Over at Dangerous Minds, Richard points us to this fantastic 1967 short documentary "It's So Far Out It's Straight Down" from Granada Television. Allen Ginsberg, Pink Floyd, the staff of the International Times underground paper, and Paul McCartney all make the scene.
"The straights should welcome the underground because it stands for freedom," Sir Paul says. "It’s not strange it’s just new, it’s not weird, it’s just what’s going on around."
I’ve just spent a very depressing afternoon looking through the leading music periodicals. And what did I learn? Pretty much what I expected. I found out what the chart-topping musicians are wearing (or, in many instances, not wearing). I got updates on their love life, and learned whose marriages are on the rocks. I read updates on the legal proceedings of the rich and famous. I got insights into the food preferences and travel routines of megastars. And I read some reviews of albums, and got told by “‘critics” (I use that term loosely) that they were “badass,” “hot,” “sexy,” “tripped-out,” and “freaky.”
The periodicals in question have certainly become harder to read, that's for sure. But as Gioita points out, music's been a tool of self-definition for many years. At MeFi, lizarrd heads "down the rabbit hole" of websites that apply music theory to pop.
Enjoy 'Mixed Paganini,' by the Studio Di Fonologia Musicale Di Firenze. Published in 1967, it sounds like a weird, hectic video game from 15 years later. The songs were programmed by Pietro Grossi; the 7" disk was "distributed as a Christmas and new year gift by the Olivetti company." [via]
A few years ago, I posted about TuneUp, software from my pal Gabe Adiv's company that did a bang-up job cleaning up the metadata mess of my 150+ GB music archive by identifying dupes, fixing track names, and grabbing cover art. About a year ago, Adiv parted ways with the company he started, TuneUp Media. Since then, the company released an update that really bummed out serious users and last month announced they were shutting down. Well, Gabe just managed to buy back the TuneUp assets and reunite the original development team to relaunch TuneUp. Interestingly, their first "new" product is an old version of the TuneUp software. Congrats, Gabe! Above, a classic TuneUp commercial starring the great Biz Markie!
In each episode of Gweek, I invite a guest or two to join me in a discussion about recommended media, apps, and gadgets. This time my guests were:
Ramez Naam, a computer scientist and the H.G. Wells Award-winning author of three books, including the sci-fi thriller Nexus, which has been optioned as a film by Paramount and director Darren Aronofsky. The follow up title, Crux, came out in August.
Danimal Cannon, a touring chiptune and heavy metal musician who occasionally composes music for indie video games. His album Parallel Processing was recently launched as the soundtrack for the new game Wave Wave on iOS.
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Tomorrow night, San Francisco's pioneering contemporary dance company ODC will premiere a new work inspired by famed sculptor/environmental artist Andy Goldsworthy with live music by experimental cellist and loop musician Zoë Keating, likely familiar to Boing Boing readers from previous BB posts, or her appearances on Radiolab and Who Killed Amanda Palmer. For this piece, titled "boulders and bones," ODC artistic directors Branda Way and KT Nelson took choreographic inspiration from the ever-transforming landscapes of art and nature. The visual context of the dance comes from a time-lapse film by RJ Muna shot during the seven-month installation of a Goldsworthy sculpture at private location north of San Francisco.
Performances of "boulders and bones," along with several other works, will be held through March 30. Tickets are available here. Boing Boing is delighted to share the special video below from a "boulders and bones" rehearsal, along with another stunning photograph of dancer Natasha Adorlee Johnson by RJ Muna.
Dirt Road To Psychedelia is a documentary about the underground culture and music scene in Austin, Texas during the 1960s. Above is the trailer.
"With a folk-singing Janis Joplin, the 13th Floor Elevators, peyote, LSD and the first psychedelic music venue in Texas, Austin was a fertile ground for the emerging counterculture of the 1960s," says director Scott Conn.
If you're lucky enough to be in Waxahachie, Texas this Sunday (3/23), check it out live at the wunderkammer that is the Webb Gallery as part of their "Big Hair & Sparkly Pants" Texas-themed group art show. You can also buy the DVD on Amazon.
Industrial Soundtrack for the Urban Decay is a forthcoming documentary about industrial music featuring BB pals Throbbing Gristle and V Vale (RE/Search) along with Cabaret Voltaire, NON, Z'EV, Sordide Sentimental, SPK, and many more artists/thinkers. Directed by Amélie Ravalec and Travis Collins, the film is in post-production and slated for release later this year.
There are a lot of covers of Frozen's themesong "Let it Go" on Youtube -- enough to seriously freak out the loony Christian right -- but Brian Hull beats 'em all, managing to sing the song, verse-by-verse, in the voices of characters from across the cinematic history of Disney and Pixar. What's your favorite?
Recommended if You Like is Boing Boing's weekly podcast of Brian Heater's cafe conversations with musicians, cartoonists, writers, and other creative types.
From Guided By Voices to Nada Surf, if you can think of a seminal indie rock band from the past 20 years, there's a pretty decent chance Doug Gillard's put in time among their ranks at some point or other. The journeyman guitar player also has a accomplished solo career, with his latest, Parade On, due April 8. Gillard joins us over some green tea and bourbon to discuss the Beatles, Ohio and playing with some of the best rock and roll bands going.
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The Raymond Scott estate turned over 50 years' worth of the composer's archives to three DJs -- The Bran Flakes, The Evolution Control Committee, and Go Home Productions. The archives contained "jazz, orchestral, electronic, experimental, studio chatter, never-heard rarities," which the DJs remixed into six tracks each, as well as a collaborative remix of Raymond Scott's "Powerhouse," perhaps his best known work (and much beloved of classic Warner Brothers' cartoons fans).