, no, it’s a melody only Proulx could deliver, her voice resembling bells and woodwinds more than vocals.
“Found Me” sounds like Nirvana. “Say Can You Hear” has that new wave drive.
The groove of “Air” is otherworldly. A mildly brooding verse spills into the euphoric hook: “So I thought you could come over mine...some time. Our loneliness now gone.” As with many Men I Trust songs, “Air” does not fade out, but dances away.

My friend, you have a vivid quill.

Despite the inescapably dreamy qualities of Men I Trust’s oeuvre, there’s a decidedly grounded sense to their work, a desire for clarity -- the contrast brings yet another level to the listening experience, lyricism weaving between daydreaming and existential doubt. “I Hope To Be Around” plays with Platonist-Socratic concepts (“I hope to be around the day we grasp in truth the nature of mind befriending time, in truth,”), though the breadth of lyricism and philosophical ideology (J.S. Mill to Goethe) makes it clear all members contribute to the writing process, questioning many aspects of self-significance and morality.
“For me, these contradictions make for a weird literary genre, at once positing the insignificance of humans and the god-like invulnerability of men and women of good. It’s horrifying and reassuring (the power of truth), sublime (greater than ourselves), and f---g funny,” I’m told. “It’s like watching a horror comedy. It’s a mix of emotions cancelling each other and it leaves me feeling like a blindfolded fool, puzzled with a donkey tail in his hand.” Read through a few Men I Trust songs, and at least one line will leave you handling a donkey tail of your own.
Of course, all Men I Trust lyrics are refracted through Proulx’s mesmerizing vocals. A French speaker, she has described the English language as another instrument (I challenged myself not to use the word ‘ethereal’ in describing her voice. Or ‘gossamer.’ Or ‘gauzy,’ ‘gracile,’ or even ‘as a light rain.’ So, I will not.). Her instrument contains multitudes.

Men I Trust Lives

It’s a bit mystifying to reconcile the immaculate production behind Oncle Jazz and the band’s relentless, globe-spanning touring schedule, delays or not. Men I Trust’s fully realized sound on Oncle Jazz translates beautifully to the stage. “When we spend too much time working on recordings, especially on a long double album, we look forward to getting outside and touring,” they tell me. For Men I Trust, both playing live and recording are exciting paths to becoming better musicians, a thrilling prospect for fans. “The end results of both are especially rewarding.”
Shortly before finishing this write up, I saw the band play a double header at Boston’s Royale and the Sinclair in Cambridge. Men I Trust played as a five piece, yet remained committed to the halcyon aesthetic: a t-shirt remained over the snare for the duration of the set, cymbals were chained, Emma’s vocals were so quiet you couldn’t hear her speak between songs -- even the roaring denouement of a guitar solo that closes “Seven” managed to melt faces without piercing ears.
No, Men I Trust does not make simple, chill out music. They make music difficult to fully grasp, no matter how welcoming the sound, how natural the fit.
Now, our time is at an end.
Favorite Lyrics
I don't want to feel
a world against our love.
I don't want to grow old,
a lone broken heart.
  • "Norton Commander"
I'm happy my home found me,
by which force I do not know.
I found my home and it grows by me in beauty.
  • "Found Me"
In a midway I stand where many stood
only to come home again.
Walking through these streets I know too well
but my thoughts stray away..
I dream of my future, remote from time bounds,
becoming myself
without any end.
  • "I Hope To Be Around"
My friend,
you have a vivid quill,
a gift you need to use to feel alive.
Those hands look like crooked roots.
Pour them the right stuff
and feel alive.
  • "Pierre"
Talking Points
  • Do you prefer the single or album versions of songs such as “Seven” and “I Hope To Be Around”? Please elaborate :)
  • What do you think a “summer” Men I Trust album would sound like, and more generally, what aspects of their sound would you like to see expanded on moving forward?
  • What other fully independent bands should Indieheads be listening to in 2020?
Thank you to simonthedlgger for their sprawling write-up! Tune back tomorrow as NMHipsterTrash is scheduled to talk Surf Curse's Heaven Surrounds You. In the meantime, discuss today's album and its write-up in the comments below!
submitted by indieheadsAOTY2019 to indieheads [link] [comments]

