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sheetmusiclibrarypdf · 1 year

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Essential Jazz Standards - Jazz Play Along: Lullaby of Birdland

Jazz Play Along: Essential Jazz Standards: Lullaby of Birdland.

Music by George Shearing, words by George David Weiss (sheet music)

Background track with melody to Play Along: https://dai.ly/x8g1fhx

Lyrics: Oh, lullaby of birdland that's what i Always hear, when you sigh, Never in my wordland could there be ways to reveal In a phrase how i feel. Have you ever heard two turtle doves Bill and coo when they love? That's the kind of magic music we make with our lips When we kiss And there's a weepy old willow He really knows how to cry That's how i'd cry in my pillow If you should tell me farewell and goodbye Lullaby of birdland whisper low Kiss me sweet, and we'll go Flying high in birdland, high in the sky up above All because we're in love Lullaby, lullaby Have you ever heard two turtle doves Bill and coo when they love? That's the kind of magic music we make with our lips When we kiss And there's a weepy old willow He really knows how to cry That's how i'd cry in my pillow If you should tell me farewell and goodbye Lullaby of birdland whisper low Kiss me sweet, and we'll go Flying high in birdland, high in the sky up above All because we're in love

Lullaby of Birdland

Lullaby of Birdland is a jazz standard composed in 1952 by George Shearing, with lyrics by George David Weiss, under the pseudonym 'B. Y. Forster' . The title refers to Bird, the nickname of saxophonist Charlie Parker, and Birdland, the local New York jazz historian. The song, composed by the English pianist and composer George Shearing, who recorded it in the same year (1952) in New York with his quintet, was later taken up by many artists (in recent times also by Amy Winehouse). Other versions include Sarah Vaughan, Ella Fitzgerald, Chaka Khan, Mel Tormé, Chris Connor, Quincy Jones, pianist Friedrich Gulda and, in Italy, Mina.

Georges Shearing

GEORGE SHEARING enjoyed an international reputation as a pianist, arranger and composer. Both on the concert stage and in jazz clubs, Shearing was renowned for his inventiveness and jazz orchestration. He wrote more than 300 compositions, including the classic 'Lullaby of Birdland', which has become a jazz standard. Shearing was born in 1919 in the Battersea area of London. Congenitally blind, he was the youngest of nine children. His only formal musical education consisted of four years of study at the Linden Lodge School for the Blind. Although his talent earned him several college scholarships, he was forced to turn them down in favor of a more productive pursuit: playing piano at a neighborhood pub for the attractive salary of five dollars a week! Shearing joined a blind band in the 1930s. At this time, he developed a friendship with noted jazz critic and author Leonard Feather. Through this contact, he made his first appearance on BBC radio. In 1947, Shearing moved to America, where he spent two years establishing his fame on this side of the Atlantic. The sound of shearing attracted national attention when, in 1949, he assembled a quintet to record 'September in the Rain' for MGM. The record was an overnight success, selling 900,000 copies. His reputation in the United States was permanently established when he was booked at Birdland, New York City's legendary jazz venue. In 1982 and 1983, he won Grammy Awards for recordings he made with Mel Tormé. Shearing was the subject of an hour-long television documentary titled The Shearing Touch featured on The Southbank Show with Melvyn Bragg on ITV in the UK, which can now be seen in the US on the Bravo channel. He has received the prestigious Horatio Alger Award for Distinguished Americans in 1978, and a community recreational facility in Battersea, south London, was named the George Shearing Center in his honour. In May 1993, he was awarded the British equivalent of the Grammy—the Ivor Novello Award for Lifetime Achievement. In June 1996, shearing was inducted into the Queen's Birthday Honors List, and on 26 November he was inducted by Queen Elizabeth II at Buckingham Palace as an Officer of the Order of the British Empire for his 'service to the music and Anglo-American relations'. Read the full article

#jazzplayalong #jazzstandards #sheetmusicdownload #sheetmusicscoredownloadpartiturapartitionspartitinoten楽譜망할음악ноты

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claustrophobicandexcatholic · 4 years

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A collection of doodles from the past few days

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cold-wave-zombie · 4 years

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I did the thing

#artists on tumblr #six fanarts #fanart #cartoon #cartoonist #the grim adventures of billy and mandy #grim #billy idol #lord of the rings #lotr #lotr gimli #the garden #fletcher shears #the cure #robert smith #david bowie #zen simon art

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livesets-dj-mixes-edm-podcasts · 3 years

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Download Defected Radio Show hosted by Sam Divine - 21.05.21 for free now!

