Snyder Than You

Why I am, who I think, maybe how I'm at, sometimes when, and possibly a vague what.
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Posts tagged "music"

Just listened to @waterdeep cover @philcollinsfeed’s “In the Air Tonight.” Easily the second weirdest cover I have ever heard, but good.

This is probably the fourth time I’ve heard “Talk Dirty to Me,” and I just want to be clear: It’s still stupid musically.

cracked:

unpops:

*reads tweet*

*puts pretend drumsticks down*

*kicks over pretend drumset*

*pulls off pretend hair metal wig*

*Stupidly wonders who the H Adam Tod Brown is and why I should give a crap what he thinks.

*Cranks it a little louder and keeps on bangin’.

inothernews:

theweekmagazine:

A new study asked an old question: Do orchestra conductors actually serve a purpose, or are they pure spectacle? 

To answer that question, the University of Maryland analyzed whether the conductor leads the orchestra or the orchestra leads the conductor. In this experiment, researcher Yiannis Aloimonos and his colleagues installed tiny infrared lights at the tip of a conductor’s baton as well as on the bows of violinists. While the orchestra played, infrared cameras captured every movement, which were then analyzed using mathematical techniques pioneered by Nobel-Prize winning economist Clive Granger. The scientists in this study theorized that if the movements of the conductor predicted the movements of the violinists, then the guy holding the baton was clearly in charge. 

So what happened? It turns out the purists were right all along — the movements of the violinists were indeed predicated on the movements of the conductor. 

Keep reading…

Man, I hate this question.  Look at it this way: HOW THE F*** ELSE ARE YOU GOING TO KEEP 50, 100 PEOPLE PLAYING INSTRUMENTS FROM STEPPING ALL OVER EACH OTHER.

ANSWER: IT’S THE CONDUCTOR, STUPID.

Well, the thought has crossed my mind, too. I mean, the conductor is definintely vital in rehearsals, but if you’re practicing constantly and with professional musicians who acknowledge and embrace their role in the overall orchestra and musical piece, I have wondered if they could do a concert performance wihtout a conductor at all and still pull it off.

That is a lot of ifs.

Maybe that should be the next experiment: no conductor at all at the concert. But then, who would start the piece?

This song is Copyrighted in U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin it without our permission, will be mighty good friends of ours, cause we don’t give a darn. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that’s all we wanted to do

Message on mimeographed copies of lyrics distributed by Woody Guthrie to fans in the 1930s (via oracionessucias)

Recording artists.  Undermining the RIAA for decades.  :-)

Love it.

(via inothernews)

lickystickypickywe:

The Simón Bolivar Youth Orchestra, made up of 200 smiling tousle-haired young Venezuelan players, with its equally smiling and energetic conductor has taken the world by storm.

What makes this orchestra special is that at a stroke, it banishes all the fears that haunt classical music. They transform this apparently elitist and difficult art into something popular, transcendent, democratic and socially cohesive, all at once. One reason is that none of these young players comes from a privileged background, in fact many of them hail from what is euphemistically called “the wrong side of the tracks”. What motivates them is the thought that, if they play well and work hard, they’ll be a member of a winning team. And when they look up at their now world-famous conductor, Gustavo Dudamel, they know that he is still “one of them”, and that’s why they play so well for him.

The same goes for the other 120 orchestras and choirs across Venezuela that constitute the El Sistema project, set up 34 years ago by Jose Abreu. Each orchestra is like a community, which feeds off and supports the larger community it lives in. The idea that the power of an orchestra lies in its sense of communal solidarity will be resisted by many in the West. Caught up in the romantic idea of art’s essential autonomy, they will insist that musical excellence is one thing, community spirit quite another.

Why was it, I asked, that when he conceived his plan to rescue street kids through music, he didn’t turn to the music of his own country?

Why did he think that European art music from a bygone era would appeal to kids in the mean barrios of Caracas and Maracaibo? He looked at me with complete bewilderment, and I realised that for him all the Western worries about distinctions between “high” and “low” art, popular and classical, middle or working-class were completely irrelevant. “Well,” he said, patiently, “music is music. Of course we play some folk music as well. But this music is so great. And it demands the best from the players, they have to rise to the challenge.”

Which is exactly what they do, magnificently. And when they perform the music, it becomes their own, as if it was their native tongue all along. That’s why the idea these kids could “save” classical music isn’t so implausible. They raise it up, by reminding us of the old Enlightenment dream – that underneath all our quarrels and differences, we are essentially one human kind, which a single music can speak to. At the same time, they bring it firmly down to earth. Classical music becomes something normal, everyday, no longer a problem to be fretted over. These young players remind me of those fairy-stories where a stranger comes to town and shows everyone that the giant that’s been terrorising them for years is really quite harmless; it’s only fear that made it seem scary.

(via lickystickypickyshe)

cornerstoneguide:

“The “DONATE NOW” campaign which has adorned all of our literature for 10 months has garnered about 10% of the goal we needed by last New Year’s to secure the fest’s future. We took that as a sign.” [x]

Let’s show another sign. DONATE TODAY.

cornerstoneguide:

From Cornerstone Festival, via email:

A SPECIAL ANNOUNCEMENT FROM CORNERSTONE FESTIVAL

May 15, 2012

Dear Cornerstone Festival Family:

We are so grateful to have been able to share with you the gift that has been Cornerstone Festival all these years. Our annual gathering in this truly…

Very sad to hear this. I only got to one full Cornerstone, but have followed JPUSA since 1990, when a colleague introduced me to their amazing magazine.

