this is kinda dumb. the video is just a bunch of words. are you saying that u can turn the volume off and be all "holy shit, i like these words flashing on the screen y'all!"

the song is catchy and great. that's why you like it. jesus christ.

He does not make a good point at all. The more he goes after me - which he's been doggedly doing for a little while now - the dumber he looks.



I know this video is nothing groundbreaking or original, but the way it uses a direct visual of the lyrics of the song to color it with a light and playful tone really affects the way the song is perceived. The "Fuck You!" frame is perfect, and the hierarchy given to certain phrases, the colors, the font, and the type animation really add to the fun.

you are both retards.

Whatever, man. You've had your little spats with Dalen, too.

The long-awaited foray into the Vietnamese Rock, Pop and Soul sound of the late 1960s and early 1970s is finally here. Saigon Rock and Soul delivers the goods International retro collectors have been searching for in vain for many years - and it delivers beyond belief. Every song is a mini-masterpiece be it heavy acid rock psychedelia, horn and guitar drenched funk grooves, or gripping soul ballads reflective of life during wartime.
The tracks that form this collection cut a window into a rich musical Vietnamese music scene that has long been obscured, and for the most part, forgotten. As the scope of electrified Vietnamese music from the 1960s and 1970s begins to be revealed, it becomes evident that this was among the heaviest and most eclectic musical scenes of South East Asia at the time. These songs tell of war, love and what war does to love. All of them were recorded in makeshift studios and even US army facilities while the Vietnam War raged – and were issued by a handful of Saigon record companies on vinyl 45s and reel or cassette tapes.
Westernized forms of music in Vietnam had appeared during the latter nineteenth century, and especially during the early 20th century, under the influence of the French colonizers. Tan Nhac (modern music) always incorporated both domestic and international sounds, and continued to develop alongside Western musical trends.
During the 1960s and 1970s, pulp ballads were being recorded by leading crooners of the time who alternated between modern and traditional forms of regional music. When the electric guitar hit the streets of Saigon, Vietnamese renditions of contemporary instrumental trends such as surf rock, beat and twist soon emerged, followed by some pretty deep soul sounds inspired by Motown radio hits as well as funk grooves brought on by James Brown and his contemporaries.
By the mid-1960s, Vietnam had been ravaged by war for years. American G.I.s had become a standard fixture in Saigon, as did many of the cultural artifacts they brought with them. This certainly included the music. The sounds of rock and roll dominated the radio waves, and Saigon nightclubs were teeming with new sounds. Musically, the Shadows and the Ventures soon gave way to the Beatles and the Rolling Stones as an enthusiastic set of young Vietnamese rockers signed on to the lifestyle, always eager to hear the latest musical trends the G.I.s would bring in on LP or tape. This era saw the birth of a vibrant rock scene yet rock music and anything that came close was commonly referred to as ‘soul’ in the Vietnamese genre-listings.
Like many cultures in Asia, Vietnamese music is recorded, marketed, listened to and disposed of in a relatively quick manner. This level of advanced ephemera ensures a degree of difficulty when trying to unearth and discover cultural histories. Literally, most of the music heard here has been brought back from the dead. Artists featured include some of Vietnam’s most popular at the time: Elvis Phuong, Hung Cuong, Mai Lei Huyen, Le Thu, Thai Thanh, Giao Linh, Mai Lei Huyen and the CBC Band.

Take the classic sounds of two old school New York punk bands (the Ramones and the Dictators) and a dose of the Stooges, mix in some odd references to pizza and liberal amounts of serious thug rock, and you get the oddly classic sounds of Hoboken, New Jersey’s Personal and the Pizzas and their album Raw Pie.

It’s the sort of sound that would be really hard to make up if you hadn’t heard it first. Personal and the Pizzas crank through sounds that seem to come from an alternate universe in the good old days, creating songs like "Pepperoni Eyes," an upbeat love song about a girl with well, yeah, pepperoni eyes.

The pizza references don’t end there. With "I Don’t Wanna Be No Personal Pizza," "Pizza Army" and "Toss That Pie," they hammer through so many pizza references backed by sloppy fast, fun punk rock that you have to wonder if their act and persona weren’t born by a bunch of guys in the kitchen of a pizzeria, slinging pies late at night.

It’s not all about pizza, though, although it all is pretty street level. "Brass Knuckles" is a lo-fi bit of greaser-influenced goodness, "I Don’t Feel So Happy Now No More," "Tear Jerker" and "Nobody Makes My Girl Cry But Me" seem to flirt with a bit of psychedelic sound and twang without letting go to tremendous amounts of homage to Ramones, and "Never Find Me" just slaps you all over the place with more liberally manhandled Ramones-influenced guitars.

Throughout the course of the 13 tracks, you start out wanting to shrug it all off as a joke, only to find yourself rapidly becoming a believer in what this bad does. They take great punk rock with sometimes silly but always catchy lyrics and play it like the great bands before them have done – they seem to take themselves just seriously enough that it’s good, but not so seriously that it becomes sad slop. Honestly, if you dig classic punk, you'll find yourself enjoying Personal as well.

And while some of their lyrics may sound a little stupid, when you think about it, the Ramones were not lyrical masters of any sort - their sloppy punk with liberal allusions to ‘50s and ‘60s rock and bubblegum groups were what carried them. This is pretty similar – some of their songs would be absolutely ridiculous if they weren’t delivered with such serious thuggish conviction. At the end of Raw Pie, it’s readily apparent that Personal and the Pizzas are too good at what they do to not be taken seriously.

The video is pretty clever, but he makes a good point, drinky.

so what you're trying to say is that you have the mind of a teenager, and that the song isn't interesting enough on it's own, and that the video "like totally spoke to me and made the song so much more fun".

now you're getting defensive because i called you out on a retarded comment.

Yail, who the fuck cares about rhetorical skills when they're responding to someones retarded comment while high as a kite? Not I.

This is Obner.

funny!

I dunno, I think Drink's right. I've said this before, Dale, but you have the rhetorical skills of someone who went to a school where they let you keep the tools at the end of the semester.

But by all means keep busting balls, cuz that shit is funny.

Also, we are talking about a Cee-Lo song here so while I haven't heard it nor watched the video, chances are that Drink is right that the song doesn't stand on it's own.

Also, we are talking about a Cee-Lo song here so while I haven't heard it nor watched the video, chances are that Drink is right that the song doesn't stand on it's own.

Yeah, I like that one too, and totally thought it was more a pretty straight up soul/r&b album than anything else.

And, didn't know if people were still looking for a higher quality Interpol leak. If so, here it is;

yeah, it's Cee-Lo. what's your point?