#A Tribute to the Music & Works of Brian Eno | Explore Tumblr Posts and Blogs

redcarpetview · 5 months

Text

Recording Academy® To Honor Music Industry Icons With 2024 Special Merit Awards During Grammy® Week

The Recording Academy®’s Special Merit Awards Ceremony celebrating the 2024 Lifetime Achievement Award, Trustees Award, Technical GRAMMY® Award, and Best Song For Social Change Award recipients will return during GRAMMY® Week on Feb. 3, at the Wilshire Ebell Theatre. The Clark Sisters, Laurie Anderson, Gladys Knight, N.W.A, Donna Summer, and Tammy Wynette are the 2024 Recording Academy Lifetime Achievement Award honorees; Peter Asher, DJ Kool Herc and Joel Katz are the Trustees Award recipients; Tom Kobayashi and Tom Scott are the Technical GRAMMY Award honorees; and “Refugee,” written by K’naan, Steve McEwan, and Gerald Eaton (a.k.a. Jarvis Church), is being honored with the Best Song For Social Change Award.

“The Academy is honored to pay tribute to this year’s Special Merit Award recipients — a remarkable group of creators and industry professionals whose impact resonates with generations worldwide,” said Harvey Mason jr., CEO of the Recording Academy. “Their contributions to music span genres, backgrounds and crafts, reflecting the rich diversity that fuels our creative community. We look forward to honoring these music industry trailblazers next month as part of our week-long celebration leading up to Music’s Biggest Night®.”

Lifetime Achievement Award Honorees: This Special Merit Award is presented by vote of the Recording Academy’s National Trustees to performers* who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording. See past recipients here (*through 1972, recipients included non-performers).

The Clark Sisters – an American gospel vocal group initially consisting of five sisters – Jacky, Denise, Elbernita, Dorinda, and Karen – have been taking the world by storm since the early 1980s. Credited for helping to bring gospel music to the mainstream, the Clark Sisters are considered pioneers of contemporary gospel. Their biggest crossover hits include: “Is My Living in Vain?,” “Hallelujah,” “He Gave Me Nothing to Lose,” “Endow Me,” their hit song “Jesus Is A Love Song,” “Pure Gold,” “Miracle,” and their largest, mainstream crossover gold-certified, “You Brought The Sunshine.” The Clark Sisters (Jacky, Elbernita, Dorinda, and Karen) have won three GRAMMYs (two awarded to the group, and one to Karen as a songwriter for “Blessed and Highly Favored”), and with 16 albums to their credit and millions in sales, they are the highest-selling female gospel group in history.

Laurie Anderson is a writer, director, composer, visual artist, musician, and vocalist who has created groundbreaking works that span the worlds of art, theater, experimental music, and technology. As a performer and musician, she has collaborated with many people including Brian Eno, Jean-Michel Jarre, William S. Burroughs, Peter Gabriel, Robert Wilson, Christian McBride, and Philip Glass. In 2002, Anderson was appointed the first artist-in-residence of NASA which culminated in her 2004 touring solo performance, The End of the Moon. She has been nominated for six GRAMMY Awards® throughout her recording career and received a GRAMMY® for the release Landfall in collaboration with the Kronos Quartet at the 61st GRAMMYs®.

Gladys Knight is a seven-time GRAMMY® Award winner who has enjoyed No. 1 hits in pop, gospel, R&B, and adult contemporary, and has triumphed in film, television and live performance. Knight has recorded more than 38 albums over the years including four solo albums. She appeared on ABC’s 14th season of “Dancing With The Stars” in 2012, and in 2019, she competed on the inaugural season of “The Masked Singer.” Knight has sung the National Anthem at several major sporting events, including at Super Bowl LIII in Atlanta in 2019, and at the 2021 NBA All-Star Game. She was a National Endowment for the Arts 2021 National Medal of Arts Recipient and received a Kennedy Center Honor for Lifetime Artistic Achievements in 2022.

N.W.A was a rap group from the Compton district in Los Angeles who are credited by many with inventing gangsta rap. The group, consisting of Eazy-E^, Dr. Dre, Ice Cube, DJ Yella, and MC-Ren, developed a new sound, which brought in many of the loud, extreme sonic innovations of Public Enemy while adopting a self-consciously violent and dangerous lyrical stance. In 1988, N.W.A released their album, Straight Outta Compton, a brutally intense record that became an underground hit without any support from radio or MTV. This negative attention worked in their favor as it brought the album to multiplatinum status. Although the group was short-lived, gangsta rap established itself as the most popular form of hip-hop during the mid-1990s.

Donna Summer^ rocketed to international superstardom with her groundbreaking merger of R&B, soul, pop, funk, rock, disco, and avant-garde electronica, catapulting underground dance music out of the clubs of Europe and bringing it to the world. Summer holds the record with three consecutive double albums to hit No. 1 on the Billboard charts (the only solo artist to ever accomplish this), and first female artist to have four No. 1 singles in a 12-month period on Billboard’s Hot 100 chart. A five-time GRAMMY winner and 18-time GRAMMY nominee, Summer was the first artist to win the GRAMMY for Best Rock Vocal Performance, Female (1979, “Hot Stuff”) as well as the first-ever recipient of the new GRAMMY Category for Best Dance Recording (1997, “Carry On”). Summer was the first female artist to win GRAMMY Awards in four different genres: dance, gospel, rock, and R&B.

Tammy Wynette^ first hit the musical scene in 1966 with “Apartment #9” after moving to Nashville and teaming up with record producer Billy Sherrill. Together, the duo wrote songs that reflected the yearnings and the things Wynette felt were important in her life. In 1968, Wynette released “Stand By Your Man,” which sold more than five million singles and became the largest-selling single ever recorded by a female artist. By 1970, she racked up five No. 1 country hits, was named the Country Music Association’s Female Vocalist of the Year three times, and won two GRAMMYs. Wynette was the first female country music singer to sell over one million albums and has sold more than 30 million records grossing more than $100 million, earning her the title “The First Lady of Country Music.”

Trustees Award Honorees: This Special Merit Award is presented by vote of the Recording Academy’s National Trustees to individuals who, during their careers in music, have made significant contributions, other than performance*, to the field of recording. See past recipients here (*through 1983, recipients included performers).

Peter Asher’s career began in 1964 as one-half of Peter & Gordon, whose “A World Without Love” topped the charts worldwide. Nine more Top 20 hits followed before Asher became head of A&R for the Beatles’ Apple Records in 1968, and discovered, produced and managed James Taylor; later adding Linda Ronstadt, Neil Diamond, 10,000 Maniacs, Cher, Diana Ross, Kenny Loggins, Bonnie Raitt, Robin Williams, Stevie Nicks, Lyle Lovett, Morrissey, Steve Martin & Edie Brickell, Ed Sheeran, and more to his roster. Asher won the GRAMMY for Producer Of The Year in both 1977 and 1989. He hosts a hit radio show “From Me To You” on Sirius XM and is much in demand not only in the studio but as a performer, speaker and author.

The legendary Rock & Roll Hall of Fame inductee DJ Kool Herc is consistently credited as the founder of hip-hop. His mastery at the turntables is known worldwide, as are his positive contributions to the evolution of hip-hop culture. Herc’s popularity rose by playing long sets of assorted rhythm breaks strung together. Unlike any of his DJ counterparts, Herc is not a rapid rapper who keeps your head spinning with a patter, but he is a musical innovator to the turntables. He first introduced using two turntables to make the beats last longer, creating the illusion of one long break for the B-Boys to show off their skills. Herc has received a great deal of recognition during his lifetime, including his induction into the 2023 Rock & Roll Hall of Fame, and recognition from the New York Landmarks Conservancy as a 2023 Living Landmark.

Joel Katz has played a profound role in shaping the entertainment industry through his work in facilitating entertainment-related corporate acquisitions and mergers and consulting multi-national and multi-media entertainment companies. Katz was ranked Billboard magazine’s No. 1 entertainment attorney in its “Power 100” list of most powerful executives in the music business and has been called “the dealmaker who thinks outside the box.” At Kennesaw State University, Katz endowed and began a commercial music program – one of the largest music education programs in America with over 500 students. He has authored and co-authored many articles and commentary on topics concerning entertainment law. In honor of his work, the University of Tennessee College of Law dedicated its library in his name, the Joel A. Katz Law Library.

Technical GRAMMY Award Honorees: This Special Merit Award is presented by vote of the Producers & Engineers Wing® Advisory Council and Chapter Committees and ratification by the Recording Academy's National Trustees to individuals and/or companies/organizations/institutions who have made contributions of outstanding technical significance to the recording field. See past recipients here.

Tom Kobayashi^ and Tom Scott met at Lucasfilm’s Skywalker Sound in 1985, when the duo joined the company and completed the building of the Skywalker post-production facilities in both Northern and Southern California. Together, Kobayashi and Scott launched the Entertainment Digital Network, also known as “EDnet,” which employed fiber-optic networks to send high-quality video and audio great distances. Its then-revolutionary technology enabled the industry to link together talent, executives and production facilities at great cost savings. For 25 years, that company connected hundreds of recording studios worldwide in the days before the Internet could handle high-quality audio. EDnet became a part of Onstream Media, and over the decades, tens of thousands of long-distance collaboration sessions were facilitated for the music, advertising, TV, and cinema businesses.

