pieza: mis world (live version)
artista: hole
viernes, 31 de julio de 2009
melissa auf der maur....in her words
http://melissaaufdermaur.org/content/page/10/quotes_by_melissa
"All of us are half men and half women we have just as much masculine as feminine, so I would definitely describe the new project as me wrestling with those two sides."
"I sold my life to Capitol Records; it sucks."
"I mean, the way I see it is, every penny I've ever made through music is free money."
"I am still making up songs in my head and on my answering machine."
"I must've been a rastafarian in a previous life. They think their hair is an extension of themselves, and every time I get mine cut, I cry. My mother is a big Bob Marley fan. Maybe that explains it. "
"I'm glad I spent a chapter of my life there to really get to know the ugly beauty of the American dream."
"The bass is the mother of all instruments."
"I get so into it. The only time I ever feel the same way is when I'm having sex; it's the epitome of unifying with something."
-Melissa on playing bass
"I do fuck, but i don't say fuck"
-Melissa after Courtney tries to get the audience to get Melissa to say fuck
"Canadian red-head, believes in aliens or other worlds. Likes sexy rock music. You must be able to take acid and not freak out."
-Personal ad
"I was just considering to start playing bass, and when I saw D'arcy playing those Gish songs, with these wacked out, kinda trippy guys, I just thought: I want to be this girl."
"I have to point out that I was born on St. Patrick's day and that both my parents have black hair and that I came out redheaded and pale. I mean I have lots of Irish in my blood, so it makes sense, but the redhead gene is a completely schizophrenic, chaotic DNA thing that makes no sense at all. they just come up whenever. there's no predicting it. scientists can't pin it down. so it's always been kind of a big hang up of mine. when I was a kid, I thought it was gross. and I was like, "i wanna be like everyone else. Please take away this red hair." but then throughout the years, I realized it was special. Someone gave me— I think a makeup artist —this scientific explanation that our pigment is fucked up and something we have reacts weird to the sun so freckles are the reaction. sometimes if I'm on mushrooms or something and I look in the mirror, I look green and I feel like there's major yellow. the moral of the story is that supposedly redheads have a wider color spectrum in their skin. there's green, blue, purple and brown in my skin so supposedly we can wear more colors than most people."
"All of us are half men and half women we have just as much masculine as feminine, so I would definitely describe the new project as me wrestling with those two sides."
"I sold my life to Capitol Records; it sucks."
"I mean, the way I see it is, every penny I've ever made through music is free money."
"I am still making up songs in my head and on my answering machine."
"I must've been a rastafarian in a previous life. They think their hair is an extension of themselves, and every time I get mine cut, I cry. My mother is a big Bob Marley fan. Maybe that explains it. "
"I'm glad I spent a chapter of my life there to really get to know the ugly beauty of the American dream."
"The bass is the mother of all instruments."
"I get so into it. The only time I ever feel the same way is when I'm having sex; it's the epitome of unifying with something."
-Melissa on playing bass
"I do fuck, but i don't say fuck"
-Melissa after Courtney tries to get the audience to get Melissa to say fuck
"Canadian red-head, believes in aliens or other worlds. Likes sexy rock music. You must be able to take acid and not freak out."
-Personal ad
"I was just considering to start playing bass, and when I saw D'arcy playing those Gish songs, with these wacked out, kinda trippy guys, I just thought: I want to be this girl."
"I have to point out that I was born on St. Patrick's day and that both my parents have black hair and that I came out redheaded and pale. I mean I have lots of Irish in my blood, so it makes sense, but the redhead gene is a completely schizophrenic, chaotic DNA thing that makes no sense at all. they just come up whenever. there's no predicting it. scientists can't pin it down. so it's always been kind of a big hang up of mine. when I was a kid, I thought it was gross. and I was like, "i wanna be like everyone else. Please take away this red hair." but then throughout the years, I realized it was special. Someone gave me— I think a makeup artist —this scientific explanation that our pigment is fucked up and something we have reacts weird to the sun so freckles are the reaction. sometimes if I'm on mushrooms or something and I look in the mirror, I look green and I feel like there's major yellow. the moral of the story is that supposedly redheads have a wider color spectrum in their skin. there's green, blue, purple and brown in my skin so supposedly we can wear more colors than most people."
melissa auf der maur...."but I will be"
http://melissaaufdermaur.org/content/page/5/biography
Her father bought her her first bass(A japanese Fender Squier) for her 21st birthday. "At that time I was going up to the local punk bands and asked if I could jam with them. 'Well', they said, 'Are you any good?' and I said, 'No, but I will be.'"
Her father bought her her first bass(A japanese Fender Squier) for her 21st birthday. "At that time I was going up to the local punk bands and asked if I could jam with them. 'Well', they said, 'Are you any good?' and I said, 'No, but I will be.'"
courtney love,,,,,,,por caitlin moran
http://www.timesonline.co.uk/tol/life_and_style/article630036.ece
But, as Love herself is the first to admit, “My press is disproportionate to the amount that I’ve done.”