*Potential Spoilers* Daniel Craig Bond Grief Theory

I recorded my thoughts on this for a podcast a couple weeks back, but that episode won't be out until closer to November because of the new movie's delay, so I wanted to get this out somewhere and see what everyone's thoughts are...
So I was re-watching Casino Royale and Quantum of Solace recently and it occurred to me that this whole run (the Daniel Craig Bond films specifically) might actually represent the Five Stages of Grief!?
At first, I shrugged it off as ridiculous, but then I started to notice things. For starters, there's now 5 films with the new one - which is set to be Craig's last and each film is tied together by an overarching narrative. (Also, if someone beat me to this years ago, I wouldn't be surprised.)
1 - DENIAL (Casino Royale)
Most of the Bond movies are full of death obviously (after all, the protagonist has a License to Kill and he uses it constantly), but this one is different in that it actually opens with Bond making his first two kills, one of which is super gritty and really adds some weight to it.
The first movie in Daniel Craig’s series, "Casino Royale" is all about deception, which makes sense as a spy movie, but this one really plays up that angle of it. Not only that, but Bond himself is also struggling to find his place in the world. He's not quite the Bond we know and love yet and hasn't quite accepted who he is.
This theme of deception, and self-deception is present throughout the movie and highlighted by the poker game. Even during the (hard to watch) torture scene, Bond is playing it off like he's not in incredible pain.
Then, when he falls in love with Vesper towards the end, he rejects his role as a 00 agent, he sends in his resignation and he decides now that he's saved the world, he's going to just go off to Italy and live happily ever after. He's lying to himself.
Bond's even convinced himself that Vesper is innocent. Meanwhile, Vesper herself is in denial. She convinces herself that she might actually be able to be happy for a brief moment, but when she sees the man with the eye patch in Venice, she realizes that she too has been lying to herself and she embraces her death, because she knows that there's no running from her past.
Further proof comes at the end when Bond denies he had feelings for Vesper when he tells M, "The bitch is dead." It's clear that at the end of the movie, he hasn't yet dealt with her passing, which is understandable. He's not heartless, he's hurting, and (according to the trailers) he's still dealing with this loss by the time you get to "No Time to Die".
2 - ANGER (Quantum of Solace)
Right off the bat, “Quantum of Solace” picks up where “Casino Royale” left off. The entire movie is basically Bond out for revenge for the death of Vesper.
Throughout the film, we get A TON of frantic action scenes and brutal kills. Both Bond and Camille are haunted by their past, they haven’t dealt with their grief and their parallel stories are about overcoming the burden of that anger.
Instead of dealing with his grief, Bond instead decides to fully throw himself into the job of hunting down Quantum (and killing every lead along the way). Bond basically goes rogue and at one point, M even orders a kill or capture order against him!
Bond isn’t sad over Vesper’s death, he’s pissed and it shows. This is further reflected in the massive fiery explosion that burns Greene’s facility to the ground.
At the end of the film, in the final scene, we see Bond taking one step closer to acceptance. The fact that the movie ends with the gun barrel sequence sort of signifies that he’s now the cool and collected Bond we’re all familiar with.
3 - BARGAINING (SkyFall)
The cold open in “Skyfall” ends with Bond facing his own mortality.
We next find Bond drifting aimlessly in a drunken stupor, bar hopping in the Caribbean, and once again not facing his past in a healthy way. He’s once again teetering on the edge and toying with the idea of leaving MI6 and pursuing a normal life. Unfortunately, it’s just not in the cards for 007 when Silva makes his appearance on the scene.
According to the Kubler-Ross model of the Grief cycle, this third stage of bargaining is a struggle to find meaning, to make sense of it all – telling one’s story. Well in this case, this actually applies to both Bond AND Silva. Bond is struggling to find meaning (more so than usual), and as a former MI6 agent, Silva is also trying to find meaning – he survived when he should’ve died and now he’s blaming M, instead of dealing with his pain – he’s deflecting it and making others suffer in his stead.
When Bond does finally return to duty, he’s not the same. His hands are shaky, his age is showing and he’s just not psychologically ready to handle the mission at hand, but M pleads her case to her superior (a bargain if you will). Throughout the movie, Bond is in a sort of limbo. He doesn’t fit in civilian life, but he’s beginning to feel a little rusty in this new age of digital warfare. The entire time he’s trying to prove himself, he’s pleading his case that he’s still relevant, he’s bargaining.
When Bond tries to enlist the help of Sévérine, he tries to bargain with her, when Silva attempts to convince Bond to join him, he’s bargaining with him, when M and Bond try to lure Silva to SkyFall, in the hopes that he falls into their trap, their taking a chance – a bargain. Even Bond and Moneypenny’s flirtation seems like bargaining.
In the end, M bargains by trading her life for Bond’s, in order to defeat Silva.
“SPECTRE” opens with the Day of the Dead festival in Mexico. Right away there’s a sense of dread and loss hanging over the film (especially in the title sequence!). At this point, Bond has lost so many people – M, Mathis, Vesper, his parents, etc It seems that anyone he gets close to is bound to cross over without him.
The closer Bond gets to this secret organization, the more desperate and hopeless the situation feels. It gets worse the more he peels back the layers of this elaborate conspiracy and it seems that his whole life is a lie, that he’s not in control of his own destiny, that there’s a puppet master pulling the strings on this tragedy. Bond is forced to once again confront the loss of Vesper who he never really got over. As the movie gets darker, (tonally and stylistically) Bond is finally forced to confront this dark secret of his past, his long lost brother, who is revealed to be “the architect of his pain”.
Make not mistake, Bond is depressed in this film.
All his quippy one-liners and cool gadgets seem somewhat hollow this time around (and I don’t know if it was just that Daniel Craig just was feeling a bit fatigued at the time). As most people who’ve experienced depression firsthand can tell you, it often masks itself very well. Everything feels fine on the surface, but when you really take a closer look, you start to worry about Bond, like he’s having a mid-life crisis. Rather than Bond’s usual formulaic flings, car chases, and vodka martinis – this time around, it almost feels like a cry for help. Despite acting all business as usual, this is a Bond who is really hurting and trying to find the light in the darkness, or as Mr. White puts it, he’s “a kite, dancing in a hurricane”.
BUT instead of the usual explosive final battle between Bond and his arch-nemesis, this one actually ends in an unexpected way – Bond decides to not give in, he doesn’t succumb to Blofeld’s psychological manipulations, and he beats him through sheer will power! He’s no longer going to let this darkness control him.
At the moment of decision, Bond decides to walk away from vengeance, from all that sorrow and pain. Instead of proving Blofeld right, instead of killing him for what he did to those he loved, he lets the law step in and make that call. He leaves MI6 and for the first time in the history of the franchise, we get to see a Bond actually retire from the service. He drives off into the sunset, with the girl, in pursuit of that happy ending he so desperately sought after in “Casino Royale”.
It ends with a glimmer of hope.
If “Casino Royale” was an origin story, it seems like with this one, we’re finally getting a “One Last Mission” style finale for this era of Bond. Everything seems to be shaping up for this film to be an amazing finale and it seems that thematically, it would only make sense for this series to end with a resolution of some kind.
Will Bond finally come to peace with Vesper’s death, will he finally be able to forgive himself?
I guess we’ll all find out when “No Time to Die” hits theaters this April November!
(Sorry about the length! Let’s discuss!)
submitted by ErikSlader713 to JamesBond [link] [comments]

Casino Royale (2006) is a thematically faithful adaptation of Flemings influential novel, a masterpiece and the greatest James Bond movie ever made. Here is a comparison I made between the movie/novel & my thoughts on both of them.

Over the last week I read Ian Flemings first James Bond novel Casino Royale for the first time and later re watched the movie. Here are some thoughts on both, including a comparison of similarities, differences and the over all enjoyment I get out of both of these pieces.
Technical aspects:
Casino Royale (novel, 1953), written by Ian Fleming [27 short chapters, around 250 pages, depending on edition]
Casino Royale (movie, 2006), directed by Martin Campbell [144 minute runtime]
Before diving into further comparisons, there are two obvious, but also significant differences between the movie and the novel. The first being the time it is set in, both are contemporary to their release date. Meaning the novel is set in the Cold War whereas the movie is set in the 21 century. Because of the resulting differences in international relations historically speaking, you could transfer it (but you don't have to) to the second difference. Flemings novel is a political espionage thriller, whereas Campbells movie re-boot is basically an action movie.
The over all plot of the movie is very similar, nearly identical to its source material.
James Bond, a fresh 00, is set in a high stakes Poker game against Le Chiffre, a desperate (& near bankrupt) banker working for terrorist organizations. Bonds allies are Mathis, Felix Leiter & Vesper Lynd. Bond wins the money, Vesper & him get captured, following the torture, Le Chiffre being interrupted/killed by a member of a mysterious organization. After Bond & Vesper seek a happy life, the latter is confronted with her "real" identity/past & kills herself, leaving Bond emotionally broken & eventually cold.
As said in my first paragraph, Flemings novel isn't an "action" novel. There is an early assassination/botched bomb attempt in the early chapters (similar to the airport sequence) but it's nowhere near as action heavy as the movie, which follows parkour chases, knife fights & bus/plane explosions, stairway fights & the closing crumbling house set piece.
Narratively Bond meets his allies way earlier, in the movie Vesper & Mathis are introduced around an hour in, whereas in the novel already in the first few chapters, Felix Leiter is introduced very late in the movie and only after Bond is struggling in the Poker game. The whole Dimitrious, Ellipse stuff isn't in the novel.
Main characters:
- James Bond:
Bonds portrayal is very close to the novel. He's described as a very tough man, perfectly shown by Craigs physical appearance, his hard & masculine face & the early corporal fight scenes & chases. His attitude fits the source material. Bond is smart & charming, but he can switch of in any moment to being a ruthless killer.
- Vesper Lynd:
A big part of Vespers character in the novel is her beauty. There are long passages describing everything about her body & face. She certainly is beautiful in the movie, played by the gorgeous Eva Green. Yet in the movie she comes across as much more independent & aware. She's smart in the novel, but much more worthy in a psychological duel with Bond in the movie. In both the movie & novel she is a double agent, who got blackmailed & had to take this identity in order to save her boyfriend, but then fell in love with James.
- Le Chiffre:
Le Chiffre, in both movie & novel is a scary fucking dude. There still is something a bit charming about Mikkelsen presence though. He's described as considerably ugly in the novel, and basically as the epitome of evil. In the movie he comes across as more "human", desperation etc (make no mistake he's a vicious bastard, but he's not the devil).
- M:
The obvious difference is the gender swap in M. In the novel, Bond respects & in some way even fears M. The Bond/M relationship of Flemings books never really translated onto the bigger screen (it's tough to find someone intimidating against the charisma of Connery to be fair) so the change is an interesting touch. While he certainly respects Judi Denchs M, there is more slick and clever dialogue coming out of the conversations.
The Poker Game:
The Poker game in the novel, as basically all of it, is set in France, whereas the movie jumps around Madagascar, the Bahamas, Venice & Montenegro, the latter being the setting of the poker game.
Also, in the novel they play Baccarat, which was very popular at that time, in the movie they play Texas Hold 'Em, which (surprise) was popular in that time. The game itself is similar structured, back and forth until Le Chiffre wins a big one and Bond is in huge desperation but comes back in the last round winning all of it (with the help of Felix Leiters money).
In both movie & novel, Le Chiffre tries to prevent/"attack" Bond during the last hand. In the movie he gets poisoned, which nearly causes him to pass out. In the novel, he is directly physically threatened by a bodyguard of the Le Chiffre with a gun under the table/chair.
Remarkable similarities:
- Practically the entire torture scene is directly taken out of the source material. Bond gets stripped naked and tied up to a chair, then punched to the balls multiple times until the near pass out. Only difference is that in the movie Le Chiffre uses a rope, in the novel it is a carpet beater.
- Some dialogue & lines are extracted out of Flemings novel. Such as the VespeMartini order.
>Three measures of Gordons, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemon peel. Got it?
Or the iconic line.
>The bitch is dead.
Other differences:
- The whole Mathis alleged double cross plot point only appears in the movie.
- Vespers double cross, signaled by her seeing the man with the eye patch is left to a good bye letter in the novel that Bond reads after she'd poisoned herself. In the movie, she gives the man with the eye patch the money briefcase and after the shoot out in Venice, she traps herself in the elevator and drowns in the crumbling house.
- In the books, the mysterious organization is SMERSH, a russian anti spy organization. In CR it is still unnamed, though in the later Craig films revealed to be SPECTRE.
- The book ends very depressing as her betrayal letter is the last thing. The movie ends on a higher note with Bond capturing Mr White & ending the movie in his iconic introduction lines.
I have certainly missed a ton of differences of both, but I feel like I have done enough to highlight most of them. Here are some of my personal thoughts:
The novel:
I had a ton of fun reading it for the first time. It's certainly colder & much more serious than a lot of James Bond movies but I liked that it felt more grounded and had espionage instead of thrills. There is a lot of political subtext added by Ian Fleming that reflects on the cold war and on spy agents themselves. It also features some great insight on the Poker game as Bonds mind is on full display with mathematical & stochastically relevant information throughout every hand. I think it ends on a very depressing and sad note, setting the tone for the character to come.
The movie:
I have always considered Casino Royale to be one of my favorite movies of all time. I think it's head and shoulders above every other James Bond film and every time I watch it I discover new things I love about it. The way the movie starts, with the cold blooded double-O earning in a noir fashion, then goes over to the gorgeous credit sequence with so much ingenuity sprinkled across it, is amazing. I'm also amazed by the action the movie has. The Parkour chase has some terrific stunt work & innovation. Or the airplane sequence is packed with enormous tension and suspense. Or the closing Venice shoot out is packed with bad ass moments by Bond. A lot of my love for the movie also comes from the cast. It does contain my a.) favorite Felix Leiter (played by Jeffrey Wright), b.) favorite Bond girl (Vesper Lynd by Eva Green), c.) the best M (played by Judi Dench) and one of my favorite Bond villains (played by Mads Mikkelsen, who is as terrific as ever). Martin Campbell has rock solid directing, focussing on the great stuff of the source material and just like in GoldenEye knowing how to introduce a new Bond & a new way of Bond into the franchise. Daniel Craig is relentlessly amazing. He has the charms, he definitely has the looks, he is believable in the kills, he has a soul, he has a heart, he has emotion. Only Connery is better. The movie also looks gorgeous. Not only its vast settings of exotic locations, beautiful women, high class restaurants, cafes or hotels, pieces of clothing and so on, but also its sharp image and cinematography, by Phil Meheux is astounding. Despite being literally written by three people it also contains some ingenious dialogue. Especially the Bond/Vesper interactions flow so crisply and soft. It's a joy to watch every second of it and I could be talking about it for hours.

