British singer
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4 episodes with Anohni
2 episodes with Anohni
Anohni is a singer and songwriter originally from England, who started putting out music in 2000. She's released 6 albums, and won the Mercury Prize. She's also been nominated for two Brit Awards, and an Oscar. For this episode, I talked to her about the song "4 Degrees," from her 2016 album Hopelessness. It might be strange to describe a song about climate change as an anthem, but that's what I think it is, and it feels more urgent with every passing year. It's also one of my most listened-to songs. It was produced by two of my favorite electronic musicians: Daniel Lopatin, aka Oneohtrix Point Never, and Ross Birchard, aka Hudson Mohawke. I got to speak to Ross about how he started the track on his own, before it became a collaboration between the three of them. This is an episode that I've been trying to make happen since 2016. Here it is.For more info, visit songexploder.net/anohni.Thanks to Sonos for their support of the podcast. Check out sonos.com.
Charles Rattray, the head of Southerly Ten, explains the value of offshore wind as the industry heads towards its first Australian auction. Plus: What do Murray Watt and Anohni and the Johnsons have in common? Nothing, really.
We meet artist Chris Levine, a British contemporary artist renowned for his pioneering work with light and lasers. His innovative approach transcends traditional mediums, integrating technology and spirituality to create immersive art installations that challenge and expand human perception. Levine's multidisciplinary practice encompasses installation, photography, performance, fashion, music, and design. He employs lasers and sound frequencies to craft environments that engage viewers on both sensory and contemplative levels. This synthesis of technology and art positions Levine's work within a broader historical context, aligning with movements that seek to transcend the physical and delve into the metaphysical.A seminal piece in Levine's portfolio is "Lightness of Being" (2004), a holographic portrait of Queen Elizabeth II. This work has been lauded for its spiritual depth and technical mastery, with the National Portrait Gallery describing it as "the most evocative image of a royal by any artist." The portrait captures the ethereal quality of light and presence, reflecting Levine's ability to merge artistic expression with technological innovation. Beyond portraiture, Levine has engaged in numerous projects that bridge various artistic disciplines. In 2012, the artist partnered with Anohni and the Johnsons for their "Swanlight" performance at Radio City Music Hall, commissioned by the MoMA, New York, integrating laser with musical performance and creating a multisensory experience. Levine's site-specific large scale installations have pushed the boundaries of light art, taking diverse settings from the historic Durham Cathedral to the contemporary landscape of Hobart, Tasmania. Aligned with the traditions of public art inspiring communities, Levine's works make immersive art accessible to broader audiences. In 2021, Levine's exhibition at Houghton Hall, 528 Hz Love Frequency, featured "Molecule of Light," a monumental 25-meter-high sculpture that transformed the landscape and cemented his innovative approach to light art. This installation not only showcased the artist's technical prowess but also his ability to harmonize art with architectural space, creating a dialogue between the artwork and its environment. Through his multidisciplinary practice, Levine continues to explore the infinite possibilities of light in art, contributing to the ongoing dialogue on the intersection of technology, spirituality, and visual expression. His work stands as a testament to the transformative power of art, inviting viewers to experience the world through a lens of heightened awareness.Follow @ChrisLevine on InstagramVisit: https://chrislevine.com/ Hosted on Acast. See acast.com/privacy for more information.
No auge da Primavera surgem também canções luminosas e discos que nos invadem a vida como se finalmente fosse possível abrir uma janela pesada. Esta semana podem contar com todos estes ingredientes e também com este sentimento de esperança além de toda a dor e além de toda a instabilidade do mundo externo.Playlist:"It Must Change", ANOHNI and The Johnsons"The Rest Of Our Lives", Anna B Savage"Dandelion", Sam Cohen"Somethin' Ain't Right", Sharon Van Etten
It's a good thing ANOHNI and I decided to leave the cameras turned off for the interview included in episode 118 of the LSQ podcast, because there were moments when she was talking --about her creative process, about using her voice and her music as a survival strategy, about what it felt like to grow up as a trans femme amidst the violence of patriarchy -- that I was nearly in tears, so moved by the way she described her experience. And since crying while interviewing is as cringe as "crying in baseball," it was a relief not to be seen in those moments. It was fascinating to hear ANOHNI's story of discovering her musical spirit as a child, motivated by a desire to reveal feminine emotion and power in a way that she felt her mother was not allowed to, and to learn how she developed her creative process from there. ANOHNI talks about drawing inspiration from artists such as Kate Bush, Boy George, Marc Almond, Alison Moyet, Nina Simone, Ray Charles, Diamanda Galas and more, and how she has learned to adapt musical forms to suit her voice (both the literal voice and the symbolic voice). She also shares about her relationship with her mentor, the late Lou Reed, how greatly he encouraged her early in her career, and what it was like to recently perform some of his music live for the first time since he passed. You can keep up with ANOHNI here. This is also the first video episode of the LSQ podcast, with awesome illustrations and animation crafted by Jess Rotter and Andrew Deselm. Thanks to them for the wonderful work!
Extrait : « … Lorsque finalement Anohni publie son premier album, c'est sous le nom de Antony and The Johnsons, qui deviendra par la suite Anohni and the Johnsons, ce dernier patronyme étant un hommage à Marsha P. Johnson, activiste trans et militante noire historique du mouvement LGBT, retrouvée noyée dans l'Hudson après la gay pride de 1992. La police a toujours invoqué le suicide comme cause de son décès, mais faudrait pas nous prendre que pour des quiches, car, sans faire dans l'anti-américanisme primaire mais un peu quand même, outre le fait que ce pays nous donne toutes les raisons du monde de les rouler dans la fange, il se trouve que la police US nous a habitués à tirer sur tout ce qui bouge, surtout si tout ce qui bouge est noir, sans défense et de dos … »Pour commenter les épisodes, tu peux le faire sur ton appli de podcasts habituelle, c'est toujours bon pour l'audience. Mais également sur le site web dédié, il y a une section Le Bar, ouverte 24/24, pour causer du podcast ou de musique en général, je t'y attends avec impatience. Enfin, si tu souhaites me soumettre une chanson, c'est aussi sur le site web que ça se passe. Pour soutenir Good Morning Music et Gros Naze :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toi. Ou 3.000 si tu connais plein de monde.Good Morning Music Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Keena Gonzalez moved from Hollywood to NYC in 2000 to pursue her work as a photographer. In 2008 she earned her BFA from the School of Visual Arts where she was mentored by singer-songwriter Anohni and interned for world renowned photographer Annie Leibovitz. Since graduating Keena has worked closely with the artist collective Openings, has had her photographs exhibited, and in 2023 she directed and produced her short film entitled "This Is Jane. See Jane..." Follow her at: www.keenagonzalez.com
On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni. In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires. Email us at culturefest@slate.com. Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR. Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni. In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires. Email us at culturefest@slate.com. Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR. Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni. In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires. Email us at culturefest@slate.com. Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR. Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni. In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires. Email us at culturefest@slate.com. Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR. Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
On this week's show, Slate staff writer Nadira Goffe sits in for Stephen. First, the panel explores Babygirl and its kinks. The latest feature from Dutch writer-director Halina Reijn stars Nicole Kidman and Harris Dickinson, and is fascinated by sex (mostly, as a concept.) Then, the three puzzle over Nickel Boys and the film's audacious use of first-person point-of-view in filmmaker RaMell Ross' adaptation of Colson Whitehead's Pulitzer Prize-winning novel, The Nickel Boys. Finally, what does a Hollywood smear campaign look like? The trio discusses the messy legal and PR conflict embroiling Blake Lively and former It Ends With Us co-star and director, Justin Baldoni. In the exclusive Slate Plus segment, the panel checks in with Julia and production assistant Kat, as they share their experiences of the L.A. wildfires. Email us at culturefest@slate.com. Endorsements: Nadira: Transa by Red Hot Org. Specifically, “Is It Cold In The Water” performed by Moses Sumney and ANOHNI. Julia: Niksa sleep masks. Dana: Exploring your local college radio stations. She likes WFUV (owned by Fordham University) and Columbia University's WKCR. Podcast production by Vic Whitley-Berry. Production assistance by Kat Hong. Learn more about your ad choices. Visit megaphone.fm/adchoices
____________________________________________ 1.ª parte: _______ 1 - Ryuichi Sakamoto - Async - Life Life 2 - Ben Lukas Boysen - Alta Ripa - Alta Ripa 3 - Brian Eno & Fred Again - Secret Life - Cmon 4 - Lisa Gerrard - City of Dreams (Original Motion Picture Soundtrack) - Home 5 - Lisa Gerrard & Bennett Salvay - City of Dreams (Original Motion Picture Soundtrack) - Jesus e Elena 6 - Nick Cave and the Bad Seeds - Wild Dog - Song of the Lake 7 - Anna B Savage - You & I Are Earth - Agnes (Feat. Anna Mieke) 8 - Julia Holter - … - The Laugh Is in the Eyes 9 - Office Culture - Enough - Desire 10 - MaZela - Desgostos em Canções de Colo - Entre Amor e Ódio 11 - Fionn Regan - O Avalanche - Anja II 12 - Fionn Regan - O Avalanche - Farewell 13 - Haley Heynderickx - Seed of a Seed - Sorry Fahey 14 - Laura Marling - Patterns in Repeat - Lullaby (Instrumental) 15 - Laura Marling - Patterns in Repeat - Your Girl 16 - The Smile - Cutouts - Bodies Laughing ________ 2.ª parte: ________ 17 - Hildegard - Jour 1596 - Melody I Heard 18 - Hildegard - Jour 1596 - Beverly 19 - Abstract Pills - Corda, Vol. 4 - Hillside Settling 20 - Laurie Anderson - Amelia - The Wrong Way feat. ANOHNI 21 - Serafina Steer - Drinking From The Pools Of Night - Equinox Theme 22 - David Sylvian & Hildur Guðnadóttir - RPM - I Measure Every Grief I Meet 23 - Uno Helmersson - The Remarkable Life of Ibelin (Original Motion Picture Soundtrack) - Last Footage 24 - (Smog) - The Holy Grail: Bill Callahan's “Smog” Dec. 10, 2001 Peel Session - Beautiful Child 25 - Marine Eyes - Songs for Incense - A Letter From Home 26 - John Cale - Paris 1919 (Remastered) - Hanky Panky Nohow (Drone Mix) 27 - Federico Albanese - Blackbirds and the Sun of October - Blackbirds and the Sun of October 28 - Damien Jurado - Live at St. Mark's Cathedral, Seattle, WA, August 7th 2024 - Cloudy Shoes 29 - Richard Swift - 4 Hits & A Miss - The Essential Richard Swift - The Novelist 30 - Nate2timez & Arbee - ... - Broken 31 - Joy Shannon - An Chailleach - The Spell (feat Emily Jane White) 32 - Matt Elliott - Drinking Songs Live 20 years On - A Waste of Blood Live 33 - Mount Eerie - Night Place - Demolition __________________________________ * imagem de (image by) Richard Broken
Bad Sisters series 2 - Dark Blue: Anohni sings Lou Reed - Emma
Will and Anurag discuss new releases by Porridge Radio, Public Service Broadcasting, and Memorials, plus live reports and bonus songs.
Meet Rufus Wainwright, praised by the New York Times for his “genuine originality,” Rufus Wainwright has established himself as one of the great male vocalists, songwriters, and composers of his generation. The New York-born, Montreal-raised singer-songwriter has released ten studio albums to date, three DVDs, and three live albums including the Grammy-nominated Rufus Does Judy at Carnegie Hall. He has collaborated with artists such as Elton John, Burt Bacharach, Miley Cyrus, David Byrne, Boy George, Joni Mitchell, Pet Shop Boys, Heart, Carly Rae Jepsen, Robbie Williams, Jessye Norman, Billy Joel, Paul Simon, Sting, and producer Mark Ronson, among many others. He has written two operas, numerous songs for movies and TV, and is currently working on his first musical for the West End and a Requiem. His latest GRAMMY® and JUNO nominated album of original songs, Unfollow the Rules, finds Wainwright at the peak of his powers, entering artistic maturity with passion, honesty, and a new-found fearlessness. His newly-released studio album Folkocracy features reinvented folk duets with artists like Chaka Khan, Brandi Carlile, John Legend and Anohni and many more. Catch Rufus on tour, dates available here: https://rufuswainwright.com/tour/. EnJOY! See omnystudio.com/listener for privacy information.
