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From Life magazine circa 1971, a selection of photos of rock stars (Jackson 5, Eric Clapton, Elton John, Grace Slick) with their parents taken in their parents’ homes. Here’s Eric Clapton with his grandmother.
That same series also contains the great photo of The Jackson 5 astride their scooters. (via andrea inspired)
Reminds me of Gondry’s Star Guitar video with a bit of MC Escher mixed in.
(viva la sandwich)
This is surprisingly well done.
Continuing with the unexpected Kanye groove on kottke.org this morning.
This might be even funnier than the Kanye Jordan Twitter acct.
Just in time for that family Christmas party: 99 Christmas songs for $1.99 at Amazon’s MP3 store.
Isle of Tune is a musical sequencer with a twist…you build little roads with houses, trees, streetlights, etc. that cars can then drive past, making music as they go. This is currently the top-rated island:
And here’s Michael Jackson’s Beat It. Neat! (via prosthetic knowledge)
It’s called 01 and 10…ok, it’s not really a lost album. But apparently if you take the first five songs from OK Computer (from 1997) and the first five songs from In Rainbows (from 2007) and alternate them, the songs fit together musically and lyrically to form a coherent album.
Consider that In Rainbows was meant to complement OK Computer, musically, lyrically, and in structure. We found that the two albums can be knit together beautifully. By combining the tracks to form one playlist, 01 and 10, we have a remarkable listening experience. The transitions between the songs are astounding, and it appears that this was done purposefully.
The lyrics also seem to complement each other. There appears to be a concept flowing through the 01 and 10 playlist. Ideas in one song is picked up by the next, such as “Pull me out of the aircrash,” and “When I’m at the pearly gates, this will be my videotape.”
(via prosthetic knowledge)
Patrick Filler took Ben Greenman’s New Yorker holiday party playlist (one song for each year from 1925 to 2010) and made a Rdio playlist out of it so that you can listen to the whole shebang online.
For the New Yorker holiday party, Ben Greenman whipped up a music playlist containing one hit song from each year of the New Yorker’s history, from 1925 to 2010.
At the party, the mix worked like a charm. Jazz and blues greeted the early arrivals, and as the party picked up, the mood became romantic (thanks to the big-band and vocal recordings of the late thirties and forties), energetic (thanks to early rock and roll like Fats Domino and Jackie Brenston in the early fifties), funky (James Brown in 1973, Stevie Wonder in 1974), and kitschy (the eighties), after which it erupted into a bright riot of contemporary pop and hip-hop (Rihanna! Kanye! M.I.A.! Lil Jon!). It was rumored, though never proven, that party guests were leaving right around the songs that marked their birth years.
Where the hell is Hey Ya!? Oh, right. Crazy in Love.
The Inception iPhone app takes the music from the movie and remixes it with the sounds around you (office chatter, street noise, etc.).
Inception The App transports Inception The Movie straight into your life. New dreams can be unlocked in many ways, for example by walking, being in a quiet room, while traveling or when the sun shines. You will get realtime musical experiences, featuring new and exclusive music from the Inception soundtrack composed by Hans Zimmer.
Bad: I can hear the people in the office talking, which is the precise thing I’m attempting to prevent by wearing headphones.
I have enjoyed nothing (nothing!) more over the past week or so than Daft Punk’s Tron Legacy soundtrack. Amazon’s got the mp3 album today for only $3.99.
The latest big thing from Google: beatboxing. Just go to this page on Google Translate and press “Listen”. I laughed out loud. (via prosthetic knowledge)
Interesting piece on how Kanye West’s latest album, My Beautiful Dark Twisted Fantasy, got made. Lots of good creative process bits, like this extensive quote from Kanye kollaborator Q-Tip:
“I’d never worked the way Kanye was working in Hawaii. Everybody’s opinions mattered and counted. You would walk in, and there’s Consequence and Pusha T and everybody is sitting in there and he’s playing music and everyone is weighing in. It was like music by committee. [Laughs.] It was fresh that everybody cared like that. I have my people that listen to my stuff-I think everybody does-but his thing is much more like, if the delivery guy comes in the studio and Kanye likes him and they strike up a conversation, he’ll go, ‘Check this out, tell me what you think.’ Which speaks volumes about who he is and how he sees and views people. Every person has a voice and an idea, so he’s sincerely looking to hear what you have to say-good, bad, or whatever.
“In art, whether it was Michelangelo or Rembrandt or all these dudes, they’ll sketch something, but their hands may not necessarily touch the paint. Damien Hirst may conceptualize it, but there’s a whole crew of people who are putting it together, like workers. His hand doesn’t have to touch the canvas, but his thought does. With Kanye, when he has his beats or his rhymes, he offers them to the committee and we’re all invited to dissect, strip, or add on to what he’s already started. By the end of the sessions, you see how he integrates and transforms everyone’s contributions, so the whole is greater than the sum of its parts. He’s a real wizard at it. What he does is alchemy, really.”