Artist: Show: Defected Radio Show hosted by Sam Divine – 21.05.21 Quality: 320 Kbps 48000 Khz Genre: House Source: RSS

Listen to more Defected Radio Show episodes

Defected Radio Show hosted by Sam Divine – 21.05.21 Tracklist

The most upfront tracks around today, as featured on the world’s most listened to weekly house music radio show….

01. Duke Dumont & Kid Enigma – Let Me Dance [Positiva] 02. Discoslap – Lovely [Salted Music] 03. Sandy B – Ain’t No Need To Hide (Sam Divine Remix) [Champion] 04. Robosonic & Ferreck Dawn – Lovers & Haters [DFTD] 05. David Harness – Al Greenz (Dance) [Moulton Music] 06. MOST RATED: Flight Facilities feat. Channel Tres – Lights Up [Future Classic] 07. Boys Noize feat. Jake Shears – All I Want (Purple Disco Machine Remix) [Defected] 08. Hot Since 82 feat. Miss Kitten – Naboo (Nick Curly & Jansons Remix) [Knee Deep In Sound] 09. Cortney LaFloy – My Sister (DJ Applejac’s Unhooked Generation Vocal) [I-Kue Recordings] 10. Oscar P – T.I.R.E.D. (Norty Cotto Remix) [Kolour Recordings] 11. Riva Starr feat. Imaginary Cities – Ride This Sound (Oliver Dollar Remix) [Sweat It Out] 12. Rita Lee & Roberto – Mania De Você (Harry Romero Remix) [Universal Music] 13. Carlo Lio feat. MC Flipside – Hood Shit [Rawthentic] 14. Ben Hemsley – Ayee [Sola] 15. Gorgon City – Patched [White Label] 16. Ten City – That’s The Way Love Is (Louie Vega Mix) [Ultra Music] 17. Salute – Want U There [Echorex] 18. MD X-Spress – God Made Me Phunky (10 Years Of Eats Everything Remix) [Defected Records] 19. Frank Degrees – O Samba E (Melé Mix) [Soulfuric Trax] 20. AZETE – In My Head [Saved Records] 21. Gorgon City & Hayley May – Never Let Me Down [EMI] 22. 4 To The Floor: Kenlou – The Bounce [MAW Records] 23. Skream – Chesters Groove [IFEEL] X Jay J & Chris Lum – Freak Like Us (Acapella) [Fluential] 24. Aeroplane & Purple Disco Machine X Sandy Rivera – Sambal (Changes Mashup) [Spinnin’ Deep/Defected] 25. Solomun feat. Jamie Foxx – Ocean (Moodymann & Amp Fiddler Remix) [NINL] 26. JT Donaldson feat. Liv.e – Stay Inside (Sandy Rivera Remix) [Classic Music Company]

The podcast Sam Divine – Defected In The House is embedded on this page from an open RSS feed. All files, descriptions, artwork and other metadata from the RSS-feed is the property of the podcast owner and not affiliated with or endorsed by EDMliveset.com.

#Podcasts &amp; Radio Shows

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douchebagbrainwaves · 4 years

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IT'S NOW POSSIBLE FOR VCS AND STARTUPS TO DIVERGE

So you shouldn't start a startup. Let's think about the optimal way to do it, they'll let you run the company. The reason, again, slightly longer, because Javascript retains the distinction between statements and expressions, so you have to do well at that.1 If they hadn't gone through that phase, they probably wouldn't have sold $10 million worth of watches when they did go on Kickstarter.2 But startups aren't tied to VC the way they used to, they were willing to take it if offered—partly because investors are so unlike hackers, and partly so I don't worry about the suspension; just make that sucker as big and tough-looking as you can find, use the most powerful language you can get in Java: public interface Inttoint public int call int i s s i; return s;; This falls short of the spec because it only works for integers.3 Back when I was ten I used to be bolted together. When I was a founder I used to be very impressed by airbrushed lettering that looked like shiny metal. You can magnify the effect of a powerful language.

When you apply that test, you can do is consider this force like a wind, and set up your boat accordingly.4 What problems? Thanks to Sam Altman, David Greenspan, Aaron Iba, Jessica Livingston, Robert Morris, Peter Norvig, Lisa Randall, Emmett Shear, Sergei Tsarev, and Stephen Wolfram for reading drafts of this. As a friend of mine said, Most VCs can't do anything that would sound bad to the kind of possibility that the pointy-haired boss right, for example, is generated by Perl. It's not uncommon for investors and acquirers to get buyer's remorse. Is software a counterexample? I've seen it happen. But I think I can prove this to you without even getting into the differences between them.

