The National are having quite a year. The eight-year-old Brooklyn via Ohio group has overcome the familiar chorus of "the new LP is not as good as the last one" and rode it to a fair amount of success. That previous LP, 2005's Alligator (Beggars Banquet) was like an earthquake setting up the indie rock Tsunami known as Boxer (TMT Review). If Alligator is the Preamble, Boxer is the Constitution of the USfuk'nA. Awkward (a.k.a. my bread) metaphors (e.g. my butter) aside, to paraphrase the Zombies, this will be their year, took a long time to come. So, whether you think of the band's upcoming transcontinental tour (with openers including The Rosebuds, St. Vincent, and Hayden) as merely a doing-what-is-expected-of-them move or a victory lap, either way, the wave is coming to your town. You can either run for the hills or put on your bathing suit and enjoy.*
* Disclaimer: No matter what you, the reader, thinks, I am not making light of any Tsunami or water-related tragedies, even if HP turns them into another reason to buy their products.
“If You Really Love Me, You’ll Prove It To Me… With Your Body…”; UNKLE’s First Time (Touring As A Full Band)
There can be a lot of pressure to losing your virginity -- that is, to
have sexual intercourse tour with a live band for the first time. Having sex Touring with someone just because you want to lose your virginity, or because you think all your friends are doing it, is something you may later regret.
You might feel anxiety, especially the first time you
have sex embark on a full tour. You may feel embarrassed about how you look without your clothes on on stage or worried about your privacy being disturbed. It's natural to be worried, but good communication will help prevent you from feeling needlessly embarrassed. You should be able to talk to your partner band regarding your feelings about having sex touring for the first time and about any other concerns you may have. In fact, your partner band might be worried, too. Being relaxed and able to share things with your partner band will really ease the tension. And if you're too shy or unable to talk about these things with your partner band, then you probably shouldn't be having sex touring! Having sexual intercourse Touring as a band -- when a boy's hard penis goes inside a girl's vagina or even just touches the outside of her vagina when people play the instruments to make the sounds onstage instead of just pressing buttons -- can surely lead to pregnancy and disease fame and recognition. So enjoy, but be safe.
$ James Lavelle DJ set
I love writing for TMT. I feel the editors give me the freedom to say whatever I want, no matter my politics. I don't even hesitate for one second when I say that I fucking [love] President Bush, and I wish that he would just fucking fall and [live]! So, how do I know they won't censor me? Well, first of all, they probably agree that Bush is a big, steaming pile of [pixy stix!!], but also because there's this thing called TRUST. I trust who I work for, and in return, I will continue to support and show my dedication to all things TMT.
Musicians, too, have this freedom, but it's much more complex. Once the song is written, the freedom that the musician had during the songwriting process comes to a halt, as the label, distributors, retailers, etc. all have a say in the production and distribution of the music. And now that performances have become a viable commodity outside of venues, especially with telecasts, webcasts, and so on, it's inevitable that a new world of gatekeeping would rear its head.
Who knew that one of the more high-profile examples of head-rearing would expose itself alongside Pearl Jam. On Wednesday, Pearl Jam accused AT&T of censoring part of their webcasted Lollapalooza performance of "Daugther." The omitted sections, originally pointed out by fans, featured the following lyrics (to the tune of Pink Floyd's "Another Brick in the Wall"):
"George Bush, leave this world alone"
"George Bush find yourself another home"
Check out the YouTube video here.
AT&T doesn't deny the missing section of the performance, but it does blame the third-party "vendor" for the "mistake." Reportedly, AT&T regrets the omissions and is working to secure rights to post the entire song on its Blue Room site. But that's neither here not there at this point. No matter how you slice it, the lyrics in the end were censored, whether AT&T authorized it or not. Putting a video of the performance on the Blue Room site is nothing but public relations at this point.
"AT&T — not customers — owns customers' confidential info and can use it 'to protect its legitimate business interests, safeguard others, or respond to legal process.'"
AT&T can suck my big, fat, juicy [stop being so touchy, Mango -- you don't even listen to Pearl Jam, jeez].
Joy Division Reissues Due In September; Aged Music Writers Still Find Unknown Pleasures In Dusting Off Terrible References During Their Transmissions
Since Anton Corbijn is expecting to release a film about Ian Curtis in October, what better timing than to release shiny new editions of timeless post-punk classics? Unknown Pleasures (1979), Closer (1980), and Still (1981) will re-arrive to record stores on September 10 (UK) and September 11 (U.S.), each brandishing a cool bonus live disc. Hopefully each of these discs will showcase the group's better concerts, as Joy Division was rather notorious for being an unpredictable live act.
But enough blah-blah; here's a tracklisting for each of the forthcoming bonus discs. I won't bore you by typing out the songs from the albums, as you likely are already familiar. If you're not, then, well, you need to put down that damn Franz Ferdinand record and get listening to some Joy Division pretty soon, sweetheart.