What does it sound like miked in the bathtub? Matt talked about being at Strongroom Studios, tape flying off the machine, why you need hardware synths, MDing for Björk and Ellie Goulding, how to record ambient music, and why real guitar pedals rock! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Matt Robertson, a British-born, Canadian-based, 3x Grammy-nominated composer, producer, and musical director. Matt has worked with Björk, Anohni, Arca, The Cinematic Orchestra, and Ellie Goulding as musical director and orchestrator / arranger. He has released four albums under his own name to date, balancing ambient sound design alongside warm organic techno and ripples of delicate electronics. His albums ‘Forecast', ‘In Echelon' and ‘Entology', have been described as “symphonic electronica and leftfield techno that's cinematic in scale” (Mixmag), “magnificent…wild, electronic sound” (The Line Of Best Fit) and “Nils Frahm's modern classical meets Jon Hopkins' grainy techno” (MOJO). Growing up listening to a healthy mixture of Jean-Michel Jarre and Jimmy Smith, Matt graduated from the University of Surrey before working at recording studios in London learning how to fix, and later build, some of his own synths. Working with a collection of vintage, modern and DIY synths, and combining electronic music production with classical composition and cinematic soundscapes; artists, producers, and film composers alike seek his enveloping and distinct sound. His work with Anoushka Shankar awarded him 2 Grammy nominations, and he recently scored the films ‘The New Corporation – The Unfortunately Necessary Sequel', and' ‘Navalny'. Thanks to Damian Taylor for making our introduction! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://www.adam-audio.com https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.izotope.com Use code ROCK10 to get 10% off! https://gracedesign.com/ https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Get your MBSI plug-in here! https://www.makebelievestudio.com/mbsi Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/58klpp5APh48s9nLfcMwqJ?si=a95a6f41284645b4 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/473
Ty Segall - Honeymoon (Edit) SBTRKT - OUTSPOKEN TV Girl & George Clanton - Summer 2000 Baby Happy Mondays - Step On רוח באה מדרום - אגוזי - מלחמה שחר יוסף - זאב זאב Foxing - Greyhound Toro y Moi - Hollywood (Feat. Benjamin Gibbard) Leon Bridges - Peaceful Place WHY? - Nis(s)an Dreams, Pt. 1 Mercury Rev - A Bird Of No Address Laurie Anderson - India And On Down to Australia (Feat. ANOHNI)
Plongez dans les univers captivants d'Elisapie et de Jeremy Dutcher. Laissez-vous enivrer par le souffle du Grand Nord et du New Brunswick avec les albums Inuktitut et Motewolonuwok. (Rediffusion) Avant de commencer l'émission, voici quelques infos sur les cultures autochtones du Canada :Il y a 3 branches différentes d'autochtones au Canada :- 1) Premières nations : Mohawk, mig'maq, Abenaki... (Jeremy Dutcher)- 2) Métis- 3) Inuit (Elisapie).Pour ne pas se tromper, on dit : AutochtoneLa langue des Inuit est le Inuktitut : Inuk (singulier) / Inuit (pluriel)Elisapie se présente comme une Inuk du peuple inuit.Erreurs communes à éviter :Confondre les Innus et les Inuit - Les Innus viennent de la Côte Nord (Florent Vollant par exemple) / Les Inuit viennent du Grand Nord (Elisapie).Le Nunavik est la région tout au Nord du Québec. Le Nunavut est un territoire canadien.On ne dit pas la culture autochtone mais les cultures autochtones.Il y a plus de 50 langues autochtones au Canada, il y a 11 nations autochtones au Québec incluant les Inuit : Abénakis, Anishinabeg, Atikamekw Nehirowisiw, Eeyou, Wendat, Innu, Inuit, Wolastoqiyik, Mi'qmaq, Mohawk-Kanien'kehá:ka et Naskapi.Première invitée : Elisapie pour la sortie de l'album InuktitutL'artiste venue du Grand Nord, Elisapie, est depuis plusieurs années une ambassadrice incontournable des voix autochtones, elle incarne une élégance musicale certaine et un féminisme en avance sur son temps.Avec ce nouveau disque, la chanteuse qui a grandi à Salluit, un petit village du Nunavik, la région la plus au nord du Québec revient sur son enfance et adolescence en explorant ses titres préférés qui l'ont vue s'émanciper en tant que femme et en tant qu'artiste. Le défi était grand de revisiter ces chansons intemporelles de groupes ou d'artistes légendaires. Pourtant, qui peut prétendre à autant de délicatesse que dans ce titre Uummati Attanarsimat (Heart of Glass), reprise de Blondie ou ce Taimangalimaaq (Time After Time), de Cindy Lauper ?Ces classiques réinterprétés de Queen, Pink Floyd ou Rolling Stones sont chantés en Inuktitut, sa langue natale. De cette traduction, découlent une force et une poésie inédite. Dans cette playlist de jeunesse, Elisapie raconte son parcours, ses joies et ses peines, sa détermination aussi tout en faisant résonner sa culture avec finesse, en conjuguant modernité et tradition. De ses années passées dans l'Arctique, Elisapie a gardé les souvenirs de ses premiers amours, a été témoin des effets du colonialisme sur sa collectivité et a dansé jusqu'au bout de la nuit au centre communautaire du village. À l'adolescence, elle se produit sur scène avec ses oncles, eux-mêmes membres de l'illustre groupe de rock'n'roll inuit Sugluk (aussi appelé Salluit Band). À 15 ans, elle travaille à la station de radio du village et parvient à décrocher une entrevue avec Metallica. Jeune femme brillante et ambitieuse, elle s'installe à Montréal pour étudier et, finalement, faire carrière dans la musique. Aujourd'hui, l'auteure-compositrice-interprète inuk est une figure incontournable au Canada. Activiste dévouée, Elisapie a créé et produit la première émission de télévision diffusée dans tout le Canada pour célébrer la Journée nationale des peuples autochtones. Son attachement inconditionnel à son territoire et à sa langue, se situe au cœur de son parcours créatif et donc de son œuvre. Cette langue millénaire incarne la rudesse de l'environnement et la beauté féroce du territoire inuit. Cet album est le fruit de tout cela : une constellation de souvenirs aussi sensibles qu'oniriques.À la sortie de Uummati Attanarsimat, Debbie Harry et Chris Stein, membres de Blondie, acclament toute la beauté de cette version de Heart of Glass. Titres joués - Uummati Attanarsimat (Heart of Glass) Blondie voir le clip - Qimmijuat (Wild Horses) Rolling Stones voir le clip - Isumagijunnaitaungituq (The Unforgiven) Metallica voir le clip - Qaisimalaurittuq (Wish You Were Here) Pink Floyd- Californiamut (Going to California) Led Zeppelin.► Album Inuktitut (Yotanka/Bonsound 2023). Puis la #SessionLive reçoit Jeremy Dutcher pour la sortie de l'album Motewolonuwok.5 ans après avoir remporté le Prix de musique Polaris avec son premier album, Jeremy Dutcher est de retour avec une exploration radieuse de l'expérience autochtone contemporaine et de la place qu'il y trouve. Avec des chansons dans la langue de son peuple, le Wolasotqey, mais aussi en anglais pour la première fois, Motewolonuwok surpasse tout ce que le musicien a créé auparavant, englobant les chansons traditionnelles, les ballades nocturnes et les orchestrations saisissantes. « Lorsque nous analysons nos histoires, incluant nos histoires tristes — quelle est la lumière qui en ressort malgré tout ? », s'interroge-t-il. « Je voulais chanter à propos de la souffrance, puis nous amener vers la beauté », confie Dutcher. Wolastoqiyik Lintuwakonawa, paru en 2018, a propulsé Dutcher aux plus hauts sommets du monde culturel canadien, des galas Polaris et Juno au panel de juges de Canada's Drag Race. Mais peu de gens auraient pu prédire ce succès : l'album a été conçu comme un projet de recherche muséale, explorant les enregistrements sur cylindres de cire des porteurs de chansons wolastoqiyik — les ancêtres de Dutcher. Ténor de formation, le musicien a finalement chanté en duo avec ces voix, répondant à sa propre communauté à travers de sublimes chansons réinventées.Cette fois-ci, Dutcher voulait faire un album plus intimiste. Une remise en question. Un disque inspiré d'une observation du penseur yupik Richard LaFortune— que « le point où deux discriminations se rencontrent peut être dangereux ». Cette intersection peut également engendrer de la résilience, et cette résilience peut devenir une force. « Motewolonuwok » est un mot wolasotqey ancien qui est habituellement traduit par « sorcières ». C'est aussi ainsi qu'on appelle les personnes bispirituelles de la région — des personnes qui sont autochtones et queer, comme Dutcher, et qui ont reçu un héritage traditionnel précis. « Ce sont “des personnes possédant une grande force spirituelle” », explique-t-il. « C'est un honneur, plutôt que quelque chose dont il faut avoir honte. » Dutcher a dévoilé son homosexualité à 12 ans, mais l'idée même d'un « coming-out » lui a été imposée par les structures colonialistes. « L'identité bispirituelle ou queer autochtone est si belle, car elle ne provient pas d'un concept de déviance. » Et pourtant, « une grande part de ce savoir ancien a été perdue », souligne-t-il, et en tant qu'enfant grandissant au Nouveau-Brunswick — et même en tant qu'adulte habitant désormais Montréal — il évolue toujours à travers un « espace médian ». The Land That Held Them, son hommage à « ceux qui nous ont quittés trop tôt », vibre d'une façon qui évoque Nina Simone et Anohni. Ailleurs, au lieu d'un son modeste et presque privé, Dutcher utilise le plus grand canevas possible : un orchestre complet, avec des arrangements de Owen Pallett et, sur des morceaux comme Sakom, une chorale de 12 voix, celles de pairs queer et amis de Dutcher. Le chanteur a loué un autobus pour les amener enregistrer à Kingston — des camarades de l'école de musique de Halifax, ainsi que des membres de la scène jazz de Toronto et de l'irrésistible Queer Song-book Orchestra.Écouter Motewolonuwok, c'est entendre un album aux voix multiples. Il y a celle de Dutcher, plus exposée que jamais. Il y a sa chorale impromptue. On entend des réinterprétations d'airs traditionnels des berges de la rivière Wolastoq, ainsi que des vers de la poète cherokee Qwoli Driskill. Dutcher chante en Wolasotqey— littéralement sa langue maternelle — mais aussi en anglais, la langue de son père (et celle qu'il parlait le plus durant sa jeunesse). Une langue partagée est un cadeau avec une intention complexe ; sur Motewolonuwok, Dutcher ne chante pas que pour sa communauté, mais aussi « directement pour le nouveau venu [colonisateur] », dans sa propre langue, pour raconter des histoires de deuil, de résilience et de renaissance. Faire de la musique est comme apprendre une langue, selon Dutcher— « il n'y a pas de conclusion particulière ». C'est plutôt « un déchainement » - une constante exploration de ce qu'on veut dire et de comment on peut l'exprimer. Motewolonuwok est le prochain chapitre du musicien — un souhait collectif et une médecine réparatrice, une confession et un refrain. Titres interprétés dans le grand studio- Ultestakon Live RFI- Take My Hand, extrait de l'album voir le clip - Skichinuwihkuk Live RFI voir le clip. Line Up : Jeremy Dutcher, piano-voix.Traduction : Claire Simon.Son : Mathias Taylor, Benoît Letirant.► Album Motewolonuwok (Secret City Records 2023).
