I never, even for a second, contemplated buying a Kindle. It always seemed like a huge waste of money because it is a limited device that only allows me do the exact same things I can do while reading a book. It replicates my reading experience with a digital device, precisely. I enjoy reading as much as the next person but since I’m not someone who needs 60 books and 100 PDF files on me and ready to view at a moments notice, I never had any use for it.
With the announcement of Apple’s iPad, however, I am engaged. So authors, agents, editors, publicists and all people in the publishing industry I’d like to offer you some words of advice, practical advice and guesses at how this will effect books in The Future. Just so you don’t think I’m a kook, I’ve been working in the music industry since 1998, where I started as an intern at MTV and my local radio station. At the same time my college job was as a network expert (basically helping kids who were too dumb to get their own computers on the university network). I watched the growth of file sharing and Napster very closely, right up in my face at my own school. I eventually got a job at MTV where, among MAAAAANY other things I worked on the launch of their digital music service URGE and as part of their eventual partnership with Rhapsody America. I have been there, done that for where you are now, publishing industry. Additionally, I’ve been paying you close attention because I’ve written my own book proposal for a music-themed non-fiction work and you can talk to my agent if you want to know about it (or buy it).
The first thing I’m going to tell you, publishing industry, is you better hire some apps developers right now and stop trying to sell eBooks as just PDF scans of the book. The iPad is so enhanced and connected, your book format needs to evolve with it. Here are some examples of what I’m talking about:
In my own book I mention the titles of songs several times and multiple artists are discussed. In my dream world, I’d like my eBook to link out to the artists and the songs to link to Apple’s Lala service so you can listen to the song while reading what I wrote about it. The emotional impact of my book would be through the roof!
It is really expensive to include photos and illustrations in your real world book, am I right? They cost a ton to print on that special paper. You know what isn’t expensive at all? An enahanced eBook version of your tomb with artwork. You can, as a matter of fact, put in as much artwork as you like (save coypright issues). Elizabeth Wurtzel’s memoirs from the early ’90s will be re-readable with her photos! Twilight was long but I would buy an eBook copy for some film tie-in photos or original illustrations of what Edward looked like. TEAM EDWARD!
Footnotes, podcasts, other books, links to magazines and newspapers — all of these can be instantly accessible in my book on the iPad. I can not only tell you about the music & the brain podcast that influenced my train of thought in a chapter, but link you to download it yourself in iTunesU. You can practically live inside my head with an enhanced eBook.
Your eBook can work to help publicize you as an author. You know how the back jacket (or maybe the intro if you snuck it in) says where you write? Maybe the name of your blog or your email if you’re that kind? Your eBook on a iPad should actually be include the web-accessible ways you’d like to be reached! Your website, your Twitter, your…whatever you got.
Ok, so now that we’re all actually thinking of making our electronic book reading experience an interactive, full experience where we do more than just read the book — let’s talk about your future, publishing industry.
It is way past time to get worried about book pirates. Start thinking now about how you’re going to give away a tiny piece of your books to abate the rapid copyright infringement and illegal file trading.
Personally, if I get a book deal, I want to give away a chapter. And I’d love to partner with a band or record label who are giving away an MP3 from an artist. As a new author that’s a huge potential promotional tool that will work even with suckers who are rocking a Kindle.
Asking someone to commit to your 65,000 words seems like a lot. Hooking them with your 5,000 word teaser that they can pass on to friends and then getting them to buy your book just might be your big break.
It was 36 degrees in Los Angeles when I woke up this morning, so I figure it must be time for some Christmas/holiday/winter songs.
As you’ll see, I’m not a huge traditional Christmas song person. I like my ’80s versions of songs and updated classics. Also I’m not big into depressing Christmas fare – I prefer the fun tracks. So these are my ten favorite Christmas songs this year.
Click on the song title to stream it on Lala, if you don’t already know what it sounds like.
I’m surprised by the number of people who don’t know the genius of Loretta Lynn’s countrified new Christmas classic. Maybe it’s just because I grew up in Texas where we stack hay bales up next to the mistletoe but I do love a good country fried Xmas song or two.
