Just after I clicked "post blog" for the Mt Eden entry, I saw a TMZ article about Greg Giraldo dying of an overdose. I wished hard that it was one of those ridiculous rumors, but by the time I got to "greg giral" in Google, Google Instant told me it was true. Giraldo reportedly overdosed accidentally this past weekend and was in the hospital for several days before passing away today, September 29th. He's had some pretty significant substance abuse problems, but his career was on the upswing and he really cut back on the drinking... which I was thrilled about, because I thought there was less of a chance of him pulling a Mitch Hedberg and checking out early. I mean, seriously, how did Giraldo beat Artie Lang to the punch?
As some of you may not know, Giraldo worked as a lawyer; he graduated from Columbia and Harvard Law. The first Roast at which I ever saw him perform was Chevy Chase's Roast. He was visibly nervous, but amped, and warmed up to the scene after a couple of minutes. From then on out, he was a staple on Comedy Central roasts. I look forward to his and Jeff Ross' sets every I time I turn on a Roast. He murdered the Flava Flav Roast and fried The Hoff up for dinner. Joan Rivers and the entire panel bit it when he did his Lord of the Rings gag - "Man, what a night. A couple of trolls, a fairy, and a giant all going after a sunken eyed little monster who's obsessed with jewelry. It's like the Lord of the Rings!"
His comedy specials were hilarious. I remember re-playing the "letters home during wartime" bit over, and over, and over.
"I read a book recently; it was filled with letters that soldiers during the Civil War wrote to their girlfriends back home. These were kids, they were 17 year old kids and most of them never went to school. But every letter in the book was incredible. Every single letter was like, 'My Dearest Hannah: This morn finds me wracked by the fiery pains of your absence. I'll bear your cherished memory with me as I battle the forces of tyranny and oppression.' Now, think about what the typical letter from your average Gulf War soldier to his girlfriend back home in, like, Brooklyn must have read like. 'Dear Marie: It is hot as fuck out here. It is hard to fight the sand monkeys with your balls stuck to your legs. It is very, very hot and I am very, very sweety [sic]. It is very, very hot out here because I am in the dessert [sic]."
Here's to his family... we'll miss you, funny man.
Giraldo's set on the Roast of Larry The Cable Guy
"Gary Busey's here, kind of... Jesus, Gary, you horse-faced lunatic! You look like Nick Nolte f'd a Clydesdale."
"Reno Collier, I don't know who or what that is. I guess he's part of that next wave of low-brow dipshits that'll make me want to kill myself."
Greg Giraldo Destroys A Heckler
"Normally there's not a wasted 60 yr old... normally I just do my own thing... Are you on vacation? Are you the local groundskeeper?"
Giraldo's set on the Roast of Joan Rivers
"Thank you, Tranny Bonaducci! You look like Ronald McDonald f'd Lucille Ball's corpse and then pushed it down a flight of stairs."
"You are such a comedy icon that Joan named one of those shitty watches she sells on QVC after you. It's called the 'Carl Reiner' edition, it's got liver spotted hands and it's running out of time."
Wednesday, September 29, 2010
Mt Eden samples Prodigy: "The Omen"
I recently started listening to a wider variety of electronic music than I have in the past. I've mostly stuck with trance (Tiesto), drum & bass (Misstress Barbara), and house (Bad Boy Bill). Kim introduced me to dubstep earlier this year and I'm, uhm, kind of obsessed. I'm pretty sure I found Mt Eden while I browsed YouTube for worthy tracks, but it's entirely possible that I heard his music on Tamara or Deb's Facebook pages. My friends and I, we love music, we trade videos, and we hit concerts hard. Anyway, Mt Eden is a Kiwi producer who's known for the grinding bass and tightly wound effects that threaten to explode your brain with their inherent badassery. I like a lot of his music, including the "Hide & Seek" and "Silence" remixes, but for some reason his Pharaohe Monch "Simon Says" remix just doesn't do it for me. It's a little too "Aphrodite remixes the Superman theme but overpowers it with cymbals" for me. Anyway, I reallllly like this track and I hope you do too!