All in all, Casino Royale is a great novel and in my opinion, an even greater movie which is a faithful adaptation but also adds many layers and new things to it, knowing that it already is part of a 20+ movie series and therefore adding nostalgia, references or treating its timeless main characters legacy with honor and self reflection.
What do you think about Casino Royale, both the novel & the movie?
submitted by IngobernableACE to movies [link] [comments]

Daniel Craig’s Bond development/ analysis

In Casino Royale we see a Bond who is rough around the edges. Will just kill and be brutish but as the film goes on we see him coming into that classic bond form. When he gets information from Alexios’ wife he doesn’t sleep with her. He doesn’t do hook ups, he only wants to sleep with women he’s loves. When he meets Vesper she tell him that she can tell he has disdain for the fine suits he wears and does not care about his appearance. He is also vulnerable and contemplates his life when he kills the 2 goons in the stairway at the hotel. He looks in the mirror like what is my life, this takes a toll on me. After Vesper reveals her true intentions and dies, Bond becomes the Bond we all know him to originally be. He starts off by wearing a 3 piece suit when he shoots Mr. White for no other reason than cause he wants to wear one. Earlier in the movie he might wear chinos and a leather jacket for that type of confrontation like Miami Airport. He took Vespers advice and is always looking sharp and enjoying it. In every movie since Casino Royale, Bond has slept with random women. Not because he loves them but because Vespers death has left him giving up on love and just wants to fill that loveless void with sex and lust. Mr. Whites daughter has given him some resemblance of love but we won’t know until No Time To Die. Bond also does not think about all the people he has killed with regret anymore. I think it was smart how Martin Campbell directed Casino and Goldeneye and through that line from 006 saying “I wonder if all those vodka martinis silence the screams of all the men you’ve killed or if the arms of those willing women help you find forgiveness in all those you’ve failed to protect”. I would guess that they do in Craig’s iteration of bond and that’s why he drinks them all the time and he sleeps with some many women to find forgiveness for failing to protect Vesper from Spectre/Quantum.
Just my two cents but I think Craig is the best Bond yet because of this character development and it gives reasons to why Bond is the way he is.
submitted by HistoryGuardian to movies [link] [comments]

Daniel Craig’s Bond Character development/ analysis

In Casino Royale we see a Bond who is rough around the edges. Will just kill and be brutish but as the film goes on we see him coming into that classic bond form. When he gets information from Alexios’ wife he doesn’t sleep with her. He doesn’t do hook ups, he only wants to sleep with women he’s loves. When he meets Vesper she tell him that she can tell he has disdain for the fine suits he wears and does not care about his appearance. He is also vulnerable and contemplates his life when he kills the 2 goons in the stairway at the hotel. He looks in the mirror like what is my life, this takes a toll on me. After Vesper reveals her true intentions and dies, Bond becomes the Bond we all know him to originally be. He starts off by wearing a 3 piece suit when he shoots Mr. White for no other reason than cause he wants to wear one. Earlier in the movie he might wear chinos and a leather jacket for that type of confrontation like Miami Airport. He took Vespers advice and is always looking sharp and enjoying it. In every movie since Casino Royale, Bond has slept with random women. Not because he loves them but because Vespers death has left him giving up on love and just wants to fill that loveless void with sex and lust. Mr. Whites daughter has given him some resemblance of love but we won’t know until No Time To Die. Bond also does not think about all the people he has killed with regret anymore. I think it was smart how Martin Campbell directed Casino and Goldeneye and through that line from 006 saying “I wonder if all those vodka martinis silence the screams of all the men you’ve killed or if the arms of those willing women help you find forgiveness in all those you’ve failed to protect”. I would guess that they do in Craig’s iteration of bond and that’s why he drinks them all the time and he sleeps with some many women to find forgiveness for failing to protect Vesper from Spectre/Quantum.
Just my two cents but I think Craig is the best Bond yet because of this character development and it gives reasons to why Bond is the way he is.
submitted by HistoryGuardian to JamesBond [link] [comments]

New fan here! Literally JUST finished watching all the James Bond movies. Here's my ranking/thoughts.

