Search Results for: music

The Early Friendship of the Beastie Boys and Run-DMC

Photo via YouTube

Horovitz: One night at the studio, me and Adam and Mike, we’re waiting outside, drinking beers, and we see Run running down the street screaming, and DMC is way behind him. They were so excited: They’d come up with the idea for our song “Paul Revere” on the way there. We loved Run DMC—and then we were on tour with them. It was like: “Wow, if we’re hanging around with these dudes, it must mean we’re all right.”

Run: They’d teach me about stupid white-boy stuff, like whippits. “What the hell is a whippit?” “Okay, you take this Reddi-wip thing, you push, you inhale it.” Stuff black people don’t do. I was like, “I don’t know the effects of this foolishness.” I don’t think I did it. With the Beasties, nothing was normal. Ad-Rock bugged me out: He was dating the actress [Molly Ringwald]. It was like, “Wow, now that I look at him, he kind of looks like a movie star.”

-From New York magazine’s 2011 oral history of the Beastie Boys’ Licensed to Ill.

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How Island Records Made Bob Marley Into a Household Name After His Death

In the Village Voice, Chris Kornelis writes about how Bob Marley became a household name posthumously thanks to some careful remarketing:

Robinson had a hunch that suburban record buyers were uneasy with Marley’s image — that of a perpetually stoned, politically driven iconoclast associated with violence. And so he commissioned a London-based researcher named Gary Trueman to conduct focus groups with white suburban record buyers in England. Trueman also met with traditional Marley fans to ensure the label didn’t package the album in a way that would offend his core audience.

Less than a decade before violence and drugs became a selling point for gangsta rap, the suburban groups told Trueman precisely what Robinson suspected: They were put off by the way Marley was portrayed. They weren’t keen on the dope, the religion, the violent undertones, or even reggae as a genre. But they loved Marley’s music.

“There was almost this sense of guilt that they hadn’t got a Bob Marley album,” Trueman says. “They couldn’t really understand why they hadn’t bought one.”

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Curses: A Tribute to Losing Teams and Easy Scapegoats

Barry Grass | The Normal School | Spring 2014 | 18 minutes (4,537 words)

 

1st

Late in every February, Major League Baseball players report to Spring Training.

Every year in Kansas City this is heralded by a gigantic special section in The Kansas City Star crammed full of positive reporting and hopeful predictions about the coming season. Each year it is another variation on the same theme: “This is Our Year” or “Is This Our Year?” or “Can the Royals Win it All?” or “Our Time” or “How Good are these Royals?” or “How Good are these Royals” or or or. It gets tiresome after growing up hearing it year after year, because the answer has always been the same. The answer is no. It’s not our time. It’s not our year. No, the Royals aren’t going to win it all. These Royals are not very good. No. Read more…

Brian Eno and the Power of Negative Ambition

Though Eno drew and painted at both Ipswich and Winchester, he left school with no plans to become a fine artist. “I thought that art schools should just be places where you thought about creative behavior, whereas they thought an art school was a place where you made painters,” he said later.

“I think negative ambition is a big part of what motivates artists,” Eno told me. “It’s the thing you’re pushing against. When I was a kid, my negative ambition was that I didn’t want to get a job.”

-Sasha Frere-Jones, in The New Yorker, on the musical genius of Brian Eno.

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Photo: josephlee, flickr

How Selling Out Saved Indie Rock

Longreads Pick

Not long ago, the idea of selling a song for a commercial would have been seen as career suicide. Now, thanks to the music industry’s implosion and the rise of a new generation of artist-friendly ad execs, bands can barely survive without doing so.

Source: BuzzFeed
Published: Nov 10, 2013
Length: 16 minutes (4,200 words)

Trey Anastasio and the No-Analyzing Rule

BLVR: I’ve heard you guys had a no-analyzing rule for a while. You wouldn’t talk to each other about how the show went.

TA: That was for about a year. You come offstage and no one can say anything. At all. At all. Because everyone’s got their own perspective.

BLVR: Someone might think it’s a horrible show and another person could think it’s a great show.

TA: Today what I do is—I do this every night we play—I have a little quiet moment where I picture some guy having a fight with his girlfriend, getting into his car—the battery’s dead—then he gets to the parking lot and it’s full. Meets up with his friends. Comes into the show. I try to picture this one person having their own experience, and I picture them way in the back of the room. And I try to remember how insignificant my experience is, and how people’s experiences with music are their own thing. We put it out there, and if it’s of service to someone, great, but I try to get away from the idea that it’s even starting from us. And when you do that listening-exercise stuff, when I actually get into a moment where I’m only listening, I find that the music gets so much… beyond us. And I can tell that from the reaction I hear from the audience. It always feels more resonant if I can get my hands off it. If all four of us were here, they’d all be saying the same thing. It’s great as long as you listen to anybody but yourself. Anything but yourself.

