OH, man~ the things one has to do to get Marit Larsen albums. Spark wasn’t that hard, since it somehow made its way to Amazon, but it seemed so unlikely that When the Morning Comes would show up there again, so I went hunting. It was not a fruitful web-hunt with everyone telling me they did not do international shipping.
More power to friends! Way to go, Julz~
Marit’s 4th album has finally joined its siblings. It also means Marit’s the only 2014 album I had actively physically purchased so far, beating my 2013 record when I only got BiBi’s Unlock as a present (more yay friends!). However, I did just recently physically purchased Calle 13’s Multiviral considering it was my album of 2014. I’m surprised myself.
I’m a little sad that most (if not all) my purchases are digital.
I had never really been a RapidShare user, though had encountered the site several times over in many of my movie/TV journeys, but they’ve always been a pain for me. It doesn’t surprise me that bandwidth caps (for both free users AND PREMIUM), limited speeds and incredibly annoying waiting times that got longer and longer with captchas decreased users and traffic to finally put it out of business.
The relationship with cloud and file-sharing services with the DMCA or MPAA is a strange one. No matter what these services do to please them, it’ll never be enough.
If you read this blog and/or have stumbled upon a post on the subject or -somehow- seen my comments on social media or… maybe a review or feature I’ve written, you’d know I’m not very fond of Sonam Kapoor [1]. Or I wasn’t. At the moment, I’m not sure anymore. A while ago, I saw her on Khoobsurat, which in normal circumstances I wouldn’t have picked, but it was Disney (!) so I couldn’t help myself.
It’s perfectly fine light entertainment, though I think this is the first time I’ve seen a Disney movie where our female protagonist gets (though admitedly quite endearingly funny) pissed drunk, who then later accepts a bottle of soda with ruffies to end up kidnapped (don’t worry, it’s still Disney so nothing happens), and finally ends up with a (hot) prince that was engaged to some other woman. Anyway~ since then, I found myself not hating Sonam as it seems like she’s TRYING. Like- you can sense a change of pace/vibe.
Dolly ki Doli doesn’t look awful.
And in this segment for Anupama Chopra’s The Meeting Ground, Rajkummar Rao (who is also in DkD) makes her palatable. It gets a bit awkward when they keep going on their talk on star children and their upper hand in the industry. Sonam tries to make a point, but Angelina Jolie didn’t make her starring debut in a studio picture with a brand director. Angelina’s credits went from a small role in one of her dad’s films, to straight-to-video releases and shorts until Without Evidence.
Gwyneth and all her Gwynethness is a bit more lucky, but not as lucky as star children in India. TV Movie debut directed by her dad, small role on a movie until she cameo’d on godfather Steven Spielberg’s Hook. It wasn’t until a few years later when she landed Se7en with Fincher and PTA’s Hard Eight.
Nobody goes to Eva Amurri or Rumer Willis and tells their parents Susan Sarandon, Demi Moore or Bruce Willis, “I want to launch your daughter with this banner.”
LOL, this seemingly harmless post turned into a rant. But honestly, no one would care if a star child would begin with small roles in movies, working their way up. Instead, they are given starring roles in medium-big budget films to launch them.
Oh, man. I remember when I used to diligently run the As Iffanlisting. Hadn’t even bothered to check on it for the past 5 years, so just deleted the whole thing because it all broke down. However, Pete brought to my attention a two-part piece that Digital Spy has run for the 10th anniversary of the show’s final episode- in their “retro” section nonetheless.
It’s a lovely catch up piece, and it just basically crushes what people had -somehow- hoped for~ a DVD release. Music licensing is just too damn expensive, and the show just relies too heavily on its music. Very much like the Popular conundrum. It’s a good read, catching up with almost everyone. I always giggle (and get giddy) when I spot anyone from the cast in other projects I’m watching.
Last year, I fell in love with Carrchy’s (卡奇社) music. And honestly, their 2007 album Daylight Allure (日光倾城) is pretty good stuff [Xiami] [YouTube Sample], but they hadn’t been releasing ANYTHING for many MANY years. Last night, they surprised with the release of the single track Clouds (云, Yun), which you can get in Xiami (Sorry, those who Xiami is blocking). I don’t know anywhere else where you might listen to their music [Here’s some Douban demos].
Mavis Fan’s fans (no pun intended) rejoice! She’s got three songs out this year, making a comeback since 2009 with Immediately (當下, Dang Xia). Obviously, the East doesn’t give a flying fish about End of the Year lists or the Holiday season, that’s why they keep releasing stuff- business like usual. xD
Sorry, US-based users. I was only able to find the songs on Xiami. I know, geoblocks suck. But, as far as I know, the songs aren’t available anywhere else -even on iTunes TW- because it seems like a Xiami exclusive release.
Farah Khan’s and Shahrukh Khan’s latest Happy New Year [Español] just hit the market officially with VOD… or as they’re calling it DTF (Direct to Fans), which is less technical and much more personal. It’s also way cheaper than regular VOD too, which usually charges $5USD per one-time stream or 4-5-day rental. You basically get to download the movie for that price. I’m just supposing it’s subtitled (being aimed at all markets except India and China), but I could be supposing erroneously [1].
No cons, just pros really. It would have been much cooler and much more trailblazing if this had happened on opening week (or the week later), but it’s something. I’m just hoping UTV (EROSNOW had its one moment with the pretty horrible Lekar Hum Deewana Dil) gets their shit together with the distribution of films like Haider and PK, really because those two are my bias at the moment. Imagine if more European and other big Asian movies did the same. Isn’t THAT what they want? Piece of the Hollywood pie? You need to indoctrinate people first, get them on the habit of watching you. Hollywood’s been doing this to us for the past 70 years.
I may not be a BSB fangirl any longer, but they’ll always have a tiny place in my heart~
I dunno why on earth they have a US/International cut of the trailer if both are exactly the same. The documentary opens in (I suppose) selected theaters in the USA and Canada on January 30th, as well as iTunes [US][Canada], and selected theaters in the UK and Europe on February 26th.
Last time it took me 2 years to get my 2012-2013 list out. LOL This year, I’m early. I’m pretty happy with my picks at the moment, so I hope nothing mind-blowing pops up in these last remaining weeks of 2014. In the meantime~ you know where to go.
I never thought that I would actually, you know, really like a Hatsune Miku song. I had listened to a couple livetune tracks, but left them at bay until I saw Takashi Murakami’s Jellyfish Eyes where he used the song Last Night, Good Night to great effects during the ending credits. It was around 3-4am, so the effects of the song was perfect.
Too bad the only version available on my iTunes is the one done with Pharrell to promote the movie somehow, and nothing prior to 2012 is on.
On the topic of Miku, such a hybrid. I don’t know what to tag this post.