OK so I literally JUST finished watching all the Bond movies for the first time. I started with the Daniel Craig movies about two months ago, LOVED THEM, then went back and watched all the old ones from Dr No leading up to Die Another Day. Probably a bad idea in retrospect, but what a journey it was. I loved watching the how the series evolved from Sean Connery's suave to Roger Moore's camp to Timothy Dalton's intensity to Pierce Brosnan's cool all leading to the perfect cocktail (shaken, not stirred... I couldn't help it, guys) that is Daniel Craig.
Anyways, I just wanted to do a quick teir ranking of all the movies. I wanted to do a worst-to-best ranking but I think I need to rewatch them to really solidify my opinions before attempting that. Here goes;
GOLD TEIR (9-10/10):
Casino Royal Skyfall Goldeneye From Russia With Love
MARTINI TEIR (7-8/10):
Goldfinger Dr. No Spectre Licence To Kill OHMSS The Living Daylights For Your Eyes Only (probably the most underrated bond IMO... sorry L2K fans)
OKAY TEIR (5-6/10):
Quantum of Solace (not as bad as most people make it out to be IMO) The Spy Who Loved Me You Only Live Twice The World Is Not Enough Live and Let Die TMWTGG Diamonds Are Forever Octopussy
SGT. PEPPER TEIR (1-4/10):
Tomorrow Never Dies A View To A Kill Moonraker Thunderball (HATED it) Die Another Day Never Say Never Again (if you wanna count it)
Also, here's how I rank the bond actors:
  1. Craig - I think this guy is the perfect culmination of every bond that came before him. He's not the most original bond, but he is the best!
  2. Connery - VERY close second! As a straight male, I have to say, this guy is straight up fucking sexy! I didn't think Sean would live up to the hype but damn, when he flirts with money penny... I get jealous. I get jealous of BOTH of them. Almost 60 years on and this guy is still the gold standard that future bonds try to live up to... and most of them don't! Out of all the bonds, Connery's the one I most want to be in real life.
  3. Brosnan - Not the most original Bond out there but he's cool, he's suave and he can deliver a good one liner or two. If only his movies were as good...
  4. Roger Moore - While I generally find his movies the weakest of the bunch, this guy was the reason I kept watching them. While his Bond was definitely the goofiest of the bunch he was also, by far, the most fun Bond of them all. Based on interviews I've seen of Mr. Moore, he's the Bond actor I would most like to meet and am now retroactively saddened by his passing. He really seemed like a sweet, genuine dude.
  5. Timothy Dalton - I get why people call him the precursor to Craig's bond. This guy was the first "gritty" bond. I respect that. I just think Craig was a better Bond in every single regard. No disrespect to Timothy Dalton as I think he's a very good actor, he just isn't my favourite BOND actor.
  6. George Lazenby - Went for a haircut one day and ended up in a movie.
So what do you guys think? Do you agree or disagree with my opinions? How would you guys rank the Bond movies/actors?
submitted by ElectricBacon319 to JamesBond [link] [comments]

Breaking Down the Bond Formula

We know more or less what the Bond Formula is, but what I've attempted to do is define it. Not all of the movies follow this exact pattern, but with few exceptions (like License to Kill and Casino Royale), most hit about 90% of these story beats. Am I missing any significant igredients?
Cold Open- Bond does something to establish his character. Sex optional, violence mandatory.
Credits- generally accompanied by impressive visuals of women and guns
Threat- to the free world
The Call (optional): Bond is called to duty, usually while with a woman
Flirtation with Moneypenny/briefing from M/Equipping by Q- The order is flexible, especially as Q sometimes equips Bond in the field later on.
Arrival- at exotic locale
Early encounters- with a friendly and an enemy (either one may be a leading lady). Usually involves a tuxedo and martini, frequently takes place at a casino or social club.
The plot thickens- if Bond acts as a detective or goes undercover, this is the time. Frequently involves meeting the villain socially. If the villain shows off how menacing his henchman is, he will do it before the end of this section. If a secondary female character is murdered by the villain after helping Bond it frequently takes place here.
Early action climax- after Bond has confirmed the villain and an outline of their plot. Frequently takes the form of a chase scene.
Leading Lady- a scene between Bond and the leading lady establishing their relationship.
Entry- into enemy headquarters. Frequently involves Bond being captured
Talking Villain- the plot is revealed in full detail.
Action climax- Bond escapes if he was captured. Bond attacks. Nameless henchmen are killed by the dozen. Bond will usually stop a bomb and kill one of the two main villains, and the fortress is destroyed.
Late climax (optional)- after a brief pause in the action and possibly a false ending, Bond fights the remaining villain.
Fin- scene between Bond and the leading lady.
submitted by atw1221 to JamesBond [link] [comments]

A post mortem of Britney Jean, 5 years later


“I can't believe this is my eighth studio album and I know I keep telling you that it is my most personal record yet, but its true and I'm really proud of that”
This quote from The Legendary Miss Britney Spears would most likely haunt her for the rest of the career, especially because it came in the eve of the release of her infamous 2013 album Britney Jean, whose title anticipated a rare introspective look into a star with over a decade on the spotlight (most of the times for the wrong reasons)… also, it came right after her previous album, 2011’s Femme Fatale, became her first full-length effort without any songwriting input from the Princess of Pop, although a Japanese bonus track features a co-writing credit from her.
Of course Britney Jean deserves most of the criticism it receives and yet, it also deserves way more than just being outright ignored even by most of Britney’s diehard fans: Britney Jean is more than just Work Bitch and 13 b-sides, is more than Brit’s most dated-on-arrival release… Britney Jean is a case study of what was pop in its time, what changed and why it stopped being as popular as it once was….



Early 00s pop music was being left aside by the general public during the heydays of gangsta rap, Timbaland/Pharrell-infused R&B and rock/nu-metal… at least until around the period between 2007 and 2009, the start of the Golden Era for popheads: The anthemic choruses, the prominent synths, the light and care-free nature of the lyrics, everything was there to pump you up and make you dance… however everything would change in 2013, when streaming was finally introduced to the Billboard formula. After the satirical K-pop track Gangnam Style by Psy took the world by storm, it was noticed how in the United States the song was blocked from the top spot by the inconsequential One More Night by Maroon 5, even if Style had the lead in sales for most of the 12 weeks it stayed at the Top 10 (as you might have guessed, radio had something to do with that), pushing Billboard to update their methodology and add streaming to the mix.
The first song that benefited from the change in the tracking methodology would prophetize what would come next for the charts in general: Harlem Shake, a nearly-instrumental meme song debuted at the top spot and stayed there for 6 weeks total. Another novelty song, Ylvis’ The Fox (What Does The Fox Say?) would visit the Top 10 later in the year based on virality alone.
Although rap, indie music and more traditional pop music found their way during this year, the presence of outliers like Lorde’s Royals, genre-defying tracks like Avicii’s Wake Me Up! (a country/folk tinted EDM anthem) and Florida Georgia Lane’s Cruise (considered the grandfather of the bro-country genre, made popular on pop radio thanks to a tackled-on rap feature by Nelly), and the aforementioned viral hits not only showed that general audiences were craving something new, but their success would pave the way for a big change in pop music.


"Sometimes you don't need to use words to go through what you need to go through, sometimes it's an emotion you need to feel when you dance, that you need to touch. And the only thing that can touch it is when you move a certain way."
Britney Spears on the For The Record documentary, one of the rare glimpses she gave us on her life before Britney Jean
Britney, of course, was partially a pioneer and a tail-rider of the maximalistic electro sound of the era, as proven by the influence and cult following of what most people consider her magnum opus, or at least her more direct and honest album, 2007’s Blackout, which is ironic considering that Britney only has two writing credits in the whole project and how even The Unstoppable Danja called it ‘impersonal’.
After Blackout, Britney would continue to ride the same sonic palette with her follow-up, 2008’s Circus and then move onto Femme Fatale, which, in spite of its “forward-thinking” nature (as described by the label-appointed producer and current persona non grata Dr. Luke) and slick production, it was heavily criticized for its anonymity and lack of input of the singer in the record, which led to Britney to defend herself stating, rightfully, that she had nothing to prove.