At the time I couldn't help wishing I could send him back to fifteenth century Florence to explain in person to Leonardo & Co. In fact, a high valuation can be a bad thing. When VC funding dried up after the Internet Bubble that it became trivially cheap to start a startup just one year later, after you graduate, as long as the potential returns look good enough.5 Most people's judgement of art is dominated by these extraneous factors; they're like someone trying to judge the taste of apples in a dish made of equal parts apples and jalapeno peppers. Someone has an idea for a new kind of organization that combined the efforts of individuals without requiring them to be interchangeable. They just couldn't stand the idea of the corporate ladder is probably gone for good. This is an interesting question.

What would make them fly apart. And they were right, weren't they?6 Think of some successful startups.7 A typical VC fund is now hundreds of millions of dollars. This is more pronounced among the very top funds; the lamer ones still want to fund MBAs. The reason this struck me so forcibly is that for most of the time. When I encounter a startup with a lame-sounding new startup idea is to make fun of it.

So you have to resort to focus groups, you'll wish you could go over to your users' homes and offices and watch them use your stuff like you did when there were already about 10, and they just moved one step further along it. So what was this mysterious work experience and why did I need it? One reason it's easy to figure this out: just take less money. People still pay for those. I was running Viaweb, but fortunately we still lived like 23 year olds. Imagine what it would do to the VC business if the next hot company didn't take VC at all. So how much shorter are your programs if you write them in Lisp? But I notice something slightly frightening about Google: zero startups come out of that seventh. At a good college you're concentrated together with a lot of macros, and I realized Steve Jobs had already done it: insanely great. Why don't artists paint like that now? The new model seems more liquid, and more waiting in the wings.

Notes

Cit. The other reason it used to be clear in your identity manifests itself not directly exposed to competitive pressure, because software takes longer to write in a bar. This is an understatement.

5 more I didn't. The reason for the same way a bibilical literalist is committed to rejecting it.

In fact since 2 1. A small, fast browser that you can't even measure the degree to which it is the only companies smart enough to convince limited partners. So starting as a child, either as an adult.

94.

Something similar has been rewritten to suit present fashions, I'm just going to call you about it as if the president faced unscripted questions by giving a press conference. Alfred Lin points out that successful startups have over you could only get in the chaos anyway. Because the title partner, including principal and venture partner.

Certainly a lot of the world.

This explains why such paintings are slightly worse. The situation is analogous to the writing of literary theorists. By a factor of 20. Bankers continued to dress in jeans and a wing collar who had been with their companies.

Thanks to John Collison, Geoff Ralston, Jessica Livingston, Richard Florida, Sarah Harlin, Sam Altman, Patrick Collison, Dan Bloomberg, and Fred Wilson for putting up with me.

#automatically generated text #Markov chains #Paul Graham #Python #Patrick Mooney #waiting #sup #Norvig #boss #Tsarev #People #fact #software #Collison

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inexpensiveprogress · 6 years

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Duncan Grant in Lincoln

I am unsure what the public perception was of Duncan Grant in the 1950s, if people knew he was homosexual or if Vanessa Bell's infatuation with him masked that.

Either way it is surprising to see murals by Grant in a Cathedral given attitudes to such bohemian artists in the church. But in Lincoln Cathedral there is a cell with his homoerotic murals designed on the theme of Lincoln's history in the wool trade.

As with anything Bloomsbury, nothing is simple, so here is a bit of background on Bell and Grant:

Vanessa Bell, married Clive Bell in 1907, and had two sons in quick succession. The couple had an open marriage, both taking lovers throughout their lives. Vanessa had affairs with art critic Roger Fry and with the painter Duncan Grant. Vanessa succeeded in seducing Duncan one evening and she became pregnant in the spring of 1918, having a daughter, Angelica in 1918, whom Vanessa and Clive Bell raised as his own child.

In 1942, aged 24, Angelica married David Garnett. The relationship had begun in the spring of 1938, when Garnett was married to his first wife, Rachel "Ray" Marshall, who was dying of cancer. Angelica had four daughters with Garnett.

Garnett was a member of her parents' circle, a former lover of Duncan Grant who had also attempted to seduce Vanessa Bell. When Angelica was born, Garnett had written to Lytton Strachey saying of the baby: "Its beauty is the remarkable thing … I think of marrying it; when she is 20 I shall be 46 – will it be scandalous?"

In fact Garnett was nearly 50 at the time of their marriage. Despite their consternation, Angelica's parents did not inform their daughter of these details of Garnett's past, although various associates of the family did attempt to warn her against the marriage: John Maynard Keynes had her to tea. Angelica lost her virginity to Garnett in H.G. Wells's spare bedroom. ‡

They were a bohemian lot.

The Russell Chantry, Lincoln Cathedral, before the Duncan Grant murals.

