August 30th, 2010

you must believe in spring

“You must believe in Spring” by Bill Evans and Tony Bennett.

Esther Satterfield does a nice version of this song too.

August 13th, 2010

the complimentary protein song

From the University of Cincinnati Professor Stein Carter:

Amino acids are just great
When sitting on your plate.
Your body needs all twenty kinds
To build your bones and minds.
But there are eight that we can’t make:
Essential ones to take
Within your food so you’ll be set,
But some are hard to get.
Three limit others’ usefulness
If you consume much less.
Combine these foods to get them all
So you’ll grow big and tall:
Whole grain with milk or grain with bean
Or peas with seeds between
Or maybe try all three or four
If you want something more.

You must of course hear the accompanying music to appreciate this musical mystery. Don’t quit your day job, Professor Carter!

Here’s the science bit: an explanation of dietary protein requirements at the same website..

Our bodies use amino acids in a specific ratio to each other, so if a person doesn’t get enough of one of them to match with the rest, the rest can only be used at a level to balance with that low one. Most of these amino acids are fairly easy to get in a reasonably well-balanced diet. However, there are three that are a little harder to get than the rest, thus it is important to make sure you’re getting enough of these three. These three are called limiting amino acids, because if a person’s diet is deficient in one of them, this will limit the usefulness of the others, even if those others are present in otherwise large enough quantities. The three limiting amino acids include the sulfur-containing ones (methionine and cysteine), tryptophan, and lysine.

Because of publicity from certain agricultural industries, many people in our culture have been taught to think that it is necessary to eat meat to get protein, but this is not true! People in many other cultures do not eat meat yet do get enough protein in their diets. It is true that there are areas of the world where people need to raise cattle and eat meat to survive. For example, in certain arid areas of Africa where almost nothing grows, cattle can graze on the meager grass that’s there that people can’t eat, and the people can eat the milk and meat from those cattle. In our country, the climate is much better, and we can raise many varieties of edible plants, thus we have available alternate (and often better) sources of protein. Some plant protein sources, like soybeans, have a better amino acid balance for humans than meat.

Well, I never.

July 21st, 2010

something for nothing

I was curious as to how much money actors and directors make in Hollywood simply out of royalties alone. The royalty percentages are apparently quite tightly regulated by unions.

I found a rather tidy and enlightening summary of the history of royalties (or “residuals”) in American radio, tv and cinema. A snippet:

“The first broadcasting residuals were paid in 1941, and concerned the medium of radio. Radio performers would perform the show twice (once for the Eastern time zone, then again for Pacific time zone). When ways were found to record the first performance and broadcast it a second time, the union of radio performers (AFRA, American Federation of Radio Performers) insisted on the payment of residuals.”

More at Google Answers: History of Actor Royalties/Residuals.

And for some insight into what these percentages actually mean to the likes of Stephen Spielberg and Daniel Radcliffe, there follows below a list of the 40 top earners in Hollywood from last year (2009). Snip:

Stephen Spielberg
Estimated 2009 earnings: $85 million

-$50 million: Universal theme-park royalties and consulting fees (ongoing deal signed in 1987)
-$20 million: The Adventures of Tintin: The Secret of the Unicorn (fee for producing and directing upcoming 2011 release)
-$10 million: Other back-end revenue, royalties from older films
-$5 million: Transformers: R.O.T.F. (back end as executive producer)

The numbers are dizzying. I imagine him forgetting entire projects that are still pumping millions into his reservoir of income! And he’s not even number 1 on the list.

Vanity Fair Top Hollywood Earners.

(Image: Tom Hanks in Catch Me if You Can [Spielberg, 2002])

July 15th, 2010

Liszt — Valse Impromtu

Blissful. Thanks Alice!

