For all the hubbub of constant sound it is amazing how clearly the crack of a bat, the whoosh of a pitch (at least from the powerhouse Sabathia), and the leathery thud of the ball smothered in the catcher’s mitt cut through the textures. And if the hum of chattering provides the unbroken timeline and undulant ripple of this baseball symphony, the voices that break through from all around are like striking, if fleeting, solo instruments.
The most assertive soloists are the vendors. My favorite was a wiry man with nasal snarl of a voice who practically sang the words “Cracker Jack” as a three-note riff: two eighth notes on “Cracker,” followed by a quarter note on “Jack,” always on a falling minor third. (Using solf`ege syllables, think “sol, sol, mi.”) After a while I heard his voice drifting over from another section, and he had transposed his riff down exactly one step.
At first, the connections were done the old-fashioned way. “By 1994, there was already kind of an established network of party-throwers and partygoers [in Detroit],” says Rob Theakston, a Detroit rave veteran. “At that point, the scene was maybe 200 kids max. Everything was very phone-based. [You’d] call the phone lines the day of to get directions, and even then, a lot of the direction lines would just give the vicinity because you would already know: ‘Oh, Harper and Van Dyke — that’s the old theater. We know where the party’s going to be.’ They wouldn’t give you the exact address for the authorities to find out.”
Rave On Buddy Holly is an album-length compilation of Buddy Holly cover songs sung by the likes of Cee Lo Green, Fiona Apple, Lou Reed, and Paul McCartney. You can listen now on Soundcloud, via the embed below, or pre-order the album on Amazon.
It’s a little more chill than their usual stuff — “Trillwave is the soundtrack to the party after the afterparty or maybe to a sun-drenched backyard barbecue the next day” — but I like it a lot so far. (via @djgeekdout)
Do you get that funny feeling that you’ve heard Lady Gaga’s Born This Way somewhere before? Maybe when it was called Express Yourself or Waterfalls or God is a DJ?
You may remember the New York version. This is the same deal — asking people on the street what song they’re listening to on their headphones — except in London.
Why is it that people just have to have so much to say about me? It bugs me because I’m not that important. Some critic that didn’t have nothing else to do started this crap about I don’t announce numbers, I don’t look at the audience, I don’t bow or talk to people, I walk off the stage, and all that.
Look, man, all I am is a trumpet player. I only can do one thing — play my horn — and that’s what’s at the bottom of the whole mess. I ain’t no entertainer, and ain’t trying to be one. I am one thing, a musician. Most of what’s said about me is lies in the first place. Everything I do, I got a reason.
Lovely short film clip of BBC Radiophonic Workshop’s Delia Derbyshire demonstrating how to make electronic music using tape loops. Look at the beat matching!
It was Derbyshire who gave the original Doctor Who theme its distinctive sound. (via ★danielpunkass)
“Well do you mind if I look around the car a little bit?” Well my glove compartment is locked, so is the trunk in the back And I know my rights, so you gon’ need a warrant for that
And the answer:
Consenting to a voluntary search is never a good idea, especially if you have felony weight on you. The standard to search the glove compartment is actually fairly low in California, since it’s accessible to the driver. I’m not sure how the locked status interferes with it being a glove compartment. The trunk can be opened if the car is impounded, for inventory reasons, which is a common way to get evidence. However, a locked case inside the trunk will not be opened (depends on the state).
The Onion A/V Club has put together a short, alphabetical guide to obscure, semi-obscure, and I-forget-that-other-people-might-find-that-obscure references/allusions in the music of The Beastie Boys.
Drakoulias, George (“Stop That Train” from “B-Boy Bouillabaisse,” Paul’s Boutique)
Def Jam A&R man George Drakoulias helped discover the Beastie Boys for Rick Rubin, and later became a producer for Rubin’s American Recordings, working on albums by The Black Crowes, The Jayhawks, and Tom Petty. There’s no record of him ever working at an Orange Julius.
I obsessed over this stuff as a kid, especially with Paul’s Boutique: I was nine years old, living in Detroit’s 8 Mile-esque suburbs, not New York, hadn’t seen any cult movies from the 70s not titled Star Wars, and had no internet to consult. I was literally pulling down encyclopedias from the shelf and asking my parents (who generally likewise had no clue) obnoxious questions to try to figure out what the heck they were talking about.
But it was definitely the references, too. Whether silly or serious, you couldn’t listen to The Beastie Boys or Public Enemy or Boogie Down Productions and not try to sort through these casually dropped names, memes, and places and try to reconstruct the worlds where they came from.