The Edwin Austin Abbey Memorial Fund, set up in 1952 by the widow of the illustrator and historical painter to promote murals in public places, had placed a notice in The Times on 2 May 1952 inviting proposals. One of these had come Duncan’s way, helped no doubt by Vanessa’s presence on the Fund’s committee, and he was to decorate the chapel dedicated to St Blaize, patron saint of the wool industry, in the Russell Chantry at Lincoln Cathedral. †

St Blaize was a doctor from a rich family who renounced his possessions and lived in caves and hillsides, caring for the animals.

After seven years the murals where finished in 1959, they where effectively hidden from public view. The subjects Grant painted were just too homoerotic for the church at that time. The space was used a broom-cupboard for a while in the 1970s.

With the mass publications of various Bloomsbury books and the rise of interest in Duncan Grant, the chapel was re-opened for public view after restoration in 1990. However when I went in the summer of 2018 the room was locked and wasn’t mentioned on the handout map given when you enter the building.

Below is a study for the Christ figure that Grant painted, the study is likely of Paul Roche, Grants lover and painting model.

In London, Duncan had begun to draw Paul in some of the poses that he needed: for the men shearing sheep and for the full-length figure that dominates the altar wall, the Good Shepherd, carrying a sheep on his shoulders.

On the wall opposite he was to paint a view of medieval Lincoln, with a busy harbour scene in the foreground. On the right-hand side men heave bales of wool, their balletic poses echoing the curves found in the ships’ prows, while on the left three statuesque figures (Angelica, Vanessa and Olivier) are linked with the men by the small boy pulling at Olivier’s hand. †

The large ships with the homoerotic and suggestive men are likely what caused the greatest offence to Anglican eyes in the 1960s. The men bending over normally in front of other men’s groins and perfectly painted bums.

As mentioned above the three women below are from Grant’s household. Angelica Bell his biological daughter, Vanessa Bell and Olivier Bell, the wife of Vanessa and Clive’s son Quentin Bell.

Even the little boy looks a little phallic with his flag stuck out at a saucy angle.

In October 1955 Duncan, while painting his Lincoln murals, jumped off a high stand on to a stool that overturned, and cut his head on an electric fire. The accident was minor, but the murals he was painting played a large part in helping him through a low period, for the public at this time showed little interest in his work. †

In the image below you can see a round window above the door painted in with St Blaise looking toward the alter. By the time Grant had finished the works he was in his mid-seventies.

In 1958 Duncan completed the Lincoln murals, which had for so long dominated the studio at Charleston. In order to see them installed, he and Vanessa travelled north and booked in at the White Hart. †

He had put a great deal of thought and labour into this decorative scheme, and at one point had used paper cut-outs to help him decide on the exact positioning of the sheep on either side of the Good Shepherd. Paul had modelled for the young beardless Christ. Consciously or unconsciously, Duncan had drawn on an early Christian tradition which, to ease the transition from paganism to Christianity, depicted Christ in a manner reminiscent of Mercury. Duncan’s Good Shepherd, surrounded by a mandorla of light, fills the centre of the altar wall and faces the view of medieval Lincoln on the wall opposite. †

The picture below is a study in the art gallery in Lincoln of the mural back wall with the original headdresses on the three women and the rest of the scene remarkably similar to the final result, other than Lincoln looks more Italian in the final mural.

Study for The Wool Staple in Medieval Lincoln

The final work was painted in oil on fibrous plaster-boards, which gives to the oils an impression of the chalky surface of fresco. Once the panels arrived in Lincoln in the summer of 1956 they were attached to the walls on battens over the following two years. Duncan Grant and Vanessa Bell attended the unveiling in July 1959, when they stayed as usual in the White Hart Hotel. Vanessa died two years later, while Grant was to live to ripe old age, still travelling and painting and enjoying exhibitions, often with his friend Paul Roche, the model for The Good Shepherd.†

† Frances Spalding - Duncan Grant, 1997 ‡ Angelica Garnett - Wikipedia

#Duncan Grant #Lincoln Cathedral

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tillymint7 · 3 years

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David Blandy

David works talks about a dystopian future where humans have evolved into different creatures. I found this really interesting the idea of working solidly on digital is not for me but I appreciate the idea and the shear dedication David has for his work.

I love fantasy films and books, but I’m not a gamer in anyway. I really love the sense of connection, community and creativity this type of work brings. I feel this is a great opportunity for someone to work on such a fascinating project for someone really into fantasy character or otherworld creations.

NOTES:

Investigating collaborative story telling form for rethinking who we are and what society could be.

Zoom product recently The Tower of Babel - A pack of cards, block tower, Journal, smart phone, letter tiles, 6 sided dice.

