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For the sleeve to his 1988 release John Prine Live, Prine wrote that he began writing "Come Back To Us Barbara Lewis Hare Krishna Beauregard" "in the summer of '73 during a tour of Colorado ski towns with Ramblin' Jack Elliott. What I had in mind was this girl who left home, did drugs, did religion, did husbands, and ended up doing diddley." In the Great Days anthology, Prine explains the idea behind the title track: "It's a song about the American dream only existing in the hearts and minds of immigrants until they live here long enough for democracy to make them cold, cynical, and indifferent, like all us native Americans. It don't make much sense." In the same essay, Prine reveals that "Saddle In The Rain" is "another song about friendships and relationships, and being let down. Ever since I can remember, when I was a small kid, anytime I had a friend who really let me down, it would affect me. The disappointment was always large with me. So I guess that's why that's a theme I go back to every once in a while." "Saddle In The Rain" is one of only two songs from Common Sense to appear on the 1976 Atlantic greatest hits compilation Prime Prine (the other being "Barbara Lewis").

Common is one of the most renowned MCs in the history of hip-hop, helping to put Chicago on the map, as the East and West coasts were still duking it out. Since the young South Side rapper released his stellar debut, Can I Borrow A Dollar?, in 1992, the man born Lonnie Corant Jaman Shuka Rashid Lynn, has curated an immense discography of experimental, uplifting albums and a plethora of head-nodding, thought-provoking singles that makes the best Common songs essential for hip-hop heads everywhere.

J Hus Common Sense Songs Download

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While he came to filmmaking later in life, Hasse demonstrates that he's got the goods. The script is an original, and the actors are wonderful. The sloth scenes are the slowest (makes sense), while the interactions between the siblings sizzle. Maxwell's irresponsible artist brother Barney (Brian McCarthy) is an ideal comic foil to suffocatingly responsible Max. It makes you wonder why you don't see McCarthy in more substantial roles more often. When sister Jenna (Ava Eisenson) shows up, the trio's dynamic feels totally authentic: They're siblings who jab at one other while also worrying about and caring for one other. Eisenson brings full dimension to a character who could easily be a caricature: a social media influencer who sees her career as an artistic endeavor. The chemistry between the trio and their individual delivery is top-notch; when they're together, this film about family sings.

Despite her months of silence, Franny is a devoted sister who commits herself to helping Henry. Franny and Henry's mother is scattered but loves her children. James goes above and beyond what most artists would have done with an ill fan. Franny inspires James to write songs again.

SONG ONE opens with 20-ish musician Henry (Ben Rosenfield) busking in a New York City subway station. Moments later, he's hit by a cab. Across the world in Morocco, his older sister, Franny (Anne Hathaway), is doing research for her Ph.D. in anthropology. When her mother (Mary Steenburgen) calls with the awful news -- Henry's been in an accident and is now in a coma -- Franny returns home, distraught that she hadn't spoken to him in six months. She begins to obsessively look through Henry's things and discovers a concert ticket for that very night to see his favorite singer-songwriter, British indie rocker James Forester (Johnny Flynn, of the folk band Johnny Flynn & the Sussex Wit). After the concert, Franny tells James about her brother -- his No. 1 fan -- being in a coma, and gives him a CD of one of Henry's songs. The next day, James shows up at the hospital to see Henry (and Franny). Over the next few days, Franny and James fall for each other through a shared love of music.

Director Kate Barker-Froyland's feature debut shows promise and a delicate touch with romance and music-driven stories. By casting Hathaway opposite a real folk singer and partnering with indie-rock couple Jenny Lewis and Johnathan Rice to write and compose the original songs, Barker-Froyland shows how devoted she is to her concept ... if not her plot, which is the film's weakest link. The music is well matched to the story (mostly emotional and warbling but once electronic and cathartic), especially the wonderful final song ("Silver Song"), and fans of Lewis, Flynn, and folk rockers like Mumford & Sons or Laura Marling will enjoy the soundtrack.

Are there any hard feelings between you and the other ex-members of Justice League.

No, not really. They (Pollen Art) played here last night and I went to go see them and it was cool. But they don\u2019t support us because they think we\u2019re lame for still liking hardcore. A lot of our songs are about them. I guess everyone thinks our songs are typical, but we sing what we feel. There\u2019s a lot of tensions between us and them because they think hardcore is lame and they\u2019ve grown out of it. But we support them even though they think we\u2019re stupid.