The mastermind behind Britney Jean was none other than hitmaker will.i.am, whose involvement on the record came as a surprise to no one given how they have collaborated twice at that point and get along really well (you can read more about it in this post I made a couple of months ago), however, the Black Eyed Peas frontman doesn’t deserves all of the credit for the record as Britney herself decided that she would be more involved and had a pivotal role into the making of this record.
Although the early stages of the album pointed towards a more hip-hop release, will.i.am’s involvement and her chemistry with Britney put her forward into the recording and making of the album.
Realizing that she wanted a more straightforward release that wasn’t as bouncy and genre-hopping as her predecessors, Britney searched with will.i.am a series of collaborators that could help her bring her ideas to life, as she didn’t wanted to sing impersonal songs that her team just happened to receive; this, unfortunately, ruled out the involvement of the Saint Patron of pop production Max Martin, although it relegated Dr. Luke to a sole bonus track so that’s a win in my book. Britney Jean is her only release in which she’s credited as a co-writer in each track, including bonus tracks… her closest before that was In The Zone in which 9 of the 14 (including bonus) tracks sported a Britney co-write.


I have been through a lot in the past few years and it has really inspired me to dig deeper and write songs that I think everyone can relate to […] I want to show you the different sides of Britney Spears.
I am a performer.
I am a Mom.
I am funny.
I am your friend!
I am Britney Jean.
Britney Jean Spears
Britney has never been the kind of performer that would pour her soul into her lyrics, and even have occasionally distanced her private life from her lyrics (she famously rejected the Timberlake-bashing Sweet Dreams My LA Ex, later given to ex-S Club 7 member Rachel Stevens as her debut single), although in the few glimpses we have gotten from her real persona (the stunning Everytime and the dubious My Baby for example) have always leaved her fans with the idea of her getting more involved with the subject matter of the tracks… I mean, the exploration of fame in tracks like Circus and Piece of Me are great, but what about explorations of who is Britney?
Britney Jean is her first album released in her 30s, and after finally deciding to get this involved in the songwriting department 15 years into her singing career was no fluke: chalk it up to coincidence, to the fact that it was long due given her background (Britney had lived A LOT of unwanted stuff during her career, married twice, had two kids, survived the most public mental breakdown unimaginable and more while being one of the most successful female performers currently working… also, that year she had ended her engagement with her manager Jason Trawick) or to misogyny (if you wanna go there) but female singers seems to go personal and/or mature in their 30s, with some popular examples including Madonna’s Like A Prayer (described by her as being "about my mother, my father, and bonds with my family"), Mariah Carey’s post-divorce genre-bender Butterfly (if her birth year is believed to be 1969), Beyoncé’s whole post-Matthew Knowles era (4 was released three months before she turned 30), Nicki Minaj’s back-to-my-roots release The Pinkprint and Katy Perry’s purposeful woke pop release Witness (Katy, I love you but 💀) among others.
Another thing to consider is that doing “personal” songs have always being interpreted as tracks with stripped-away or piano-driven arrangement, something that Britney, who had sung about being on the club or having sex (or even both on the same track) so many times it kinda become her trademark, is not something she’s might get allowed to do, especially when the current-at-the-time pop scene and Britney’s then-current sound were a far cry from the kind of sound these “confessional” tell-all songs normally have.


(this was a real hashtag that was worldwide trending topic on Twitter in September 2013)
With the anticipation of what a Britney-fied personal record would sound like, anticipation was in an all-time high among fans… so it was natural that her most introspective record would be anchored with an EDM song called Work Bitch. In Britney’s defense, will.i.am pointed out almost immediately how the braggadocio track didn’t represented the album but it was rather about Britney Spears herself.
Promoted with what was heavily rumored to be a 6.5-million-dollars budgeted video which was supposedly heavily sanitized from its originally sexed-up original version (more on that later), the video itself represented most of the promotion the whole album received, as the album’s second and final single (Perfume) was left to rot in negligence after the album’s release.
Outside of a couple of TV appearances (not performances, just interviews), including one to promote her then-upcoming “2-year” Las Vegas residency Britney Spears: Piece of Me, and an E! documentary about the making-of the album and said residency, no actual promotion took place for Britney Jean, which led to the inevitable.



Britney Jean was unleashed to the world on December 3rd of 2013, one day after the Princess’ birthday, and was a big commercial disappointment, debuting at number 4 on Billboard with sales of 107,000 copies (a little bit more than a third of the sales of Femme Fatale), even lower than those of her debut album …Baby One More Time; 3 years after its release, BJ had sold less in the United States than FF in its opening week, although it was eventually certified Gold by the RIAA… this February. Internationally, the release didn’t fare any better and debuted at record-low positions for her releases in most international markets, including missing the Top 30 in the UK.
As most of you already know, reviews we’re nasty all around, the worst of Britney’s career. Because of the somewhat mean content of some of those reviews, I would instead resume what are the biggest perks critics had with the release:


After one of the songs leaked ahead of the album’s release, there were accusations that backing vocalist Myah Marie (who had appeared on Brit’s previous two albums) was the lead singer not only on said leaked track but also in a large portion of the album (this is what she sounds like), accusations that Marie herself denied as well as Britney’s reps.
Her representatives claimed that Marie wasn’t involved in neither Perfume nor Passenger, the tracks that were the source of most of the controversy, and ultimately she wasn’t credited in none of those songs, although she’s credited as a (not background) vocalist in several of the other tracks of the album (mostly the Preston-produced songs as Work Bitch, Tik Tik Boom, Til It's Gone, Chillin' With You and Now That I Found You), including Alien (in which she’s not credited), who had a vocal steam leak in 2014 which showcases how uncanny is Myah’s impression of Britney is. A credited background singer is Sia in her co-composed single Perfume, which was the source of a weird misstep when Britney was caught lip-syncing to a version of the song with Sia’s vocals forefront in the mix.
A lot has been said about how Britney’s signature singing ‘baby’ voice is not her real one, how do they compare and how much damage has done to Brit’s current vocal chops, and even though she can still sing wherever she wants to, it’s quite obvious that she’s not that comfortable with it and, as such, she prefers to enhance her voice with the use of technology and some studio trickery… also, she might have gotten used to it considering how effortless and vivid were her earlier performances… here’s I’m A Slave 4 U at the 2001 VMAs just because how iconic it is.


"People can take everything away from you, but they can never take away your truth.
The question is: Can you handle mine?"
Britney Spears in a song that’s not from this album and not originally from her
Described by critics as “a concept album about the loneliness of pop life”, Britney Jean actually open with quite a promise with Alien, a mid-tempo, melancholic, airy, ethereal dance pop opener that works as a more teenage-sounding version of Ray of Light, which is not surprising considering the involvement of said album’s mastermind (the aforementioned William Orbit) and that sonically picks-up where FF closer Criminal left off, but lyrically is quite different, as it portrays Britney having an intimate and personal realization that she, after years of tumultuous and erratic events, has lost grip of who she was and how she felt like an extraterrestrial in her own world; however she realizes that she’s not longer alone as she looks at the glow in the stars as a light to guide her home away from her insecurities of the past, and to feel safe and finally finding comfort in her true skin, as the chorus repeats the catchphrase ‘not alone’ “until it is pitchshifted up like a departing space ship
Originally intended to include Gaga in the song (and also supposed to be released as a single, which unfortunately didn’t happened), Alien was considered the conceptual and musical highlight of the project by critics, and is easily the most personal, vulnerable and my personal highlight of the project… which made everything that came afterward a hard pill to swallow. Before that, I can’t help to mention THE GLITCH (2:14 in the song), which was apparently, as everything wrong with music of the period, will.i.am’s fault.

