Lady Gaga sings about Java programming
Ok, so it’s not Gaga (and certainly not Christopher Walken), but she does work “object oriented” into the lyrics.
This is possibly the best production of the worst idea I’ve ever seen.
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kottke.org posts about Music
Rap lyrics mapped
The Rap Map plots locations mentioned in rap songs on Google Maps. For instance:
Back in the late 90s, Club New York was one of the hottest clubs in the city, even though it sounds like some sort of fictional club in the direct-to-DVD Night at the Roxbury 2
Then, one wintry evening in 1999, Diddy, J-Lo, and Shyne were at the club when all hell broke loose. Guns were pulled, women were shot in the face, and when all the dust settled, Shyne and Diddy were on trial at Manhattan Criminal Court
Diddy was acquitted, while Shyne was sent to prison for 9 years.
Make music with circles
Pulsate is a simple but addictive game-ish music maker. Just click to create expanding circles that make music when they collide.
Rockin’ Robin + Smells Like Teen Spirit
Nirvana mashed up with Michael Jackson? Surprisingly awesome.
The real Turing test
I had a number of practicing writers in mind when I started using the word “paleoblogging,” including Matt Novak of Paleo-Future. Matt’s particularly good at pulling images and advertisements from old periodicals and ephemera — stuff that doesn’t even usually get digitally indexed — that taken together reveal a kind of historical unconscious of old ideas and fears about the future.
Here’s a good one (from the archives, naturally) of a 1930 ad warning of the death of the music industry at the hands of guitar-playing robots.
As usual, there’s an additional layer of allegory here — the robots are just a convenient stand-in for “canned,” piped-in music from gramophone records (or maybe even the radio, I don’t know) in theaters. Just remember: even if they play guitar, write really sensitive songs, and seem like they can express what you’ve always thought but just couldn’t find the words to say, don’t date robots!
Digging in the crates (or Why my generation is into history)
Ta-Nehisi Coates is a journalist for the Atlantic who blogs mostly about contemporary cultural issues, hip-hop, politics, nerd culture, race relations, video games, journalism, and the American Civil War. (I’m guessing, no statistical averages here.)
How does that work? I think TNC actually explains it in this post. First he responds to Andy Rooney’s “I don’t know who Lady Gaga is, and kids today probably don’t know who Ella Fitzgerald was. Maybe we should call it even” with “I suspect that he gives himself too much credit.”
When I was a kid at Howard, I used to go into Ben’s Chili Bowl and hit the jukebox. I always played Otis Redding, The JBs, or Sam and Dave. I knew this music for two reasons: 1.) It was what my parents played, and on long road trips their music, not mine, was the soundtrack. It’s like being black in America—I knew that part of their world in a way that they could not know mine. 2.) Hip-Hop created a culture of Digging In The Crates. The notion was that digging through crates and crates of records to find a gem was something to be prized.
Whatever you think of the music, no self-respecting hip-hop head, at that time, could ever get away with saying, “Man, I don’t be listening to no Ella Fitzgerald!” Your friends would have looked at you like you were crazy. Knowledge—not the kind of ignorance Rooney evinces here—was prized. I remember going into Ben’s and the old heads looking over and going, “Son, what you know about that?”
Here’s what I knew—when me and Kenyatta took long drives through Maryland, I knew to play Otis Redding, not H-Town. I learned that digging through the crates. I learned that from my parents. But I never said that of course. I just laughed because it was cool and it was funny. But it was also instructional, and here I must apply what I’ve learned. Perhaps my generation had a monopoly on that kind of knowledge. Maybe young people today really don’t know who Ella Fitzgerald is. I don’t really know.
King of the swingers
Leonard writes from Hong Kong:
I enjoyed the youtube you have up on kottke w the depression-era dancing.