Solo Game of language and reality

If the tower collapses than the game is over because the Babel Tower has fallen.

Complete lost name or collect all 24 letters

The booklet follows the index of the playing cards in which you read inserts from the leaflet Babel which also gives out instruction.

Story to allow you to get lost in your imagination.

Interesting idea and way to pass the time helps bring people together and relax about our reality. Encourage collaborative thinking.

Been into Comics and games since 12. That’s were inspiration came from. Fascinated with Popular Culture and the fact it can help in a greater way.

Grandfather saved by the Hirashima Bomb 💣 world war 2.

Loved story games like Zelda.

Multiplayer spaces fascinated online gaming.

Ending game lead to a work about grief.

Virtual grief

Reads alot of SyFy

Thinking of beginnings

Started thinking About Pop Culture and identity and relate to one another

Dungeons and Dragons 🐉

Fighting for a new future

After the oil crash the island was abandoned one of the most bio diverse pieces of land in UK.

Little wriggly things

The game is a metaphor of what could happen to us.

Created a stream of Characters

Self healing through a substance call essence.

Asking for artist to take part in creating worlds game design or character design.

The world has been created like it’s the beginning for us all. It’s a hopeful climate disaster game.

Inspired by fantasy like Tolkien, world of war craft humanoid characters. Get rid of the racist element of Tolkien.

A way of making a shared mental spaces

Imaginary shared single space in your mind instead of a table it’s helped create new friendships. Final Fantasy inspired.

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thotyssey · 6 years

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On Point With: DJ Sammy Jo

A veteran NYC DJ who’s stellar career began during the Great Nightlife Shift of the late 90s, this legend remains an integral beatmaster on the dancefloors of today. Thotyssey gets all the glamorous, glittery details from DJ Sammy Jo!

Thotyssey: Thanks for chatting with us, Sammy! You DJ’ed at the legendary Night of 1000 Stevies in Irving Plaza the other night... how did it go? DJ Sammy Jo: It was fantastic. It’s my fave party of the year. Just tons and tons of good energy always.

Excellent! Oh, and of course, happy birthday! How are you celebrating today / tonight / in the near future?

A quiet dinner, and then I’m working at Club Cumming “hosting”. I’m saving a big blowout for when they get their new license approved. [CC co-owner] Darren Dryden and I have the same birthday, and since we DJ together on Saturday nights normally, we decided to wait til we could really do it up.

I was gonna ask you about all that business with the zoning and licensing snafu later, but we might as well get into it now. How do you feel about this whole mess--where because of some discovered filing error, Club Cumming has had to cease all live music and dance parties? How is everybody who works and performs there handling this weird state of limbo?

I have to say everyone--employees and patrons--has been amazingly supportive. In nightlife, you expect to people to jump ship the minute something like this happens. But we’ve had some record nights on Saturdays, and the hardcore Monday crew is still coming. It’s such a great sign that it has nothing to do with hype--that it’s really just a place where people genuinely want to hang out.

Is there hope for the future? Things seem more complicated then we all originally thought.

Cross fingers, it will be resolved in a week or two.

Wonderful, here's hoping!

You've had a stunning career, and I suppose you've seen a fair share of highs and lows in this challenging industry. Which reminds me: isn't it weird to see our ex-mayor Giuliani--the killer of nightlife in the 90s--just behaving like a garbage lunatic, sabotaging his last good friend President Trump on national TV?

There’s something slightly satisfying watching his complete meltdown and--most likely--ostracization from the shittiest administration in American history. I mean, if you get fired from the Trump administration because you’re too much of a loose cannon, then you have to be a fucking moron. Like I always say, everything comes out in the wash. It’s nice to see the whole nation catching up to what we already knew.

It does seem impossibly odd that these states who hate New York types embrace Trump and Giuliani, two of the most extreme cases of obnoxious New York personalities. Yeah. I don’t know if it’s a testament to how stupid those people are, or what accomplished grifters Trump and Judy are!

Ha! Okay, so Sammy Jo! Where are you from?

Two places, sorta. My first eight years were in northern Florida, and the rest were spent in an NYC suburb. I’m so thankful my family moved back down to Florida to retire.

Florida is good for that! Were you always musical?

Yeah, pretty much. When I was 5, I used to set up a stand at the end of our driveway and try to sell my Winnie the Pooh and Lambchop records. Seriously. Most kids had lemonade stands. I had a record store.

Aw, that's cute! By the way, are you really named Sammy, or is that a nod to Heather Locklear in Dynasty? Dynasty. My real name is David, but only my parents call me that.

Werk! Aside from Lambchop, who were some of your favorite artists and genres growing up?

