Tag Archives: music

Such a Nice Band: The Head and the Heart

Mother Jones

The Head And The Heart Maggie Caldwell

There is a certain sound that became popular in indie music four or five years ago that seemed to have sprung forth in reaction to the gloomy mood of the Great Recession. It is a stripped down, bombast-free, rustic folk sound popularized by such acts as The Fleet Foxes, The Great Lake Swimmers, and Mumford and Sons. The songs often feature swelling choruses and invoke a spirit that rallies against the dying of the light. This boot-strap hitching, mellow optimism also has been the hallmark of a band of six strangers from Seattle, who, through mutual admiration of each other’s talents at open mic nights around the Emerald City, agreed to join forces, record an album, and head out on the road, recession be damned.

It’s been four years since the members of The Head and the Heart released their self-produced eponymous first album, a collection of heart-on-your-sleeve, piano-driven acoustic folk songs laced with violin; rounded out by a clean, driving percussion section; and driven home by gorgeous three-part vocal harmonies. Through heavy touring and word of mouth, they’ve sold more than 10,000 copies. And when Seattle’s Sub Pop label re-released an expanded edition in 2010, The Head and the Heart’s NPR darling status was sealed.

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Such a Nice Band: The Head and the Heart

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Breaking Bad, Narco Cultura, and the Ballad of Walter White

Mother Jones

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The hit TV series Breaking Bad, which, in case you hadn’t heard, concludes its incredible five-season run tonight, is known for its disorienting opening scenes—brief cryptic bits of foreshadowing before the first titles flash on screen with that now-iconic guitar and bass snippet. The technique has been employed in other shows, but never with such regularity and success as in Vince Gilligan’s Emmy-dominating opus.

But one of the teasers, appearing mid-way through Season 2, has stood out from all others: It’s a video of the Mexican band Los Cuates de Sinaloa performing a narcocorrido (drug anthem) honoring Heisenberg, Walter White’s drug-trafficking alter ego. (White is portrayed by the actor Bryan Cranston.)

If you don’t speak Spanish, the song sounds like an upbeat Mexican folk ditty. But the lyrics allude to Heisenberg’s blossoming meth business, which, at this point in the series, has left the Mexican cartels fuming over lost territory and profits. Shots of Heisenberg’s nonpareil blue meth, guns, fat stacks of cash, and a trail of bloodied bodies flashes over Los Cuates’ frenetic playing.

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Breaking Bad, Narco Cultura, and the Ballad of Walter White

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"Homeland": The Broadway Musical!

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Homeland, Showtime’s Emmy-winning drama, returns for its third season on Sunday. While they’re waiting, fans of the series can check out Homeland: The Musical. It’s a small production, blending the show’s war-on-terrorism thrills with jazz-hands theatricality. “Homeland is such a serious show, a big time drama; it was time for a lighthearted spin on it,” says Brendan McMorrow, a producer with Above Average, a NYC-based entertainment platform created by Lorne Michaels‘ Broadway Video. “There was some on-the-fly choreography, some throwback to Bob Fosse moves in there…Carrie Mathison is like something out of Chicago, and we have a little bit of Guys and Dolls thrown in there, for example.”

The musical will not, however, be debuting on Broadway any time soon. The video is a parody—a four-minute promo for a garish and fake musical adaptation. It was posted to this week to the YouTube page of Above Average, which specializes in promoting original comedy shorts. The sketch and lyrics were written and performed by comedian Eliot Glazer, the guy behind “Shit New Yorkers Say.”

Homeland: The Musical was intended as both a loving send-up of the Showtime series and as a riff on Broadway’s addiction to adapting popular on-screen fare—Legally Blonde, Catch Me If You Can, Billy Elliot, The Wedding Singer—to the stage and pumping them full of song, dance, and artificial cheer. Glazer pitched the idea to McMorrow about six months ago, but shelved the idea until the season-three premiere got closer.

In the past month, they booked their cast of Broadway singers and actors and quickly recorded vocals at a Broadway Video facility. Production and editing then took roughly two weeks. (Scenes were shot in the Producers’ Club, a small improv theater in Manhattan.)

