WRITTEN:
Written in late 1985 by Perry and Eric. In a way, it's the oldest Jane's song; Eric had come up with the bassline months before he started working with Perry. It was actually taken from a song Chris Brinkman wrote, while he and Eric were in a band together. Chris later became Jane's first guitarist, but was in the band only briefly.
IN THEIR OWN WORDS:
Perry at a live show, '86...
"This is dedicated to all the motherfuckers of this world who think they run things. Fuck them!"
Perry at a live show, '90...
"This is a song about lies."
Perry in the tag_hash_106_______________ interview, late '88...
"We're not overtly political, but we're political but in a philosophical way. And I've always tried to write that way. Because I've kind of figured... you know, like "four dead in Ohio"... it kind of doesn't make sense anymore. You know what I mean? But if you were to sing something about "idiots rule"... 20 years from now or 100 years from now, that would still make sense. So I try to stay away from writing politically about politicians or political events. But philosophy is something that's, like, say... the great philosophers still matter, and they still make sense in these days. And I kinda feel like good philosophy is timeless."
Dave in Guitar World, 11/97...
"I remember Perry telling [Flea] what to play [sings riff]. That's what was great about Perry. We had this song, "Idiot's Rule," that Flea and Angelo Moore and Chris Dowd from [pioneering L.A. ska/rock/funk band] Fishbone came down to play on. And they had this horn section part worked out that took a Jane's Addiction song and, somehow, within one pass of tape, turned it into a Fishbone song. So Perry trimmed away some of the fat and it became what it is now."
Dave in Guitar Player, 1991...
"When I listen to records by Hendrix or Jimmy Page--albums I've known my whole life--I always hear something new. I like that, and I like the fact that there are things on our records that people won't hear at first, or even by the hundredth time. For example, on "Idiots Rule", there's a track of just wah-wah, no notes, just the muted strings. You can barely hear it, but it adds texture and opens things up a bit."
LIVE:
* Played frequently throughout Jane's existance, 86-91.
* 97-02: never played. (funny, with George W as president, I'd think this song would be relevant as ever! :)
ADDITIONAL INFO:
* As one of the above quotes mentions, on the album version, Flea (Red Hot Chili Peppers), Angelo Moore (Fishbone), and Christopher Dowd (also from Fishbone) play horns. I doubt Flea ever played it live with them, but I believe the other two did at a few L.A. shows.
Lil Peep is a white rapper from Long Island who now lives in Los Angeles. His songs are about doing cocaine, wanting to commit suicide, and talking to girls about cocaine and suicide. Between his mixtapes hellboy and crybaby, as well as various one-off loosies and collaborations, he has rapped over samples of Brand New, Underoath, Avenged Sevenfold, Slayer, The Microphones, Sonic Youth, The Postal Service, and an acoustic performance of "Creep" by Radiohead. He attacks these samples with the same half-singing, half-mumbling cadence of rappers such as Playboi Carti or Lil Yachty, cloaked in the vocal tones of mall-rockers past. All of the songs on his SoundCloud are tagged "#Alternative Rock," and his account on the site reveals that he's left multiple comments on songs produced by someone named Marilyn Mansion. He is a member of a crew called GOTHBOICLIQUE, which also includes members with names like "cold hart," "horse head," "jpdreamthug," "wicca phase springs eternal," and "yawns." While researching this piece, I found a 4chan thread declaring him "objectively the GOAT" for getting the word "daddy" tattooed on his chest (don't worry, he also has the word "CRYBABY" tattooed on his forehead). His vibe is somewhere between "shoegaze Kreayshawn," "little brother of the guy Lana Del Rey sang about on 'Video Games'," and "Hey, remember that emotionally manipulative coke dealer you met on Myspace and then dated for three months back in high school? Well, that dude's still 19, and he raps now!" I'm not sure whether it's because of enjoyment, morbid fascination, or a genuine concern about his well-being, but I can't stop listening to him.
