Good morning, Daytona Beach

{ Kitty Pryde Makes Live NYC Debut | mp3 }

And we have, have we not, those priceless pages of Wilhelm Meister?


Real Rock Drummer for NON-pussy band (L.A.)
Date: 2012-05-25, 12:28AM PDT

I do NOT play to a click track or backing tracks and GO SCREW if you think I’m gonna “tone it down a little, bro” so you can piddle away on your stringed sissy box. I WILL NOT play hotel cafe and don’t take direction from ninnies who live in their fucking parents basement and whack off to dreams of hanging with Jack Johnson and rapping about his “process”, you piece of shit. I am a real mother fucker with balls of steel and have a drumset that loves to be ass fucked mercilessly from behind and I need to join a band who understands that stage-sex is part of the fucking game, dude. So when I’m fucking the shit outta the kit, you can’t be the guy in the corner beating your limp, taffy dick wishing that you could stick your dick in too, NO! You get that dick hard and fuck the stage with me, pussy boy. I’m so sick of stealing the show and would really love to meet some real sons of fucking bitches who aren’t afraid to use a sweat band for its intended purpose: wiping off fucking sweat, cum, groupies, pussy juice, blood, etc.

Do not write me for reasons of sass because I will FIND YOU and shred your fucking face with my SHIT-STORMING DRUM GODLINESS!

{ craigslist | via copyranter }

Musical porkers. Molly did laugh when he went out.


Music is one of the basic human needs for recreation and entertainment. As song files are digitalized now a days, and digital libraries are expanding continuously, which makes it difficult to recall a song. Thus need of a new classification system other than genre is very obvious and mood based classification system serves the purpose very well. In this paper we will present a well-defined architecture to classify songs into different mood-based categories, using audio content analysis, affective value of song lyrics to map a song onto a psychological-based emotion space and information from online sources. In audio content analysis we will use music features such as intensity, timbre and rhythm including their subfeatures to map music in a 2-Dimensional emotional space. In lyric based classification 1-Dimensional emotional space is used. Both the results are merged onto a 2-Dimensional emotional space, which will classify song into a particular mood category. Finally clusters of mood based song files are formed and arranged according to data acquired from various Internet sources.

{ arXiv | Continue reading }

artwork { Ruben Nusz }

We are unknown to ourselves, we men of knowledge


Over the past half-century, pop hits have become longer, slower and sadder, and they increasingly convey “mixed emotional cues,” according to a study just published in the journal Psychology of Aesthetics, Creativity and the Arts.

“As the lyrics of popular music became more self-focused and negative over time, the music itself became sadder-sounding and more emotionally ambiguous,” according to psychologist E. Glenn Schellenberg and sociologist Christian von Scheve.

Analyzing Top 40 hits from the mid-1960s through the first decade of the 2000s, they find an increasing percentage of pop songs are written using minor modes, which most listeners—including children—associate with gloom and despair. In what may or may not be a coincidence, they also found the percentage of female artists at the top of the charts rose steadily through the 1990s before retreating a bit in the 2000s.

{ Pacific Standard | Continue reading }

photo { Weegee }

‎’You know half of Brooklyn is recording albums on the Google Moog today.’ –Michael Nika

{ Robert Glasper, Smells Like Teen Spirit | Thank you Blacky II }

And let all the fly skimmies, feel the beat


{ MCA tribute at the airport | Chris Chapman }

Pull out your freakum dress


Most of the songs played on Top Forty radio are collaborations between producers like Stargate and “top line” writers like Ester Dean. The producers compose the chord progressions, program the beats, and arrange the “synths,” or computer-made instrumental sounds; the top-liners come up with primary melodies, lyrics, and the all-important hooks, the ear-friendly musical phrases that lock you into the song. “It’s not enough to have one hook anymore,” Jay Brown, the president of Roc Nation, and Dean’s manager, told me recently. “You’ve got to have a hook in the intro, a hook in the pre-chorus, a hook in the chorus, and a hook in the bridge.” The reason, he explained, is that “people on average give a song seven seconds on the radio before they change the channel, and you got to hook them.”

