How do you define success for a rock group? The nature of the ladder is very clear at the bottom: the rungs are marked with “playing competently in the same key,” “playing for money for the first time,” “becoming spiritual leaders of a local music scene,” “having a national hit single” … it is all easy to work out. At the top, though, the standards are no longer technical and commercial. They become historical.
Above the level of “mere” successful hit-makers, there are artists whose core discography, or even their entire career in the studio, becomes part of a larger cultural story — the Led Zeppelins, Black Sabbaths and Kinks. And there’s a level above that, at which a group’s individual tracks become the subject of extensive study, entire mini-literatures — where even B-sides and cast-offs attract interest, and every move, every day, is extensively documented. That level’s pretty much Bob Dylan and the Beatles.
Colby Cosh, “The improbable media journey of The Tragically Hip”, National Post, 2016-08-22.
May 6, 2018
QotD: The hierarchy of success for rock groups
April 22, 2018
The Lament for the Rohirrim – Lord of the Rings – Clamavi De Profundis
Clamavi De Profundis
Published on 31 Mar 2018Here is our version of J.R.R. Tolkien’s poem, “The Lament for the Rohirrim!” We hope you enjoy it:)
A note on our interpretation:
We approached this piece more “organically”. The melody was composed by singing the lyrics, seeking to be true to the notion of vocal folk tradition. Therefore, the feel of this song is more rhythmically free and more focused on simply dwelling on the questions and answers of the text. There are two sections of the piece: the melody is sung first in a “contemplative” setting, and then repeated in a more “epic” setting, to explore varying sentiments drawn from this beautiful text.
We hope you enjoy this as much as we did creating it! Thanks very much for listening and for your support!
We are unable to get permission to sell this song so we are posting it here free for your enjoyment. If you want a copy of the mp3, we are offering it to those who support us on Patreon!
My brother composed and arranged the piece. My family sang it.
Please no bad language in the comments. We want this to be family friendly:)
Lyrics:
Where now the horse and the rider?
Where is the horn that was blowing?
Where is the helm and the hauberk,
And the bright hair flowing?
Where is the hand on the harpstring,
And the red fire glowing?
Where is the spring and the harvest
And the tall corn growing?
They have passed like rain on the mountain,
Like a wind in the meadow;
The days have gone down in the West behind the hills into shadow.
Who shall gather the smoke of the dead wood burning,
Or behold the flowing years from the Sea returning?
April 18, 2018
Bo Burnham – Today’s Country Songs
J GiL
Published on 8 Jul 2016
H/T to Victor for the link.
April 12, 2018
Canadian Music Policy Coalition pushes to revive the idea of an “iPod tax”
Michael Geist on one particular rent-seeking submission to the federal government pushing for changes to Canadian copyright law:
The long-awaited Canadian copyright review is set to kick off hearings next week as a House of Commons committee embarks on a year-long process that will hear from a wide range of stakeholders. My Globe and Mail op-ed notes that according to documents obtained under the Access to Information Act, however, one stakeholder – the Canadian Music Policy Coalition, an umbrella group representing 17 music associations – got an early start on the review process last fall by quietly submitting a 30-page reform proposal to government officials.
The proposal, titled “Sounding Like a Broken Record: Principled Copyright Recommendations from the Music Industry”, calls for radical changes that would spark significant new consumer fees and Internet regulation. The plan features new levies on smartphones and tablets, Internet service provider tracking of subscribers and content blocking, longer copyright terms, and even the industry’s ability to cancel commercial agreements with Internet companies if the benefits from the deal become “disproportionate.”
The coalition, which includes the Canadian Council of Music Industry Associations, the Canadian Music Publishers Association, and copyright collectives such as SOCAN, asks the government to follow three main principles as part of its reform process: real-world applicability, forward-thinking rights, and consistent rules.
But the coalition proposal largely avoids discussing the current state of the industry, perhaps with the intent of leaving some with the impression that file sharing remains a significant problem. The reality is the music industry in Canada, led by the massive growth of authorized music streaming services, has enjoyed a remarkable string of successes since the last time copyright law was overhauled in 2012.
The Canadian music market is growing much faster than the world average, with Canada jumping past Australia last year to become the sixth largest music market in the world. Music collective SOCAN, a coalition member, has seen Internet streaming revenues balloon from $3.4 million in 2013 to a record-setting $49.3 million in 2017.