Leave it to the Kinks to write a danceable song about a department store Santa who gets his ass kicked by some brats. Possibly one of the “punkest” holiday songs ever, I say even topping the Ramones “Merry Christmas (I Don’t Want To Fight Tonight).”
No funk soul Christmas is complete without The Godfather. It almost makes me wish he’d do a Christmas version of “It’s a Man’s, Man’s, Man’s World” about how it’s Santa, Santa, Santa’s world.
Absolutely the most psychedelic take on a Christmas classic you are likely to hear. This song was recorded for a benefit album for Amnesty International last Christmas, so if you buy it you can own something amazing and do contribute to something wonderful.
6. Bruce Springsteen “Santa Claus Is Coming To Town”
The best part of this song is how Springsteen cracks up at the end. Well that and that it is a high energy Christmas ROCK.
It’s Christmas, Charlie Brown! Guaraldi’s composition has far surpassed its origins in the wonderful Charlie Brown specials to be used in two Wes Anderson movies, “Cast Away” and “Good Morning, Vietnam” among many others. The song has become an iconic holiday theme.
Winner for best holiday song that is in no way actually about the holidays! This song has won an Academy Award and been recorded by dozens of people to great success. Some people prefer the Dean Martin version or the version from “Elf.” They’re crazy, this is the best version.
Man this is a cheesy song and I love it to pieces. I’m such a sucker for the synths in this song – so different from the sleigh bells feel of most holiday songs. No one who has covered this song has even come close to capturing the magic.
I know this is my favorite holiday song because it makes me dance in my car when it comes on. I so enjoy singing along, especially to the super cheesy lyrics. I keep waiting for something like the narrative of this song to happen to me on Christmas. What, it could happen.
I’ve been making my top ten list of records for 2009 since about January when the Animal Collective album came out. I’m that kind of a nerd and I don’t want rehabilitation for it, thank you. There are several things that will make the list that everyone who knows much about music outside of Lady Gaga have chatted your ear off about this year, but there is one I love who haven’t been given a ton of consideration.
There are very few people who present their music as actual art – let alone accompanied by any sort of 3D visual art, outside of pop artists with lofty ideals and a lighting director and DJ culture. You’ve got The Knife, sometimes Of Montreal and after that I want to say Daft Punk but please refer to the previously mentioned DJ culture. There are certainly precious few lo-fi artists dipping their toes in that pond. That’s why I’m so glad when an artist like Ramona Gonzalez comes along.She’s inspired by weird stuff I’ve never even heard of but you bet your ass I’ll be Googling, like Tom Reccion, UK group Woo and Sensations Fix.
I want to know all about her world after listening to her Good Evening CD.What I most want to know is how someone has the balls to cover a Roxy Music song and actually do it better than Roxy Music. I mean, you don’t one up Bryan Ferry. Not that she meant to, like all covers it’s an homage to something she loves but my damn. It’s so good. Watch this lo-fi even further stripped down version of the song from ZDB and just try to tell me you aren’t mesmerized.
You totally want to go see her live now, don’t you? Me too. I can’t believe I’ve been in love with this album and haven’t gone to see this live show yet. I hereby resolve to stop being a hermit briefly enough to go to a Nite Jewel song.Thank you for reading about my obsession. In exchange for your time I offer you this free and legal download to take with you when you go on your way.
In honor of the late, always great director John Hughes we at The Playlist put together a collection for you of his greatest movie music moments from some of his greatest ’80s teen movies. For a lot of us John Hughes in the ’80s was the expression of the lives we wished we lived or the kind of teenager we hoped to grow up to be. He was a great aspirational filmmaker who tapped into the pulse of a generation. He was also a musical savant, personally picking many of the songs that would appear in his films. He was very into exploring British music that hadn’t made it to America yet and gave some of the first mainstream credence to then-unknown bands from the Dream Academy to The Vapors to the Psychedelic Furs. It was also nice that for Hughes, teen films didn’t just mean teen boy films and we were able to see some relatively rich females on the screen and hey, he gave us Molly Ringwald.