“My mother told me she tried to abort me, and that I was the result of a rape. My dad says my mother was high on acid. I was raised by wolves.” She shrugs — maybe she has heard R. D. Laing’s aphorism, about character being conditioned by the fuck that made you.
“The language of love letters/Is the same/As suicide notes."
But, as Love herself is the first to admit, “My press is disproportionate to the amount that I’ve done.”
“My mother told me she tried to abort me, and that I was the result of a rape. My dad says my mother was high on acid. I was raised by wolves.” She shrugs — maybe she has heard R. D. Laing’s aphorism, about character being conditioned by the fuck that made you.
“The language of love letters/Is the same/As suicide notes."
courtney love,,,,,,,,,por laura barton
http://www.guardian.co.uk/film/2006/dec/11/biography.popandrock
"What does the man that I married have any fucking thing to do with my experience as a woman? Other than completely destroying half my life?"
"Kim Gordon [of Sonic Youth] sits me down and says, 'If you marry him your life is not going to happen, it will destroy your life.' But I said, 'Whatever, I love him, and I want to be with him!'" Love hesitates. "It wasn't his fault. He wasn't trying to do that."
"What does the man that I married have any fucking thing to do with my experience as a woman? Other than completely destroying half my life?"
"Kim Gordon [of Sonic Youth] sits me down and says, 'If you marry him your life is not going to happen, it will destroy your life.' But I said, 'Whatever, I love him, and I want to be with him!'" Love hesitates. "It wasn't his fault. He wasn't trying to do that."
Love me do
She's been a stripper, an actor, an addict, a rock star and, since 1994, the seriously troubled widow of Kurt Cobain. Here, she talks to Laura Barton about her 'transgressions', the day Johnny Depp saved her life, and why she's been blacklisted by Hollywood.
-
- The Guardian, Monday 11 December 2006
- Article history
Burning, but not out ... Courtney Love in 2004. Photograph: Scott Gries/Getty
She is wearing a pussycat-bow blouse, sipping lapsang souchong, her eyes tilted down demurely over her china cup. Poised in all her silken finery, the figure once described by Rolling Stone magazine as "the most controversial woman in the history of rock" is barely recognisable. As much as we think we know who Courtney Love is, nothing prepares you for the sprawling intelligence or the keen beauty of her. Love is not like most female celebrities. She is bigger than that. Her hands are meaty and her eyes enormous, her bosom has been surgically enhanced and her lips swollen with collagen. She looks as if someone has coloured her in and strayed beyond the lines.
But Love has always been about crossing lines. She has been a delinquent, a stripper, an actor, a drug addict, a rock star, and since 1994, the widow of Kurt Cobain, the Nirvana frontman who committed suicide at the height of his fame, leaving her with a two-year-old daughter, Frances Bean, and a note that claimed: "It's better to burn out than fade away."
"Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt, Kurt," she says today with weary exasperation, and she lights a cigarette. Her voice is a threadbare drawl. Love, 42, has just returned from an appearance on Radio 4's Woman's Hour where she was dismayed to find that the interview lingered on the suicide of Cobain. "It was this lovely woman in a grey sweater, but it was so fucking awful. She asked me, 'Had you any intimation that Kurt was going to kill himself?' And, you know, sometimes I don't know how to just do that. I thought it would be more of a feminist thing." She sits crotch-forward in her short skirt, legs splayed wide. "What does the man that I married have any fucking thing to do with my experience as a woman? Other than completely destroying half my life?"
Even before his death, Cobain had dominated Love's life. They met in 1989 at an L7 concert, when they were both fledgling musicians with burgeoning drug addictions, but by the time they married, in 1992, Nirvana had become one of the biggest bands in the world. "Kim Gordon [of Sonic Youth] sits me down and says, 'If you marry him your life is not going to happen, it will destroy your life.' But I said, 'Whatever, I love him, and I want to be with him!'" Love hesitates. "It wasn't his fault. He wasn't trying to do that."
By the time of his death, however, Love had become something of a hate-figure in the eyes of many of her husband's fans, and in the days, weeks, years of its aftermath, she has been accused of everything from driving Cobain to suicidal despair to hiring a hitman to kill him. Death threats have been made, abuse hurled and shotgun shells thrown on stage at her shows. Such was the level of devotion Cobain inspired, that Love was not allowed to own his death like other widows - she had to share it with his grieving public. Though she does, she points out, own his ashes. They are kept in a bank vault in Los Angeles. "No cemetery in Seattle will take them."
