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Jason Mraz

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#1 tigerlilywoods



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Posted 08 October 2006 - 01:41 PM

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Jason Thomas Mraz
The Geek In The Pink"

(born June 23, 1977) is an American singer-songwriter, born and raised in Mechanicsville, Virginia, a suburb of Richmond.

Mraz is an eclectic artist with multiple and varied stylistic influences, including pop, rock, jazz, folksy country, and hip-hop/rap. He is popular in the United States, Japan, and Australia and has played with various artists, including Bob Dylan, Dave Matthews Band, Paula Cole, John Popper, Makana, Tristan Prettyman, and Jewel.

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Mraz went to Chickahominy Middle School (8th grade) and Lee Davis High School (grades 9-12) in Mechanicsville, Virginia. His last name is from the Czech word mráz, meaning "frost". Though he did not pick up the guitar until the age of 18, his musical appetite was strong. After a brief stint studying musical theater at the American Musical and Dramatic Academy in New York, he moved to San Diego. There he became a hit on the Southern California club scene, playing with percussionist Toca Rivera and his brother, latin-pop guitarist Carlos Olmeda, in a regular gig at the now-defunct Java Joe's coffee shop—the same venue where fellow musician Jewel played a good deal during her early career. He was briefly married to a woman named Sheridan; however, they divorced amicably and still remain good friends.

Mraz's clear, strong tenor voice and easygoing, optimistic lyrics gained popular acclaim in 2003 when his first single, "The Remedy (I Won't Worry)," began to receive regular play on radio, MTV, and VH1. Co-written by music production team The Matrix, the popularity of "The Remedy" boosted the sales of his major label debut release, Waiting for My Rocket to Come, which would be certified platinum by the RIAA in May 2005.

Mraz has often collaborated and performed with funk-hip-hop-folk artist Billy "Bushwalla" Galewood, a friend from New York who studied musical theater with Jason. They perfected their skills by jamming and freestyle rapping for hours while living in New York. Together, they have written and recorded several songs, including "Curbside Prophet", a track from Waiting for My Rocket to Come which was later released as a promotional single. They both describe each other as one of their biggest influences.

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In June and July, Mraz opened for Alanis Morissette during her Jagged Little Pill Acoustic Tour. On July 26, 2005, he released the follow-up album, Mr. A-Z, to his major label debut Waiting for My Rocket to Come. It entered the Billboard 200 album chart at No. 5, selling nearly 90,000 copies in its first week; later on in December, the album earned a Grammy Award nomination for Best Engineered Album, Non-Classical, while its producer, Steve Lillywhite, received a nomination for Producer of the Year.[1]

Jason Mraz in concert at the Copley Symphony Hall in San Diego, CaliforniaMraz played at the San Diego Music Awards on September 12 and from September to October toured in support of Mr. A-Z; on the tour, he was opened by various artists, including Bushwalla. In November, Mraz opened for the Rolling Stones on five dates during their 2005–2006 world tour.

Also, in this year, Mraz was one of many singers featured in the fall advertisement campaign for The Gap entitled "Favorites." The music-themed campaign also featured other singers including Joss Stone, Keith Urban, Alanis Morissette, Brandon Boyd, and Michelle Williams

In December 2005, Mraz released the first part of his ongoing podcast.

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In January of 2006, Mraz had two concerts in Makati and Taguig City, Philippines to promote his album Mr. A-Z. They were held at the Rockwell Tent in Makati and the NBC Tent in Fort Bonifacio, Taguig City. In February and March, he toured the U.K. and Ireland with James Blunt.

In March, Mraz also performed for the first time in Singapore as part of the annual Mosaic Music Festival. Following that, he toured Australia to promote Mr. A-Z. While in Melbourne he performed at sold-out shows in Manchester Lane for two nights in a row. His Sydney shows, also sold-out, took place at the the Vanguard.