Disco and AM radio rock were really important to me in my early years, but then I dove right in to new wave and goth in the 80’s. Erasure, The Cure, Siouxsie, New Order, The Cult, Nitzer Ebb, Cocteau Twins. And then later on I was very into British bands like Saint Etienne and Pulp.

That's all the soundtrack of my life!

Haha! I feel very fortunate to have grown up with those bands just emerging.

How did you start DJing?

I was working at the nightclub Mother in the late 90’s One night, my boss and mentor, Johnny Dynell, was playing on some off-night, and he had to take care of something in the office. So he said “here, just play my records ‘til I get back.” When he came back, he said he knew I had “it.” He couldn't say what it was, but he knew from the stuff I chose and how I lined up the tracks that there was a DJ in me just itching to get out. Then I started DJing at bars and restaurants around the East Village, and it kind of grew and grew from there.

I guess you could say it was kind of accidental, but I was always obsessed with music and making mixed tapes for friends. I would also read album sleeves and study who did what on my favorite records.

That's the best education!

youtube

What's something about the partygoers and partythrowers, the club kids, the drag queens etc. from that period that was really unique to that time... that maybe you don't see so much today?

I never went to the big gay clubs back then. I was going to Jackie 60, Squeezebox and Cake. I preferred parties with a little dirt on them. What I miss now is a certain intellectual hedonism from that time. The weekly themes at Jackie were so intricate and referential--and even though a lot of them went way over my head, I always felt part of something bigger happening. Like, we were all there making art, even if we were just drinking and dancing and laughing at the shows they put on.

And Squeezebox was so OUT of the box for drag, making queens sing live instead of lip syncing. and Miss Guy playing the best rock and roll for faggots. I had no idea what was happening at Sound Factory or Palladium, and I didn’t care. I had found my home.

Sounds like Heaven! You’ve also been a touring DJ for the Scissor Sisters. How did that come about?

[Scissors’ frontman] Jake lived two buildings away from me on East 12th St, but we met when he was dancing while I was DJing at Click +Drag, a cyberfetish party. We got along like a house on fire... and this was the beginning of Scissor Sisters, so I would book them at parties where I DJed. Then they disappeared for a bit to go and work the UK scene.

One morning, I was laying in bed with my then-partner Vivian Bond, and at some ungodly hour the answering machine clicked on (this was 2004, mind you), and it was Jake saying “things are going really well here in the UK, and we’re about to start a proper tour... and we wanna know if you will be our opening DJ?” From then on, they were stuck with me!

It was kind of a perfect match, because I like playing all kinds of music--and their references were so all-over-the-map that I could play whatever I wanted.

They've had a great career, and Jake Shears is an electrifying frontman. So I think it's ironic that their biggest American hit had Ana Matronic as the lead vocalist!

I know, it is bizarre that of all their songs, the gayest one was the big American hit. I think a lot of people don’t understand the magnitude of what SS accomplished. There never was--and there hasn't been--a fully Out and Proud, successful American pop / rock band like them. We had Michael Stipe barely out of the closet in the 80’s. Then what? Adam Lambert, like 4 minutes ago. It was really special what SS were able to accomplish, and on their own terms. I think people wanted to dismiss them as ironic, but they actually are one of the most genuine pop bands.

You just mentioned your ex-partner Justin Vivian Bond, who of course has become this legendary cult cabaret performer and activist over time. What do you think of Mx. Bond’s evolution as an artist and a person over the years?

It’s been so amazing seeing V change and grow, and become so happy in her own skin. V is proof that we are constantly evolving--not just as a society, but personally. She’ll always be the love of my life....even when she’s a pain in my ass.

Incredible! It seems like these days, DJs in the gay bars are kind of expected to stick to Top 40. Do you feel this limitation on your nights, or do venues only get you on board when they want something different than that?

I feel lucky right now that I get to DJ at places that don’t dictate what I should play. I’m at The Cock, Club Cumming and House of Yes. They could not be more different from each other, but they all just want me to do my thing. So it’s great to have that kind of freedom, and none of them want me to play current pop music.

You've been DJing the Cock Friday night party King-Size alongside Nashom, Ernie Cote and Chris Flynn for a minute now. Are you distracted by all the sexy skankiness that can go down there?

I love it! I’m never one to participate in that kind of stuff, but I like being near it. I like the energy of people who feel free enough to carry on like that in public.

And when can we next find you at Brooklyn’s House of Yes?

Eric Schmalenberger and Steven Klavier do a monthly gay Sunday party called Bad Behavior. The next one is May 13th. It’s really fun!

And before that: on Thursday, May 10th at the Town Hall, you'll be part of an all-star tribute to the late nightlife legend Flawless Sabrina. That should be a moving night. How do you remember Sabrina?

