It List: Wednesday
Cocky Americans/Beau Turkey/Keith P (The Cavern): Another Detour show, this time featuring the artwork of Beau Turkey, who takes issue with a perceived lack of pen and ink work in recent times on his Myspace page, and who also has some decent imagery overall. I would like to see some of this work up close. The participation of Keith P will probably ensure that a sizable crowd gets to do just that.
Tom Petty And The Heartbreakers/Steve Winwood (American Airlines Center): Tom Petty, though it seems counterintuitive, has some sort of weird street cred. He was involuntarily responsible for launching the career of The Strokes, since their big hit "Last Night" was pretty much an "American Girl" ripoff more than anything by VU or Television or whatever NME or Mojo said they were. Steve Albini has argued that the Heartbreakers are way more of a rock band than R.E.M. ever was, and even the 1919 Hemphill crowd seems to give him the "ok." He's a classic rock icon, even cheesy classic rock, and yet nobody ever really says anything bad about him. Kind of strange. I will say something bad about Steve Winwood, I saw some quote by him where he was talking about how talentless the first wave of 70's punk musicians were and he sounded like the most threatened, out-of-touch, hippie you've ever stomached in your life. Then he went on to make some of the most sappy Reagan Era sonic swill you've ever heard in your life. And no, I will not make an exception for "Valerie."
posted by Defensive Listening at 3:29 PM
62 Comments:
First!
I saw Tom Petty play with Stevie Nicks and the one thing about those guys is they are old.
So any more people want to have a hungry man style armchair discussion on the origin of music a.k.a. music deri or contra.
BOOSH---------------------------------Mega cock.
YES.
lets talk about the future of music. is music history cyclical? if so whats next? i know stonedranger has said that the underground now is a lot more experimental than it was in the early 90s. Will this continue? Will music keep getting more tweaked and experimented on. I guess what I want to know about the future of music is how its going to keep going down in the underground. That is to say that im not talking about that mainstream crap. But i know there is overlap. You get the point. Whats the future of music? Where are we headed... say in 10 to 15 yrs? Maybe more? Such an elementary question to you musica gurus i know but lets try. I wont get into the different theory models of music history yet alla (revolving door, cyclical (just said it), organic model, life and death-comatose model...etc etc.) but i guess i just did a lil bit. You get the point.
Keith P, hell yeah! And The Cocky Americans are pretty fuckin badass too. nice
Rick loves Tom Petty.
Keith P, hell yeah! And The Cocky Americans are pretty fuckin badass too. nice
Rick loves Tom Petty.
Tom Petty on WSJ.
What next? Bob Seger?
you do know that tom petty is eligible for social security, right?
and Steve Winwood is old enough to be Tom Petty's father.
Is this We Shot Jr, or a fucking Luby's at four in the afternoon?
sometimes i wonder why is it some people have no concept that there was music made before their mothers and fathers fucked to create them.
response to 4:02 abd 5:01
Listen, both Bob and Tom have had their moments in the sun. What needs to happen here folks is everyone needs to open their minds and hearts up a bit more.
I think what needs to happen, and will happen to music in the coming century is a growing and shared knowledge base which will in turn provide for a more well rounded and educated audience. I believe we've seen the downfall of the old model of music promotion. Companies controlling through various forms of mass communication the flow of information and packaging of sound. How many records have come out that companies sat on or shelved because they felt their was no audience, only later realize them to be major works of art and often harbingers of new styles and genres.
Like it or not, Globalization is happening. This term has significance in every aspect of our lives. Ignoring all the negative connotations this term implies, there is merit to multiculturalism.
I think arguing that music is cyclical is an easy answer and way out of the debate. Obviously music has cycles, in the sense that there is a constant ebb and flow with creativity, specifically in genres. We've seen it in rock and rap, and the derivations these genres have created. I believe true music aficionados are constantly scouring new music, whether that be newly released work by unknown, up-n-coming artists, or unearthing lost gems from the past, nationally or internationally.
