After a stand-up appearance at Vanderbilt University in 1973, Steve Martin appeared on campus radio, taking phone calls and playing music for 45 minutes. At the end of his stand-up gig that night, Martin lead the audience to the all-night Krystal and ordered 300 hamburgers. He then changed the order to a large fry.
A solid 5 minutes of a 21-year-old Dave Letterman and his broadcast from April Fool’s Day 1969 on WAGO-AM, the closed-circuit radio station he helped to found at his future alma mater, Ball State University. Note the woman he calls on the phone in this segment – that’s Michelle Cook, the very first Mrs. Letterman.
Via Open Culture
Veteran digital-music executive Ted Cohen moderated the “Listener’s Choice” panel at RAIN Summit West on Sunday in Las Vegas. His mission was to tease insights from music-service executives about how they differentiate, attract listeners, and navigate business realities of a crowded market. (Full audio below.)
“Everybody’s got 25-million songs. How do you make it interesting? How do you stand out? How do you get people to tune in?” –Ted Cohen
Sitting in the panelist chairs were Anthony Bay (CEO, Rdio), Darryl Ballantyne, (CEO, LyricFind), Thierry Ascarez (VP, Radionomy), Mike Novak (CEO, K-LOVE), David Porter (CEO, 8tracks), and Peter Berg Steffenson (CEO, Moodagent).
The collaborative album from ambient icon Brian Eno and Underworld member Karl Hyde is due May 6, 2014 through Warp Records, and I can’t wait for it. The first single, ‘Daddy’s Car,’ can be streamed here. This is the second song to be heard from this new collaboration and follows album opener ‘The Satellites.’
‘Someday World’ is an album born from years of experimental beginnings, and polyrhythmic musical textures re-contextualised and brought together in one month-long session in late 2013. In contrast to the midi-horns-driven krautrock of ‘The Satellites,’ ‘Daddy’s Car,’ betrays the duo’s love of Steve Reich and cyclical Afrobeat, maintaining the strong sense of melody and structure through Hyde’s lead vocal.
“FIRST MIX OF 2014 AND IT FEELS GOOD TO BE BACK. THIS IS WHAT MY BRAIN FEELS LIKE AND IT’S WEIRD. LISTEN TO THIS ON HEADPHONES WHEN YOU’RE ZOOTED ON A GREYHOUND BUS HEADING HOME THINKING ABOUT HER PERFECT FACE.” — Ryan Hemsworth
COOL DJ INTRO (Sarah Bonito)
DIRGE – mssingno glitch
Tomggg – harusaki
Smany – Sherbet (Madegg Remix)
lontalius – yr heart is beating
abhi//dijon – Twelve
Son Lux – Rebuild (Baths Remix)
KPP – Slowmoooooo
Rook Milo – Kawaii Kingdom
karate chop hwaaaaaAAAA
Tennyson – Aphasia Rewinding (just a lil snippet)
Virtuoso The God – THAZMYSHYT (this is a Goldlink instrumental)
Gundam – TOCA ME BOOTLEG
goodbye sky harbour <33333
Tennyson – No Answer
Silkersoft – Wasserlevel
JIGGLYPUFFFF INTERLUDE ＼(=^‥^)/’`
Basenji – Dawn
Raph Lauren – Home
Murlo – Bowed
Politru – final found
DZA – Sakura
Ryan Hemsworth – Weird Life (Druid Cloak Remix)
Tayutafu – Afternoon Tea ppa3
no rest 4 the wikked
Nomak – Chrystaline
Y E Λ R S – 初音ミク
Houdinne – Damn
Ricky Eat Acid – Big man’s last trip outside
Ryan Hemsworth – OG BOBBY HEMSWORTH
the WORST taste in music
Dawn Golden – I Won’t Bend
Brendan Johnson – Da Art Of Storytellin (Bootleg)
some dramatic piano song i made for a documentary that never came out
Ricky Eat Acid – White Roses
unreleased Tink verse
team rockit – hymn (anima)
Evian Christ – Waterfall
Jonah Baseball – Louisville Slugger
Lido – I Finally Came To Love You (demo)
Nothing is Real (Ticklish Edit)
DOSS – Here Tonight
Jessy Lanza – Move Closer
Head Over Feet (Schwarz Trap Bootleg)
A. G. Cook – Money On A Gold Plate
Kero Kero Bonito – My Party (bo-en Remix) (i added stuff to it without asking lolz)
P. MORRIS – Air Over Kansas
Tree – Probably Nu It (with intro from dat Beck song)
Branchez – Told Me
Tokyo Hands – what u said before…
Blank Banshee – Cyber Slums
ex girl collection
Gridline – Shortlife Dreamline
Shlohmo – No More (outro so pretty omg)
Wet – No Lie (acapella so pretty omg)
DJ Paypal – Sonnade
Spooky Black – without u (acapella so pretty wow)
move that dewp
P. MORRIS – Submission (Devil Mix) (i added stuff without asking hehe)
Ryan Hemsworth – First & Last Kiss (with Maurice)
Charles Spearin – Mrs. Morris
“Everlong” is the second single released from Foo Fighters’ second album The Colour and the Shape, released in 1997. “Everlong” was written against the background of the break-up of Dave Grohl’s first marriage to photographer Jennifer Youngblood. Having returned home to Virginia for Christmas 1996, Grohl turned the initial riff into a complete song and wrote the lyrics after falling for a new woman, “That song’s about a girl that I’d fallen in love with and it was basically about being connected to someone so much, that not only do you love them physically and spiritually, but when you sing along with them you harmonize perfectly.”
