“The so-called ‘psychotically depressed’ person who tries to kill herself doesn’t do so out of quote ‘hopelessness’ or any abstract conviction that life’s assets and debits do not square. And surely not because death seems suddenly appealing. The person in whom Its invisible agony reaches a certain unendurable level will kill herself the same way a trapped person will eventually jump from the window of a burning high-rise.
Make no mistake about people who leap from burning windows. Their terror of falling from a great height is still just as great as it would be for you or me standing speculatively at the same window just checking out the view; i.e. the fear of falling remains a constant. The variable here is the other terror, the fire’s flames: when the flames get close enough, falling to death becomes the slightly less terrible of two terrors. It’s not desiring the fall; it’s terror of the flames. And yet nobody down on the sidewalk, looking up and yelling ‘Don’t!’ and ‘Hang on!’, can understand the jump. Not really. You’d have to have personally been trapped and felt flames to really understand a terror way beyond falling.”
Today Sonos released the findings of a worldwide study that shows the transformative power of listening to music out loud at home. The Music Makes it HomeStudy found that listening to music out loud leads to stronger relationships, more intimacy, happier families and more quality time spent together. According to the study, people who listen to music out loud at home the most spend an additional three hours and 13 minutes per week together with their household members than those who listen out loud the least.
“For years, Sonos owners have been telling us amazing stories about how music has transformed their houses into homes,” saidJohn MacFarlane, Sonos Chief Executive Officer. “The challenge has been to capture the transformation in science. Now we have an innovative approach to understanding the benefits of music in the home.”
The Music Makes it Home Study was a two-part endeavor designed to better understand if playing music throughout a home can change the way we connect. In the first phase, Sonos asked 30,000 people across eight countries about music and their relationships at home. The second phase was a unique experiment that tracked what happens when people play music out loud in their homes.
“The truth is people may be sharing a home, but they aren’t sharing much else. Music may be able to change that by bringing everyone back together,” said Dr. Daniel J. Levitin, neuroscientist, musician and author of the international bestselling book This is Your Brain on Music. “This study takes an important step forward in showing how listening to music out loud can enhance relationships at home.”
The findings of include:
Musical homes have more romance. People who say they listen to music out loud together the most have 67 percent more sex,and almost a quarter of people would give up sex before music according to survey data.
Our study shows that listening to music out loud can lead to more happiness. After music was introduced in the home, 43 percent of participants reported feeling extremely loved, an 87 percent increase from before there was music at home.
Boring things can become more fun. In our survey, 83 percent believe doing chores is easier when listening to music.
50 percent of respondents enjoy cooking more while listening to music. This was underlined in the experiment, where we could see an increase in the time spent together in the kitchen by 20 percent.
Participant homes in the experiment ranged from roommates and married couples to multi-generational families, as well as couples living together for the first time. Using iPhones, Apple Watches, iBeacons and motion-activated cameras, a variety of data was collected, including daily video journals that provided insight into how music transformed the homes.
The “Music Makes it Home” Study was a global study compromised of a 30,000 respondent digital survey using a representative sample from panels provided by Survey Sampling International. The survey was conducted between December 29, 2015 and January 8, 2016 in the United States, Canada, Australia, United Kingdom, Netherlands, Sweden, Germany and France. The in-home study was conducted in 30 homes across the same markets that were pre-screened and selected based on baseline criteria that they lived with at least one other person, had access to high-speed Internet at home and did not previously own Sonos. Participants were asked to live one week without music and one week with Sonos and streaming music between January 13, 2016 and January 29, 2016. Data was collected via Apple Watches, iPhones, iBeacon and motion-activated cameras. More information on the design and methodology of the in-home study is available at www.musicmakesithome.com.
To coincide with the release on DVD of Alejandro Jodorowsky’s first film in 22 years, The Dance Of Reality, Uncut thought of us when they posted the full transcript of the interview they conducted with the filmmaker for their issue.
Are you pleased that the soundtrack for The Holy Mountain is finally coming out?
Yes. I had problems with the producer [Allen Klein] for thirty years. Later, with his son, we make peace and I remastered the picture, and the public can see it now. But the music in the picture is not the complete music we composed. On the record, you have all the music not in the picture. So I am very happy.