McMorrow says that as of this week, there are no plans to extend their short into a full-blown Homeland musical. “Our office sits next to The Book of Mormon playing at the Eugene O’Neill Theatre, though, so we might be in a good position to do that,” he says. Glazer is about as open to the idea. “Could I write a whole Homeland musical? It’s definitely a possibility,” Glazer told Mashable. “It would be very Sondheim, if Sondheim was lobotomized and hadn’t seen a live play since 1988. Sorry, 1978, not ’88.”

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"Homeland": The Broadway Musical!

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World Scientists Put Finishing Touches on Major Climate Report

In Stockholm, top climate experts are fueling up on coffee as they work through the night to synthesize five years of science. Activists erect a tribute to melting ice outside the IPCC’s meeting hall in Stockholm. Tim McDonnell/Climate Desk Today, on a walkway above Stockholm’s Riddarfjärden bay, four activists in red jumpsuits wrestled with three 2,400-pound chunks of ice. The ice, which will melt onto the sidewalk over the next two days, is meant as a reminder of melting glaciers above the Arctic Circle some 700 miles north of here—although this particular ice was hand-delivered by the same company that maintains Sweden’s famous ice hotel. A few steps away, dozens of top climate scientists from across the globe were sealed in a conference room inside an imposing brick compound that was once one of the city’s largest breweries. They’ve come to hash out last-minute details of the UN Intergovernmental Panel on Climate Change’s Fifth Assessment Report, the last day of a week of tweaks and edits to cap off over five years of work. “We want to show that the climate change is real,” one of the activists, Valentina Restrepo, said. She’s not likely to face much resistance to that argument from the women and men behind the report: A leaked draft stated that global warming is “extremely likely” (or 95 percent certain) to be caused by human activities. When the report is officially released tomorrow morning, it will be the IPCC’s first global assessment of the state of climate science since 2007, and it’s expected to include updates on everything from how long carbon dioxide hangs out in the atmosphere, to the dangers posed by sea level rise, to the alleged “slowdown” in warming many climate skeptics have trumpeted in recent weeks. Stockholm’s Münchenbryggeriet, a former brewery where dozens of the world’s top climate scientists gathered this week to put the finishing touches on the next IPCC report. Tim McDonnell/Climate Desk But one question we’ll be asking scientists tomorrow goes beyond the science itself: Is a report like this really necessary? A criticism voiced by many scientists, both within and outside of the IPCC, is that while early iterations of the report were essential tools for alerting policymakers to the dangers of climate change, this fifth report is unlikely to differ significantly from the last report six years ago (which won a Nobel Prize for laying “the foundation” for climate solutions), calling into question the value of dedicating time and resources to re-producing it in its current format. “If it were up to me, there would not be an AR6 (Sixth Assessment Report),” atmospheric scientist Andrew Dessler told our friends at Climate Central. There is no original science conducted for these reports; instead, scientists meticulously aggregate, review, and summarize existing literature. While that sounds like a worthwhile endeavor in theory, the amount of time required means that some science (like, as my colleague Chris Mooney reported, on the effects of warming on hurricanes) might be already obsolete by the time it comes out. Of course, the policymakers who rely on the IPCC to inform their practical approaches to climate change aren’t suggesting that the group disband, but rather break the massive report into more manageable and regularly-issued chunks, according to a survey of participating countries the IPCC conducted earlier this year. This way, the government bureaus that deal with, say, ocean issues, wouldn’t have to sift through a stack of papers on volcanoes to find what’s relevant for them. A new format is one thing that’ll be on the table when members of the group re-convene in Batumi, Georgia, next month. No matter what form the report takes in the future, its top-line findings tomorrow will form the backbone of climate talking points for at least the next five years, and in Stockholm the coffee is flowing as scientists gear up for a long night of finishing touches (into the “early a.m.,” one wrote to us). Climate Desk will be on the scene all day tomorrow, with live updates from IPCC scientists and other analysis, so stay tuned. Read this article:  World Scientists Put Finishing Touches on Major Climate Report ; ;Related ArticlesWTF is the IPCC?4 Climate Myths You’ll Hear This WeekWATCH: What’s Really Going on With Arctic Sea Ice? ;

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World Scientists Put Finishing Touches on Major Climate Report