Best Song For Social Change Award Honorees: This Special Merit Award honors songwriter(s) of message-driven music that speaks to the social issues of our time and has demonstrated and inspired positive global impact. The recipient(s) are selected annually by a Blue-Ribbon Committee composed of a community of peers dedicated to artistic expression, the craft of songwriting and the power of songs to effect social change. See past recipients here.

In June 2023, singer-songwriter K’naan released the inspiring single and accompanying video “Refugee,” co-written by GRAMMY Award-winning songwriter Steve McEwan and GRAMMY-nominated producer Gerald Eaton (also known by his stage name, Jarvis Church). “Refugee” stands out as a distinctive musical endeavor, skillfully interweaving personal and political narratives, and serving as a tribute to refugees around the world. With the single, K’naan drew inspiration from his personal experiences, aiming to redefine the traditional perception of the term “refugee” into a symbol of resilience and strength. The song was written with the hopes of encouraging individuals to embrace the word “refugee” proudly and to give those made homeless by conflict a song that felt like home.

^Denotes posthumous honoree.

For breaking news and exclusive content, follow @RecordingAcad on X, "like" Recording Academy on Facebook, and join the Recording Academy's social communities on the following: Instagram, YouTube, TikTok, and LinkedIn.

0 notes

larissaligus · 2 years

Text

Across three stints with the Chili Peppers, Frusciante is widely regarded as one the greatest guitarists of all time. But while he returned for 2022’s excellent ‘Unlimited Love’, John had been widely absent from the band he first joined as the tricky fourth member in 1988 for 15 years — replaced by Dave Navarro from Jane’s Addiction in the 90s and later by Josh Klinghoffer. It’s not the focus of our chat today but as a fan, it’s so good to see him back in the band: after all, John’s role in the Chili Peppers, in my opinion, kicked them up a gear when he first joined for ‘Mothers Milk’ and then up sixteen gears with the era-defining ‘Blood Sugar Sex Magic'. 30 years later, it’s still one of the biggest records Warner has ever released, with a cool thirteen million copies sold to date. On 1999’s ‘Californication’ he solidified his position as one of the best guitarists and songwriters of his generation, and that record went even further, with over 15 million copies. In short, he’s helped write songs that will be around for generations to come.

“It's rare in life when you have a really good chemistry with people, where you can bring in a little piece of something and you can watch it turn into fully realized music," he says. "I also have that with Aaron Funk, because we can just sit down with a couple of machines and make music from nothing — without even talking about it we just start programming together. There's something about that real-time communication that I have with the people in the band. It's just a gift, and it's just something to be valued. It's something I’ll value till I die.”

John Frusciante, Venetian Snares and Chris McDonald reunite as Speed Dealer Moms

New album 'Return of the Dream Canteen', like its predecessor and spiritual other-half 'Unlimited Love', was produced by the mighty Rick Rubin. While John admits that Warner wasn’t sure about the initial seven-piece, 40-song vinyl set — a compromise was found by splitting the project into two separate albums. The clear winner in the pack is ‘Eddie’, which already sounds like a classic Chili Pepper track. The idiosyncratic guitar line from John chimes clear as a bell, but it’s also a clear band effort — with Flea on fire and vocalist Anthony Kiedis’ line about their lost comrade Eddie van Halen is a beautiful tribute to the musician who cruelly died of cancer in 2020.

“As far as the electronic aspect of ‘Return of the Dream Canteen’ being subtle, I think it depends on what you’re listening for," John explains. “It’s not 'Red Hot Chili Peppers-go-electronic', Instead what I’m doing has its roots in Brian Eno’s work in Roxy Music — where synths and other gadgets are used to alter the sound of a live group, create atmosphere, sonic movement, and generally have unexpected sounds come in every so often. Another influence is David Bowie’s use of synths on Iggy Pop’s ‘The Idiot’, where it’s a raw-sounding live band, and then some really weird filthy synth sound comes in, which makes it no less raw sounding. The synths are supportive of the song and the band, but at times take over with weirdness. A little bit can go a long way towards taking a live band out of the real world and into an alternate reality. Also, a lot of the lead vocal treatments, which I did with delays and reverbs and sometimes synths, are things I do in my electronic music to samples. I do these things to all the instruments. The electronic part of it has as much to do with using the studio in a creative way as it does with synths.”

Although initially hard to pin down his creative thought process, we soon find common ground in a shared love of The Human League and Depeche Mode and also his leftfield-leaning electronic taste; Venetian Snares, Adrian Sherwood and Aphex Twin. "I have a lot of memories associated with [The Human League], especially by the time we were writing ‘By The Way’. I would blast ‘Reproduction’ to-and-from rehearsal every day. I especially love the first two albums and their early singles. And you have stuff like that all-instrumental ‘Dignity Of Labour’ EP [released in 1979], the basis for a lot of ambient music. Those guys were just going into the unknown!”

Likewise stadium rockers Depeche Mode, whom he discovered in the early eighties with ‘Songs of Faith And Devotion’ — 1984 single ‘Master And Servant’ is a particular favourite. “I'm a huge fan of Depeche Mode, when the Red Hot Chili Peppers started writing ‘Californication’ back in ‘98, I was 28 and had just restarted my life. When I came back into the world, I was a different person and Depeche Mode became my favourite band. I bought every 12” of theirs at a place near me called Vinyl Fetish that stocked a lot of UK imports. 'Master And Servant' is one of the weirder ones.”

#red hot chili peppers #john frusciante #anthony kiedis #michael flea balzary #chad smith #spotify #john ❤️#rhcp #photography

1 note · View note

chorusfm · 2 years

Text

Mortal Prophets – “Me and The Devil” (Song Premiere)

Today I’m excited to bring everyone an early listen to Mortal Prophets and their new single “Me and the Devil.” The album was produced by David Sisko, and features some collaborations with Gary Lucas (Captain Beefheart), among others. Band leader, John Beckmann shared, “The songs on ‘Me and the Devil’ are especially poignant and timeless in so many ways. I had to get these songs out of my system because they touched me so much. The lyrics are a form of incantation.” If you’re enjoying the early listen, please consider purchasing the full album on December 9th. Mortal Prophets · ME AND THE DEVIL I was also able to catch up with Beckmann for a brief interview. With regard to this forthcoming LP, how did everything come together? How would you say your collaboration with William Declan Lucey impacted the final result? I started this new album with William Declan Lucey while I was also literally in the middle of making ‘Stomp the Devil.” I had gathered a great deal of material I was obsessed with, and it simply wasn’t possible to get it all done with one producer because of time constraints. Hence, I reached out to William, we started our adventure in early June 2021, and finished the album toward the end of February 2022, and mastered it just before “Stomp’ was released in May of this year. It’s purposefully a very live-sounding album, we recruited some very talented musicians that William has worked with before. William and I have similar musical interests, very early Delta blues, and we’re both fond of Brian Eno, Daniel Langois, and Tom Waits among others, so it was a very natural fit, we have a smooth working relationship, it’s very fluid, not heavy-handed. One prerequisite was that I wanted to incorporate as much of the music from my initial demos as possible because there were some electronic textures I wanted to retain. ”Me and the Devil” is essentially a take on a blues track by Robert Johnson, and a handful of other tracks on this record were inspired by other seminal works of music and literature. How would you describe the story behind this first track and its significance to you? I’m a huge fan of very early Delta blues, and certainly Robert Johnson, so the first two songs on the album are a tribute to him, other songs are by Big Joe Williams, Blind Willie Johnson, Charley Patton, Lead Belly, Son House, and Blind Willie Johnson, all pivotal figures. Robert Johnson’s “Me And The Devil” has such raw energy, and the lyrics are brutal, it tells the story of the singer waking up one morning to the devil knocking on the door, telling him that “it’s time to go”. The lyrics conclude with the lines “You may bury my body down by the highway side” / “So my old evil spirit can catch a Greyhound bus and ride.” It was his final recording session. These songs are the essence of America’s primal scream, they are chilling, profound in their austere beauty and directness, full of tragedy and hope, lost loves, and reflections on both personal and societal struggles, frankly, not much has changed in a hundred years. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/mortal-prophets-me-and-the-devil-song-premiere/

0 notes

ifuckinglovestvincent · 3 years

Text

St Vincent: “Pour a Drink, Smoke a Joint... That’s the Vibe”

Ding dong! Daddy's Home

By Johnny Davis

19/03/2021

Annie Clark, known professionally as St Vincent, picked up a guitar aged 12 after being inspired by Jimi Hendrix. During her teens she worked as a roadie and later tour manager for her aunt and uncle, the jazz duo Tuck & Patti. Originally from Oklahoma, she moved to Dallas, Texas when she was seven and later attended the Berklee College of Music in Boston, Massachusetts for three years, before dropping out.

Clark worked as a touring musician with the Polyphonic Spree and Sufjan Stevens, before releasing Marry Me, her first album as St Vincent, in 2007. By her fifth album, 2017’s Masseduction, she had become one of the most celebrated artists in music, the first solo female artist to win a Grammy Award for Best Alternative Album in 20 years.

