Chris

хых. не ведаю,як макфлай,я іх не чула,а вайт страйпс мне вельмі падабаецца.

мабыць яны и увагуе беларусы. .

но , ежли мы про популярные вайт стрипез – тот они- американцы, вазможно есть и британский впариант вайт стрипез, чего не бывет в мире шоу пиздеца, да и что есть британец без американца. так хохол какой-то без маскаля, все говорящие по-английски, даже мы, – немного британцы. а .
короче. читайте-переводите. не верьте, парируйте, и проч.
ваш вариант вайт стриец, если можно
мир и проч.
жыве беларусь!

One of a new breed of back-to-basics rock acts to emerge from Detroit, Michigan, USA, the White Stripes comprises enigmatic bass-free duo Jack White (b. John Anthony Gillis, Detroit, Michigan, USA; guitar/vocals) and Meg White (b. Megan Martha White, Detroit, Michigan, USA; drums). The Whites, variously assumed to be husband and ex-wife or brother and sister, but both denied, formed their new band in 1997. Judging from their facial looks it initially seemed likely the duo were brother and sister, but the matter was confused by Jack White stating that the couple were once married and the posting of a marriage license and divorce certificate on the Internet.
Jack had previously played guitar in garage rock band the Go, but his new project’s musical output is equally informed by folk blues, country 60s Britpop and Broadway show tunes. The Whites’ striking stage presence, dressed in minimalist red and white outfits, is allied to their thrilling grasp of the rudiments of timeless rock music. The duo released 1997′s debut 7-inch single, “Let’s Shake Hands”, on the Italy Records imprint. After one further single (“Lafayette Blues”) for the label, they relocated to the leading independent Sympathy For The Record Industry, debuting with the single “The Big Three Killed My Baby”. Their self-titled long-playing debut garnered immediate praise, mixing astute cover versions (Robert Johnson’s “Stop Breaking Down Blues” and Bob Dylan’s “One More Cup Of Coffee”) with some devastating originals.
By the time of the following year’s De Stijl, named after the Dutch abstract art movement led by Gerrit Rietveld, the media buzz surrounding the White Stripes had reached new heights. Of particular note was the duo’s incredible reception in the UK, where their music was lauded by a wide range of media outlets including The Daily Telegraph, The Sun and even Radio 4′s Today programme, not normally known for its liberal music policy. The influential John Peel was quoted as comparing their importance to that of Jimi Hendrix and the Sex Pistols. The dispute here is that both these acts were originators, whereas the Whites are very good interpreters. There are just too many shades of early Kinks, the Doors, Television and late 60s American garage/punk bands to warrant a major place in twenty-first century rock history. At least the Whites went some way to justifying the media hype surrounding them when they released an excellent third album, White Blood Cells. The follow-up Elephant was recorded at London’s tiny Toe Rag Studios using analogue equipment and only eight tracks. The album offered a welcome respite from the deadening digital conformity of music in the new millennium.