In May, Mraz toured mostly small venues and music festivals in the U.S., along with a few shows in the United Kingdom and Ireland. The tour included a May 6 acoustic show with P.O.D., Better Than Ezra, Live, and The Presidents.

Mraz split with singer-songwriter and former Roxy model Tristan Prettyman, whom he met at Java Joe's in San Diego.

Mraz opened on July 7, 8, 9, and 12th for Rob Thomas during his summer 2006 tour which promoted his solo album, Something to Be

Jason Mraz performed at Pentaport Rock Festival in Korea on July 28th and Fuji Rock Festival in Japan on July 30th.

Mraz began touring Australia during the beginning of August.


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A Jason Mraz Demonstration (1999) - independent release
Live at Java Joe's (2001) - independent release
From The Cutting Room Floor (2001) - independent release
Sold Out (In Stereo) (2002) - independent release
The E Minor EP in F (2002) - independent release
Waiting for My Rocket to Come (2002) #55 US (Platinum)
Tonight, Not Again: Jason Mraz Live at the Eagles Ballroom (2004)
Wordplay EP (2005)
Extra Credit EP (2005) - digital EP
Mr. A-Z (2005) #5 US
Geekin' Out Across the Galaxy (2006) - digital live EP

Guest contributions
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I Melt With You, from the album 50 First Dates Soundtrack (2004)
Summer Breeze, from the album Everwood: Original TV Soundtrack (2004)
Rainbow Connection, from the album For The Kids Too! (2004)
Shy That Way, with Tristan Prettyman from the album twentythree (2005)
Good Old Fashioned Loverboy, from the album Killer Queen: A Tribute to Queen (2005)
Keep on Hoping, with Raul Midon from the album State of Mind (2005)
A Hard Rain's A-Gonna Fall, from the album Listen to Bob Dylan: A Tribute (2005)
Unravel, from the album XM Radio Sessions Vol. 1 (2005)
The Boy's Gone, from the album XM Radio Sessions Vol. 1 (2005)
Plain Jane, from the album XM Radio Sessions Vol. 1 (2005)
Dramatica Mujer, with Alex Cuba Band from the album Humo de Tabaco (2005)
Blitzkrieg Bop, unknown album, Ramones cover
Jesus BoBezzus, unkonwn album, duet with Bushwalla
Personal Ads, unknown album, duet with Bushwalla
White Girl, unknown album, duet with Bushwalla

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photos: www.jasonmraz.org

Edited by tigerlilywoods, 08 October 2006 - 01:42 PM.

#2 MadHatter


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Posted 01 June 2007 - 02:45 PM

i think the first time i heard of Jason Marz was when i heard "the remedy" on the radio, i thought omfg this is a pretty cool catchy tune. and then he came out with another song but then that didn't make it too big.

after a while i didn't hear from this guy for probably a year or so, then he comes out with another catchy tune that i dont' even know the name to! i think it was the mr. A-Z? not sure. but it was good.

i saw quite a bit of people already playing the guitar to that song and singing to it. :D suprised that no one had a thread up for him yet.

#3 chiyuffie


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Posted 28 February 2008 - 03:47 AM

Isn't he coming out with a new album soon? I don't know, but that's what I thought I heard.

#4 Marauders



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Posted 15 March 2008 - 10:33 AM

Hey guys...

I dont know if you have watch this...
Jason is release his latest video, i think..forgive me if im wrong..lately..
It's I'm Yours...the song that successfully made me crazy for months..lol..

This is the video from youtube..enjoy..

I'm Yours

Credit : hethler


I think he will release his album soon..
- We Sing.
- We Dance
- We Steal Things

Those are, if i'm not wrong, 3 differents EP's..
And, you can pre-order it on March 18..in one bundles..xD

#5 Marauders



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Posted 16 March 2008 - 09:23 AM


No probs..=D

Anyway..i read this from jasonmraz.com about his album..

