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Date

May 23, 2019

Patrick Prince What are the albums that invented Punk?

Guest author Martin Popoff describes what he believes are the 20 albums that invented Punk Rock on the latest episode of the Goldmine Magazine Podcast.

The post What are the albums that invented Punk? appeared first on Goldmine Magazine.

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jfl Dip Your Ears, No. 237 (A Stickler for Clapping Along – Steve Reich)


Steve Reich,
Sextet, Music for Pieces of Wood, Clapping Music
London Symphony Orchestra Percussion Ensemble (hands)
(LSO Live)
Typical contemporary music recital: Only two or three people in the crowd, but before the chaps with wooden blocks even begin to bang them together (twelve rhythmically shifting minutes long), they applaud the performers for another three or four minutes. Oh,

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falsepriest Fictional Bands From Movies That Are Better Than Your Favorite Band

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It’s a bold move, crafting a fictional band for a movie. You’re no longer just bringing just characters and a plot to life, but also a living entity of sorts its unique dynamic. And on top of that you’ve got to make music that isn’t terrible! Many have a hard enough time with just achieving the last thing.

With such a tall order, you’d think the public would at least cut you a little slack, but no one is safe – not even Mick Jagger. Critics of HBO’s drama Vinyl complained that the music of British proto-punk band Nasty Bits, whose music was written by Jagger and his actor son, James, rings false in the context of 1973.

As Adam Schlesinger, veteran songwriter for fictional bands and screen like Josie and the Pussycats, Sesame Street, and Crazy Ex-Girlfriend told the Guardian, “Generally, the music’s not good enough and you don’t buy it. Just like the acting has to be convincing, the songs have to be convincing. You have to believe that this music could be popular.”

Songwriters behind these hit fictional bands often see it as an outlet for ideas that wouldn’t mesh well with their primary musical outfit; like an opportunity to explore a new genre, make up dumb band names, or try on silly lyrics.

Calling these bands fictional barely seems fair, since the music is very real, and very good. But hey, I don’t make the rules.

Spinal Tap from the film Spinal Tap

Spinal TapThis is Spinal Tap (1984)

What would a list of fictional bands be without a nod to Spinal Tap. The eponymous band from the original rockumentary/mockumentary is still the best fake movie band out there. The music stands up to the weight of their ridiculous lyrics for songs like Tonight I’m Gonna Rock You Tonight, Big Bottom, and Stonehenge. Like all great bands, they reformed for a couple of albums: 1992’s Break Like The Wind and 2009’s Back From The Dead.

Stillwater from the film Almost Famous

StillwaterAlmost Famous (2000)

Cameron Crowe wrote and directed Almost Famous, basing it partly on his own experiences as a very young, aspiring music journalist who spent three weeks on the road with The Allman Brothers Band to write Rolling Stone’s December 1973 cover story.

With Peter Frampton on board as a technical consultant and writer of a few of the songs, Heart’s Nancy Wilson (Crowe’s then-wife) co-writing another couple, and Pearl Jam’s Mike McCready on lead guitar, the band was well set up for success – even if that success was also fictional. Songs like Fever Dog sound right at home alongside ’70s tracks featured in the film from Led Zeppelin, Elton John, Lynyrd Skynyrd, and The Allman Brothers Band themselves.

Munchausen By Proxy from the film Yes Man

Munchausen By ProxyYes Man (2008)

The film itself was a fairly disposable Jim Carrey comedy, but the music was good. Zooey Deschanel’s character fronts an indie synthpop band, Munchausen By Proxy, backed by real life San Francisco band, Von Iva. Together they wrote and recorded four songs for the film, with Deschanel drawing on her singer-songwriter credentials as one half of She & Him. Some DVD/Blu-ray releases have bonus footage that includes an MBP spoof MTV music documentary, complete with music videos and live performances. This is manic pixie dream girl pop at its loosest, best, and most fun. The rest of the soundtrack is also worth checking out for the Eels songs.