Groups like MIA, Radiohead, Ninjatune, Boredoms, Gang Gang Dance, Manitoba, etc. have started this exploration of new sounds through experimentation, cross referencing influences from juxtaposing genres and cultures, creating a amalgamation of sound which can create new sound structures. Like blue and yellow make green, you wouldn't say that it's unoriginal because it came from yellow and blue. Combining sounds to arrive at something totally new and original is the natural order. Darwinism is alive and well in modern music. Evolution is inevitable.
I believe it's our resistance to change and our innate cynicism that curbs the progress and acceptance of new styles of music. John Cage and Karlheinz Stockhausen were unappreciated in their time, only to see more mainstream influence and success posthumously. The students of these teachers are taking this knowledge and expounding upon it, just like new artists are forging concepts that are most likely unnoticed and unappreciated.
However, the difference between 50 years ago and today is the rate in which change happens. I think the time it takes mainstream to catch on is directly related to how plugged in the populous is to technology and information sources. All ready satellite radio is exposing people to a larger range of artists and styles. The internet and social networking platforms, blogs, record resalers, ebay, etc. have a huge role to play in the dissemination of knowledge. In a utopian future, all information would be readily available, artists could find their audience without suffering in anonymity, and critics who actually know what they're talking about will be able to mediate this information exchange much more efficiently and effectively.
In summary, much is happening in the way we communicate with each other. The world of music is no different. I believe the responsibility musicians have with the relationship with their audiences is 50/50. Audiences need to allow a flexibility and open mindedness with their definition of "music" and allow artists to express themselves freely. Artists need to try and think outside of the box and abandon stereotypes as models for success.
I believe music essential to living. Wether that be singing the Koran, the sound of electrical current pulsing through a Gong which emanates tone, bluegrass, nowave, punk, noise, classic rock, country, sequenced sampled beats, a birds whistle, the sound of your heart beating, its all around us. It's experiential and available. It's a matter of us as individuals and as a community at large, plugging in with our eyes and ears wide open. The great thing about the future is enigmatic, unwritten nature. It's the journey getting there and the process of evolution that take place as we change that is so rewarding. Who cares what people forecast as the next best thing? We'll all know once we're there.
thanks for typing up that report, but there is no way im going to read all of that
Not everything i listen to has to be edgy, subversive, and hip. I'm open to a litte Tom Petty, though i'm not going to the show.
cliff notes.. k thanx
sheeeeeeeee-it. bring me a higher love sr and dl. wish i could see that stevie winwood show tonight. bummer
no tommyboy, that's what you need to justify your flaccid existence.
tom petty is cool , i was stage right of him during his last show at starplex. he seemed to flow with the air around him as he played.
Actually, its We Shot J.R., not We Shot Jr.
just sayin'
I thought a couple songs off of fix my brain were new badass rockin petty tunes once
look, everyone, he's trying to get our attention! awww!
No. Kyle GOT your attetion, shitface. :P
yeah, that shit is SO DEEP.
the sherrrrifffffff is an idiot.
Kyle, do you know what's really pathetic?
Living in the USA? No, that's not it.
Living in Dallas, TX? No, that's no it.
Living in Canada? No, that's not really pathetic.
Reading blogs? No. No big deal, we're all doing that.
Commenting on blogs. No again. We're all here.
How about...READING AND COMMENTING ON BLOGS ABOUT THE DALLAS-DENTON, TX MUSIC SCENE WHEN YOU LIVE IN CANADA AND TAUNTING PEOPLE THAT THEY LIVE IN THE US. YEAH, I THINK WE'RE ONTO SOMETHING. THAT'S TRULY PATHETIC.
no it should read NOT IT.
Tommy Boy might have just won most substantive comment of the year so far.
Great. Way to blow the conversation again! Is there someway to put a stop to this madness? This bullshit is going to kill this forum if you know who doesn't kill everyone first!
right on tommyboy and kyle
Great. Way to blow the conversation again! Is there someway to put a stop to this madness? This bullshit is going to kill this forum if you know who doesn't kill everyone first!