What is We Sing. We Dance. We Steal Things?

We Sing, We Dance, We Steal Things is a phrase I lifted from Scotland's Great Visual Humorist David Shrigley. (His version had the word AND between each statement where I'm using punctuation marks.) I fell in love with his work in 2006 and that phrase, taken from a drawing, stuck with me throughout the entire conceptual process of the album. I just knew it was going to be a perfect album title. Each statement seems to encompass what I was going after: A sing-a-long, danceable fervor.

So, it's no surprise the album is visited by various choirs and ensembles, as it's what we (humans) like to do. We Sing. And quite simply to accompany that celebration of music, or by accident the way we react to music; We Dance.

And what things do we Steal? Practically everything.

Take away anything from your life that could be changed or has changed and What do you have left? Just yourself.

Therefore, all the stuff around us, even our homes, are borrowed, begged for, or stolen from someone or something else, past and present. Music, land, names, ideas, fashion styles, personal choices, etc. All have been built, designed, or practiced before by someone else. Even the carpenters know that the trees didn't get a fee to become the house.

We Steal from our teachers and masters even, to be more like them.

So there you go. Now you know what we're all about.

We Sing. We Dance. We Steal Things.

(Or if you want the short answer: I thought it was funny.)

#6 Marauders



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Posted 20 March 2008 - 08:17 PM

We Sing (EP CD & DD)
Track list: (AVAILABLE 3/18)
1. I'm Yours (from the Casa Nova Sessions)
2. A Beautiful Mess (from a Raining Jane Session)
3. Live High (from an Avocado Salad Session)
4. If It Kills Me (from the Casa Nova Sessions)

We Dance (EP CD & DD)
Track List: (AVAILABLE 4/15)
1. Make It Mine (From the Casa Nova Sessions)
2. Butterfly (From the Casa Nova Sessions)
3. Only Human (From the Casa Nova Sessions)
4. The Dynamo of Volition (From an All Night Session)

We Steal Things (EP CD & DD)
Track List: (AVAILABLE 5/20)
1. Love For a Child (From the Casa Nova Sessions)
2. Coyotes (From, For a girl in New York Sessions)
3. Man Gave Names to All the Animals (From The Gospel Collection Sessions)
4. Mudhouse/Gypsy MC (Live from Amsterdam)

We Sing. We Dance. We Steal Things (CD, LP & DD)
Track List: (AVAILABLE 5/20/08)
1. Make it Mine
2. I'm Yours
3. Lucky ft. Colbie Caillat
4. Butterfly
5. Live High
6. Love for a Child
7. Details In Fabric ft. James Morrison
8. Coyotes
9. Only Human
10. The Dynamo of Volition
11. If It Kills Me
12. A Beautiful Mess

source : juggleboy @lj

#7 Marauders



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Posted 16 April 2008 - 08:27 AM

For Atlantic recording artist Jason Mraz, his first set of all-new material in nearly three years will arrive in stores and at online retailers in May. Titled, “We Sing. We Dance. We Steal Things” it is the San Diego-based troubadour's third studio release to date.

Produced by Martin Terefe, known for his work with KT Tunstall, Ron Sexsmith, and James Morrison, it follows on from his two previous studio releases: 2002's breakthrough, “Waiting For My Rocket To Come,” and 2005's “Mr. A-Z”. On the eve of the album's release, Joe Matera spoke Jason Mraz to discuss the new album, using drugs as a creative tool and the merits of bootlegging.

Ultimate-Guitar: Come May, you'll be releasing your new studio album titled, We Steal. We Dance. We Steal Things, but leading up to its release date, you're releasing a set of three EPs, - one each month - why?

Jason Mraz: I feel like I had promised so many people that I was making an acoustic album. And then I went into the studio and got carried away when I went in and started making We Sing, We Dance, We Steal Things, which is this bugaloo, funky, sunshine, really bright and upbeat kind of record. And I thought a cool thing to do would be to share the music from the album early but as acoustic performances. And most of them at the very least will be the very demos that became the album later on.

