Quotulatiousness

September 26, 2013

Charles Mingus

Filed under: History, Media, USA — Tags: , , — Nicholas @ 09:09

In The Nation, Adam Shatz looks back at the turbulent and creative career of Jazz giant Charles Mingus:

Mingus rarely left his pieces alone when he took them on the road with his Jazz Workshop, as he began calling his bands in the mid-1950s. When the Workshop played “Fables of Faubus,” a dart of sarcasm aimed at Arkansas’s segregationist governor Orval Faubus, at the Concertgebouw in Amsterdam, the jaunty eight-minute tune swelled into a half-hour suite, punctuated by tart allusions to “When Johnny Comes Marching Home” and “God Bless America” and a bass clarinet solo of blistering intensity by Eric Dolphy. (The performance is one of five concerts included in The Jazz Workshop Concerts 1964–65, a seven-disc boxed set on Mosaic Records.) In the studio, Mingus was always splicing, dicing and overdubbing, enriching the texture of his music, increasing its density. He tinkered with titles, giving old pieces new and sometimes cryptic names: the tender portrait of a woman he loved, “Nouroog,” reappeared after their breakup as “I X Love”; “Better Get It in Your Soul,” a foot-stomping gospel tune that’s still played on jukeboxes, became “Better Get Hit in Yo’ Soul,” a message to junkies that they’d be better off with a boost from the Lord than one from the needle.

Mingus was always true to his ever-changing moods: he wanted to create music that, in his words, was “as varied as my feelings are, or the world is.” For sheer range of expression, his work has few equals in postwar American music: furious and tender, joyous and melancholy, grave and mischievous, ecstatic and introspective. It moves from the rapture of the church to the euphoria of the ballroom, from accusation to seduction, from a whisper to a growl, often by way of startling jump cuts and sudden changes in tempo. Vocal metaphors are irresistible when discussing Mingus. As Whitney Balliett remarked, music for him was “another way of talking.”

Though he wrote only a few songs with lyrics, his compositions — and his own bass playing, which revealed new dimensions of the instrument and helped liberate it from its traditional time-keeping role — were supremely vocal. He collaborated with poets in East Village coffeehouses and never hesitated to call out to his sidemen when the spirit caught him, as if he was leading a gospel choir. Each instrument in a Mingus tune evoked the voice, invariably in conversation with other voices; and each voice was an extension of his famously tempestuous personality. (“We don’t need a vocalist,” he told the trombonist Britt Woodman. “This band can have an argument with instruments.”) Philip Larkin was astonished by “how every Mingus band sounds like a great rabble of players, like some trick of Shakespearian production.” No matter how small the ensemble, he could create a sense of passionate, often combative dialogue: as one of his sidemen put it, Mingus “liked the sound of a struggle.” If his Workshop settled into a groove, he would suddenly change the time signature: he didn’t want anyone to get too comfortable. Struggle — against complacency, against the confinements of race and genre, against the record industry and the American government — inspired him; he depended on it to create. Though he dreamed of finding refuge on some “colorless island,” it wasn’t clear how he’d spend his time there. He needed something to fight against; his anger, in Geoff Dyer’s words, was “a form of energy, part of the fire sweeping through him.”

September 22, 2013

The Station to Station train

Filed under: Railways, USA — Tags: , — Nicholas @ 11:50

Wired‘s Douglas Wolk looks at the Station to Station train tour:

Adam Auxier is Station to Station’s train producer – an energetic, affable guy who just happens to know pretty much everything there is to know about trains and their history. He put together the assortment of gorgeous old train cars that make up the vehicle for Doug Aitken’s coast-to-coast art-and-music tour (and helped Aitken to select the stations where it’s stopping), and he’s been overseeing the train and telling fascinating tales about its provenance and its route.

The cars on the Station to Station train were built between 1916 and 1953; Auxier arranged for them to be chartered from private owners who maintain them as a labor of love and rent them out to offset the cost of keeping them railworthy. (He has contact with all of them through his tour company, Altiplano Rail.) “A car like this seems wonderful,” Auxier says, pointing up at the skylights of the double-decker “Superdome” that serves as the train’s dining car and kitchen, “but it’s 65 years old. Imagine taking a 65-year-old car at 90 miles an hour across Missouri!”