Work Bitch (alternatively known in censored form as Work Work, or in the explicit version as Bitch Bitch) is a hard hitting EDM smasher and heavy mood-whiplash, which was definitely not co-written by Sebastian Ingrosso, in which Britney gently asks us (over a basic club beat which grows more overloaded as the song moves forward) is we want a hot body, an European luxury car (either a Bugatti, a Maserati or a Lambo skirrt skirrt skirrt) or to sip martinis while partying in a big mansion in France, only to disappoint us by calling us bitches and telling us to better work as if we were supermodels and she was RuPaul.
WB is, if you wanna practice some mental gymnastics, more ‘personal’ than its given credit for, as Britney details how much benefits she gets from hustling all these years, and inviting us to dance with that smashing wall-of-sound-laden beat that drowns most of the track. Way more forward-thinking and exciting that everything that comes after it, WB has become somewhat of a new classic for the Princess of Pop, and is pretty much deserved of said designation.
Perfume, co-written by Sia, is another album highlight (actually Britney’s favorite from the album) and one of the finest ballads of Brit’s late-catalogue. Written about her ex-fiancé Jason Trawick, the song deals with Britney’s insecurity about a current relationship, with Britney singing with some of her strongest vocals in years about how she believes that her partner is cheating on her and how she puts on her perfume in order to mark her territory. Released with a tie-in with her perfume Fantasy, the song kinda flopped worldwide and halted all of the promotion of the album, however it still remains (alongside the rawer Dreaming Mix, included as a bonus track) as one of the most interesting songs in 2010s Britney catalogue.
The music video, directed by known troll and middling talented videomaker Joseph Khan, has an unreleased director’s cut in which the straightforward concept of a cheating partner is changed to that of Britney playing the Angelina Jolie role in a gone-wrong version of Mr. and Mrs. Smith sans the boyfriend who is also an assassin.
It Should Be Easy finds Britney’s voice drown in both the auto-tune setting used by Kanye for the Runaway coda and the vocals of guest-star will.i.am in the chorus, all while produceco-writer David Guetta rehashes Swedish House Mafia (which originally broke up the same year in which BJ was released). The song, about Britney imagining a bright-normal-future with a man who had stolen her heart, stating that love “shouldn't be complicated”. Although I like this song, and her team obviously likes it to as it commissioned remixes to be serviced to clubs, it signals when things start to go somewhat downhill.
Tik Tik Boom, the T.I.-assisted fifth track, was always dubbed as a potential third single (remixes were commissioned but nothing official ever came up), and it’s not hard to see why: as one of her rare collaborations with a rapper, the static-y, dance-floor ready production presents Britney teasing a male partner with a night of… well… tik tik boom… that means sex, doing so while serving some circa-2001 sexy vocals as T.I. raps about treating her like an animal up to the point that PETA (which hates Britney) should be called in response. It’s fast, it’s straightforward and yet, it’s kinda forgettable and also very disappointing coming from or Princess Urbanney.
Guetta comes back with Body Ache, another outdated EDM bop in which Brit (accompanied by vocoder and several dozens of vocal distortion treatments) sings about the kind of ‘I wanna dance so hard it gonna turn you on’ anthem which Miss Spears can do on her sleep, with a backtrack that sounds straight out of the EDM will.i.am was doing with the Peas during the Beginning/E.N.D. era. Also it ends in a somewhat anticlimactic way.
Personal Britney makes a return with this track that wouldn’t be too out of place in FF: The Guetta co-written Til It’s Gone, in which Brit realizes that, after losing the love of her life (Trawick), her life would never be the same, or how “you never know what you got 'til it's gone”. Coming some two years to late sonically, in terms of lyrics the track it’s another story, as some interesting imagery pops here and there and it’s nice to leave the dance floor behind, especially when talking about a woman who (at least in the previous albums) rarely shut up about them.
Katy Perry arrives on the record but not as a feature, but as a writer, in the Diplo-produced, Sia-co-written and Prism outtake Passenger, in which some interesting EDM beats moves out of the way after the opening (they come back, don’t worry) to reveal a refreshing and very welcome electropop rock song with some great Britney vocals about letting someone to guide her after she’s willing to let herself be his ‘passenger’. Great lyrics, daring production, good vocal performance… it’s not hard to see why critics loved this track so much, and it’s a shame it gets buried among so much underwhelming stuff.

Chillin’ with You, the album’s most infamous moment, finds Britney dueting with her sister, ex-Nickelodeon star and attempted country singer Zoey Meredith Brooks, about hanging out together and drinking wine (Brit likes red, Chase Matthews' ex likes white wine) while, as the southern white suburban moms they are, they feel they have nothing else to worry about. Although the lyrics are… well… cute, and the subject matter is decidedly novel by Britney’s standards, the mixture of country and EDM doesn’t mash as well as the producers might had expected… also, the fact that their vocals were so obviously recorded in different sessions (as showed by the kind of chemistry you only see in cheesy 70s movies starring John Travolta and Lily Tomlin) makes the whole ordeal so surreal.
The album closer in the standard edition is Don’t Cry, a FUCK YOU MR. TRAWICK song in which Britney reassures his man that it’s not worthy to cry as their relationship was always directed to end no matter what they do, and how she’s gonna go to not see him all tear eyed. The bouncy but subdued dubstep back track by pop goblin and producer will.i.am enhances what is arguably Britney’s best vocals in the whole album and some really nice lyrics which still doesn’t work as an album closer.
Sia comes back in the first bonus track of the deluxe edition, Brightest Morning Star, and she brings with her current pop Pariah (that would be Dr. Luke, but he’s only in this track) to the mix, on a track about God (or maybe about her kids, according to Dr. Puke), or at least one that implies to be one; in Sia’s words: ‘Britney was extremely sweet. She came in with the title ‘Brightest Morning Star’ and told me that’s how Jesus found his way. She wanted to write a kind of gospel song that wasn’t ramming it down your throat’. Despite the good intentions, BGS is no Jesus Walks and it gets short in the musical department, with a surprisingly weak instrumental which doesn’t do any good service to the song.
Britney continues her religious quest with Hold on Tight, a mid-tempo ballad that in which Miss Spears details how God comes into her dreams (or it might be an Incubus?) showing her the path to righteousness, even when the road is not as friendly with her, and… to be honest, this is my least favorite song on the album, it’s just so forgettable even if it’s quite refreshing in the context of BJ.
To end the evening, Britney continues her unintentional audition to become a gospel singer with Now That I Found You, a shameless EDM track (with early-10s euphoric drop and everything) about how incomplete she was until she found Him (to be honest, this could also be another love song, but after two bonus tracks about God it’s easy to see where she was pointing towards with the vague lyrics) and how everything is better now. Unlike the forgettable predecessors, NTIFY is fun (dated? Sure… but also fun), it’s bright, it’s colorful, it’s happy, and one of my favorite songs on the record… even if co-writer Guetta basically ripped off his own hit Without You from 3 years before.