Yes, that’s gonna be great! I first got to know her when she would come to Cheez Whiz, a night I did with Sweetie (RIP!). She would be there ‘til the latest hour, and get onstage and just tell stories about “back in the day.” It was always fascinating and hilarious. She was so supportive of the younger generation, even though she had every right to be snarky and jaded. A true queen, she was.

She'll be greatly missed!

Anything else?

I’m DJing outside at Times Square on the 13th for the NY X Design Expo 6-8pm. It’s fab! I just play a bunch of disco outside, and strangers all start dancing together. If we’re living in a bubble here, then I hope it never pops! Amazing! Okay, last question that I like to ask DJs, especially of your caliber: what's the best advice you can give to a new DJ coming up today?

Always be aware of who you’re playing for. There’s nothing more annoying than seeing a DJ wanking to themselves in the booth. Your job is to try to make everyone in the room have the best night of their lives... without dying. Words of wisdom to spin by! Thanks, Sammy Jo!

DJ Sammy Jo spins weekly Fridays at the Cock (10pm) and monthly Sundays for “Bad Behavior” at the House of Yes (10pm). He hosts--and hopefully soon will once again DJ--“Haus of Cumming” Saturdays at Club Cumming (10pm) Check Thotyssey’s calendar for other scheduled appearances, and follow Sammy on Facebook, Instagram, Twitter and Soundcloud.

On Point Archives

#onpointwith #djsammyjo

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livesets-dj-mixes-edm-podcasts · 3 years

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Artist: Martin Garrix Show: Martin Garrix – The Martin Garrix Show 349 Quality: 320 Kbps 48000 Khz Genre: House, Electro Source: RSS

Martin Garrix has risen to global stardom in pop as well as electronic circles –and yet he’s far from being done. Dance music’s freshest talent has headlined festivals around the globe, founded a label and mentored other artists and won the 1 spot in DJ Mag’s Top 100 three times. His passion, ambition, drive and maturity remain unmatched in the world.

Discover more Martin Garrix live sets & radioshows HERE | Listen or download more The Martin Garrix Show episodes HERE

Martin Garrix – The Martin Garrix Show 349 Tracklist

Mix 1 1. Todd Edwards feat. Electric Enemy – My Angel [D4DANCE/DEFECTED] 2. Skrillex, Starrah & Four Tet – Butterflies [OWSLA/ATLANTIC] 3. DJ DLG – Genesis [LAZOR MUSIC] 4. Boys Noize – All I Want feat. Jake Shears [DEFECTED] 5. Todd Edwards – Shut The Door [4 TO THE FLOOR RECORDS] 6. Bleu Clair – Need U [STMPD RCRDS] 7. Michael Calfan & HARBER – Feelings After Dark feat. Nisha [MUSICAL FREEDOM] 8. ID – Peace Of Mind [STMPD RCRDS]

Mix 2 9. Janee – Can’t Let You Go [STMPD RCRDS] 10. Faith – Giving Everything [HEXAGON] 11. ID – Breaking Away 12. Merk & Kremont – Gucci Fendi Prada (BYOR Remix) [SPINNIN] 13. Anti Up – Shake [BIG BEAT/ATLANTIC] 14. Marten Hørger, Dongkong – AH LORD [CONFESSION] 15. Matt Nash – Ready Or Not [STMPD RCRDS] 16. Matisse & Sadko feat. Alex Aris – Heal Me [STMPD RCRDS] 17. David Guetta & MORTEN feat. John Martin – Impossible [MUSICAL FREEDOM] 18. Martin Garrix – Pizza 19. Martin Garrix – We Are The People feat. Bono & The Edge [SONY/STMPD RCRDS]

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#The Martin Garrix Show #Podcasts &amp; Radio Shows

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wellofstuff · 6 years

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list: some cool artists i discovered this year

- wyatt shears (musician etc) - fletcher shears (musician etc) - bill wurtz (musician, video maker etc) - exurb1a (youtuber, writer etc) - david nicholls (author) - meredith park (illustrator) - people behind some awesome graffitis i saw in norway - eero saarinen (architect) - francesco borromini (architect) - me (still in progress)

#wyatt shears #fletcher shears #bill wurtz #exurb1a #david nicholls #meredith park #eero saarinen #francesco borromini #me #list of people

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ifuckinglovestvincent · 7 years

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THE GUARDIAN: St. Vincent: ‘I’m in deep nun mode’

