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The most recognizable half of U2 made the trip to the NPR offices to perform a Tiny Desk Concert recently. Accompanied by the Duke Ellington School of the Arts Choir, the pair sang four songs from their 2000 album All That You Can’t Leave Behind, including Beautiful Day.
See also Tiny Desk Concerts from Alicia Keys, Dua Lipa, Max Richter, Coldplay, and the Sesame Street gang.
Musician Andrea Boma Boccarusso’s tour of rock ‘n roll history through guitar riffs is a lot of fun. Each year from 1965 to 2022, Boccarusso plays one iconic riff that represents the vibe of rock at the time. Here are a few that made the list:
1965 - The Rolling Stones, Satisfaction
1975 - Queen, Bohemian Rhapsody
1977 - David Bowie, Heroes
1982 - Michael Jackson, Beat It
1985 - Dire Straits, Money for Nothing
1992 - Rage Against the Machine, Killing in The Name of
1995 - Oasis, Wonderwall
2003 - The White Stripes, Seven Nation Army
The riffs get a little less iconic as the 2000s go on, but that’s to be expected in the age of the ascendancy of hip hop. (via digg)
Tchiks is a luthier from Belgium who, after his daughter outgrew her crib, turned it and a bunch of other Ikea products into a guitar.
The guitar started out as a joke. I remember going upstairs and telling my wife “I’m gonna make a guitar out of Zoé’s old bed”. She rolled her eyes to the ceiling and asked me “why”. Then I immediately thought “This is the way”.
It sounds good! Like any good craftspeople, luthiers can get a little fussy about their materials and the specs list for the Ikea guitar at the end of the video pokes some gentle fun at that:
Body: baby crib, chair, shelf
Neck: baby crib
Fretboard: photo ledge
Knob: chopping board
(via linkfest)
You’ve probably never heard of Raymond Scott’s Powerhouse, even though it’s one of the most well-known songs of the 20th century. Powerhouse is the slapstick “the chase is on!” and relentless “assembly line” music that you’ve heard in many Looney Tunes shorts and other cartoons, including The Simpsons and Spongebob. Here it is in the 1946 ‘toon, Baby Bottleneck:
From Cartoon Brew’s appreciation of Powerhouse on the 86th anniversary of its recording:
I’m sure Raymond Scott never would’ve guessed that he was sealing his legacy when he sold his publishing rights to Warner Bros. Music in 1943. This little transaction gave genius composer Carl Stalling free reign to plug Raymond Scott’s melodies into his scores for the Looney Tunes and Merrie Melodies cartoons. The propulsive energy of Scott’s quirky instrumental jazz compositions made perfect fodder for the likes of Bugs Bunny and Daffy Duck, and Stalling found immediate use for his new library; Stalling’s first quotation of “Powerhouse” appears in the Frank Tashlin classic Porky Pig’s Feat (1943).
The peculiar strains of Raymond Scott’s music and the screwball slapstick of the Warner Bros. cartoons were a match made in heaven…
That CB post has a bunch of embedded videos of different uses of the song, along with this gem of Scott and his “Quintette” playing Powerhouse on TV in 1955:
(via @tcarmody)
So, here’s how they make vinyl records at Third Man Records in Detroit. As you might expect, the process is a bit less automated than what you’d imagine for digital music media — those records are human-handled dozens of times before they are finally placed into their jackets.
Vinyl is in the real world. It’s not something that exists only on your computer or your phone, it’s three-dimensional. Your nervous system is designed to take in the sound. It heals you. It’s a nutrient. It’s like vitamins. You feel it. It’s like getting a massage or eating a beautiful sandwich.
See also this slow-motion video of a vinyl record playing, recorded with an electron microscope. You can see how the soundwaves are encoded in the grooves. (via open culture)
This will probably get taken down soon, but in the meantime… This is the ASL performance of Rihanna’s Super Bowl halftime show by Justina Miles. So good — I love how her long fingers and fingernails accentuate and amplify her signing.