The most obvious comparison is Yoko Ono, whose own art has been for ever overshadowed by the death of her rock star husband. Indeed, on the song 20 Years in Dakota, Love draws her own analogy: "She spent 20 years like a virus/ They want to burn the witch who's inside us/ Well you, you don't fuck with the fabulous four."
Why, I wonder, did Cobain have the success and not her? "Cause the complete phenomenon happened," she shrugs. "After 20 years of people trying to find the next thing, to follow REM, he happened to be the one with the talent and the looks." Yes, but so did she. Love is momentarily quiet. "Yeah, but you know, I'm a woman."
jueves, 30 de julio de 2009
irse en paz
Cuando muera, con mi último pensamiento, quiero ver-oír en mi mente, la forma en que Melissa Auf der Maur dice "I'll gonna rescue you", y la forma en que corea, en el video Malibu, de Hole.
razón
-Y ¿por qué no cortas toda comunicación con ella?
-Es que, sin Ella estoy muerto.
-O sea que..., todo volvería a la normalidad.
-Es que, sin Ella estoy muerto.
-O sea que..., todo volvería a la normalidad.
asia argento,,,,,,by alan jones
http://odetoazia.com/info/bio.php
My father and mother never read me fairytales to put me to sleep at night or ever sung lullabies. I used to get my nose pushed in books on art and culture instead. That gave me the desire to read voraciously though so it was ultimately a good thing.
But my unusual childhood did make me a strong character so I'm not complaining".
"I was nine and living with Daria and my half-sister Anna (from Nicolodi's previous relationship). I wanted to be a writer and wrote loads of weird poetry. I was convinced I was going to be a child prodigy in the literary arena.
B. Monkey was the first time I didn't think of acting as a stupid profession.
I chose hard work over sex. I didn't need that sort of distraction. I wanted to be on my own and take proper charge of my life.
"After all the depressing problems with B. Monkey, I almost lost interest in being an actress so I decided to write Scarlet Diva to save myself from death. I knew if I didn't write it, I would die creatively. I was obsessed and all I wanted to do was write this movie.
I'm not an ambitious actress, my ambition is to do whatever I choose to do well and not embarrass myself".
My father and mother never read me fairytales to put me to sleep at night or ever sung lullabies. I used to get my nose pushed in books on art and culture instead. That gave me the desire to read voraciously though so it was ultimately a good thing.
But my unusual childhood did make me a strong character so I'm not complaining".
"I was nine and living with Daria and my half-sister Anna (from Nicolodi's previous relationship). I wanted to be a writer and wrote loads of weird poetry. I was convinced I was going to be a child prodigy in the literary arena.
B. Monkey was the first time I didn't think of acting as a stupid profession.
I chose hard work over sex. I didn't need that sort of distraction. I wanted to be on my own and take proper charge of my life.
"After all the depressing problems with B. Monkey, I almost lost interest in being an actress so I decided to write Scarlet Diva to save myself from death. I knew if I didn't write it, I would die creatively. I was obsessed and all I wanted to do was write this movie.
I'm not an ambitious actress, my ambition is to do whatever I choose to do well and not embarrass myself".
asia argento,,,,,,,,by caroline ryder
http://swindlemagazine.com/issueicons/asia-argento/
An introvert, she immersed herself in books as a way of making up for having virtually no friends. While the kids at her school were obsessing over Madonna and Duran Duran, Argento was crushing on Dostoyevsky and Baudelaire and watching the films of Roman Polanski. “Those were my youth idols,” she says. At age eight, she had already published a book of poems.
“I am not a princess; I am a worker. I don’t want my ass to be licked. Maybe that’s why I do a million other things. Acting is not hard – that’s a lie that many actors tell. They feel embarrassed to be appreciated for something that isn’t very hard. So they can become spoiled brats. I fell into this trap for a while myself.”
the teenage Asia, who shaved her head and wore boyish clothes, spent much of her time convinced she was not much better looking than one of the corpses in her father’s movies. “I was the ugly one,” she says, “the weirdo, the geek, the freak.”
“I was very young when I started being naked in front of people – 21 or so,” she says. “From being someone who only cared about studying and reading all these books and then all of a sudden being the sultry bitch from hell, it was funny to me. Being a sex queen was funny. Today, I see it as my insecurity and my fragility manifesting itself. But at the time I thought, ‘This is the real power – look at my pussy.’”
An introvert, she immersed herself in books as a way of making up for having virtually no friends. While the kids at her school were obsessing over Madonna and Duran Duran, Argento was crushing on Dostoyevsky and Baudelaire and watching the films of Roman Polanski. “Those were my youth idols,” she says. At age eight, she had already published a book of poems.
