Anyways the guy on the station, he is called Mick Jagger and all the chicks and the boys meet every Saturday morning in the ‘Carousel’ some juke-joint well one morning in Jan I was walking past and decided to look him up. Everybody’s all over me I get invited to about 10 parties. Beside that Mick is the greatest R&B singer this side of the Atlantic and I don’t mean maybe. I play guitar (electric) Chuck style we got us a bass player and drummer and rhythm-guitar and we practice 2 or 3 nights a week. SWINGIN’.
The Stones played their first show three months after the letter was written. (via ★thoughtbrain)
Alive Inside is a documentary that follows social worker Dan Cohen as he discovers that music can “awaken” people suffering from degenerative memory loss (Alzheimer’s, etc.). Here’s a clip in which a man goes from a near-coma state to talking about his favorite songs after listening to music for awhile on headphones.
Alan Gilbert is the music director of the New York Philharmonic and in this video, he talks about what a conductor does. I’ve been to the Philharmonic a few times in the past year and have wondered about the role of the conductor…specifically, is he actually doing anything up there to affect the music being played in realtime and could the orchestra play without him? The conductor obviously has a huge role in shaping the piece in rehearsal, but it seems like his presence on stage during the performance itself might be more performance than utility. But that’s just a guess.
Update: I got an informative response about this from professional classical musician Chris Brody:
You’re absolutely right that one of the main things an orchestra conductor does is to prepare the orchestra in rehearsal for the way he/she wants the piece to sound in performance. A lot of stuff is conveyed in that way that the conductor then won’t need to attempt to convey in real time during the performance. And furthermore, as you suspect, conductors are often in some sense kind of “dancing” for the audience during performances, in ways that are strictly superfluous to making the musicians play correctly, though sometimes an enjoyable part of the concert experience.
In order for a concert performance to come off correctly, someone has to take responsibility for giving what musicians call “cues”-concrete gestures that enable everyone to know when to start playing. In chamber music (classical music played in small groups), one of the players will do this, usually with an exaggerated, rhythmically timed gesture that connotes “taking a breath to start playing right NOW” or “preparing my bow to play the string right NOW”, and so on. In fact, there are entire smallish orchestras, like the Orpheus Chamber Orchestra, that play with no conductor, because members of the ensemble give cues when they are needed.
In larger (orchestral) settings, it is convenient to have a conductor to give cues instead. Of course, there are some pieces that are played with metronomic strictness, and the conductor in fact will have fairly little to do during those performances. You might have noticed that pieces from the Baroque and Classical periods are usually quite strict in time, and it is no coincidence that there was no such thing as a professional conductor until the nineteenth century-music prior to that was usually quite playable with the first-chair violinist (“concertmaster”) or the keyboardist giving a few cues as needed. (Conductors were occasionally used prior to the nineteenth century, but not so much that it was anyone’s entire job.)
Some pieces, by contrast, have a lot of changes of tempo, or a lot of starting and stopping. In cases like that, a conductor is really an indispensable part of having a performance come off non-disastrously! Furthermore, a lot of pieces are written in a complicated enough texture or rhythm that the musicians cannot necessarily hear what the beat is all the time, and need some visual help to stay together (this is especially true of very slow music, and of a lot of twentieth-century music).
Aside from this, when ensembles don’t need help staying together, the conductor will do a lot of gesturing to elicit slight changes in dynamic level, expressive character, and so on, from the musicians. Very good ensembles, when working with a conductor they respect, will absolutely respond in real time to these gestures. Less good ensembles will often not be able to do so and will mostly watch the conductor for cues. Also, ultra-elite ensembles are sometimes known to ignore the conductor during performances if they think he/she isn’t adding much value (a dirty secret of professional musicians!), or of course if they do not have confidence in the conductor’s ability to keep them together.
A couple more things that might interest you. Basic conducting is done via the use of “patterns” that correspond to certain time signatures. When a conductor conducts music in 3/4 (3 beats per measure), there will be 3 precise places that the baton is expected to be during the measure, and the musicians can always look up and follow that pattern. (The basic patterns are shown in this video.) If you watch, let’s say, a high-school band, you will see the conductor use these patterns very strictly and literally. In orchestral conducting, two things are different. First, the musicians don’t need much help keeping time, so the patterns are either heavily modified or abandoned entirely-although you can often see downbeats and things if you look for them. Second, orchestral conductors conduct WAY ahead of the beat the musicians are actually playing. This helps the musicians respond in real time to the conductor’s instructions. From the audience’s perspective, therefore, it can be nearly impossible to see the connection between what the conductor is doing and what you’re hearing from the musicians-they’re probably substantially out of sync.