If there was a Star Wars version of Coachella, some of the bands playing at the festival would be called Kessel Run DMC, Guided by Millions of Voices That Suddenly Cried Out in Terror and Were Suddenly Silenced, and C-3PO Speedwagon.
Otomata is a generative sequencer…it play music in a loop determined by the motions of cells like those in Conway’s Game of Life. Fun stuff.
This set of rules produces chaotic results in some settings, therefore you can end up with never repeating, gradually evolving sequences. Go add some cells, change their orientation by clicking on them, and press play, experiment, have fun.
The resulting booklet is comprised of a cover, two inner pages, a letterpressed band (with instructions and a tear-off RSVP postcard), and a flexdisc on a screwpost. The recipient bends the second page of the booklet back to create a tented “arm.” With the needle placed, they then carefully spin the flexidisc at 45 RPM (ish) to hear the song. The sewing needle travels the length of the song and produces the sound. Its vibrations are amplified by the thin, snappy paper to which it is adhered. To keep the needle down on the record, we reinforced the back of the “tent” with a spray-mounted half page of heavier cardstock. To reduce friction between the acetate flexidisc and the backing cover, we had the inside of the booklet laminated to be slick and conducive to hand-spinning.
They each have a personal brand web site — Gwyneth has GOOP and Jay-Z has the recently launched Life + Times — so they recently decided to interview each other about that. Here’s Z Qing G:
SC: Personally I was very surprised at your extensive knowledge of hip-hop songs. Particularly how you can sing ’90s hip-hip songs word for word. I can’t even do that! How does a girl from Spence discover hip-hop?
GP: I first was exposed to hip-hop when I was about 16 (1988) by some boys who went to collegiate. The Beastie Boys were sort of the way in for us preppie kids. We were into Public Enemy, Run-DMC and LL Cool J. But then I went to LA the summer between my junior and senior year of high school and I discovered N.W.A which became my obsession. I was fascinated by lyrics as rythym and how Dre had a such different cadence and perspective from say, Eazy-E, who I thought was one of the most ironic and brilliant voices hip-hop has ever had. It was an accident that I learned every word of Straight Outta Compton and to love something that a.) I had no real understanding of in terms of the culture that it was emanating from and b.) to love something that my parents literally could not grasp. But I was hooked. I can’t remember what I ate for dinner last night but I could sing to you every single word of N.W.A’s “Fuck Tha Police” or [Rob Base & DJ E-Z Rock’s] “It Takes Two.” Go figure.
GP: You are the coolest man on Earth, how the f did you get like that?
SC: I’m around great women, starting with my mom. Women keep men cool. The hotter the chick the cooler the guy … that sounds like a really bad rap line!
What a couple of huge cornballs! And I mean that in the best way possible.
My homeboys tried to warn me, but that butt you got makes me so confident of your current well-being and future child-rearing potential
So, ladies! (Yeah!) Ladies (Yeah!)
If you wanna roll in my Mercedes (Yeah!)
Then turn around! Stick it out! Even white boys have to make sure that their partner is of high genetic caliber so they can pass on their genes successfully.
My anaconda don’t want none unless you have a high likelihood of producing healthy offspring with a minimal chance of genetic disabilities, hun.
With his deep, melodic voice and smooth soul rumble, Dogg was one of the key elements in the rise of the West Coast G-Funk sound pioneered by Death Row Records in the early 1990s. Though overshadowed by such peers as Dr. Dre, Snoop Dogg and Warren G, Nate was a critical participant in a number of major left-coast gangsta hits, including G’s “Regulate” and Dre’s iconic solo debut, 1992’s The Chronic.
Still, I think music fans and cultural observers need to grapple with this a little: Radiohead’s first album, Pablo Honey, came out 18 years ago. Here’s another way to think about it: when that album came out, I was 13; now I’m 31. And from at least The Bends to the present, they’ve commanded the attention of the musical press and the rock audience as one of the top ten — or higher — bands at any given moment. You might have loved Radiohead, you might have been bored by them, you might have wished they’d gone back to an earlier style you liked better, but you always had to pay attention to them, and know where you stood. For 18 years. That’s an astonishing achievement.
As Anil has his hands busy with a new baby, I’ll wade in here and point out that Tim’s examples don’t include any pop, rap, R&B, or hip hop. Jay-Z hasn’t been around as long as Radiohead, but he’s getting there. The Beastie Boys had at least 15 years. Madonna and Michael Jackson each had 20 culturally relevant years, more or less. I’m probably forgetting a few, but yeah, that’s still not a long list.
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