“I am not a princess; I am a worker. I don’t want my ass to be licked. Maybe that’s why I do a million other things. Acting is not hard – that’s a lie that many actors tell. They feel embarrassed to be appreciated for something that isn’t very hard. So they can become spoiled brats. I fell into this trap for a while myself.”
the teenage Asia, who shaved her head and wore boyish clothes, spent much of her time convinced she was not much better looking than one of the corpses in her father’s movies. “I was the ugly one,” she says, “the weirdo, the geek, the freak.”
“I was very young when I started being naked in front of people – 21 or so,” she says. “From being someone who only cared about studying and reading all these books and then all of a sudden being the sultry bitch from hell, it was funny to me. Being a sex queen was funny. Today, I see it as my insecurity and my fragility manifesting itself. But at the time I thought, ‘This is the real power – look at my pussy.’”
asia argento...interiew
http://www.indexmagazine.com/interviews/asia_argento.shtml
BRUCE [LA BRUCE]: Were you always different? I envision your childhood as sort of gothic, not quite normal.
ASIA: Well, it wasn’t normal in the sense that I was never happy. The horror wasn’t cinematic — it was in my head. I knew melancholy very well.
BRUCE: Don’t you ever enjoy the more transgressive scenes?
ASIA: They can certainly be freeing. In The Phantom Of The Opera, I lose my virginity in front of my father. It’s the Electra complex to the maximum!
BRUCE: Do you think of yourself as having a strong masculine side?
ASIA: Yes, much, much stronger than the feminine.
I don’t care about being in big films. I’d rather work two days on a TV show and live on the money for a year.
The thought of someone coming into my place and leaving their things was a nightmare to me. The idea of being obliged to talk to somebody — of having that level of intimacy — disgusted me.
the only person I want to spend time with is my boyfriend, Marco. He’s very peaceful and calm. He plays the piano, and I read, and he’s never intrusive. He’s a great person. It’s a miracle to me, because I’ve never even had friends that I would want to hang around with for longer than twenty-four hours.
I’m proud to be different, to be the monster.
BRUCE: You certainly capture that sensation in Scarlet Diva. Though you don’t show penetration, the sex scenes go way beyond acting.
ASIA: It’s true, the sex scenes are real. But I wasn’t interested in penetration — I was interested in showing what the real sex did to the faces and the bodies of the actors
I did, but I don’t remember much of my childhood. My memories begin at nine, when I started working. That’s when my life started to feel like my own.
My favorite thing about porno is that it’s real — I mean the sex is real. Porno moves me so much more than films like Gone With The Wind, because I am always reminded that these people on screen actually met, and this actually happened. No other kind of film can give you that feeling.
Abel [Ferrara] taught me a lot. He’s the most manipulative and crazy beast, of course.
Walken’s performance [in Abel Ferrara's New Rose Hotel] was brilliant. He was so completely out of his mind, so incredibly angry, that he couldn’t remember his lines. We always had to keep big sheets of paper tacked up with his words written on them. [laughs]
BRUCE [LA BRUCE]: Were you always different? I envision your childhood as sort of gothic, not quite normal.
ASIA: Well, it wasn’t normal in the sense that I was never happy. The horror wasn’t cinematic — it was in my head. I knew melancholy very well.
BRUCE: Don’t you ever enjoy the more transgressive scenes?
ASIA: They can certainly be freeing. In The Phantom Of The Opera, I lose my virginity in front of my father. It’s the Electra complex to the maximum!
BRUCE: Do you think of yourself as having a strong masculine side?
ASIA: Yes, much, much stronger than the feminine.
I don’t care about being in big films. I’d rather work two days on a TV show and live on the money for a year.
The thought of someone coming into my place and leaving their things was a nightmare to me. The idea of being obliged to talk to somebody — of having that level of intimacy — disgusted me.
the only person I want to spend time with is my boyfriend, Marco. He’s very peaceful and calm. He plays the piano, and I read, and he’s never intrusive. He’s a great person. It’s a miracle to me, because I’ve never even had friends that I would want to hang around with for longer than twenty-four hours.
I’m proud to be different, to be the monster.
BRUCE: You certainly capture that sensation in Scarlet Diva. Though you don’t show penetration, the sex scenes go way beyond acting.
ASIA: It’s true, the sex scenes are real. But I wasn’t interested in penetration — I was interested in showing what the real sex did to the faces and the bodies of the actors
I did, but I don’t remember much of my childhood. My memories begin at nine, when I started working. That’s when my life started to feel like my own.
My favorite thing about porno is that it’s real — I mean the sex is real. Porno moves me so much more than films like Gone With The Wind, because I am always reminded that these people on screen actually met, and this actually happened. No other kind of film can give you that feeling.
Abel [Ferrara] taught me a lot. He’s the most manipulative and crazy beast, of course.
Walken’s performance [in Abel Ferrara's New Rose Hotel] was brilliant. He was so completely out of his mind, so incredibly angry, that he couldn’t remember his lines. We always had to keep big sheets of paper tacked up with his words written on them. [laughs]
miércoles, 29 de julio de 2009
legado
'I see what I do as part of a longer legacy than just rock 'n' roll.'