BLVR: Seems to be true of life, just walking around.

TA: Right. It’s when I start applying my own fucked-up perspective to a show—so I had a bad day, whatever—that I start adding judgment to it. Or I play something and start judging what I’m playing. It’s just like that, walking around in life, that’s true! How often do I find myself walking around and being aware of my surroundings and not having some fucked-up internal dialogue in my head that never ends?

-Trey Anastasio, in a 2011 interview with The Believer.

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Photo: ctankcycles, flickr

George Saunders on How We Deal with Anxiety

I’m interested in the way that Americans — well, probably people in general — tend to address their anxiety with yap. I know I do. This tendency to lack the self-confidence to simply not do anything — to refrain, to be silent, not react, not shoot, just stay out of the shit — that seems to be an American thing. It’s like we can’t tolerate being sidelined or inactive or inessential to any moment. We always have to be active and at the center of things. That’s a big generality, but I do sometimes wonder why it is that, if, say, a European gets pissed off, he gets drunk and falls asleep on the curb — takes himself out of the action. He can tolerate being abased, somewhat. But an American guy (again, generalizing like a big dog), especially your generic white guy, doesn’t like that. It’s as if he can’t say: “I am small/minor/temporarily losing.” If humiliated, he has to go out and do something. It’s like the worst thing that could happen is that, for a while, he might be…passive, or absent, or quiet, or inessential.

Except for me, of course. I am one of those virtuous, self-possessed white guys.

-George Saunders, in an interview with emusic.

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Photo: David Shankbone, wikimedia commons

Kendrick Lamar, Hip-Hop’s Newest Old-School Star

Longreads Pick

The young M.C. is on a quest to become the best rapper in the world.

‘Everybody just wants to have fun, be with the scene,” Kendrick Lamar said when we met in his cramped quarters inside the Barclays Center in Brooklyn last fall. “Certain people get backstage, people that you would never expect. . . . You ain’t with the media! You ain’t into music! You ain’t into sports! You’re just here.” The rapper, now 27, had just finished his set as the opening act on this stretch of Kanye West’s Yeezus tour, and he was sitting low in an armchair in his trademark black hoodie surrounded by exactly those people.

Published: Jun 25, 2014
Length: 19 minutes (4,978 words)

What Happens When the Internet Takes Over Your Home: Virus Edition

I wake up at four to some old-timey dubstep spewing from my pillows. The lights are flashing. My alarm clock is blasting Skrillex or Deadmau5 or something, I don’t know. I never listened to dubstep, and in fact the entire genre is on my banned list. You see, my house has a virus again.

Technically it’s malware. But there’s no patch yet, and pretty much everyone’s got it. Homes up and down the block are lit up, even at this early hour. Thankfully this one is fairly benign. It sets off the alarm with music I blacklisted decades ago on Pandora. It takes a picture of me as I get out of the shower every morning and uploads it to Facebook. No big deal.

I don’t sleep well anyway, and already had my Dropcam Total Home Immersion account hacked, so I’m basically embarrassment-proof. And anyway, who doesn’t have nudes online? Now, Wat3ryWorm, that was nasty. That was the one with the 0-day that set off everyone’s sprinkler systems on Christmas morning back in ’22. It did billions of dollars in damage.

Mat Honan, in Wired, with a fictional account of living in the internet-connected home of the future.

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Photo: jonathan_moreau, Flickr

All Together Now

Longreads Pick

The Spice Girls were the biggest, brashest girlie group ever to have hit the British mainstream. Kathy Acker was an avant-garde American writer and academic. They met up in 1997 to swap notes—on boys, girls, politics.

They are here to rehearse for an appearance on Saturday Night Live. Not only is this their first live TV performance, it’s also the first time they’ll be playing with what Mel C calls a ‘real band’. If the Girls are to have any longevity in the music industry, they will have to break into the American market; and for this they will need the American media. Both the Girls and their record company believe that their appearance here tonight might do the trick. There is a refusal among America’s music critics to take the Spice Girls seriously. The Rolling Stone review of Spice, their first album, refers to them as ‘attractive young things . . . brought together by a manager with a marketing concept’. The main complaint, or explanation for disregard, is that they are a ‘manufactured band’. What can this mean in a society of McDonald’s, Coca-Cola and En Vogue?

Source: The Guardian
Published: May 3, 1997
Length: 16 minutes (4,211 words)