The images include Bowie in concert on the Ziggy Stardust tour of 1973; the famous zigzag lightning bolt across his face on the “Aladdin Sane” cover; and the covers of his “Heroes” (1977), “Let’s Dance” (1983) and “Earthling” (1997) albums. An image from Bowie’s final LP, “Blackstar,” released days before his death, is also part of the set…
The Royal Mail said that this will be the first time it has dedicated a full set of stamps to a single musician. Philip Parker, the stamp strategy manager at the Royal Mail, said in a statement that the stamp issue honored Bowie’s “many celebrated personas.”
He said: “For five decades David Bowie was at the forefront of contemporary culture, and has influenced successive generations of musicians, artists, designers and writers.”
I would love for the USPS to do something similar for Prince. I don’t know if we have any other stamps that honor royalty. (Besides maybe Wonder Woman.)
Ian Boxill (engineer at Paisley Park, 2004-09): Even when he was dressed down, he’d dress like Prince: three-inch-tall flip-flops, or these heels with lights — they’d light up when he walked. That was his comfortable clothing. He had no pockets. You know, if you got people around that can carry phones and money for you, you can get away with that. No pockets and no watch. If he needed to use a phone he’d use my phone or a driver’s phone.
Hayes: We have a thing called Caribou Coffee in Minnesota, which is like Starbucks. He’d go over there, and he didn’t have any pockets. He didn’t have a wallet or any credit cards. He just had cash he’d carry in his hand-like, a $100 bill. And whoever took his order, they’d have a good day, ‘cause he’d buy his coffee drink and then just leave the whole hundred. He doesn’t wait for any change because he doesn’t have anywhere to put it.
Van Jones: He was very interested in the world. He wanted me to explain how the White House worked. He asked very detailed kind of foreign-policy questions. And then he’d ask, “Why doesn’t Obama just outlaw birthdays?” [laughs] I’m, like, “What?” He said, “I was hoping that Obama, as soon as he was elected, would get up and announce there’d be no more Christmas presents and no more birthdays — we’ve got too much to do.” I said, “Yeah, I don’t know if that would go over too well.”
At the EyeO Festival in June, Anil Dash did a talk about Prince, “immigration & migration, artistry & technology, grave injustices & profound triumphs”. The talk is an examination of the past century of American history through the lens of Dash’s family history and one of the world’s greatest artists…well worth the 55 minutes it takes to watch.
Prince’s iconic symbol was originally designed by Martha Kurtz and Dale Hughes (based on an initial concept by Lizz Frey) for use in a 1992 music video and Hughes shared a bunch of the original files and thinking that went into its design.
The day before Prince was scheduled to view HDMG’s latest edit of the video, Mitch Monson (HDMG partner/video graphics artist) asked Martha and me if we could create an animated 3D logo to use as a close to the video…. by tomorrow.
Umm, okay, and what do you have to work with?
Well, we have these drawings that Lizz has been working on…
Prince rides in on the back of a bearded man at around the 2:05 mark, yes you read that right. I had never seen this clip before and when he really gets going on stage, I started clapping and yelling in my apartment. Glorious. (via David Remnick at the New Yorker, who is almost annoyingly good at blogging)
Prince covered Radiohead’s Creep at the Coachella music festival in 2008. The video got yanked due to copyright infringement but it’s back up. For the moment anyway and perhaps forever…Prince’s Twitter account linked to it. (via @anildash (who else??))
Prince played Saturday Night Live last night at the request of host Chris Rock, doing one 8-minute medley of songs instead of two separate short performances during the show. Here’s the whole performance:
From her recent memoir, Sheila E. recounts the first time she met Prince.
I never did make it down to the studio to meet “the kid,” but a few months later, in April 1978, I was at Leopold’s record store in Berkeley browsing through records when I looked up to see a new poster. It featured a beautiful young man with brown skin, a perfect Afro, and stunning green eyes. The word Prince was written in bold letters at the top. That was the guy Tom was talking about!
I found his album For You in the rack and immediately looked at the credits: “Produced, arranged, composed, and performed by Prince.”
The staff at the store, whom I’d known for years, let me take the poster home. Before I’d even listened to his record, I’d taped the poster above my waterbed. Then I lowered the needle onto the album on my record player, sat on the floor, and listened to it in its entirety. Tom was right. I immediately heard that funky rhythm guitar part he’d been talking about. It wasn’t only on one song, but the whole album. I stared up at the poster and told him, “I’m gonna meet you one day.”