Unknown Pleasures bonus disc (Live At Factory and The Moonlight Club):
1. Dead Souls
2. The Only Mistake
6. Shes Lost Control
10. Atrocity Exhibition
13. Novelty (mono)
14. Transmission (mono)
15. Love Will Tear Us Apart
Closer bonus disc (Live at ULU):
1. Dead Souls
3. A Means To An End
4. 24 Hours
8. These Days
9. Love Will Tear Us Apart
11. The Eternal
Still bonus disc (Live At High Wycombe):
2. The Eternal
3. Ice Age
5. The Sound Of Music
6. The Eternal
7. The Sound Of Music (soundcheck)
8. Means To An End
10. 24 Hours
12. Love Will Tear Us Apart
14. Atrocity Exhibition
A few weeks ago, we were talking about Radiohead for one reason or another, and I mentioned Thom Yorke. My friend's face looked completely puzzled. You mean, "Thom" Yorke, right? I told him, "No, it's pronounced just like ‘Tom.’ " His face looked horrified.
"I've been going to parties and various places my whole life saying ‘Th-om’ Yorke. Everyone must hate me," he said.
"Yes, everyone probably thinks you are a douche," I told him.
He was giving me those puppy-dog eyes, so I decided to refrain from being an asshole myself. I told him I'd let him in on the best and freshest Radiohead-related news I had. So, I says to him, I says:
You may know Jonny Greenwood (not to be confused with this guy), multi-instrumentalist and lead guitarist of Radiohead, but you may not know Jonny Greenwood The Composer. Greenwood will premiere his award-winning piece Popcorn Superhet Receiver (not to be confused with this song) in the U.S. early next year. The performance will be presented by the Wordless Music Orchestra and take place at the Church of St. Paul The Apostle in New York on January 16 and 17 of 2008.
Popcorn Superhet Receiver is a piece that was aptly inspired by radio static and dissonant chords of Polish composer Penderecki's Threnody for the Victims of Hiroshima. It won the Listener's Award at 2006's British Composer Awards. The Wordless Music series will continue with future presentations by Müm, Beirut, and Do Make Say Think.
My friend said that my "insider" news was pure shit, so he stabbed me in my testicles with a mechanical pencil.
Naming trends are incredibly fun in the music world. One has to wonder if we'll eventually run out of words in the English language to accompany the myriad of bands that are sure to keep forming until the very End of Time. I suppose we can continue borrowing from other languages (e.g. Telefon Tel Aviv, Xiu Xiu, Les Savy Fav, Gastr Del Sol, Le Tigre, etc.), but this undoubtedly brings up other problems such as registering domain names, and everyone knows about those goddamn cyber squatters and why the internet is running out of addresses. And then, probably most prevalent in our world, there's the problem with band names all using the same words, like "wolf."
I could list some "wolf" bands, but we're not talking about wolves today. We're talking about bears. As I mentioned in the headline, my favorite "bear" artist isn't Grizzly bear. No, my friend, it's Panda Bear. Besides, onclick="window.open('http://www.fragilityproductions.com/weblog/pandabear.htm','popup','width=360,height=341,scrollbars=no,resizable=no,toolbar=no,directories=no,location=no,menubar=no,status=no,left=0,top=0'); return false">he's much cuter than that Grizzly Bear dude (Dan Rosen), and his autograph is also a cute li'l panda! Aw. But alas, we're talking about Grizzly Bear and their tasty brand of rock that so many people have come to love. Here at TMT, we crowned their 2006 release, Yellow House, number seven on our favorite albums of 2006, and Filmore gave the album a solid four outta five in his review. With a TMT track record like that, how can you go wrong with Grizzly Bear? You can't -- you just can't.
Check out Grizzly Bear in these fine cities:
(As far as the naming of Grizzly Bear goes, I'd much rather have a more original name like Grizzly Poot, and as far as Panda Bear goes, I'd also prefer something like Panda Poot. I just think "poot" is a much better word than "bear." Besides pandapoot.com is totally available. So aspiring indie artists, name your band Panda Poot and you'll get to the top. I promise. You better hurry though; Yahoo is having a domain sale, and I just might squat on the domain until you can cough up enough cash and casual sex for me to give it to you. Think about it, kiddies.)
YouTube To Host Amateur Hip-Hop Contest, P. Diddy to Watch, To Be Inspired by the Passionate Hip-Hop Youth, To Get Back With J Lo and Stop Channeling Latent Sexual Frustration into New Seasons of Making the Band; or Shoezies are an Undisputed Favorite of Indie Culture
There are few things, reader, baby, sweetheart, that you and I get hot-pants over more than a good old-fashioned, itchy-spicy-good,
Well-Intentioned, Sure-to-Fail, Bad Idea.
Take Shoezies. A few years ago, someone at Hasbro thought kids would get a kick out of (literally) miniature shoes you could fit on your fingers and pretend to walk around with on coffee tables, and the like.
Shoezies were, in all honesty, just mini-shoes that little girls would put on their fingers, and pretend were shoes.
THIS IS NOT A JOKE. That was it. Mini-shoes, in mini-shoeboxes.