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Gettin’ Rowdy and Real at Berkeley’s Old Time Music Convention

Mother Jones

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When I catch fiddler Suzy Thompson on the phone, she’s pretty amped to tell me about the 10th annual Old Time Music Convention in Berkeley, California. As BOTMC’s director and founder, Thompson has coaxed old-time musicians from around the world to not only perform at the small annual festival, but to lead its square dances and workshops with eager local participants and amateurs. The outdoor string band contest, held at the park near the Berkeley Farmers’ Market, often takes center stage: jug bands, Italian tarantellas, a Greek band complete with undulating belly dancer—”anything goes as long as it’s unplugged,” the program reads. The result is a gathering modeled after Appalachian fiddle and banjo conventions that emphasize “doing rather than just watching.” There’s not much separation between the stars and the regular folk who take part.

That attitude is what attracted Foghorn Stringband fiddler Sammy Lind to old-time music in the first place. “I was really drawn to the social aspect of it,” he tells me during a break from his current tour in Washington. “I loved getting together; it felt great to be part of a crew of people like that.”

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Gettin’ Rowdy and Real at Berkeley’s Old Time Music Convention

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Emilíana​ Torrini’s "Tookah" Will Sweep You Away—Gently

Mother Jones

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Emilíanaâ&#128;&#139; Torrini
Tookah
Rough Trade

The daughter of an Italian father and Icelandic mother, Emilíanaâ&#128;&#139; â&#128;&#139;Torrini has quietly compiled a lengthy and varied resume. Formerly a member of Iceland’s GusGus, she recorded “Gollum’s Song” for The Lord of the Rings: The Two Towers, co-wrote tunes for diva Kylie Minogue, worked with Thievery Corporation and has released mind-stretching solo albums that suggest a more-grounded counterpart to space queen Bjork, including Love in the Time of Science, co-produced by Tears for Fears’ Roland Orzabal.

Tookah, Torrini’s first outing in five years, blends a host of influences into a single hypnotic pulse that sounds like nothing but herself, encompassing folk, soft pop, trance music, New Age and electronica. Many of the nine tracks are engagingly understated confections, but “Fever Breaks,” the woozy closing song, is a deceptively brash, seven-minute tour de force that feels alternately sinister and reassuring. Prepare to be swept away, gently.

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The Sheer Raw Power of The Julie Ruin

Mother Jones

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The Julie Ruin
Run Fast
TJR Records

As singer for the trailblazing ’90s group Bikini Kill, Kathleen Hanna was a driving force in the riot grrrl movement, which blended feminism and furious punk rock. After the band’s demise near the end of that decade, she moved on to Le Tigre, addressing similar concerns in a more dance-oriented format. Hanna has been out of the scene for nearly a decade, however, so her return to action in The Julie Ruin is cause for celebration.

Taking its name from her pseudonymous 1998 solo project as Julie Ruin, this high-octane quintet also features former Bikini Kill mate Kathi Wilcox on bass and Kenny Mellman of the drag cabaret Kiki and Herb on keyboards. But human tornado Hannah is the focal point. Howling and shouting in full attack mode, she hasn’t lost a bit of the fire that made her so compelling two decades ago. She continues to excel at fusing the personal and political in songs such as “Girls Like Us” and “The Kids in New York,” though you don’t need a lyric sheet to appreciate Run Fast. The sheer raw power of the music is reward enough.

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The Sheer Raw Power of The Julie Ruin

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The Guy Behind "The Fox"—The Summer’s Funniest Music Video—Talks About Going Viral

Mother Jones

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That’s the music video for “The Fox,” an infectious, wacky, and exuberantly funny new song by Norwegian entertainment duo Ylvis. It was posted to YouTube on Tuesday and is already a hit. Gawker hails it as the true “Song of the Summer,” beating Robin Thicke’s “Blurred Lines” and Daft Punk’s “Get Lucky.” BuzzFeed praises it as perhaps the greatest music video on the internet. The Week thinks it might be the “‘Gangnam Style‘ of 2013.” USA Today has weighed in, proclaiming it “the next viral music-video sensation.”

