Sziget Fesztivál
Jelentkezz be a hozzászóláshoz.
#147
114 nap van hátra a fesztiválig!
#146
Pedig hányszor beírtam h DJ Krush!!!...
Írok neki emailt. 😊
Írok neki emailt. 😊
https://www.youtube.com/shorts/zECTF2H8Jp8
#145
Okos. 😊
:-O http://www.ashes.hu O-:
#144
aláírva!!!!! 😊
#143
sztem nem foglalkoznak nagyon a szavazógéppel. viszont rosszul is lettem, amikor megláttam, hogy jön a razmusz.
SYSTEMET A SZIGETRE!!!!!
SYSTEMET A SZIGETRE!!!!!
:-O http://www.ashes.hu O-:
#142
sajna nem tudom!!! de marha kiváncsi vagyok!!! Valyon MIT KIVÁN A MAGYAR NEMZET????
#141
Mikor fognak vmi statisztikát nyomni hogy milyen együttesre hányan szavaztak, és azokból ki várható.. ?
Hajrá Dózsa György!
#140
Az online jegyrendelés április közepétõl indul a hivatalos oldalon!!!
#139
NAPIJEGY: egy jegyért sok program!
A Sziget Fesztiválra a napijegy (amit csak majd a helyszínen lehet venni) 4.000 Ft, amiért naponta legalább tíz nemzetközi sztár és több tucat hazai produkció közül válogathat a látogató. A Sziget még mindig a kínálatához képest a legocsóbb szórakozási lehetõséget kínálja, ismerve, hogy általában egy külföldi sztár koncertjére 7-8 ezer forintnál olcsóbban nem lehet jegyet kapni.
HETIJEGY: elõvételben akár 8.000 forintot is lehet spórolni!
A hetijegy, mely a kempingezési lehetõséget is magában foglalja, május elsõ hetétõl június 15-ig - elõvételben - mindössze 4 napijegy ára, tehát 16.000 Ft. Június 15-tõl 5 napijegy áráért lehet majd még elõvételben jegyet venni, 20.000 Ft-ért, és a Fesztivál kezdetétõl a helyszínen 6 napijegy áráért, azaz 24.000 Ft-ért vásárolható a heti belépõ.
A Sziget Fesztiválra a napijegy (amit csak majd a helyszínen lehet venni) 4.000 Ft, amiért naponta legalább tíz nemzetközi sztár és több tucat hazai produkció közül válogathat a látogató. A Sziget még mindig a kínálatához képest a legocsóbb szórakozási lehetõséget kínálja, ismerve, hogy általában egy külföldi sztár koncertjére 7-8 ezer forintnál olcsóbban nem lehet jegyet kapni.
HETIJEGY: elõvételben akár 8.000 forintot is lehet spórolni!
A hetijegy, mely a kempingezési lehetõséget is magában foglalja, május elsõ hetétõl június 15-ig - elõvételben - mindössze 4 napijegy ára, tehát 16.000 Ft. Június 15-tõl 5 napijegy áráért lehet majd még elõvételben jegyet venni, 20.000 Ft-ért, és a Fesztivál kezdetétõl a helyszínen 6 napijegy áráért, azaz 24.000 Ft-ért vásárolható a heti belépõ.
#138
120 nap van hátra a fesztiválig!
#137
Dídzséj Krásst akaroooooom!!!!!!!!!!!!!!
https://www.youtube.com/shorts/zECTF2H8Jp8
#136
szár 😊
#135
ugyan már..
nem érdemes annyira komolyan venni a sulit, úgyse attól függ hogy késõbb munkanélküli leszel, vagy leugrassz a 15. rõl
nem érdemes annyira komolyan venni a sulit, úgyse attól függ hogy késõbb munkanélküli leszel, vagy leugrassz a 15. rõl
*hihi ** *
#134
böiler allitolag jo...
kárhogy kiserettsegizem
kárhogy kiserettsegizem
#133
2004. 04. 30. Péntek
Fellépõk: 2 napos Eurokoncert: nemérdekes, Testi Egyenleg, Macskanadrág, Böiler, Yellow Spots, PICSA, Konflikt, stb.
Helyszín: Budapest, Hajógyári sziget
Belépõ: ingyenes
Kezdés: ???
whááááááá
Fellépõk: 2 napos Eurokoncert: nemérdekes, Testi Egyenleg, Macskanadrág, Böiler, Yellow Spots, PICSA, Konflikt, stb.