Britney Jean is not an autobiography, it’s not a tell-all gossip-venting machine, it’s a clean, overproduced product of misdirection and lack of focus… and yet it’s actually fascinating in several ways: it’s arguably the greatest resume you would find of how pop music sounded in between 2008 and 2013, it’s a great bridge between the impersonal heavily-polished Femme Fatale and the serviceable and engaging Glory, which saw Britney leading the way on how everything would sound from the start.
It’s quite ironic how the album’s naming (taking a cue from Janet Jackson’s Damita Jo, her actual middle name) plays against it, as self-titled releases (unless they are debut albums) are associated with being in control of your output or reinventions (pop examples includes Paramore as their first release as a trio, Beyoncé to fit the minimalistic sounds and Janet Jackson’s janet. to showcase independence from the Jackson family) and unless you’re Led Zeppelin, Peter Gabriel or Weezer, the idea of having a second eponymous release usually means that audiences should expect to experience the performer in a never-seen before way. 2001’s Britney was the album that give a meaning to the phrase “I’m not that innocent” spurred in her previous effort, with lyrics talking about womanhood and sexuality being complemented with R&B vibes and rock/hip-hop elements. Britney Jean, when compared to Femme Fatale, is way behind the difference between Britney and Oops!... I Did It Again, which in retrospective is even worse as the relative freshness and reinvention of Glory leaves the ‘openness’ and ‘variety’ of BJ in shambles.
One of the album’s biggest mistakes is in its sequencing: the first three tracks are the obvious highlights, the next three are basically DOA EDM songs, the next four are the most “adventurous” musically speaking and the bonus tracks are all about God. Taking out some of the ‘pure club’ anthems could theoretically create an album more deserving of its ‘personal’ label, going full Spinal Tap and amp up the production values to do something crazier might have given us something that was at least digestible in a single listening.
The album, as it is, is not perfect, but it’s far from the dumpster fire more people called it, including some of the most interesting Britney songwriting in years (or even her career) and some tracks that are already started to show signs of cult classic. The only positive thing most people seems to agree with is how short it is: with the alternative mix of Perfume included, BJ is ‘only’ 50 minutes long (the standard edition is just 36 minutes long), which is something most performers (even today) seems to struggle with.
Also, she didn’t came to play games with the art cover and aesthetics this era, the album cover and the booklet is her most gorgeous to date, with the former having her most flattering front picture of any of her albums and the neon typography creating a very pleasing contrast with her elegant black-and-white imagery (in the deluxe edition) or the elegantly, milky pastel coloring of the standard edition.



Britney and her team gave up quite easily on Britney Jean and, honestly, they shouldn’t be blamed: the offer to have a Vegas Residency with a salary of $15 million dollars per year seems like the kind of offer a pop star and mother of two with enough money already for several timelines would accept, with the album itself being more of an afterthought.
Britney was originally slated to remain on the Planet Hollywood Resort & Casino for two years but ultimately extended her run for another two years, before finally touring overseas (without an album attached to the performances) during 2017 and 2018.
Because of the lack of promotion, Britney Jean underperformed when compared to Miss Spears’ previous releases, with estimated worldwide sales (as of April 2018) being close to 1.3 million copies, less than a third of Femme Fatale’s sales.
Truth be told, BJ flopped hard… HOWEVER, not everything would have turned out that terrible (not even in a million years it would have sold as much a FF but at least the downfall could have been smaller) with some actual promotion and interest from Brit herself.


BJ is, in my opinion, a compilation of the era, the resume of “in the previous episode of” that you get on serialized TV shows, a farewell to the bombastic era of synth-heavy EDM club anthems with gratuitous drops and interchangeable lyrics. During the genre’s opus, some performers tried to bend this sound (and their equivalents) to their benefit, either mixing it with their style or playing with the boundaries of the sound: it could be a Taylor Swift doing a We Are Never Getting Back Together to get a broad crossover hit, a Lady Gaga mixing multiple genres to create a sonically complex pastiche called Born This Way, or even straight-up jumping almost seamlessly from rap/R&B to club bangers like Nicki Minaj did in Roman Reloaded. Britney in Britney Jean did almost the opposite of that.
Britney Jean is, in some ways, a time capsule of the era in its rawest and purest form (some might differ and replace those buzzwords with generic and bland), with the average user being able to trace mostly any track to a style, influence, sub-genre or even performer. Listening to BJ is like watching a 70s movie in VHS in an old, square TV, basically an unintentional period piece that reflects the volatile, bombastic and extravagant style of those golden years of 2008-2013, which, within the mindset of Britney Jean sounds kinda tired and bland, surprising no one when that branch of pop went back into obscurity and irrelevance almost as fast as grunge music did when Kurt Cobain died.
Britney Jean came up in a time of transition of popular music, with streaming showing the kind of power it had on the charts and more subdued, minimalistic music taking the world by storm. Popular music, as you might already noticed, evolved into a slower, more melodic, calculated, numb, almost anticlimatic entity which was more fitting with our current social and political climate. To paraphrase Todd in the Shadows: 2013 had a hit literally called Happy and 2018 had both a hit called SAD! and another called Happier with a video about a dog that dies.
In terms of Britneyology (both the study of Britney Spears and the religion dedicated to her persona), BJ is also a glimpse into Britney the full-fledged artist. Britney has never been the kind of performer that gets heavily involved into her music, with Britney’s role being generally limited to the choice of songs, sequencing, development of sounds and themes with her assigned team of writers and producers, and performing of course; sometimes Britney gets involved into the heavier portions of her music (the classic Everytime is a great example of it) but most of the time she remains quite anonymous, with her voice and choice being overwritten by the men on charge, something that became quite apparent during and after the Dark Ages (2004-2008) with the cancelling of the legendary Original Doll, her lack of songwriting credits in both Blackout and Circus, and her much-criticized anonymity in Femme Fatale.
BJ was Britney deciding who does want to work with, what does she wants to sing and even how to equilibrate her musical and visual persona. Britney has always being in control of how is she portrayed on official media, most famously rejecting an animated concept for the video of …Baby One More Time in favor of a Lolita-inspired take on catholic school girls, and then the slow process from jailbait to grownup woman. During the post-production of the Work Bitch video, she clashed with director Ben Mor over the kind of content the video should show, as she was a mother in her 30s now instead of an unreachable male gaze fantasy.
With BJ, the Legendary Miss Britney Spears showed us how much she has changed since that controversial 2003/2004 period (the last time she was that involved with an album) in which she received the Kiss of Death from Madonna, suffered her infamous accident and, of course, married twice in a calendar year. This new Britney was a much-different person, and her voice deserved to be heard, and even if the results weren’t the greatest, it was a step into the right director for Britney to get what she always wanted: being a full-fledged artist capable of taking her own decisions and learning from her mistakes.


Coincidentally in 2014 most of the ambassadors of the dominant pop sound of the early 10s were either taking a musical break, flopping or changing lanes, so that year paved the way for the transition of what do we define as popular music, with the winners of the evolution race being trap (Fetty Wap’s Trap Queen), meme music from awful people (Bobby Shmurda’s Hot Nathans) or untalented losers (T-Wayne’s Nasty Freestyle, Silentó’s Watch Me), trop pop (OMI’s Cheerleader, Justin Bieber’s entire Purpose era) or whatever outlier track dared to pass through those filters.
What happened afterwards is a horror story most of popheads tells in fire camps a la Are You Afraid of the Dark?


Glory , the follow-up Britney Jean, received very positives reviews and was considered a strong return-to-form for Britney, and even if it wasn’t as successful as her label might have wanted, the truth is that, at the end of the day, whatever Britney decides to do next (and considering the direction she seems to be taking) it can be as underwhelming as Britney Jean.

submitted by radiofan15 to popheads [link] [comments]

I have compiled all the data from this sub and broken down who is out and who is still in play, I will update this list daily until the lineup is released.