So will the direction of the new album follow on from your previous outings?

Yes, it is in a very similar vein to my last records but there is a little difference to it even though I don't really know exactly what that difference is. I think the difference is really the content not so much the sonic quality of the album. I'm singing about relationships, optimism, life lessons and all that good stuff.

Midway through the recording sessions for the album Atlantic Records pulled the plug on the whole project?

Yes they did. We got about a month into it and they didn't care for what we were doing. And it was because we had made an entire funk and disco album. We told them not to worry as we would be making an acoustic album immediately after this album was done and so we were going to give them actually two albums. They were like “screw that, you guys are definitely doing the wrong thing” So they said, “It's done. Just come home and we'll find something else for you to do later”. But I think they got the wrong idea based on our excitement and the two album package idea. So we went back in the studio and spent another month without their support. And we told the musicians that we'd pay them later, and to just trust us. And we kept working on it. We recorded all our favorite songs from this acoustic group of songs that I had as well as we took our favorites from the disco project we were making and sort of came up with this rounded sunny and funky record. And then I took the record to Atlantic in New York and when I played it to them, they finally got what I was on about and came back onboard.

How did the songwriting process compare to that of your last two albums?

Again it was done in a very similar way. When I sit down to write, I do my best to remove myself from the whole process. I just sing out and let the music come through me and then I'll record it or type it out and just try and make sense of what's happening with the songs and with the thoughts I have about it. This album was great to write because after the last album I decided to take about a year and a half off. So I was at home and I surfed every day, cooked every day, did the gardening, and went back and played the coffee shops on a regular basis. I just sort of got myself grounded and started over in living my life again. And it did really help me create some awesome material this time around. Whereas my second album was created on the road and in hotel rooms, it really spoke of travel, sometimes of pain and sometimes of ego. But for this album, there is none of that. It is all boogie, wake up to life, eat organic foods… it's a very fun record.

Speaking of the creative process, I recall an interview you did where you spoke of working with producer Steve Lillywhite whom had encouraged you to take LSD as a tool to help your creativity…

Yeah, Steve knew my background and my love for Hunter S. Thompson stories and Jack Kerouac's On The Road and about how I got around in my youth. And how, I had moments of clarity in psychedelia. And sure enough, here we were in the studio and it had been a long week and on top of things, I had a couple or rewrites to do and couple of things to get done by Monday as he always took the weekends off. And on this Friday night it was almost like he was playing the role of the gonzo lawyer where he said, “as your attorney, I advise you to take some LSD and come back Monday with a whole new attitude”.

Did We Sing, We Dance, We Steel Things' producer Martin Terefe offer you the same type of advice?

Absolutely not! It was a total different experience. I actually had worked with him long before I made my first album and this was a real joy to finally get to make a full album with him. With Martin, it was more like being two buds in the studio, just experimenting with sounds and bringing in different players to try different things. There was never a dull moment. And there never was any need to go and take drugs. I came into this album with a whole new health and whole new attitude about music and traveling and recording that I hadn't have had in any other experience before.

Lets' discuss guitars, what sort of acoustic guitars did you use for this album?

They were mainly the Taylor guitars that I have; a NS52 and a NS72. I honestly don't know what the difference is between the two, but I love them both.

How did you approach the recording of the guitars in the studio?

Well looking back on the whole process now, I feel sad at the way my guitar was miked because we didn't really plugged it in, we just used a crappy mike a good distance away from the guitar. You see, when I was at home recording the guitar for the demos, I really loved getting the nylon string to pop and to breathe and just adding a little reverb to it where you could hear the warmth to the whole body. Which is something, you actually will hear on the EPs. I also used a late ‘40s Gibson on the EPs as well for some of it. And that guitar had this almost distorted sound based on one of the bracings inside being a little jacked. But on the actual album my guitar plays a minor role in the whole sonic creation. The album was driven by keys and horns so every now and then you'll hear a little funky rhythm guitar and some beautiful dobro on some tracks too.

