Originally posted by smither
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aha, that's why I had a craving for choccie during the film with Whoopi Goldberg.Originally posted by Ritchi3 View Post
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Originally posted by Neil Young View Post
funny you should say that:
todays news:
Cadbury recalls bars in nut scare
Cadbury said it had received no complaints from customers
Cadbury has apologised after recalling thousands of chocolate bars that lacked nut allergy warning labels.
The Birmingham firm said Dairy Milk Double Choc 250g promotional packs, bearing the phrase "win a prize and a half", were affected.
It is investigating a printing error at its Bristol factory that led to the "may contain traces of nuts" message being left off the label.
Nut allergy sufferers were advised not to eat the bars.
They are also being advised to contact Cadbury for a refund.
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Originally posted by Neil Young View Post
Basically any data with pubs' name in the link has to be treated very cautiously indeed.
* Gorillas hatch from eggs.
* A mature male gorilla is called a silverback. This refers to the silver-colored hair covering his back, which occurs when he’s about 10-12 years old.
* Gorillas live in social, family groups, with an adult male leader, the silverback, and his harem of females and their offspring.
* In the wild, when males mature they are often driven out of their family group to find their own females and start their own groups. Sometimes bachelor groups are formed, where a group of adult male gorillas will stay together for several months or longer.
* In the wild, mature females will often be lured away from their family group by one of these wandering bachelor gorillas, and start their own group and family. This is nature’s way of avoiding inbreeding, which could occur if a youngster stayed in their family group after reaching sexual maturity.
* A young male (about 8 to 10 years old) is called a blackback. He’s almost as big as a silverback, but his hair hasn’t turned silvery yet, and he still has a lot to learn.
* Juveniles usually refer to gorillas ranging in ages from 2 to 8 years old, of either gender.
* Baby gorillas stay with their mothers until they are about 2 to 3 years old, nursing all the time, but trying solid foods when they’re about 6 months old.
* Newborn baby gorillas cling to their mother’s hair immediately, and a mom will continue to hold her baby all the time for about the first 4 months of life!
* Everyone has his/her place in a gorilla group. The dominant silverback is the boss or the leader, and he is usually the most experienced and knowledgeable of the gorillas. Often he has younger or less dominant silverbacks in his group, who act as guards or sentries, to protect the group or bring up the rear when the group travels following the dominant silverback.
* Among the adult females, there is usually a dominant female as well, who is often the silverback’s favorite and the mother of a lot of his offspring. She may be small or large and her "dominance" depends a lot on her personality and experience. When a female has a baby, her ranking usually goes up and females without babies are generally the lowest ranking of the group.
* In zoos, the struggle to be the dominant silverback can lead to problems for zoo keepers, since there often isn’t enough room for two or more large silverbacks to peacefully co-exist in captivity. In the wild, if two silverbacks "argue" one will usually leave the group and move on to form his own group. In captivity humans control who is in a gorilla group, and many times gorillas are moved when they reach maturity to prevent in-breeding or strife between adult males.
* Some gorillas born in zoos cannot be raised by their gorilla mothers for various reasons. These gorillas are then hand-reared instead of mother-reared. In the past almost every gorilla baby was routinely taken away from its mother by zoos, who didn’t think gorillas knew how to be good parents. Today we know this is NOT true, and that gorillas, like humans and other animals, learn by example and watching others.
* Hand-reared gorilla infants are taken care of 24 hours a day, 7 days a week by zoo keepers and staff, who try to keep the baby warm, fed and stimulated, just like its gorilla mother would do if it were being mother-reared. It’s fun but long, hard and exhausting work!!
* Today most zoos are trying to get baby gorillas back in with gorilla groups as soon as possible, sometimes using an adult female gorilla as a "surrogate" parent. This surrogate will take care of and protect the young gorilla and introduce it to the other gorillas. Sometimes surrogate gorillas in zoos are gorillas who can or have not had their own babies, so they are especially fond of having the opportunity to have a baby, even if they didn’t give birth to it!Comment
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ExactlyOriginally posted by Neil Young View Post
It was nothing.
Not funny, not related to the product at all, just boring.--== Because the gang and the government is no different ==--Comment
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I was disappointed TBH
I would have been MUCH funnier and much more impressive if the gorilla had been drumming along to an Arctic Mokey's song. Something like "Brianstorm".
I'll be boycotting Cadbury's hence forth
Originally posted by Gordon Brown
(1995)Comment
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Is anyone else pedantic enough to get upset at the fact that the gorilla is aping Phil Collins and is playing a drum kit set up for a right handed player?
