In 1979, 11 peopled died in a stampede before a stop on The Who’s Quadrephenia tour in Cincinnati when not enough doors were opened to let in the crowd. Providence mayor Buddy Cianci canceled a concert two weeks later at the Providence Civic Center, and The Who hasn’t ever been back to Providence. Last week, the GM of the PCC, now called the Dunkin’ Donuts Center announced he’d accept unrefunded tickets for The Who’s February, 2013 concert.
Tuesday, as the Providence Journal reports, “the patience and tenacity of 10 Who fans was rewarded … at the Dunkin’ Donuts Center, where they traded in 14 tickets to the band’s canceled 1979 Providence performance in exchange for tickets to their February 2013 show at the Dunk.” The ProJo has video. Fan Ed McConnell says he knew exactly where his two ‘79 tickets were: one was in a cigar box in a closet and the other one “was stuck on a cork bulletin board in my parent’s house in my brother’s old bedroom.”
PS: Songs by The Who considered of puntastic entry in this post include the following: Going Mobile, I Can See for Miles, I Can’t Explain, I’ve Been Away, Long Live Rock, My Generation, The Kids Are Alright, and Who Are You?
What am I supposed to say to that? That’s ridiculous. You see the way they can fuck up music? It’s a mismatch. They don’t complement each other. Max and Mingus can play together, by themselves. Mingus is a hell of a bass player, and Max is a hell of a drummer. But Duke can’t play with them, and they can’t play with Duke.
Now, how are you going to give a thing like that some stars? Record companies should be kicked in the ass. Somebody should take a picket sign and picket the record company.
Mike Tetreault recently let Boston Magazine follow along while he prepared to audition for the Boston Symphony Orchestra resulting in an interesting look into the BSO and the life of an elite orchestra musician. There’s even a surprise appearance from Steve Blass Disease.
At 33, Tetreault was putting in 100-hour weeks on a patchwork of gigs he’d pieced together — simultaneously serving as the music director at the Galilee Baptist Church in Denver; teaching at the University of Colorado; and working various gigs with the Boulder Philharmonic, the Fort Collins Symphony, the Colorado Ballet, the Colorado Symphony, and Opera Colorado. Yes, he was doing what he loved for a living, but when he added it all up, it was barely a living at all. He’d made $55,000 the previous year, pretty good — until you factored in all the hours, and the fact that the salary had to support two since his wife, Rachel, had been laid off in 2010 from a communications job with the Colorado Symphony. The couple was living in a 625-square-foot one-bedroom apartment.
In a dispute with Universal over compensation for digital downloads, Def Leppard is taking the extreme and fairly metal step of re-recording their entire back catalog so they can do what they want with the songs. Earlier, they recorded what they’re calling “Forgeries” of ‘Pour Some Sugar on Me’ and ‘Rock of Ages’ to coincide with the movie release of Rock of Ages.
While the business side seems cut and dried, Elliott says the creative part of recreating songs that date back 25 years or more is not. “You just don’t go in and say, ‘Hey guys, let’s record it,’ and it’s done in three minutes,” Elliott notes. “We had to study those songs, I mean down to the umpteenth degree of detail, and make complete forgeries of them. Time-wise it probably took as long to do as the originals, but because of the technology it actually got done quicker as we got going. But trying to find all those sounds…like where am I gonna find a 22-year-old voice? I had to sing myself into a certain throat shape to be able to sing that way again. It was really hard work, but it was challenging, and we did have a good laugh over it here and there.”
Concert promoter Alvaro Ramos, who is overseeing the Portuguese leg of Madonna’s MDNA tour, told Britain’s Daily Mirror: “We have to take extreme care, like I have never seen for any other artist.
“We cannot even look at the dressing room after it is ready, or even open the door.”
Kanye West’s producer Mike Dean, who co-produced part of Jay and ‘Ye’s Watch the Throne, has confirmed that there will be a Watch the Throne 2! While Dean revealed that a follow up album is definitely in the works, he was unable to give a specific time for its release.
No, it’s not a typewriter that plays music. The Keaton Music Typewriter was invented in 1936 for the purpose of printing musical notes on sheet music paper.
The Keaton Music Typewriter was first patented in 1936 (14 keys) by Robert H. Keaton from San Francisco, California. Another patent was taken out in 1953 (33 keys) which included improvements to the machine. The machine types on a sheet of paper lying flat under the typing mechanism. There are several Keaton music typewriters thought to be in existence in museums and private collections. It was marketed in the 1950s and sold for around $225. The typewriter made it easier for publishers, educators, and other musicians to produce music copies in quantity. Composers, however, preferred to write the music out by hand.
The death on Friday of Adam Yauch, best known as the Beastie Boys’ MCA, surely sent many of us back to old albums we may not have heard for a while. And anyone who threw on Paul’s Boutique, the Boys’ best album, was surely struck by the sense that they don’t make records like that anymore. That’s not just because tastes and styles have changed. The entire album is based on lavish sampling of other recordings. “Shake Your Rump,” which leads Slate’s #MCATracks playlist, features samples of 14 songs by 12 separate artists. In all, the album is thought to have as many as 300 total samples. The sampling gave Paul’s Boutique a sound that remains almost as distinctive today as it was when it was released in 1989.
Perhaps the main reason-and certainly the saddest reason-that it still sounds distinctive is that a rapidly shifting legal and economic landscape made it essentially impossible to repeat.
Ice-T takes us on an intimate journey into the heart and soul of hip-hop with the legends of rap music. This performance documentary goes beyond the stardom and the bling to explore what goes on inside the minds, and erupts from the lips, of the grandmasters of rap. Recognized as the godfather of Gangsta rap, Ice-T is granted unparalleled access to the personal lives of the masters of this artform that he credits for saving his life. Interspersed with the performers’ insightful, touching, and often funny revelations are classic raps, freestyle rhymes, and never before heard a cappellas straight from the mouths of the creators. What emerges is a better understanding of, and a tribute to, an original American art form that brought poetry to a new generation.
Stereogum writer Tom Breihan saw a Skrillex show at SXSW and loved it. In fact, it was his favorite act. His takeaway was that the Skrillex many people deride as a one-trick WUB WUB WUB pony on the basis of his albums is an extremely effective and talented live DJ.
But what I found was one of the more dynamic sets I heard during all of SXSW. Skrillex, see, knows what he’s doing. He does what great DJs do: He layers sounds and ideas on top of each other, building tension and releasing it, moving fluidly from one thing to the next. Parts sounded like the sort of early-’90s hardcore techno that was popular with people who wore lots and lots of smiley faces. Other parts sounded like the sort of dark, broody late-’90s breakbeat techno that was popular with scary white guys with dreads. There was also a lot of robotic one-drop reggae in there. Early on, Skrillex played a big chunk of Damian Marley’s “Welcome To Jamrock” unmolested. Later, he dug out Ini Kamoze’s “World-A-Music,” the song that Marley sampled on “Jamrock.” All of it fit in seamlessly. None of it was built around bass-drops.
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):
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