Helyszín: Budapest, Hajógyári sziget
Belépõ: ingyenes
Kezdés: ???
whááááááá
*hihi ** *
#132
majd szigetre akkor mék ha jön az InStictConfidence, Front Line Assembly, Decoded Feedback, Leaether Strip egyszerre ..
By the perception of illusion we experience reality.
#131
madj meglátom... 1 hónap múlva... de msot tanulok 😊
#130
az is egyre csak könnyebb 😊
*hihi ** *
#129
jah 😄
#128
majd jól megszopod 😄
I\'m a Goodfella just like Deniro, punk.
#127
Yeah..nekem csak jövõre lesz érettségi. (Igaz, az újfajta érettségit fogom irni)
SG HETI KVÍZ 1. SZEZON: BRONZÉREM :P SCHUMI A LEGNAGYOBB!!!! FORZA FERRARI!!!
#126
2 nap elég rá.
*hihi ** *
#125
simán... meg ugy mindenhez 😄
#124
gecc má csak 24? neki kéne kezdeni matekozni 😛
I\'m a Goodfella just like Deniro, punk.
#123
és 24 nap érettségiig 😛
#122
124 nap van hátra a fesztiválig!
#121
loááál 😄
szal: a johnnyval nincs bajom, annak még a zenéjét is elviselem, de nemtudom mér, mert a többi számot nem szeretem 😊))
szal: a johnnyval nincs bajom, annak még a zenéjét is elviselem, de nemtudom mér, mert a többi számot nem szeretem 😊))
-the invisible-
#120
Lesz a szigeten Gecizok??
Azt a viccet ismeritek, hogy ...
#119
szal akkor mi bajod van vele ? 😊
meg regebben egy ilyen "suliban koncert" rendezvenyt azert zartak be, mert "nagymagyarorszagos" zenekar fellepesen kis balhet okozott az :"eljen turmer" beordibalas 😄DDDDDDDDDDDD
meg regebben egy ilyen "suliban koncert" rendezvenyt azert zartak be, mert "nagymagyarorszagos" zenekar fellepesen kis balhet okozott az :"eljen turmer" beordibalas 😄DDDDDDDDDDDD
Hajrá Dózsa György!
#118
"a tartalma is jó", erre mondtam, h fõleg a tartalma jön be.
éljen türmer 😄D
na jó, azért ne. 😄D
éljen türmer 😄D
na jó, azért ne. 😄D
-the invisible-
#117
Alvin Punkpopsuperstar überfasza!!!!
#116
picsát 😊
#115
Én pl- nem szeretem a Pisát se az Alvint, mert mind a 2 rattyi
#114
éljen Türmer ? 😊))
mostmár elmondhatnád igazán hogy a tartalmában mi hibádzik neked?
mostmár elmondhatnád igazán hogy a tartalmában mi hibádzik neked?
Hajrá Dózsa György!
#113
a politikai beállítottságukkal nincsen semmi bajom, jó az 😄
-the invisible-
#112
persze van amikor unalmas a "politikai zene"
Hajrá Dózsa György!
#111
fõleg a tartalma.. tavaly szigeten esélyt is adtam a picsának, de 10 percnél tovább nem bírtam... ez van..
-the invisible-
#110
az egész album qrva jó és vannak azon is elgondolkodtató számok, csak többször kell meghallgatni hogy a szövegre tudj figyelni
A Föld IQ szintje állandó, csak mi vagyunk egyre többen \"Tanulok, mert egy idő után a tanulásba fektetett munkám meghozza a gyümölcsét, és mint tudjuk a gyümölcsből pálinkát lehet főzni!\"
#109
a tartalma is jo 😊
A 3 akkordos magyar punkzene valakinek bejon
A 3 akkordos magyar punkzene valakinek bejon
Hajrá Dózsa György!