I thought you may like this link, it’s my favorite rendition of “St. James Infirmary Blues,” sung by Cab Calloway in a Betty Boop cartoon (Betty is Snow White):
Cheers,
Len
PS:
Fleischer’s Snow White was animated by ONE person, produced by a Jewish animation studio, in the Depression, featuring images of gambling and alcohol, starring a jazz singer. Take that, Walt.
PPS:
Cab Calloway as the ghost of a walrus in another Betty Boop cartoon.
Calloway’s most famous cartoon appearance is probably as the voice of King Louie in Disney’s The Jungle Book (1969).
The Wikipedia entry for “St James Infirmary Blues” is pretty amazing:
“St. James Infirmary Blues” is based on an 18th century traditional English folk song called “The Unfortunate Rake” (also known as “The Unfortunate Lad” or “The Young Man Cut Down in His Prime”). There are numerous versions of the song throughout the English-speaking world. It also evolved into other American standards such as “The Streets of Laredo”. “The Unfortunate Rake” is about a sailor who uses his money on prostitutes, and then dies of a venereal disease. Different versions of the song expand on this theme, variations typically feature a narrator telling the story of a youth “cut down in his prime” (occasionally her prime) as a result of some morally questionable actions. For example, when the song moved to America, gambling and alcohol became common causes of the youth’s death.
The title is derived from St. James Hospital in London, a religious foundation for the treatment of leprosy. It was closed in 1532 when Henry VIII acquired the land to build St. James Palace.
The song was first collected in England in its version as “The Unfortunate Rake” by Henry Hammond by a Mr. William Cutis at Lyme Regis, Dorset in March 1906.
Part of the song’s versatility/ambiguity is that its content can also swing depending on the gender of the singer and the “baby” cut down in his/her prime.
Notable performers of this song include Cab Calloway, Louis Armstrong, Kermit Ruffins, The Preservation Hall Jazz Band, King Oliver, Artie Shaw, Big Mama Thornton, Jack Teagarden, Billie Holiday, Cassandra Wilson, Bobby Hackett, Stan Kenton, Lou Rawls, The Limeliters, Bobby Bland, Ramblin’ Jack Elliott, Doc Watson, “Spider” John Koerner, Janis Joplin, The Doors, The Animals, and more recently The White Stripes, the Triffids, the Stray Cats, the Tarbox Ramblers, Isobel Campbell, The Devil Makes Three and Mark Lanegan, and Tom Jones with Jools Holland. Jazz guitarists Marc Ribot and Ivan “Boogaloo Joe” Jones have recorded instrumental versions.
Makes you 9 foot tall when you’re 4 foot 5
The sound, style, and look of Janelle Monae’s video for “Tightrope” references a lot of classic pop/art culture: OutKast and Metropolis, certainly, James Brown and Michael Jackson, but also classic R&B performers like Jackie Wilson and avant-garde film like Maya Deren’s Meshes of the Afternoon.
It also reminded me, faintly but insistently, of this classic video of Cab Calloway and the Nicholas Brothers, from the movie Stormy Weather. (What is it with economic depression => dancing in tuxedos?)
I still think this is the easily most amazing display of deliberate human physicality in dance I’ve ever seen. Maybe anywhere. (Hit Twitter at @kottke or @tcarmody if you think you’ve got a better candidate.)
The year of Metropolis
All summer (depending on what city you live in), a restored extended edit of Fritz Lang’s 1927 science-fiction avant-spectacle Metropolis has been playing in American theaters, augmented by a nearly full-length print discovered at Buenos Aires’s Museo del Cine in 2008:
Adolfo Z. Wilson, a man from Buenos Aires and head of the Terra film distribution company, arranged for a copy of the long version of “Metropolis” to be sent to Argentina in 1928 to show it in cinemas there. Shortly afterwards a film critic called Manuel Pena Rodriguez came into possession of the reels and added them to his private collection. In the 1960s Pena Rodriguez sold the film reels to Argentina’s National Art Fund - clearly nobody had yet realised the value of the reels. A copy of these reels passed into the collection of the Museo del Cine (Cinema Museum) in Buenos Aires in 1992, the curatorship of which was taken over by Paula Felix-Didier in January this year. Her ex-husband, director of the film department of the Museum of Latin American Art, first entertained the decisive suspicion: He had heard from the manager of a cinema club, who years before had been surprised by how long a screening of this film had taken. Together, Paula Felix-Didier and her ex-husband took a look at the film in her archive - and discovered the missing scenes.