CNBC ran a short profile of Miles and other Super Bowl ASL performers yesterday before the game.
Miles, a Philadelphia native and current nursing student at HBCU Bowie State University, is hard of hearing, according to reporting from Billy Penn. Her mom is deaf, and her family is mixed with hearing people.
Miles was also part of the USA team that went to the 2021-22 Deaflympics in Brazil and won a silver medal as part of the 4x100 women’s track relay team. She was the valedictorian at the Model Secondary School for the Deaf in Washington D.C., according to the National Association of the Deaf.
You can find more of Miles on TikTok.
See also Translating Music Into American Sign Language and Eminem’s Lose Yourself in ASL.
I have never seen this before so maybe you haven’t either: a full-length video recording of Prince and the Revolution playing at First Avenue in 1983. This show marked the first time Prince played Purple Rain in public; it’s this recording of the song (lightly edited and reworked) that you hear on the album of the same name released the next year. From a piece in The Current about the show:
Before the 1984 blockbuster Purple Rain catapulted Prince on to the national stage, there was an Aug. 3, 1983 benefit concert for the Minnesota Dance Theatre at the recently re-branded First Avenue. It was there that the budding pop star debuted much of the Purple Rain album tracks, and recorded the versions of “Purple Rain,” “I Would Die 4 U” and “Baby I’m A Star” heard in the film and soundtrack.
“Those versions were almost exactly what he did live,” said longtime Prince producer David Rivkin, also known as David Z.
Since technology at the time couldn’t record wireless bass well, Rivkin said, Prince later added bass overdubs. He did some content edits, cutting the song down from about 14 to nine minutes.
“It was incredible; I mean little did I know it was gonna be that big of a recording,” Rivkin said. “Prince was really not a well-known figure back then. This is the kind of recording that launched him into super stardom.”
From Anil Dash’s piece on how Purple Rain came to be:
While Prince and the Revolution had been carefully rehearsing Purple Rain all summer, adjusting each detail of how the song was structured and played, Prince’s nearly-unequalled ability to spontaneously take a live performance to the next level was certainly on display that August night.
Exemplifying this ability is the repeated lilting motif that Prince begins playing on his guitar at 4:40 in the song. For all the countless times they’d practiced the song, even earlier on the same day as the First Avenue performance, Prince had never played this riff during Purple Rain before. In the original live show, it’s clear that Prince realizes he’s found something magical, returning again and again to this brief riff, not just on guitar but even singing it himself during the final fade of the song.
Just as striking is how this little riff shows the care and self-criticism that went into making the song Purple Rain. Like any brilliant 25-year-old guy who’s thought of something clever, Prince’s tendency when he thought of this little gem was to overdo it. In the unedited version of the song, Prince keeps playing the riff for almost another minute, pacing around the stage trying to will the audience into responding to it.
Update: From Louder, an oral history of Purple Rain and the night it was recorded.
After Melvoin’s opening acoustic chords, Bobby Z’s drums — mostly acoustic, and triggering Linn drums later added to in the mix — accompanied Prince’s singing for the first two minutes. “It’s just a back-beat and him from his guts,” Bobby says. “It’s just so raw for him. I remember those two minutes. Because the room is silent except for the pattern you’re playing. He was in the moment, and you’re in it with him, and it was a special place to be. It was a whole different planet.”
(via @peterbutler
Yesterday, Fox aired a very short, very good Rihanna concert, preceded and succeeded by a football game — you can watch it in its entirety on YouTube (possibly US-only). I caught this live and loved every second of it. The set design, choreography, costumes, the baby bump, and, of course, the music & singing: all pitch-perfect.
Update: I took out the embedded video because for some dumb reason the NFL doesn’t allow embeds on that video.