The video (directed by Ole Martin Hafsmo) depicts a man in an orange fox costume who dances and belts out noises a fox might make, including “gering-ding-ding-ding-dingeringeding!” and “fraka-kaka-kaka-kaka-kow!” As you can tell, the lyrics (posted below) get creative and sort of insane with its answers.

For the vast majority of Americans, “The Fox” will be their introduction to Ylvis, a musical-comedy act inspired by artists such as The Lonely Island, Tenacious D, and Flight of the Conchords. But the duo (brothers Bård and Vegard Ylvisåker) is an established act in Norway, where they have their own talk show. The music video was meant to promote the show’s new season, but to the shock of its creators, it’s taken on a life of its own.

“To be honest I am quite surprised!” Bård tells Mother Jones. “This song is made for a TV show and is supposed to entertain a few Norwegians for three minutes—and that’s all. It was done just a few days ago and we recently had a screening in our office. About 10 people watched—nobody laughed.”

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The Guy Behind "The Fox"—The Summer’s Funniest Music Video—Talks About Going Viral

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"Another Self Portrait" Is Bob Dylan’s Latest Tribute to His Musical Influences

Mother Jones

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Bob Dylan
Another Self Portrait:
The Bootleg Series, Vol. 10
Columbia

Bob Dylan’s 1970 double album Self Portrait shocked and dismayed some of the faithful at the time of release, confusing audiences looking for another mind-boggling classic. Dominated by traditional songs and cover versions (“Blue Moon,” Let Be Me,” etc.) performed in a seemingly lackadaisical manner, it came off as a determined attempt to defy expectations and shed the pressure of being a messiah. In retrospect, Self Portrait makes more sense, being Dylan’s salute to music that helped make him who he is (hence the title), while sustaining the down-home vibe of John Wesley Harding and Nashville Skyline, though the cluttered arrangements are still distracting.

The mostly excellent Bootleg Series has allowed Dylan to explain himself more fully, something he never would have deigned to do so directly four decades ago, and the two-disc Another Self Portrait is especially useful in that regard. Drawing on sessions for Nashville Skyline and New Morning, as well as Self Portrait, it offers alternate takes, undubbed versions and revelatory outtakes, depicting a Dylan more interested in revisiting his folk beginnings than trying to exasperate the fans. The previously unheard “Pretty Saro” and “Annie’s Going to Sing Her Song” recall the young Woody Guthrie disciple, while “Belle Isle” and “Little Sadie” improve dramatically in their stripped-down settings.

After 10 editions, The Bootleg Series continues to surprise with fresh perspectives on the greatest songwriter of the rock’n’roll era, which is no mean feat. Completists will opt for the four-disc set, which adds the original Self Portrait and Dylan’s spirited 1969 concert with The Band at the Isle of Wight festival
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"Made in California" Is the Essential (and Nonessential) Beach Boys

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The Beach Boys
Made in California
Capitol/Ume

With a staggering 174 tracks on six discs, Made in California is not the place to start for anybody interested in learning why The Beach Boys were arguably America’s premier band. For that, consult one of the umpteen greatest hits collections or Pet Sounds, their acknowledged masterpiece. But this massive hodgepodge of classics, obscurities, and barrel-scrapings—more than 60 of them previously unreleased—offers a compelling portrait of resident Beach Boys genius Brian Wilson in all his brilliance, and reveals a group of remarkable versatility, able to blend soulful doo-wop, Phil Spector’s wall of sound, jazzy pre-rock vocal harmonies a la the Four Freshmen, and rollicking Chuck Berry-style rock into one exciting identity.

From callow treats like “In My Room” and “Be True to Your School” to the ambitious intricacies of “California Girls” and “Good Vibrations,” Wilson had few rivals when it came to catchy singles. As he started to share creative control with the rest of the band in the second half of the ’60s, the results were spottier and weirder, with mediocrities outnumbering the winners throughout the ’70s and ’80s. Then the Beach Boys splintered, seemingly for good. Made in California can’t hide the quality-control issues, although it does shine a light on worthy less-celebrated songs like “Baby Blue” and “All This Is That,” and touches on their tantalizing, short-lived 2012 reunion. While hardly essential, this handsome package has plenty to lure Beach Boys diehards. You know who you are.

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