She became unlikely Daily Mail-fodder around the same time, thanks to an 18-month relationship with Cara Delevingne, and later Kristen Stewart. Her ever-changing music, dressing up-box image and head-spinning well of ideas have seen her compared to David Bowie, Kate Bush and Prince. To complete the notion of her being the "artist's artist", in 2012 she collaborated with David Byrne on the album Love This Giant.

Indeed, she is surely one of few performers today who could stand in for Kurt Cobain with what’s-left-of-Nirvana, performing “Lithium” at their induction into the Rock & Roll Hall of Fame in 2014, as well as cover “Controversy” at a Prince tribute concert in 2020, with such guitar-playing fireworks its author would surely have approved.

Following the glam-influenced pop of Masseduction, St Vincent has performed another stylistic handbrake turn. Complete with a new image – part-Warhol Superstar, part-Cassavetes heroine – she has mined the textures of the music she loved most as a kid: the virtuoso rock of Steely Dan, the clipped funk of Stevie Wonder and blue-eyed soul of mid-Seventies' David Bowie, on her upcoming album, Daddy’s Home.

The title refers to Clark's own father, locked up in Texas for 12 years in 2010, for money laundering in a stock manipulation scheme, one in which he and his co-conspirators cheated 17,000 investors out of £35m. It is also, in typical Clark style, a bit of saucy slang.

Back on the promotional trail, Clark Zoomed in from Los Angeles one morning recently – fully caffeinated and raring to go. “My vices?” she pondered. “Too much coffee, man…”

What question are you already bored of being asked?

There’s not one that’s popping out. There’s no question where I’m like “Oh God, if I ever hear that again, I’ll jump off a building.” I’m chill.

I mention it because prior to releasing your last record you put out a pre-recorded “press conference”, seemingly to pre-empt every inane question the media would throw at you.

It’s so funny. It didn’t really occur like that. Originally that was supposed to be a legit green screen conference. Like, “I’ll just answer these questions ‘cos when they need to have me on ‘The Morning Show’ in Belarus they can have this and put their own graphics behind it”. But then when my friend Carrie Brownstein [collaborator and Sleater-Kinney vocalist-guitarist] and I started writing it and it became very snarky. For some reason it didn’t occur to me that “Oh, that might be off-putting or intimidating to journalists” I just thought "This is silly”. So anyway… I understand.

We're curious about your dad and the American legal system.

I have had a lot of questions about that. For some reason it didn’t occur to me how much I would be answering questions about… my hilarious father!

How do you view his time in prison?

Just that life is long and people are complicated. And that, luckily, there’s a chance for redemption or reconciliation, even after a really crazy traumatic time. And also anybody that has any experience with the American justice system will know this... nobody comes out unscathed.

You recently presented an online MasterClass: "St. Vincent Teaches Creativity & Songwriting". One of the takeaways: “All you need are ears and ideas, and you can make anything happen”. Who’s had the best ideas in music?

Well, you’ve got to give credit to people who were genuinely creating a new style – like if you think of Charlie Parker, arguably he created a new style. This hard bop that was just absolutely impossible to play. It was, like, “Check me out – try to copy me!” So, that’s interesting. I think Brian Eno, for sure, has some great ideas about music – and obviously has made some of the best music. Joni Mitchell – completely singular. I mean: think about that. There are some people who are actually inimitable – like, you couldn’t possibly even try to imitate them.

It’s a brave soul who covers a Joni Mitchell song. Although, apologies if you actually have.

No, I have not. And there’s a reason why not. Come on – Bowie. Bowie never repeated himself. David Byrne also didn’t repeat himself. He took all of his influences of classic songs and the disco that was happening at the time, and the potpourri of downtown New York music from the mid- to late Seventies… and synthesised it into this completely new, other thing. I mean, that’s impressive. Those are the ones we remember.

How hard is it not to repeat yourself?

It’s whether people have the Narcissus thing or not. Like, it’s always got to be a balance where you’re, like, “Well, I need to believe in myself to make something and be liberated. But I can’t look at that pond of my previous work and go ‘Oh you! You’re gorgeous!’” So I don’t go back and listen to things I’ve done. I finished Daddy’s Home in the fall and it was, like, “This is done” and it felt great. I loved the record and it was so fun to make. But what I did immediately afterwards was to write something completely different. But then I don’t know, ‘cos there are people who do the thing that they do just great. And you just want to hear more songs, in the style of the thing that they do great.

Right. No one wants an experimental Ramones album.

Exactly. Or, like, or a Tom Petty record. I don’t want a tone poem from Tom Petty! I want a perfectly constructed, perfectly written completely singalongable three-chord song.

The new album has a very “live” Seventies feel. I’d read that some of the tracks are first takes. Can that be right? It all sounds very complicated.

That’s not right. I should say [rock voice] "Yeah, that’s right, we just jammed…" But, you know, I’ll be honest. There are some vocal takes in there that are first takes. But it really is just the sound of people playing. We get good drum takes. And good bass takes. And I play a bunch of guitar and sitar-guitar. And it’s the sound of a moment in time, certainly. And way more about looseness and groove and feel and vibe than anything else [I’ve done before].

Amazing live albums, virtuoso playing, jamming – those were staples of Seventies music. Have we lost some of that?

I mean, I can wax poetic on that idea for a minute. In the Seventies you had this tremendous sophistication in popular music. Stevie Wonder, Steely Dan and funk and soul and jazz and rock…. and all of the things rolled into one. That was tremendously sophisticated. It just was. There was harmony, there were chord progressions.

What else from that decade appealed to you for Daddy’s Home?

It reminds me of where we are now, I think. So, 1971-1976 in downtown New York, you’ve got the Summer of Love thing and flower children and all the hippy stuff and it’s, like, “Oh yeah, that didn’t work out that well. We’re still in Vietnam. There’s a crazy economic crisis, all kinds of social unrest”. People stood in the proverbial burned-out building. And it reminds me a lot of where we are today, in terms of social unrest, economic uncertainty. A groundswell wanting change... but where that’s headed is yet to be seen. We haven’t fully figured that out. We’re all picking up pieces of the rubble and going “Okay, what do we do with this one? Where do we go with that one?” Being a student of history, that was one of the reasons why I was drawn to that period in history.

Also: that’s the music I’ve listened to more than anything in my entire life. I mean, I was probably the youngest Steely Dan fan. It didn’t make me that popular at sleepovers. People were, like, “I want to listen to C+C Music Factory” and I was, like, “Yeah, but have you heard this solo on [Steely Dan’s] ‘Kid Charlemagne’”? That music is so in me. It’s so in my ears and I feel like I never really went there [making music before]. And I didn’t want to be a tourist about it. It’s just that particular style had a whole lot to teach me. So I wanted to just dig in and find out. Just play with it.

Is there a style of music you don’t like?

That I don’t like?

You're a jazz fan...

I love jazz. Are you kidding me? I was that annoying 14-year-old who was, like, “Yeah, but have you listened to Oliver Nelson’s The Blues and the Abstract Truth?”

That does sound quite precocious for a 14-year-old.

It’s annoying. Just insufferable. [Thinking aloud] What music don’t I like….? Here’s what can happen. And I feel like it’s similar to when an actor has some lines in a script and they’re not very good – not very well-written – so they overcompensate by making it very dramatic and really overplaying it. I would say that is a style of music that I don’t really like. Where somebody has to really oversell it and it all feels… athletic. Instead of musical or touching.

Did you put your lockdown time to constructive use?

If you need any mediocre home renovations done, I’m your girl. It was fun. I did – let’s see now – plumbing, electrical, painting. Luckily there’s YouTube, so you can more or less figure it all out. I did a lot of that stuff and I have to say it was such a nice contrast to working on music all day. Because when you’re working on music you have to create the construct of everything. You’re, like, “I need to make this song. But what is this song?” Everything is this kind of elusive castle in the sky thing. But then, if you go and sand a deck, you’ve done something. It feels really good. And it’s not, like, “What is a deck? And who am I?” You’re just, like, “This is a task and I get to do it and I can see how the mechanism works I understand it it’s not esoteric – it’s simply mechanical". I can do something mechanical. I loved it.

Which bit of DIY are you most pleased with?

Painting the kitchen cabinets. That’s a real job. We’re talking sanding. We’re talking taking things off hinges. We’re talking multiple coats. The whole lacquer-y thing at the end. That. I’m, like, “That looks pretty pro”.

What colour did you go for?

Oh, you know, it’s just a sort of… teal. But classy teal.

Of course.

Yeah. The wallpapering wasn’t as successful. But, you know, that’s fine. So that was really fun. And then I also went down a history rabbit hole. I realised I had some gaps in my knowledge about the Russian Revolution and life under the Iron Curtain and the gulags and Stalin and Lenin. So, I went down that hole. And then I was like “Oh I forgot – I haven’t read any Dostoevsky”. So I have been working on his short stories – which are great. And then Solzhenitsyn I really liked – I mean liked is a strange word to use for The Gulag Archipelago. I read Cancer Ward… All of them. I recommend all of it. And then, before that, it was a big Stasi kick. I can’t remember the last time I had time to brush up on the Russian Revolution.