Google Research has released a new generative AI tool called MusicLM. MusicLM can generate new musical compositions from text prompts, either describing the music to be played (e.g., “The main soundtrack of an arcade game. It is fast-paced and upbeat, with a catchy electric guitar riff. The music is repetitive and easy to remember, but with unexpected sounds, like cymbal crashes or drum rolls”) or more emotional and evocative (“Made early in his career, Matisse’s Dance, 1910, shows a group of red dancers caught in a collective moment of innocent freedom and joy, holding hands as they whirl around in space. Simple and direct, the painting speaks volumes about our deep-rooted, primal human desire for connection, movement, rhythm and music”).
As the last example suggests, since music can be generated from just about any text, anything that can be translated/captioned/captured in text, from poetry to paintings, can be turned into music.
It may seem strange that so many AI tools are coming to fruition in public all at once, but at Ars Technica, investor Haomiao Huang argues that once the basic AI toolkit reached a certain level of sophistication, a confluence of new products taking advantage of those research breakthroughs was inevitable:
To sum up, the breakthrough with generative image models is a combination of two AI advances. First, there’s deep learning’s ability to learn a “language” for representing images via latent representations. Second, models can use the “translation” ability of transformers via a foundation model to shift between the world of text and the world of images (via that latent representation).
This is a powerful technique that goes far beyond images. As long as there’s a way to represent something with a structure that looks a bit like a language, together with the data sets to train on, transformers can learn the rules and then translate between languages. Github’s Copilot has learned to translate between English and various programming languages, and Google’s Alphafold can translate between the language of DNA and protein sequences. Other companies and researchers are working on things like training AIs to generate automations to do simple tasks on a computer, like creating a spreadsheet. Each of these are just ordered sequences.
The other thing that’s different about the new wave of AI advances, Huang says, is that they’re not especially dependent on huge computing power at the edge. So AI is rapidly becoming much more ubiquitous than it’s been… even if MusicLM’s sample set of tunes still crashes my web browser.
This is a delightfully early-80s clip about how electronic music legend Suzanne Ciani created the soundtrack and sound effects for the Xenon pinball game. Xenon was the first talking Bally pinball game and the first pinball game voiced by a woman.
The idea of using the short grunts and groans came to me when I watched people playing the game — the way that people expressed their frustrations or their involvement with the game — and I wanted the game to do that back. I wanted it to talk back to the people playing.
Here are two other videos from the 80s of her explaining her work: on PBS’s 3-2-1 Contact (I *loved* that show) and on The David Letterman Show. According to her Wikipedia page, Ciani created the Coca-Cola “Pop ‘n Pour” sound logo as well as other sound logos for Energizer and ABC.
In 2013, Ciani was inducted into the Pinball Expo Hall of Fame for her pioneering work on the game. (thx, caroline)
I am not entirely sure I liked Noah Baumbach’s adaptation of Don DeLillo’s White Noise (nor am I sure I disliked it), but I’m 100% positive that the grocery store dance scene that plays while the end credits roll was my favorite part of the film. The scene is set to a new LCD Soundsystem track called new body rhumba and Netflix has uploaded the whole thing to YouTube so you can enjoy it whenever you would like. Also, André 3000 with the cookie box!
This is video of a live show by Daft Punk recorded at LA’s Mayan Theater on December 17, 1997; they’re playing mostly tracks off of Homework, which was released earlier that year. Note that this was before they started wearing the robot outfits for all of their appearances, so it’s just two normal humans DJing. Here’s the setlist. Ohhh to have been there for this.
See also Daft Punk Live DJ Sets from the 90s. (via flowstate)
A short animated film about photographer David Godlis, who documented the glory days of CBGB, ground zero for the punk & new wave scene in the late 1970s.
Between 1976 and 1980, young Manhattan photographer David Godlis documented the nightly goings-on at the Bowery’s legendary CBGB, “the undisputed birthplace of punk rock,” with a vividly distinctive style of night photography.
You can check out some of Godlis’s photos on his website. (via open culture)
Some 26 years after the release of the group’s groundbreaking music video for Virtual Insanity, Jamiroquai’s Jay Kay explains how the band and director Jonathan Glazer achieved such a convincing moving floor effect. The trick to getting the video made on a budget was to channel Einstein a bit in remembering that motion is relative to your frame of reference.