A couple of weeks ago, a slowed-down version of Dolly Parton’s classic ballad “Jolene” went viral. A lot of people who heard it loved it, a few people didn’t, but everyone seemed to agree that it was like listening to either an entirely new song or the same song again for the first time.
One of the things that’s eerie about this is that if you listen closely, everything is just a little bit out of tune. There’s conflicting information about exactly how much the track has been slowed. Some people have said that it’s simulating a 45 RPM record played at 33 1/3, which is certainly the most common way people who lived with record players heard popular songs at slower speeds. But that would actually be quite a bit slower and lower than this.
The other figure I’ve seen (forgive me for not citing everything, I’m typing as fast as I can) is “Jolene” has been slowed by 17 percent, which sounds about right and would explain why all the notes seem just a little bit sharp. Here’s the formula for slowing or speeding up a recording to shift the pitch but generally stay in tune:
So — as one does when procrastinating from remunerative work — I made an Excel spreadsheet.
If you want to drop two semitones, you shift the speed down by 12.2462 percent; drop three, you shift by 18.9207 percent, which significantly changes the track. To imitate a 45 RPM record played at 33 1/3, that’s about 25.926, but very few records still sound like something a person actually made at this speed. All of these slowdowns are interesting, even the ones that don’t work.
You can do all of them in the free/open-source audio processing app Audacity; it’s very fast and very easy. (If you want to get freaky, you can also use Audacity to change pitch without changing tempo, or vice versa, or to start out slow and go fast, and all manner of lesser and greater perversity.)
But after messing with Audacity for longer than was strictly necessary, I can tell you that some songs and transformations work out better than others, and they tend to be those that share a lot of the same characteristics as Jolene:
A mix of quick and slow instrumentation, so there’s a lot of information density. It almost has to be fractal; the more you slow it down, the more minute structures you find. The original song itself can actually be slow or fast; many fast songs really don’t work, and quite a few slow ones do.
High-pitched, typically (but not always) female vocals, so the song sounds like a person singing and not a voice-distorted growling dude from To Catch A Predator.
The song needs to be fairly popular, so you can listen to the slow version and keep the regular-speed version in mind. This kind of continual allusion just makes it a richer experience.
And so, here are some of the results:
I described this Prince track as sounding like the slowest, sultriest, funkiest Sylvester song you’ve ever heard.
Mazzy Star surprised me. I always thought Hope Sandoval’s vocals were gorgeous but a little warbly, which gave them character, but that’s almost entirely a production effect. When you slow it down, you can really hear how clean and sustained her notes are.
My Bloody Valentine is the best example of that fractal quality. You can slow it down almost indefinitely and it still sounds like My Bloody Valentine. At this rate, though, it really just turns Bilinda Butcher’s vocals into Kevin Shields’.
There’s more at my Soundcloud page, including The Breeders’ “Cannonball,” “House of Jealous Lovers,” Hot Chip’s “Over and Over,” Grizzly Bear’s “Two Weeks” (which I actually sped up), and more. (Finally, if slowing a track down and posting it online somehow breaks copyright, let me know and I’ll take them down.)
I missed this last summer when it went around originally, but all of Questlove’s celebrity stories are collected here. I had to post it at the end of the day because if this is relevant to your interests, and I think it may be, it’s going to run roughshod over your productivity.
thing is…i know they brought me in for the freakish factor. but only dave bothered to ask me what do i do in real life….so when i told him he was shocked like “wait you are an established artist?” even funnier was the reference “so if this like us picking up george clintons bass player thinking we got a random freaky guy and we messed around and got an icon?”—-i was flattered and said “lets hope you still feel that way when its time for my album to come out”
I’m pretty sure the Eddie Murphy story features Prince, but it’s too long to even excerpt.
i “organixed” the shit outta phil in 97 at the grammies when i told him some geek shit like you and stevie wonder are the best ride cymbal crashers in modern rock after bonham. i told him “do you know do you care” shows that example in his cymbal work. man i made his day with that one.
Here’s Quest talking about Will Smith’s house. So you know Questlove isn’t easily impressed, this is the same Will Smith whose house was recently featured on the cover of Architectural Digest.
I’m telling you, the whole site is gold. Read everything.