There’s a lyric on “The Laughing Man”, “If life’s a joke… then I’m dying laughing”. It’s also on your new merchandise. What do you think happens when we die?

Nothing.

This is it?

Yeah. I mean, I understand that it would be comforting to think otherwise. That there might be a special place. It would be nice! The thought’s never really been able to stick for me. I would say that we are made of carbon and then we get subsumed back into the Earth and then eventually we become life again – in the carbon part of our makeup.

Well, that sounds better than an endless void.

I don’t think it would be an endless void.

In what ways are you like your mum and dad?

Let’s see. Well, my mother is a precious angel who has unwavering optimism. She is incredibly intelligent and also very nonjudgmental and able and happy to explore all kinds of possibilities. Saying that, though… it’s sounding not like me at all. I’m like my father in that I think we have very similar tastes in books, films, music and a very similar sense of humour. My mother’s so kind that it’s hard for me to… Her level of kindness and decency is aspirational to me.

How famous are you, on a scale of one to 10?

God, I mean, like, “TikTok Famous” probably a one, right? I’m gonna say – I don’t know about the number system – but I’m going to say I-occasionally-get-a-free-appetiser-sent-over famous. Which is a great place to be.

What do you look for in a date?

It’s been so long since I’ve been on a date. You know, I once read something, it might have been something cheesy on a card, but [it was]: if you don’t like someone, then the way they hold their fork will bother you. But, if you like someone – or love someone – they could spill an entire plate of spaghetti on your lap and you wouldn’t mind.

You play a zillion instruments. What’s the hardest instrument to play?

Well, I can’t play horns or anything like that. The French horn is supposed to be really hard. I don’t like to blag… but I’m an incredible whistler. Like, I can whistle Bach.

Is Bach a particularly tough whistle?

I think… yeah. It’s fast. And noodly.

What’s the first thing you’re going to do when we're out of lockdown?

I’m gonna get a manicure and a pedicure and a massage. Massage from a stranger. Any stranger.

What about a night on the tiles?

I will probably attend a dinner party.

That sounds quite restrained.

It sounds hella boring. Sorry.

Clubbing?

No, I don’t really go to clubs. I think in order to go to clubs you have to be a person who likes to publicly dance. And I don’t publicly dance. I mean I would feel too shy to dance at a wedding. But for some reason I will dance on stage in front of 10,000 people.

That’s why alcohol was invented.

Exactly! But I swear I would reach the point of alcohol sickness before I would be drunk enough to dance.

The effects of drugs on creativity: discuss.

Unreliable. Really unreliable. Sometimes after a day’s work in the studio you’re like, "I’m gonna have shot of tequila and then sing this a few more times, and then play". It’s okay but you peak sort-of quickly. You can’t sustain the level without getting tired. And then I would say that weed just makes me paranoid and useless. Every once in a while some combo of psychedelics can get you someplace. But, for the most part, you either come back to [the work] the next day and you’re, like, “This is garbage” or you get sleepy or hungry or distracted and you’re not really doing anything. I’ve never had opiates. Or coke or whatever. So I don’t know. I can’t speak to that. But with the slightly more G-Rated [American movie classification: All Ages Permitted] thing, it doesn’t really help.

What do you have too many of in your wardrobe?

I’m not a hoarder. I tend to have one thing that I get really obsessed with and then I wear it every day. Some people, having a whole lot of things gives them a sense of safety and security. It gives me anxiety. I can’t think if there’s too much visual noise. If there was a uniform that I could wear every day I would absolutely do that. And at certain times I have.

Like Steve Jobs?

Or, oh God, what’s her name? The Theranos lady… Elizabeth Holmes!

The blood-test-scam lady?

Well, I guess it was unclear how much of it was self-delusion and how much of it was, you know, actual fraud.

Another black turtleneck fan.

And – again, this is unconfirmed – she also adopted a very low voice like this in order to be taken seriously as a CEO.

Like Margaret Thatcher.

Did she have a low voice?

She made hers “less shrill”.

Oh yes. Yes!

What movie makes you cry?

The Lives of Others

That’s a good one.

Right. I rewatched that during my Stasi kick.

I’ll be honest, your lockdown sounds even less fun than everyone else’s.

I mean… Look, I had to educate myself. I went to a music college [Berklee College of Music] where I tried to take the philosophy class and the way that they would talk about it… it was taught by this professor who was from one of the neighbouring colleges in Boston. And it was very clear that he really disliked having to talk Kierkegaard to a bunch of music school kids. He was just so bummed by it. I’m trying to learn, “What’s the deal with Kant?” and he felt he had to explain everything only in musical terms [because he assumed it would be the only thing music students could relate to]. Like, “Well, you know, it’s like when Bob Marley…" I’m, like, “No, no, no! I don’t want that!” So I had to educate myself. This is where its led me.

Where should we ideally listen to Daddy’s Home?

Put it on a turntable. Pour yourself a glass of tequila or bourbon – whatever your favourite hooch is – and smoke a joint and listen to it. I think that’s the vibe.

Daddy’s Home is released on May 14

#have u covered Joni mitchell? Annie clarkson: ‘I have not’#OKAY MA’AM WHATEVER U SaY MA’am #st vincent #annie clark #interviews #marfa was a dream #Apparently #and that one time she posted her singing jm in the car #also that time at Newport folk festival with doveman #‘maybe that’s her shtick this time around’#’to be full of shit?’#’yah’#that’s hot

55 notes · View notes

knives-out20 · 3 years

Text

The Impact Of The Intergalactic - David Bowie Opinion Essay - by Beck S.

This is an essay I wrote about the span of David Bowie's career. I wrote it for a summer school course I took last year (August 2021) for a course called History of Rock & Roll.

My teacher gave nice feedback after he marked it, talking about how it was an "Excellent paper. It charts Bowie's progress throughout his career well, and includes significant detail. I could really feel the passion you have about him throughout. In fact, there is *too much* detail! The paper was supposed to be 3 pages max, double-spaced. Still, this is a good problem to have; better too much than too little."

So...enjoy!!

From his early works like Hunky Dory, to Black Tie White Noise in the 1990’s and stretching over to Blackstar as his final album, David Bowie has rarely had a bad album or song- in my opinion. His career has had ups and downs, his musical creations ranging in the way he would pitch his voice and what instruments he would use, the people he would produce with, and the wild things he would say. Charting David Bowie’s development over time is in fact an interesting journey.

Early on in his dreamy career, Bowie would have done nearly anything- or in fact, anyone- to grow in the music world. Hopping from band to band (like The Velvet Underground), producer to producer, doing whatever he could do to get ‘in’ in the industry. His early albums weren’t taken very highly in their times- especially with the ‘man-dress’ he wore on the British release of his The Man Who Sold The World album. Although, this dress was only the start of the androgynous appearance he would soon be known for, over the course of his 5-decade-spanning career.

The 1970’s were strange, to say the least. He married Angela Bowie at the start of the decade, then welcomed their son Duncan Zowie Haywood Jones a year later. Bowie went on to be hopped up on cocaine. David donned the look of one of his famous personas, The Thin White Duke. The same persona with slicked-back ginger hair, a white button-up under a black waistcoat and paired with black dress pants. The same Duke who called Adolf Hitler one of the first ‘rock stars’ and gave off a lot of faschist energy. He said many statements he’d later apologize for and grow as a better man from, which is good- it’s better than standing by then, or even backing himself up and supporting them. David Bowie called that period the darkest days of his life, and blamed the crazy statements on his horrid addiction and deteriorating mental state. The late 1970’s were more favorable, seeing as it gave the world what was dubbed the Berlin Trilogy alongside Brian Eno and David’s personal friend, Iggy Pop. Made up of three of his albums: Low and Heroes (both in 1977) and Lodger (1978). He moved from Los Angeles to Switzerland, then to Berlin as a further decision to escape his addiction (the reason he moved away from LA in the first place). It was in Berlin, of course, where he wrote his famous song Heroes, about two lovers, one from East Berlin and one from West.

Speaking of Berlin, David Bowie performed near the west of the Berlin Wall in 1987; he played so loud that crowds gathered on the east to listen. At this time, Bowie had no idea he would be the beginning of the city’s soon-coming unifying. After his death in 2016, the German government thanked him for bringing the wall down and unifying a divided Germany.

Music isn’t all he is known for, though it is a majority. He also starred in movies from time to time. Being the titular man in The Man Who Fell To Earth in 1976, Jareth the moody goblin king in Jim Henson’s 1986 Labyrinth film (what is most likely his most famous role), Monte the barman in the 1991 movie The Linguini Incident, cameoing as himself in Zoolander (2001), Nikola Tesla in the 2006 movie The Prestige, and even Lord Royal Highness in Spongebob Squarepants’ Atlantis Squarepantis in 2007, among a few others. David Bowie dabbled in the art of acting, and was not that bad at it. He was good enough to gain a star on the Hollywood Walk of Fame, too. Sometimes it bends my mind that my first introduction to my all-time favourite musician was in a Spongebob Squarepants movie, back before I knew who he was, but David Bowie was never one to shy away from foreshadowing. At least one song from many of his albums would hint at the direction he’d go in for his next release. For example, his track Queen Bitch on Hunky Dory foreshadowed his soon-coming Ziggy Stardust. And the Diamond Dogs track 1984 actually hinted at the Philadelphian soul of Young Americans, which is a more famous song of his, which he went on to perform on The Cher Show with its host.