See also the hilarious musicless version created by Mario Wienerroither. Squeeeeeeeak. (via a whole lotta nothing)
In this video from Vox (produced by none other than Estelle Caswell, who does the excellent Earworm series), scholar and musician Jake Blount runs us through a quick history of early Black folk music, using the banjo as a rough through-line. If you’d like to read more about Black stringband music, Blount has compiled some recommended resources.
As I said in my recent media diet post, I really enjoyed Top Gun: Maverick. It’s a movie that’s made to be seen on a big screen with a loud sound system — I ended up seeing it in the theater twice. The movie just felt…good. Like a really well-crafted pop tune. In this video, Evan Puschak takes a look at the first scene in the film where (spoilers!) test pilot Maverick needs to achieve Mach 10 in an experimental plane and compares it to the structure of a pop song. His comparison really resonated with me because I listen to music and watch movies (particularly action movies) in a similar way: how movies and music feel and how they make me feel is often more important than plot or dialogue or lyrics.
Every year since she was 15, Billie Eilish has sat down for a video interview with Vanity Fair to take stock of where she’s at in life, how her career is going, and how the present compares to the past. The sixth installment has just been released (and will be the last annual release for awhile).
These are always so fun to watch — and what an amazing bit of luck on Vanity Fair’s part that they picked a very young pop star at the beginning of her career who would go on to win an Oscar some five years later. (via waxy)
In this video from 1965, electronic music pioneer Delia Derbyshire, who arranged the original theme music for Doctor Who, demonstrates how electronic music was made at the BBC Radiophonic Workshop. It’s such a treat watching her construct songs from electronic sound generators and sampled sounds played at different speeds and pitches; you can even see her layering sounds on different tape machines and beat matching, just like DJs would years later.
Amazingly, you can try your hand at layering and looping this music yourself with this Tape Loops demo from the BBC. You can also make Dalek and Cybermen noises with the Ring Modulator, create Gunfire Effects, or use the Wobbulator (my favorite).
See also The Definitive Guide to Doctor Who Theme Music, the trailer for Delia Derbyshire: The Myths and the Legendary Tapes, and this incredible proto-techno track Derbyshire made in the 60s. (via @austinkleon)
For his forthcoming book Exit Stage Left: The Curious Afterlife of Pop Stars, journalist Nick Duerden interviewed pop stars who had made it big about what happened after the bright spotlight of fame moved on. Here are a few interesting bits from an adapted excerpt in The Guardian:
“The pain I feel from the Slits ending is worse than splitting up with a boyfriend,” Albertine wrote, “This feels like the death of a huge part of myself, two whole thirds gone … I’ve got nowhere to go, nothing to do; I’m cast back into the world like a sycamore seed spinning into the wind.”
So what’s it like, I wondered, to still be doing this “job” at 35, and 52, and beyond? What’s it like to have released your debut album to a global roar, and your 12th to barely a whisper? Why the continued compulsion to create at all, to demand yet more adulation? Frankly, what’s the point?
[Suzanne] Vega’s tour, haemorrhaging money, was cut short. When she arrived back at JFK, she looked out for the car her record label would always send to collect her. But there was no car. Not any more. “I took a taxi,” she says.
When Tanya Donelly, of 90s US indie darlings Belly, quit after winning a Grammy (and promptly suffering burnout), she craved normal work and became a doula. When 10,000 Maniacs’ Natalie Merchant grew tired of being a marketable commodity, she quit for the quieter life of a solo artist, and was then duly horrified when her debut album, 1995’s Tigerlily, sold 5m copies, because “then came the treadmill again”. The next time she tried to retire, she did so more forcefully, and now teaches arts and crafts to underprivileged children in New York state. “I look at people like Bob Dylan and Paul McCartney,” she says, referring to the way both legends continue to tour, “and I think to myself: ‘If I were you, I’d just go home and enjoy my garden.’ It’s a question of temperament, clearly.”