#108
mondjuk én nem szeretem ezeket a hazai "punk" zenekarokat, nem értékelem nagyra azt a 3 akkordot amibõl egy album áll... ugyanakkor a johnny nagyon megfogott 😄D az kurva jó szám 😄D
-the invisible-
#107
hát ezt én is így gondolom, de az túlzás hogy nem lesz punk zene, mert tavaly is volt meg elõtte is, és igen nagy nevek (a szigethez képest)
-the invisible-
#106
ezmondjuk lehet 😊)
még picsa koncerten elkezdtük szünetben énekelni a szovjetúniót ( picsa szám ) mondjuk hát mindenki érdekesen nézett ránk, úgy mintakik nem értik hogy ez most hogy jön ide.. egszóval nem ismerték, csak a divatosabb számokat 😊)
még picsa koncerten elkezdtük szünetben énekelni a szovjetúniót ( picsa szám ) mondjuk hát mindenki érdekesen nézett ránk, úgy mintakik nem értik hogy ez most hogy jön ide.. egszóval nem ismerték, csak a divatosabb számokat 😊)
Hajrá Dózsa György!
#105
Én egyáltalán nem azzal jöttem, hogy innen ered onnan ered tudom e mi az nem tudom, csak mondtam hogy az alcin picsa meg a hasonlo okorsegek amiket mindenki hallgat, de otlete sincs miert hallgatja, csak azert mert az most meno, na azokkal lesz tele a sziget
#104
köszönöm vagy valami? 😄D
-the invisible-
#103
Én is lusta vagyok leírni, ez az allmusic.com-ról van:
Punk:
Punk Rock returned rock & roll to the basics — three chords and a simple melody. It just did it louder and faster and more abrasively than any other rock & roll in the past. Although there had been several bands to flirt with what became known as punk rock — including the garage rockers of the '60s and the Velvet Underground, the Stooges, and the New York Dolls — it wasn't until the mid-'70s that punk became its own genre. On both sides of the Atlantic, young bands began forsaking the sonic excesses that distinguished mainstream hard rock and stripping the music down to its essentials. In New York, the first punk band was the Ramones; in London, the first punk band was the Sex Pistols. Although the bands had different agendas and sounds — the Ramones were faster and indebted to bubblegum, while the Pistols played Faces riffs sloppier and louder than the Faces themselves — the direct approach of the bands revolutionized music in both the U.K. and the U.S. In America, punk remained an underground sensation, eventually spawning the hardcore and indie-rock scenes of the '80s, but in the UK, it was a full-scale phenomenon. In the U.K., the Sex Pistols were thought of as a serious threat to the well-being of the government and monarchy, but more importantly, they caused countless bands to form. Some of the bands stuck close to the Pistols' original blueprint, but many found their own sound, whether it was the edgy pop of the Buzzcocks, the anthemic, reggae-informed rock of the Clash, or the arty experiments of Wire and Joy Division. Soon, punk splintered into post-punk (which was more experimental and artier than punk), new wave (which was more pop-oriented), and hardcore, which simply made punk harder, faster, and more abrasive. Throughout the '80s, punk was identified with the hardcore scenes in both America and England. In the early '90s, a wave of punk revivalists — led by Green Day and Rancid — emerged from the American underground. The new wave of punk rockers followed the same template as the original punks, but they tended to incorporate elements of heavy metal into their sound.
HC:
Hardcore Punk was the most rigid and extreme variation of punk rock. Emerging in the early '80s, hardcore took the ideals of punk as far as it could go. The music was impossibly fast, the vocals were shouted, the riffs were simple, and the records looked (and sounded) like they were made in someone's basement. Most of the bands sounded incredibly similar to each other, but there was a handful of distinctive bands; they usually developed musically quite quickly, leaving the sound of hardcore behind, but not its ideals. Hardcore punk was primarily an American sensation and was concentrated in Los Angeles and New York, but there were small, individual scenes scattered across the country. Hardcore kept going into the '90s without breaking into the mainstream, though bands influenced by the hardcore aesthetic — including Nirvana and Green Day — became major rock stars, and former hardcore punkers like Bob Mould, Henry Rollins, Mike Watt, Ian McKaye, and Dinosaur Jr.'s J Mascis became alternative icons.