The 1990’s were certainly an experimental time for David Bowie. But to my knowledge, I think the 1990’s was a time for everyone. He married supermodel Iman some days after performing at the Freddie Mercury Tribute Concert, and released the album I named earlier, Black Tie White Noise. It is known to have had a prominent use of electronic instruments, as was his other 1990’s album, Earthling. The early 1990’s greeted David’s first real band since the Spiders From Mars, dubbed Tin Machine. They recorded three guitar-driven albums which received mixed reviews from the masses, but Bowie looks back at this period- as do I- with a certain fondness; “a glorious disaster” he called it, when talking to journalist Mick Brown. Tin Machine is a period I don’t listen to often, compared to his solo stuff, but I don’t press the skip button when it comes on.

Alas, the starman’s career drew to a close as the 2000s rolled in. David Bowie greeted the 2000’s with the birth of his and Iman’s daughter, the beautiful Alexandria Zahra Jones. After suffering a- strange, as it were- heart attack symptoms mid-song during a concert in 2004, he took a hiatus from his career. I say strange because given what I know, he was trying his best to stay healthy at the time. According to my special Rolling Stone edition magazine about David Bowie (released at the start of this year), he was on tour and performing in a really hot arena. But Bowie was sober, and had quit smoking. He was taking medication to lower his cholesterol, and worked out with a trainer. Bowie looked great, and yet he felt a pain in his shoulder and chest, along with a shortness for breath. A bodyguard rushed onstage to usher Bowie off of it, cutting the concert short. He only performed live once or twice after that point, but was set on never going live ever again. And he kept his word on that, unfortunately but also fortunately. Unfortunately, because David Bowie live would have been quite the experience- I wouldn’t know, personally. But fortunately, because I do not believe anyone needs a repeat of the 2004 Reality scare.

I am actually not too fond of speaking of his final years. Nobody really likes to speak of the last years of their idols’ life before their death, so it’s no surprise. Blackstar was David Bowie’s 25th and final album, recorded entirely in secret in New York alongside his long-time producer, Tony Visconti. The album's central theme lyrically is mortality, and seeing as Bowie was undergoing chemotherapy for his cancer at the time, I see it as his way of coping with his incoming death. His producer Tony Visconti called him a ‘canny bastard’, when he realized Bowie was essentially writing a farewell album. Every song on the album is what is considered a swan song, a swan song in question being a phrase for a final gesture of some sort before retirement or death. In this case, death. Over the course of recording the album, David Bowie’s chemotherapy had actually been working and he had an eerie optimism while recording. But by the time they shot the two music videos Blackstar and Lazarus, where he showed off the definite passage of time and cruelty of chemotherapy through sparse and gray hair with sagging skin, he knew his condition was terminal and that this would be a battle he would lose. Blackstar wasn’t the first album to have been made by a musician succumbing to a fatal illness, but in my opinion it is in fact the most beautiful. It’s jazzy, and elegant, showing how at peace he had become with dying.

Blackstar the album was released on January 8th, 2016. Also known as David Bowie’s 69th birthday. Two days later, David Bowie died at his Lafayette Street home on January 10th after living with liver cancer for up to 18 months. Beforehand, he had let it be known he did not want a funeral nor a burial, but rather that his body be cremated and the ashes to be scattered in Bali by his loved ones. His wish was received, and planet Earth was very much bluer and quieter without his colour and wonderful noise.

As I said earlier on, David Bowie’s career came with ups and downs. His mysteriously close relationship with Mick Jagger, his cross with famous underage groupie Lori Maddox, the births of his two talented children, his faschist bender in the 70’s, and final bang of Blackstar in his final year on earth. Through the highs and lows, his career and his music meant a lot to the quote-unquote misfits and freaks of the world, myself included. David Bowie turned and faced the strange, shouted “you’re not alone!” To those who felt the loneliest, he surely spent his career helping those who needed to be themselves, feel more freer and braver in doing so, no matter what they may be when they are themselves. He never went boring, he never went stale, he sang what he wanted and dressed how he pleased, and kept to his word on how much more to life there is when you’re just that; yourself. A year after David Bowie’s untimely passing, his son Duncan Jones accepted an award for British album of the year that was won by Blackstar at the 37th annual Brit Awards. When he accepted it, he made a speech about his father that I will leave here, and never forget. Seeing as it perfectly encapsulates David Bowie’ legacy, and the true meaning of his extraordinary career.

“I lost my dad last year, but I also became a dad. And, uhm, I was spending a lot of time- after getting over the shock- of trying to work out what would I want my son to know about his granddad? And I think it would be the same thing that most of my dad's fans have taken over the last 50 years. That he’s always been there supporting people who think they’re a little bit weird or a little bit strange, a little bit different, and he’s always been there for them. So...this award is for all the kooks, and all the people who make the kooks. Thanks, Brits, and thanks to his fans.” - Duncan Z. H. Jones (February 22 2017, at The O2 Arena in London.)

13 notes · View notes

aerial-tal · 4 years

Text

7/7/20 ~ It has been 14 years now since we lost Syd Barrett. His birth name was Roger Keith Barrett and he was a musician, composer, singer, songwriter, painter and best known as a founder member of Pink Floyd. Syd was the lead singer, guitarist and principal songwriter in its early years and is credited with naming the band. Barrett left Pink Floyd in April 1968 and was briefly hospitalized amid speculation of mental illness exacerbated by lifelong traumatization.

Barrett was musically active for less than ten years. With Pink Floyd, he recorded four singles, their debut album (and contributed to the second one), and several unreleased songs. Barrett began his solo career in 1969 with the single "Octopus" from his first solo album, The Madcap Laughs (1970). The album was recorded over the course of a year with five different producers (Peter Jenner, Malcolm Jones, David Gilmour, Roger Waters and Barrett himself). Nearly two months after Madcap was released, Barrett began working on his second and final album, Barrett (1970), produced by Gilmour and featuring contributions from Richard Wright. He went into self-imposed seclusion until his death in 2006. In 1988, an album of unreleased tracks and outtakes, Opel, was released by EMI with Barrett's approval.

Barrett's innovative guitar work and exploration of experimental techniques such as dissonance, distortion and feedback influenced many musicians, including David Bowie and Brian Eno. His recordings are also noted for their strongly English-accented vocal delivery. After leaving music, Barrett continued with painting and dedicated himself to gardening. Biographies began appearing in the 1980s. Pink Floyd wrote and recorded several tributes to him, most notably the 1975 album "Wish You Were Here," which included "Shine On You Crazy Diamond", as homage to Barrett.

Syd was 60 years old when he passed away on July 7, 2006.

RIP Syd. You will shine on through your music forever.

cr.: 'The College of Rock and Roll Knowledge' via Facebook

35 notes · View notes

architectnews · 4 years

Text

Le Corbusier Architect: Corb Architecture

Le Corbusier, Architect, Modern Building, Photo, Houses, Projects, Studio, Pictures, Designs

Le Corbusier Architect : Architecture

20th Century Architecture – French Modernism: Buildings by Charles Edouard Jeanneret

Le Corbusier Architect News

15 Nov 2020 Cité Radieuse

Italian independent artist Stefano Meneghetti from Venice, Italy, just finished an unreleased “Radieuse” Tech EP.

Stefano Meneghetti with his team, makes the album Cité Radieuse & Cité Radieuse RE:RE:MIX as a tribute to the admired Le Corbusier, innovative architect and urban designer, who built in Marseille a model of urban planning designed for its inhabitants to live harmonious relationships.

The songs were composed by Stefano Meneghetti who brought musicians of the calibre of Giuseppe Azzarelli, Massimiliano Donninelli, Yannick da Re and Cristian Inzerillo to work together with him.

Deeply interested in architecture, music, and design, Stefano Meneghetti and his friends wanted to name this album La Citè Radieuse out of admiration for Le Corbusier, the legendary Corb, multifaceted and innovative architect, designer and urban planner, who created his city-like housing project in Marseille with the aim of fostering harmonious relationships among its inhabitants.

Sound research and experimentation are the focal points of this musical partnership. The album develops an architecture of electronic sounds, which incorporates eclectic influences.

Stefano Meneghetti, graphic artist and video maker, is a long-standing collaborator of musicians such as Gary Numan, Franco Battiato, Byetone, Lorenzo Palmeri and many others.

As Giuseppe Azzarelli says: “A city is not only an environment of spaces and forms. Inevitably, it also expresses its dimension through sounds: every environment has its own acoustic imprint reflecting human activities, their relationships with the world and with each other. The idea of a Cité Radiuese, ideal and utopian city within a city, conceived by Le Corbusier for people and their needs, immediately enthralled me by its “humanity”, drawing me closer to a world of sound that can underline or accentuate possible emotional meeting points in the multifaceted reality of the modern city.”

youtube

Interview with Stefano Meneghetti:

“Music has helped me build parallel worlds; through this reciprocity with music I have created scenarios and stories, experiencing the world without being part of it, as if I lived observing it from a car (train?) window, through binoculars or a microscope.”

