In the morning, Alike talks to Bina about where they want their relationship to go, but Bina says there is no relationship, as she is not "really gay-gay" and only regarded their physical encounter as playful indulgence. Her only further interest in Alike seems to be her concern that Alike not tell anyone else about the two of them. Hurt and upset, Alike leaves and returns home and cries for hours. During that time, Audrey and Arthur have an explosive fight about Alike. Despite her sister Sharonda's protests, Alike decides to intervene in the fight and she comes out to her parents.
Disgusted, Audrey viciously attacks Alike while Arthur tries to restrain her. Alike flees to Laura's house where the two friends reconcile. Audrey then tries to forget that anything happened, which annoys the rest of her family. Arthur comes to meet with Alike, apologizes for Audrey's actions and requests that Alike come back home, offering half-hearted assurance that if she does, "things will be different". Alike says that she will not return home, but instead plans to move to California to begin college early.
She assures her father that, "I'm not running; I'm choosing. Before leaving, Alike makes an attempt to reconcile with her mother as well. However, her mother refuses to accept her and offers only that she will be praying for Alike. Arthur, Sharonda and Laura see Alike off on her journey west and the film ends with Alike reading a poem she wrote; its theme echoes her words to her father that she is not running, but choosing. Spike Lee is one of the executive producers. In his New York Times article, film critic A.
Scott wrote that to watch Adepero Oduye play Alike "is to experience the thrill of discovery. AutoStraddle placed the movie 6th on its list of the top lesbian movies of all time.
From Wikipedia, the free encyclopedia. Box Office Mojo. Retrieved 10 February Sundance Film Festival. Off the bat. I wanted to send it to the label who had one foot within club music and one foot doing something slightly different, and to me they made the most sense.
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But I still want people who are dance music fans to check the record and I felt as though on balance Houndstooth was probably the label that fit best. And also Joe Seaton [Call Super], he says that working with them is the easiest thing in the world. They might have amazing music on then, but I consider the album as a format — and this is just my personal opinion — as its own thing, it should be a cohesive whole. And the nature of club music, this is such a well worn subject, but the nature of club music, with mixable intros and outros, does not lend itself to an album format.
The first track starts if not with a bang, with a big flourish, and it comes down from that, and it almost feels like that first track is possibly trying to break people in gently who might be expecting something different. Would that sound right? Or am I imagining that? It was the first track that I wrote.
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I wanted to have an attention-grabbing opener. And then from there it meanders off into other places. I liked the idea of having something that was, I see it as quite joyful, upbeat, so maybe not something different in tone, but something different sonically, as the opener.
Something slightly more brash. I think it was a real struggle to mix. I worked with a couple of mix engineers on the record, we all did it together, and that one was the real problem track. Was it a question of it being too loud, compared to everything else?http://cars.cleantechnica.com/map480.php
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I recorded a synth in, and then I put a plugin on to it, and was messing around looping up bits, with this delay plugin that allows you to loop. And I was recording and then I cut bits out of the recording, and the quality of the recording was really hard to balance without it sounding flat, my original demo was a lot harsher.
I kind of counteracted the shoddy mixdown or tried to hide the shoddy mixdown with slamming it through a valve mixer, way too loud.
It sounded rubbish! I wanted something like that, as a big opener. And actually, I took a track out after the record got mastered. I had it in the back of my mind that I was going to take it out, but I wanted to hear the whole record mastered.
What sort of environments were you listening to it in, or were you just sitting at home? So one of the rooms was my studio and one was my bedroom.
The room was fully treated and it sounded great, but I think it maybe sounded too good. Any mixdown flaws and you can hear them. I know very few people who can. I think the car is really good, especially for club music. So, from track 5 is the B side. His high ends are so crunchy, and in your face, in the nicest way possible. And I think you lose some of that fidelity with vinyl. I finally bought some hi-fi speakers and a hi-fi deck. And just listening to that record on vinyl — the bass guitar, it sounds so nice.
I just thought it was a lion having a great time. This is mad. What the fuck. That is some excellent trivia. With these really nice little flourishes and motifs running through. Can you tell me any other albums that you would consider benchmarks? And I just kept listening and it kind of clicked. Like a whirlwind of energy, it was amazing. The last time I saw them I was 19, but it stayed with me, completely. But then quite swiftly after that I got into dubstep. I guess I went from not really knowing what dance music was, to becoming heavily involved with it. Which I think quite a lot of people did.
Do you think it was a live thing, an experience thing? How do you go from metal to dubstep? Dubstep was the starting point.
Which is crazy! That was so formative for me, in terms of my music tastes in general. It ran really late at night, midnight till 2 or 1 till 3, and it just played a really wide mix of music. Some rubbish, but some really really good stuff. That as a thing was super formative for me. Some of the videos were so good as well.
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MTV2 was the shit, it was so good. I remember watching Zane Lowe when I was a young teenager. But it was more that they used to play a huge range of music on it. Myspace was around, but this was pre everything being connected, still the days of everything taking a long time to download a track off Soulseek or something like that, waiting four weeks for an import CD from America.