--------------sting
http://www.sting.com/news/interview.php?uid=4687
--------------sting
http://www.sting.com/news/interview.php?uid=4687
no before noon
"I've lived in hotels for 25 years, and I've collected homes all over the world so that, to some extent, I can he relieved of that. I mean, this is a nice hotel, but to check into a hotel and shut the door is kind of prison-like. It's nicer to arrive somewhere you own, with a couple of books you own, a couple of paintings, something of yours. It's a nice luxury and I'm glad of it."
"I love America," he replies. "I owe it a great deal and it gave the world popular music, jazz, movies... the last century was definitely the American century, and I'm in love with that idea."
"It's almost too kitsch to turn down."
"Now, if I have an hour at home, I tend to listen to classical music. I rarely go to pop music to learn something because I usually recognise the archetypes it is drawn from. If I put on Bach or Brahms, that's different. I'm in the presence of genius, which can only do you good."
"When I perform I play my hits. I walk out in front of 20,000 people and nearly everyone's pleased to see me. I sing songs they want to hear, they know the lyrics, and I think, 'I wrote this in my living-room and now look.'"
"I don't like singing before noon."
----------------------sting
http://www.sting.com/news/interview.php?uid=3787
"I love America," he replies. "I owe it a great deal and it gave the world popular music, jazz, movies... the last century was definitely the American century, and I'm in love with that idea."
"It's almost too kitsch to turn down."
"Now, if I have an hour at home, I tend to listen to classical music. I rarely go to pop music to learn something because I usually recognise the archetypes it is drawn from. If I put on Bach or Brahms, that's different. I'm in the presence of genius, which can only do you good."
"When I perform I play my hits. I walk out in front of 20,000 people and nearly everyone's pleased to see me. I sing songs they want to hear, they know the lyrics, and I think, 'I wrote this in my living-room and now look.'"
"I don't like singing before noon."
----------------------sting
http://www.sting.com/news/interview.php?uid=3787
I sing for money
This was always my ambition to make a living playing music. That's what I do. I sing for money.
*************
Success for me is having a handful of friends.
*************
I do have that anxiety there, thinking how on earth am I going to do this again, how on earth am I going to face that blank page again, that dread.The solution is I go on tour for as long as I possibly can and then I don't have to think. There's no thinking involved in touring at all, it's just like being a tennis player.
****************
I clock on in the morning at 10 o'clock and I start work. It's painstaking work and sometimes you don't get anything; there's just nothing to show for it.
*************
Success for me is having a handful of friends.
*************
I do have that anxiety there, thinking how on earth am I going to do this again, how on earth am I going to face that blank page again, that dread.The solution is I go on tour for as long as I possibly can and then I don't have to think. There's no thinking involved in touring at all, it's just like being a tennis player.
****************
I clock on in the morning at 10 o'clock and I start work. It's painstaking work and sometimes you don't get anything; there's just nothing to show for it.
----------------sting
http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml
musidemócrata
I studied British Constitution at school and one of the pillars of democracy is you separate church and state, you really do.
And the other pillar of democracy is a free and unfettered 4th estate – the media and the press.
It doesn't work unless you have that ability to question, the ability to criticise. It's very important, particularly in times like these.
------------sting
destroyed by love
There's another view of love. Anybody who's ever been in love knows it's easy to be destroyed by love, it's such a powerful emotion.
And so I start to write about love – to describe it in terms of warfare, in terms of being devastating and destructive, like a tidal wave.
-sting
trabajo creativo
It is mechanical to a certain extent, when you're being creative. I just put the hours in. I don't wake up in the morning and go, 'Now I'm going to create a masterpiece, this is going to be the greatest thing I've ever done.'
-sting
http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml
-sting
http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml
I sort of work in miniature. I write about relationships in a very microscopic way. I find another little story, then another, a bit of melody here. It's like a painting. It's only when you move back from it and you actually see you've produced something, quite a big landscape when you've been working in small details.
---sting
http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml
---sting
http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml
musipintor
I sort of work in miniature. I write about relationships in a very microscopic way. I find another little story, then another, a bit of melody here. It's like a painting. It's only when you move back from it and you actually see you've produced something, quite a big landscape when you've been working in small details.
---sting
http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml
---sting
http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml
comenzar vacío
But starting with that feeling of emptiness, that blank page, was a good place to start and gradually I started to piece together fragments of stories.