Sex Bob-omb from the film Scott Pilgrim Vs. The World

Sex Bob-ombScott Pilgrim Vs. The World (2010)

George Michael (not that one) from Arrested Development grew up, learned to play an instrument, and got cool. It’s a great movie, especially if you’re into the comic series and director Edgar Wright’s other films. Beck is the mastermind behind all Sex Bob-omb’s music. Sex Bob-omb is one of several bands featured in the film, including a battle of the bands scene against the Katayanagi Twins – who are also evil exes of Ramona Flowers on a mission to destroy Scott. Music from Crash and the Boys, another band on the screen here, is played by Broken Social Scene.

Wyrd Sisters from the film Harry Potter And The Goblet Of Fire

Wyrd SistersHarry Potter And The Goblet Of Fire (2005)

The real life incarnation of Wyrd Sisters are the ultimate ’90s brit-rock supergroup. Featuring Jarvis Cocker on vocals and songwriting duties, Johnny Greenwood and Phil Selway of Radiohead on guitar and drums, Pulp’s Steve Mackey on bass, as well as members of The All Seeing I and Add N to (X) on guitar, keyboards and bagpipes. They remain unnamed in the film due to a legal dispute between the film studio and Canadian folk band The Wyrd Sisters. Franz Ferdinand, confessed Potter-heads, were rumored to have been originally tapped to play the band.

Figrin D'an and the Modal Nodes (The Cantina Band) from the film Star Wars

Figrin D’an and the Modal Nodes (The Cantina Band)Star Wars (1977)

The Cantina Band absolutely counts as an onscreen band, and absolutely nails it. A few years ago, Spotify released data showing that John Williams’ Cantina Band song is Australia’s favorite sex jam, appearing on more playlists with the word ‘sex’ in the title than any other song. It beat out (hey now) jams like Ginuwine’s Pony, Kings of Leon’s Sex On Fire, and The Weeknd’s Often. It’s weird, but we get it. Kinda.

Crucial Taunt from the film Wayne's World

Crucial TauntWayne’s World (1992)

Tia Carrere as Cassandra, frontwoman of Crucial Taunt, is the ultimate rock chick heartbreaker. Carrere looks pretty at home behind the bass in the film, but was still a beginner, having to master her songs for the film in just three weeks. “I was dreadful, but at least my fingers moved in the right way. I never played bass again. I had much respect for Sting after that.”

Despite never picking up the bass again, Carrere has made a decent name in the music world in her own right, having won more Grammy Awards than fellow WW alumni  Alice Cooper and Queen put together.

The Shitz from the film Belgica

The ShitzBelgica (2016)

The Shitz are just one of 16 fictional bands created by Soulwax for the 2016 film Belgica. The soundtrack had the Dewaele brothers writing a diverse range of music for the fictional bands, from synth-pop and psychobilly to hardcore punk and Turkish acid house. Soulwax consulted friends in the Ghent music scene to make sure their versions of different genres sounded right. It fooled some, with one interviewer asking Soulwax how they managed to discover so many exciting new bands. The Shitz loved the Dewaele’s brothers’ songwriting so much they asked them to write more songs for them after the film wrapped.

Hedwig And The Angry Inch

Hedwig And The Angry InchHedwig And The Angry Inch (2001)

Before it was a film, it was an off-Broadway musical, so this fictional band has undergone several iterations. The eponymous Hedwig, a transgender East German rock singer, becomes a mentor and musical collaborator to a dude who ends up stealing her music and ditching her. The film soundtrack was recorded by the cast, as well as Husker Du’s Bob Mould and members of D.C. post-hardcore band Girls Against Boys. Songs from the film have been covered several times, by artists as diverse as Yoko Ono, Cyndi Lauper, Meat Loaf, Spoon, and Type O Negative.