Mt Eden - "The Omen"
The sampling is seamless. That art has fallen by the wayside with the advent of computers and music editing programs that halfway do it for you, however; there is ample room for error when layering multiple samples and blending effects that can sound like the Doppler effect gone wrong if you screw it up. Mt Eden's attention to detail keeps the flow even.
The marks of dubstep are A) the power of the bass, B) drums that sound as if someone's playing them in a giant, empty concert hall, and C) those sick bass drops that can really amp the vibe. The blend, balance (note: the bass is supposed to be really heavy), and bass drops here are quite decent. The vocal track is matched perfectly with the duple/triple feel (also common in dubstep) and the main motive isn't played out. Mt Eden uses it just enough to remind you that "hey, this original track is pretty bad on its own, I'm just giving you my twist". I'm a fan of Prodigy's music, particularly their older tracks, and "The Omen" is one of my favorites. I love hearing it reworked, and I love that someone else appreciated it at least as much as I do.
Mt Eden - "The Omen"
The sampling is seamless. That art has fallen by the wayside with the advent of computers and music editing programs that halfway do it for you, however; there is ample room for error when layering multiple samples and blending effects that can sound like the Doppler effect gone wrong if you screw it up. Mt Eden's attention to detail keeps the flow even.
The marks of dubstep are A) the power of the bass, B) drums that sound as if someone's playing them in a giant, empty concert hall, and C) those sick bass drops that can really amp the vibe. The blend, balance (note: the bass is supposed to be really heavy), and bass drops here are quite decent. The vocal track is matched perfectly with the duple/triple feel (also common in dubstep) and the main motive isn't played out. Mt Eden uses it just enough to remind you that "hey, this original track is pretty bad on its own, I'm just giving you my twist". I'm a fan of Prodigy's music, particularly their older tracks, and "The Omen" is one of my favorites. I love hearing it reworked, and I love that someone else appreciated it at least as much as I do.
Tuesday, September 28, 2010
Sally Menke (1953 - 2010)
I.love.filmsandtelevision.
More specifically, I love all things Tarantino. When I read of Sally Menke's passing this morning, I was disappointed, surprised, curious, and a little nervous. She not only worked on 1990's "Teenage Mutant Ninja Turtles"(Partners in Kryme, anyone? ), she had one of the best film partnerships in the history of filmmaking with one of Hollywood's most peculiar and legendary filmmakers. As his primary film editor, she screened everything before it left Tarantino's studio. This included everything from "Reservoir Dogs" to "Inglourious Basterds". She also worked on films such as "Mulholland Falls", "All the Pretty Horses" and, most recently, "Peacock".
Menke's editing style involved precision cuts, snappy action, delicate and sometimes unexpected fades, and a great rapport with the actors. Whenever the actors flubbed a line, they'd grin and say "Hi, Sally!". In fact, a "Hi, Sally!" gag reel is included in the "Death Proof" DVD; there are rumblings that a second "Hi, Sally!" reel will be added to the future "Kill Bill" DVD release.
I am anxious because, as Tarantino appears to have used her exclusively for film editing, this may signal the end of an era in his career. I am not at all saying that he's done making movies - just that, from now on, the style may be different. When you love something of very high quality, you want it to stay just as good as it ever was. I love Tarantino's films and I hope that he is able to find an editor that understands his scripts / directing style, and can mold what was already fantastic into something even better.
RIP Sally - and thanks for everything.
More specifically, I love all things Tarantino. When I read of Sally Menke's passing this morning, I was disappointed, surprised, curious, and a little nervous. She not only worked on 1990's "Teenage Mutant Ninja Turtles"(Partners in Kryme, anyone? ), she had one of the best film partnerships in the history of filmmaking with one of Hollywood's most peculiar and legendary filmmakers. As his primary film editor, she screened everything before it left Tarantino's studio. This included everything from "Reservoir Dogs" to "Inglourious Basterds". She also worked on films such as "Mulholland Falls", "All the Pretty Horses" and, most recently, "Peacock".