“Sixteen Candles” (1984)
There are myriad great music moments in Hughes’ first teen comedy, from The Specials’ blaring “Little Bitch” as Jake Ryan’s (Michael Schoeffling) party spirals out of control to the gym slow dance while Spandau Ballet’s “True” plays in the background. The pivotal song, however, is paired with the final scene and blazed in the minds of millions of girls who’ve dreamed of their unforgettable crush for decades. That would be the Thompson Twins “If You Were Here” which comes in as Ryan picks up Samantha (Molly Ringwald) at her sister’s wedding to surprise her with a birthday cake. There is no erasing that song’s connection to a romantic moment.
Thompson Twins – “If You Were Here” in “Sixteen Candles”
“The Breakfast Club” (1985)
This movie turned out to be much more than just a teen drama. “The Breakfast Club” was a micro reflection on society, stereotyping and the lovely little boxes we all find ourselves trapped in. There was not a ton of pop music in the movie — because most of it is driven to Ira Newborn’s awesome synth-y score — but again Hughes did manage to score it with a breakout hit. Simple Minds’ “Don’t You (Forget About Me)” was a theme song for the movie that went on to become a cultural sensation in the mid ’80s.
“Weird Science” (1985)
John Hughes’ oddball male teen fantasy film marked the first, but not last, time Hughes would use a title track to score a film. He’d worked with Los Angeles based band Oingo Boingo, as led by future Oscar-nominated composer Danny Elfman, on soundtracks before but this time he asked them to compose a song specifically for his movie, which became the theme. Interestingly, the band rushed this song out as they were appearing as the house band in the Rodney Dangerfield flick “Back To School” at the same time, as well as composing “Dead Man’s Party” for the Dangerfield movie, but naturally the John Hughes movie brought them more fame in the end. Let’s also not forget the winning and celebratory use of General Public’s “Tenderness,” when the boys win the hearts of the girls. Also Ira Newborn, who basically composed the score to all of Hughes film’s did some great work in this one.
However, the key ace-in-the-hole deep cut is the instrumental synth-doo-wop song, “Weird Romance,” where Wyatt (whatever did become of Ilan Mitchell-Smith?) makes out with his new paramour Hilly (Judie Aronson) and god, that song is so romantic and tops, seriously.
Oingo Boingo – “Weird Science”
“Pretty In Pink” (1986)
Picking the one song that stands out in “Pretty In Pink” is a toss up — you’ve got the title track from the Psychedelic Furs and the prom scene featuring Orchestral Manoeuvers in the Dark’s “If You Leave.” The soundtrack was absolutely replete with great songs — you had L.A.’s The Rave-Ups as the house band, The Smiths’ “Please Please Please Let Me Get What I Want” scoring Duckie’s (John Cryer’s) saddest moment and the amazing Otis Redding scorcher, “Try A Little Tenderness” sing-a-long scene. We guess we’ll give the musical moment to the prom scene, though, since this is a teen romance and nothing is more game changing than Andie (Ringwald) choosing sensitive minor-douchebag Blaine (Andrew McCarthy) over Duckie. [ed. still upset to this day and not getting over it anytime soon]
OMD’s “If You Leave” playing in the final scene in the film which segues into the Psychedelic Furs’ titular song.
“Ferris Bueller’s Day Off” (1986)
Hughes incorporated some not only classic songs into the “Ferris Bueller” soundtrack — from The Flowerpot Men’s “Beat City” (the montage when they drive around Chicago) to Wayne Newton’s “Danke Schoen” — but boasted some indelible and unimpeachable movie/music moments to illustrate the most sophisticated teenage mind the world had ever seen in one Ferris Bueller (has Matthew Broderick ever been so perfect?). The stand-out track and perhaps most obvious song from the film, was Yello’s “Oh Yeah” which became an unlikely radio and MTV staple as soon as this movie was released, but nothing touches one of the greatest, most joyous and electric movie music moments where Ferris does karaoke to The Beatles’ “Twist & Shout.” That scene never ceases to put a huuuge smile on our face and a shiver up our spine.
However, if we’re going to pick a song near and dear to our heart, that’s probably one of the most beautiful, and heartfelt moment in a John Hughes film ever, we’d have to go with the instrumental version of The Smiths’ “Please, Please, Please Let Me Get What I Want,” as covered by the Dream Academy while the trio of Ferris, Sloan (Mia Sara) and Cameron (Alan Ruck) meditatively contemplate their lives within the halls of the Art Institute of Chicago. It’s a scene that’s always moved us and perhaps a fitting ending to this tribute. This song breaks our heart. Rest easy, John Hughes.