Dave Grohl’s Isolated Vocals
Pat Smear’s and Dave Grohl’s Isolated Guitar
Dave Grohl’s Isolated Drums
“Getting Better” appeared on the Beatles 1967 masterpiece album Sgt. Pepper’s Lonely Hearts Club Band. Written primarily by Paul McCartney but credited to Lennon-McCartney, the song’s title and music suggest optimism, but some of the song’s lyrics have a more negative tone. In this sense, it reflects the contrasting personas of the two songwriters. In response to McCartney’s line, “It’s getting better all the time”, Lennon replies, “Can’t get no worse!” Referring to the lyric “I used to be cruel to my woman/I beat her and kept her apart from the things that she loved/Man I was mean but I’m changing my scene/And I’m doing the best that I can”, Lennon admitted that he had done things in relationships in the past that he was not proud of.
According to Hunter Davies, the initial idea for the song’s title came from a phrase often spoken by Jimmie Nicol, the group’s stand-in drummer for the Australian leg of a 1964 tour.
The first single and music video from Tool’s third full-length album, Lateralus, “Schism” won the Grammy Award for Best Metal Performance for the song. “Schism” is renowned for its use of uncommon time signatures and the frequency of its meter changes – in one analysis of the song, the song alters meter 47 times. According to Wiki, the song begins with two bars of 5/4, followed by one bar of 4/4, followed by bars of alternating 5/8 and 7/8, until the first interlude, which consists of alternating bars of 6/8 and 7/8.
The following verse exhibits a similar pattern to the first, alternating bars of 5/8 and 7/8. The next section is bars of 6/4 followed by one bar of 11/8. This takes the song back into alternating 5/8 and 7/8. Another 6/8 and 7/8 section follows, and after this the song goes into repeating 7/8 bars.
The middle section is subsequently introduced, consisting of three bars of 6/8, one bar of 3/8, and one bar of 3/4 repeating several times. At one point it interrupts with two bars of 6/8 followed by a bar of 4/8, twice. A bar of 5/8 is played before the meter switches back to 6/8 for two bars and 2/4 for one bar. This repeats, setting up another section: two bars of 9/8 followed by a bar of 10/8, that pattern again, and then a single bar of 9/8 followed by alternating bars of 6/8 and 7/8. The outro has alternating bars of 5/8 and 7/8, ending with alternating 6/8, 2/8 that one could interpret as pulsing with a 4/4 feel.
So, take that.
Rob Hoffmann, a sound engineer who worked with Jackson, describes Michael Jackson’s process in writing “Beat It”:
“One morning Michael came in with a new song he had written overnight. We called in a guitar player, and Michael sang every note of every chord to him. ‘Here’s the first chord first note, second note, third note. Here’s the second chord first note, second note, third note,’ etc., etc. We then witnessed him giving the most heartfelt and profound vocal performance, live in the control room through an SM57.
He would sing us an entire string arrangement, every part. Steve Porcaro once told me he witnessed Michael doing that with the string section in the room. Had it all in his head, harmony and everything. Not just little eight bar loop ideas. he would actually sing the entire arrangement into a micro-cassette recorder complete with stops and fills.”
I’ve done more than my share of university and college speaking gigs – you go in, tell your life and work story, answer a few questions, and have a good time, really. But my talks are never like this, sadly. For the first half-hour of Lenny Bruce’s speaking engagement at UCLA, he treats it almost like a stand-up routine, but then answers a question about his drug use, and he tells the story of smoking DMT and jumping out of a hotel window.
Just another day in life classes, then.
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