Plongez dans les univers captivants d'Elisapie et de Jeremy Dutcher. Laissez-vous enivrer par le souffle du Grand Nord et du New Brunswick avec les albums Inuktitut et Motewolonuwok. (Rediffusion) Avant de commencer l'émission, voici quelques infos sur les cultures autochtones du Canada :Il y a 3 branches différentes d'autochtones au Canada :- 1) Premières nations : Mohawk, mig'maq, Abenaki... (Jeremy Dutcher)- 2) Métis- 3) Inuit (Elisapie).Pour ne pas se tromper, on dit : AutochtoneLa langue des Inuit est le Inuktitut : Inuk (singulier) / Inuit (pluriel)Elisapie se présente comme une Inuk du peuple inuit.Erreurs communes à éviter :Confondre les Innus et les Inuit - Les Innus viennent de la Côte Nord (Florent Vollant par exemple) / Les Inuit viennent du Grand Nord (Elisapie).Le Nunavik est la région tout au Nord du Québec. Le Nunavut est un territoire canadien.On ne dit pas la culture autochtone mais les cultures autochtones.Il y a plus de 50 langues autochtones au Canada, il y a 11 nations autochtones au Québec incluant les Inuit : Abénakis, Anishinabeg, Atikamekw Nehirowisiw, Eeyou, Wendat, Innu, Inuit, Wolastoqiyik, Mi'qmaq, Mohawk-Kanien'kehá:ka et Naskapi.Première invitée : Elisapie pour la sortie de l'album InuktitutL'artiste venue du Grand Nord, Elisapie, est depuis plusieurs années une ambassadrice incontournable des voix autochtones, elle incarne une élégance musicale certaine et un féminisme en avance sur son temps.Avec ce nouveau disque, la chanteuse qui a grandi à Salluit, un petit village du Nunavik, la région la plus au nord du Québec revient sur son enfance et adolescence en explorant ses titres préférés qui l'ont vue s'émanciper en tant que femme et en tant qu'artiste. Le défi était grand de revisiter ces chansons intemporelles de groupes ou d'artistes légendaires. Pourtant, qui peut prétendre à autant de délicatesse que dans ce titre Uummati Attanarsimat (Heart of Glass), reprise de Blondie ou ce Taimangalimaaq (Time After Time), de Cindy Lauper ?Ces classiques réinterprétés de Queen, Pink Floyd ou Rolling Stones sont chantés en Inuktitut, sa langue natale. De cette traduction, découlent une force et une poésie inédite. Dans cette playlist de jeunesse, Elisapie raconte son parcours, ses joies et ses peines, sa détermination aussi tout en faisant résonner sa culture avec finesse, en conjuguant modernité et tradition. De ses années passées dans l'Arctique, Elisapie a gardé les souvenirs de ses premiers amours, a été témoin des effets du colonialisme sur sa collectivité et a dansé jusqu'au bout de la nuit au centre communautaire du village. À l'adolescence, elle se produit sur scène avec ses oncles, eux-mêmes membres de l'illustre groupe de rock'n'roll inuit Sugluk (aussi appelé Salluit Band). À 15 ans, elle travaille à la station de radio du village et parvient à décrocher une entrevue avec Metallica. Jeune femme brillante et ambitieuse, elle s'installe à Montréal pour étudier et, finalement, faire carrière dans la musique. Aujourd'hui, l'auteure-compositrice-interprète inuk est une figure incontournable au Canada. Activiste dévouée, Elisapie a créé et produit la première émission de télévision diffusée dans tout le Canada pour célébrer la Journée nationale des peuples autochtones. Son attachement inconditionnel à son territoire et à sa langue, se situe au cœur de son parcours créatif et donc de son œuvre. Cette langue millénaire incarne la rudesse de l'environnement et la beauté féroce du territoire inuit. Cet album est le fruit de tout cela : une constellation de souvenirs aussi sensibles qu'oniriques.À la sortie de Uummati Attanarsimat, Debbie Harry et Chris Stein, membres de Blondie, acclament toute la beauté de cette version de Heart of Glass. Titres joués - Uummati Attanarsimat (Heart of Glass) Blondie voir le clip - Qimmijuat (Wild Horses) Rolling Stones voir le clip - Isumagijunnaitaungituq (The Unforgiven) Metallica voir le clip - Qaisimalaurittuq (Wish You Were Here) Pink Floyd- Californiamut (Going to California) Led Zeppelin.► Album Inuktitut (Yotanka/Bonsound 2023). Puis la #SessionLive reçoit Jeremy Dutcher pour la sortie de l'album Motewolonuwok.5 ans après avoir remporté le Prix de musique Polaris avec son premier album, Jeremy Dutcher est de retour avec une exploration radieuse de l'expérience autochtone contemporaine et de la place qu'il y trouve. Avec des chansons dans la langue de son peuple, le Wolasotqey, mais aussi en anglais pour la première fois, Motewolonuwok surpasse tout ce que le musicien a créé auparavant, englobant les chansons traditionnelles, les ballades nocturnes et les orchestrations saisissantes. « Lorsque nous analysons nos histoires, incluant nos histoires tristes — quelle est la lumière qui en ressort malgré tout ? », s'interroge-t-il. « Je voulais chanter à propos de la souffrance, puis nous amener vers la beauté », confie Dutcher. Wolastoqiyik Lintuwakonawa, paru en 2018, a propulsé Dutcher aux plus hauts sommets du monde culturel canadien, des galas Polaris et Juno au panel de juges de Canada's Drag Race. Mais peu de gens auraient pu prédire ce succès : l'album a été conçu comme un projet de recherche muséale, explorant les enregistrements sur cylindres de cire des porteurs de chansons wolastoqiyik — les ancêtres de Dutcher. Ténor de formation, le musicien a finalement chanté en duo avec ces voix, répondant à sa propre communauté à travers de sublimes chansons réinventées.Cette fois-ci, Dutcher voulait faire un album plus intimiste. Une remise en question. Un disque inspiré d'une observation du penseur yupik Richard LaFortune— que « le point où deux discriminations se rencontrent peut être dangereux ». Cette intersection peut également engendrer de la résilience, et cette résilience peut devenir une force. « Motewolonuwok » est un mot wolasotqey ancien qui est habituellement traduit par « sorcières ». C'est aussi ainsi qu'on appelle les personnes bispirituelles de la région — des personnes qui sont autochtones et queer, comme Dutcher, et qui ont reçu un héritage traditionnel précis. « Ce sont “des personnes possédant une grande force spirituelle” », explique-t-il. « C'est un honneur, plutôt que quelque chose dont il faut avoir honte. » Dutcher a dévoilé son homosexualité à 12 ans, mais l'idée même d'un « coming-out » lui a été imposée par les structures colonialistes. « L'identité bispirituelle ou queer autochtone est si belle, car elle ne provient pas d'un concept de déviance. » Et pourtant, « une grande part de ce savoir ancien a été perdue », souligne-t-il, et en tant qu'enfant grandissant au Nouveau-Brunswick — et même en tant qu'adulte habitant désormais Montréal — il évolue toujours à travers un « espace médian ». The Land That Held Them, son hommage à « ceux qui nous ont quittés trop tôt », vibre d'une façon qui évoque Nina Simone et Anohni. Ailleurs, au lieu d'un son modeste et presque privé, Dutcher utilise le plus grand canevas possible : un orchestre complet, avec des arrangements de Owen Pallett et, sur des morceaux comme Sakom, une chorale de 12 voix, celles de pairs queer et amis de Dutcher. Le chanteur a loué un autobus pour les amener enregistrer à Kingston — des camarades de l'école de musique de Halifax, ainsi que des membres de la scène jazz de Toronto et de l'irrésistible Queer Song-book Orchestra.Écouter Motewolonuwok, c'est entendre un album aux voix multiples. Il y a celle de Dutcher, plus exposée que jamais. Il y a sa chorale impromptue. On entend des réinterprétations d'airs traditionnels des berges de la rivière Wolastoq, ainsi que des vers de la poète cherokee Qwoli Driskill. Dutcher chante en Wolasotqey— littéralement sa langue maternelle — mais aussi en anglais, la langue de son père (et celle qu'il parlait le plus durant sa jeunesse). Une langue partagée est un cadeau avec une intention complexe ; sur Motewolonuwok, Dutcher ne chante pas que pour sa communauté, mais aussi « directement pour le nouveau venu [colonisateur] », dans sa propre langue, pour raconter des histoires de deuil, de résilience et de renaissance. Faire de la musique est comme apprendre une langue, selon Dutcher— « il n'y a pas de conclusion particulière ». C'est plutôt « un déchainement » - une constante exploration de ce qu'on veut dire et de comment on peut l'exprimer. Motewolonuwok est le prochain chapitre du musicien — un souhait collectif et une médecine réparatrice, une confession et un refrain. Titres interprétés dans le grand studio- Ultestakon Live RFI- Take My Hand, extrait de l'album voir le clip - Skichinuwihkuk Live RFI voir le clip. Line Up : Jeremy Dutcher, piano-voix.Traduction : Claire Simon.Son : Mathias Taylor, Benoît Letirant.► Album Motewolonuwok (Secret City Records 2023).
durée : 00:04:43 - Dans la playlist de France Inter - Anohni & The Johnsons est de retour par le biais de deux actus : un nouveau titre et deux concerts à la Philharmonie de Paris après 10 années de disette live pour les fans. Mieux qu'un retour, deux retours.
Nesta edição, Cleber Facchi (@cleberfacchi), Renan Guerra (@_renanguerra) e Érika Paixão (@_paixaoerika) discutem como a música e a cultura pop LGBTQIA+ está diretamente relacionada com a política e como esses temas devem sim dialogar. Apoie a gente: https://apoia.se/podcastvfsm Não Paro De Ouvir ➜ Toro Y Moi https://tinyurl.com/p6ykzknm➜ Nubya Garcia https://tinyurl.com/js7zb3ed➜ The World Is A Beautiful Place https://tinyurl.com/2n4nmwmn➜ Pom Poko https://tinyurl.com/37zkv6zd➜ NxWorries https://tinyurl.com/2abpw89u➜ EBBB https://tinyurl.com/2n2bxrra➜ Moses Sumney https://tinyurl.com/5abtee2z➜ ANOHNI https://tinyurl.com/6kpxzmdh➜ Uana & Idlibra https://tinyurl.com/4yyc2p26➜ Dead Can Dance & Las Bibas https://tinyurl.com/3zw7p64f➜ Victin https://tinyurl.com/yu5nnyfm➜ Paulete Lindacelva➜ Katy da Voz e As Abusadas https://tinyurl.com/vtjathna➜ Diamanda Galás https://tinyurl.com/26py6ssy➜ John Grant https://tinyurl.com/yb468uan➜ Quartabê https://tinyurl.com/y7rktaau➜ Jamie XX & Robyn https://tinyurl.com/4z9v8cvw➜ Murcielago https://tinyurl.com/m7kpuva3➜ Burial https://tinyurl.com/5n6unp6y➜ Anna Prior https://tinyurl.com/2j6n9h3w➜ John Cale https://tinyurl.com/yc7jwce4➜ Skee Mask https://tinyurl.com/bdzcf6zv➜ Raveena https://tinyurl.com/5ytswajz➜ James Blake https://tinyurl.com/bde4dnjj➜ ARTMS https://tinyurl.com/yyv52znd Você Precisa Ouvir Isso ➜ Wunderhorse https://tinyurl.com/4hcv7vnh➜ Os Melhores Discos de 2024 https://tinyurl.com/2kbjjxfk➜ Good Place (Netflix)➜ Divertidamente (Cinemas)➜ The Boys (Prime Video) Playlist Seleção VFSM: https://bit.ly/3ETG7oEContato: sobremusicavamosfalar@gmail.com
“My Back Was a Bridge for You to Cross” é o quinto álbum de estúdio de “Anohni and the Johnsons” e o primeiro que ouço. Foi lançado em 2023 e co-produzido (também co-idealizado) por Jimmy Hogarth. O álbum aborda diversos temas, como preconceito e convulsão social em “It Must Change”, conservacionismo em “There Wasn't Enough” e memórias, como em “Sliver of Ice”, inspirada em uma conversa peculiar de Anohni com Lou Reed sobre “a beleza da água congelada”, semanas antes de sua morte em 2013. O que torna este álbum tão bom é que ele evita experimentações excessivas em favor de um estilo soul mais clássico. Não que o experimentalismo seja ruim, mas muitas vezes artistas alternativos como Anohni acabam sendo experimentais apenas para sinalizar uma afinidade pretensiosa com uma vanguarda vazia de sentido e efeito. O soul tradicional, em sua fórmula consagrada, já oferece as ferramentas necessárias de expressão – o que importa para um artista. Aqui, Anohni busca expressar, entre outras coisas, é sua admiração por Marsha P. Johnson, que figura a capa deste disco (e também o nome da banda). Leia mais aqui.
