April 30, 2012
Simon Reynolds (b. 1963) is an English music critic who is well known for his writings on electronic dance music and for coining the term ‘post-rock.’ Besides electronic dance music, Reynolds has written about a wide range of artists and musical genres, and has written books on post-punk and rock. He has contributed to ‘Melody Maker’ (where he first made his name), ‘Spin,’ ‘Rolling Stone,’ ‘Mojo,’ and others. He currently resides in the East Village in NY.
Reynolds’ first experience writing about music was with ‘Monitor,’ a fanzine he helped to found in 1984 while he was studying history at Oxford. The publication only lasted for six issues. When it was discontinued in 1986, Reynolds was already making his name writing for ‘Melody Maker,’ one of the three major British music magazines of the time (the other two being the ‘New Musical Express’ (NME) and ‘Sounds’).
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April 29, 2012
‘Earache My Eye‘ is a comedy routine and song by Cheech and Chong which features ‘Alice Bowie’ (one of Cheech Marin’s characters). It first appeared on ‘Cheech & Chong’s Wedding Album’ (1974). Cheech And Chong also lip sync to the recording (with Chong behind the drumkit) in their first movie ‘Up in Smoke’ (1978). This piece has been featured repeatedly on the ‘Doctor Demento’ radio show. According to Tommy Chong’s autobiography, the famous guitar riff is played by Gaye Delorme, who also composed the music for the song. Additionally, Chong states that drums on the song are played by famed international percussionist Airto Moreira.
The B-side, ‘Turn That Thing Down’ features the remainder of the musical track, from the point of Marin’s monologue about his wealth, without the actual dialogue, complete to its conclusion. It is possible to assemble the full-length version of the song by editing the two sections together. Several radio stations refused to play the song. Once the song hit its peak on the charts, radio station managers pulled the song out of the format of airplay, due to complaints by parents, teachers, psychologists, principals, and counselors, who stated that this song mostly appealed to junkies, dropouts, drug addicts, and drunks, as well as for students playing hooky from class, giving them a bad example of behavior.
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April 27, 2012
Lisa Frank is an American commercial artist and founder of Lisa Frank Incorporated, headquartered in Tucson, Arizona. The artist’s work appears on various commercial elementary and middle-school products, mostly school supplies. Also common among Lisa Frank-related items are stickers and a variety of other merchandise such as clothing and toys marketed towards young girls. Frank founded the company in 1979 at the age of 24, and her success resulted from her sticker line.
The company’s headquarters is easily visible because of the bright hearts, stars, and music notes decorating the side of the building. There is currently a quarterly magazine also named ‘Lisa Frank.’ Her corporation’s artwork features extremely bright and vibrant colors, and round, smooth, reflective surfaces. A number of characters recur on ‘Lisa Frank’ branded items, such as a Hollywood Bear, and Markie the unicorn. Rainbows and especially the color purple are abundant in Lisa Frank’s art.
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April 26, 2012
Ken Nordine (b. 1920) is an American voiceover and recording artist best known for his series of ‘Word Jazz’ albums. His deep, resonant voice has also been featured in many commercial advertisements and movie trailers. One critic wrote that ‘you may not know Ken Nordine by name or face, but you’ll almost certainly recognize his voice.’ During the 1940s, he was heard on ‘The World’s Great Novels’ and other radio programs broadcast from Chicago. He attracted wider attention when he recorded the aural vignettes on ‘Word Jazz’ (1957), which features Nordine’s narration over cool jazz by the Chico Hamilton jazz group, recording under the alias of Fred Katz, who was then the cellist with Hamilton’s quintet.
Nordine began performing and recording such albums at the peak of the beat era and was associated with the poetry-and-jazz movement. However, some of Nordine’s ‘writings are more akin to Franz Kafka or Edgar Allan Poe’ than to the beats. Many of his word jazz tracks feature critiques of societal norms. Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios. Nordine was Linda Blair’s vocal coach for her role in ‘The Exorcist.’