BTW, My Beautiful Dark Twisted Fantasy is still on sale at Amazon for $3.99.
The remastered version of NIN’s Pretty Hate Machine is out today. You can get the CD or vinyl at Amazon or mp3s at iTunes.
Here’s video of a full orchestral performance of John Cage’s famous 4’33” composition, in which none of the performers plays his or her instrument; it’s four minutes and thirty-three seconds of ambient noise.
You’re not going to think it’s worth it, but watch the whole performance. (thx, liz)
A translation of 50 Cent’s hit single In Da Club into the Queen’s English.
When I arrive in my Mercedes-Benz
I find the nightclub is full of actors
Basically, a lot of different people want to have sex with me
And I mean A LOT
I fear change
Xzibit is preparing a marijuana cigarette
I am very good at interpretive dance
Gunshot injuries have had no effect on my gait
(via @dansays)
On Monday night, at a screening of the movie “Due Date,” Courtney Love told a reporter from Style.com that she was trying to take better care of herself.
Or, perhaps not:
Shortly after 8 p.m., Ms. Love burst into the room with the Marchesa dress slung on one arm and the noted German Neo-Expressionist artist Anselm Kiefer on the other. She was entirely naked and leaning on Mr. Kiefer for support. She made one lap around the room, walking in front of a photographer, an assistant, a hairstylist and me. She pulled over her head a transparent lace dress that covered up nothing, and demanded my assistance — “Not you,” she said to Mr. Kiefer, who was bent over trying to help her — to stuff her feet into a pair of black Givenchy heels that were zipped up the back and tied with delicate laces in the front. Then she applied a slash of red lipstick in the vicinity of her mouth.
“I really must get out of here,” Mr. Kiefer said.
“Just a minute,” Ms. Love said, as she pushed her feet, shoes and all, through a pair of pink knickers that she said cost $4,000. She grabbed a trench coat, walked through the hotel lobby with her breasts exposed to an assortment of prominent fashion figures, including Stefano Pilati, the Yves Saint Laurent designer, and then exited the hotel.
Like Ms. Love, this profile of her is anything but boring.
In heavy rotation in iTunes this week: Crystal Castles’ “Not in Love” featuring vocals by Robert Smith of The Cure.
The only way this could be better is with Brian Johnson’s vocals stitched in there.
If this profile of Jay-Z in the WSJ is any indication, the guy doesn’t seem to have any problems anymore.
In his office, by a coffee table stacked with art books (Damien Hirst, Ed Ruscha), his Forbes magazine and a humidor, he perches on the edge of a chair with his fingers tucked into his pockets. He says he’ll always rap about variations on the same themes: drug hustling, business boasts, luxury hopscotching from Gucci to Louis Vuitton to the new Dior suit he says is a perfect fit. They’re all narrative devices:
“I’m just describing a scene, but the crux of the story is the message. Almost like a movie. Setting: South of France. This is what’s happening. This guy from out the projects who didn’t graduate from high school is now living this sort of life. And this is how he got here.”
This is the best thing you’ll see all day. Please just watch:
The Beastie Boys and Eminem stuff killed me. Who knew Fallon could sing? (via @hodgman)
Long interview with Barack Obama in Rolling Stone. Most of it is politics, but they also discussed music.
My iPod now has about 2,000 songs, and it is a source of great pleasure to me. I am probably still more heavily weighted toward the music of my childhood than I am the new stuff. There’s still a lot of Stevie Wonder, a lot of Bob Dylan, a lot of Rolling Stones, a lot of R&B, a lot of Miles Davis and John Coltrane. Those are the old standards.
A lot of classical music. I’m not a big opera buff in terms of going to opera, but there are days where Maria Callas is exactly what I need.
Thanks to Reggie [Love, the president’s personal aide], my rap palate has greatly improved. Jay-Z used to be sort of what predominated, but now I’ve got a little Nas and a little Lil Wayne and some other stuff, but I would not claim to be an expert. Malia and Sasha are now getting old enough to where they start hipping me to things. Music is still a great source of joy and occasional solace in the midst of what can be some difficult days.
Speaking of Steven Johnson and new books, Alex Ross has a post about how Johnson’s long zoom concept has influenced his music writing *and* has a new book of his own out soon called Listen to This (at Amazon). See how deftly I knitted that together in a Johnsonian way? Ahem. Anyway, here’s what Listen to This is about:
It offers a panoramic view of the musical scene, from Bach to Björk and beyond. In the Preface, I say that the aim is to “approach music not as a self-sufficient sphere but as a way of knowing the world.” I treat pop music as serious art and classical music as part of the wider culture; my hope is that the book will serve as an introduction to crucial figures and ideas in classical music, and also give an alternative perspective on modern pop.