The train’s individual cars all have stories of their own, all of which are at Auxier’s fingertips. “The Mojave, which is the Levi’s car, actually ran on this route, between Chicago and L.A.,” he says. “The Santa Fe Railway was a big promoter of the Southwest as a place for tourism – they did up the interiors of their cars with beautiful Southwestern art and carpet patterns. The lounge car up at the front was built for the president of the Norfolk & Western railroad in 1916, and it’s basically the private jet of its era. It was a mobile office, so an executive of that time would put it on a scheduled passenger train and take along a chef – he’d have a bedroom, an office and a kitchen for himself. It allowed him to go to any point on the railroad and conduct business.”

September 20, 2013

Not “lovingly crafted”, but made with craftsmanship

Filed under: Business, China, Randomness, Woodworking — Tags: — Nicholas @ 00:01

Sippican Cottage posted this the other day, and I have to admit I was vastly impressed with the skills of these workers:

That workshop has nothing that I don’t understand going on it it. It’s a very safe place to work, although the State of California would tell you that every single thing in it is known to give you cancer. But they say that about a glass of tapwater. The finish that the woman’s applying is shellac, which you can eat after is dries, and the glue pot is filled with hide glue, which is just horses that came in last, and most of the tools make wood shavings, not sawdust, and the sanding is done by hand, so the sawdust isn’t copious or particularly dangerous. No one in the video is missing a digit, or has any visible scars from working with their hands all day. They all have fans pointed at them, but that’s no doubt because it’s too warm for comfort wherever they are. That place is not full of toxic fumes. You’d pay money to smell the smells in there. Shellac and hide glue and wood shavings smell wonderful. I hear laughter in there, and people smile when a camera is pointed at them. It’s a sheepish smile I understand. They are not used to people being interested in their mundane life. No one is wearing safety glasses or ear protection, and no one needs them, either.

No one is LOVINGLY CRAFTING anything in the video, although the violins they make will be sold for huge money in Europe, and the customers will be told that their violins were… LOVINGLY CRAFTED. But then again, no one I’ve seen in five thousand LOVINGLY CRAFTED videos have one-tenth the hand skills I see demonstrated by everyone in the video. It’s important work to them, so they do it to the best of their ability. People that do things over and over get really good at them. I wish them all well — and hope on my best day, I’m as good as they are on their worst.

September 18, 2013

QotD: 80’s pop music

Filed under: Media, Quotations — Tags: , — Nicholas @ 09:27

Before Auto-Tune, if you wanted to make money in pop music, you sort of had to be able to sing. It wasn’t absolutely necessary, of course. You used to be able to mumble into a microphone, then the producer would put all sorts of sturm und drang all around it, and you could have a hit; see: Don’t You Want Me Baby, by Human League. But crooners have an easier time of it, and have less trouble having more than one bite of the top forty apple.

Crowded House was one of those eighties bands — A Flock of Seagulls; ABC, The Bangles; Thompson Twins; Duran Duran; Escape Club; The Fixx; Simple Minds; Simply Red; Howard Jones; XTC; Dan Hartman; Icehouse; Level 42; Psychedelic Furs; Hair Cut 100; Tears for Fears; Wang Chung; World Party — bands that are growing interchangeable with the decades slipping by. If you put them all on the same bill, and they all wore matching suits, they could all play each other’s tunes and not many people would notice. But you always notice when people sing well.

Sippican Cottage, “Pure Pop For Then People — Crowded House”, Sippican Cottage, 2013-09-17

July 21, 2013

Lessons in “Rockonomics”

Filed under: Economics, Media — Tags: , — Nicholas @ 00:01

Tim Harford has a few interesting economic examples to look at from the world of music:

Lesson two is about globalisation. A new article in The Economic Journal from Fernando Ferreira and Joel Waldfogel asks whether in a world of MTV and YouTube, national musical cultures are being crushed by American imports. Ferreira and Waldfogel have assembled more than a million data points covering chart hits in 22 countries, in some cases going back to 1960. In practice this covers pretty much the entire global music market, and the data are used to estimate the value of music sales.