Ha már szóba került, akkor Oi!:
By the end of the '70s, British punk was splintering into several distinct strains, most of them arty or ambitious in their own ways. Oi! music was an attempt to keep punk a populist, street-level phenomenon; most of it came from the Cockney working class of London's East End. Likely taking its name from the Cockney Rejects' 1980 song "Oi! Oi! Oi!" (before which it was simply known as street-punk), Oi! was loud, brutal, and extremely simple, with loads of shout-along, almost football-chant choruses. In essence, it was punk rock that was most at home in a rowdy pub. It was somewhat similar to hardcore, but not quite as extreme; Oi! stuck much more closely to the original punk blueprint laid out by the Sex Pistols and early Clash. In fact, critics frequently disdained the style for its punk-purist lack of adventurousness, and the way its political statements often replaced the Pistols' wit and intelligence with angry rabble-rousing. The latter wasn't universally true, but all the same, Oi! acquired a bad reputation when it was adopted by racist skinheads aligned with the neo-fascist National Front organization. Most bands (and skinheads) took pains to distance themselves from this unsavory element, especially after a number of violent incidents at live gigs; however, a few genuine white-supremacist bands (most notoriously Skrewdriver) were enough to give Oi! a stigma which it never completely shed. The band that brought Oi!/street-punk to prominence in 1978-79 was Sham 69, and they in turn gave career pushes to Oi! stalwarts like the Angelic Upstarts and the Cockney Rejects. The mid-'90s punk revival led to a renewal of interest in Oi!; many favorite early albums were reissued, and a number of new bands popped up both in the U.K. and overseas.
És a mai Ska:
The Third Wave of Ska Revival emerged in the late '80s, when certain members of the American punk underground began returning to the sounds of British ska revival and infusing it with a hardcore punk attack. During the early '80s, this third wave continued to grow — more bands continued to pop up across the country, but many of the most popular were based in California. As time wore on, the hardcore influences eventually mutated into heavy metal, much like hardcore punk itself. Eventually, the third wave of ska revivalists broke into the American mainstream, thanks to the success of fellow Californian punk revivalists Green Day and the Offspring. The first third wave band to break big was Rancid, but they were quickly followed by groups like No Doubt, Goldfinger, Sublime, and Dancehall Crashers; the Mighty Mighty Bosstones, who were one of the leading figures of the scene in the early '90s, just missed the commercial bandwagon. Most of the bands that followed Rancid into the charts emphasized metal over ska, but some — like No Doubt — drew from new wave pop roots as well, while Rancid themselves managed to stay true to both ska revival and punk. During 1996, the third wave of ska revival became one of the most popular forms of alternative music in the United States.
Punk:
Punk Rock returned rock & roll to the basics — three chords and a simple melody. It just did it louder and faster and more abrasively than any other rock & roll in the past. Although there had been several bands to flirt with what became known as punk rock — including the garage rockers of the '60s and the Velvet Underground, the Stooges, and the New York Dolls — it wasn't until the mid-'70s that punk became its own genre. On both sides of the Atlantic, young bands began forsaking the sonic excesses that distinguished mainstream hard rock and stripping the music down to its essentials. In New York, the first punk band was the Ramones; in London, the first punk band was the Sex Pistols. Although the bands had different agendas and sounds — the Ramones were faster and indebted to bubblegum, while the Pistols played Faces riffs sloppier and louder than the Faces themselves — the direct approach of the bands revolutionized music in both the U.K. and the U.S. In America, punk remained an underground sensation, eventually spawning the hardcore and indie-rock scenes of the '80s, but in the UK, it was a full-scale phenomenon. In the U.K., the Sex Pistols were thought of as a serious threat to the well-being of the government and monarchy, but more importantly, they caused countless bands to form. Some of the bands stuck close to the Pistols' original blueprint, but many found their own sound, whether it was the edgy pop of the Buzzcocks, the anthemic, reggae-informed rock of the Clash, or the arty experiments of Wire and Joy Division. Soon, punk splintered into post-punk (which was more experimental and artier than punk), new wave (which was more pop-oriented), and hardcore, which simply made punk harder, faster, and more abrasive. Throughout the '80s, punk was identified with the hardcore scenes in both America and England. In the early '90s, a wave of punk revivalists — led by Green Day and Rancid — emerged from the American underground. The new wave of punk rockers followed the same template as the original punks, but they tended to incorporate elements of heavy metal into their sound.