The Lone Rangers from the film Airheads

The Lone RangersAirheads (1994)

Even though in the movie The Lone Rangers had to hijack a radio station to get their demo Degenerated some airplay, it rips harder than most demos. That could be because it was originally by hardcore punks Reagan Youth. The version for the film features Brendan Fraser on vocals, backed by White Zombie members Jay Yuenger and Sean Yseult. And their stunt scores them a pretty sweet prison gig.

The post Fictional Bands From Movies That Are Better Than Your Favorite Band appeared first on Discogs Blog.

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Goldmine1 Goldmine video premiere: “Bridge of Sighs” by Louise Goffin

Watch the Goldmine video premiere of the song “Bridge of Sighs” by Louise Goffin.

The post Goldmine video premiere: “Bridge of Sighs” by Louise Goffin appeared first on Goldmine Magazine.

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Music Freelance The history of the BBC Proms on TV

Rating: 
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BBC television barely had time to say hello in the 1930s before shrugging its shoulders and muttering a frustrated au revoir. The little matter of another world war getting in the way. Radio was the priority as the established medium.

Television programmes, in black and white, could only be seen with tolerable reliability within a 40-mile radius of the sole transmitter (and studio) at Alexandra Palace, up on a north London hill.

Those pre-war few who tuned in regularly saw plenty of live studio-based music-making of various genres. Classical music performers included the likes of harpist Sidonie Goossens and Austrian violinist Lisa Minghetti.

Lighter classical offerings came, for example, from the BBC Midland Orchestra. The performance on 5 June 1937 of part of Gounod’s Faust – complete with rickety set – was the first opera to be televised in the UK… possibly, in the world.

 

 

In 1938, a number of Proms were relayed to TV subscribers in sound only via the ‘seven-metre television wavelength’, which offered an ‘exceptionally high standard of sound-reproduction’. So much for that experiment, as Hitler intervened.

A Mickey Mouse cartoon cheekily heralded the re-launch of BBC Television in June 1946. Transmitter-reach was still feeble. Cash was tight. ‘Compared to radio, television was a Cinderella operation,’ recalls Harold Beck, a pre-war Promenader and avid listener to the concerts on the wireless. ‘Sets were expensive for most people. Only around 15,000 TV licences had been sold. I remember how large and cumbersome the cameras were, and tricky to operate.’

The BBC authorities hesitated before making only a late decision to give the Proms a television debut in 1947 – on the Last Night, 13 September. Threadbare resources were stretched to the point of embarrassment. A camera had to be rushed from the Oval when cricket coverage (of Middlesex versus The Rest of England) concluded. That doubled the camera count at the Albert Hall.

 

 

Why the reluctance to follow through on the initial success of Proms televising? There was feedback from sweaty members of the BBC Symphony Orchestra that the television lights were too hot, too bright – objections that were duly noted. Members of the BBC Music Department whinged that radio was a superior medium for superior music, and hadn’t televising the Proms encouraged Promenaders to be even more tastelessly boisterous than usual?

There continued to be internal BBC spats over the alleged intrusion of television into Prom goers’ personal space, elbowing ostentatiously into what some continued to reckon should be considered ‘concerts for radio’.

Although UK television transmitter coverage improved, a must-see event of national significance was urgently needed to whip up public interest. Famously, the Coronation of Queen Elizabeth II in 1953 provided just that. Despite their midget screens, TV sets flew off the shelves.

 

 

Television coverage of the Proms has progressively played a significant role in establishing the BBC’s cultural identity in the UK and worldwide. It can be argued that far from disseminating perceptions of the elitism of classical music, Proms televising has dissipated it.

Purists may huff and puff, but who would not celebrate the fact that the power of television has encouraged thousands of rookie concertgoers to get off their sofas and smartphones and come to the Albert Hall? They may clap between movements and cough at inopportune moments, but that’s hardly anything new in the history of concerts. And for those who can’t hope to be Prom goers themselves, television remains a brilliant alternative for experiencing the magnetism of the Proms. 

 

This article originally appeared in the July 2017 issue of BBC Music Magazine.