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April 26, 2012
Lee Shelton(1865 – 1912) was a black carriage driver and pimp convicted of murdering William ‘Billy’ Lyons on Christmas night, 1895 in St. Louis. The crime was immortalized in a popular song that has been recorded by numerous artists. Stagger Lee (also ‘Stackalee,’ ‘Stackolee,’ and ‘Stagolee’) ultimately becomes a folk figure of the trickster type as numerous legends accumulated around him.
Lee Shelton was not a common pimp, he belonged to a group of pimps known in St. Louis as the ‘Macks.’ The Macks were not just ‘urban strollers’; they presented themselves as objects to be observed. Shelton died in prison in 1912, of tuberculosis. Stagger Lee has become an archetype, the embodiment of a tough black man;one who is sly, streetwise, cool, lawless, amoral, potentially violent, and who defies white authority.
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April 26, 2012
Orbital are a British electronic dance music duo from England consisting of brothers Phil and Paul Hartnoll. Their career initially ran from 1989 until 2004, but in 2009 they announced that they would be reforming and headlining The Big Chill, (an annual festival of alternative, dance, and chill-out music, and comedy, held in the grounds of Eastnor Castle during early August) in addition to a number of other live shows in 2009.
The band’s name was taken from Greater London’s orbital motorway, the M25, which was central to the early rave scene and party network in the South East during the early days of acid house. One of the biggest names in British electronica during the 1990s, Orbital were both critically and commercially successful, and known particularly for their element of live improvisation during shows, a rarity among techno acts. They were initially influenced by early electro and punk rock.
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April 26, 2012
Don Buchla (b. 1937) is a pioneer in the field of sound synthesizers, releasing his first units months after Robert Moog’s first synthesizers. Buchla formed his electronic music equipment company, Buchla and Associates, in 1962 in Berkeley, California. Buchla was commissioned by avant garde music composers Morton Subotnick and Ramon Sender, both of the San Francisco Tape Music Center (which studies the incorporation of electric sound production into compositional practice), to create an electronic instrument for live performance. Under a grant from the Rockefeller Foundation Buchla completed his first modular synthesizer in 1963. The result was the Buchla Series 100, which he began selling in 1966. Buchla’s synthesizers experimented in control interfaces, such as touch-sensitive plates. In 1969 the Series 100 was sold to CBS, who soon after dropped the line, not seeing the synthesizer market as a profitable area.
In 1970 the Buchla 200 series Electric Music Box was released and was manufactured until 1985. Buchla created the Buchla Series 500, the first digitally controlled analog synthesizer, in 1971. Shortly after, the Buchla Series 300 was released, which combined the Series 200 with microprocessors. The Music Easel, a small, portable, all-in-one synthesizer was released in 1972. The Buchla 400 was released in 1982, which featured a video display. In 1987 the fully MIDI enabled Buchla 700 was released. Beginning in the 1990s, Buchla began designing alternative MIDI controllers, such as the Thunder, Lightning, and Marimba Lumina. With the recent resurgence of interest in analog synthesizers Buchla has released a revamped 200 series called the 200e.
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April 26, 2012
Suzanne Ciani [cha-nee] (b. 1946) is an Italian American pianist and music composer who found early success with innovative electronic music. She received classical music training at Wellesley College and obtained her M.A. in music composition in 1970 at University of California, Berkeley where she met and was influenced by the synthesizer designer, Don Buchla. She studied computer generated music with John Chowning and Max Mathews at Stanford’s Artificial Intelligence Labs in the early 1970s.
In 1974 she formed her own company, Ciani/Musica, and, using a Buchla Analog Modular Synthesizer, composed scores for television commercials for corporations such as Coca-Cola, Merrill Lynch, AT&T, and General Electric. Besides music, her specialty was reproducing sound effects on the synthesizer that recording engineers had found difficult to record properly; the sound of a bottle of Coca-Cola being opened and poured was one of Ciani’s most widely recognized works, and was used in a series of radio and television commercials in the late 1970s.