The top-liner is usually a singer, too, and often provides the vocal for the demo, a working draft of the song. If the song is for a particular artist, the top-liner may sing the demo in that artist’s style. Sometimes producers send out tracks to more than one top-line writer, which can cause problems. In 2009, both Beyoncé and Kelly Clarkson had hits (Beyoncé’s “Halo,” which charted in April, and Clarkson’s “Already Gone,” which charted in August) that were created from the same track, by Ryan Tedder.

{ The New Yorker | Continue reading }

illustration { Jordan Metcalf }

It was inexpensive, which meant that it had a firm lock on the mass market, and it was a condiment, not an ingredient, which meant that it could be applied at the discretion of the food eater, not the food preparer

‘Believing in progress does not mean believing that any progress has yet been made.’ –Kafka

The Moving Picture Experts Group (MPEG) is a working group of experts that was formed by ISO and IEC to set standards for audio and video compression and transmission.

It was established in 1988 by the initiative of Hiroshi Yasuda (Nippon Telegraph and Telephone) and Leonardo Chiariglione, who has been from the beginning the Chairman of the group. (…)

The MPEG compression methodology is considered asymmetric as the encoder is more complex than the decoder.

{ Wikipedia | Continue reading }

This is Lex Luthor. Only one thing alive with less than four legs can hear this frequency, Superman, and that’s you.


When you think about science fiction theme tunes, chances are there are a few that are especially stirring and heroic. Star Wars. 2001: A Space Odyssey. Star Trek: The Next Generation. Superman: The Movie. And all of these theme tunes have something in common: they rely on the same basic intervals.

We talked to music experts — including legendary composer Bear McCreary — to find out why so many famous theme tunes use the “perfect fifth” for their hook.

Most people will instantly recognize the first few notes in 2001: A Space Odyssey, which was originally known as “Also sprach Zarathustra” by Richard Strauss. It starts with a low C, and then goes up five notes to a G — that’s a perfect fifth right there. And then the next note is another C, up an octave from the first C.

But the Star Wars theme, by John Williams, relies on a similar progression. The first few sustained notes in Star Wars are a G, going up a perfect fifth to a D, and then a higher G. Williams also plays with a descending perfect fifth in the Superman: the Movie score. And his E.T.: The Extraterrestrial theme also starts with an ascending perfect fifth. (…)

“It has its basis in physics,” says McCreary. “It’s a physical reality.” There’s an actual physical phenomenon behind the perfect fifth, and the octave above that, called the “overtone series.” Here’s how it works, according to McCreary:

{ Wired | Continue reading }

‘The illusion which exalts us is dearer to us than ten thousand truths.’ –Pushkin


Very little research has investigated whether smells really do evoke vivid and emotional memories, more than other sensory cues. What follows is a new, rare attempt. (…)

“It could be argued that a necessary implication of the Proust phenomenon is that odors are more effective triggers of emotional memories than other-modality triggers,” the researchers said. “Under such strong assumptions the results reported here do not confirm the Proust phenomenon. Nonetheless, our findings do extend previous research by demonstrating that odor is a stronger trigger of detailed and arousing memories than music, which has often been held to provide equally powerful triggers as odors.”

{ BPS | Continue reading }

photo { Stephanie Gonot }

A black crack of noise in the street here, alack, bawled, back. Loud on left Thor thundered: in anger awful the hammerhurler.


I’ve long heard that the Port Authority is one of many public spaces across the country that uses classical music to help control vagrancy: to drive the homeless away. (…)

In 2001, police in West Palm Beach, Fla., blasted Mozart and Beethoven on a crime-ridden street corner and saw incidents dwindle dramatically. (…)

Some sources report that Barry Manilow is as effective as Mozart in driving away unwanted groups of teens.

{ Washington Post | Continue reading }

When you multiply independent, rare events together, you quickly reach situations with zero examples

{ Hello by Matthijs Vlot | thanks glenn }

Peel slowly and see


The Velvet Underground sued the Andy Warhol Foundation, accusing it of infringing the trademark for the banana design on the cover of the rock group’s first album in 1967.

The band’s founders, Lou Reed and John Cale, said that the foundation infringed the design by licensing it to third parties, according to the complaint filed yesterday in federal court in Manhattan.