I've actually seen Kyle perform.
He's the Michael McDonald of Coppell.
After the show he blew me with great dexterity in an alley behind Chili's.
i feel ya, tommyboy... 'cept for one thing - you didn't address just how musicians are supposed to actually earn a living as musicians. radiohead gave their last album away. so did nine inch nails. these bands make money touring, but what are younger or less popular artists supposed to do?
the day job is inevitable.
cavern was awesome last night
Personally I think all bands should give their music away free digitally, as "marketing" for the live show. The live show should become the commodity. I'd expand on that, but i really need to get back to work.
"you didn't address just how musicians are supposed to actually earn a living as musicians."
exactly, they dont. they make music because they enjoy it, not because they want to make a living at it.
If prices were set to break even than cost is justified simply to provide a quality that stands up to repeat listening. The studio has advanced too far to be under utilized. So I say storm the studio.
The live show is where it's at if and only if it provides a unique one of a kind experience for the audience and/or the artists on stage. The role of idol should be downplayed. The role of expression should be praised. If the group makes a profit off their entertaining live show, fine. They earned it.
i just love old people. especially their musk.
kyle's music and dl's writing are actually both pretty shitty / trite.
10:07, why do you hate things that rule?
you suck!
1020, why do you have such awful taste?
I make my living by making and working with music. It's a hard living, but I get by. Music is still a valid career. If you wanna be rich it's not the best way to go unless you wanna sell out. There are plenty of indie and experimental musicians out there making a living by doing what they love.
11:54, I'm not a fan of those things per se, but I wouldn't call them trite. EXPLAIN
boring and meaningless
Oh, you prophet and seeker of meaning! What a tortured life you live in world that doesn't understand you!
Pussy.
"a world"
to 2:38:
not as much as your comment.
7:28 is patently retarded. ever heard of royalties, ass??? or whether or not the "general public" is of any appeal to an "artist" whatsoever..
Just finished transcribing a recent interview with Edgar Winter.
here ya go:
Me: Dude, you're really white
Him: I'm an albino.
Me: How old are you? Like 80 or some shit?
Him: 69. Who do you write for?
Me: The Wall Street Journal.
Him: Oh. Is Exxon/Mobil up today?
Me: Fuck if I know. I don't keep track of that shit.
Him: My brother Johnny owns stock in Halliburton.
Me: Yeah, well then he's a murderer by proxy.
Him: Are we ever gonna talk about my new album?
Me: What new album? You still make music?
Him: My publicist didn't send you a copy?
Me: She might have, but I probably traded it for crack.
Him: How much did you get for it?
Me: A five dollar rock.
Him: Got any left?
Me: Back the fuck up offa me, Brother Ali.
Him: I'm not a Muslim. I'm a Scientoligist.
Me: You're a freak.
Him: Ever hear "Frankenstein"?
Me: No, I saw it.
Him: I play a Mini Moog.
Me: You play a skin flute, bitch.
Him: Come on and take a free ride...
Me: To where?
Him: That's one of my songs.
Me: I don't care about that shit. Tell me about Tom Cruise. Is he gay?
Him: Oh yes. I met him on Interactive Male.
Me: What's that shit?
Him: The gay man's texting chat room.
Me: He likes old albino men?
Him: Yeah, Johnny and I had a three-way with him.
Me: That's a mental image I don't need to carry around with me. Do shut up.
Him: Can we please promote my new record?
Me: Why don't you just stand on a corner with a sign in your hand?
Him: I already tried that.
Me: Did it work?
Him: No.
Me: Well, that's because you're an albino who came to this planet on a UFO.
Him (sobbing): Can you please get me tickets to Queensryche tomorrow night?
There ya go. Buy his record and jerk off to it.
Not funny, nor entertaining.
yeah, stay on that tom petty shit.
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