After hearing a buzz from my social circle about Severance on Apple+, I’ve been catching up on it for the past couple of weeks. Here’s the series synopsis:
Mark leads a team of office workers whose memories have been surgically divided between their work and personal lives. When a mysterious colleague appears outside of work, it begins a journey to discover the truth about their jobs.
I’m going to reserve judgment on the show for my next media diet post, but let’s talk about the opening credits sequence by Oliver Latta. It’s fantastic, an instant addition to the Unskippable Intros Hall of Fame. Mashable talked to Latta about his process and you can see a few behind the scenes images at Behance. And check out Latta’s other animations…you can definitely see where some of the imagery in the title sequence came from.
Now, back to the Unskippable Intros Hall of Fame. For me, the opening title sequences that I never ever push the “skip intro” button on are Succession (that music!), Stranger Things (again, that music!), Halt and Catch Fire, The Wire, The Simpsons (gotta catch that couch gag), Transparent, Six Feet Under, Doctor Who, Game of Thrones, and The Muppet Show. What would you add to the mix?
Update: Composers of TV themes lament the rise of the “skip intro” button.
Yet there’s one thing that annoys softly spoken Britell: the “Skip intro” facility on streaming services, which was brought in five years ago and lets viewers bypass a show’s opening credits. “I am very against it,” says Britell. “TV theme music is incredibly important. It’s almost a show’s DNA identifier. It serves as an overture to bring you in and sets the tone. I think that formal entrée is crucial.”
Robust words from the man whose Emmy-winning, earwormy Succession work, with its gothic strings, cascading piano and skittering beats, is helping to revive TV theme tunes.
Update: From the excellent Art of the Title, an interview with Latta and designer Teddy Blanks on the Severance opening credits.
This is an oldie but a goodie: Brian Borcherdt took an album of 80s covers sung by Alvin & the Chipmunks (Walk Like an Egyptian, My Sharona, Always On My Mind) and played them at 16 RPM on a record player. The effect “revealed what was secretly the most important postpunk/goth album ever recorded”.
Every time I hear the version of “You Keep Me Hanging On” on this video I just collapse laughing because it sounds exactly like what would happen if The Afghan Whigs were given the sound of Peter Gabriel’s 1982 SECURITY. That opening! That’s f**king “San Jacinto” right there!
See also the same treatment given to a 1998 album of Chipmunks dance mixes.
For his music video for Sébastien Guérive’s Bellatrix, Thomas Blanchard filmed ice crystals forming at close range and ultra-high resolution.
Bellatrix Sébastien Guérive music video is an experimental film on the crystallization of ice stars. It is a chemical saturation in hot water which is then cooled. The chemical saturation becomes very unstable when the liquid cools. The slightest disturbance in the liquid activates crystallization.
I spent hours and hours as a kid watching snowflakes accumulate on windowsills, raindrops rolling down windows, clouds rolling in from the west, and frost advance on surfaces, looking for patterns in the seeming randomness, so this is right up my alley. (via colossal)
One of the biggest hits of the past two years has been Dua Lipa’s Levitating — this catchy disco-inflected tune didn’t hit #1 in the US but has set quite a few records for Billboard chart longevity (e.g. 41 weeks in the top 10). Lipa, her label, and her co-writers were recently hit with a lawsuit 1
by a band called Artikal Sound System alleging that Levitating was ripped off from their song, Live Your Life. At first glance, Artikal Sound System seems to have a point — take a listen to Levitating and then to Live Your Life.
But! As Adam Neely explains in this video, if you listen to it with an expert ear and with the history of music in mind, their case doesn’t seem so ironclad. For starters, Rosa Parks by Outkast (1998) and Blame It on the Boogie from The Jacksons (1978) contain very similar rhythms.