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The natural first reaction to Lil Peep is confusion, especially if you are an adult. When he raps about "living at the mall, yeah" on "the song they played [when i crashed into that wall]," it's genuinely hard to tell if he's bragging about dropping stacks at the Giuseppe store or if he's been killing time there by shoplifting from Hot Topic and flipping vape juice to underage kids. Lyrics like "Girls, they try to make me mad / I try to make 'em sad" ("girls") and "Change my name / Shave my head / Tell my friends / That I'm dead" ("yesterday," which btdubs is a two-minute song that samples "Wonderwall" and ends with the sound of someone belching) say this is all a joke, but that giant "CRYBABY" tattoo on his face says that this is soooooo not a joke. Aesthetically, he markets himself in the same way as any other blog-baiting internet rapper, with videos that show him mouthing lyrics as he stands in a kitchen or in front of a door holding money. The remarkable thing about Peep's music, though, is that after the initial waves of incredulity and condescension wash over you, another shock will set in: that this demonic hell-child is genuinely talented. His best songs feel like perfectly constructed Warped Tour pop-punk masquerading as slurry pop-rap with lyrics so polished and professional that I kept googling them to make sure he wasn't quoting Future and/or Fall Out Boy. Consider this chunk of "crybaby," the Brand New-sampling first song off his mixtape of the same title:
If you ignore the lyrics' actual content (which oscillates between asinine and laughable) and instead focus on their construction, you start to understand why you haven't stopped listening to Lil Peep even though you also think his music is virtuosically moronic. Each line seems to twist into the next, the plotline offering a series of reversals and then a minor miracle of wordplay, before ending on a punchline that doubles as a mission statement. He's capable of serving up an AIM away-message worthy line like, "you know I love you by the way that I kiss you," and then wryly undercutting it with a sound effect that's the auditory equivalent of the "Face Throwing a Kiss" emoji. The charging verses, subdued bridge, and HUGE_ASS_CHORUS.wav of "kiss" perfectly mirrors the tension-and-release formula of the best Blink-182 and Taking Back Sunday songs, and the track never lets you take a breath before hitting you over the head with another monstrous hook. The sugar rush of the familiar gets thrown into relief as Peep leans into the lyrical tropes of hip-hop, and right around the time he raps, "I saw the plug at the club, came back with a brick," you might find yourself singing along in spite of the arch silliness at hand. It's these little structural details that make a song stick with the listener, no matter their genre trappings. (Also worth noting is the fact that Peep is doing the heavy lifting in spite of his potentially gimmicky production. Contrast that with the early work of his fellow internet curio Yung Lean, who before he learned how to write songs like "Yoshi City" and "Kyoto," largely crested on sheer novelty, as well as the beats of his preternaturally talented producers Yung Sherm and Gud.)
Building on the unexpected success and popularity of their sound, Bobby Bones & The Raging Idiots signed to Black River Entertainment in May 2015. In November of that year, they proudly released a six track digital EP for their youngest fans entitled The Raging Idiots Presents: The Raging Kidiots,
2016 has already kicked off in a major way. Bobby Bones and The Raging Idiots released their debut single "If I Was Your Boyfriend" from their forthcoming full length musical comedy album. Additionally the video was exclusively premiered on CMT and CMT.com.
3 Idiots is the soundtrack to the 2009 Indian Hindi-language film of the same name written and directed by Rajkumar Hirani and co-written by Abhijat Joshi. The soundtrack featured five original songs and two remixes composed and produced by Shantanu Moitra and lyrics written by Swanand Kirkire.
The soundtrack album was released by T-Series on 27 November 2009, to positive reviews from critics praising Moitra's composition and it was one of the "highest-selling Bollywood soundtrack of 2009".[1] The album received two National Film Awards, six International Indian Film Academy Awards, five Global Indian Music Academy Awards and one nomination at the Filmfare Awards. The track "Aal Izz Well" was one of the "Top 10 Bollywood songs of the year" and became a sensation among the younger generation in that period. It was later re-released by Zee Music Company in 2021.
According to Shantanu Moitra, the album of 3 Idiots was curated with the inspiration of his college days. Each tracks had been written from a state of mind of the youth. Moitra said that "it has been one of the most complex ones on this film, and that is because we were talking about the youth, and there has been no more complex creature on the face of the Earth than the youth".[2] Swanand Kirkire was the primary lyricist of the film and had involved during its scripting stage.[3] The album had five original songs curated and two tracks being remixed.[2] Sonu Nigam was the primary playback singer, rendering five out of seven tracks. The song "Jaane Nahin" was recorded in one take from start to finish.
"Give Me Some Sunshine" is the first song composed for the film. The track was sung by Suraj Jagan and Sharman Joshi (one of the leads in the film), thereby making his singing debut. Another track "Aal Izz Well" being pictured on the lead actors at a college hostel. It is a "fun track", which also shares thought about the philosophy and mindset of students. Instead of using musical instruments, Shantanu used to record the track with bottles, plates and tables.[4] "Zoobi Doobi" is a "sweet melody track", pictured on Aamir and Kareena Kapoor which had a "retro vibe". Shantanu Moitra said the track "is kind of a tribute to the great Hindi film love songs" and also praised its picturisation.[4] 0852c4b9a8
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