At first glance, worries about the cultural dominance of the US seem justified: US artists are responsible for 60 per cent of world music sales. But US artists were responsible for 80 per cent of world music sales in the early 1960s before dramatically losing market share to the British. (We are now, alas, in sharp decline.)

In the early 1980s, less than 50 per cent of music sales were by domestic artists — that is, French artists selling in France, or Brazilian artists selling in Brazil. By 2007 that figure was around two-thirds. Domestically produced music is having a renaissance — proof that globalisation has more complex effects than we tend to assume.

July 18, 2013

QotD: It does, however, answer the question “can an orgy be tedious?”

Filed under: Humour, Media, Quotations — Tags: , , — Nicholas @ 00:01

We open to an orgy in a god’s sex cave.

No. Really.

Tannhauser, a bard in the Germanic middle ages, is the boy-toy of Venus, eternal goddess of hot sex that you thought would be totally worth all her baggage but in the long run isn’t. Remember the wisdom of the bros: even if he or she is literally an unearthly gorgeous sex god, somewhere there is someone who is sick of putting up with his or her bullshit.

Tannhauser and Venus are shacked up at Venus’ place, which with typical German lyricism is called “Venusburg.” Tannhauser and Venus are lounging in bed. They’re watching a dance/orgy/cage match among Naiads, Sirens, the Three Graces, fauns, satyrs, nymphs, Baccchantes, and cupids. No, really. I could quote the libretto I just linked, but even the description of this is abusively long. Wagner could have just said “enter the entire Monster Manual, which humps.”

That’s the ballet. There’s no dialogue, and it’s not Wagner’s best music, though it’s not terrible. It does, however, answer the question “can an orgy be tedious?”

Ken White, “Popehat Goes To The Opera: Tannhauser”, Popehat, 2013-07-17

June 15, 2013

Prog rock fans, unite!

Filed under: Books, Britain, Media — Tags: , , , , — Nicholas @ 09:01

In Maclean’s, Stephen Skratt talks about a new book on prog rock:

Let the hating begin. ELP are often cited as the reason punk had to happen. After the Beatles and before the Sex Pistols, they, along with Genesis, Yes, King Crimson and Pink Floyd, sold millions of records, topped critics’ polls and ushered in a golden era of prog rock. There were capes, songs about supernatural anaesthetists, a trilogy of albums about a “radio gnome,” and King Arthur on ice — literally, with skating pantomime horses (courtesy of a Rick Wakeman show). Prog virtuosos fused rock, classical, folk, jazz and Renaissance music, and took little from blues. The music couldn’t get more white — or more unfashionable. Twenty-minute songs performed by earnest young men trying to sound like an orchestra, hopping from one instrument to another, or playing several at once: this was large-scale, ambitious music meant to accompany grand lyrics and stage spectacles. Gone was sex, drugs and rock ’n’ roll, replaced by Kubrickian space-outs, Eastern philosophy and walls of synthesizers — or guitars trying to sound like synthesizers.

[. . .]

Now the music is crawling out from under its toadstool in Yes Is The Answer, edited by Tyson Cornell and Marc Weingarten. Cornell, founder of L.A.-based Rare Bird Books and a musician himself, admits the idea of having respectable writers challenge the accepted gospel about prog was far-fetched. “When Marc and I started doing this,” he says, “everybody we talked about it with was just laughing at us. But then people started to tell their stories, and it just unfolded.”

[. . .]

The book — a tribute to what Weingarten identifies in the introduction as “prog rock’s grandeur, its mushy mysticism, its blissed-out mystery” — is a high point in a renaissance that’s been building: a reverential 2009 BBC documentary (Prog Britannia), a magazine (Classic Prog), and a growing number of festivals, including Prog Angeles, organized by Cornell and featuring members of Weezer and others. Tastemaking online music journal Pitchfork drops the P-word on an almost weekly basis in describing some impossibly cool band’s music, from metal monsters Mastodon to French electronic duo Justice — an admission, finally, that someone was listening. And there is the full-on revival of the band responsible for a concept album about hemispheres of the brain: Rush. As Nirvana’s Dave Grohl said in his speech inducting Rush into the Rock and Roll Hall of Fame, “There’s one mystery that eclipses them all: when the f–k did Rush become cool?”