HC:
Hardcore Punk was the most rigid and extreme variation of punk rock. Emerging in the early '80s, hardcore took the ideals of punk as far as it could go. The music was impossibly fast, the vocals were shouted, the riffs were simple, and the records looked (and sounded) like they were made in someone's basement. Most of the bands sounded incredibly similar to each other, but there was a handful of distinctive bands; they usually developed musically quite quickly, leaving the sound of hardcore behind, but not its ideals. Hardcore punk was primarily an American sensation and was concentrated in Los Angeles and New York, but there were small, individual scenes scattered across the country. Hardcore kept going into the '90s without breaking into the mainstream, though bands influenced by the hardcore aesthetic — including Nirvana and Green Day — became major rock stars, and former hardcore punkers like Bob Mould, Henry Rollins, Mike Watt, Ian McKaye, and Dinosaur Jr.'s J Mascis became alternative icons.
Ha már szóba került, akkor Oi!:
By the end of the '70s, British punk was splintering into several distinct strains, most of them arty or ambitious in their own ways. Oi! music was an attempt to keep punk a populist, street-level phenomenon; most of it came from the Cockney working class of London's East End. Likely taking its name from the Cockney Rejects' 1980 song "Oi! Oi! Oi!" (before which it was simply known as street-punk), Oi! was loud, brutal, and extremely simple, with loads of shout-along, almost football-chant choruses. In essence, it was punk rock that was most at home in a rowdy pub. It was somewhat similar to hardcore, but not quite as extreme; Oi! stuck much more closely to the original punk blueprint laid out by the Sex Pistols and early Clash. In fact, critics frequently disdained the style for its punk-purist lack of adventurousness, and the way its political statements often replaced the Pistols' wit and intelligence with angry rabble-rousing. The latter wasn't universally true, but all the same, Oi! acquired a bad reputation when it was adopted by racist skinheads aligned with the neo-fascist National Front organization. Most bands (and skinheads) took pains to distance themselves from this unsavory element, especially after a number of violent incidents at live gigs; however, a few genuine white-supremacist bands (most notoriously Skrewdriver) were enough to give Oi! a stigma which it never completely shed. The band that brought Oi!/street-punk to prominence in 1978-79 was Sham 69, and they in turn gave career pushes to Oi! stalwarts like the Angelic Upstarts and the Cockney Rejects. The mid-'90s punk revival led to a renewal of interest in Oi!; many favorite early albums were reissued, and a number of new bands popped up both in the U.K. and overseas.
És a mai Ska:
The Third Wave of Ska Revival emerged in the late '80s, when certain members of the American punk underground began returning to the sounds of British ska revival and infusing it with a hardcore punk attack. During the early '80s, this third wave continued to grow — more bands continued to pop up across the country, but many of the most popular were based in California. As time wore on, the hardcore influences eventually mutated into heavy metal, much like hardcore punk itself. Eventually, the third wave of ska revivalists broke into the American mainstream, thanks to the success of fellow Californian punk revivalists Green Day and the Offspring. The first third wave band to break big was Rancid, but they were quickly followed by groups like No Doubt, Goldfinger, Sublime, and Dancehall Crashers; the Mighty Mighty Bosstones, who were one of the leading figures of the scene in the early '90s, just missed the commercial bandwagon. Most of the bands that followed Rancid into the charts emphasized metal over ska, but some — like No Doubt — drew from new wave pop roots as well, while Rancid themselves managed to stay true to both ska revival and punk. During 1996, the third wave of ska revival became one of the most popular forms of alternative music in the United States.
-the invisible-
#102
Bírom az ilyen igazmetál, igazi punk, igazi HC címkéket.
Meg még az "én már akkor hallgattam, amikor még nagyon kevesen ismerték" embereket.
Meg még az "én már akkor hallgattam, amikor még nagyon kevesen ismerték" embereket.
Magyarország! Ne feledd halottaidat, mint vádlók élnek ők.
#101
Én lusta vagyok. De érdekel. Te meg úgyis tudod. Légy oly szíves, és írd le! (Ezt minden cinizmus nélkül értettem.)
#100
Oi kultúra rulez. Angol iparosodott szegény negyedek utcakölykei, erre gondolsz?
Hajrá Dózsa György!
#99
ajánlom hogy nézzetek utána a punk eredetének, az nem azt jelenti hogy tarajos haj, hanem annál sokkal többet (vagy azt talán nem is)
-the invisible-
#98
Csak úgy õszintén, kíváncsi vagyok hány igazi punkzenekart ismersz.
Hajrá Dózsa György!