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“When I was younger, I spent a lot more non-shooting time with people like David, Lou, Syd and…

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Important new releases by Harry Bertoia and Jacob Kirkegaard

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letters@jazzwise.com (Mike Flynn)

Award-winning pianist Andrew McCormack storms back with the second volume of music from his Graviton project, with new album The Calling, released on 7 June on the Ubuntu Music imprint.

The pianist’s band now features Brit-jazz rhythm section kings Tom Herbert on bass and Joshua Blackmore on drums, alongside vocalist Noemi Nuti and saxophonist Josh Arcoleo, who both appeared on the group’s eponymous 2017 debut. Initially inspired by the complex rhythms and hook-laden harmonies of Arminian piano star Tigran Hamasyan, this second album features a tighter, more melodic sound, with the new music underpinned by a overarching concept of a hero following ‘the calling’, and staying on that path no matter the cost or consequences.

The title track is released as a single on Friday 24 May – see the video below – with the album getting its official launch at The Vortex, Dalston on 13 June. The band then play the following dates: NQ Jazz, Manchester (1 Jul); The Flute and Tankard, Cardiff (2 Jul) and 606 Club, London (1 Aug).

Mike Flynn

For more info visit www.mccormackmusic.com

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Weetzie The Evolution of the Database Submission Guidelines

The Discogs Database Submission Guidelines are the backbone of Discogs; the product of almost 20 years of community-driven discussion about the best way to catalog all the music in the world.

As we launch the Database Guidelines Translation Project, it seems like a good time to look back at the history of the Discogs Database Submission Guidelines…

The Start of the Discography

Discogs began in early 2000, as a hobby project by DJ and developer Kevin Lewandowski.  He was looking for a better way to catalog his electronic music collection. The very first release Kevin added to Discogs was Stockholm by The Persuader.

In October 2000, when Keven first invited other music lovers to add to the discography, there were no Database Submission Guidelines. Kevin started by adding about 250 of his own records and CDs, and hosted Discogs on a scrap Pentium II server in his closet.

Contributors started as a small, but dedicated group. All submissions were entered into a loosely structured form which did not support credits. Kevin would then manually check each and every submission, and fix any typos and capitalization errors!

By February 2001, Discogs included 1,943 releases and 2,440 artists, but only 56 contributors. Kevin was still the top contributor, but several other contributors were closing in. At this point, there was a simple FAQ rather than Database Submission Guidelines:

screenshot of discogs homepage circa 2001

Labels and releases only displayed after they were manually reviewed, edited, and approved. In 2001, Kevin gave about 10 users access to edit and approve submissions. These users were referred to as editors. So, although there weren’t Submission Guidelines for guidance, there was more manual oversight. Users could also ask questions and get feedback in the original Discogs Forums.

Later in 2001, the submission form was rewritten, and less manual oversight and editing was needed. However, data still needed approval before being added to Discogs; about 50 of the top contributors were given access to the approval form, and this was the beginning of the Moderators group.

As of 2004, there was still a distinct editors and moderators group. Editors could moderate, and also had access to process the updates submitted to labels, artists, releases.

Official Submission Guidelines

In 2004, Kevin rewrote the whole submission form again. The major change was that the underlying release data structure was much more flexible, immediately allowing multiple artists and labels per release, multiple artists per track, and multiple credits per track. Furthermore, the release history functionality was added, allowing contributors to see the previous updates on submissions.

As the discography and contributor community continued to grow, it was clear that simple FAQs weren’t enough guidance for the contributor community. A group of editors and moderators worked together to document how to properly add data to Discogs. By the end of 2004, there was a 2,272 word summary of how to use the “Add Release Form.”  It’s easy to see how this document evolved into the Submission Guidelines we use today.

The Discogs community had been asking for easy tools to help with buying and selling. So the Discogs Marketplace was added in 2005.  Before Marketplace tools were added, many users were simply using their Collection as a way to list items they wanted to sell!  Although the Marketplace addition didn’t fundamentally change the underlying discography, it brought in more users interested in buying and selling.  Many of these new users eventually contributed items to the database. As the functionality of Discogs expanded, so too did the documentation explaining how to add information to the discography.