The best part is that Ross’ web site contains an extensive collection of audio, video, and images of the works mentioned in the book.
Every time I use Shazam, it feels like magic. Here’s how they make the magic happen.
The Shazam algorithm fingerprints a song by generating this 3d graph, and identifying frequencies of “peak intensity.” For each of these peak points it keeps track of the frequency and the amount of time from the beginning of the track. Shazam builds their fingerprint catalog out as a hash table, where the key is the frequency. When Shazam receives a fingerprint like the one above, it uses the first key (in this case 823.44), and it searches for all matching songs.
Maybe you thought this was going to be about how Dr. Luke has produced some of the catchiest tunes in recent memory (Since U Been Gone, Tik Tok, I Kissed a Girl, Girlfriend, Right Round, California Gurls). But that headline is actually from the NY Times Sunday Magazine a hundred years ago.
That sort of song could never have become popular. You couldn’t expect the messenger boy and the shopgirl to take a very keen interest in Evangeline’s wendings when they led to nowhere. The masses need something more direct — something with a more human appeal. One of the chief secrets of popular song writing is to tell a simple story and to tell it completely.
At that time no attempt was made to cater to the musical tastes of the people. It was not supposed that they had any. Almost the only approach to popular ballads were a few well-worn war songs and plantation ditties. But two or three American song writers were trying to get a hearing with the kind of appeal to the people which in England, where the music halls afforded a ready avenue for reaching the masses, had been successfully made for many years.
In his new series for Slate about creative partnerships, Joshua Shenk explores one of the most fruitful creative collaborations in history: that of John Lennon and Paul McCartney. Part three, about the break-up the Beatles, comes to a conclusion that’s different than some of the theories you may have heard previously.
Yet, looking for concrete divisions in their labor, though not irrelevant, can certainly seem myopic. It feels, from Davies’ account, as though the two men were bound by a thousand invisible strings.
Davies looked on at the partners before Yoko, before The White Album — “the tension album” Paul said. But tension had always been key to their work. The strings connecting them hardly dissolved, even in the times when the collaboration was adversarial, the kind of exchange that Andre Agassi described when he said that, if he hadn’t faced Pete Sampras, he’d have a better record, “but I’d be less.” Picking up on that incisive line, Michael Kimmelman wrote in his review of Agassi’s book Open that “rivalry … [is] the heart of sports, and, for athletes, no matter how bitter or fierce, something strangely akin to love: two vulnerable protagonists for a time lifted up not despite their differences but because of them.”
And:
This is nasty stuff. But the opposite of intimacy isn’t conflict. It’s indifference. The relationship between Paul and John had always been a tug of war — and that hardly stopped when they ceased to collaborate directly. Asked what he thought Paul would make of his first solo album, Lennon said, “I think it’ll probably scare him into doing something decent, and then he’ll scare me into doing something decent, like that.”
I’ve said it before: love and hate are the same emotion. (via @tcarmody)
This is fantastic: a classically trained voice teacher who knows nothing about metal analyzes five singers from the genre, from Ozzy Osbourne to Bruce Dickinson of Iron Maiden. Of Dickenson she says:
I have nothing but admiration for this singer. Listen how he starts off with a soft growl, then moves seamlessly into a well-supported, sustained high full-voice sound that then evolves into an effortless long scream! His diction is easily intelligible, regardless of the range he’s singing in or the effect he’s going for. He achieves an intensely rhythmic delivery of the lyrics without losing legato and musical momentum, something a lot of classical singers struggle with, especially when interpreting the many staccato and accent markings that crowd scores by Bellini, Donizetti, etc.
I’m no classically trained anything, but I have been listening to a lot of hard rock and metal from the 70s and 80s lately.1 Out of the context of its time, its genre, and whatever shock value the music held when it was first released, there is some genuinely good music there. (via clusterflock)
[1] Been doing lots of driving this summer and without a working iPod in the car, the rock stations are the only music that Meg and I can both agree on. Well, besides classical or NPR, but those won’t keep the baby quiet the way AC/DC or Skynyrd will. ↩
The Dallas Observer has collected a few clips from movies where the music has been replaced by Cee-Lo’s Fuck You. The Dirty Dancing one is probably the best:
I wonder how the slow-dance scene at the end of Rushmore would work. Or the Enchantment Under the Sea Dance in Back to the Future. Audio NSFW. (via @erikmal)
Great song by Cee-Lo, who you may know as one half of Gnarls Barkley.
NSFW in both the visual and audio departments for extensive use of the phrase “fuck you”.
I love Anil’s comment that the video is “a little bit Tobias, and a little bit Sasha”. And indeed the typeface in the video is Champion Gothic, designed by Tobias Frere-Jones’ partner, Jonathan Hoefler.
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