--sting
http://www.bbc.co.uk/pressoffice/pressreleases/stories/2003/09_september/25/ws_sting.shtml
musireflexión
'It would be nice if more people could appreciate it. I think it's beautiful, special and timely in a way. For me it's the music of self-reflection. The world has become less reflective - we don't have self-reflective leaders any longer: we have people who think they're right, whatever they do, but never look at the judgments they've made. So, yes, this music could be timely. The result of self-reflection is melancholy, and that's beautiful, a useful human emotion. I feel this music has nurtured me as I've been immersing myself in it. I've felt supported by it.'
--------sting
http://www.sting.com/news/interview.php?uid=4687
--------sting
http://www.sting.com/news/interview.php?uid=4687
martes, 28 de julio de 2009
lunes, 27 de julio de 2009
telefon tel aviv... citas
http://remixmag.com/artists/remix_tapeheads/
"We wanted to bring back that life and noise into a record that sounded like a record."
“A little over a year ago, my friend [Marc Hellner from Chicago band pulseprogramming] gave me an Otari MX5050BII, and it changed everything,” Eustis says of the 2-track, ¼-inch tape recorder. “While we were in the process of demoing, we were making loops, remixing to analog, slowing and speeding things up. It was so different than what we did before, and it has this timeless quality. It sounds real because it is real — it's a physical media to master. It's not ones and zeros; it's a physical piece of shit with silver oxide on it wrapped around an aluminum spool. The move to tape, for sure, for mixdown and as an instrument was a huge shift.”
“I realized I liked making music more than writing, orchestrating or programming it,” Cooper says.
“It's like a Vonnegut kind of thing,” Cooper reflects on the album's themes of nature's anger and angry natures. “He found humor in the most fucked-up things, but it wasn't morbid. He just recognized that being a human in the world, you have to go along and watch the stupid shit — you can't stop it; you just have to laugh and say, ‘It's fucked up.’”
“We have [Chicago post-rock icons] Tortoise's old [Neotek Series II] mixer, and it made things sound more real; it sounded like what I remember music sounding like. It gave it this beautiful sound that wasn't there before — a little high end shaved here and there and not always as full-frequencied, but somehow sounding better, with more girth. The mixer also helped in the work flow, to have it in front of you where you could touch it."
"We wanted to bring back that life and noise into a record that sounded like a record."
“A little over a year ago, my friend [Marc Hellner from Chicago band pulseprogramming] gave me an Otari MX5050BII, and it changed everything,” Eustis says of the 2-track, ¼-inch tape recorder. “While we were in the process of demoing, we were making loops, remixing to analog, slowing and speeding things up. It was so different than what we did before, and it has this timeless quality. It sounds real because it is real — it's a physical media to master. It's not ones and zeros; it's a physical piece of shit with silver oxide on it wrapped around an aluminum spool. The move to tape, for sure, for mixdown and as an instrument was a huge shift.”
“I realized I liked making music more than writing, orchestrating or programming it,” Cooper says.
“It's like a Vonnegut kind of thing,” Cooper reflects on the album's themes of nature's anger and angry natures. “He found humor in the most fucked-up things, but it wasn't morbid. He just recognized that being a human in the world, you have to go along and watch the stupid shit — you can't stop it; you just have to laugh and say, ‘It's fucked up.’”
“We have [Chicago post-rock icons] Tortoise's old [Neotek Series II] mixer, and it made things sound more real; it sounded like what I remember music sounding like. It gave it this beautiful sound that wasn't there before — a little high end shaved here and there and not always as full-frequencied, but somehow sounding better, with more girth. The mixer also helped in the work flow, to have it in front of you where you could touch it."
sábado, 25 de julio de 2009
música sin adjetivos
Classical music is founded on a very clear distinction between music and noise. In rock, as in electronic music, these barriers are coming down. I dreamed of a music without barriers, taking in classical instruments, new electronic instruments and "non-instruments"
--------------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/artpress01.html
--------------brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/artpress01.html
metáforas
Humans actually codify most of their knowledge not in terms of mathematical tables, sets of statistics and scientific laws, but in terms of metaphors. Most of the things we normally have to deal with understanding are complex, fuzzy, messy, changing, and in fact poorly delineated. We don't actually know where the boundaries of them are, let alone being able to make clear questions about them. We spend a lot of our time as ordinary humans navigating through complicated situations with one another, that require constant negotiation, and constant new attempts to understand.
brian eno
http://www.edge.org/3rd_culture/eno/eno_p4.html
brian eno
http://www.edge.org/3rd_culture/eno/eno_p4.html
la peligrosa cultura
What people don't realize is that culture is powerful and could be dangerous too. As long as culture is talked about as though it's a kind of nice little add-on to make things look a bit better in this sort of brutal life we all lead, as long as it's just seen as the icing on the cake, then people won't realize that it's the medium in which we're immersed, and which is forming us, which is making us what we are and what we think.
brian eno
http://www.edge.org/3rd_culture/eno/eno_p4.html
brian eno
http://www.edge.org/3rd_culture/eno/eno_p4.html
cienciarte
Here I am, an artist ÷ who reads mostly science books ÷ like most other artists. I know very few artists who read books about art.
brian eno
http://www.edge.org/3rd_culture/eno/eno_p3.html
brian eno
http://www.edge.org/3rd_culture/eno/eno_p3.html
sin tele
"I gave it up because I'm a potential addict. I know that if I had a television in my flat I would convince myself that everything on it was really interesting."
