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The end times must be nigh: Sony, the company that wouldn't even admit MP3 existed, now makes an iPod docking station.
Any explanation that includes YouTube clips of the Marx Brothers and Maria Callas is jake by me.
The Good, The Bad & The Queen
EMI/Parlophone
EMI/Parlophone
I was intrigued when I read about Damon Albarn's latest project, The Good, The Bad & The Queen. The Blur frontman would be joined by the Clash's Paul Simonon on bass, the Verve's Simon Tong on guitar, and Afrobeat pioneer Tony Allen. Oh, and the whole thing would be produced by Danger Mouse. I could already feel the bumping, staggering, shaking rhythms. I could taste the sadness, the drunkenness, the weirdness. I could hear the bubbly reverb, the foggy chants, the electronic wind, the faraway whistles, the playful piano…
When people ask me if I miss it, I'm quick to make a face. My left eye might scrunch up tight, while the right shoots out like a feathered arrow, raising its brow like an exclamation mark. My nose and lips tighten, become wrinkled. Everything about this face expresses some sort of pain, maybe even disgust. Like I've been slapped, like I've just downed a mouthful of sour milk. Do I miss it? Are you out of your mind? What is there to miss: Late nights?; Heavy gear?; Bad crowds?; No crowd?
"Nah, I don't miss it."
Then why is it that, when I listen to our old songs, chills…
If molecular interactions are electrical, doesn't it follow that dynamic electromagnetic field interactions are caused by electromagnetic resonance rather than through random collisions?
Dr. Mae-Wan Ho thinks so.
You've undoubtedly read Steve Jobs' "Thoughts on Music" by now, but what does it mean? I've been sorting through interpretations and responses (such as the Macnn.com interview with Torgeir Waterhouse of the Norwegian Consumer Council), but I think Thomas Hawk at Seeking Alpha comes closest to deciphering it correctly.
Paul Griffiths reviews two new books about Bach. I'll probably read both, but it's his writing I find delightful.
"A note sounds. Then it sounds again. But everything has changed. Not only is the note colored by a different resonance the second time around, but featureless time has been marked with the beginnings of a grid. The one note at the start defined only a before and an after. The second discloses a pulse. In accordance with this pulse, a third sound appears, but up a step, encouraging the accompaniment—which has not drawn attention to itself so far—to move conversely down.
…
Turning 6lbs of brass and 600 parts into a tenor saxophone at the Yamaha factory.