****ing amateurs. :whatever:up your bumComment
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An Ian Brown song would have been more fitting.--== Because the gang and the government is no different ==--Comment
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What a bunch of miserable ****s you are :whatever:**** OFF HICKS AND GILLETT WE DON'T WANT YOU.Comment
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--== Because the gang and the government is no different ==--Comment
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We're quite happy that we don't live on an island that resembles a penal colony for inbreds.Originally posted by Pacman View Postup your bumComment
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Coming from a man who lives in GermanyOriginally posted by kendoddsdadsdogsdead View Post
**** OFF HICKS AND GILLETT WE DON'T WANT YOU.Comment
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From Pitchfork: Poptimist #8
Ape and Essence
Column by Tom Ewing | Digg this article | Add to del.icio.us
Against a light purple backdrop, we see the face of a gorilla. He looks-- as gorillas often look-- a little sad. His eyes are lowered, nostrils slowly flaring. Familiar music plays. The gorilla raises and drops his head as the music builds: It's as if he's getting ready for something. The camera moves to show that our gorilla is in an unusual place-- sat at a drumkit, sticks in hand, his long limber arms at his side. The music continues to build and he suddenly raises his sticks, crashing them down on the drums and flinging his vast ape frame about the kit as he blasts the song into life.
This is a new advert for Cadbury Dairy Milk, the UK's biggest chocolate brand. The gorilla is a man in a suit. The music is "In the Air Tonight" by Phil Collins. The ad is one of the most talked about in Britain, one of the most-watched on YouTube, and is also one of the year's best pieces of music criticism.
Or at least, it does magnificently something music criticism finds desperately hard-- isolating a moment in a track and communicating it effectively. "In the Air Tonight" has picked up digital sales and now sits happily back in the UK charts. This is because of the ad, but buyers aren't getting a video download or a free gorilla mask or anything to link the music to the advert. They're buying the song not to relive the ad but to relive the song the way the ad uses it, highlighting the entry of the drums so memorably.
The drum moment in "In the Air Tonight" is, much like a gorilla sitting at a drumkit, incongruous and showy and absurd and powerful and violent and crude and pathetic, all at once. But if you had been a critic, writing about Phil Collins, and had said something like, "He smashes at the drums like an unleashed gorilla," it would not have worked. The reader would only have picked up on one part-- the unleashed-ness or the gorilla-ness (i.e. the power and violence), and ignored the fact that the animal is sitting at a drumkit (i.e. the showiness and absurdity). You could have found words to point out the absurdity, and stressed that it links with the violence rather than detracts from it-- maybe by talking about Collins' usually toxic combination of unpretentiousness and self-importance...but by now you're losing your reader and really, far better to just get someone to dress up as a gorilla and hit a drumkit and then say, "Look! That's what I'm talking about!"
A few years ago I started a blog, called "Moments in Love", to write about vital instants in songs. Some tracks-- "In the Air Tonight" is one-- are defined by these moments. They might overshadow the rest of the song, often they encapsulate it, sometimes they cast it into doubt. In Roxy Music's "Mother of Pearl", for instance, when Bryan Ferry sighs "I've been up all night" and the backing vox curl wryly around the one-word reply, "Again?" That tells you concisely what's going on in the song-- not just longing, but the fear that longing might not mean any more than it has done all the other times. One reason I adore music is the way it manages to fold implied emotions into a handful of minutes, but there's a whole world folded into that single delightful second of detail.
The blog wasn't a success: Trying to capture those moments is a lot harder than writing about a song and my attempts were high on the poetic and low on drumming apes. It was worth trying, though, because I realized that if you focus on the effectiveness of a single event in a song it helps you strip out a vast amount of the baggage you might otherwise bring to it. The elephant in the room when talking about this advert, for example, is that the music is by Phil Collins, who is not a very fashionable fellow. Nobody is going to complain that by letting his music appear in an advert Collins is somehow damaging its artistic integrity. If I was to spend this column arguing for the hidden greatness in Collins' music I would be called contrarian or ironic. But that one thunderclap gorilla moment is great and it's a way in to thinking more interesting things about Collins should I ever want to.
Like all good music criticism, the advert has sparked a conversation of sorts-- tributes on YouTube tweaking the gorilla and setting him to keep time for different tracks. He has a go at "Total Eclipse of the Heart", but that song's drum-breaks are an epic flounce so it doesn't quite work. On 50 Cent's "In Da Club" he's a different ape entirely, tight and controlled. In fact, as several media commentators have pointed out, the advert feels like a YouTube viral anyway, or one of the fan videos matching favourite footage to favourite music (which are themselves acts of music criticism, obviously, though the Cadbury advertisers have done it better).
I suspect the people who created the advert are not very excited about having made a great piece of music criticism (not to worry-- they will have awards and a delighted client, and those will be thrill enough). Advertisers have been quietly moving in on some of the advocacy elements of music criticism anyway, as their confidence and range has grown. Several years ago you'll remember a great fuss over a Nick Drake track being used to advertise Volkswagen, and I felt that behind at least some of the dudgeon was a sense that marketers simply oughtn't to know who Drake was. Now telecoms giant T-Mobile can use Vashti Bunyan and Arthur Russell in quick succession on their ads, and it seems natural that ad agencies hire people with thorough, credible tastes and an understanding of what obscure music might resonate with outside its core audience. With all those ads, though, the sense remains that the music is there to add exotic colour, and receives nothing creative in return. Maybe the gorilla ad marks a shift-- an advert which cares about its music (even if that music is well-worn and corny) enough to add something to it."The man who never alters his opinion is like standing water, and breeds reptiles of the mind."
-- William BlakeComment
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