I went to TwiCon in Dallas this past weekend. I spoke on a panel about the music of Twilight. Marah of Bloodshot Records organized our panel and, along with Angela at Wired and Genevive at The Onion, we planned for months what to talk about. Some of us were very nervous, which only increased when we saw the ballroom they put our panel in (photo at left), but luckily only about 3 dozen people actually showed up and all panic attacks abated. Canadian web channel Reelz taped it, but let me elaborate on my comparison of “Twilight,” “Valley Girl,” and Baz Luhrmann’s “Romeo + Juliet” with you.
I touched on other topics, but one of the most interesting was comparing these three teen movies. I selected “Valley Girl” and “Romeo + Juliet” specifically to compare musically to “Twilight” because all three are, at their core, in debt to Shakespeare’s Romeo and Juliet for their plot. Additionally all three have had wildly successful soundtracks that accompanied the very successful movies. So how does the “Twilight” soundtrack stack up to these other teen movie soundtracks? Personally, I think it is the weakest of the bunch. “Valley Girl” shoved Modern English’s “I Melt With You” into the collective consciousness of the world. “Romeo + Juliet” made a hit of The Cardigans “Lovefool.” “Twilight” has yet to break a new artist like the other two movies. I do hold out hope it will move in that direction with the second Twilight movie “New Moon.” I’d like to see a song (or several) become inextricably associated with the Twilight series in the minds of the general public and not just TwiHards. To me that is the sign of a very powerful soundtrack that has been wisely chosen and marketed.
Also, in my own personal opinion, the songs on the “Twilight” soundtrack as a whole are not as compelling as the other two movies I compared it to. “Valley Girl” is very focused musically, enlisting L.A. bands and a few cool British bands of the time into a very specific music soundtrack. You get the sense that the people putting it together and selecting music for that film were consciously attempting to be cool and credible. “Romeo + Juliet” is less concerned with credibility, but also operates in a narrow parameter where pop music scores specific moments in the movie and everything is very, very current. “Twilight” seems to have a broader focus musically. The music in the film is largely hidden in the background and unrecognizable, even at pivotal moments. There is nothing wrong with that at all, but it lends itself to a soundtrack with somewhat improbable artists like Collective Soul (who we haven’t really heard from since the late ’90s), Perry Farrell (a panel favorite to pick on as the out of place track on this soundtrack) and Linkin Park (who especially strike me as an odd choice for such a female driven movie – why is there not an aggressive female voice here instead?).
At any rate, those are just my impressions and musings. If you’d like you can listen to the alternative TwiVerse soundtracks Marah, Angela and I created for “Twilight” on imeem.
Also, I have to talk a little about the Masquerade Ball that closed the conference. It got me thinking about a “Twilight and the Media” panel we’d attended the day before when someone brought up how mainstream media marginalizes things women fetishize, like Twilight, but will embrace boy fetishes like “Star Wars.” It is true, to a degree, that womens’ interest items like Twilight are treated as second class, but it’s also difficult not to laugh at the sort of cult behavior it inspires, like this masquerade ball. I mean, it was thousands of women dressed in ballgowns and masks with nary a man in sight. Ok, I saw 4 men. I found it amusing in the same way I’d find dudes dressed up like Star Wars characters and hanging out together funny. It is in no way a lesser funny.
If you think you are unable to appreciate the movie “Twilight” please allow me to point you to the Riff Tracks version. It is an additional commentary track in MP3 form written and performed by the people who brought you Mystery Science Theater 3000 and it makes the movie SO SO SO much more hilarious. I cannot recommend this enough, especially if you think you’d hate “Twilight” or if you watched it and thought it was an unintentionally hilarious B-movie.
It seems one of my favorite albums from 2009 still shows no movement towards being released in the U.S. (or such is the word from inside the UK label who initially signed them). If you haven’t yet listened to the Invisible then please sit down a moment and let me tell you about how great they are.