Sidonie hace su propio 'remake' de 'La Matanza de Texas' junto a Mujeres y Ladilla Rusa, una comedia romántica, que acaba mal. Los Invaders adelantan en este podcast " Espia del KGB", una descarga que habla de lo complicado que resulta el amor, muchas veces, y también avanzamos "Me Jode", nueva canción de Las Dianas, sobre luchar contra el adormecimiento, la flacidez mental, la ansiedad y el descontento. FRANÇOISE HARDY - Comment Te Dire AdieuHINDS - En FormaSIDONIE - La Matanza de Texas ft Mujeres y Ladilla RusaVICENTE CALDERÓN - PornoGORKA URBIZU - Toki batNICK LOWE, LOS STRAITJACKETS - Went to a PartyRIVAL SONS - Sweet LifeANOHNI – BreakingNILÜFER YANYA - Method Actorlevitants - Nuevas MetasBIZNAGA - El entusiasmoEELS - Sweet SmileCOMETA - Otra VezLOS INVADERS - Espia del KGBTHE TEMPER TRAP - Sweet Disposition (John Summit & Silver Panda Remix)CHARLI XCX - Hello GoodbyeLAS DIANAS - Me JodeEscuchar audio
WARNING! This show is for adults. We drink cocktails, have potty mouths and, at least, one of us was raised by wolves. The Clockwork Cabaret is a production of Agony Aunt Studios. Featuring that darling DJ Duo, Lady Attercop and Emmett Davenport. Our theme music is made especially for us by Kyle O'Door. This episode aired on Mad Wasp Radio, 06.09.24. New episodes air on Mad Wasp Radio on Sundays @ 12pm GMT! Listen at www.madwaspradio.com or via TuneIn radio app! Playlist: Phranc – Mrs. Brown, You've Got a Lovely Daughter Lavender Country – I Can't Shake The Stranger Out Of You Orville Peck – Smalltown Boy The Cramps – Strange Love Southern Culture On the Skids – Camel Walk The 69 Cats – Sweet Transvestite Stray Cats – Gene And Eddie Messer Chups – Stigmata [Gothabilly Version] The Damned – I Don't Care Siouxsie & The Banshees – Something Wicked (This Way Comes) Boys Don't Cry – I Wanna Be a Cowboy Blur – Girls and Boys Jonathan Richman – I Was Dancing in the Lesbian Bar The Modern Lovers – Pablo Picasso The Magnetic Fields – Andrew in Drag Pixies – Here Comes Your Man The Smiths – This Charming Man The Cure – In Between Days Falco – Macho Macho Dead or Alive – You Spin Me Round ( Like Record) Thompson Twins – King For A Day Scissor Sisters – She's My Man Noisettes – Don't Upset the Rhythm (Go Baby Go) Hercules & Love Affair – Raise Me Up (feat. ANOHNI)
Plongez dans les univers captivants d'Elisapie et de Jeremy Dutcher. Laissez-vous enivrer par le souffle du Grand Nord et du New Brunswick avec les albums Inuktitut et Motewolonuwok. (Rediffusion) Avant de commencer l'émission, voici quelques infos sur les cultures autochtones du Canada :Il y a 3 branches différentes d'autochtones au Canada :- 1) Premières nations : Mohawk, mig'maq, Abenaki... (Jeremy Dutcher)- 2) Métis- 3) Inuit (Elisapie).Pour ne pas se tromper, on dit : Autochtone.La langue des Inuit est le Inuktitut : Inuk (singulier) / Inuit (pluriel)Elisapie se présente comme une Inuk du peuple inuit.Erreurs communes à éviter :Confondre les Innus et les Inuit - Les Innus viennent de la Côte Nord (Florent Vollant par exemple) / Les Inuit viennent du Grand Nord (Elisapie).Le Nunavik est la région tout au nord du Québec. Le Nunavut est un territoire canadien.On ne dit pas la culture autochtone mais les cultures autochtones.Il y a plus de 50 langues autochtones au Canada, il y a 11 nations autochtones au Québec incluant les Inuit : Abénakis, Anishinabeg, Atikamekw Nehirowisiw, Eeyou, Wendat, Innu, Inuit, Wolastoqiyik, Mi'qmaq, Mohawk-Kanien'kehá:ka et Naskapi. Première invitée : Elisapie pour la sortie de l'album InuktitutL'artiste venue du Grand Nord, Elisapie, est depuis plusieurs années une ambassadrice incontournable des voix autochtones, elle incarne une élégance musicale certaine et un féminisme en avance sur son temps.Avec ce nouveau disque, la chanteuse qui a grandi à Salluit, un petit village du Nunavik, la région la plus au nord du Québec revient sur son enfance et adolescence en explorant ses titres préférés qui l'ont vue s'émanciper en tant que femme et en tant qu'artiste. Le défi était grand de revisiter ces chansons intemporelles de groupes ou d'artistes légendaires. Pourtant, qui peut prétendre à autant de délicatesse que dans ce titre Uummati Attanarsimat (Heart of Glass), reprise de Blondie ou ce Taimangalimaaq (Time After Time), de Cindy Lauper ?Ces classiques réinterprétés de Queen, Pink Floyd ou Rolling Stones sont chantés en Inuktitut, sa langue natale. De cette traduction, découlent une force et une poésie inédite. Dans cette playlist de jeunesse, Elisapie raconte son parcours, ses joies et ses peines, sa détermination aussi tout en faisant résonner sa culture avec finesse, en conjuguant modernité et tradition. De ses années passées dans l'Arctique, Elisapie a gardé les souvenirs de ses premiers amours, a été témoin des effets du colonialisme sur sa collectivité et a dansé jusqu'au bout de la nuit au centre communautaire du village. À l'adolescence, elle se produit sur scène avec ses oncles, eux-mêmes membres de l'illustre groupe de rock'n'roll inuit Sugluk (aussi appelé Salluit Band).À 15 ans, elle travaille à la station de radio du village et parvient à décrocher une entrevue avec Metallica. Jeune femme brillante et ambitieuse, elle s'installe à Montréal pour étudier et, finalement, faire carrière dans la musique. Aujourd'hui, l'auteure-compositrice-interprète inuk est une figure incontournable au Canada. Activiste dévouée, Elisapie a créé et produit la première émission de télévision diffusée dans tout le Canada pour célébrer la Journée nationale des peuples autochtones. Son attachement inconditionnel à son territoire et à sa langue, se situe au cœur de son parcours créatif et donc de son œuvre. Cette langue millénaire incarne la rudesse de l'environnement et la beauté féroce du territoire inuit. Cet album est le fruit de tout cela : une constellation de souvenirs aussi sensibles qu'oniriques.À la sortie de Uummati Attanarsimat, Debbie Harry et Chris Stein, membres de Blondie, acclament toute la beauté de cette version de Heart of Glass.Titres joués - Uummati Attanarsimat (Heart of Glass) Blondie voir le clip - Qimmijuat (Wild Horses) Rolling Stones voir le clip - Isumagijunnaitaungituq (The Unforgiven) Metallica voir le clip - Qaisimalaurittuq (Wish You Were Here) Pink Floyd- Californiamut (Going to California) Led Zeppelin.► Album Inuktitut (Yotanka/Bonsound 2023). Puis la #SessionLive reçoit Jeremy Dutcher pour la sortie de l'album Motewolonuwok.5 ans après avoir remporté le Prix de musique Polaris avec son premier album, Jeremy Dutcher est de retour avec une exploration radieuse de l'expérience autochtone contemporaine et de la place qu'il y trouve. Avec des chansons dans la langue de son peuple, le Wolasotqey, mais aussi en anglais pour la première fois, Motewolonuwok surpasse tout ce que le musicien a créé auparavant, englobant les chansons traditionnelles, les ballades nocturnes et les orchestrations saisissantes. « Lorsque nous analysons nos histoires, incluant nos histoires tristes — quelle est la lumière qui en ressort malgré tout ? », s'interroge-t-il. « Je voulais chanter à propos de la souffrance, puis nous amener vers la beauté », confie Dutcher. Wolastoqiyik Lintuwakonawa, paru en 2018, a propulsé Dutcher aux plus hauts sommets du monde culturel canadien, des galas Polaris et Juno au panel de juges de Canada's Drag Race. Mais peu de gens auraient pu prédire ce succès : l'album a été conçu comme un projet de recherche muséale, explorant les enregistrements sur cylindres de cire des porteurs de chansons wolastoqiyik — les ancêtres de Dutcher. Ténor de formation, le musicien a finalement chanté en duo avec ces voix, répondant à sa propre communauté à travers de sublimes chansons réinventées.Cette fois-ci, Dutcher voulait faire un album plus intimiste. Une remise en question. Un disque inspiré d'une observation du penseur yupik Richard LaFortune— que « le point où deux discriminations se rencontrent peut être dangereux ». Cette intersection peut également engendrer de la résilience, et cette résilience peut devenir une force. « Motewolonuwok » est un mot wolasotqey ancien qui est habituellement traduit par « sorcières ». C'est aussi ainsi qu'on appelle les personnes bispirituelles de la région — des personnes qui sont autochtones et queer, comme Dutcher, et qui ont reçu un héritage traditionnel précis. « Ce sont “des personnes possédant une grande force spirituelle” », explique-t-il. « C'est un honneur, plutôt que quelque chose dont il faut avoir honte. » Dutcher a dévoilé son homosexualité à 12 ans, mais l'idée même d'un « coming-out » lui a été imposée par les structures colonialistes. « L'identité bispirituelle ou queer autochtone est si belle, car elle ne provient pas d'un concept de déviance. » Et pourtant, « une grande part de ce savoir ancien a été perdue », souligne-t-il, et en tant qu'enfant grandissant au Nouveau-Brunswick — et même en tant qu'adulte habitant désormais Montréal — il évolue toujours à travers un « espace médian ».The Land That Held Them, son hommage à « ceux qui nous ont quittés trop tôt », vibre d'une façon qui évoque Nina Simone et Anohni. Ailleurs, au lieu d'un son modeste et presque privé, Dutcher utilise le plus grand canevas possible : un orchestre complet, avec des arrangements de Owen Pallett et, sur des morceaux comme Sakom, une chorale de 12 voix, celles de pairs queer et amis de Dutcher. Le chanteur a loué un autobus pour les amener enregistrer à Kingston — des camarades de l'école de musique de Halifax, ainsi que des membres de la scène jazz de Toronto et de l'irrésistible Queer Song-book Orchestra.Écouter Motewolonuwok, c'est entendre un album aux voix multiples. Il y a celle de Dutcher, plus exposée que jamais. Il y a sa chorale impromptue. On entend des réinterprétations d'airs traditionnels des berges de la rivière Wolastoq, ainsi que des vers de la poète cherokee Qwoli Driskill. Dutcher chante en Wolasotqey— littéralement sa langue maternelle — mais aussi en anglais, la langue de son père (et celle qu'il parlait le plus durant sa jeunesse). Une langue partagée est un cadeau avec une intention complexe ; sur Motewolonuwok, Dutcher ne chante pas que pour sa communauté, mais aussi « directement pour le nouveau venu [colonisateur] », dans sa propre langue, pour raconter des histoires de deuil, de résilience et de renaissance. Faire de la musique est comme apprendre une langue, selon Dutcher— « il n'y a pas de conclusion particulière ». C'est plutôt « un déchaînement » - une constante exploration de ce qu'on veut dire et de comment on peut l'exprimer. Motewolonuwok est le prochain chapitre du musicien — un souhait collectif et une médecine réparatrice, une confession et un refrain.Titres interprétés dans le grand studio- Ultestakon Live RFI- Take My Hand, extrait de l'album voir le clip - Skichinuwihkuk Live RFI voir le clip. Line Up : Jeremy Dutcher, piano-voix.Traduction : Claire Simon.Son : Mathias Taylor, Benoît Letirant.► Album Motewolonuwok (Secret City Records 2023).