Moreover, data confirms that music piracy has diminished dramatically in Canada. Music Canada reports that Canada is below global averages for “stream ripping”, the process of downloading streamed versions of songs from services such as YouTube. Last month Sandvine reported that file sharing technology BitTorrent is responsible for only 1.6 per cent of Canadian Internet traffic, down from as much as 15 per cent in 2014.
Yet despite the success of Internet streaming services and the marginalization of file sharing activity, the coalition has crafted a reform proposal that would be more at home in 2008 than in 2018. For example, the industry is now calling for new fees to be set by the Copyright Board on all smartphones and tablets to compensate for personal copying. The revival of the so-called “iPod tax” would today go far further than just digital music players, as the coalition is asking the government to amend the Copyright Act to allow for fees to be imposed on all devices.
April 10, 2018
New Year’s Day in 2019 will be a big day for works finally entering public domain
The US government messed around with the copyright laws so that from 1998 until the end of this year, very little material was allowed to slip out of copyright protection and into the public domain. (Many people point their fingers at the Disney corporate lawyers and their pliable friends in Washington DC for this oddity.) In The Atlantic, Glenn Fleishman explains some of the legal issues that will finally begin to allow works to enter public domain status in the US normally next year:
The Great American Novel enters the public domain on January 1, 2019 — quite literally. Not the concept, but the book by William Carlos Williams. It will be joined by hundreds of thousands of other books, musical scores, and films first published in the United States during 1923. It’s the first time since 1998 for a mass shift to the public domain of material protected under copyright. It’s also the beginning of a new annual tradition: For several decades from 2019 onward, each New Year’s Day will unleash a full year’s worth of works published 95 years earlier.
This coming January, Charlie Chaplin’s film The Pilgrim and Cecil B. DeMille’s The 10 Commandments will slip the shackles of ownership, allowing any individual or company to release them freely, mash them up with other work, or sell them with no restriction. This will be true also for some compositions by Bela Bartok, Aldous Huxley’s Antic Hay, Winston Churchill’s The World Crisis, Carl Sandburg’s Rootabaga Pigeons, e.e. cummings’s Tulips and Chimneys, Noël Coward’s London Calling! musical, Edith Wharton’s A Son at the Front, many stories by P.G. Wodehouse, and hosts upon hosts of forgotten works, according to research by the Duke University School of Law’s Center for the Study of the Public Domain.
Throughout the 20th century, changes in copyright law led to longer periods of protection for works that had been created decades earlier, which altered a pattern of relatively brief copyright protection that dates back to the founding of the nation. This came from two separate impetuses. First, the United States had long stood alone in defining copyright as a fixed period of time instead of using an author’s life plus a certain number of years following it, which most of the world had agreed to in 1886. Second, the ever-increasing value of intellectual property could be exploited with a longer term.
Here’s a graphical representation of how the copyright laws interact with Amazon’s ability/interest in stocking or otherwise making available older still-in-copyright works (graphic from 2015):
So, what’s the Disney connection?
The details of copyright law get complicated fast, but they date back to the original grant in the Constitution that gives Congress the right to bestow exclusive rights to a creator for “limited times.” In the first copyright act in 1790, that was 14 years, with the option to apply for an automatically granted 14-year renewal. By 1909, both terms had grown to 28 years. In 1976, the law was radically changed to harmonize with the Berne Convention, an international agreement originally signed in 1886. This switched expiration to an author’s life plus 50 years. In 1998, an act named for Sonny Bono, recently deceased and a defender of Hollywood’s expansive rights, bumped that to 70 years.
The Sonny Bono Act was widely seen as a way to keep Disney’s Steamboat Willie from slipping into the public domain, which would allow that first appearance of Mickey Mouse in 1928 from being freely copied and distributed. By tweaking the law, Mickey got another 20-year reprieve. When that expires, Steamboat Willie can be given away, sold, remixed, turned pornographic, or anything else. (Mickey himself doesn’t lose protection as such, but his graphical appearance, his dialog, and any specific behavior in Steamboat Willie — his character traits — become likewise freely available. This was decided in a case involving Sherlock Holmes in 2014.)