Was there a Chain of Strength demo before the seven-inch?

Yeah, but it became the seven-inch just re-mixed. Ray and Porcell and a lot of people were totally into doing it. Schism wanted to do it and then Revelation wanted to do it. What we wanted to do was make a full-length, but everyone talked us out of it, so we just decided to do the seven-inch. We\u2019ve changed a lot, it\u2019s been a year since it came out. I mean, we haven\u2019t changed drastically. Our songs are just a little more creative now. I mean, Alex had only been playing bass for a year then. He\u2019s totally improved now.

Is the song \u201CTrue Till Death\u201D related to anyone directly?

Our songs are weird because they always start out talking about something else. \u201CTrue Till Death\u201D was about SSD and bands that totally lost the edge. At first, they were totally about their lyrics, and then in the Schism interview, Al said, \u201CNo, it was always about the music\u201D. So, I wrote something about that and then Curtis got into it to put his two cents in since he has to sing it. So, that\u2019s why our songs are so weird. I\u2019ll write them and then Curtis puts his two cents in and they become pretty weird.

What\u2019s the deal with the matrix on your seven-inch?

On the first side it says, \u201CCan we play two songs?\u201D and on the other side it says \u201CNo Is Your Answer\u201D. So, when we first came out to the east coast, we played practically every show with No For An Answer and sometimes we weren\u2019t on the bill and we\u2019d be like, \u201CLet us play two songs, that\u2019s it!\u201D and after we\u2019d play two songs, Dan O\u2019Mahoney would be like, \u201COK, that\u2019s it! Get off!\u201D So, we thought we\u2019d slam him with the matrix deal. He felt pretty stupid when he saw it.

Final Comments?

Thanks to Tim and Dennis Boiling Point, Randy Travers, Zero Tolerance dudes, and Mike Madrid because everybody hates him. Dude, have common sense. Everyone should have common sense. Change your five for common sense. Pretty witty, huh?

And what would a COMMON album be without love songs? This of course is the man who penned "The Light," "Come Close" and "Love Is." Common, the intellectual, gets sexual and flirtatious on the "I Want You" produced by Will.I.Am with vocals by Bilal, and "So Far To Go," produced by late great J Dilla and featuring the elusive D'Angelo.

Walking the line between raw hip hop and crossover smash is "Drivin' Me Wild" his collaboration with British chanteuse Lily Allen. Showing his sense of humor but also dropping gems of wisdom COMMON tells the tales of people obsessed with image and the pitfalls of trying to be anything other than your self.

It's a shame that Falkous is playing to the cheap seats on The Plot Against Common Sense, since, to paraphrase one of their best songs, we need Falkous more than he needs us. But I suppose if any teen comes for the "Diff'rent Strokes" and Russell Brand jokes and finds his way toward Travels With Myself and Another and Do Dallas, I can't deny him any more than I could my teenage self that bought overproduced and hamfisted Bad Religion records like The Gray Race and Stranger Than Fiction and thought they were the shit because of all the big words. But I also thought guys like Lewis Black and David Cross were the shit at the time too, and by a certain point, either due to laziness or just a tremendous misunderstanding of their talents, they ditched any semblance of cleverness or comedy for straight-up ranting. It's hard to watch. I'm hoping Falkous doesn't go there, but on The Plot Against Common Sense, he's threatening to become the kind of willfully delusional lunkhead that Mclusky songs eviscerated.

I tend to listen to country music when I am not listening to talk radio or waiting for a traffic report to explain why my car is sitting in park on the highway during rush hour. Most country music artists could be considered redneck philosophers based on the words of wisdom they embed in the lyrics to their songs. Most successful country music songs revolve around trucks, beer, whiskey, girls, or the USA (not necessarily in that order) and the troubles that ensue when there are problems with any of them. Some people say that if you play a country song backward you will get your girlfriend back, get your truck back, get your job back, etc!

So many metrics, so little time. The lyrics of the actual song, one of my favorites from the 80s, were a bit different, but the conclusion remains the same: we must make choices. Both in our personal and work life.

For this reason, I started experimenting with OKRs about six months ago. This ugly term is an acronym for Objectives and Key Results; an increasingly popular practice, commonly associated with Google.