Plongez dans les univers captivants d'Elisapie et de Jeremy Dutcher. Laissez-vous enivrer par le souffle du Grand Nord et du New Brunswick avec les albums Inuktitut et Motewolonuwok. (Rediffusion) Avant de commencer l'émission, voici quelques infos sur les cultures autochtones du Canada :Il y a 3 branches différentes d'autochtones au Canada :- 1) Premières nations : Mohawk, mig'maq, Abenaki... (Jeremy Dutcher)- 2) Métis- 3) Inuit (Elisapie).Pour ne pas se tromper, on dit : Autochtone.La langue des Inuit est le Inuktitut : Inuk (singulier) / Inuit (pluriel)Elisapie se présente comme une Inuk du peuple inuit.Erreurs communes à éviter :Confondre les Innus et les Inuit - Les Innus viennent de la Côte Nord (Florent Vollant par exemple) / Les Inuit viennent du Grand Nord (Elisapie).Le Nunavik est la région tout au nord du Québec. Le Nunavut est un territoire canadien.On ne dit pas la culture autochtone mais les cultures autochtones.Il y a plus de 50 langues autochtones au Canada, il y a 11 nations autochtones au Québec incluant les Inuit : Abénakis, Anishinabeg, Atikamekw Nehirowisiw, Eeyou, Wendat, Innu, Inuit, Wolastoqiyik, Mi'qmaq, Mohawk-Kanien'kehá:ka et Naskapi. Première invitée : Elisapie pour la sortie de l'album InuktitutL'artiste venue du Grand Nord, Elisapie, est depuis plusieurs années une ambassadrice incontournable des voix autochtones, elle incarne une élégance musicale certaine et un féminisme en avance sur son temps.Avec ce nouveau disque, la chanteuse qui a grandi à Salluit, un petit village du Nunavik, la région la plus au nord du Québec revient sur son enfance et adolescence en explorant ses titres préférés qui l'ont vue s'émanciper en tant que femme et en tant qu'artiste. Le défi était grand de revisiter ces chansons intemporelles de groupes ou d'artistes légendaires. Pourtant, qui peut prétendre à autant de délicatesse que dans ce titre Uummati Attanarsimat (Heart of Glass), reprise de Blondie ou ce Taimangalimaaq (Time After Time), de Cindy Lauper ?Ces classiques réinterprétés de Queen, Pink Floyd ou Rolling Stones sont chantés en Inuktitut, sa langue natale. De cette traduction, découlent une force et une poésie inédite. Dans cette playlist de jeunesse, Elisapie raconte son parcours, ses joies et ses peines, sa détermination aussi tout en faisant résonner sa culture avec finesse, en conjuguant modernité et tradition. De ses années passées dans l'Arctique, Elisapie a gardé les souvenirs de ses premiers amours, a été témoin des effets du colonialisme sur sa collectivité et a dansé jusqu'au bout de la nuit au centre communautaire du village. À l'adolescence, elle se produit sur scène avec ses oncles, eux-mêmes membres de l'illustre groupe de rock'n'roll inuit Sugluk (aussi appelé Salluit Band).À 15 ans, elle travaille à la station de radio du village et parvient à décrocher une entrevue avec Metallica. Jeune femme brillante et ambitieuse, elle s'installe à Montréal pour étudier et, finalement, faire carrière dans la musique. Aujourd'hui, l'auteure-compositrice-interprète inuk est une figure incontournable au Canada. Activiste dévouée, Elisapie a créé et produit la première émission de télévision diffusée dans tout le Canada pour célébrer la Journée nationale des peuples autochtones. Son attachement inconditionnel à son territoire et à sa langue, se situe au cœur de son parcours créatif et donc de son œuvre. Cette langue millénaire incarne la rudesse de l'environnement et la beauté féroce du territoire inuit. Cet album est le fruit de tout cela : une constellation de souvenirs aussi sensibles qu'oniriques.À la sortie de Uummati Attanarsimat, Debbie Harry et Chris Stein, membres de Blondie, acclament toute la beauté de cette version de Heart of Glass.Titres joués - Uummati Attanarsimat (Heart of Glass) Blondie voir le clip - Qimmijuat (Wild Horses) Rolling Stones voir le clip - Isumagijunnaitaungituq (The Unforgiven) Metallica voir le clip - Qaisimalaurittuq (Wish You Were Here) Pink Floyd- Californiamut (Going to California) Led Zeppelin.► Album Inuktitut (Yotanka/Bonsound 2023). Puis la #SessionLive reçoit Jeremy Dutcher pour la sortie de l'album Motewolonuwok.5 ans après avoir remporté le Prix de musique Polaris avec son premier album, Jeremy Dutcher est de retour avec une exploration radieuse de l'expérience autochtone contemporaine et de la place qu'il y trouve. Avec des chansons dans la langue de son peuple, le Wolasotqey, mais aussi en anglais pour la première fois, Motewolonuwok surpasse tout ce que le musicien a créé auparavant, englobant les chansons traditionnelles, les ballades nocturnes et les orchestrations saisissantes. « Lorsque nous analysons nos histoires, incluant nos histoires tristes — quelle est la lumière qui en ressort malgré tout ? », s'interroge-t-il. « Je voulais chanter à propos de la souffrance, puis nous amener vers la beauté », confie Dutcher. Wolastoqiyik Lintuwakonawa, paru en 2018, a propulsé Dutcher aux plus hauts sommets du monde culturel canadien, des galas Polaris et Juno au panel de juges de Canada's Drag Race. Mais peu de gens auraient pu prédire ce succès : l'album a été conçu comme un projet de recherche muséale, explorant les enregistrements sur cylindres de cire des porteurs de chansons wolastoqiyik — les ancêtres de Dutcher. Ténor de formation, le musicien a finalement chanté en duo avec ces voix, répondant à sa propre communauté à travers de sublimes chansons réinventées.Cette fois-ci, Dutcher voulait faire un album plus intimiste. Une remise en question. Un disque inspiré d'une observation du penseur yupik Richard LaFortune— que « le point où deux discriminations se rencontrent peut être dangereux ». Cette intersection peut également engendrer de la résilience, et cette résilience peut devenir une force. « Motewolonuwok » est un mot wolasotqey ancien qui est habituellement traduit par « sorcières ». C'est aussi ainsi qu'on appelle les personnes bispirituelles de la région — des personnes qui sont autochtones et queer, comme Dutcher, et qui ont reçu un héritage traditionnel précis. « Ce sont “des personnes possédant une grande force spirituelle” », explique-t-il. « C'est un honneur, plutôt que quelque chose dont il faut avoir honte. » Dutcher a dévoilé son homosexualité à 12 ans, mais l'idée même d'un « coming-out » lui a été imposée par les structures colonialistes. « L'identité bispirituelle ou queer autochtone est si belle, car elle ne provient pas d'un concept de déviance. » Et pourtant, « une grande part de ce savoir ancien a été perdue », souligne-t-il, et en tant qu'enfant grandissant au Nouveau-Brunswick — et même en tant qu'adulte habitant désormais Montréal — il évolue toujours à travers un « espace médian ».The Land That Held Them, son hommage à « ceux qui nous ont quittés trop tôt », vibre d'une façon qui évoque Nina Simone et Anohni. Ailleurs, au lieu d'un son modeste et presque privé, Dutcher utilise le plus grand canevas possible : un orchestre complet, avec des arrangements de Owen Pallett et, sur des morceaux comme Sakom, une chorale de 12 voix, celles de pairs queer et amis de Dutcher. Le chanteur a loué un autobus pour les amener enregistrer à Kingston — des camarades de l'école de musique de Halifax, ainsi que des membres de la scène jazz de Toronto et de l'irrésistible Queer Song-book Orchestra.Écouter Motewolonuwok, c'est entendre un album aux voix multiples. Il y a celle de Dutcher, plus exposée que jamais. Il y a sa chorale impromptue. On entend des réinterprétations d'airs traditionnels des berges de la rivière Wolastoq, ainsi que des vers de la poète cherokee Qwoli Driskill. Dutcher chante en Wolasotqey— littéralement sa langue maternelle — mais aussi en anglais, la langue de son père (et celle qu'il parlait le plus durant sa jeunesse). Une langue partagée est un cadeau avec une intention complexe ; sur Motewolonuwok, Dutcher ne chante pas que pour sa communauté, mais aussi « directement pour le nouveau venu [colonisateur] », dans sa propre langue, pour raconter des histoires de deuil, de résilience et de renaissance. Faire de la musique est comme apprendre une langue, selon Dutcher— « il n'y a pas de conclusion particulière ». C'est plutôt « un déchaînement » - une constante exploration de ce qu'on veut dire et de comment on peut l'exprimer. Motewolonuwok est le prochain chapitre du musicien — un souhait collectif et une médecine réparatrice, une confession et un refrain.Titres interprétés dans le grand studio- Ultestakon Live RFI- Take My Hand, extrait de l'album voir le clip - Skichinuwihkuk Live RFI voir le clip. Line Up : Jeremy Dutcher, piano-voix.Traduction : Claire Simon.Son : Mathias Taylor, Benoît Letirant.► Album Motewolonuwok (Secret City Records 2023).
Harbour Bazaar : I Am An Elephant Now – 17/02/2024 from 7.30pm Davey Hal & Steven Hastings choosing two albums to compare and contrast ‘Elephant' by The White Stripes and ‘I Am A Bird Now' by Anohni & The Johnsons then choosing tracks, influences and inspirations plus a track from Davey's magnificently titled duo Davey Hal & The Big Bow Wow, a nod to the recently departed Wayne Kramer and Damo Suzuki plus news of exclusive music for SFOB subscribers. PLAYLIST Devil Train – The Ramblers Kick Out The Jams – The MC5 Drifting – Davey Hal & The Big Bow Wow Black Math – The White Striped There's No Home For You Here – The White Stripes Death Letter Blues – Son House Hope There's Someone - Anohni & The Johnsons Wall Of Eyes – The Smile Little Acorns – The White Stripes Blind – Hercules & The Love Affair In The Cold Cold Night – The White Stripes Going To A Town – Rufus Wainwright feat Anohni Ball & Biscuit – The White Stripes Today I Am A Boy - Anohni & The Johnsons I'm So Green – CAN Grinnin' In Your Face – Son House Links Music & News from Davey Hal https://daveyhal.com Davey Hal & The Big Bow Wow https://soundcloud.com/daveyhalbbw Support Ship Full Of Bombs Thames Delta Independent Radio If you would like to support the station and are in a position to do so then please pledge only what you can genuinely afford at www.patreon.com/sfob. Please like and subscribe from wherever you stream your music and podcasts. Thank you from The Harbour Bazaar
Around the World https://files.fireside.fm/file/fireside-uploads/images/c/c7e7a43b-5714-4470-a244-6aa82c1dceff/c9rpQflZ.jpg Around the world. Around the world? What we're listening to: Marco: Cub Sport, Jesus at the Gay Bar (https://songwhip.com/cub-sport/jesus-at-the-gay-bar) Lil Yachty, Let's Start Here (https://songwhip.com/lil-yachty/lets-start-here2023) ANOHNI and the Johnsons, My Back Was a Bridge for You to Cross (https://songwhip.com/anohni/my-back-was-a-bridge-for-you-to-cross2023) Jake: Jungle, Volcano (https://songwhip.com/jungle/volcano) KGLW, Petrodragonic Apocalypse (https://songwhip.com/kinggizzardandthelizardwizard/petrodragonic-apocalypse-or-dawn-of-eternal-night-an-annihilation-of-planet-earth-and-the-beginning-of-merciless-damnation) Matthew: Kate Davis, Fish Bowl (https://songwhip.com/katedavis2/fish-bowl) The Clientele, I Am Not There Anymore (https://songwhip.com/the-clientele/i-am-not-there-anymore) The Photocopies, Top of the Pops (https://songwhip.com/thephotocopies/top-of-the-pops)
