B.J. Snowden with Fred Schneider from the B-52s
The companion piece to the Songs in the Key of Z post (see below) is what came right after it on the show, the music video for B.J. Snowden’s mighty In Canada video, taken from her Life in the USA and Canada CD. BJ Snowden is a very interesting talent. Her songs are catchy, they are original and they are fully formed. They are also malformed, but I don’t mean that in an insulting way, I’m just trying to describe her music accurately. B.J. could have been another Andrew Lloyd Webber, except that her music is missing a few chromosomes.
Suffice to say, once you have heard this song even one time, you will never, ever forget it.
In one of those incredible-but-true show business stories, fate has played a role in Ms. Snowden?
Um, WOW! This looks like a lot of fun! Creative Review says:
After premiering in Edinburgh earlier this year, the film of the best alternative music festival in the world tours the UK from this week; opening in Manchester on Friday and then taking in Glasgow, London, Leeds, Brighton and Bristol…
All Tomorrow’s Parties: The Film is a special piece of cinema. It’s been compiled from hundreds of video clips of the various artists that have performed during ATP festivals at the out-of-season Pontins holiday camp in Minehead, sent in by fans and then shaped into a film by director Jonathan Caouette.
The film brilliantly captures the experience of actually being at the festival ?
The idea behind Indeterminacy was, like many Cagean ideas, essentially simple and audaciously original. Cage read 90 stories, his speed determined by the story’s length. In another room, beyond earshot of Cage, David Tudor, pianist and veteran Cage collaborator, performed miscellaneous selections from Cage’s Concert for Piano and Orchestra and played pre-recorded tape from Cage’s Fontana Mix. The resulting collaboration is an astounding piece of “music,” and a fine introduction to the innovations of John Cage. “A wonderfully curious way to hear stories.”
First the Beatles, next up The Rolling Stones—or at least Exile On Main St. Saw this weekend that Universal Music is giving Exile the deluxe packaging and remastering treatment for release later this year. Well, I’m
of mixed emotions not sure how I feel about this. I do love, love immeasurably, that album’s sprawling, bluesy murk—is Exile something that can profit, really, from being cleaned up any further than it was in ‘94? Or are there sounds in those tracks—sounds as buried as they are essential—whose magic another scrubbing might forever eradicate?
While I/we have a few months to ponder that one, here’s something delightfully raw, circa Exile: little-seen rehearsal footage of that album’s “Loving Cup.” Similar footage has been floating around on YouTube, but this is a recent addition, with a clapboard opening and (often) excellent sound quality.
Previously on Dangerous Minds: You Never Give Me Your Money: Metzger on the Beatles Remasters
Matt Johnson, under the moniker of The The, played the Hank Williams of the 1980s. Inspired by a Throbbing Gristle cassette as a teenager, he went on to record some of the most poignant and heartfelt pop music of the decade, helping lay the groundwork for the “alternative” heart-sleeving of the 1990s.
The The’s stuff is, to my mind, just brutally honest and True about the human condition. Johnson’s albums have gotten me through some hard parts of my life… and judging from his Amazon comments, I’m not alone. The Cult of Johnson, while small, is about as rabidly dedicated as you could expect a fan base to be?
Growing up on the Klingon starbase Morska, it was no problem for Klenginem - whose real name is Quvar muHwI’ valer - to receive the most different kinds of communication waves, among which also the terran rap-music.
As a communications officer, it was no problem for him to adapt the songs to the klingon music, and then he presented his first try to the warriors of the Dark Vengeance Fleet. To make his pseudonym, he used the name of a famous terran rap-singer, from the “Klingon Eminem” he got the name “Klenginem”.
Klenginem on why he doesn’t want you going to the police:
Next, the “Klenginem-Show” is only run as a hobby, just for fun and produces no financial advantages. The so called performances have only been on private events and parties among friends, and Klenginem did not get any money for what he did.
If anyone still disagrees with anything he or she finds on this website, please contact its administrator before going to police or lawyer. I think there is no problem that we cannot solve ourselves, because - like I said before - this is all just for fun, so there is no money available for legal fights.
Dismissed at the time as a lightweight Coen Brothers effort, O Brother, Where Art Thou?, for me, grows in significance with each passing year. In its ‘00 depiction of ‘30s America at a literal and metaphoric crossroads, there’s something moving and elegiac about it—even subversive. Where else in American cinema has anything, everything felt so wonderfully possible?
Recording a hit song, taking down the Klan and crooked politicians, having your sins washed away in a nearby river, it’s all a matter of course in O Brother’s vision of America. And while I know that’s probably not an authentic vision for how things were back then, it still feels like an excellent vision for how things should be.
Whether through flooding or baptism, O Brother equates water with the possibility of transformation. So, too, does Kevin Coultas in his notes on Dust-To-Digital‘s new, carefully authentic release, Take Me To The Water: Immersion Baptism In Vintage Music And Photography:
The Christian sacrament of baptism has its ritualistic origins in the Jewish mikvah (or collection) in which one is purified, typically in a ‘collection’ of living water (river, lake, ocean, etc.). New Testament prophet John the Baptist adopted this tradition and used the River Jordan to cleanse sinners so that they might enter a new life of repentance.
Based on the clip below, Take Me To The Water looks like quite a package. Assembled by collector Jim Linderman, it puts together 75 American baptism photos from 1890 - 1950 with a 25-track disc of early 20th-Century music from the likes of The Carter Family, Washington Philips, and The Jubilee Singers.
As Luc Sante writes of the photos in an accompanying essay, “One is reminded of the commonality of the human experience when viewing a collection of this ilk and there is nothing wrong with that.”