July 14th, 2010

i know they want me to … enter eyedroppers and invade pills

The poetry of Jayne Cortez is based on the principle that there is an inherent music in words. It comes across like free word jazz when she performs her work, though the words are preconceived. The associations she conjures are sometimes cryptic or surreal but always expressive, contributing towards a greater image and meaning through a mesmeric shifting of perceptions and gradual layering of images. A good example is “I am New York City”

Another rendition can be found here, including further performances of her poems (…and a ghastly introduction sequence, especially dangerous for epileptics).

More on Cortez and her poetry in Heroism in the New Black Poetry @googlebooks.

July 2nd, 2010

soul beneficiary

Coleman speaks like he plays the sax, apparently; he looses his thoughts freely and uninhibitedly, so much so that in both speaking and playing he seems to display a gentle modesty in conforming to any grammar of sound at all.

And yet he’s right, there’s still enough meaning to be read into the sounds he makes with his mouth if you’re prepared to listen and make it your own. What do you hear?

April 20th, 2010

an artist’s diet: fire and hot water

Joan_Armatrading_w

I wish I had the creative fire burning under me at the moment that Joan Armatrading seems still to command:

Before I can begin work on any album, I have to observe an important ritual: cleaning. It clears my head. Everything in the studio must be cleaned, dusted and tidied. It takes as long as it takes – sometimes even two days.

Then I check my recording software, select my guitars, ensuring they have new strings, and set up the computer ready to record. I play everything myself – guitar, keyboards, mandolin, mouth organ, whatever, and record on to Apple’s Logic Pro 8 software, which is much easier than the old analogue tape recording. Before starting the actual writing, I unwind with a cup of hot water with nothing in it, not even a slice of lemon – I’ve never drunk alcohol.

I can typically work from 6am and finish at 8am the following morning. I have to be completely alone when working – other people only get involved when it comes to mixing the album. Such solitary existence means no one prompts me to do normal things like eating, drinking and sleeping. It is only when I’m about to keel over that I remember to rest and refuel.

I used to work like that on animations: wake up, and jump on to the computer to finish the work that I abandoned the previous night at the point of exhaustion. I never knew I was capable of such concentration and passion before I got into that hobby. Time dissolves!

More from Joan’s diary entry at FT.com.

February 28th, 2010

harp guitar


Acoustic Instrumental Harp Guitar Solo by Stacy Hobbs at the — unlikely but wonderful — 3rd Annual International Harp Guitar Gathering.

February 14th, 2010

plant orchestra

PlantOrchestra_lukejerram

Luke Jerram’s Plant Orchestra allows plants to occupy a larger space in our consciousness.

Although imperceptible to the human ear, plants create sound. Using specialist microphones water can be heard as it flows slowly up the stem of a plant. If trees are suffering from drought, scientists can measure acoustic emissions that occur caused by cavitation and embolism within the plant.

The sounds created during the day are different to those at night and they alter with the seasons of the year. Amplifying the acoustic emissions of plants using dozens of special microphones we will reveal to the public this new and hidden acoustic world.

The choice to receive visitors at night time is my favourite part of the project; with the light and ambient noise low, the power of the plants’ new voices is magnified.

Read more about it at Jerram’s website.

January 24th, 2010

it’s slinky

Here’s something new to do with a slinky: make Star Wars sound effects. (via silentlistening — great blog!)

January 7th, 2010

it’s a wuzzy line and its getting wuzzier

“The Unbroken Thread” is the latest and greatest musical-science-mashup by youtuber MelodySheep. Uplifting!