Without further ado, allow me to introduce a similarly smooth ‘n’ tasty little cultural Robo-trip, a most filthy, stagnant gulp from ye rusted goblet of The Way Things Are, in the same vein as my wicked-fav finger shoes.
YouTube plans to host a hip-hop-it-don’t-stop competition: You Tube “OnTheRise” Rap Edition, which will allow unsigned artists to upload videos and be judged by such jam-tastic greats (...) as 50 Cent, Common, and Polow da Don, who will select 20 finalists from the broz and (probably only there for novelty) hoz who choose to apply. YouTube members will vote August 29, and a winner will be announced September 7.
The contest is open for entry August 10 (today), and will close in, yes, seven days, which, is prolific as shit.
So, what’s the earth-shattering Shoezie-type dilemma of a well-intentioned competition that could shoot a worthy lad or lady to blingtastic stardom?
People like me may apply.
Okay, seriously, I would never apply, but I still smell a Shoezie-type dilemma in this cultural waste product. YouTube has proven itself a hotbed for potty-mouthed frat-boy humor, and I can only imagine how THIS SHITFEST will just... desecrate... everything Curtis Jackson’s dollar-splittin’ success stands for.
Like, sunshine, lollipops and rainbows.
Vitamin Water, and more importantly, providing appropriate background music for bad-ass 14 year olds in Lee Pipes sitting in their basement with friends (who are also in Lee Pipes), huffing paper bags colored with Hi-liter.
Hip-hop will be so dead, fellas.
Find your own tourdates.
With benefits? Fuck if I know. What I do know, and what the Wall Street Journal told me, is that a Silicon Valley company called BayTSP ("Solutions for Digital Rights Holders") has hired over 20 analysts to do some diggin' around on YouTube and other sites for $11/hr. What, for the Growing Pains music intro? Boob shots of the wife from Everybody Loves Raymond? Some other funny/weird video that relates to some shitcom? Maybe when no one's looking. But these "analysts" are supposed to be searching for infringing material on behalf of their clients (which may very well include cleavage from the wife on Everybody Loves Raymond, now that I think about it), that is, videos that are copyrighted and illegally posted on YouTube.
Most BayTSP client names are kept confidential for "contractual reasons," but Viacom is listed as one. Seeing as though most of the clients are TV and movie studios, it wouldn't be too hard to figure out the remaining four, but fuck the muppet; the point is, with the vast amount of content generated on YouTube, it takes a concerted effort to track down infringing material. And since Google's hyped filtering system isn't in effect yet (it is expected to be released this fall, but we've heard that before), I guess the copyright infringing videos for now are job creators! Way to go!
Word to the wise: If you posted a video on YouTube and get a take-down notice, you better hope BayTSP's 0.1% error percentage includes your upload.
Polka America Corporation Rolls Out the Barrels of Polka Pain on Sound Exchange And All The Polka Haters of the World; Polka Medleys Of The Chili Pepper’s “Give It Away” Echo Through Hill And Vale
I won’t bore you with the typical David-and-Goliath analogy uppity writers like to spurt anytime a nobody nobody’s ever heard of starts picking fights with an evil corporation doing evil corporation-type shit. No way. This is more of a modern-day Fraggle Rock. You see, the Fraggles and the Gorgs each use radishes in their own way (radishes, in this case, being the internet licensing of polka music). And while the Gorgs believe themselves to be King and Queen of the Universe, they are, in reality, living an un-enriched life of assholedom, in effect oppressing the cute, songster Fraggles. Cue Fraggle mischief which ruefully points out Gorg inaneness, plus a big pile of trash (physical manifestation of the internet?!?) teeming with wisdom. Everything is interconnected -- and I’m not even going to get into the Doozers.
Nay, not since Connecticut librarians stood up for our right to lend Chicken Soup for the Enterprising Jihadist’s Soul in anonymity has a more unlikely, and duly respectable, contingent sought to challenge the status quo. But it’s not necessarily all Good v. Evil, like the guys upstairs like to make it out to be (to bring it back to Fraggle Rock, those are the “Silly Creatures of Outer Space”).
In a Fraggle-like move, the Polka America Corporation is working to provide an easy alternative to SoundExchange’s licensing program for the polka community. PAC, who is registering interested artists on its website, plans to license the artists’ music to qualifying stations free of charge. By an agreement with SoundExchange, PAC can license music in its database to “Internet polka broadcasters,” which include the online streams of “internet websites broadcasting polka music, all non-commercial educational radio stations that broadcast polka music, and commercial radio stations that simulcast on the Internet who have more than fifty (50) percent station polka programming.” Those stations would then be exempt from having to pay SoundExchange the equivalent fees for PAC licensed music. Stations that play non-PAC registered polka music would still be subject to SoundExchange regulations, and artists that sign up for the internet radio free polka can work with SoundExchange to collect their royalties for commercial and satellite radio broadcasts.
Basically, Wired’s The Listening Post Blog contains some discussion/information on how easy/hard this is to do, which situations such an agreement would apply to, various ways one can opt out of SoundExchange’s program, etc. etc.
It’s all very confusing, I assure you.