1972 Top 30 - # 5 New Seekers
9 minutes ago
MOⒶNARCHISM
After writing yesterday's entry, I decided to let my imagination run wild with some ideas about what might unfold for art and artists over the next ten years. These are the outtakes:Artists will be the new pop stars. They'll have to tour constantly to promote their work as well as be subjected to the same sort of intrusive coverage by paparazzi as Kid Rock or P. Diddy. Bi-sexuality will continue to be trendy and Sam Taylor-Wood will dump her young husband to take up with an aging Megan Fox, whom she'll cast in a re-make of The Hours. After subjecting myself to Orlan-esque body modifications, I will become art's answer to Pamela Anderson – or Kim Kardashian, whichever.
"...It’s a heavy tune with no definable emotional tang beyond an odd ‘fleeting rapture’; in this respect, it fits nicely with the Basic Channel aesthetic, where the productions of Von Oswald and collaborator Mark Ernestus are glorious and overwhelming, but distant – not cold, but somehow removed. Their impact relies on submission; you willingly lose yourself in the luster of their gun-metal, greyscale noises – grainy reverb and tape hiss, rolling waves of texture, endless plateaus of rhythm."
As the future of the Newport Jazz and Folk Festivals continues to unfold, its recorded past has suddenly been thrown open.Recently the festivals themselves almost disappeared, amid the financial collapse of their producing company, the Festival Network LLC. They returned last summer in a new guise, at their usual site, once George Wein, the founder of both festivals, regained the right to hold music events there.
It’s a complicated story. But if you want to know why the Newport Jazz Festival has been so important to American music, it’s easy: you just have to hear the recorded evidence. Bits and pieces have emerged over the years, in live recordings by Ellington, Coltrane and others. Now Wolfgang’s Vault, the online concert-recording archive, intends to fill in the gaps...