Menke's editing style involved precision cuts, snappy action, delicate and sometimes unexpected fades, and a great rapport with the actors. Whenever the actors flubbed a line, they'd grin and say "Hi, Sally!". In fact, a "Hi, Sally!" gag reel is included in the "Death Proof" DVD; there are rumblings that a second "Hi, Sally!" reel will be added to the future "Kill Bill" DVD release.
I am anxious because, as Tarantino appears to have used her exclusively for film editing, this may signal the end of an era in his career. I am not at all saying that he's done making movies - just that, from now on, the style may be different. When you love something of very high quality, you want it to stay just as good as it ever was. I love Tarantino's films and I hope that he is able to find an editor that understands his scripts / directing style, and can mold what was already fantastic into something even better.
RIP Sally - and thanks for everything.
9/27/10 at The National
A coworker invited me to this show last night, and I was completely unfamiliar with all of the bands playing. Gaslight Anthem headlined, Fake Problems played before them, and Bridge & Tunnel opened up. I had a great time, heard some new music, and got some new tracks for my iPod - win/win!
Bridge & Tunnel: They've got a decent bassist, and she made me think of a hipster Tina Fey. The chick guitarist actually reminded me of a blonde Steve Perry. The male lead vocalist (?) couldn't hang a solid pitch on a coat rack, and at one point cracked me up by stomping one leg so energetically that he nearly kicked himself in the butt. The drummer was unremarkable. Musically, Bridge & Tunnel was not very inspiring - and you couldn't make the lyrics out, so they didn't score points in that area. Lots of crash cymbal, lots of metal-worthy headbanging, some decent bass lines. What amused me more than the lead singer's physical energy was the preface to every song: "This song is about [insert socially aware topic here]". Example: "This song is about the gentrification of NYC" (screamcrashgutterbass) - "This song is about how older people can't always get work in our economy and the things that are supposed to help them out, like Social Security and pensions and stuff, don't work like they're supposed to" (screamcrashgutterbass). The last thing I want to hear from a screamo band is their personal philosophy of subjects about which they are ignorant, especially when the opinion comes in the form of lyrics I literally cannot decipher - and I'm a Hatebreed fan, which should tell you something.
Fake Problems: Definitely worth checking out. They're a very energetic group with a lead singer who demands your attention from the get go. You can really hear the genre blend among the "Tighten Up" style guitar riffs, beach punk (early No Doubt & Sublime) style, skate punk (Less Than Jake), folk, "new" 70s (Amy March, White Stripes) and Latin music. Fake Problems makes you want to dance all night, which I probably would have if I knew the music better - I get distracted from moving during concerts if I'm concentrating on actually listening to the music instead of losing myself in it.
LGT Fake Problems Too Cold To Hold because I couldn't find a link to what I'm sure is only a tour track.. "How Come All This Time You Let Me Smoke Weed And Then You Up And Ditched Me Cuz I Smoke Weed Even Though You Knew The Whole Time?".
Gaslight Anthem: I am now a fan of this group. They put out their first album in 2007, sophomore in 2008, and just released their third album "American Slang" this year. When they play live, they've got an infectious fun-ergy that manifests in stage antics like half-ass cartwheeling and telling completely unrelated stories. Really great drummer, a completely hot Jersey guido bassist, and guitarists/vocalists that ENUNCIATE the fantastic lyrics they've written (are you listening, Bridge & Tunnel?). They've got a very original sound that seems to root in Bruce Springsteen and classic punk. In truth, they remind me of Alkaline Trio, but with less blood and alcohol, crossed with the Ataris. Their music holds elements of ballad rock and almost all of their well-recognized songs feature high energy, insistent melodies. Gaslight Anthem interacts really well with their audience, and they recognize / shout out the regular attendees (AKA groupies). The lead singer told a (random) story that went something like this: "I know on stage I'm joking and having a lot of fun but I'm really kind of a moody guy, you know, I get obsessed with building amplifiers and I don't really want to talk to or see anybody. I get really anxious and kind of neurotic sometimes... but anyway when I got here, [National staff member] was just like, living Zen man. So, thanks for that, Dude! This next track..."