“Over the course of my life, I have felt a natural affinity for certain musical textures as well as personalities: from Gustav Mahler to Brian Eno, Alva Noto to Franco Battiato, and Teho Teardo & Blixa Bargeld to Georges Ivanovic Gurdjieff.”

“With his Cité Radieuse Charles-Edoard Jeanneret-Gris, better known as Le Corbusier, was simply the gravitational field where everything started.”

“The inhabitants of the same building live just a few centimetres away from each other, separated by a simple partition wall, and share the same spaces whose pattern is repeated on each floor. They do the same things at the same time: turn on the tap, switch on the light, set the table, a few dozen synchronized lives which are repeated on floor after floor, from one building after another, from one street to the next.”

“Like an anthropologist or an archeologist, I wandered discreetly around the Unité d’Habitation de Marseille to observe the lives of individuals, families and groups which are still unfolding in the radiant city.”

From the EP

Cité Radieuse Youtube channel https://www.youtube.com/channel/UCF2F1StpGAzbXeW97J4LSUA

Stefano Meneghetti / Music Producer [email protected]

21 Sep 2020 Le Corbusier’s early drawings. 1902-1916 Curated by Danièle Pauly

Dates: September 19, 2020 – January 24, 2021 Location: Teatro dell’architettura Mendrisio, 6850 Mendrisio, Switzerland Phone: +41 58 666 50 00

Exhibition promoted by Fondazione Teatro dell’architettura With the collaboration of the Accademia di architettura – Università della Svizzera italiana

Le Corbusier’s early drawings. 1902-1916

18 Nov 2017 Villa Le Lac, Corseaux, Switzerland

An abstract impression of the wall of Villa Le Lac by Le Corbusier (Route de Lavaux 21, CH-1802 Corseaux, Vevey, Switzerland)

Le Lac by Jan Theuninck, acrylic on canvas, 70 x 100 cm, 2017 image courtesy of Jan Theuninck

Jan Theuninck met Albert Jeanneret, the brother of Le Corbusier, who lived in the villa until 1973, in the village of Finhaut around 1970. Albert Jeanneret was a musician, composer and violinist. He helped developing the Dalcroze Method in Hellerau, Germany. The Dalcroze Method or simply eurhythmics, is one of several developmental approaches including the Kodály Method, Orff Schulwerk and Suzuki Method used to teach music to students. When Theuninck met him, he was experimenting with sound recordings of daily life noises which he called “bruits humanisés”.

1 Sep 2017 Pavillon de l’Esprit Nouveau in Bologna

The restyling of the Esprit Nouveau Pavilion in Piazza Costituzione in Bologna has started and is due to complete in October 2018.

The building will be cleaned and painted, with replacement of the windows and refurbishment of the awnings and the access path, report www.platform-ad.com.

The Esprit Nouveau Pavilion consists of two parts:

– “cell-unit” of the “Immeubles Villas” housing project

– Diorama: a “roundabout” for the exhibition of projects and theoretical statements

Designed separately in 1922, the two sections were combined and integrated in 1925 at the international exhibition of Decorative Arts held in the park around the Gran Palais in Paris.

This building was constructed in 1977. Construction of the replica was based on period documents and photographs.

source: https://ift.tt/35xLqst

20 Jul 2016 Le Corbusier Buildings Added On UNESCO World Heritage List

Istanbul, Turkey, 17 July — The World Heritage Committee this morning inscribed four new sites on the World Heritage List: the transnational serial site of The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement (Argentina, Belgium, France, Germany, India, Japan, Switzerland), along with sites in Antigua and Barbuda, Brazil and India.

The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement (Argentina, Belgium, France, Germany, India, Japan, Switzerland) – the 17 sites comprising this transnational serial property are spread over seven countries and are a testimonial to the invention of a new architectural language that made a break with the past. They were built over a period of a half-century, in the course of what the architect described as “patient research”.

The Complexe du Capitole in Chandigarh (India), the National Museum of Western Art, Tokyo (Japan), the House of Dr Curutchet in La Plata (Argentina) and the Unité d’habitation in Marseille (France) reflect the solutions that the Modern Movement sought to apply during the 20thcentury to the challenges of inventing new architectural techniques to respond to the needs of society.

These masterpieces of creative genius also attest to the internationalization of architectural practice across the planet.

The Curutchet House, La Plata, Argentina, is not very well known compared to the other three metnioned above. It was commissioned by Dr. Pedro Domingo Curutchet, a surgeon, in 1948 and included a small medical office on the ground floor. The house consists of four main levels with a courtyard between the house and the clinic. The building faces the Paseo del Bosque park. The main facade incorporates a brise soleil. Construction began in 1949 under the supervision of Amancio Williams and was completed in 1953.

Website: Le Corbusier Buildings on UNESCO World Heritage List

Loving Le Corbusier 3 Jun 2016 – A new novel ‘Loving Le Corbusier’, tells the story of Yvonne, the wife of architect Le Corbusier.

In doing so, it naturally references many of Corb’s buildings as well as gives great details on France in the first half of the twentieth century.

Book cover:

‘When I visited Le Corbusier’s apartment in Paris I was surprised to find that there was not a single photograph of his wife. In most books she was mentioned only in passing as a model. I wanted to know more.’

Unité d’Habitation, Marseille, Southern France, celebrated work by Corb: photo from Colin Bisset

This publication is a tale of love and loss set against the great events of 20th century Europe.

Villa Savoie scanned photo © Isabelle Lomholt

The book follows the life of the young woman from Monaco who captured the heart of a man who became one of the most influential and divisive architects of the twentieth century. Spanning the period from the end of the Great War to the Riviera chic of the 1950s, Yvonne witnessed the fun of the Jazz Age and the desperate loneliness and displacement of Occupied France in World War Two.

Yvonne, the architect’s wife: photograph © Fondation Le Corbusier

The novel is peopled by some of the most creative characters of the century, and set in France’s most stunning locations, from Paris in its Art Deco heyday to the glittering sunlight of the Côte d’Azur. As Corb’s fame grows, so, too, does the distance between him and his wife. This is a portrait of a love affair that defies the odds, and of a country in flux.

The architect’s grave – designed by himself – in the south of France: photo from author Colin Bisset

Colin Bisset was born in the UK but now lives in Australia. He is a regular architectural and design commentator for ABC Radio National (Australian Broadcasting Corporation). He has a degree in History of Art, specialising in modern architecture, and he is the author of the novel ‘Not Always To Plan’ (Momentum/ Pan Macmillan).

Chapel of Notre Dame du Haut in Ronchamp, France: photograph from Colin Bisset

Website: Loving Le Corbusier Book

Colin’s novel is available on Amazon, iTunes, Kobo and other e-retailers.

6 Apr 2016 Cité de Refuge, 12 Rue Cantagrel, 75013 Paris, France photo by Rory Hyde Cité de Refuge Building in Paris

30 Mar 2016 Corb Tapestry at Sydney Opera House, New South Wales, Australia

photo from www.smh.com.au

Sydney Opera House – Le Corbusier tapestry titled ‘Les Dés Sont Jetés’ (‘The Dice Are Cast’), commissioned by Jørn Utzon. The building is of course a masterpiece of 20th Century architecture that is admired internationally and treasured by the people of Australia.

Latest Le Corbusier Buildings added

Pavillon Philips, Exposition Universelle de Bruxelles, Belgium – added 14 May 2013 Date built: 1958 Design: with Iannis Xenakis photograph © Archive famille Xenakis Iannis Xenakis was a Greek-French composer, music theorist, and architect-engineer. After 1947, he fled Greece, becoming a naturalized citizen of France.

Villa La Roche, Paris, France – added 12 Jun 2011 Date built: 1925 Design: with Pierre Jeanneret photograph © Karavan Villa La Roche

Key Le Corbusier Project

Featured House by Corb

Villa Savoie, Poissy, north west of Paris, France Date built: 1929 building image © Karavan Villa Savoie – key Modern French building This famous Modern house demonstrates the ‘Five Points’ that Corb placed central to his work: these are piloti, fenetre longeur, free plan, active roof space and the free facade.

photo © Victor Gubbins Villa Savoye : photos of this famous Le Corbusier house as a ruin.

11 Feb 2012 Le Corbusier News – Cité Radieuse Fire On Thursday evening, three apartments (eight apartments noted in one report) in the Cité Radieuse were destroyed in a fire and around 35 others were seriously damaged. The Cité Radieuse is located in Marseilles, France.

The nine storey housing block was designed by Corbusier and completed in 1951/52. The cause of the fire is still unknown.

The Radiant City building was classified as a historic monument in 1995.

Cité Radieuse – report in The Guardian : external link

Le Corbusier Exhibition

Le Corbusier Show : The Interior of the Cabanon interior photo : Andrea Ferrari Le Corbusier Exhibition : RIBA, London A reconstruction of Corb’s beach hut Cabanon, which is designed and built in 1952 for his holidays at Cap-Martin. The Cabanon design by Corb is a 15 square metre ‘pied a terre’ made of rustic wood in 1952 and the only structure ever built for his own use.