And just today brings news of a second lawsuit: “songwriters L. Russell Brown and Sandy Linzer allege that Lipa ‘duplicate[d]’ the ‘signature’ opening melody for ‘Levitating’ from their 1979 song ‘Wiggle and a Giggle All Night’ and 1980 song ‘Don Diablo’, performed by Cory Daye and Miguel Bosé respectively.”↩
Throughout the relatively short recording career of The Beatles, and as late as 1967’s Magical Mystery Tour, the band’s albums released in the United States were, in some cases, quite different than those released in the UK. Jared Pike explains the differences in this comprehensive video:
Pike also made a chart of all the releases and which albums they appeared on, which you can download here. The image is too tall to include here, but here’s an excerpt that shows some of the reorganization that was done for American audiences:
I just looked on Spotify here in America and they’re using the UK versions of the albums (at least for Rubber Soul and Revolver). I wonder how long that’s been the case? According to Wikipedia, it looks like when the band’s albums were reissued on CD in 1987, the track listings were standardized to the UK/international release.
This is the kookiest thing I have heard all week: Jonny Greenwood didn’t know how to play keyboard when he first joined Radiohead (when the band was still called On a Friday). Here’s what he told Terry Gross on a recent episode of Fresh Air:
Well, they had a keyboard player who — Thom’s band had a keyboard player, which I think they didn’t get on with because he played his keyboard so loud. And so when I got the chance to play with them, the first thing I did was make sure my keyboard was turned off when I was playing. And I must have done months of rehearsals with them with this keyboard that was just — they didn’t know that I’d already turned it off and was just — they made quite a racket, quite a noise. It was all guitars and distortion.
And so I would pretend to play for weeks on end. And Thom would say, I can’t quite hear what you’re doing. But I think you’re adding a really interesting texture because I can tell when you’re not playing. And I’m thinking, no, you can’t, because I’m really not playing. And I’d go home in the evening and work out how to actually play chords. And cautiously, over the next few months, I would start turning this keyboard up. And that’s how I started — you know, started in with Radiohead.
To be fair, Greenwood knew how to play music (the recorder and viola for a start), he just didn’t know how to play the keyboard. Fake it til you make it, I guess!
YouTuber shonkywonkydonkey takes songs and reworks them using only his voice — all the original instruments, vocals, sound effects, etc. are replaced by his vocals. The results are waaay better than you would expect. His magnum opus is probably the entire album of Radiohead’s OK Computer (yes, all 53 minutes, 26 seconds of it):
I am also partial to Everything In Its Right Place:
Hard to Explain by The Strokes is great too:
You can check out the rest of his efforts here. (via @aaroncoleman0)
Seinfeld2000 and kottke.org favorites The Hood Internet teamed up to make this video of the Seinfeld theme song mixed with a song from every year the show was on the air. So: Free Fallin’ by Tom Petty, Poison by Bell Biv DeVoe, Smells Like Teen Spirit by Nirvana, Bulls on Parade by Rage Against the Machine, and Around the World by Daft Punk. Genius. I could not love this anymore than I do.
See also Darth Costanza and How the Seinfeld Theme Song Was Made. (via waxy)
At one point or another, legendary music teacher Nadia Boulanger taught Aaron Copland, Leonard Bernstein, Philip Glass, Quincy Jones, and many many more. In the video above, Oscar Osicki of Inside the Score tells us about this remarkable woman and how she came to be “arguably the most renowned music teacher in the world”.
Later in his life, Aaron Copeland wrote to Boulanger about the influence she’d had on him:
It’s almost 30 years (hard to believe) since we met — and I still count our meeting the most important event of my musical life. What you did for me — at exactly the period I most needed it — is unforgettable. Whatever I have accomplished is intimately associated in my mind with those early years and with what you have since been as inspiration and example. All my gratitude and thanks go to you, dear Nadia.
Nadia Boulanger used to tell me all the time, “Quincy, your music can never be more or less than you are as a human being.” It’s okay to play fast and all that other stuff, but unless you have a life experience, and have something to say that you’ve lived, you have nothing to contribute at all. So I decided to live my life, and I did.