LGT Gaslight Anthem - Old White Lincoln
Bridge & Tunnel: They've got a decent bassist, and she made me think of a hipster Tina Fey. The chick guitarist actually reminded me of a blonde Steve Perry. The male lead vocalist (?) couldn't hang a solid pitch on a coat rack, and at one point cracked me up by stomping one leg so energetically that he nearly kicked himself in the butt. The drummer was unremarkable. Musically, Bridge & Tunnel was not very inspiring - and you couldn't make the lyrics out, so they didn't score points in that area. Lots of crash cymbal, lots of metal-worthy headbanging, some decent bass lines. What amused me more than the lead singer's physical energy was the preface to every song: "This song is about [insert socially aware topic here]". Example: "This song is about the gentrification of NYC" (screamcrashgutterbass) - "This song is about how older people can't always get work in our economy and the things that are supposed to help them out, like Social Security and pensions and stuff, don't work like they're supposed to" (screamcrashgutterbass). The last thing I want to hear from a screamo band is their personal philosophy of subjects about which they are ignorant, especially when the opinion comes in the form of lyrics I literally cannot decipher - and I'm a Hatebreed fan, which should tell you something.
Fake Problems: Definitely worth checking out. They're a very energetic group with a lead singer who demands your attention from the get go. You can really hear the genre blend among the "Tighten Up" style guitar riffs, beach punk (early No Doubt & Sublime) style, skate punk (Less Than Jake), folk, "new" 70s (Amy March, White Stripes) and Latin music. Fake Problems makes you want to dance all night, which I probably would have if I knew the music better - I get distracted from moving during concerts if I'm concentrating on actually listening to the music instead of losing myself in it.
LGT Fake Problems Too Cold To Hold because I couldn't find a link to what I'm sure is only a tour track.. "How Come All This Time You Let Me Smoke Weed And Then You Up And Ditched Me Cuz I Smoke Weed Even Though You Knew The Whole Time?".
Gaslight Anthem: I am now a fan of this group. They put out their first album in 2007, sophomore in 2008, and just released their third album "American Slang" this year. When they play live, they've got an infectious fun-ergy that manifests in stage antics like half-ass cartwheeling and telling completely unrelated stories. Really great drummer, a completely hot Jersey guido bassist, and guitarists/vocalists that ENUNCIATE the fantastic lyrics they've written (are you listening, Bridge & Tunnel?). They've got a very original sound that seems to root in Bruce Springsteen and classic punk. In truth, they remind me of Alkaline Trio, but with less blood and alcohol, crossed with the Ataris. Their music holds elements of ballad rock and almost all of their well-recognized songs feature high energy, insistent melodies. Gaslight Anthem interacts really well with their audience, and they recognize / shout out the regular attendees (AKA groupies). The lead singer told a (random) story that went something like this: "I know on stage I'm joking and having a lot of fun but I'm really kind of a moody guy, you know, I get obsessed with building amplifiers and I don't really want to talk to or see anybody. I get really anxious and kind of neurotic sometimes... but anyway when I got here, [National staff member] was just like, living Zen man. So, thanks for that, Dude! This next track..."
LGT Gaslight Anthem - Old White Lincoln
Sunday, September 26, 2010
Density 21.5
Density 21.5
Artist's Biography
Note: Please excuse the lack of accents, I haven't figured out how to make the Mac keyboard shortcuts work in the context of this programming.