Key Buildings by this Architect in Paris

Maison Ozenfant / Ozenfant House & Studio – Date built: 1922

Pavilion L’Esprit Nouveau / L’Esprit Nouveau Pavilion – Date built: 1925

Pavilion Suisse / Swiss Pavilion Cité Universitaire Dates built: 1931-32

Cité de Refuge, Paris Date built: 1933

Weekend House –

Paris project

Plan Voisin for Paris Date built: 1925

Le Corbusier buildings close to Paris

Villa Savoie, Poissy, north west of Paris Date built: 1929

Villa Stein, Garches Date built: 1927

Maisons Jaoul, Neuilly-sur-Seine, Paris Dates built: 1954-56

RIBA Gold Medal Winner 1953

Le Corbusier’s real name is Charles-Edouard Jeanneret-Gris. He worked as an architect in Paris from 1917. Popularily known as Corb by architects.

Corbusier Buildings not in the Paris area

Unité d’Habitation, Marseille, France 1952 Chapel of Notre Dame du Haut, Ronchamp, France 1955 La Tourette Monastery, Lyon, France 1957 Unité d’Habitation, Berlin, Germany 1959 Carpenter Center for the Visual Arts, Cambridge, USA 1963 Pessac housing, Bordeaux, France 1926 Centrosoyuz, Moscow, Russia 1936

American Le Corbusier building – UN Building New York

More Corb Architecture projects online soon

Posthumous Le Corbusier building

Saint-Pierre church, Firminy, France Date: 2007

Other Le Corbusier Buildings

Villa Le Lac, Corseaux, Vevey, France 1924 Villa La Roche, Paris, France 1925 Villa Jeanneret, Paris, France 1925 Maison Planeix, Paris, France 1928 Maison Clarté, Geneva, Switzerland 1932 Casa Curutchet, La Plata, Argentina 1954 National Museum of Western Art, Tokyo 1959 Heidi Weber Pavilion, Zurich, Switzerland 1965 Espace Corbusier, Firminy, France 1967 Chandigarh – various buildings, India

The Heidi Weber Pavilion forms the Centre Le Corbusier

Villa Savoie, France – classic Modern building that features in many world histories of architecture building image © Isabelle Lomholt

Location: 35 rue de Sèvres, Paris, France

Le Corbusier Paris – Practice Information

Former architect studio based in Paris, France – world-famous Modernist architect

Corb had his architect studio at 35 rue de Sèvres from 1922 with his cousin Pierre Jeanneret.

Paris Architects : Parisian Architecture Studios

French Buildings

Modern Architecture

Modern Architects

Modern Houses Famous 20th Century architecture by architects such as Philip Johnson, Frank Lloyd Wright, Alvar Aalto, Eero Saarinen, Mies van der Rohe, Adolf Loos and Antoni Gaudí. Homes featured include the Farnsworth House, USA; Arango Residence, Acapulco ; Tugendhat Villa, Brno; and Casa Mila, Barcelona.

Paris Architecture

Architecture Studios

Buildings / photos for the Le Corbusier Paris Architecture – French Modernist Architect page welcome

Website: Fondation Le Corbusier, Paris

The post Le Corbusier Architect: Corb Architecture appeared first on e-architect.

#e-architect

3 notes · View notes

rastronomicals · 14 days

Photo

2:17 AM EDT May 17, 2024:

The Electric Hellfire Club - "Baby's On Fire" From the album A Tribute to the Music & Works of Brian Eno (1997)

Last song scrobbled from iTunes at Last.fm

File under: Oblique Strategies

#The Electric Hellfire Club #A Tribute to the Music & Works of Brian Eno #Baby's On Fire

0 notes

doomandgloomfromthetomb · 5 years

Photo

INVISIBLE HITS 2018

Hey hey, 2018 marked the fifth year of my Invisible Hits column for Pitchfork. It’s a fun thing to write and I hope it’s a fun thing to read! Here’s what went down over the past 12 months in case you missed anything.

The Scruffy Charm of the Audience Tape

These days, virtually anyone armed with a smartphone can come home with a halfway decent souvenir recording of the night’s gig. But the audience taper tradition stretches much further back than the advent of the iPhone—well past the rock’n’roll era, in fact. Until the technology became commonplace and affordable in the 1970s, tapers were a tiny subset of gearheads and obsessives who took the trouble to lug expensive, cumbersome equipment out to concert halls and clubs. The lo-fi documents they left behind may try the patience of those who are accustomed to crystal clear listening experiences, but beyond the hiss and the crackle, there are untold treasures in store.

5 Buzz-Building Tapes That Set the Stage for an Iconic Debut

This year, Matador Records released Girly-Sound to Guyville, a box set that includes a comprehensive collection of Liz Phair’s demos. The long-overdue official edition of these tapes offers a privileged look at Phair’s songwriting in its early stages, her raw brilliance just beginning to emerge. It got us thinking about pre-fame recordings of legendary artists, those precious documents that provide insight into the beloved debut to follow. Occasionally, as was the case with Phair, one of these recordings will be circulated from fan to fan (or musician to musician), building up its own buzz. Here are a just a few notable examples.

When Brian Eno Was a Rock Star: Live Highlights from His Early Days

Brian Eno, who turned 70 in May, has spent much of his career cultivating a professorial image. The oblique strategist seems most content as a studio wizard, whether he’s helping U2 reach multi-platinum heights or partnering with more marginal figures like British pianist Tom Rogerson and Karl Hyde of Underworld. Over the past 40-some years, Eno’s done such a good job at remaining largely studio-bound as a solo musician, collaborator, and producer that it’s easy to forget that for a minute there in the 1970s, he was one of our most dynamic, flamboyant live performers. Eno had what it took to be a genuine rock star—here’s the proof.

Inside Alice Coltrane’s Stunning, Spiritual Musical Quest

Over a decade after Alice Coltrane passed away—or, as her website puts it, “left her physical form”—the musician’s followers continue to grow, via her time with John Coltrane’s late-period band, her pioneering solo work in the ’60s and ’70s, or the deeply spiritual music she recorded as Alice Coltrane Turiyasangitananda. For listeners who want to dig a bit deeper into her long journey, there are several excellent rarities to discover that give an alternate look at her musical quest for transcendence and transfiguration.

Gram Parsons’ Cosmic American Trip

After countless reissues of his work, several tribute albums, and copious myth-making, Gram Parsons’ rep as the godfather of the Southern California country rock sound is perhaps a tad overstated. Among others, his Byrds and Flying Burrito Brothers bandmate Chris Hillman probably deserves just as much credit. But Gram’s elegantly wasted glamour and tragic early death in 1973 have burnished his legend. Plus, the music still holds up. Despite plenty of archival digs over the years, there are still some fantastic Parsons rarities lurking in the dustier corners of the internet.

An Ode to Elvis Costello’s Stellar Backing Bands, the Attractions and the Imposters

Many of rock’s most beloved songwriters come packaged with equally great backing bands: Neil Young and Crazy Horse, Bruce Springsteen and the E-Street Band, Tom Petty and the Heartbreakers. We think Elvis Costello and the Attractions deserve a place in this pantheon, too. It’s almost impossible to imagine Costello’s best work—albums like This Year’s Model, Armed Forces, and Imperial Bedroom—without Steve Nieve’s dazzling keyboard, Pete Thomas’ superhuman drumming, and Bruce Thomas’ imaginative basslines.

How Blondie Got to “Heart of Glass”

A futuristic hybrid of Studio 54 fantasy and CBGB cool, Blondie’s “Heart of Glass” is still irresistible, 40 years after it reached the top of the charts. On a new 12-inch EP, the crate-digging connoisseurs at the Numero Group have peeled back the layers of the song. The opening salvo in the label’s comprehensive Blondie reissue project, the early “Heart of Glass” demos, live versions, and alternate mixes offer a revealing look at the development of a masterpiece—and encourage further exploration. How did this scrappy Bowery group, looked down upon by its more well-respected peers, transform itself into the world’s biggest bands? A dig into a handful of choice rarities offers some clues.

#blondie #Gram Parsons #Flying Burrito Brothers #The Byrds #elvis costello #alice coltrane #pavement #liz phair #brian eno #The Grateful Dead #velvet underground #roxy music #Charlie Parker #duke ellington #invisible hits #pitchfork

12 notes · View notes

ronnierocket · 2 years

Text

Miles Davis - He Loved Them Madly

Miles Davis – He Loved Them Madly

“He Loved Him Madly” was recorded by Davis as his tribute to then-recently deceased Duke Ellington, who used to tell his audiences “I love you madly.” British musician Brian Eno cited it as an influence on his work in ambient music in the liner notes to his 1982 release On Land.