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April 25, 2012
Copenhagen Distortion is a festival for club culture in the streets of Copenhagen, Denmark, and in dozens of unusual locations around city, every year during the week of the first Saturday in June. The festival’s cultural focus is on club culture, upfront dance music, street life, contemporary art (only when related to nightlife or public space), social art and Copenhagen’s new independent media (print and web).
Copenhagen Distortion is ‘a celebration of streetlife & nightlife’ orchestrating 150+ dancefloors hosted by 150+ local and international icons of streetlife and nightlife (people, shops, clubs, galleries, labels, and magazines). The characteristic Distortion atmosphere involves high-energy impulsive chaos with a strong ‘streetlife freedom’ feel. The music selection is sharp and upfront: names like Hot Chip, Simian Mobile Disco, Spank Rock, and Sebastien Tellier were booked for Distortion events before they had become underground heroes of international scope. The festival has always been a Copenhagen leader in the field of using urban space and unusual locations.
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April 23, 2012
The Force is a binding, metaphysical, and ubiquitous power in the fictional universe of the ‘Star Wars’ galaxy created by George Lucas. Mentioned in the first film in the series, it is integral to all subsequent incarnations of Star Wars, including the expanded universe of comic books, novels, and video games. Within the franchise, it is the object of the Jedi and Sith monastic orders. Lucas has attributed the origins of ‘The Force’ to a 1963 abstract film by Arthur Lipsett, called ’21-87,’ which sampled from many sources. One of the audio sources Lipsett sampled was a conversation between artificial intelligence pioneer Warren S. McCulloch and Roman Kroitor, a cinematographer who went on to develop IMAX.
In the face of McCulloch’s arguments that living beings are nothing but highly complex machines, Kroitor insists that there is something more: ‘Many people feel that in the contemplation of nature and in communication with other living things, they become aware of some kind of force, or something, behind this apparent mask which we see in front of us, and they call it God.’ When asked if this was the source of ‘the Force,’ Lucas confirms that his use of the term in ‘Star Wars’ was ‘an echo of that phrase in ’21-87.’ The idea behind it, however, was universal: ‘Similar phrases have been used extensively by many different people for the last 13,000 years to describe the ‘life force,” he says.
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April 23, 2012
In William Gibson’s fiction, the Sprawl is a colloquial name for the Boston-Atlanta Metropolitan Axis (BAMA), an urban sprawl environment on a massive scale, and a fictional extension of the real Northeast Megalopolis. The novels ‘Neuromancer’ (1984), ‘Count Zero’ (1986), and ‘Mona Lisa Overdrive’ (1988) (collectively known as the Sprawl trilogy) take place in this environment, as do the short stories ‘Johnny Mnemonic,’ ‘New Rose Hotel,’ ‘Burning Chrome,’ and ‘Fragments of a Hologram Rose.’
The Sprawl is a visualization of a future where virtually the entire East Coast of the United States, from Boston to Atlanta, has melded into a single mass of urban sprawl. It has been enclosed in several geodesic domes and merged into one megacity. The city has become a separate world with its own climate, no real night/day cycle, and an artificial sky that is always grey. It is said of the Sprawl that ‘the actors change but the play remains the same.’
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April 22, 2012
Liquid funk is a sub-genre of drum and bass. While it uses similar basslines and bar layouts to other styles, it contains fewer bar-oriented samples and more instrumental layers (both synthesized and natural), harmonies, and ambience, producing a calmer atmosphere directed at both home listeners and nightclub audiences. In 2000, Fabio began championing a new form of drum and bass he called ‘Liquid funk,’ with a compilation release of the same name on his Creative Source label. This was characterized by influences from disco and house music, and widespread use of vocals. Although slow to catch on at first, the style grew massively in popularity around 2003–2004, and by 2005 it was established as one of the biggest-selling subgenres in drum and bass.
Liquid funk is very similar to intelligent drum and bass, but has subtle differences. Liquid funk has stronger influences from soca, latin, disco, jazz, and funk music, while IDB creates a calmer yet more synthetic sound, using smooth synth lines and samples in place of the organic element achieved by use of real instruments.
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