I wrote a chapter of my dissertation about Lang, so I was pretty familiar with how the film had been hacked and mangled. Early cinema was a lot like the early years of print books. No two extant copies of Shakespeare’s First Folio are exactly the same, because the printer made small changes and corrected errors before finishing each one. Likewise, filmmakers and producers made edits on the fly, and different countries, and sometimes different theater owners, would recut prints to suit their taste. Without an original master print, most early movies have been restored, screened, and transferred to disc in versions cobbled together from various sources, in most cases still quite different from what was initially shown to the public. Metropolis was really only different in that we knew most of the content of the scenes that had been cut.
If you haven’t seen Metropolis this summer, you may have seen Inception, another science-fiction movie featuring corporate intrigue, a sentimental subplot, and a setting consisting of multiple levels of a highly allegorical dreamlike city. Annalee Newitz goes deeper, finding subtle affinities with the dream-city of Inception and another Metropolis, the utopian city imagined by King Camp Gillette, who woud go on to invent the safety razor.
Gillette wanted to solve the problem of social inequality with his perfect city, which he named Metropolis. The city, which he outlines in his book The Human Drift, would be built on top of Niagara Falls. Gillette wanted to Nikola Tesla design a water-powered electrical grid, which would be amply supplied with energy from the falls.
The sidewalks of the city would be transparent so that workers laboring beneath the buildings, dealing with plumbing and other infrastructure, would have light. But Gillette also wanted the city’s residents to see the people at work below their feet. The idea was to prevent people from forgetting about all the essential work that goes into making a city run.
Freud compared the unconscious to a city:
Now let us, by a flight of imagination, suppose that Rome is not a human habitation but a psychical entity with a similarly long past—an entity, that is to say, in which nothing that has once come into existence will have passed away and all the earlier phases of development continue to exist alongside the latest one.
And in The Human Drift, King Gillette talks about a city’s economy like the unconscious, too, and panics and depressions like a neurosis:
Never in the history of the world has business been organized as a whole in any country. It has always been a tangled skein beyond the power of man to unravel. It has been impossible to regulate supply and demand within reasonable limit, simply because every man is for himself, and he never knows what the rest of the world is doing. As a result, we have a constant fluctuation in prices of articles of consumption. At one time the whole country is overstocked with certain lines of goods, and there is a depression of prices. Then the manufacturers shut down or restrict the output, and the next thing we hear is that the whole country is short of these goods. It is here that the institution of speculation, or gambling in necessities, has its birth; and this lack of knowledge and power to regulate supply and demand, is, in part, the cause of our periods of depression and failure.
The solution, in both cases, is to become aware of those subterranean, unknown forces, and bring them into consciousness.
Finally, and less depressingly, there’s Janelle Monae, whose terrific album The ArchAndroid, is part of a suite titled Metropolis, which also creates a kind of imagined not-quite-retro-future that tries to touch on the uneasiness in culture.
Also, you may think Lang’s and Gillette’s Metropolis had some funky horns, but clearly not a horn section as funky as this.
I do dimly perceive
Electro-acoustic sample wizards The Books have a new album out, and they have a Tumblr that annotates each track. “A Wonderful Phrase By Gandhi” includes a sample of the Mahatma’s voice from a 1931 gramophone recording.
Mostly I think of this track as a P.S.A. Everyone should know what Gandhi’s voice sounds like; it’s timbre communicates so much regardless of what he’s saying, if we can help spread it in our small way it seems worth the 18 seconds.