The reason that New Year’s Day 2019 has special significance arises from the 1976 changes in copyright law’s retroactive extensions. First, the 1976 law extended the 56-year period (28 plus an equal renewal) to 75 years. That meant work through 1922 was protected until 1998. Then, in 1998, the Sonny Bono Act also fixed a period of 95 years for anything placed under copyright from 1923 to 1977, after which the measure isn’t fixed, but based on when an author perishes. Hence the long gap from 1998 until now, and why the drought’s about to end.
February 27, 2018
QotD: Anthems
If you were an alien visiting Earth you would quickly conclude from the evidence of your eyes and ears that national anthems probably originate in sport, and were designed to serve it. But even this mistaken conclusion would further befuddle you. If an anthem is intended to stir the blood and awaken athletes to duty in international contests, why are anthems also performed at games between teams belonging to the same country? Is it some sort of test?
Looking at the content and histories of the anthems themselves would not help you much. Some of them are military marches. Some of them are revolutionary street songs that came, over time or through immediate fiat, to represent an entire state. Some are “hymns.” Some are poetry — mostly bad poetry, and mostly by lyricists not otherwise remembered. Some are, like ours, a sort of mashup: poetry grafted onto a march. (The prescribed tempo for O Canada is “alla marcia”, and it is best when performed by the book.)
Every country has to have an anthem, it seems, for circular reasons. An anthem is a feature of a country, and it proves you are a country if other countries blare your anthem in the direction of your supreme leader on state visits. All anthems are performed upon roughly the same occasions everywhere. But if you could take a God’s eye view you, would see one nation warning its neighbours that they will drown in blood if they look across the border cross-eyed. The next nation over is singing about how it is a beacon of peace — particularly to its immediate neighbours, the unreasoning scum. The next nation is asking for God’s blessing on its handsome, wise royal family. The one after that is celebrating the violent overthrow of its handsome, wise royal family.
Colby Cosh, “Let’s talk about anthems”, National Post, 2016-07-14.
February 11, 2018
The Austro-Hungarian Serial Killer Vampire I OUT OF THE TRENCHES
The Great War
Published on 10 Feb 2018Chair of Wisdom Time! This week including the story of the notorious Bela Kiss.
February 10, 2018
Johann Sebastian Bach; Toccata & Fugue in Dm, by Sinfonity
SinfonityTV Guitar
Published on Dec 14, 2014Johann Sebastian Bach; Toccata & Fugue in Dm, BWV 565
Live recorded in Segovia (Spain), Aug 2014. Video produced by NURILANDS FILMS, directed by Núria García.
February 9, 2018
John Perry Barlow, RIP
Gareth Corfield on the death of John Perry Barlow, author of the Declaration of the Independence of Cyberspace:
John Perry Barlow, a co-founder of the US Electronic Frontier Foundation, and also a lyricist for the Grateful Dead, has died aged 70.
Barlow passed away “quietly in his sleep” yesterday, according to the EFF, which he helped set up in 1990.
“It is no exaggeration to say that major parts of the Internet we all know and love today exist and thrive because of Barlow’s vision and leadership. He always saw the Internet as a fundamental place of freedom, where voices long silenced can find an audience and people can connect with others regardless of physical distance,” said the foundation’s executive director, Cindy Cohn.
The BBC reported that Barlow had been ill for several years but “few details were given about his medical problems”.
In the history of the Internet, Barlow will be forever remembered for his 1996 Declaration of the Independence of Cyberspace.
“I declare the global social space we are building to be naturally independent of the tyrannies you seek to impose on us. You have no moral right to rule us nor do you possess any methods of enforcement we have true reason to fear,” wrote Barlow, a bold vision of the future that, sadly, did not come to pass.
The EFF defended Barlow against the inevitable criticisms of the Declaration, with Cohn acknowledging that he was “sometimes held up as a straw man for a kind of naive techno-utopianism” but insisting that he understood “new technology could create and empower evil as much as it could create and empower good”.
I wasn’t a fan of the Grateful Dead, but I read his Declaration soon after it was released and found it inspiring (if not particularly realistic, even then). Few people can have a significant role in a single endeavour, but Barlow was undeniably prominent in the music scene and the early internet community. We’re all poorer for his passing.