What was the problem with Allen Klein?
We have a little…. He wanted me to make a picture, so I escaped, I didn’t want to do it. Evidently, he hated me. And then we fought.
How did you first meet John Lennon?
[Hendrix producer] Alan Douglas had a little company. They had El Topo because no one wanted to buy it. He was a friend of John Lennon and Yoko Ono and said to them, ‘See the picture? If you like the picture, show your public the picture.’ And they did. Then they recommended Allen Klein buy El Topo, and he did it.
Wasn’t George Harrison meant to be in The Holy Mountain?
He was staying in the Plaza Hotel [in New York], in a big suite. He was dressed all in white. Very, very spiritual. He said, ‘I like the script, I want to do the picture. But there is one little part I cannot do.’ I said, ‘What little part?’ He said, ‘In a swimming pool, with a hippopotamus, I must clean my asshole in front of the camera. I don’t want to do that.’ I said to him, ‘I am very happy that you like my picture. But this moment is very important for the picture and you are the biggest star and if you show your anus it will be the most fantastic illustration of how humble your ego is.’ And then he said, ‘No, I can’t do it.’ So I said, ‘Well, I can’t work with you.’ I lost millions of dollars! I lost another picture!
That would be my beloved Minnesota Vikings, who come on to the field to Immigrant Song by Led Zeppelin. That’s often the best part of the game, with the first line “I come from the land of the ice and snow”, which describes Minnesota, and the line about “Valhalla, I am coming”. They have a viking on a Harley come out and then they chase behind it – it’s actually pretty impressive. I wouldn’t call the soundsystem shit hot, but it gets pretty loud. It’s a supercharged part of the game – and the fans have been drinking for five hours by that point. They introduced it some time in the 90s – before then, they used to have this chintzy “Go Vikings! Let’s win the game”, 50s or 60s rock ’em sock ’em kind of thing that wasn’t nearly as impressive or contemporary. Admittedly, Immigrant Song is 45 years old, but for the crowd of 40-something white people, that’s contemporary. A song that would be great as an entrance would be Paranoid by Black Saabbath, at least in tone if not in content. I always think that’s the ultimate in driving guitar songs. There’s a song by Jawbreaker, the 90s emo punks, that they always used to play first. Before the record actually came out, we thought it was a theme song because the chorus went: “Are you out there? Do you hear me?” It sounded as though it would be great for a sports team. But actually it’s called Do You Hate Me and its about a girl.
“You know, life not all guessing games, frog. Sometimes we have to care about friends — especially friends who love cookies. Friends who love cookies so much they play silly guessing games.” — Cookie Monster, getting it right.
Bill Murray’s past decade brings fresh challenges for his co-actors, directors, and heck, even Bill Myurray. Whether it’s showing up at people’s parties unexpected, or taking someone’s french fries at McDonald’s, make no mistake, Bill is waiting for the rest of us to catch up, as he’s got this life thing all figured out.
“I live a little bit on the seat of my pants, I try to be alert and available … for life to happen to me. We’re in this life, and if you’re not available, the sort of ordinary time goes past and you didn’t live it. But if you’re available, life gets huge. You’re really living it.”Via
“There’s a wonderful sense of well-being that begins to circulate . . . up and down your spine. And you feel something that makes you almost want to smile. So what’s it like to be me? Ask yourself, ‘What’s it like to be me?’ The only way we’ll ever know what it’s like to be you is if you work your best at being you as often as you can, and keep reminding yourself that’s where home is. Via
“If you have someone that you think is The One, don’t just sort of think in your ordinary mind, ‘OK, let’s pick a date. Let’s plan this and make a party and get married.’ Take that person and travel around the world. Buy a plane ticket for the two of you to travel all around the world, and go to places that are hard to go to and hard to get out of. And if, when you come back to JFK … you’re still in love with that person, get married at the airport.” Via
“There’s only a couple times when fame is ever helpful. Sometimes you can get into a restaurant where the kitchen is just closing. Sometimes you can avoid a traffic violation. But the only time it really matters is in the emergency room with your kids. That’s when you want to be noticed, because it’s very easy to get forgotten in an ER. It’s the only time when I would ever say, ‘Thank God. Thank God.’ There’s no other time.” Via
“It’s hard to be an artist. It’s hard to be anything. It’s hard to be.” Via
Without any doubt, every day I learn something new. And I hope it keeps coming my way. I never went to school for any of it, I’m self taught. But when I was a kid I got to work with Rick James in my mom’s basement. I didn’t have to come up with any tuition money. For Rick he came in by himself, and in 20 minutes there was a fully flourishing piece of music coming out of the speakers and I was practically in tears. Oh my goodness, I could not believe this was happening. I was in the presence of a Beethoven.