Your hosts this episode: Patrique OptimalAudio Traviud It's that time of the (new) year again, the annual year end episode where the podcast is joined by returning guest Traviud to once more discuss they're top 10 favorite releases of the past year of 2023. This episode is packed to the brim, as each host goes over their own unique inclusions from Danny Brown, Earl Sweatshirt, Home is Where, Carly Rae Jepsen, Parannoul, Jeff Rosenstock, MIKE, Kelela, and many more. As well the guys discuss the dirt worst releases this year dishonorably going to Macklemore's attempts at self reflection, Fall Out Boy's AI excursions, and the recent slew of Bro, Trap Alt-Right leaning-Country tunes. We hope you enjoy this diverse and intricate episode and await future content in this new year of 2024! Intro Music: Junclassic - "Borrowed Time (Instrumental)" Outro Music: Kankick - "Stagnated Pace" Edited / Produced by: Kittenpuke Find us on RYM through our provided Profile names! 0:00 - Intro 2:17 - Fall Out Boy in 2023 12:28 - "One Thing At a Time" by Morgan Wallen 16:18 - "How Do You Sleep at Night?" by Teezo Touchdown 18:43 - "The Age of Pleasure" by Janelle Monáe 22:53 - "Ben" by Macklemore 26:59 - "Rush!" by Maneskin 33:43 - "Praise a Lord Who Chews..." by Yves Tumor 34:24 - "That! Feels Good!" by Jessie Ware 35:47 - "Paranoïa, Angels, True Love" by Christine and the Queens 38:06 - "Fountain Baby" by Amaarae 39:09 - Getting Into Our Top 10 40:57 - "Heaven Knows" by PinkPantheress (Traviud's #10 & OptimalAudio's #9) 48:39 - "Paper Cut From the Obit" by Celestaphone (Patrique's #10) 59:20 - "Victory Music" by RealYungPhil (Optimal's #10) 1:04:28 - "Me chama de gato que eu sou sua" by Ana Frango Elétrico (Trav's #9) 1:09:45 - "This Stupid World" by Yo La Tango (Pat's #9) 1:21:29 - "Voir Dire" by Earl Sweatshirt & The Alchemist (Optimal's #8 & Pat's 8) 1:36:58 - "The Whaler" by Home Is Where (Trav's #8) 1:46:53 - "The Loveliest Time" by Carly Rae Jespsen (Optimal's #7) 1:47:23 - "He Left Nothing for the Swim Back" by SKETCH185 7 Jeff Markey (Pat's #7) 1:52:32 - "Madres" by Sofia Kourtesis (Trav's #7) 2:01:01 - "Burning Desire" by MIKE (Optimal's #6) 2:20:19 - "53 Dove Instrumentals From 2023" by Steel Tip Dove (Pat's #6) 2:24:35 - Patrique's Beat Tape Recommendations of the Year 2:32:21 - "After the Magic" & "After the Night" by Parannoul (Trav's #6) 2:45:33 - "Maps" by Billy Woods & Kenny Segal (Optimal's #5) 2:46:23 - "DJ E" by Chuquimamani-Condori Honorable Mention 2:54:03 - "Quaranta" by Danny Brown (Pat's #5) 3:22:45 - "Perfect Picture" by Hannah Diamond (Trav's #5) 3:34:28 - "The Aux" by Blockhead (Pat's #4) 3:42:01 - "Alexandria" by Izaya Tiji (Optimal's #4) 3:54:32 - "All This Will End" by Indigo De Souza (Trav's #4) 3:59:01 - "Faith is a Rock" by MIKE, Wiki & The Alchemist (Pat's #3) 4:04:59 - "Sisterhood" by Lostrushi (Optimal's #3) 4:14:12 - "HELLMODE" by Jeff Rosenstock (Trav's #3) 4:22:32 - "The Loveliest Time" by Carly Rae Jepsen (Pat's #2 & Trav's #2) 4:36:19 - "Raven" by Kelela (Optimal's #2) 4:42:45 - "My Back Was a Bridge For You to Cross" by ANOHNI and the Johnsons (Trav's #1) 4:53:16 - "Ganger" by Veeze (Optimal's #1) 4:57:28 - "We Buy Diabetic Test Strips" by Armand Hammer & "Maps" by Billy Woods & Kenny Segal (Pat's #1s) 5:05:44 - Outro
2023 has come to a close, which means it's time to recap our 2023 predictions. Did Nintendo announce the Switch 2? Did we finally see MachineGames' Indiana Jones? The brothers go through their wild (and sometimes prescient) 2023 predictions and determine who won the year! Timecodes: 00:00:00 - Intro/Housekeeping (Christmas Recap) | 00:07:49 - News Story #1: What is something you're happy to leave behind in 2023? | 00:12:36 - News Story #2: GOTY Across the Web | 00:20:32 - News Story #3: What is the biggest story of the year? | 00:22:47 - Main Topic: 2023 Predictions Recap and Results | 00:48:02 - Main Topic: 2023 Resolutions Recap | 0:53:56 - Rotating Segment: Handheld Highlight (The Lion King 1½) | 0:57:54 - Draft Day Starring Kevin Costner (Final Scores) | 1:03:33 - Game, Watch, Listen (VIDEO GAMES: Jusant, Donkey Kong Country: Tropical Freeze, Super Mario 3D World, Metroid Dread | MOVIES: Maestro, The Iron Claw, Little Women, Anyone But You, The Boys in the Boat | TV: Slow Horses, Percy Jackson and the Olympians, Scott Pilgrim Takes Off | MUSIC: The Lemon Twigs - Everything Harmony, yeule - softscars, Kevin Abstract - Blanket, Hannah Diamond - Perfect Picture, Aesop Rock - Integrated Tech Solutions, Armand Hammer - We Buy Diabetic Test Strips, Mon Laferte - Autopoiética, ANOHNI and the Johnsons - My Back Was a Bridge for You to Cross) Shoutout to Mizuki Kuroiwa for the incredible podcast artwork and to Thomniverse Remix for the music. Send any questions, comments, or concerns to thesupermosherbrothersshow@gmail.com and follow us @SuperMosherBros on Twitter. Thanks for listening!
一年一度的年度最佳专辑盘点来啦！分为华语、外语两个部分，各 10 张。我会简单说下这些专辑打动我的原因，并且简短播放专辑中的歌曲选段。在节目结尾也会聊聊这一年关于节目的情况还有感悟。期待你也能在评论区里分享你的年度最佳专辑～今年歪波音室要感谢很多人，比如说壁仔。因为没有她，其实歪波音室有很多节目根本不会出现，就比如宝岛音乐的前世今生，她真的是我的灵感缪斯。谢谢壁仔。还要感谢今年很多支持歪波音室的品牌朋友们，有了他们的赞助支持，歪波音室才能越做越好。最后，真的要感谢今年也在收听节目的你。没有你，就没有现在的歪波音室。不管你是老朋友还是新朋友，希望音乐能确实成为我们连接彼此的一座桥，那既然认识了，那我们就继续下去喽。最后的最后，感谢音乐。我相信音乐所能承载的，远比我们所想的还要更多更丰富，期待明年，我还能陪你们一起继续享受音乐所带来的美好。我们 2024 见！
Plongez dans les univers captivants d'Elisapie et de Jeremy Dutcher. Laissez-vous enivrer par le souffle du Grand Nord et du New Brunswick avec les albums Inuktitut et Motewolonuwok. (Rediffusion) Avant de commencer l'émission, voici quelques infos sur les cultures autochtones du Canada :Il y a 3 branches différentes d'autochtones au Canada :- 1) Premières nations : Mohawk, mig'maq, Abenaki... (Jeremy Dutcher)- 2) Métis- 3) Inuit (Elisapie).Pour ne pas se tromper, on dit : AutochtoneLa langue des Inuit est le Inuktitut : Inuk (singulier) / Inuit (pluriel)Elisapie se présente comme une Inuk du peuple inuit.Erreurs communes à éviter :Confondre les Innus et les Inuit - Les Innus viennent de la Côte Nord (Florent Vollant par exemple) / Les Inuit viennent du Grand Nord (Elisapie).Le Nunavik est la région tout au Nord du Québec. Le Nunavut est un territoire canadien.On ne dit pas la culture autochtone mais les cultures autochtones.Il y a plus de 50 langues autochtones au Canada, il y a 11 nations autochtones au Québec incluant les Inuit : Abénakis, Anishinabeg, Atikamekw Nehirowisiw, Eeyou, Wendat, Innu, Inuit, Wolastoqiyik, Mi'qmaq, Mohawk-Kanien'kehá:ka et Naskapi.Première invitée : Elisapie pour la sortie de l'album InuktitutL'artiste venue du Grand Nord, Elisapie, est depuis plusieurs années une ambassadrice incontournable des voix autochtones, elle incarne une élégance musicale certaine et un féminisme en avance sur son temps.Avec ce nouveau disque, la chanteuse qui a grandi à Salluit, un petit village du Nunavik, la région la plus au nord du Québec revient sur son enfance et adolescence en explorant ses titres préférés qui l'ont vue s'émanciper en tant que femme et en tant qu'artiste. Le défi était grand de revisiter ces chansons intemporelles de groupes ou d'artistes légendaires. Pourtant, qui peut prétendre à autant de délicatesse que dans ce titre Uummati Attanarsimat (Heart of Glass), reprise de Blondie ou ce Taimangalimaaq (Time After Time), de Cindy Lauper ?Ces classiques réinterprétés de Queen, Pink Floyd ou Rolling Stones sont chantés en Inuktitut, sa langue natale. De cette traduction, découlent une force et une poésie inédite. Dans cette playlist de jeunesse, Elisapie raconte son parcours, ses joies et ses peines, sa détermination aussi tout en faisant résonner sa culture avec finesse, en conjuguant modernité et tradition. De ses années passées dans l'Arctique, Elisapie a gardé les souvenirs de ses premiers amours, a été témoin des effets du colonialisme sur sa collectivité et a dansé jusqu'au bout de la nuit au centre communautaire du village. À l'adolescence, elle se produit sur scène avec ses oncles, eux-mêmes membres de l'illustre groupe de rock'n'roll inuit Sugluk (aussi appelé Salluit Band).À 15 ans, elle travaille à la station de radio du village et parvient à décrocher une entrevue avec Metallica. Jeune femme brillante et ambitieuse, elle s'installe à Montréal pour étudier et, finalement, faire carrière dans la musique. Aujourd'hui, l'auteure-compositrice-interprète inuk est une figure incontournable au Canada. Activiste dévouée, Elisapie a créé et produit la première émission de télévision diffusée dans tout le Canada pour célébrer la Journée nationale des peuples autochtones. Son attachement inconditionnel à son territoire et à sa langue, se situe au cœur de son parcours créatif et donc de son œuvre. Cette langue millénaire incarne la rudesse de l'environnement et la beauté féroce du territoire inuit. Cet album est le fruit de tout cela : une constellation de souvenirs aussi sensibles qu'oniriques.À la sortie de Uummati Attanarsimat, Debbie Harry et Chris Stein, membres de Blondie, acclament toute la beauté de cette version de Heart of Glass.Titres joués - Uummati Attanarsimat (Heart of Glass) Blondie voir le clip - Qimmijuat (Wild Horses) Rolling Stones voir le clip - Isumagijunnaitaungituq (The Unforgiven) Metallica voir le clip - Qaisimalaurittuq (Wish You Were Here) Pink Floyd- Californiamut (Going to California) Led Zeppelin.► Album Inuktitut (Yotanka/Bonsound 2023).Puis la #SessionLive reçoit Jeremy Dutcher pour la sortie de l'album Motewolonuwok.5 ans après avoir remporté le Prix de musique Polaris avec son premier album, Jeremy Dutcher est de retour avec une exploration radieuse de l'expérience autochtone contemporaine et de la place qu'il y trouve. Avec des chansons dans la langue de son peuple, le Wolasotqey, mais aussi en anglais pour la première fois, Motewolonuwok surpasse tout ce que le musicien a créé auparavant, englobant les chansons traditionnelles, les ballades nocturnes et les orchestrations saisissantes. « Lorsque nous analysons nos histoires, incluant nos histoires tristes — quelle est la lumière qui en ressort malgré tout ? », s'interroge-t-il. « Je voulais chanter à propos de la souffrance, puis nous amener vers la beauté », confie Dutcher. Wolastoqiyik Lintuwakonawa, paru en 2018, a propulsé Dutcher aux plus hauts sommets du monde culturel canadien, des galas Polaris et Juno au panel de juges de Canada's Drag Race. Mais peu de gens auraient pu prédire ce succès : l'album a été conçu comme un projet de recherche muséale, explorant les enregistrements sur cylindres de cire des porteurs de chansons wolastoqiyik — les ancêtres de Dutcher. Ténor de formation, le musicien a finalement chanté en duo avec ces voix, répondant à sa propre communauté à travers de sublimes chansons réinventées.Cette fois-ci, Dutcher voulait faire un album plus intimiste. Une remise en question. Un disque inspiré d'une observation du penseur yupik Richard LaFortune— que « le point où deux discriminations se rencontrent peut être dangereux ». Cette intersection peut également engendrer de la résilience, et cette résilience peut devenir une force. « Motewolonuwok » est un mot wolasotqey ancien qui est habituellement traduit par « sorcières ». C'est aussi ainsi qu'on appelle les personnes bispirituelles de la région — des personnes qui sont autochtones et queer, comme Dutcher, et qui ont reçu un héritage traditionnel précis. « Ce sont “des personnes possédant une grande force spirituelle” », explique-t-il. « C'est un honneur, plutôt que quelque chose dont il faut avoir honte. » Dutcher a dévoilé son homosexualité à 12 ans, mais l'idée même d'un « coming-out » lui a été imposée par les structures colonialistes. « L'identité bispirituelle ou queer autochtone est si belle, car elle ne provient pas d'un concept de déviance. » Et pourtant, « une grande part de ce savoir ancien a été perdue », souligne-t-il, et en tant qu'enfant grandissant au Nouveau-Brunswick — et même en tant qu'adulte habitant désormais Montréal — il évolue toujours à travers un « espace médian ».The Land That Held Them, son hommage à « ceux qui nous ont quittés trop tôt », vibre d'une façon qui évoque Nina Simone et Anohni. Ailleurs, au lieu d'un son modeste et presque privé, Dutcher utilise le plus grand canevas possible : un orchestre complet, avec des arrangements de Owen Pallett et, sur des morceaux comme Sakom, une chorale de 12 voix, celles de pairs queer et amis de Dutcher. Le chanteur a loué un autobus pour les amener enregistrer à Kingston — des camarades de l'école de musique de Halifax, ainsi que des membres de la scène jazz de Toronto et de l'irrésistible Queer Song-book Orchestra.Écouter Motewolonuwok, c'est entendre un album aux voix multiples. Il y a celle de Dutcher, plus exposée que jamais. Il y a sa chorale impromptue. On entend des réinterprétations d'airs traditionnels des berges de la rivière Wolastoq, ainsi que des vers de la poète cherokee Qwoli Driskill. Dutcher chante en Wolasotqey— littéralement sa langue maternelle — mais aussi en anglais, la langue de son père (et celle qu'il parlait le plus durant sa jeunesse). Une langue partagée est un cadeau avec une intention complexe ; sur Motewolonuwok, Dutcher ne chante pas que pour sa communauté, mais aussi « directement pour le nouveau venu [colonisateur] », dans sa propre langue, pour raconter des histoires de deuil, de résilience et de renaissance. Faire de la musique est comme apprendre une langue, selon Dutcher— « il n'y a pas de conclusion particulière ». C'est plutôt « un déchainement » - une constante exploration de ce qu'on veut dire et de comment on peut l'exprimer. Motewolonuwok est le prochain chapitre du musicien — un souhait collectif et une médecine réparatrice, une confession et un refrain.Titres interprétés dans le grand studio- Ultestakon Live RFI- Take My Hand, extrait de l'album voir le clip - Skichinuwihkuk Live RFI voir le clip. Line Up : Jeremy Dutcher, piano-voix.Traduction : Claire Simon.Son : Mathias Taylor, Benoît Letirant.► Album Motewolonuwok (Secret City Records 2023).
