notes.husk.org. scribblings by Paul Mison.

2013-04-04

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quote 23:29:27
“ it’s hard to see how music and art can continue to develop or challenge itself within these new, very commercial frames. ”
Karin Dreijer Andersson of the Knife, in a Guardian interview: ‘Music history is written by privileged white men’. Well worth a read.

2013-03-29

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quote 00:55:00
“ As to tempo, preference is also to be given to brisk compositions over slow ones (so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated. ”

One of ten Nazi regulations about jazz music written by Josef Skvorecky, as quoted by Josh Jones in an article for Open Culture, The Nazis’ 10 Control-Freak Rules for Jazz Performers: A Strange List from World War II (via)

Skvorecky is quoted as saying: “I read them, gnashing my teeth, in Czech translation, in [a] film weekly, and fifteen years later I paraphrased them – faithfully, I am sure, since they had engraved themselves deeply on my mind – in a short story entitled I won’t take back one word.”

2012-08-03

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quote 12:29:55
“

The contrast between this summer’s two uber-spectaculars – the diamond jubilee concert and the Olympics opening ceremony – couldn’t be starker. At the former, Gary Barlow produced a musical vision for austerity Britain where geriatric crooners rubbed shoulders with talent-show alumni at the end of the Mall. Madness were the risky prospect.

At the latter, something far more radical happened. The floor of the Olympic stadium was torn asunder to the sound of thundering techno and the Queen watched as the union flag was hoisted to a record by one half of Fuck Buttons.

”
Robin Turner at the start of his arti le on Underworld’s brief to ‘frighten people’ at the London 2012 opening ceremony in The Guardian.

(Source: iamdanw)

2012-05-10

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quote 21:24:00
“ Tomorrow Never Knows” is a particularly interesting song to examine from a rights perspective. It’s credited to the songwriting team of Lennon and McCartney, but it was written by Lennon, or rather it was Lennon who came up with the ten or so repeated sonorous notes. The actual words were adapted from The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead, which was co-written by Timothy Leary (among others). But the passages used are from the Bardo Tholo, an 8th Century Buddhist funerary text attributed by tradition to Padmasambhava. So who ultimately wrote the lyrics? Musically, the importance of the song is not its (barely-present) melody or its droning harmonic structure, but its use of audio loops, a technique borrowed from Stockhausen. McCartney was interested in the avant-garde approach but it was George Martin and several EMI technicians that actually got it to work. So who ultimately made the song? And which amongst them will receive a portion of the $250K? ”
John McCoy on Pathetic Fallacy in Surrender to the void, a post about the $250k fee demanded by the Beatles (or rather, the holders of their rights, given half of them are dead). It’s probably worth reading it in context (it’s a short post) but I loved the web of creativity listed here.

(Source: john-mccoy.blogspot.co.uk)

2012-05-07

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photo 15:32:11
Studio Parris Wakefield: Tasked with the brief of ‘deep space and nebulae’, Howard Wakefield researched through the collection of Nasa imagery at SpaceImages. While tempted with a nebula called Factory, its name was too good to be true, for it didn’t compare with the more expansive deep blue nebula of Hubble NGC 346 SMC. Peter Saville was keen to see how it could be transformed from being purely documentary, so suggested an inverted, monochrome version.

Studio Parris Wakefield:

Tasked with the brief of ‘deep space and nebulae’, Howard Wakefield researched through the collection of Nasa imagery at SpaceImages. While tempted with a nebula called Factory, its name was too good to be true, for it didn’t compare with the more expansive deep blue nebula of Hubble NGC 346 SMC. Peter Saville was keen to see how it could be transformed from being purely documentary, so suggested an inverted, monochrome version.

2012-04-11

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quote 23:12:39
“ There is [a] clear appeal for music bloggers, who have been at the sharp end of some of the music industry’s dysfunctional ways in recent years – fielding takedown requests from a label’s legal team for tracks posted at the explicit request of its marketing team, for example. ”
: Spotify launches Play Button for websites to stream music in the Guardian (via iamdanw).

(via iamdanw)

2012-04-09

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photos 21:15:00

FACT 10+4 posters, Peter Saville, 1979.

2012-03-20

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photo 11:00:00
‘Words and Music by Saint Etienne’: the new album, full details. Larger image from Titch Likes; there’s also the video for the new single there. See also.

‘Words and Music by Saint Etienne’: the new album, full details. Larger image from Titch Likes; there’s also the video for the new single there.

See also.

2012-03-15

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photos 16:53:21

Occasionally people wonder where I got my usual online nickname from. The answer: these. (via)

2012-03-13

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video 16:35:00

chriswoebken:

Is this in the SF Navy Yards?

From the looks of the crane you can see out of the window at 6’15”, yes, I think it is. (This is apparently a music video for Nothing is Everything by Efdemin.)

(Source: youtube.com)

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Paul Mison's random stuff that doesn't go elsewhere. Is it microblogging, or microactivity?

(Previously known as 'tumblr is my sock drawer', for reasons that are somewhat unclear.)

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