January 27, 2018
Remy: Wedu Nagivafaka
ReasonTV
Published on 26 Jan 2018The classic Hawaiian-themed song ‘Mele Kalikimaka’ gets a government makeover.
——–
Parody song written and performed by Remy. Produced by Meredith Bragg.
Music tracks and production by Ben Karlstrom. Steel guitar by Wayne Addleman.LYRICS:
Wedu Nagivafaka is the thing we say any bright Hawaiian winter day
You send an island greeting out to everyone saying nukes are on their way
But don’t clean out that desk quite yet and don’t you sob—
You work for the government, you’ll keep your job
Wedu Nagivakfaka is the way we say
There’s nothing that we will do to youWedu Nagivafaka if your kids can’t read when their senior year’s adjourned
Or if you make six-figures and you spend your days at your desk just watching porn
See you don’t have a normal job, you’ll be just fine
Come tomorrow morning you’ll be “reassigned”…Wedu Nagivafaka is the way we say
There’s nothing that we will do to you
What else would I have to do?
There’s nothing that we will do
To you…
January 17, 2018
Simon Phillips (L. Ritenour & M. Stern) – Smoke ‘n’ Mirrors, [drums only camera]
SimonBak90
Published on 28 Apr 2012Another great DVD release featuring Simon Phillips on drums, called ‘Lee Ritenour & Mike Stern Live at the Blue Note Tokyo’. The DVD features two extra ‘drum cam chapters’ offering you a unique view of Simon playing the songs ‘Smoke ‘n’ Mirrors’ and ‘Big Neighborhood’.
Definitely a must have for the SP fans.
January 10, 2018
Rowan Atkinson – Interview with Elton John
SlugBalancer
Published on 23 Mar 2009Rowan Atkinson interviews Elton John at Hysteria 3 (1991)
December 28, 2017
QotD: The 1960s cultural revolution
The entire political and cultural trajectory of the decades following World War II in the U.S. was a movement away from the repressions of the Cold War standoff with the Soviet Union, when the House Un-American Activities Committee of the U.S. House of Representatives searched for signs of Communist subversion in every area of American life. A conspicuous target was the Hollywood film industry, where many liberals had indeed been drawn to the Communist Party in the 1930s, before the atrocities of the Stalinist regime were known. To fend off further federal investigation, the major studios blacklisted many actors, screenwriters, and directors, some of whom, like a favorite director of mine, Joseph Losey, fled the country to find work in Europe. Pete Seeger, the leader of the politicized folk music movement whose roots were in the social activism of Appalachian coal-miners in the 1930s, was banned from performing on network TV in the U.S. in the 1950s and ‘60s.
There were sporadic landmark victories for free speech in the literary realm. In 1957, local police raided the City Lights Bookshop in San Francisco and arrested the manager and owner, Beat poet Lawrence Ferlinghetti, for selling an obscene book, Allen Ginsberg’s epic protest poem, Howl. After a long, highly publicized trial, Howl was declared not obscene, and the charges were dropped. The Grove Press publishing house, owned by Barney Rosset, played a heroic role in the battle against censorship in the U.S. In 1953, Grove Press began publishing affordable, accessible paperbacks of the voluminous banned works of the Marquis de Sade, a major thinker about sex and society at the close of the Enlightenment. In 1959, the Grove Press edition of D.H. Lawrence’s 1928 novel, Lady Chatterly’s Lover, then banned in the U.S., was confiscated as obscene by the U.S. Postal Service. Rosset sued and won the case on federal appeal. In 1961, the publication by Grove Press of another banned book, Henry Miller’s 1934 novel, Tropic of Cancer, led to 60 obscenity trials in the U.S. until in 1964 it was declared not obscene and its publication permitted.
One of the supreme symbols of newly militant free speech was Lenny Bruce, who with Mort Sahl transformed stand-up comedy from its innocuous vaudevillian roots into a medium of biting social and political commentary. Bruce’s flaunting of profanity and scatology in his improvisational onstage act led to his arrest for obscenity in San Francisco in 1961, in Chicago in 1962, and in New York in 1964, where he and Howard Solomon, owner of the Café Au Go Go in Greenwich Village, were found guilty of obscenity and sentenced to jail. Two years later, while his conviction was still under appeal, Bruce died of a drug overdose at age 40.