Edgard Varese (1883-1965) is a curious figure in modern music, and has long been a favorite of mine. He harbored a deep interest in the journey of sound and light through space, which is characterized by his avant-garde style and experimentation with electronic resources. Varese employed a fantastic "boomerang" dynamic style which at times resembles the Doppler effect. He toyed with the idea of "tiny music", or music on an atomic level, when composing. This "tiny music" is made by air currents, dust falling on a table, or atoms striking each other. If there is indeed a Great Universal Music, he was determined to replicate or represent it to the best of his artistic ability. One good example of this concept is his piece for 13 percussionists, Ionisation (1931).
I've barely touched on his style or influences; but let it be said that he is recognized as the Father of Electronic Music. His compositions shattered preconceived notions of the very nature of music itself and inspired generations of artists to stretch the boundaries and find our language in every aspect of life.
Density 21.5 was commissioned by Georges Barrere in 1936 in honor of his platinum flute; platinum has an approximate elemental density of 21.5 grams per cubic centimeter. The piece itself uses two separate motivic "particles": a two note modal figure and three note atonal figure. I'm still not entirely sure how he managed to distribute 2 tiny motives throughout the flute's entire register, but the presentation and timbral exploration are masterful to say the least. George Perle does a complete analysis of the work in "The Listening Composer" (1990), which I do not intend to duplicate here. It is quite an enjoyable review, should you have an hour and the sheet music.
The harmonic and rhythmic control belies the freedom of dynamic and intensity inherent in this work. This control is partially based in Varese's appreciation for Schoenberg's music. In pieces such as this, the focus is on the composition itself and the process of discovery experienced by each performer and listener it encounters. The structure, melody, and contrast are there... you just have to pay attention.
Artist's Biography
Note: Please excuse the lack of accents, I haven't figured out how to make the Mac keyboard shortcuts work in the context of this programming.
Edgard Varese (1883-1965) is a curious figure in modern music, and has long been a favorite of mine. He harbored a deep interest in the journey of sound and light through space, which is characterized by his avant-garde style and experimentation with electronic resources. Varese employed a fantastic "boomerang" dynamic style which at times resembles the Doppler effect. He toyed with the idea of "tiny music", or music on an atomic level, when composing. This "tiny music" is made by air currents, dust falling on a table, or atoms striking each other. If there is indeed a Great Universal Music, he was determined to replicate or represent it to the best of his artistic ability. One good example of this concept is his piece for 13 percussionists, Ionisation (1931).
I've barely touched on his style or influences; but let it be said that he is recognized as the Father of Electronic Music. His compositions shattered preconceived notions of the very nature of music itself and inspired generations of artists to stretch the boundaries and find our language in every aspect of life.
Density 21.5 was commissioned by Georges Barrere in 1936 in honor of his platinum flute; platinum has an approximate elemental density of 21.5 grams per cubic centimeter. The piece itself uses two separate motivic "particles": a two note modal figure and three note atonal figure. I'm still not entirely sure how he managed to distribute 2 tiny motives throughout the flute's entire register, but the presentation and timbral exploration are masterful to say the least. George Perle does a complete analysis of the work in "The Listening Composer" (1990), which I do not intend to duplicate here. It is quite an enjoyable review, should you have an hour and the sheet music.
The harmonic and rhythmic control belies the freedom of dynamic and intensity inherent in this work. This control is partially based in Varese's appreciation for Schoenberg's music. In pieces such as this, the focus is on the composition itself and the process of discovery experienced by each performer and listener it encounters. The structure, melody, and contrast are there... you just have to pay attention.
Theory of Music Appreciation
I began flute lessons in 1994 with Dr. Alice Hammel. Eric Hoover taught me during the summers of 2000 & 2001 at the Brevard Music Center. I continued studies with Judith Lapple and had several lessons with Gary Schocker. Each of these instructors taught me to respect tradition, appreciate experimental (i.e. different) music, and to always keep an open mind. Interactions with living composers such as Mark Camphouse, Katherine Hoover, Gary Schocker, Jesse Guessford, and others, taught me to "listen with open ears".