I was talented, I knew what I was doing, but I had never before been exposed to anyone like Rick. He came in, and I recorded him some demos – mindblowing. I realized that I needed to go somewhere where the bass was good, so I went to New Orleans. I got to work with the Neville Brothers and George Porter from the Meters. Leo Nocentelli, perhaps the funkiest guitar player out of America. To be in that place, to hear the parade bands, where so much music had come from – that was amazing. The music of the North was so stiff. The music of the South had funk.
One thing, besides stories, that Keith Richards is known for is his use of a five-string guitar and “open G” tuning, which gives every Rolling Stones song that signature sound. He was asked to explain his relationship with the five-string, and in true Richards fashion, he replied like this: “ah, the five string guitar: it’s five strings, three notes, two hands and one asshole.” This was followed, of course, by that same laugh, but also a lengthier description of how he came to play it.
Actually, it’s a very old fashioned tuning, it actually comes from banjo, I believe, although it has a kind of murky history. … Some people would even call it Spanish tuning, other “open G.” I got fascinated with it because it wasn’t your classico (at this, he makes the impression of stiffly holding a classic guitar). In a way, you were given another instrument to play and figure out. And especially when you electrified it, you start to get these drone notes going that you can’t get from a regular guitar. And so I decided, what I found, was this sorta interesting, especially for a rhythm guitar, incredible bed for music, especially for blues and rhythm & blues and rock n’ roll, to lean on. So I just experimented. At the time, I suppose, I thought I was not going to get any better on the six string. I thought well, take one string off and then reinvent things. That will help me, and it did, for what I wanted to do. It’s a rather unique tuning and I don’t recommend it for everybody.
It doesn’t matter if you can’t draw, paint, sing, record, write, run, jump, skate, swim, dive, ride, or dance. Just do it. You never know when that talent will triumph after so many years of being hidden.
Being a folk singer is being a musicologist. I came up in the coffeehouses, I had the Harry Smith anthology [Anthology of American Folk Music] on vinyl, and I had access to the whole set at the coffeehouse, you could go listen to it. Just like you could at Izzy Young’s Folklore Center in New York City — he kept a copy, and every folkie in the Village in the late ‘50s and early ‘60s knew that anthology, chapter and verse. There is no rock ‘n roll as an art form as we know it without that anthology.
Rock ‘n roll becomes an art form at the moment when Bob Dylan wants to be John Lennon and John Lennon wants to be Bob Dylan. It’s the lyrics that elevated rock ‘n roll to an art form. Rock ‘n roll ends up being a loud form of pop music and staying that way if it hadn’t been for the lyrics being bumped up a level with Bob.
Whenever I sang Beatles and Rolling Stones songs, I thought I was singing them with an English accent, I thought I sounded English when I sang ‘em. But I didn’t, I sounded like I sound. And, by the same token, those [British] guys thought they were doing a very authentic thing, but they were English and they had elements of English folk music in the way they played. The people that took it anywhere were the ones that didn’t try to put themselves in a box. They got some things that we didn’t get.
I don’t think Jimi Hendrix would have been able to get a record deal in the U.S., I don’t think anybody would have gotten it. Rock ‘n’ roll was still segregated and becoming more segregated by the second when Jimi Hendrix comes along, and Jimi Hendrix changes everything. But it took an English bass player turned manager [Chas Chandler] hearing him in Greenwich Village and taking him back to London to record for that to happen. All that stuff’s healthy, it’s all cross-pollination.