See also The greatest music teacher who ever lived and She Was Music’s Greatest Teacher. And Much More. (via open culture)
“Recent” is increasingly becoming a lie with these media diet posts…the last one I did was back on Sept 13, right before my life went to hell in a handcart for a couple of months.1 So let’s get to it: a list of short reviews of all the movies, books, music, TV shows, podcasts, and other things I’ve enjoyed (or not) in the last few months of 2021 (as well as a few 2022 items). As usual, don’t pay too much attention to the letter grades — they are subjective and inconsistent. Oh and some of this stuff might have already popped up in my end-of-2021 review, but I’ll try and say something different about them here.
The Great British Baking Show. I already covered this in the last media diet (and the year-end review), but I wanted to include it here as well because it’s become a real favorite. Rahul 4eva! (A)
Project Hail Mary. After my whole family read this and couldn’t stop talking about it, I had to read it too. And……it was alright. I guess I don’t quite get the acclaim for this book — reminded me of a sci-fi Da Vinci Code. Looking forward to the movie being better. (B)
The French Dispatch. Maybe my favorite Wes Anderson movie since The Royal Tenenbaums? (A)
The Hunger Games. I watched all four movies in this series because I needed something familiar and also mindless to switch my brain off. (B+)
Ted Lasso (season two). Not quite as good as the first season and definitely not as beloved because they had some new ground to cover, but I enjoyed the season as a whole. And put me down as a fan of the Coach Beard Rumspringa episode. (A-)
Izakaya Minato. I don’t exactly know what it was about this meal, but I’m still thinking about it more than 3 months later. Really fresh, clean, creative food. (A)
Magnus on Water. Amazing cocktails, great service, and the outdoor seating area was just right. (A-)
The Lost Daughter. Gah, so good! Olivia Colman, Dakota Johnson, and Jessie Buckley are all fantastic and the direction and cinematography (all those tight, almost suffocating shots) were just great. Gonna be thinking about this one for awhile. (A+)
Therapy. I’ve got more to say about this at some point, but I’ve been seeing a therapist since September and it’s been really helpful. (A)
Shang-Chi and the Legend of the Ten Rings. I enjoyed this quite a bit, more than Black Widow or The Eternals (haven’t seen latest Spidey yet). (B+)
Shang-Chi and the Legend of the Ten Rings soundtrack. Really, really good — been blasting this in the car a lot lately. (A)
Dune. Felt good to see a serious blockbuster in the theater again. And to be able to rewatch it on HBO Max a couple of weeks later. (A-)
Ravine. I’ve only played this a couple of times with the kids, but it got high marks all around for fun and quick rounds. (B+)
The Power of the Dog. A slow burn with a great payoff. Wonderful cast & direction. (A)
No One Is Talking About This by Patricia Lockwood. I loved the first half of this book — lots of pithy observations about social media. (B+)
Don’t Look Up. Everyone is comparing this to Dr Strangelove and while it’s not quite on that level, it certainly does some of the same things for climate change that DS did for nuclear war. (A)
When We Cease to Understand the World by Benjamin Labatut. A super interesting mix of historical fact and narrative fiction about the swift technological changes that took place in the early 20th century that altered history in small and large ways. (A-)
Wingspan. Bought this game after reading Dan Kois’ review and our family has been enjoying it. (B+)
Pirates of the Caribbean. Still fun. I remember being very skeptical before seeing this for the first time back when it came out, but as soon as Jack Sparrow stepped off his sinking ship right onto the dock, I knew it was going to be good. (A-)
Clear and Present Danger. I don’t actually remember watching much of this…must have switched off my brain too much. (-)
Spies in Disguise. I read the plot synopsis of this on Wikipedia and I still don’t remember watching any of it. I think the kids liked it? (-)
The Courier. Solid spy thriller starring Benedict Cumberbatch. Based on a true story. (B+)
Finch. Charming but nothing much actually happens? (B)
Eternals. Now that the Infinity Saga is done, I’m not sure how much interest I’m going to have in some of these new characters & storylines. (B)