I ask my readers to do the same - pull out a recording of the piece we're discussing, YouTube it, or listen to the sample on iTunes. Keep an open mind. The state of current affairs, musically speaking, is not as bleak as big box radio and the VMA/MTV Music Awards would have us believe. Artists such as Trent Reznor, Gnarls Barkley, and Coheed & Cambria push the envelope and blend some seriously chronic sounds with traditional story telling, ethereal soundscapes, and authentic instruments. Others such as Alison Krauss, Damien Rice, and Robert Plant explore their origins and invigorate genres that are so often pigeonholed.
I honestly believe that it is possible to find elements of historical style and construct in any piece of music you hear; in fact, I challenge you to prove otherwise. The attention an average person pays to any given song is passing at best, unless you're like me and can't listen to something without analyzing it. I think that too many artists in too many genres are overlooked in favor of glitz, eyeliner, and AutoTune. I know that where we go from here depends entirely on today's audience, performers, and composers. I want us to be as informed and open minded as possible, so that we may contribute to a more informed audience of artists and enthusiasts in the future. Take an extra couple of minutes to listen to what's playing through your CD player or iPod, and ask yourself why you like it. Maybe ask yourself if there's something you don't like about it.
Sometimes the answer can be surprising - and can lead you to search for similar sounds, then TA-DA! You found your new favorite artist, bought their latest album, told your friends, and now their sound is appreciated and nurtured by the active interest you showed in their art. Because it is, really, all art. From the album covers to the liner notes, from the lyrics to the bass line. This is art. We are artists and art lovers. Let us revel in the beauty we know while meeting the challenges to our senses.
I ask my readers to do the same - pull out a recording of the piece we're discussing, YouTube it, or listen to the sample on iTunes. Keep an open mind. The state of current affairs, musically speaking, is not as bleak as big box radio and the VMA/MTV Music Awards would have us believe. Artists such as Trent Reznor, Gnarls Barkley, and Coheed & Cambria push the envelope and blend some seriously chronic sounds with traditional story telling, ethereal soundscapes, and authentic instruments. Others such as Alison Krauss, Damien Rice, and Robert Plant explore their origins and invigorate genres that are so often pigeonholed.
I honestly believe that it is possible to find elements of historical style and construct in any piece of music you hear; in fact, I challenge you to prove otherwise. The attention an average person pays to any given song is passing at best, unless you're like me and can't listen to something without analyzing it. I think that too many artists in too many genres are overlooked in favor of glitz, eyeliner, and AutoTune. I know that where we go from here depends entirely on today's audience, performers, and composers. I want us to be as informed and open minded as possible, so that we may contribute to a more informed audience of artists and enthusiasts in the future. Take an extra couple of minutes to listen to what's playing through your CD player or iPod, and ask yourself why you like it. Maybe ask yourself if there's something you don't like about it.
Sometimes the answer can be surprising - and can lead you to search for similar sounds, then TA-DA! You found your new favorite artist, bought their latest album, told your friends, and now their sound is appreciated and nurtured by the active interest you showed in their art. Because it is, really, all art. From the album covers to the liner notes, from the lyrics to the bass line. This is art. We are artists and art lovers. Let us revel in the beauty we know while meeting the challenges to our senses.
Welcome to Tethysian Reflections . . .
. . . wherein you will find things "wonderful to tell!".
Obviously, this includes some of the most excellent quotations known to humankind (above: "O Brother, Where Art Thou?" - Oracle).
However; more substantive entries will cover reflections on music and its origins, literary works, a wide variety of films / television series, and anything else that happens to catch my attention. Feel free to comment and offer your own opinion; I'd much prefer to talk with people who share similar interests than "listen" to myself type.
Obviously, this includes some of the most excellent quotations known to humankind (above: "O Brother, Where Art Thou?" - Oracle).
However; more substantive entries will cover reflections on music and its origins, literary works, a wide variety of films / television series, and anything else that happens to catch my attention. Feel free to comment and offer your own opinion; I'd much prefer to talk with people who share similar interests than "listen" to myself type.
Subscribe to:
Comments (Atom)