Plongez dans les univers captivants d'Elisapie et de Jeremy Dutcher. Laissez-vous enivrer par le souffle du Grand Nord et du New Brunswick avec les albums Inuktitut et Motewolonuwok. (Rediffusion) Avant de commencer l'émission, voici quelques infos sur les cultures autochtones du Canada :Il y a 3 branches différentes d'autochtones au Canada :- 1) Premières nations : Mohawk, mig'maq, Abenaki... (Jeremy Dutcher)- 2) Métis- 3) Inuit (Elisapie).Pour ne pas se tromper, on dit : AutochtoneLa langue des Inuit est le Inuktitut : Inuk (singulier) / Inuit (pluriel)Elisapie se présente comme une Inuk du peuple inuit.Erreurs communes à éviter :Confondre les Innus et les Inuit - Les Innus viennent de la Côte Nord (Florent Vollant par exemple) / Les Inuit viennent du Grand Nord (Elisapie).Le Nunavik est la région tout au Nord du Québec. Le Nunavut est un territoire canadien.On ne dit pas la culture autochtone mais les cultures autochtones.Il y a plus de 50 langues autochtones au Canada, il y a 11 nations autochtones au Québec incluant les Inuit : Abénakis, Anishinabeg, Atikamekw Nehirowisiw, Eeyou, Wendat, Innu, Inuit, Wolastoqiyik, Mi'qmaq, Mohawk-Kanien'kehá:ka et Naskapi.Première invitée : Elisapie pour la sortie de l'album InuktitutL'artiste venue du Grand Nord, Elisapie, est depuis plusieurs années une ambassadrice incontournable des voix autochtones, elle incarne une élégance musicale certaine et un féminisme en avance sur son temps.Avec ce nouveau disque, la chanteuse qui a grandi à Salluit, un petit village du Nunavik, la région la plus au nord du Québec revient sur son enfance et adolescence en explorant ses titres préférés qui l'ont vue s'émanciper en tant que femme et en tant qu'artiste. Le défi était grand de revisiter ces chansons intemporelles de groupes ou d'artistes légendaires. Pourtant, qui peut prétendre à autant de délicatesse que dans ce titre Uummati Attanarsimat (Heart of Glass), reprise de Blondie ou ce Taimangalimaaq (Time After Time), de Cindy Lauper ?Ces classiques réinterprétés de Queen, Pink Floyd ou Rolling Stones sont chantés en Inuktitut, sa langue natale. De cette traduction, découlent une force et une poésie inédite. Dans cette playlist de jeunesse, Elisapie raconte son parcours, ses joies et ses peines, sa détermination aussi tout en faisant résonner sa culture avec finesse, en conjuguant modernité et tradition. De ses années passées dans l'Arctique, Elisapie a gardé les souvenirs de ses premiers amours, a été témoin des effets du colonialisme sur sa collectivité et a dansé jusqu'au bout de la nuit au centre communautaire du village. À l'adolescence, elle se produit sur scène avec ses oncles, eux-mêmes membres de l'illustre groupe de rock'n'roll inuit Sugluk (aussi appelé Salluit Band).À 15 ans, elle travaille à la station de radio du village et parvient à décrocher une entrevue avec Metallica. Jeune femme brillante et ambitieuse, elle s'installe à Montréal pour étudier et, finalement, faire carrière dans la musique. Aujourd'hui, l'auteure-compositrice-interprète inuk est une figure incontournable au Canada. Activiste dévouée, Elisapie a créé et produit la première émission de télévision diffusée dans tout le Canada pour célébrer la Journée nationale des peuples autochtones. Son attachement inconditionnel à son territoire et à sa langue, se situe au cœur de son parcours créatif et donc de son œuvre. Cette langue millénaire incarne la rudesse de l'environnement et la beauté féroce du territoire inuit. Cet album est le fruit de tout cela : une constellation de souvenirs aussi sensibles qu'oniriques.À la sortie de Uummati Attanarsimat, Debbie Harry et Chris Stein, membres de Blondie, acclament toute la beauté de cette version de Heart of Glass.Titres joués - Uummati Attanarsimat (Heart of Glass) Blondie voir le clip - Qimmijuat (Wild Horses) Rolling Stones voir le clip - Isumagijunnaitaungituq (The Unforgiven) Metallica voir le clip - Qaisimalaurittuq (Wish You Were Here) Pink Floyd- Californiamut (Going to California) Led Zeppelin.► Album Inuktitut (Yotanka/Bonsound 2023).Puis la #SessionLive reçoit Jeremy Dutcher pour la sortie de l'album Motewolonuwok.5 ans après avoir remporté le Prix de musique Polaris avec son premier album, Jeremy Dutcher est de retour avec une exploration radieuse de l'expérience autochtone contemporaine et de la place qu'il y trouve. Avec des chansons dans la langue de son peuple, le Wolasotqey, mais aussi en anglais pour la première fois, Motewolonuwok surpasse tout ce que le musicien a créé auparavant, englobant les chansons traditionnelles, les ballades nocturnes et les orchestrations saisissantes. « Lorsque nous analysons nos histoires, incluant nos histoires tristes — quelle est la lumière qui en ressort malgré tout ? », s'interroge-t-il. « Je voulais chanter à propos de la souffrance, puis nous amener vers la beauté », confie Dutcher. Wolastoqiyik Lintuwakonawa, paru en 2018, a propulsé Dutcher aux plus hauts sommets du monde culturel canadien, des galas Polaris et Juno au panel de juges de Canada's Drag Race. Mais peu de gens auraient pu prédire ce succès : l'album a été conçu comme un projet de recherche muséale, explorant les enregistrements sur cylindres de cire des porteurs de chansons wolastoqiyik — les ancêtres de Dutcher. Ténor de formation, le musicien a finalement chanté en duo avec ces voix, répondant à sa propre communauté à travers de sublimes chansons réinventées.Cette fois-ci, Dutcher voulait faire un album plus intimiste. Une remise en question. Un disque inspiré d'une observation du penseur yupik Richard LaFortune— que « le point où deux discriminations se rencontrent peut être dangereux ». Cette intersection peut également engendrer de la résilience, et cette résilience peut devenir une force. « Motewolonuwok » est un mot wolasotqey ancien qui est habituellement traduit par « sorcières ». C'est aussi ainsi qu'on appelle les personnes bispirituelles de la région — des personnes qui sont autochtones et queer, comme Dutcher, et qui ont reçu un héritage traditionnel précis. « Ce sont “des personnes possédant une grande force spirituelle” », explique-t-il. « C'est un honneur, plutôt que quelque chose dont il faut avoir honte. » Dutcher a dévoilé son homosexualité à 12 ans, mais l'idée même d'un « coming-out » lui a été imposée par les structures colonialistes. « L'identité bispirituelle ou queer autochtone est si belle, car elle ne provient pas d'un concept de déviance. » Et pourtant, « une grande part de ce savoir ancien a été perdue », souligne-t-il, et en tant qu'enfant grandissant au Nouveau-Brunswick — et même en tant qu'adulte habitant désormais Montréal — il évolue toujours à travers un « espace médian ».The Land That Held Them, son hommage à « ceux qui nous ont quittés trop tôt », vibre d'une façon qui évoque Nina Simone et Anohni. Ailleurs, au lieu d'un son modeste et presque privé, Dutcher utilise le plus grand canevas possible : un orchestre complet, avec des arrangements de Owen Pallett et, sur des morceaux comme Sakom, une chorale de 12 voix, celles de pairs queer et amis de Dutcher. Le chanteur a loué un autobus pour les amener enregistrer à Kingston — des camarades de l'école de musique de Halifax, ainsi que des membres de la scène jazz de Toronto et de l'irrésistible Queer Song-book Orchestra.Écouter Motewolonuwok, c'est entendre un album aux voix multiples. Il y a celle de Dutcher, plus exposée que jamais. Il y a sa chorale impromptue. On entend des réinterprétations d'airs traditionnels des berges de la rivière Wolastoq, ainsi que des vers de la poète cherokee Qwoli Driskill. Dutcher chante en Wolasotqey— littéralement sa langue maternelle — mais aussi en anglais, la langue de son père (et celle qu'il parlait le plus durant sa jeunesse). Une langue partagée est un cadeau avec une intention complexe ; sur Motewolonuwok, Dutcher ne chante pas que pour sa communauté, mais aussi « directement pour le nouveau venu [colonisateur] », dans sa propre langue, pour raconter des histoires de deuil, de résilience et de renaissance. Faire de la musique est comme apprendre une langue, selon Dutcher— « il n'y a pas de conclusion particulière ». C'est plutôt « un déchainement » - une constante exploration de ce qu'on veut dire et de comment on peut l'exprimer. Motewolonuwok est le prochain chapitre du musicien — un souhait collectif et une médecine réparatrice, une confession et un refrain.Titres interprétés dans le grand studio- Ultestakon Live RFI- Take My Hand, extrait de l'album voir le clip - Skichinuwihkuk Live RFI voir le clip. Line Up : Jeremy Dutcher, piano-voix.Traduction : Claire Simon.Son : Mathias Taylor, Benoît Letirant.► Album Motewolonuwok (Secret City Records 2023).
This time of year isn't just the season of goodwill it's also the season of “Best Of” lists and it's part of the musical year that I love.It's always good to know that things you like are also enjoyed by others but the real joy for me is gaining new insight into albums I've enjoyed or discovering albums that I have missed.My hope is that this episode will do some of that for you.As in previous years I am joined by my Podcast pal Steven Routledge and we both talk through our Top 10 albums and play a short clip from each of them.In this part we count down from 10 to 5 and in Part 2 (released on 28/12/23) we go from 5 to 1. 'Chapter Markers' contains full details of songs/artists/albums and there is a summary list below. You can also use 'Chapter markers ' to play individual choices if you wish.Steven's Album Choices: 10 - 'Stone' by BARONESS 9 - 'In Between Thoughts ...A New World' by Rodrigo y Gabriela 8 - 'The Storm Rages On by James McKeiver & The Starry Sky Band 7 - 'Bird Machine' by Sparklehorse 6 - 'Oromet' by OrometMy Album Choices:10 - 'Black Bay' by Silver Moth 9 - 'Folded Landscapes' by Erland Cooper & the Scottish Ensemble 8 - 'My Back Was A Bridge For You To Cross' by Anohni & The Johnsons 7 - 'First Two Pages of Frankenstein' by The National 6 - 'Every Acre' by H.C. McEntire Please do let me know what you think of these choices and particularly if there is new music you like. You can do that by emailing me at musictalkspod@outlook.com , I really look forward to hearing from you. Have a great Christmas and here's to 2024 being another great year for music. If you would like to be on the show then please contact me at musictalkspod@outlook.com Please follow and like Music Talks on Facebook at https://www.facebook.com/musictalkspod . You can also find me on Twitter @musictalkspod .