--------brian eno
http://www.guardian.co.uk/music/2005/jun/07/politicsandthearts.interviews
--------brian eno
http://www.guardian.co.uk/music/2005/jun/07/politicsandthearts.interviews
jueves, 23 de julio de 2009
iposible repetir
Repetition is a form of change
---Brian Eno
http://www.loopers-delight.com/history/Loophist.html
---Brian Eno
http://www.loopers-delight.com/history/Loophist.html
in-the-studio
the particular area that I'm involved in: in-studio composition, where you no longer come to the studio with a conception of the finished piece. Instead, you come with actually rather a bare skeleton of the piece, or perhaps with nothing at all. I often start working with no starting point. Once you become familiar with studio facilities, or even if you're not, actually, you can begin to compose in relation to those facilities. You can begin to think in terms of putting something on, putting something else on, trying this on top of it, and so on, then taking some of the original things off, or taking a mixture of things off, and seeing what you're left with - actually constructing a piece in the studio.
----brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
----brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
para equipos ordinarios
Most of my records don't sound good in optimum conditions, where there are very large speakers which are extremely well balanced and have lots of high and low frequencies. I mix, really, for what I imagine most people have medium-priced hi-fi - and for radio a bit as well. It's the very naive producer who works only on optimum systems.
=====brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
=====brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
compositor
So I think there is a difference in kind between the kind of composition I do and the kind a classical composer does. This is evidenced by the fact that I can neither read nor write music, and I can't play any instruments really well, either. You can't imagine a situation prior to this where anyone like me could have been a composer. It couldn't have happened. How could I do it without tape and without technology?
--brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
--brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
improvi-grabar
Jazz is an improvised form, primarily, and the interesting thing about improvisations is that they become more interesting as you listen to them more times. What seemed like an almost arbitrary collision of events comes to seem very meaningful on relistening. Actually, almost any arbitrary collision of events listened to enough times comes to seem very meaningful. (There's an interesting and useful bit of information for a composer, I can tell you.)
---brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
---brian eno
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
brian enno: the studio as a compositiona tool
http://music.hyperreal.org/artists/brian_eno/interviews/downbeat79.htm
otra vez mcluchan
In this, the 21st century, we may need icons more than ever before.
------brian eno
http://www.longnow.org/views/essays/articles/BrianEnoLongNow.php
------brian eno
http://www.longnow.org/views/essays/articles/BrianEnoLongNow.php
hic et nunc
The longer your sense of Now, the more past and future it includes.
------------brian eno
http://www.longnow.org/views/essays/articles/BrianEnoLongNow.php
------------brian eno
http://www.longnow.org/views/essays/articles/BrianEnoLongNow.php
hablar, pensar
This self-generating music is so exciting to me. I think that's really something. I think talking is really something, thinking, having ideas and all that sort of thing. I'm fascinated by all those things. Teaching, as well, I do a lot of. But adding to the obscene pile of CDs in the world doesn't thrill me that much at the moment.
---------brian eno
---------brian eno
no es la compu
"I think people are really reacting to what has been rather an unimaginative use of computer technology so far."
----------Brian Eno
----------Brian Eno
miércoles, 22 de julio de 2009
mejores
"I'm also lucky in that I always manage to work with musicians better than myself. "
--------Sting
http://www.billboard.com/bbcom/yearend/2005/century/2003_2.jsp
--------Sting
http://www.billboard.com/bbcom/yearend/2005/century/2003_2.jsp
abandonados
-... sí, como en los noventas.
-Claro..., de lo peor fue que en esa época no contamos con U2, que anduvo con sus experimentos de techno, dance, e industrial.
-Claro..., de lo peor fue que en esa época no contamos con U2, que anduvo con sus experimentos de techno, dance, e industrial.
ya viene
Miércoles 22, julio 2009...
(5:06 p.m.)
Primeros signos y síntomas de la inminente Crisis de Manía.
(5:06 p.m.)
Primeros signos y síntomas de la inminente Crisis de Manía.
la máscara no oculta..., revela
"The irony is, of course, as Oscar Wilde taught us, the mask reveals the man."
--------------Bono
http://www.atu2.com/news/article.src?ID
--------------Bono
http://www.atu2.com/news/article.src?ID
martes, 21 de julio de 2009
recomendaciones de cine
últimas pelis vistas:
-EASTERN PROMISES, dirigida por Cronenberg.