See also: Previous Attenborough-related posts

January 5th, 2010

caught in the act of make-believe

davis
Miles Davis. Photo: LIFE

Brian Eno on Miles Davis (and music in general):

When you listen to Miles Davis, how much of what you hear is music, and how much is context? Another way of saying that is, ‘What would you be hearing if you didn’t know you were listening to Miles Davis?’ I think of context as everything that isn’t physically contained in the grooves of the record, and in his case that seems quite a lot. It includes your knowledge, first of all, that everyone else says he’s great: that must modify the way you hear him. But it also includes a host of other strands: that he was a handsome and imposing man, a member of a romantic minority, that he played with Charlie Parker, that he spans generations, that he underwent various addictions, that he married Cicely Tyson, that he dressed well, that Jean-Luc Godard liked him, that he wore shades and was very cool, that he himself said little about his work, and so on. Surely all that affects how you hear him: I mean, could it possibly have felt the same if he’d been an overweight heating engineer from Oslo? When you listen to music, aren’t you also ‘listening’ to all the stuff around it, too? How important is that to the experience you’re having, and is it differently important with different musics, different artists?

Miles was an intelligent man, by all accounts, and must have become increasingly aware of the power of his personal charisma, especially in the later years as he watched his reputation grow over his declining trumpeting skills. Perhaps he said to himself: These people are hearing a lot more context than music, so perhaps I accept that I am now primarily a context maker. My art is not just what comes out of the end of my trumpet or appears on a record, but a larger experience which is intimately connected to who I appear to be, to my life and charisma, to the Miles Davis story. In that scenario, the ‘music’, the sonic bit, could end up being quite a small part of the whole experience. Developing the context – the package, the delivery system, the buzz, the spin, the story – might itself become the art. Like perfume…


More.

(via peter serafinowicz‘s twitter page)

October 17th, 2009

Janacek’s Love Letters

From NPR:

At age 63, Czech composer Leos Janacek began his most unusual writing project — a constant stream of more than 700 love letters written to a married woman 37 years his junior. It’s remarkable, considering that the young woman, named Kamila, expressed little feeling for Janacek or his music.

Even so, Janacek filled his letters with passion. At an age when most people slow down, Janacek, fueled by his own unrequited love, went into high gear. He composed some of his best music, including the String Quartet No. 2 — called, appropriately, Intimate Letters.

Commentator Rob Kapilow pinpoints a section from the third movement of the quartet which he says reveals much about Janacek’s unique sound-world. The passage is actually a musical portrait of Kamila, one that Janacek described to her in a letter: “It will be very cheerful, and then dissolve into a vision of your image, transparent, as if in the mist.”

You can hear Janacek’s String Quartet No. 2, Moderato, and read more from this article, on the NPR website.

Incidentally, the latest avant garde project compilation includes some Janacek — Mladi.

October 17th, 2009

hungarian rock

Like space candy for the ears:

Hungarian rock by Gyorgy Ligeti, (1923-2006) an hungarian composer, performed in a barrel organ by Pierre Charial. The painting in the video is “goldrosa” by Josef Albers (1888-1976).

October 7th, 2009

a glorious dawn

A tribute to Carl Sagan and Steven Hawking by colorpulse:

It turns out that autotuning can make clever people tuneful as well.

September 29th, 2009

musical archaeology

1153204750054

And so in late 2009, 30 years on from the day it was created, we can all enjoy some of the most beautiful music made for some of the greatest TV ever produced. (Jonny Trunk)

Fact magazine has the story of how Jonny Trunk rescued from obscurity the soundtrack of David Attenborough’s 1979 tv series “Life on Earth”, composed by Edward Williams. Trunk has compiled a reissue due out soon (Nov 2).

The story behind the unearthing of this music is quite an interesting read (read it at FACT). I’m excited to hear this!

Speaking of Sir David Attenborough… The BBC website has recently issued a collection of his favourite clips from all the tv he’s done with them.

September 10th, 2009

on passion and music

Benjamin Zander could scarcely be more passionate as he delivers this talk on passion and music. Highly entertaining!

May 16th, 2009

Synecdoche Karioke

This song “Little Person” is essentially the theme song of Synecdoche, NY, Charlie Kaufmann’s new film. I saw it yesterday and just hearing this tragically beautiful song now is enough to take the wind out of my lungs and fill them with water! It’s an indulgence of misery. Must be careful to moderate it.

The song is part of a mesmerizing soundtrack by Jon Brion.






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