Nick Zammuto goes on to compare Gandhi’s voice to Einstein’s, whose voice graces a track on the band’s second album. This comparison, and the scarcity of fair-quality recordings of Gandhi’s voice, made me realize how important our memory of an historical figure’s voice can become. Try to imagine FDR, Martin Luther King Jr, or Hitler without thinking of their voice. Yet we don’t know what Lincoln sounded like, or Napoleon, let alone Confucius or Cicero.
Good music sounds good
I like cover songs. It’s interesting to hear another take on a favorite song. The ones I especially like are covers by bands in a completely different style. A good cover song will add to your enjoyment of the originally, and sometimes let you hear things you didn’t hear before. Wilco’s ‘I am Trying to Break Your Heart” by J.C. Brooks and the Uptown Sound and The Clash’s Train in Vain by Annie Lennox are two that come to mind. I’ve also got a soft spot for acoustic versions of punk songs, but that list could go on a while, so just let the two above take you through Sunday night. Enjoy!
Etymology of musical genre names
Flavorwire has a post on the etymology of 10 musical genre names. This is the type of thing that you wonder about from time to time, but probably never bothered to look up.
Punk: While “punk” was once (and still, occasionally) catch-all slang for a young delinquent, “punk rock” first appeared in a 1970 Chicago Tribune article, uttered by Ed Sanders of The Fugs. Although the band was one of punk’s immediate ancestors, Sanders went on to define the term as “redneck sentimentality.” The next year, Dave Marsh of Creem used “punk rock” to describe ? and the Mysterians. Its meaning evolved from there, originally encompassing a slew of Nuggets-era garage-rock bands and eventually solidifying into a more rigid description of the mid-’70s bands we think of as “punk.”
(Via @tcarmody and @brainpicker)
Controversial album art
Wikipedia has a page dedicated to controversial album art, which I found recently while looking up background on the 23rd birthday of Appetite for Destruction (yipe).
Eric Bana - Out of Bounds (1994)
The cover art features Bana naked from behind while streaking at a crowded AFL game. He is reaching for the ball and his buttocks are covered with the message “contents may offend”. The scene was created digitally, with the overlap of two photos. An alternative cover for the album was later released.
I was really hoping Eric Bana had a musical release in his background because musical releases by actors are usually hilarious, but this one appears to be comedy. Sigh.
Moon opening title sequence
The Art of the Title Sequence blog highlights the opening titles for Moon. Love, love, love that song…the whole soundtrack (by Clint “Requiem for a Dream” Mansell) is good actually.
Jewel Does Undercover Karaoke
Funny or Die got Jewel to dress up in a disguise and go sing some of her own songs at a karaoke bar. Instant classic.
Thriller
Vanity Fair has an article about Michael Jackson and the shooting of the Thriller video, a point in time when he was at the top of his game but already showing signs of his future troubles.
Jackson faced a critical moment in his personal development: would his new mega-success and wealth spur him to grow, becoming more confident and independent, or to withdraw further into his gilded fantasy world? His “Thriller” friends marveled at his paradoxical qualities: simultaneously sophisticated as an artist, canny to the point of ruthlessness in business dealings, and breathtakingly immature about relationships. “I dealt with Michael as I would have a really gifted child,” says Landis, “because that’s what he was at that moment. He was emotionally damaged, but so sweet and so talented.”
Kirk/Spock musical slash fiction
This mashup of Star Trek with Kesha’s Tik Tok just makes me really really happy.
Turns out there’s a whole mess of Kirk/Spock musical slash fiction (mash fiction?) on YouTube…there’s Kirk/Spock vs. Lady Gaga’s Monster, Kirk/Spock vs. She Blinded Me With Science, Kirk/Spock vs. I Kissed a Boy, Kirk/Spock vs. Jerry Mungo’s In the Summertime, Kirk/Spock/McCoy vs. The Beatles’ Come Together, Kirk/Spock vs. You Spin Me Round and many more. (via david)
Update: And here is Kirk/Spock vs. Closer by NIN, perhaps the Citizen Kane of Kirk/Spock musical slash fiction:
(thx, mark)
A 2 Live Crew cover video (sorta)
I have no idea who the singer is or what this music video is about, but I kinda can’t stop watching it.