For all this, it’s unlikely prog will get the reappraisal its supporters feel it’s due. The biggest strike against the genre has long been that it’s bloated, corporate, the antithesis of punk — even though in spirit prog may not have been all that far off from punk. They shared a broad political ideology. Henry Cow and the other bands make up “rock in opposition,” a popular subgenre of prog, which, aside from influencing avant-garde jazz musicians over the years, make the Clash look like weekend protesters. King Crimson’s 21st Century Schizoid Man opens with the snarl of, “Nothing he’s got he really needs.” Prog explored dystopian worlds of environmental apocalypse and corporate greed, occasionally with more subtlety and whimsy than punk. And prog rockers were as committed to their outlandish musical vision as punk was to its three chords; far from all being pampered middle-class kids, they too struggled for an audience and money during their formative years. The average punk band just imploded within a few years of forming — they never stuck around long enough to be derided as “dinosaurs.”

June 14, 2013

Reason.tv – Tap It: The NSA Slow Jam

Filed under: Government, Humour, Liberty, Technology, USA — Tags: , , , , — Nicholas @ 11:07

May 29, 2013

Lessons learned in the post-Napster era

Filed under: Business, Law, Media — Tags: , , , — Nicholas @ 16:25

At TechDirt, Mike Masnick discusses the things we learned from Napster:

Last fall, law professor Michael Carrier came out with a really wonderful paper, called Copyright and Innovation: The Untold Story. He interviewed dozens of people involved in the internet world and the music world, to look at what the impact was of the legal case against Napster, leading to the shutdown of the original service (the name and a few related assets were later sold off to another company). The stories (again, coming from a variety of different perspectives) helps fill in a key part of the story that many of us have heard, but which has never really been written about: what an astounding chill that episode cast over the innovation space when it came to music. Entrepreneurs and investors realized that they, too, were likely to get sued, and focused their efforts elsewhere. The record labels, on the other hand, got the wrong idea, and became totally convinced that a legal strategy was the way to stem the tide of innovation.

The Wisconsin Law Review, which published Carrier’s paper, asked a few people to write responses to Carrier’s paper, and they recently published the different responses, including one from a lawyer at the RIAA, one from another law professor… and one from me. This post will be about my paper — and I’ll talk about the other papers in a later post. My piece is entitled When You Let Incumbents Veto Innovation, You Get Less Innovation. It builds on Carrier’s piece, to note that the stories he heard fit quite well with a number of other stories that we’ve seen over the past fifteen years, and the way in which the industry has repeatedly fought innovation via lawsuits.

You can read the whole paper at the link above (or, if you prefer there’s a pdf version). I talk about the nature of innovation — and how it involves an awful lot of trial and error to get it right. The more trials, the faster what works becomes clear, and the faster improvement you get. But the industry’s early success against Napster made that nearly impossible, and massively slowed down innovation in the sector. Yes, a few players kept trying, but it developed much more slowly than other internet-related industries. And you can see why directly in the Carrier paper, where entrepreneurs point out that it’s just not worth doing something in the music space, because if you want to actually do what the technology enables, the kinds of things that are cool and useful and which consumers would really like… you’ll get sued.

May 26, 2013

Putting the Gibson Guitar raids into context

Filed under: Bureaucracy, Law, Politics, USA — Tags: , , , , — Nicholas @ 11:06

Remember back in 2011 when the US government raided Gibson Guitars for alleged violations of Indian law? (Posts here, here, here, here, and here.) Now that we’re learning much more about the IRS witch hunt for Tea Party organizations, Investor’s Business Daily points out that the Gibson raids now make sense:

Grossly underreported at the time was the fact that Gibson’s chief executive, Henry Juszkiewicz, contributed to Republican politicians. Recent donations have included $2,000 to Rep. Marsha Blackburn, R-Tenn., and $1,500 to Sen. Lamar Alexander, R-Tenn.

By contrast, Chris Martin IV, the Martin & Co. CEO, is a long-time Democratic supporter, with $35,400 in contributions to Democratic candidates and the Democratic National Committee over the past couple of election cycles.

“We feel that Gibson was inappropriately targeted,” Juszkiewicz said at the time, adding the matter “could have been addressed with a simple contact (from) a caring human being representing the government. Instead, the government used violent and hostile means.”