The band, which was active from about 1965 to 1972, formed an artistic collaboration with Warhol, who designed the banana illustration for “The Velvet Underground and Nico,” which critics have labeled one of the most influential rock recordings of all time, according to the complaint.

The Warhol Foundation claimed it has a copyright interest in the design, according to the lawsuit. The Velvet Underground partnership said in the complaint that the design can’t be copyrighted because the banana image Warhol furnished for the illustration came from an advertisement and was in the public domain.

Warhol’s copyrighted works have a market value of $120 million and the foundation has earned more than $2.5 million a year licensing rights to those works, according to the complaint.

The Velvet Underground is seeking a judicial declaration that the foundation has no copyright to the banana design, an injunction barring the use of any merchandise using the artwork and monetary damages. The group is requesting a jury trial.

{ Bloomberg | Courthouse News Service }

We were but Elvis then, wee, wee

{ Chris Cunningham, Rubber Johnny, 2005 }



Carissa Kowalski Dougherty explores how album covers moved from the purely functional to graphic works of art that conveyed the tone, mood, and feel of the lyric-less jazz music contained within. Dougherty also investigates how race is designated on the covers, an item, she says, that is inextricably linked to the music itself.

During the postwar period, African-American artists and musicians were confronting the same issues in their respective fields: how to retain their identity as black Americans while being recognized as skilled artists regardless of race; how to convey their own personal experiences; how to overcome discrimination; how to succeed in their field, and how to express pride in their African heritage—all without the aid of words.

{ MIT/Design Issue | Link to PDF }

Storm leaves more than 3 million without power

Jackie is a bookie, and Judy’s taking loans, they both came up to New York just to see the Ramones


How listening to an iPod shrinks your sense of personal space

Positive music played over headphones (but not speakers) had the effect of shrinking the participants’ sense of personal space, so that the approaching experimenter could walk closer to them before they (the participant) felt uncomfortable. On the other hand, negative music played over speakers (but not headphones) expanded the participants’ personal space, so they felt uncomfortable when the approaching experimenter was further away. These effects were most pronounced in the participants who afterwards reported that they’d been affected emotionally by the music to a greater degree.

{ BPS | Continue reading }

Have a little more of this rather disappointing brandy


If you want to know why the Beastie Boys album Paul’s Boutique includes a sample from the White Album, while no subsequent piece of music has ever legally included a sample from the Beatles, the answer is copyright law. When sampling was new, the recording industry didn’t realize it could make money off samples, and they weren’t covered by copyright. Then the age of hip-hop mega-sellers arrived, and the holders of rights to pop classics discovered they could make more money on the remix than the original track ever pulled down.

The results of this licensing orgy are that it’s now almost impossible for a DJ or producer to license a sample for a reasonable amount of money. The odds of getting every artist sampled to OK the use of their work, and the resulting fees, preclude music like this from ever being sold; that’s why artists like Girl Talk simply give it away.

Legitmix, a track licensing platform, is here to cut the Gordian Knot of making tracks available to other musicians while getting artists paid for the use of their music. Its core innovation is the replacement of the old process — lawyers, contracts, permissions — with a straightforward API.

{ Mims’s Bits | Continue reading }

related { The key ingredient for a hit pop song? Reproductive messages. }

‘I just follow my characters around and write what they say.’ –Faulkner


Pitchfork: You co-directed your video for “Vanessa” from the Darkbloom EP. What was the inspiration for it?

G: That was a real K-pop-influenced video. The budget was $60, which all went to alcohol. We literally planned it the night before. I just got a bunch of my friends to drink a lot and was like, “We’re going to do dance moves.” We did it in a couple of hours. I almost didn’t care what it looked like; I just wanted it to look like everyone’s having a good time. I also wanted it to be kind of creepy, too, hence the backward stuff. I want to make a video for every track on Visions, and right now I’m starting one on 35mm for “Oblivion”. It’s going to be sick. All my brother’s friends play varsity sports and are buff, so we’re going to have them spritzed in oil, working out with strobe lights in it.

{ Pitchfork | Interview with Claire Boucher, the 23-year-old singer and producer from Montreal who goes by Grimes | Continue reading | Thanks Colleen }

illustration { Claire Boucher }