For the past few years you've been playing nylon string guitars rather than acoustic guitars. Does that affect the way you now approach the songs?

Yes. All the songs on the album were written on a nylon string. I've got my nails growing on my right hand so I've got this variety of technique I can strum and I can finger pick as well. I always felt I was limited with a guitar pick. And then I had to throw it away and grab another pick from my pocket and I didn't like this choreography that was required. So I spent the last two years just playing a nylon string and am really just digging it. Digging it because of where I can take it, both rhythmically and dynamically.

What kind of musicians has influenced your guitar approach?

More recently because of the nylon, I've been getting in people like José González, Kings of Convenience, Belle & Sebastian and Nick Drake, people who really took the acoustic guitar and made their own dance out of it. And that is what I'm moved by when I hear that kind of guitar playing.

When it comes to playing live, what sort of set-up do you have?

I keep it simple. I just have my Taylor nylon string and I run that direct but I also run it through a Fender Deluxe onstage also. It is just so it can give me a little bit of stage power. And I also dirty it up a little bit. I've never been a guy to use pedals or anything like that. Until I'm a better guitar player and until I sort of have earned to obey the guitar, then I will start to dabble in the peals and start to change the sound and see how I can improve. But just by keeping it simple it with no pedals, it does affect my playing, its like “what can I do just as a player to back myself up?”

Any chance of you then, going electric in future?

I don't know, maybe. On the tour for my last record I did a little bit of that. I had this Fender Jaguar that I love and it was great for some funky tunes. But when I am at home I just can't help picking up the nylon string. It is perfect for the living room, the studio, the yard and it really translated well on this record.

Considering how the record industry is currently in turmoil due to downloading and all that, you go against the grain and actually allow fans to record your shows?

Bootlegging was around way before me. I got to listen to great Bob Dylan shows that I wasn't even alive for, thanks to bootlegs. And I got turned on to the Dave Matthews Band and funky jam bands like Grateful Dead and all kind of folks, thanks to bootlegging. And so I when I started playing music, I just thought it was the only right thing to do, to allow people to tape the shows. Because you never know where it'll end up or who'll get it. And that also keeps me on my toes because I never want to do the same show twice because people are taping it. To me, it makes my shows challenging so that people feel that every single show that is taped is a bit different from the last.

Interview by Joe Matera
Ultimate-Guitar.Com © 2008

#8 wingwong



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Posted 17 April 2008 - 07:15 AM

This guy is awesome.
When is the new album coming out?

I love the song "I'm yours"
Does anyone know where to get the otaku shirt from geek in the pink music video?

#9 Marauders



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Posted 17 April 2008 - 09:47 AM

Jason Mraz spent a year on sabbatical. His Tapestry-esque return is a little dirty and a little sweet -- just like the singer-songwriter behind it.

By Shana Naomi Krochmal

Jason Mraz is a sassy, soulful hippie singer-songwriter with a voice as clear as a bell. He did his time playing acoustic coffeehouse gigs in San Diego before seeing his debut album, Waiting for My Rocket to Come, go platinum, mostly on the strength of its catchy single, "The Remedy (I Won't Worry)."

But after four years of nearly non-stop touring to support that and Mr. A-Z, his Grammy-nominated second album -- bootlegs of almost all of his improvisational, free-form live performances are available online -- he unplugged, checked out and stayed off the road.

Out recently spoke with Mraz, 30, about We Sing. We Dance. We Steal Things. -- the cool, California rockin' result of his spiritual sabbatical -- his dream retro tour and his dirtiest gay experience he's not sure you really want to hear.

Out: You're a very wordy songwriter. How do you balance being clever with keeping the underlying emotion?