Looks like I have a lot more to look for the next time I go to the symphony. (thx, chris!)
Friday was the 15th anniversary of the death of The Notorious B.I.G. The Fader has a look back at the life of Biggie, as told through pictures of the places he went and the people he knew.
I started working with Big in ‘91. I was 21, he was 15. I met him through a friend of mine. They hustled together on Bedford and Quincy. People in the neighborhood knew him as the hottest rapper around. Everybody that stepped in his path, he ate ‘em up. He earned that stripe from that one battle he had on Bedford and Quincy. I was the one that was playing the music. This man used to live right upstairs from the pool room. Every day in the summer we’d play the music out. It just so happened that Big came around, so we brought the grill out, we brought the music out. They got on the mic and went at it. It went on from there. Cars stopped, it got real crowded out there. We rocked it ‘til 12, one o’clock that night. It was a good look. Everybody that came at his back, he took out.
I’m gonna play some Board of Canada now. I’m a bit of a Boards of Canada evangelist. They’re my favorite band, I think. Maybe them and The Beatles. But, they are a band, again, a bit like The Fall. It’s like once you get into them, or rather, once something clicks you just wanna hear everything they’ve released. This track I’m gonna play, it’s from their last full album, which is The Campfire Headphase from 2005. They’ve got a new album coming out soon and I think it’s gonna be a double album and I’m so excited, I really am-to hear their new one. Um, I just love them.
Much of rap is about business, whether the drug business, the music industry or work ethic, said Adam Bradley, an associate professor specializing in African-American literature at the University of Colorado at Boulder who wrote “Book of Rhymes: The Poetics of Hip Hop” and co-edited “The Anthology of Rap.”
“It comes out of the fact that rap is such a direct mode of expression, maybe more so than any other music lyric, because of the emphasis on language, of words above melody or harmony,” Mr. Bradley said.
People think of rap lyrics as being only about money, women, status and cocaine, he said, but more pervasive themes are leadership, collaboration and the vulnerability beneath the swagger — all relevant in business.
“Remember, you’re not selling out,” Jonah Peretti, a co-founder of the Huffington Post, told Denton. “You’re blowing up. Think in terms of hip-hop, not indie rock.”
This is so perfectly in the kottke.org wheelhouse that I can’t even tell if it’s any good or not: a mashup of Jay-Z and Kanye’s N***as in Paris and Woody Allen’s Midnight in Paris.
Peter Sellers did four different spoken word versions of The Beatles’ She Loves You: as Dr. Strangelove, with a Cockney accent, with an Irish accent, and with an upper crust English accent (my fave):
You may remember Martin Klimas from his photos of shattering figurines (which I love).
His latest project involves arranging paint just above massive speakers, turning the sound up, and photographing the results. This is Steve Reich’s “Music for 18 Musicians”:
I wonder what dubstep looks like? (via @pomeranian99)
An internet sleuth used the lyrics of Ice Cube’s It Was a Good Day to figure out when his exceptional day occurred.
CLUE 3: “The Lakers beat the Super Sonics” Dates between Yo MTV Raps air date AUGUST 6 1988 and the release of the single FEBRUARY 23 1993 where the Lakers beat the Super Sonics…
Update: Someone fact-checked the original calculation and found it wanting. (thx, trevor)
The Fournitures Generales Pour Le Piano is a shop in Paris that sells parts for piano repair. The owner runs the shop himself, sells fewer and fewer parts each year, and dreams of building a one-string instrument which sounds like a piano, lute, and harp all at the same time.
In a piece for Vanity Fair, Kurt Andersen argues that for the first time in recent history, American pop culture (fashion, art, music, design, entertainment) hasn’t changed dramatically in the past 20 years.
Since 1992, as the technological miracles and wonders have propagated and the political economy has transformed, the world has become radically and profoundly new. (And then there’s the miraculous drop in violent crime in the United States, by half.) Here is what’s odd: during these same 20 years, the appearance of the world (computers, TVs, telephones, and music players aside) has changed hardly at all, less than it did during any 20-year period for at least a century. The past is a foreign country, but the recent past — the 00s, the 90s, even a lot of the 80s — looks almost identical to the present. This is the First Great Paradox of Contemporary Cultural History.