I am thankful that that one Cornerstone was 1998, with Over the Rhine and a tribute to Rich Mullins. My wife, 8-month-old son, and I made it (thanks in part to horrible directions by Mapquest, to the last two songs of Steve Taylor’s set in 2003. i still wish I would have had the opportunity to see The Canticle of the Plains performed. And 77s. And. And. And….

Maybe they’ll put out an anthology or a website full of videos and bootlegs from all these years of being the best “Christian” music festival on the planet. (I can hope, right?)

And this is how I find out they had a Tumblr? So sad.

thedailywhat:

Fun Fact of the Day: And by “fun” I mean STOP SOPA.
[@skulled / pleatedjeans.]

thedailywhat:

Fun Fact of the Day: And by “fun” I mean STOP SOPA.

[@skulledpleatedjeans.]

(via thedailywhat)

thedailywhat:

This Is All Kinds Of Wrong of the Day: Last year, as part of Operation In Our Sites — a joint initiative by the Department of Justice and Homeland Security’s office of Immigration and Customs Enforcement (ICE) to ostensibly seize the domains of websites hosting copyright infringing material — the popular hip hop music blog Dajaz1.com was taken offline for allegedly posting pirated music.
One small hitch though: The songs ICE claimed were illegally obtained were actually sent to Dajaz1 by the artists and labels that produced the tracks.
The site’s owner, a Queens man who goes by “Splash,” sent the New York Times proof that he was being repeatedly solicited by record label execs and third-party marketers who sought to have their clients’ music posted on the site. “It’s not my fault if someone at a record label is sending me the song,” he said.
Indeed, the government eventually backed down from its claim, and returned the domain to its rightful owner, but not before an entire year had passed, and the value of the site decreased dramatically.
Ross Feinstein, a spokesman for ICE, refused to elaborate on what took so long, beyond telling Ars Technica that “the government concluded that the appropriate and just result was to decline to pursue judicial forfeiture.”
Splash’s attorney, Andrew Bridges, recounted to Techdirt how the government was able to hold onto the site indefinitely by claiming it had received extensions on the window during which it is required to proceed with the forfeiture process or else return the domain.
When he asked to review the extensions he was told they were sealed and could not be released.
An RIAA rep doesn’t think much of what Splash was subjected to, as it still believes the site trafficked in pre-release copies not authorized for commercial distribution.
While Dajaz1 did on occasion make certain songs available for download which it was not explicitly authorized to post, it complied immediately with take-down requests, according to Bridges. Also, as Techdirt points out, the songs used by ICE in the affidavit which allowed it to seize the site in the first place were legally posted after being supplied to Splash by the labels themselves.
“[I]f the RIAA takes the position that none of this music came from music industry reps, by that I mean label reps or artist reps, then that has more to do with the RIAA awareness of what’s going on in its own industry,” said Bridges.
At the crux of this cautionary tale is the fact that ICE was allowed to seize the site’s domain without due process thanks to the PRO-IP Act of 2008.
Legislation to expand ICE’s authority to indefinitely detain domains it suspects of conducting criminal activity is currently making its way through both houses of Congress.
As the Dajaz1 case clearly illustrates, giving the government even more power to censor any site it pleases for as long as it pleases without any concern for Constitutional amendments being trampled in the process is probably, to say the least, not a very good idea.
[techdirt / ars.]

thedailywhat:

This Is All Kinds Of Wrong of the Day: Last year, as part of Operation In Our Sites — a joint initiative by the Department of Justice and Homeland Security’s office of Immigration and Customs Enforcement (ICE) to ostensibly seize the domains of websites hosting copyright infringing material — the popular hip hop music blog Dajaz1.com was taken offline for allegedly posting pirated music.

One small hitch though: The songs ICE claimed were illegally obtained were actually sent to Dajaz1 by the artists and labels that produced the tracks.

The site’s owner, a Queens man who goes by “Splash,” sent the New York Times proof that he was being repeatedly solicited by record label execs and third-party marketers who sought to have their clients’ music posted on the site. “It’s not my fault if someone at a record label is sending me the song,” he said.

Indeed, the government eventually backed down from its claim, and returned the domain to its rightful owner, but not before an entire year had passed, and the value of the site decreased dramatically.

Ross Feinstein, a spokesman for ICE, refused to elaborate on what took so long, beyond telling Ars Technica that “the government concluded that the appropriate and just result was to decline to pursue judicial forfeiture.”

Splash’s attorney, Andrew Bridges, recounted to Techdirt how the government was able to hold onto the site indefinitely by claiming it had received extensions on the window during which it is required to proceed with the forfeiture process or else return the domain.

When he asked to review the extensions he was told they were sealed and could not be released.

An RIAA rep doesn’t think much of what Splash was subjected to, as it still believes the site trafficked in pre-release copies not authorized for commercial distribution.

While Dajaz1 did on occasion make certain songs available for download which it was not explicitly authorized to post, it complied immediately with take-down requests, according to Bridges. Also, as Techdirt points out, the songs used by ICE in the affidavit which allowed it to seize the site in the first place were legally posted after being supplied to Splash by the labels themselves.

“[I]f the RIAA takes the position that none of this music came from music industry reps, by that I mean label reps or artist reps, then that has more to do with the RIAA awareness of what’s going on in its own industry,” said Bridges.

At the crux of this cautionary tale is the fact that ICE was allowed to seize the site’s domain without due process thanks to the PRO-IP Act of 2008.

Legislation to expand ICE’s authority to indefinitely detain domains it suspects of conducting criminal activity is currently making its way through both houses of Congress.

As the Dajaz1 case clearly illustrates, giving the government even more power to censor any site it pleases for as long as it pleases without any concern for Constitutional amendments being trampled in the process is probably, to say the least, not a very good idea.

[techdirt / ars.]