That includes what Gibson described as “two hostile raids on its factories by agents carrying weapons and attired in SWAT gear where employees were forced out of the premises, production was shut down, goods were seized as contraband and threats were made that would have forced the business to close.”

Gibson, fearing a bankrupting legal battle, settled and agreed to pay a $300,000 penalty to the U.S. Government. It also agreed to make a “community service payment” of $50,000 to the National Fish and Wildlife Foundation — to be used on research projects or tree-conservation activities.

Update, 31 January 2014: Gibson releases a new guitar to celebrate the end of the case.

Great Gibson electric guitars have long been a means of fighting the establishment, so when the powers that be confiscated stocks of tonewoods from the Gibson factory in Nashville — only to return them once there was a resolution and the investigation ended — it was an event worth celebrating. Introducing the Government Series II Les Paul, a striking new guitar from Gibson USA for 2014 that suitably marks this infamous time in Gibson’s history.

From its solid mahogany body with modern weight relief for enhance resonance and playing comfort, to its carved maple top, the Government Series II Les Paul follows the tradition of the great Les Paul Standards—but also makes a superb statement with its unique appointments. A distinctive vintage-gloss Government Tan finish, complemented by black-chrome hardware and black plastics and trim, is topped by a pickguard that’s hot-stamped in gold with the Government Series graphic—a bald eagle hoisting a Gibson guitar neck. Each Government Series II Les Paul also includes a genuine piece of Gibson USA history in its solid rosewood fingerboard, which is made from wood returned to Gibson by the US government after the resolution.

[…]

The Government Series II Les Paul is crafted in the image of the original Les Paul Standard, with a carved maple top and solid mahogany back with modern weight relief for improved playing comfort and enhanced resonance. The glued-in mahogany neck features a comfortably rounded late-’50s profile, while the unbound fingerboard — with a Corian™ nut, 22 frets and traditional trapezoid inlays just like the very first Gibson Les Pauls — is made from solid rosewood returned to Gibson by the US government. And, the guitar looks superb with its unique Government Tan finish in vintage-gloss nitrocellulose lacquer.

May 21, 2013

Ray Manzarek, RIP

Filed under: Media — Tags: , , — Nicholas @ 09:34

Musician Ray Manzarek, co-founder of The Doors is dead at 74:

Ray Manzarek, who as the keyboardist and a songwriter for the Doors helped shape one of the indelible bands of the psychedelic era, died on Monday at a clinic in Rosenheim, Germany. He was 74.

The cause was bile duct cancer, according to his manager, Tom Vitorino. Mr. Manzarek lived in Napa, Calif.

Mr. Manzarek founded the Doors in 1965 with the singer and lyricist Jim Morrison, whom he would describe decades later as “the personification of the Dionysian impulse each of us has inside.” They would go on to recruit the drummer John Densmore and the guitarist Robby Krieger.

Mr. Manzarek played a crucial role in creating music that was hugely popular and widely imitated, selling tens of millions of albums. It was a lean, transparent sound that could be swinging, haunted, meditative, suspenseful or circuslike. The Doors’ songs were generally credited to the entire group. Long after the death of Mr. Morrison in 1971, the music of the Doors remained synonymous with the darker, more primal impulses unleashed by psychedelia. In his 1998 autobiography, “Light My Fire,” Mr. Manzarek wrote: “We knew what the people wanted: the same thing the Doors wanted. Freedom.”

May 13, 2013

Space Oddity … performed in space

Filed under: Cancon, Media, Space — Tags: , , — Nicholas @ 07:59

International Space Station Commander, Chris Hadfield, performs a revised version of David Bowie’s Space Oddity. Seen in this video is the Larrivée Parlor guitar that has found it’s home on the ISS for the last decade. Chris has used this Parlor, the first guitar in space, to write and record the first musical recordings in space. Here at Larrivée we refer to Chris as “The Space Cowboy”.

Below is the original description as posted by Chris himself on his YouTube channel… enjoy.

Published on May 12, 2013

A revised version of David Bowie’s Space Oddity, recorded by Commander Chris Hadfield on board the International Space Station.

With thanks to Emm Gryner, Joe Corcoran, Andrew Tidby and Evan Hadfield for all their hard work.