By 2006, the Submission Guidelines were basically a condensed version of our current guidelines.  The Submission Guidelines document was 7,803 words long, and included only seven sections. Here’s a snippet from the Submission Guidelines in January 2006:

screenshot of discogs submission guidelines screen circa 2006

Moderation And Voting

Discogs continued to grow. In January 2007, Discogs documented 793,581 releases, 668,356 artists, and 70,110 labels. However, manual moderation was starting to cause problems. In August of 2007, there were over 20,000 items in the queue awaiting moderation.  This resulted in delays, duplicate submissions, and general frustration.

In March 2008, a drastic shift took place for Discogs submissions: Data was no longer subject to manual moderation. Discogs moved from a moderation system to a voting system.

As Discogs has grown, the submission system and user requirements have created ever more detailed and complicated submissions. With over 10,000 active submitters and less than 500 moderators, the task of moderating has become harder and more involved than before. By moving the voting to a greater percentage of the Discogs user base, and enabling a graduated voting system, we will give more people, especially those who own the release, the ability to register their opinion on the quality of the data entered into the site. 

-Kevin Lewandowski (2008 blog post)

There were many moderators who were frustrated with this change. Many feared that Discogs couldn’t maintain as high standards after this restructuring of the data quality control process. Although some moderators decided the new system wasn’t to their liking and stopped contributing, the new system ultimately helped Discogs continue to grow.

Diognes_The_Fox, currently the top-ranked contributor on Discogs, notes that this move from moderation to voting was a pivotal moment in Discogs’ history:

It caused something of a mass exodus. It was during that time that I decided with the playground bullies all gone, it was my time to take over and keep the fire going.

Over the years, the guidelines grew to cover more situations, edge cases, and examples. In early 2009, there were 16 main sections to the guidelines (sections were added for general rules, title, format, release notes, images, updating an artist profile, updating a label profile, reviews, and removing a release).

Growing Guidelines

It wasn’t until April 2009 that the concept of a “master release” was added to Discogs. In the announcement about the release, a link to the new master release section of the guidelines was included. As always, it was a community effort to discuss and improve this section of the guidelines:

Since this is a brand new function, we may well come across examples that don’t fit the guidelines, and will need discussion and guideline updates. 

-Kevin Lewandowski (2009 blog post)

By February 2010, the Submission Guidelines were broken into 21 sections. The same 21 sections that exist in our current version of the Submission Guidelines. The exact text in each section has been modified and expanded, but the majority of guidelines haven’t changed considerably since 2010.

screenshot of discogs submission guidelines screen 2010

Submission Guidelines Localization

Almost two decades after Discogs was founded, the Discogs Database Submission Guidelines continue to evolve. We have begun to translate the Discogs Database Submission Guidelines! In order to truly support that global goal to “catalog all the music in the world,” it’s time we make the guidelines more accessible to international music-lovers.

Translations are needed in order to truly support the Discogs goal of building the biggest and most comprehensive music database in the world. And we have an excellent localization system in place to help contributors collaborate and reach translation decisions together.

We are currently adding guideline translations in French, German, and Spanish. In the future, we plan to cover more languages based on the progress in these three languages and community interest.

We hope our international contributors will join us in this next phase of the Database Guidelines evolution, and considering assisting with translations! Be part of Discogs history and learn more at localization.discogs.com.

 

contribute to discogs submissions guidelines translations

 

 

Sources:

Discogs Blog: Discogs 15th Anniversary! 
Discogs Blog: Master Release (grouping multiple versions of a release)
Discogs Blog: Restructuring of Moderation/Voting System
Discogs Blog: Updates regarding the Queue / Moderators / Submission Skill
Internet Archive: WayBack Machine: discogs.com

The post The Evolution of the Database Submission Guidelines appeared first on Discogs Blog.

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