Their debut album, The Invisible, is like a jazz/electro/political mixture of dance floor awesome. It was produced by the venerable electronic artist Matthew Herbert and released on his, hmmm I guess you could call it a label collective, Accidental Records in the UK this past March. Now, Accidental have some sort of relationship to Rough Trade as they’ve released Micachu & the Shapes also. So I was trying to convince Rough Trade/Beggars/4AD to release this album in the U.S. months ago, but alas they still have no plans to do so. Even though The Invisible was nominated for the 2009 Mercury Prize!
There’s a bit of critical controversy because everyone and their mother insists on comparing the Invisible to TV on the Radio. This has quickly turned into a question of if the comparison has to do more with their singer being black than the band actually sounding like TVOTR. Personally, I think it sounds more like they were influenced by Radiohead with a dash of Prince (and when someone pointed out that singer Dave Okumu had a sort of Seal-esque voice I couldn’t argue). Certain songs have a tinge of TVOTR’s instrumentalism but the album overall doesn’t have that certain Dave Sitek production touch that would make it definitively alike – it’s actually more polished and further out there with the musical flourishes than Sitek typically goes. Thematically, I can see the TVOTR comparisons. Both bands sing about political, obtuse things inside pretty, compelling song structures.
Don’t just take my word for it, watch their excellent video for the single “London Girl” below and visit their excellent blog.
Alan McGee, in his never ending wisdom that seems to get less wise as he gets older, recently posted a blog on the Guardian about The Monkees, the Jonas Brothers and Britney Spears that I assume had some sort of point about credibility in music which he never got around to actually making. It reminded me, in a round about way, of a chance meeting I had a few months back with the Jonas Brothers lawyer, who happens to also be Vampire Weekend’s lawyer. We got to talking about how certain older people in the music industry keep trying to make the Jonas Brothers into the new Beatles and he challenged me to explain why they couldn’t be the Beatles.
Before we start, let me say for the record that I think the Jonas Brothers are fine. I don’t hate them but I don’t love them. They are not, however, credible artists.
If you look only at the early careers of Jonas and the Beatles, on paper the two groups have a lot in common: both teeny-bopper bands who get dismissed by music snobs as a fad; both write or co-write their own songs which are largely simplistic pop affairs about puppy love; both rejected by record labels (Beatles – every single label in England, Jonas – Columbia Records signed and then dropped before the found their Disney home at Hollywood), both saw a great surge in popularity via appearances in movies and TV shows. The primary difference between early Beatles and the Jonas Brothers so far, as far as I can tell, is the desire to change the world.
The Beatles, even in their earliest and seemingly least offensive songs, were being subversive. John Lennon told journalists early in their career that they were singing about sex and that all their fans knew it. The Jonas Brothers, in comparison, wear promise rings to symbolize their intention to wait until marriage to have sex and have never indicated that their puppy love songs have any sort of raunchy subtext implied. Early in their career The Beatles were taking speed, out partying every night, getting girlfriends preggers (John’s early marriage, Paul’s girlfriend’s early miscarriage which he was reportedly relieved by) and meeting Bob Dylan who introduced them to pot and helped them move beyond writing teeny bopper songs.
While the Jonas Brothers have had their share of PG-rated, US Weekly-endorsed scandals (Miley’s shower photos that may have involved Nick! Joe’s text message break-up with Taylor Swift!), they have yet to express any desire to actually stand for anything except perhaps diabetes awareness and that is mainly because songwriter/lead Jonas brother Nick was diagnosed with the disease. The early Beatles were selling themselves with a winking irony and a desire to start a cultural revolution, but the Jonas Brothers seem to want to distance themselves from any sort of scandal and would never tell a reporter anything that wasn’t sanctioned by their manager/dad, record company publicist and probably Jesus Christ himself. That is nothing like The Beatles, who would once cause mass burnings of their records when noted smart ass John Lennon proclaimed them to be bigger than Jesus. Those Jonases write fine pop songs but until someone either whips out a sitar, expresses an agenda that deviates from societal norms or starts inspiring other bands to imitate them it is nothing more than pop music as usual. Until people of all ages consider the Jonas Brothers songwriting part of the cultural cannon they’ll never be the sort of landmark, beloved band who could start Beatlemania.