Update:

April 24, 2013

Copyright terms are almost certainly too long already

Filed under: Books, Business, Economics, Law, Media — Tags: , , , — Nicholas @ 11:59

At Techdirt, Mike Masnick makes the case for reducing the swollen length of time current copyrights are protected:

We’ve pointed a few times in the past to a chart from William Patry’s book, looking at how frequently copyright was renewed at the 28 year mark back when copyright (a) required registration and (b) required a “renewal” at 28 years to keep it another 28 years. The data is somewhat amazing:

Copyright renewal rates 1958-59

As you can see, very few works are renewed after 28 years. Only movies, at 74% are over the 50% mark. Only 35% of music and only 7% of books tells quite a story. It makes it quite clear that even the copyright holders see almost no value in their copyrights after a short period of time. It appears that the Bureau of Economic Analysis is coming to the same conclusion from a different angle. As Matthew Yglesias notes, as part of its effort to recalibrate how it calculates GDP, the BEA is considering money spent on the creation of content an “investment” in a capital good, which needs to be depreciated over the time period in which it is valuable. Frankly, I’m not convinced this is the smartest way to account for money spent on the creation of content, but either way, the BEA’s analysis provides some insight into the standard “economic life” of various pieces of content, which match up with the chart above in many ways.

April 19, 2013

“Recklessly normal” band inducted into Rock and Roll Hall of Fame

Filed under: Cancon, Media — Tags: , , — Nicholas @ 00:01

Jessica Allen on Rush:

The first time Maclean’s wrote about Rush was in our July 12, 1976, issue. Back then, Geddy Lee was 22 and the band’s music sent “teen-age fans into paroxysms of ecstasy.” But offstage, the three members were described as “recklessly normal.”

Not much has changed.

Rush’s fans are, well, unique. It was their ardour, after all, that persuaded the Rock and Roll Hall of Fame to include Rush among its 2013 inductees. Tonight, Dave Grohl and Taylor Hawkins of the Foo Fighters will present Rush at the Hall of Fame ceremony in Los Angeles 10:30 p.m.

[. . .]

In 1997, Rush was the first rock band to be appointed officers of the Order of Canada since the national honor system, which recognizes “significant achievement in important fields of human endeavor” was created in 1967.

When asked about why it took so long for the band that produced 19 records in a row to reach gold or platinum certification in Canada to be inducted into the Hall of Fame, joining the ranks of bands like Abba, Aerosmith, The Talking Heads and Madonna, Lee suggested that it might have to do with the style of music they play: “Progressive rock is not accepted by this group of people who make this decision. Yes are not in the Hall. That’s an error. Deep Purple are not in the Hall. That’s an error. Moody Blues are not in the Hall. So prog-rock is viewed as a kind of lesser art form by the powers that be.”

April 16, 2013

Andy Baio: Copyright is the new Prohibition

Filed under: Business, Law, Media, Technology — Tags: , , , , — Nicholas @ 13:58

Techdirt‘s Mike Masnick explains:

Andy Baio has an absolutely fantastic video presentation that he did recently for Creative Mornings/Portland on what he’s calling The New Prohibition. It’s half an hour long, but absolutely worth watching.

[. . .]

This video lets him talk a bit about the aftermath — to explain the true chilling effects of the threat and the eventual settlement. Baio is a creator. It’s in his blood. It’s what he’s always done, but after this he was afraid to create. Being threatened with a lawsuit, even if you believe you’re right, is a scary and possibly life-altering moment. Lots of people who have not been in those shoes think it’s nothing and that they could handle it. You don’t know.

As he notes in the talk, copyright law is probably the most violated law in the US after speeding and jaywalking (and I’m not even sure copyright infringement is really in third place in that list). But getting rung up for one of those gives you a “bad day” situation, not a ruined life. Copyright, on the other hand, can ruin your life. And chill your speech and creativity.

And this is the worst part: so many people, especially kids, are at risk. Baio also famously highlighted the prevalence of the phrase “no copyright intended” on YouTube. Tons of kids uploading videos use clips of music and videos with a phrase like that. Or with statements about fair use. Or with copyright law quotes. All, as he notes, to try to find that magic voodoo that wards off a possible lawsuit. Most of those people aren’t being sued.

But they could be.

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