Jason Mraz: I don't always get it right, you know? But I definitely think cleverness is important to songwriting -- especially because since songs are being mass-produced now. I hear a lot of the same songs. So I challenge myself as a writer to say, “I'm gonna tell this story, and it's been told a million times. How can you make it new?” I use the infinite possibility of word options. I've always wanted to be a not-so-predictable writer and combine sounds and syllables that are pleasing to the ear. It's really just a lot of trial and error and a lot of work.

Is there a song on the new album you think manages that well?

I think “Butterfly.” It's kind of a dirty tune. When I first wrote it I got a couple of comments by people who actually said, “I think you're more clever than that -- maybe you should re-write it.”

Because it was too obvious?

Because there were a few obvious things. But at the same time it's very playful and it's just flirtatious -- you know what I mean? I wanted to get raunchy, to get sexy, but still keep it light, and funky, and family. Ultimately I won the argument.

This album really made me want to go listen to Carole King. It's got this very cool, California rock feel, but you grew up in Virginia. What were you listening to there? What did you think California was going to sound like?

I didn't know. I didn't even know that I'd ever see California. All I listened to was the radio, everything from Guns N' Roses to Michael Jackson and Madonna. I didn't know what California rock was until I visited San Francisco in 1999 and took home Joni Mitchell tapes. The last two years when this album was being written, I spent a lot of time at home listening to Neil Young and the Allman Brothers -- the jingle-jangley acoustics of '70s rock and the melodies of Bill Withers. [Sings a little.] I don't know how to describe it -- my musical descriptions are all horrible usually.

It's 1974 and you're going out on a big festival tour to support this album. Who's the big headliner? Who opens for you?

Can I take anybody from the present era? Or do I have to stay with the '70s artists?

Start with the '70s artists, and then you can take one person in your time travel machine.

I think the Bellamy Brothers would be opening up. Do you remember them? They sang, “Oh let your love flow like a mountain stream.” And that's the only song they would sing. I'd like to think I'll be the middle act opening up for like the Doobie Brothers or Steely Dan. And I'd bring Brett Dennen to do the duet. He's California rock straight out of the '70s, but he's living in the now. His voice sounds like Nina Simone, but his band and his whole vibe sounds like the Grateful Dead.

What's your big closing cover song?
What about -- what year did “Listen to the Music” by the Doobie Brothers come out?

It's got to be close enough. [It's from 1972, it turns out.]

Yeah, that's a wicked track -- until they start singing, “Ohhh listen to the music,” like a hundred times. They do the chorus like 17 times out. You hate it by the time is over -- but for some reason when the song starts everybody wants to dance.

I hear you were the most famous high school cheerleader in Virginia.

Well -- I've gotten famous in the last couple years about cheerleading. But I was one of only two guys at cheering camp one summer.

What made you decide you wanted to be a cheerleader?

I was already hanging out with the girls in the show choir and the drama department. They all did cheering and it just seemed like, “Hey, I'll do that too.” There were a couple of guys who had just graduated and the squad needed some more dudes. So I said, “I'll do it. I don't care.” And I knew that it would give me the chance to hang out with some of the hottest ladies in town!

That's a good reason to be a cheerleader.

It's a great reason. I don't know why guys get so much flak for it.

What kind of flak did you get?

Oh, I got derogatory names called to me. I'd walk into the cafeteria and I would hear “fag” thrown my way a million times. I'm like, “I don't get it! I'm hanging out with chicks!” It was just insecurity from the jocks -- that's really all it was.

Describe your sexuality -- not using the words gay or straight.

[Long silence] Awesome?

That is an awesome answer, thank you. I saw a quote where you talked about being “bisexually minded.”