And hey, look, an informative YouTube comment:
I’m gonna take a stab at interpreting the plot of this video. The child is dying and as some sort of make a wish type thing he’s wants to be a warlord, have an entourage if hot ladies and meet 2 live crew (which I’m guessing the police man and business man have set up, with 4 stand-ins but they are nervous about him realizing its not actually them) … but he buys it, and when he fulfills the three wishes cosmic energy leaves his body and all that glorious trippy shit happens at the end.
NSFW if looking at a live version of 2 Live Crew’s As Nasty As They Wanna Be album cover is frowned upon in your place of employ.
Treats, Sleigh Bells
I am love love loving Treats, the debut album from Sleigh Bells, a Brooklyn-based duo consisting of a hardcore guitar player and a pop vocalist slash Bronx schoolteacher. You’ve likely heard all about them from Stereogum (“their tracks ram together many sonic worlds”) or Pitchfork (“discordant Brooklyn dancepop duo”) but in case I’m your main source for new music, now you have something novel to listen to this afternoon.
Music for spaceflights
From NASA, an extensive listing of the “wake-up” music heard by astronauts on their missions in space. For Apollo 17’s first wake-up call on the Moon, they played Wagner’s The Ride of the Valkyries while the second Space Shuttle mission crew got stuck with “Pigs in Space comedy routine #1 by The Muppets”. (via girlhacker)
Buddy Rich rant
The Metheny vs Kenny G post from the other day reminded me of my OTHER favorite piece of music history on the internet: yelling at his band. I think rant #3 is my favorite, followed closely by rant #2. Click through for audio AND transcripts, but be warned the audio is entirely NSFW unless you work in a place where angry drummers cussing out trombonists and bass players is appropriate. Then it’s completely SFW.
New LCD Soundsystem video by Spike Jonze
LCD Soundsystem is back with a new album and a new music video directed by Spike Jonze, who is also back. Directing music videos that is.
Fun! Not sure what Jonze was going for there though…maybe a visual representation of a typical YouTube comments thread?
Nike shoe DJs
Watch as a pair of Tokyo DJs play a bunch of musical shoes.
Please note:
The NIKE FREE RUN+ is absolutely a running shoe.
Shoes sold at retail will NOT make music when bent or twisted.
(via @ftrain)
Pomplamoose covers Lady Gaga’s Telephone
Love it. Robin Sloan has previously discussed this type of “production as performance” video on Snarkmarket but Pomplamoose has started using the term “VideoSong”:
This cover is a VideoSong, a new medium with 2 rules:
1. What you see is what you hear (no lip-syncing for instruments or voice).
2. If you hear it, at some point you see it (no hidden sounds).
As NPR explains, the band is actually making a living from their covers…they sold 100,000 songs last year. Here’s their album of covers on iTunes.
The making of Lady Gaga
A long article from last week’s New York magazine about how Lady Gaga came to be. There are waaaay too many great quotes by Gaga in this article to pull out just one. What’s the phrase?…if Lady Gaga weren’t real, we’d have to invent her. Which I guess someone did.
Voyager’s playlist
The playlist sent out into space with the Voyager 1 and Voyager 2 spacecraft include songs by Bach, Stravinsky, Chuck Berry, and Blind Willie Johnson.
Turntable app for the iPad
For all you wannabe DJs out there, a multi-touch turntable app for the iPad.
This wannabe DJ is pretty excited! (via jimray)
Virtual choir on YouTube
Almost 200 people singing while sitting at home in front of their own computers are stitched together into one big virtual chorus:
Nice presentation. Here’s how it was organized. A bunch of audition videos from the singers are available on YT as well (for example).
(thx, claude)
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