The Beatles had sex and drugs going for them and that made their songs rock ‘n roll. I’d really like Nick Jonas to take a cue from Elvis Costello, one of his favorite songwriters, and get subversive already.
I’m having a total song obsession right now with Dri’s “I Know You Tried.” I want to listen to it over and over. So here’s what I’m trying to figure out:
1) How did this album come out in 2007 and the first I heard of it wasn’t until the end of 2008, and then it took me until 2009 to fully obsess?
2) How is her label, Range Life Records, affiliated with Saddle Creek?
3) How in the world did the girl from The Anniversary (who I also had a song obsession problem with at one time, btw) go from emo-esque to blue eyed soul? Fascinating.
Broadway is bringing us the perfect storm of three crazy women in one play: P.J. Harvey, Mary-Louise Parker and Hedda Gabler. Jim Farber reports that P.J. Harvey has written the score to director Ian Rick-son’s new production of “Hedda Gabler,” opening in New York this Sunday.
The score is reportedly based on the idea of a hiss – created with mashed up guitar feedback. Amazingly enough Harvey tells Faber, “I’ve wanted to do theater or film music since I first began writing music. I’ve just never been approached before.” Granted, Harvey does have a reputation for being a difficult and temperamental artist (or, if she were a man we’d probably say “particular and unpredictable”) but she seems from the interview to grasp the basic idea of bending her musical vision to work with that of the director and/or with the material. With the way Harvey’s musical output has been evolving in this particular decade alone we’d say she’s moving more and more towards the kind of ideal artist to score films, specifically those on the darker end of the spectrum.
Until such time as Christopher Nolan finds a nice, dark non-superhero film for Harvey to score you can catch “Hedda Gabler” and wait it out for her next album, which is to be released this spring.
Generally speaking, when actors decide to have music side projects there are no amount of snide remarks that adequately capture the stunning self-indulgent, needless stupidity and absolute terribleness of their musical results. In the case of Dead Man’s Bones, a new band featuring Ryan Gosling (“Half-Nelson” and “Lars and the Real Girl”) and his best friend/normal person Zach Shields the opposite seems to be true.
The music is, against almost all logical expectations of a music snob like myself, really good. In an interview with Pitchfork the guys explain that over the several years they’ve been working on this collaboration they worked with several different producers who tried to make them more contemporary (which we will take the liberty of assuming means “sucky”) and after hearing the results of these sessions opted to go for a more lo-fi and less professional sound themselves, with Tim Anderson of semi-credible L.A. band ImARobot producing. The project also enlists help from a choir of precocious kids from the Silverlake Conservatory of Music, a music education project founded by Flea of the Red Hot Chili Peppers – amazing live performance video below with the choir dressed in all manner of Halloween costumes that gives the whole affair a very creepy, dark Nick Cave visual by way of a much less polished Arcade Fire musical feel.
Kudos to Gosling for his integrity in his acting choices for the last few years and now his music career. In other good new for acting integrity, IMDB indicates that we’ll be seeing Gosling in two interesting looking features at some point in the near future: “Blue Valentine,” with Michelle Williams attached to co-star, which seems to be about time-traveling lovers and “The Dallas Buyer’s Club” about a man in the 1980s who is diagnosed with HIV and starts toying around with underground drugs not approved for use in the U.S. at the time (the latter sounds completely amazing and we cannot wait to hear more). Until then we can and will continue to pretend Ryan Gosling is our boyfriend on the Fuck Yeah! blog.
I went to 
Also, I have to talk a little about the Masquerade Ball that closed the conference. It got me thinking about a “Twilight and the Media” panel we’d attended the day before when someone brought up how mainstream media marginalizes things women fetishize, like Twilight, but will embrace boy fetishes like “Star Wars.” It is true, to a degree, that womens’ interest items like Twilight are treated as second class, but it’s also difficult not to laugh at the sort of cult behavior it inspires, like this masquerade ball. I mean, it was thousands of women dressed in ballgowns and masks with nary a man in sight. Ok, I saw 4 men. I found it amusing in the same way I’d find dudes dressed up like Star Wars characters and hanging out together funny. It is in no way a lesser funny.