Edit 4/4: The lineup has dropped, bold denotes acts playing
This is a list of acts that are potentially in and are most certainly out for OSLs 2017, I mostly stuck to notable names so that I only had to turn over hundreds of rocks rather than thousands. I intend to update this list via edit from now until the lineup drop (within 30 days at this point I should think). If you want to add someone to this list just comment below and I will modify the list and credit your handle next to the edit. If you want to find someone in particular quickly I suggest you use ctrl F.
Out due to gigs at AT&T Park/Levi's Stadium in San Francisco and Santa Clara CA (May through November)
Out due to gigs at the Oracle arena in Oakland CA (May through November)
Out due to gigs at the SAP Center in San Jose CA (May through November)
Out due to gigs at the Golden One Center in Sacramento CA (May through November)
Out due to gigs at Shoreline Amphitheatre in Mountain View CA (May through November)
Out due to gigs at the Concord Pavilion in Concord CA (May through November)
Out due to gigs at the Greek Theatre in Berkley CA (May through November)
Out due to gigs at Bill Graham Civic Auditorium in San Francisco CA (May through November)
Out due to gigs at the Masonic in San Francisco CA (May through November)
Out due to gigs at the Fox theater in Oakland CA (May through November)
Edit 4/3/17 (undeadsinatra) added: Out due to gigs at the Mountain Winery in Saratoga CA (May through November
Out due to gigs at the Warfield in San Francisco CA (May through November)
Out due to gigs at the Fillmore in San Francisco CA (May through November)
Out due to playing Bottlerock in Napa CA (May 26th-28th, this is just the first several lines)
Out due to playing Santa Cruz American music festival in Santa Cruz CA (May 27th & 28th)
Out due to playing Colossal Clusterfest in San Francisco CA (June 2nd-4th)
Out due to playing Phono Del Sol Music and Food Festival in San Francisco CA (June 17th)
Out due to playing Id1ot Fest in Mountain View CA (June 24th & 25th)
Out due to playing Burger Boogaloo in Oakland CA (July 1st & 2nd)
Out due to playing San Jose Jazz Summer Fest in San Jose CA (same weekend as OSLs)
Out due to playing Flow festival in Finland (same weekend as OSLs)
Out due to playing Boardmasters festival in the UK (same weekend as OSLs)
Out due to playing Way out West festival in Sweden (same weekend as OSLs)
Out due to playing Smukfest in Denmark (same weekend as OSLs)
Out due to playing Oya Festival in Norway (same weekend as OSLs)
Out due to playing SonneMondSterne Festival in Germany (same weekend as OSLs)
Out due to playing Boomtown Fair in the UK (same weekend as OSLs)
Out due to playing Haven Festival in Denmark (same weekend as OSLs)
Probably out due to Sziget Festival in Hungary (same weekend as OSLs, note that this festival is seven days long and therefore it is possible that some of the names below will make it to OSLs, we'll know more when the day by day breakdown comes out)
The following are acts that were in the first six lines of OSLs in 2015 and 2016 that are not already ruled out above and can safely be assumed out for this year.
Others that are out
Edit 3/11/17 added: The following are acts that played bay area gigs the same year as an OSLs appearance
Edit 3/13/17 added: The following is a list of returnees and the gaps between return performances
No gap
Three year gap
Four year gap
Five year gap
Seven year gap
Eight year gap
The following are acts that are still in play that have been mentioned in this sub since January 1st, this does not mean that every name below is necessarily likely so much as not eliminated.
Potential Headliners
Potential Undercard
Edit 3/13/17 added: Past lineup drop dates:
Edit 3/27/17 added: Confirmations
Electric guest: Confirmed on 3/27/17 by A_lonerist https://www.reddit.com/OutsideLands/comments/61povt/electric_guest_confirmed/
Metallica: Confirmed on 3/29/17 by Ranger Dave and first reported by r-fitz_24 https://www.reddit.com/OutsideLands/comments/6290zj/osl_twitter_basically_confirmed_metallica/
Empire of the Sun Confirmed on 3/29/17 by Ranger Dave and first reported by 0kvn_prz0 https://www.reddit.com/OutsideLands/comments/5y60fc/i_have_compiled_all_the_data_from_this_sub_and/dfkrq94/?context=3
Sofi Tucker Confirmed on 3/29/17 by Ranger Dave and first reported by IrateDesperado https://www.reddit.com/OutsideLands/comments/62b3sw/new_hints_megathreadspeculation/dfl7nky/
Acts that were mentioned by no one that ended up on the lineup (in order of appearance)
submitted by sconce2600 to OutsideLands [link] [comments]

VESPER MARTINI - CASINO ROYALE - YouTube 1/18 Aston Martin DBS from Casino Royale - YouTube Vesper Martini 00-VEMBER~ The Aston Martin DBS From Casino Royale - YouTube 16. Dirty Martini (Casino Royale Soundtrack) - YouTube Casino Royale - Vesper - YouTube

Wie findest du dieses Bond's Martini (Casino Royale)-Rezept? Bewertungen anderer. Puya 2. Erstmal heißt der Cocktail "Vesper". Außerdem ist das Verhältnis falsch. Richtig wär's so: 3 Teile London Dry Gin. 1 Teil Vodka, möglichst getreidedestilliert. 1/2 Teil Lillet. Shaken, abseihen, eine lange dünne Zeste von einer Zitrone reißen, die Öle über dem Glas extrahieren, mit der Zeste ... Dry Martini (Casino Royale) 2.9 (9 Bewertungen) Kostenlos registrieren. Schwierigkeitsgrad einfach. Arbeitszeit 5 Min. Gesamtzeit 5 Min. Portionen 2 Portionen. Schwierigkeitsgrad. Die meisten unserer Rezepte sind einfach. Manche sind etwas herausfordernder: und zwar jene, die als mittel oder fortgeschritten bewertet sind. Arbeitszeit . Dies ist die Arbeitszeit, die du benötigst, um diese ... Every James Bond fan knows this recipe as the first martini that Bond ordered in Ian Fleming's 1953 book, "Casino Royale" (or the 2006 movie). Named after the seductive Vesper Lynd character, it is possibly the most famous drink order in history and extremely precise. Recreating the Vesper martini at home is easy, but it also requires interpretation. Vesper Martini. Einmal mehr ein Cocktail auf den Spuren von James Bond. In “Casino Royale” im Jahr 2006 bestellt er diesen während des entscheidenden Pokerspiels im Casino. Damals noch als namensloser Cocktail bestellt, schielt Bond in dieser Szene zu Vesper Lynd. Aus dieser Szene kommt auch der Name des Cocktails – ein Martini-Twist. Der Cocktail selbst hat es in sich und besteht quasi ... The Vesper Martini, made famous by Ian Flemming’s character James Bond in the novel (and film) Casino Royale, is a boozy bridge between the opposing sides of the vodka vs. gin debate as it ... In ein Martini-Glas abseihen und mit der Zitronenzeste garnieren. Tipp: James Bond bestellt seinen Vesper in "Casino Royale" mit Gordon's Gin, wir empfehlen hier eher einen anderen klassischen ... Vesper Martini. Dies ist der Martini, den Bond in Casino Royale bestellt und der nach Vesper Lynd (Eva Greens Bond Girl) benannt ist. Dies ist das einzige Mal, dass Bond ihn bestellt, der Drink ...

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Complete Playlist: https://www.youtube.com/playlist?list=PL949FJOPKjEGSlBLV5PLw5bfzUMWwUnPF Film: Casino Royale (2006) Music Video: © MovieTRAX/Simply Great ... #JamesBond #007 #CasinoRoyaleWe hope you weren’t too enamored with this vehicle because it doesn’t last long. "Vesper" cocktail Anyone for a Vesper Martini on #ThirstyThursday? Just follow the ingredients… Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. 007 Casino Royale 2006 iTALiAN DVDRip XviD SiLENT CD2 - Duration: 1 ... How to Make The Vesper Martini - Best Drink Recipes - Duration: 2:28. bestdrinkrecipes Recommended for you. 2:28 ...