-SHOT'EM UP, con Clive Owen y Monica Belluci.
-
-EASTERN PROMISES, dirigida por Cronenberg.
-SHOT'EM UP, con Clive Owen y Monica Belluci.
-
homero y wikipedia
Bart: "Eso no es lo que leí en el artículo de Wikipedia."
Homero: "No te preocupes, hijo. Al llegar a casa lo cambiaremos... ¡CAMBIAREMOS MUCHAS COSAS!"
Homero: "No te preocupes, hijo. Al llegar a casa lo cambiaremos... ¡CAMBIAREMOS MUCHAS COSAS!"
lunes, 20 de julio de 2009
sábado
-Aunque sea, déjame pagarte el taxi, son las dos de la mañana.
-¡No necesito ni quiero NI MADRES de ti! -dijo ella, con mucha ira, tirando del portón con gran fuerza; él apenas alcanzó a esquivar el golpe en la frente.
-¡No necesito ni quiero NI MADRES de ti! -dijo ella, con mucha ira, tirando del portón con gran fuerza; él apenas alcanzó a esquivar el golpe en la frente.
domingo, 19 de julio de 2009
bíblico
Homero: "Tu mamá tiene la loca idea de que apostar es malo, aunque la Biblia diga que no es así."
Lisa: "¿Dónde dice eso la Biblia?"
Homero: "Esteeee, por el final."
Lisa: "¿Dónde dice eso la Biblia?"
Homero: "Esteeee, por el final."
sábado, 18 de julio de 2009
viernes, 17 de julio de 2009
Bart, el sucio
Marge: ¡Bart!, ¡no puedes pedirle a Dios q mate a Bob Patiño!
Homero: ¡Así es!, ¡haz tu propio trabajo sucio!
Homero: ¡Así es!, ¡haz tu propio trabajo sucio!
Hamburguer
Maestra: Tomar acción ahora podría ser la diferencia entre que su hijo, Bart, termine como un stripper o llegue a ser Juez de la Suprema Corte.
Homero: ¿Juez de la Suprema Corte?... Así yo podría viajar por todo el mundo: Londrés, París, Berlín, Hamburgo... ¡Mmmm! ¡Hamburguesa!
Homero: ¿Juez de la Suprema Corte?... Así yo podría viajar por todo el mundo: Londrés, París, Berlín, Hamburgo... ¡Mmmm! ¡Hamburguesa!
In the Navy
Homero se enlista en la Reserva de la Marina. Diálogo con su oficial en jefe:
Oficial: Bien, Simpson... Yo no te agrado y tú no me agradas.
Homero: Usted sí me agrada.
Oficial: Bueno, pues tú no me agradas.
Homero: Le agradaría si me conociera.
Oficial: Bien, Simpson... Yo no te agrado y tú no me agradas.
Homero: Usted sí me agrada.
Oficial: Bueno, pues tú no me agradas.
Homero: Le agradaría si me conociera.
miércoles, 15 de julio de 2009
lunes, 13 de julio de 2009
homero y bush
Lisa: "Si tuviera edad para votar, yo no habría votado por él".
Homero: "¡Un momento!: si Lisa no votó por George Bush, entonces yo tampoco voté por él."
Marge: "Tu nunca votas, Homero."
Homero: "Yo voté por q nuestro shampoo volviera a su antigua botella de vidrio... Después, me volví un cínico."
Homero: "¡Un momento!: si Lisa no votó por George Bush, entonces yo tampoco voté por él."
Marge: "Tu nunca votas, Homero."
Homero: "Yo voté por q nuestro shampoo volviera a su antigua botella de vidrio... Después, me volví un cínico."
homero y la mitología greco-latina
"¡Oh, dios de los océanos!... los griegos te llamaban Poseidón. Los romanos..., Aquamán."
-Homero
-Homero
domingo, 12 de julio de 2009
sábado, 11 de julio de 2009
¿podemos ir por cerveza y una marucha?
Te quise como eras...
Nunca me consideraste
suficiente
para ti.*
*(Que no te quede duda... sabes perfectamente quién eres.)
Nunca me consideraste
suficiente
para ti.*
*(Que no te quede duda... sabes perfectamente quién eres.)
jueves, 9 de julio de 2009
miércoles, 8 de julio de 2009
martes, 7 de julio de 2009
lunes, 6 de julio de 2009
Recomendaciones cinematográficas...
Últimas pelis q he visto:
-Sex and Death 101, con Winona Ryder.
-The Day the Earth Stood Still, con Jennifer Connelly.
-The Reader, con Kate Winslet.
-Knowing, con Nicholas Cage.
-Sex and Death 101, con Winona Ryder.
-The Day the Earth Stood Still, con Jennifer Connelly.
-The Reader, con Kate Winslet.
-Knowing, con Nicholas Cage.
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