When I was in high school, one of my best friends came out, and he became a magnet for [me to have] more gay friends. When I moved to San Diego in '99, the first guy I met -- who championed my career -- was a gay guy, who turned me on to my manger, who's also gay. I just have this community of gay friends. You can't help but just be in love with your community regardless of who there is straight or gay. Seeing all the love in my gay community, it's always made me wonder well, maybe... Who knows who's out there for me? I go back and forth between being single and not single, and certainly when I'm single I keep my options open -- although I've never had a gay relationship. Only a couple of random, random, quick gay club experiences.

Wait -- what is a “quick gay club experience”?

Well -- [Laughs] There's been truth or dare night when everybody's just kissing everybody and you just go for it, you know? There are some dirtier things that I'd rather not talk about, because they're kind of gross and awkward. Here's the quick version -- no, I can't even tell you. It's pointless.


I'll tell you, and then you have the right to choose not to put it in your magazine. It was a typical Ecstasy night. Everyone passes out. And I pass out with a friend spooning me on the couch and I wake up at six o'clock in the morning totally sweaty, and I'm like, This guy is a little close. The sun is coming through the window, it's hot -- I've got to just get out of here and take my clothes off. So I went to my room and changed, because I was really just gross. And then about a month later I'm at a different party. The same guy passes out in the middle of the floor. And I'm like, “Yo, should we put this guy in bed?” And [my friend says], “Nooooo! When he mixes drugs and alcohol, he cannot control his bladder.” And I just flashed back to that night on the couch, and I realized he had peed all over me.

That, uh, definitely qualifies as a dirty gay experience.

Yes. That definitely qualifies.

Who's cuter: hippie boys or hipster boys?

Hmmm. I'm gonna go with -- that's a tough question. I definitely appreciate the hygiene of the hipsters.

You've been on an intense spiritual journey over the last few years. What's the most important thing that's changed in your daily life?

It's about taking time daily to just check in with myself. When I had time off, and I was on my little quest for awareness or an awakening, I did a million little things each day that kept me grounded and kept me present in every moment. Surfing definitely helps that -- you have to be present, you have to watch what's coming. You have to be going the same speed as the wave to be on it. And so I bring that with me on the road. Some days it's just getting up and going to the gym, or it's doing yoga or just a silent meditation for 15 minutes at any point during the day and just focusing on your breathing. Sometimes we just get so caught up in our schedule -- this Need to do! Need to do! We keep giving ourselves excuses for not just calming down. And in the past on tours I've done just that -- I've allowed my schedule to control me, and I've done just what other people tell me. Now in my daily life I take time. I just take my time. I make sure I'm checked in and that I'm cool with where I'm going and what I'm doing. If things get busy, I take a little break. It reminds you of the hard work you've been doing to become a conscious person and a happy human. So that's what I do.

We Sing. We Dance. We Steal Things. (Atlantic Records) will be released May 13.

Source : out.com

#10 Marauders



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Posted 04 October 2008 - 10:05 AM

Whoa..no new post?

Well, just wanna put this link here...
Its the old video (cover version of I'm yours)...and its awesome..=P
But, still i love Jason's version more.. both of versions..lol

#11 Marauders



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Posted 06 December 2008 - 05:52 AM

Jason nominated on Grammy's 2009

Song of the Year
• “American Boy,” William Adams, Keith Harris, Josh Lopez, Caleb Speir, John Stephens, Estelle Swaray & Kanye West, songwriters (Estelle featuring Kanye West)
• “Chasing Pavements,” Adele Adkins & Eg White, songwriters (Adele)
“I’m Yours,” Jason Mraz, songwriter (Jason Mraz)
• “Love Song,” Sara Bareilles, songwriter (Sara Bareilles)
• “Viva La Vida,” Guy Berryman, Jonny Buckland, Will Champion & Chris Martin, songwriters (Coldplay)

Congrats for Jason..:)

#12 gee!


    What's crackalackin'

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Posted 06 December 2008 - 01:23 PM

lol, jason mraz.
my classmate sang "im urs" in our vocal class.
im currently quite addicted to it too ^_^

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