View On WordPress

0 notes

bobbybones23 · 3 years

Photo

This morning I was browsing through various articles on Cabaret Voltaire when I noticed the sad news that guitarist, keyboardist, composer, producer and cofounding member Richard H. Kirk had passed away at the age of 65. Oddly and coincidentally I had been contemplating writing an article on them and decided today would be a good day and then the sudden tragic news. Now I feel compelled to write a tribute to him and one of my favorite bands. Cabaret Voltaire members Richard H. Kirk, Chris Watson and Stephen Mallinder along with Throbbing Gristle and a select few other contemporaneous artists of that era were the architects and innovators of sound experimentation with tape loops and electronic drums to produce electronic industrial music. Their defiance of the pomposity of what was your commonplace status quo of rock music steeped in virtuoso playing was evident in their stripped down minimalist and dehumanizing elements sprinkled with Dadaism. They were art schooled and celebrated Dadaism and were drawn to communist politics. Taking several cues from musical mentors such as Roxy Music, especially Brian Eno’s “non-musical” approach to instrumentation and writers like William S. Burroughs and the cut-up technique. Formed in 1973 in the industrial city of Sheffield, England, their name was derived from a Zürich Dadaist nightclub. Originally signed to Rough Trade Records and to Some Bizzare/Virgin and later to Mute Records among others. Richard was from the industrialized part of Sheffield and hence apropos and fitting to pursue the industrial element. Their often extreme lyrics and Richard H. Kirk’s abrasive guitar playing was simpatico with the later punk rush but their home was with the industrial post-punk fans. They paved the way for other electronic bands, namely The Human League also from Sheffield. They are pioneers and their seminal work is a huge influence and contribution to post-punk music and beyond… R.I.P. Richard H. Kirk (March 21, 1956 - Sept 21, 2021) 💔🥀🖤⚡️💔 🏴‍☠️ 🏴‍☠️ 🏴‍☠️ #RichardHKirk #CabaretVoltaire #IndustrialMusic #ElectronicMusic #PostPunk #Pioneer (at Sheffield, United Kingdom) https://www.instagram.com/p/CUG6obOrTnp/?utm_medium=tumblr

#richardhkirk #cabaretvoltaire #industrialmusic #electronicmusic #postpunk #pioneer

0 notes

theskyisglue · 3 years

Audio

Listen/purchase: Aria by Enzo Carniel and Filippo Vignato as Silent Room

The duo of Enzo Carniel and Filippo Vignato "Silent Room" is a conversation between piano and trombone. Their music is born from the common will to create a space of freedom, a sound space filled with melodies and silences. "Silent Room" is that musical place that can be filled with sound, or left blank. It is in this desire for sound space as a "place" for listening and meditation that the two musicians created the repertoire for the album Aria. The album is made of simple melodies on which the two improvisers will furrow and let their voices express themselves. 'Aria' can refer to the opening of J-S Bach's Golderg variations, to sung opera arias, but above all to any expressive melody that develops the imagination. 'Aria' is also the air in Italian: the air that comes from the breath, the air that fills the room, the air that vibrates and is transformed into sound. The repertoire is therefore this collection of Arias composed by Enzo Carniel and Filippo Vignato. With this album, they are promoting their heritage as jazzmen: that of improvisation and conversation, that of freedom and virtuosity. But the duo also explores the contemporary colors of electronic music: from the ambient of Brian Eno, to the Japanese minimalism of Ryuchi Sakamoto or Ryoji Ikeda. This is reflected in the album by the use of the prepared piano, the Fender Rhodes or synthesizers that come to color the sound space of the acoustic piano and trombone. In the composition In 'All Nilautpaula', Enzo Carniel evokes the water lily (in Sanskrit) coming to purify the water that surrounds him. An almost vegetal composition, close to nature as the duo likes to get closer to it. In 'Babele', Filippo Vignato invokes the great question of language: thanks to Arias, and therefore melodies, language becomes universal through music, and only the sensory experience counts. The eponymous composition opens and closes the album, with an acoustic and an electronic version: the duo walks in the "Silent Room", from acoustic to electronic, a path that reveals all the richness of their work on sound. To bring this repertoire to life, Enzo Carniel and Filippo Vignato immersed themselves in the Villa Cicaletto in Tuscany, which became their Silent Room for two days: a concert hall in a house classified as a historical monument and with exceptional and inspiring acoustics. These acoustics allowed them to magnify the 8 compositions of the album, the 8 arias to constitute this first album of the duo Silent Room: Aria. Enzo Carniel and Filippo Vignato meet in 2013 during the Master's program at the Conservatoire National Supérieur de Paris (CNSMDP). The connection is rapidly established as they share the same tastes and desires. They also attend the generative improvisation class in which they push their experiments. The duo was born in 2014, around a tribute to the German trombonist Albert Mangelsdorff, then they replace this repertoire with their own compositions. They also play together in various projects: Enzo Carniel Sextet for the festival Jazz à la Villette in 2014, Filippo Vignato Quartet, etc... The duo has played since its conception in France and Italy (Théâtre Liberté, Grand Théâtre de Brescia, Cité Internationale des Arts...) many times over the last 5 years to develop this repertoire, make it mature, and lead to this first album. creditsreleased April 16, 2021 TEXT VIA BANDVCAMP

#Enzo Carniel and Filippo Vignato

0 notes

sea-time · 6 years

Link

Twelve months slipped by at a pace this year. Thinking about it at first I was convinced that 2014 had been worryingly barren for me culturally, due to the restrictions of work and life and a new-found affection for sleeping. On reflection it seems I did manage to get out of the house on occasion, listen to the odd record and take in a show or two. Here’s what I liked, or what I can remember liking in no particular order….

‘Salad Days’ by Mac Demarco made a big impression on me. I am a sucker for melody in music and this kid (he is only a kid, twenty-three or something) can’t help but write songs with an instant hook. He also has a gorgeously dry sense of humour, plays a mean guitar and is Canadian. I like Canadian people. The album speaks very simply but with great fluency about love, the fear of losing that love, and what it means to be alive today. It is beautifully and simply produced and puts a smile on my face every time I listen to the album. I managed to catch Mac play in Manchester in may, a brilliantly ramshackle gig which climaxed with the whole venue on our knees singing along to ‘Unknown Legend’ and giving thanks to Neil Young.

I love the new Blake Mills album ‘Heigh Ho’. Another great guitar player, with a tone very reminiscent of George Harrison, it’s a definite grower but one worth waiting for.

The new Caribou album deserves all the plaudits its earning. Such a great record – designed to make you dance.

A Winged Victory for the Sullen very slowly prised the roof off the Barbican in October with genuinely affecting and moving music. An amazing show and an amazing group of musicians.

I also caught Damon Albarn live in Manchester at the 6music festival – thank God for BBC 6 music! I am very impressed by Damon Albarn as a man and musician. This is a highly personal record, filled to the brim with gorgeous melodies and revealing lyrics, my high point being ‘Heavy Seas Of Love’ a duet with Brian Eno.

Ok I did see a lot of gigs in Manchester, I was working there for a stretch, they are coming back to me now……. with maybe the highlight being Prince. I’ve wanted to see him play live for ever and the man did not disappoint. It was a three and a half hour gig, during which he jumped effortlessly between hits and space-funk jams with his all female backing band. It’s a nice feeling when a legend lives up to their legendary status. Finally, I managed to catch Tame Impala in L.A. Love this band, such confident musicians, they completely filled the auditorium with blissed out fuzz-drenched tunes. Their support act Delicate Steve I also highly recommend, a very unusual guitar player, his music is of the joyous instrumental kind you want to listen to walking around feeling warm inside while everybody else looks worried.

The Richard Ford trilogy of ‘The Sportswriter’, ‘Independence Day’ and ‘The Lay Of The Land’ rank high amongst my favorite all-time novels, and this year Ford re-introduced us to Frank Bascombe (protagonist of all three novels) in his latest novel ‘Let Me Be Frank With You’. Frank is now in his late sixties but as compelling a character as ever. It’s a brief book, written as a series of short stories but is as incisive and acerbic an investigation of the American dream as I have read.

‘The Dog’ by Joseph O’Neill is also a joy, a book that is as tragic as it is funny.

For some reason I recently decided to re-read some books that I had read in my teens to check if they were still the masterpieces I had first ostentatiously judged them to be. ‘The Book Of Evidence’ by John Banville certainly remains one. Such an extraordinary tour-de-force. If you haven’t read it recently please do. It will inhabit you. I also re-visited some Salinger. Those early short stories still must be unmatchable in terms of heartache and droll musings on American youth and life.

After the sad passing of Dermot Healy this year the only fitting tribute I could think of was to read ‘A Goats Song’ once more. I fell in love with it all over again, sad and mournful and touching – part of this Island’s history.

I’ll finish up now as I realise writing these things can cause quickening anxiety about leaving some wonderful book or poem or song out without a mention.

Before I go I must write briefly about some visual art I saw. Mark Garry’s show – at the Model in Sligo town, “A Winter’s Light” – was a thing of beauty, delicate and life-affirming. I recently saw Douglas Gordon’s show ‘Tears become Streams’ at the Armoury in NYC. It featured concert pianist Helene Grimaud play a series of pieces inspired by water while the extraordinarily vast space was slowly flooded by water creating a lake on which she seemed to hover and also turning the space upside down in reflection. Breathtaking.

So that is it……. I appear to have completely left out any mention of film and theatre. So be it. They will have to wait until next year.

—Cillian Murphy

#cillian murphy #text #peaky blinders #cillian murphy recommends

19 notes · View notes