This steady liberalizing trend was given huge impetus by the sexual revolution, which was launched in 1959 by the marketing of the first birth control pill. In Hollywood, the puritanical studio production code, which had been adopted in the early 1930s under pressure from conservative groups like the Legion of Decency and the United States Conference of Catholic Bishops, was gradually breaking down and was finally abandoned by the late 1960s. The new standard of sexual expression was defined by European art films, with their sophisticated scripts and frank nudity. Pop music pushed against community norms: in 1956, Elvis Presley’s hip-swiveling gyrations were cut off by the TV camera as too sexual for the Ed Sullivan Show, which was then a national institution. As late as 1967, the Ed Sullivan Show was trying to censor the song lyrics of major bands like the Doors and the Rolling Stones, who were imitating the sexual explicitness of rural and urban African-American blues. (The Stones capitulated to Sullivan, but the Doors fought back — and were never invited on his show again.) Middle-class college students in the 1960s, including women, began freely using four-letter words that had rarely been heard in polite company, except briefly during the flapper fad of the 1920s. In the early 1970s, women for the first time boldly entered theaters showing pornography and helped make huge hits out of X-rated films like Deep Throat, Behind the Green Door, and The Devil in Miss Jones.
In short, free speech and free expression, no matter how offensive or shocking, were at the heart of the 1960s cultural revolution. Free speech was a primary weapon of the Left against the moralism and conformism of the Right.
Camille Paglia, “The Modern Campus Has Declared War on Free Speech”, Heat Street, 2016-05-09.
December 25, 2017
Repost – “Fairytale of New York”
Time:
“Fairytale of New York,” The Pogues featuring Kirsty MacColl
This song came into being after Elvis Costello bet The Pogues’ lead singer Shane MacGowan that he couldn’t write a decent Christmas duet. The outcome: a call-and-response between a bickering couple that’s just as sweet as it is salty.
December 23, 2017
Repost – Kate Bush – Christmas Special 1979 (Private Remaster)
Published on 5 Oct 2013
I know there’s a good few copies of this out on YouTube, but here it is, again! The other copies were either split up into individual tracks, the best complete one (from BBC Four’s rebroadcast in 2009) had the wrong aspect ratio, which annoyed the hell out of me! So, here this is…
Video and audio have been tidied up very slightly, not much was needed!
Kate Bush – Christmas Special
Tracklist:
(Intro) 00:00
Violin 00:29
(Gymnopédie No.1 – composed by Erik Satie) 03:44
Symphony In Blue 04:44
Them Heavy People 08:20
(Intro for Peter Gabriel) 12:52
Here Comes The Flood (Peter Gabriel) 13:22
Ran Tan Waltz 17:02
December Will Be Magic Again 19:43
The Wedding List 23:35
Another Day (with Peter Gabriel) 28:05
Egypt 31:41
The Man With The Child In His Eyes 36:21
Don’t Push Your Foot On The Heartbreak 39:24“I was recently asked about this BBC TV special and I thought I’d share my comments here. Kate: Kate Bush Christmas Special is a stage performance by Kate Bush with her special guest Peter Gabriel. Though most of the songs are not holiday ones, they come from Bush’s first three albums (Never for Ever her third album would be released in 1980 after this 1979 TV special was taped). The performances include costumes, choreographed dances and a wind machine, creating an eclectic music TV special to say the least.
This is one of the programs that makes my research quite difficult — because it calls itself a Christmas Special yet it contains only one performance of a Christmas song “December Will Be Magic Again” (a song that wouldn’t be released as a single by Bush until the following year, in 1980). TV programming that calls itself a Christmas Special and yet contains little to no Christmas entertainment is actually quite common — especially on the BBC.
Between the end of November and the end of December each year, there is quite a bit of special programming on television. Remember Elvis’ 1968 Comeback Special — it aired in December that year and includes only one holiday song, a performance of “Blue Christmas.” Is it considered a Christmas special? No, not really. And so, despite its title, the lack of holiday programming in Kate Bush’s 1979 TV special means it shouldn’t be considered a Christmas special either. But the Kate Bush Christmas Special is certainly worth watching!”
H/T to Ghost of a Flea for the link.