Will, Anurag and Jason count down Anurag and Jason's favorite albums of 2023.
We'll be back with more Magic in the United States this Spring, but in the meantime, enjoy this excerpt from the latest episode of The Kitchen Sisters Present: Lou Reed's Tai Chi “Lou Reed, musician, rock icon, poet, leader of the legendary Velvet Underground, was obsessed with tai chi — the practice, the community, the health and spiritual benefits. Lou had been writing a book about this ancient martial art that was unfinished when he died in 2013. Lou's wife, the artist and musician Laurie Anderson, looked at Lou's unfinished work and decided the book needed to be completed, that there was something important to be shared in Lou's long, life-altering journey with tai chi. She turned to three of Lou's friends to help her with the project. By the time the book, The Art of the Straight Line: My Tai Chi by Lou Reed, hit the stands in the spring of 2023, they had spoken with nearly 100 people and created a riveting portrait of Lou's spiritual, medical and musical life, beckoning readers to enter the world of tai chi. The Kitchen Sisters read the book and we kept thinking, these conversations must have been taped. We asked Laurie if there were recordings. There were. Dozens and dozens of them from rock stars, to tai chi masters, to doctors, to family…. We listened to the raw interviews, this remarkable trove of sound and story, and created a podcast that goes deep inside the making of this book. Voices heard in the story include Laurie Anderson, Iggy Pop, Julian Schnabel, Hal Willner, Anohni, Master Ren and many more, plus archival recordings of Lou Reed.”
Puja Patel, Jeremy D. Larson, and Anna Gaca talk about some of their personal faves from Pitchfork's 50 Best Albums of 2023 list, including records by Amaarae, ANOHNI, Sofia Kourtesis, Kara Jackson, and SZA. They also lament some of the year's biggest disappointments, like Lil Yachty's psych-rock experiment and Doja Cat's rap misfire. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Lou Reed, musician, rock icon, poet, leader of the legendary Velvet Underground, was obsessed with tai chi — the practice, the community, the health and spiritual benefits. Lou had been writing a book about this ancient martial art that was unfinished when he died in 2013. Lou's wife, the artist and musician Laurie Anderson, looked at Lou's unfinished work and decided the book needed to be completed, that there was something important to be shared in Lou's long, life-altering journey with tai chi. She turned to three of Lou's friends to help her with the project. By the time the book, The Art of the Straight Line: My Tai Chi by Lou Reed, hit the stands in the spring of 2023, they had spoken with nearly 100 people and created a riveting portrait of Lou's spiritual, medical and musical life, beckoning readers to enter the world of tai chi. The Kitchen Sisters read the book and we kept thinking, these conversations must have been taped. We asked Laurie if there were recordings. There were. Dozens and dozens of them from rock stars, to tai chi masters, to doctors, to family…. We listened to the raw interviews, this remarkable trove of sound and story, and created a podcast that goes deep inside the making of this book. Voices heard in the story include Laurie Anderson, Iggy Pop, Julian Schnabel, Hal Willner, Anohni, Master Ren and many more, plus archival recordings of Lou Reed. The Kitchen Sisters Present: Lou Reed's Tai Chi. “Well, everybody does something, some people race cars, others collect stamps. I find tai chi to be philosophically, aesthetically, physically and spiritually fascinating.” — Lou Reed
Tim Griffin is the Executive Director of the Industry. He joined the organization in June 2023 and continues the organization's commitment to reimagining art's relationship with its publics. Previously, Griffin was executive director and chief curator at The Kitchen (2011–2021) where he developed projects across disciplines with artists such as Chantal Akerman, ANOHNI, Charles Atlas, Abraham Cruzvillegas, Joan Jonas, Ralph Lemon, Aki Sasamoto, Wadada Leo Smith, Tyshawn Sorey, and Danh Vo, among others. On the occasion of The Kitchen's 50th anniversary, Griffin initiated a capital campaign to renovate its building as a platform for the next generation of artists, raising roughly $22 million. From 2003 to 2010, Griffin was editor of Artforum, organizing special issues on performance; the museum in a contemporary context; art and poetry; and art and commerce. His own writing has appeared in publications from Bomb to Vogue, including catalogue essays on choreographer Maria Hassabi (MoMA, 2016), artist Ralph Lemon (Guggenheim Museum, 2016), and John Baldessari (Tate Modern, 2009). Griffin also edited a volume of selected writings on Wade Guyton (JRP), and has a forthcoming book on artists' changing engagement with site-specificity (Sternberg Press). In 2015, he was awarded the insignia of chevalier of the Order of Arts and Letters.He and Zuckerman discuss contemporary opera, popular audiences, how we know what we see, the luxury of clarity, art criticism, proximity, anxiety around popular culture, being in partnership in the art world and rethinking your own habits!
C'est le retour du Nova Club. David Blot a sélectionné pour vous les disques de l'été que vous avez (peut-être) loupé. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Anohni, the Mercury Prize-winning singer, has never been shy about speaking up against inequality and oppression or highlighting environmental issues. Now, she's back with her sixth album, “My Back Was a Bridge for You to Cross.” Anohni talks to guest host Talia Schlanger about her new album and what makes it so personal. Plus, in early 2020 Vancouver singer-songwriter Noble Oak had a brand-new album to tour and promote —- but then the COVID-19 pandemic shut everything down. His latest album, “When It Finds You,” is about finding inspiration and an unprecedented honesty when your world collapses. Noble Oak joins Talia Schlanger to introduce the song “Eveningstar” off his new album.
Mercury Prize winning and Oscar-nominated artist Anohni returns with a soulful new album, My Back Was A Bridge For You To Cross, released under the moniker Anonhi and the Johnsons for the first time. The artist Michael Moebius is preparing to launch another legal battle to protect his intellectual property, after successfully suing 399 companies for infringing his copyright in a landmark lawsuit. To discuss why artists and designers need better protection, Nick Ahad is joined by US lawyer Jeff Gluck and Margaret Heffernan, Chair of the Design and Artists Copyright Society. Playwright Nathan Queeley-Dennis is in Edinburgh appearing in his debut play, a monologue which won the Bruntwood Prize last year. Nathan tells Nick about writing and performing Bullring Techno Makeout Jamz, a love letter to Brimingham, barbers and love itself. Presenter: Nick Ahad Producer: Ekene Akalawu
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Bill Withers is beloved for writing classics like Lean On Me, but Greg Kot has long contended that Withers' best album is Live at Carnegie Hall. This week hosts Jim DeRogatis and Greg Kot honor Withers' life by doing a classic album dissection on that record and review the latest album from Anohni and the Johnsons. Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Sign up for our newsletter: https://bit.ly/3eEvRnG Make a donation via PayPal: https://bit.ly/3dmt9lU Send us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs: Bill Withers, "Use Me (Live)," Bill Withers Live at Carnegie Hall, Sussex, 1973The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Anohni and the Johnsons, "It Must Change," My Back Was a Bridge for You to Cross, Secretly Canadian, 2023Anohni and the Johnsons, "Scapegoat," My Back Was a Bridge for You to Cross, Secretly Canadian, 2023Anohni and the Johnsons, "You Be Free," My Back Was a Bridge for You to Cross, Secretly Canadian, 2023Anohni and the Johnsons, "Sliver Of Ice," My Back Was a Bridge for You to Cross, Secretly Canadian, 2023Bill Withers, "Lean On Me (Live)," Bill Withers Live at Carnegie Hall, Sussex, 1973Lou Rawls, "St. James Infirmary," Live, Capitol, 1966Bill Withers, "Three Nights and a Morning," Three Nights and a Morning (Single), Lotus, 1967Charles Wright & the Watts 103rd Street Rhythm Band, "Express Yourself," Express Yourself, Warner Bros, 1970Bill Withers, "Harlem," Just As I Am, Sussex, 1971Bill Withers, "Ain't No Sunshine," Just As I Am, Sussex, 1971Bill Withers, "Use Me," Still Bill, Sussex, 1972Grace Jones, "Use Me," Nightclubbing, Island, 1981Liza Minnelli, "Use Me," The Singer, CBS, 1973Bill Withers, "I Can't Write Left-Handed (Live)," Bill Withers Live at Carnegie Hall, Sussex, 1973Bill Withers, "Friend of Mine (Live)," Bill Withers Live at Carnegie Hall, Sussex, 1973Bill Withers, "Grandma's Hand (Live)," Bill Withers Live at Carnegie Hall, Sussex, 1973Bill Withers, "Harlem/Cold Baloney," Bill Withers Live at Carnegie Hall, Sussex, 1973Lauryn Hill, "The Mystery of Iniquity," MTV Unplugged 2.0, Columbia, 2002Bill Withers, "Ain't No Sunshine (Live)," Bill Withers Live at Carnegie Hall, Sussex, 1973Merle Haggard and the Strangers, "Sidewalks of Chicago," Hag, Capitol, 1971Support The Show: https://www.patreon.com/soundopinionsSee omnystudio.com/listener for privacy information.
Last week, Steven briefly forgot how to work his podcast equipment, and the result was the first, instantly iconic "lost" Indiecast episode. Fortunately, Steven Googled "how to work podcast equipment" and he was able to match his vocals to Ian's for this week's episode.The guys begin with a discussion of a weird new trend in live music: People throwing things at artists' faces. Not only is this stupid and dangerous, it also makes no sense. But what is causing it? Also: Is it really that new? (4:43) Steven shares the story about David Bowie getting hit in the face with a lollipop in the early aughts, as well as the strange history of yahoos bringing firecrackers to concerts in the 1970s.From there, Steven and Ian launch into a discussion about the new Anohni album, My Back Was A Bridge For You To Cross, as well as the outlook for potential Album Of The Year candidates in the second half of 2023 (14:38). The guys also discuss the latest effort from PJ Harvey, I Inside The Old Year Dying, and give her overall career the "yay or nay" treatment (31:20). Finally, they make time to address the new Wham! documentary on Netflix, directed by Chris Smith.In the mailbag, a reader talks about a recent concert by the band Wednesday and asks whether Steven and Ian appreciate between-song banter (56:29). Then, in Recommendation Corner (1:02:47), Ian talks up the emo band Magazine Beach while Steven raves about the alt-rock-inspired band Palehound.New episodes of Indiecast drop every Friday. Listen to Episode 146 and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at indiecastmailbag@gmail.com, and make sure to follow us on Instagram and Twitter for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
NPR Music's picks for the best albums out this week include the return of PJ Harvey, the continued arrival of Dominic Fike, Little Dragon, Aluna and more.Featured Albums:1. Aluna — MYCELiUMFeatured Songs: "The Way I'm Wired," "Kiss It Better"2. Dominic Fike — SunburnFeatured Songs: "Sick," "How Much Is Weed?" "Ant Pile"3. ANOHNI and the Johnsons — My Back Was A Bridge For You To CrossFeatured Songs: "Rest," "It Must Change," "Sliver Of Ice"4. Little Dragon — Slugs of LoveFeatured Songs: "Slugs of Love," "Kenneth," "Tumbling Dice"5. PJ Harvey — I Inside the Old Year DyingFeatured Songs: "Lwonesome Tonight," "Seem an I," "A Child's Question, August" Lightning Round:Brian Blade & The Fellowship Band — Kings HighwayThe Japanese House — In The End It Always DoesJulie Byrne — The Greater WingsSampha — "Spirit 2.0" (Single)Other notable releases for July 7:AJ Suede — Ark FlashingtonAlayna — Self Portrait Of A Woman UnravelingAlice Phoebe Lou — ShelterJim O'Rourke — Hands That Bind (OST)Local Natives — Time Will Wait For No OneThe Pink Spiders — FreakazoidTaylor Swift — Speak Now (Taylor's Version)Various — The Endless Coloured Ways: The Songs Of Nick Drake
All Songs Considered's Bob Boilen and NPR Music editor Hazel Cills share their favorite new tracks of the week and highlight this year's new Tiny Desk Contest winner, the Springville, Utah, band Little Moon.Featured Artists And Songs:1. Little Moon: "Wonder Eye" (Single)2. yeule: "sulky baby" (Single)3. Sweeping Promises: "Eraser," from Good Living Is Coming For You4. Cola: "Keys Down If You Stay" (Single)5. ANOHNI & The Johnsons: "It Must Change," from My Back Was A Bridge For You To Cross6. Chris Farren: "Cosmic Leash," from Doom Singer
Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground. The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret". It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them), and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New
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