Mad Max Fury Road. Seventh rewatch? Eighth? I just plain love this movie. (A)
No Time to Die. I am not really a James Bond fan but I liked this one. (B+)
Succession (season three). This got off to a bit of a slow, meandering start, but the last few episodes were just fantastic. (A)
Omicron variant. You think you’re out but they keep pulling you back in. (F-)
Swimming with bioluminescent plankton. Thought the water was going to glow as I swam through it, but it was more like sparkly fireworks. Magical. (A)
Xolo Tacos. We stumbled in here for dinner after nothing else looked good and were rewarded with the best tacos on Holbox. The carne asada taco might be the best taco I’ve had in years and we ended up ordering a second round. (A)
Beautiful World, Where Are You by Sally Rooney. I liked this one slightly less than her first two novels. But only slightly. (A-)
Free Guy. Fun entrant into the video game movie genre. (B+)
Hacks. It was fine but ultimately didn’t understand why so many people on my timeline were raving about this. (B+)
NY Times Crossword app. I’ve never been much for crossword puzzles, but the Times app does all the fiddly work (e.g. of finding the current clue’s boxes, etc.) for me so I’ve been enjoying dipping my toe into the Monday and Tuesday puzzles. But the Minis and Spelling Bee are where it’s at for me. (B+)
The Hunt for Red October. Still a great thriller. (A-)
Avatar: The Last Airbender. After watching The Legend of Korra, the kids and I went back to watch Avatar. The first season and a half is kinda uneven, but overall we really liked it. The beach episode has to be one of the weirdest things I’ve ever seen on television and the one where Aang is hallucinating from the lack of sleep made my kids laugh so hard I thought they were going to pass out. (A-)
The Matrix Resurrections. I am someone who didn’t dislike the second and third Matrix movies as much as everyone else seemed to, and so it is with this one as well. Wish I could have seen this in the theater, but Omicron. (A-)
The Wrong Trousers. The last five minutes is still maybe the best chase scene in movie history. (A)
Preview of the next media diet: I am enjoying the hell out of Lauren Groff’s Matrix, want to read The Lost Daughter, just started the last season of The Expanse, listening to the audiobook version of Exhalation, want to check out Station Eleven on HBO Max, and plan on watching Pig, Drive My Car, and Licorice Pizza. Oh, and I need to dig into the second seasons of The Great and For All Mankind. And more GBBO! We’ll see how much of that I actually follow through on…
Past installments of my media diet are available here.
Nothing serious, I am embarrassed to say. I just got really into the weeds with a number of things and I kinda fell to pieces.↩
I haven’t had a chance to watch Peter Jackson’s Beatles documentary yet, but I really enjoyed reading Tom Whitwell’s 10 lessons in productivity and brainstorming from The Beatles gleaned from the series.
1. The ‘yes… and’ rule
The first rule of improvisation (and brainstorming) is “yes… and”. When someone suggests an idea, plays a note, says a line, you accept it completely, then build on it. That’s how improvisational comedy or music flows. The moment someone says ‘no’, the flow is broken. It’s part of deferring judgement, where you strictly separate idea generation from idea selection.
As they slog through Don’t Let Me Down, George breaks the spell. Instead of building and accepting he leaps to judgement, saying “I think it’s awful.” Immediately, John and Paul lay down the rules: “Well, have you got anything?” “you’ve gotta come up with something better”.
Don’t judge, build.
I worked on a secret project recently (shhh…) where I really wanted to just say no but chose to do “yes… and” instead, which led my collaborator and I to a better solution. I love the improv rule, but it’s so hard for me to follow sometimes because my job is basically saying no to things all day.
6. One conversation at a time
One of the striking thing about the sessions is how polite everyone is. Perhaps it’s editing, but nobody speaks over anyone else. Everyone has a chance to be heard, which means people spend most of the time listening, rather than talking (apart from Paul, perhaps).
This is another lesson from musical and theatrical improvisation. The difference between a creative environment and a bunch of people shouting out ideas is the listening.
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