Think about it. Picture it. Rewind any other 20-year chunk of 20th-century time. There’s no chance you would mistake a photograph or movie of Americans or an American city from 1972-giant sideburns, collars, and bell-bottoms, leisure suits and cigarettes, AMC Javelins and Matadors and Gremlins alongside Dodge Demons, Swingers, Plymouth Dusters, and Scamps-with images from 1992. Time-travel back another 20 years, before rock ‘n’ roll and the Pill and Vietnam, when both sexes wore hats and cars were big and bulbous with late-moderne fenders and fins-again, unmistakably different, 1952 from 1972. You can keep doing it and see that the characteristic surfaces and sounds of each historical moment are absolutely distinct from those of 20 years earlier or later: the clothes, the hair, the cars, the advertising — all of it. It’s even true of the 19th century: practically no respectable American man wore a beard before the 1850s, for instance, but beards were almost obligatory in the 1870s, and then disappeared again by 1900. The modern sensibility has been defined by brief stylistic shelf lives, our minds trained to register the recent past as old-fashioned.
This video, which takes its audio from a 2007 interview, takes a crack at defining it.
So, a dubstep or grime is kinda like this ultra slow, ultra dirty spawn of hip hop, but it’s almost at a breakbeat speed, but it’s at a halftime breakbeat speed. So it feels, like, abnormally slow, and just gives this really heavy feel.
Since the evolution of music has slowed since, say, the early 1980s, I thought it would be a long time before a popular genre of music came along that seemed, to my old ears, to be noisy garbage…but then dubstep came along. Industrial, happy hardcore, metal, punk, glitch, and even drum & bass I can appreciate, but dubstep makes me want to yell at children to get off lawns. And I actually like that door stopper noise!
You’ve probably seen the NY Times correction that everyone’s talking about. Ok, not everyone, just everyone who works in media. Anyway, here it is:
An article on Monday about Jack Robison and Kirsten Lindsmith, two college students with Asperger syndrome who are navigating the perils of an intimate relationship, misidentified the character from the animated children’s TV show “My Little Pony” that Ms. Lindsmith said she visualized to cheer herself up. It is Twilight Sparkle, the nerdy intellectual, not Fluttershy, the kind animal lover.
I was accompanying Kirsten to school, taking notes on my laptop as she drove. She was listening to music on her iPod known to Pony fans as “dubtrot,” — a take-off on “dubstep,” get it? — in which fans remix songs and dialogue from the show with electronic dance music.
Dubtrot! And leave it Urban Dictionary to gild the lily.
Dubstep music relating to My Little Pony: Friendship is Magic. Often created by bronies, dubtrot can include dubstep remixes of songs from the show and original pieces created as homage or in reference to the show.
And if you were a Chicago Bulls fan in the 90s, don’t miss his remix of the Bulls intro music in the Unreleased 2010 Remixes collection (find it on the downloads page).
Moby has a web site where filmmakers can download his music for use in non-profit projects. Cool!
this portion of moby.com, ‘film music’, is for independent and non-profit filmmakers, film students, and anyone in need of free music for their independent, non-profit film, video, or short. to use the site you log in(or on?) and are then given a password. you can then listen to the available music and download whatever you want to use in your film or video or short. the music is free as long as it’s being used in a non-commercial or non-profit film, video, or short.
Something to keep in mind when you’re tempted to slap a Sigur Ros song on your viral video. (via ken murphy)
Drinkify matches up the music you’re listening to with a suggested drink. According to the site, Daft Punk pairs best with 6 oz. Bombay Sapphire Gin served neat, Philip Glass should be accompanied by a bottle of red wine, The Clash goes with 1 oz. cocaine + 1 oz. grenadine served in a highball, and you can probably guess what you drink while listening to Snoop Dogg:
Michael J. Fox recently took the stage at his annual benefit for Parkinson’s disease and played a familiar favorite: Johnny B. Goode. Marvin, get on the phone to your cousin!
KOYAANISQATSI, [Godfrey] Reggio’s debut as a film director and producer, is the first film of the QATSI trilogy. The title is a Hopi Indian word meaning “life out of balance.” Created between 1975 and 1982, the film is an apocalyptic vision of the collision of two different worlds — urban life and technology versus the environment. The musical score was composed by Philip Glass.
The entire film is available on both YouTube and Hulu.
Stay Connected