For years, the Grammy winner was best known for her experimental music. Then dating Cara Delevingne put her in the spotlight. What’s next, asks Tom Lamont? Saturday 19 August 2017 06.00 EDT The musician St Vincent, a 34-year-old Texan whose real name is Annie Clark, is talking about body piercings. Though her outfit today includes such exotic items as a leopardskin onesie and a pink blazer made of some sort of wetsuit fabric, Clark doesn’t have any outlandish piercings herself; she just has droll and strong opinions about them, as she has droll and strong opinions about a lot of things. “Didn’t it always make you laugh,” Clark says, already laughing, softly, in the museum in London where we meet one summer afternoon, “how people in the 90s who had, like, tongue rings? How they’d always make some sort of comment, intimating that it made them, like, better at oral sex? That was the whole wink-wink thing, right? That a tongue ring meant they were kinda kinky? But then, I guess the challenge – because they were constantly fidgeting with this gross thing in their mouth! I guess the challenge became: no one wanted to get head from them.” She hoots with amusement, just loud enough to turn heads in the hushed museum. Conversation with Clark is like this: a bit unexpected, a bit arch, a bit sexy. She sometimes speaks so slowly and carefully it’s as if she’s reviewing individual words before committing to them. But, as with the lyrics of the songs she writes as St Vincent – always inventive, always making disarming leaps between ideas – you can never predict where her thinking will travel next. Quickly the chat about oral sex gives way to the matter of her own death, and her expectations of a brisk cremation. Before I know quite how, she’s got me talking about an irrational fear of being buried alive. “Get cremated!” she urges. I ask Clark – who will soon release her fifth solo album, a follow-up to 2014’s self-titled St Vincent – why she suggested we meet in London’s Wellcome Collection, to combine our interview with a tour around the museum’s collection of antique medical equipment. Clark peers with interest at a display of old enema syringes and explains that in every unfamiliar city, “you should try to see something real and strange”. It was something the Talking Heads frontman David Byrne once advised her about touring the world, and she’s stuck to it ever since. So far I’ve enjoyed the kind of success where I might get a free appetiser sent to my table. But it’s never a main That phrase – “real and strange” – describes Clark’s appeal as a musician. She is a generational talent on guitar, one of those poised, unperspiring types who can do the manually ludicrous while hardly appearing to try. Seen live, Clark’s fingers flit over the strings of her instrument with utmost precision – that’s the real in her. The strange comes via the writing and the composition, which on her four St Vincent albums since 2007 have tended towards the experimental and jagged-edged. Lyrically, she might choose a thing (prostitution, CCTV surveillance, prescription drugs) and then chew it over in repetitive, often anguished ways, before elevating the mood with a sudden joke. “Oh, what an ordinary day!” she sang on a track from her last album. “Take out the garbage… Masturbate.” Genre labels won’t stick to her. Song to song, Clark might channel Björk then Iron Maiden, then belt out a disco number before pretending to be a fey, shoe-gazing whisper-singer. In the manner of FKA twigs or Héloïse “Christine and the Queens” Letissier, she is a performance artist as much as she is a performer; last year Clark played a gig dressed as a toilet, complete with cistern, protruding bowl and flush. And like twigs, who for many years has been in a relationship with the Twilight actor Robert Pattinson, Clark has managed to cultivate a shadowy, unknowable persona while at the same time dating a wildly high-profile superstar. For 18 months or so, until a break-up made public last summer, Clark was going out with Cara Delevingne, arguably the best-known model in the world.

St Vincent and Glass Animals play in London, February 2014. Photograph: London News Pictures/Rex In the museum, while leaning over a glass display of clay death masks and shrunken human heads, we discuss Clark’s scaling achievements as St Vincent. From album to album, over a decade, her sales as well as her reviews have improved in happy tandem. The most recent album, 2014’s St Vincent, was her best to date, a wild, raucous thing, written in part during Ambien-soaked nights on tour, that eventually won her a Grammy. “It sounds like a very Pollyanna-ish thing to say,” Clark says, “but my ethos has always been to just make the music that I hear in my head. And I’ve been incredibly lucky, so far, that that’s seemed to correspond to external progress.” Where does she place herself right now in the music industry? “So far I’ve enjoyed the kind of success where I might get, like, a free appetiser sent to my table,” Clark says. “And that’s awesome, I’m thrilled by that.” She fixes a level gaze before adding: “But it’s never a main.” A word about her hair. Three years ago, while touring and promoting that self-titled record, Clark had a fantastic and unforgettable do – a triangular mountain of silver-bleached curls that made her look, in her own words, “like a scary cult leader”. I half-expected her to show up that way today, under the same teetering pile of silver, but Clark says the bleach killed off that haircut years back. She had to shear off her frazzled curls, “and then my look was less cult leader, more ‘Why do you have a rodent on your head?’” She has a flair for naming her own haircuts, having cycled through such past constructions as “the Audrey Hepburn with anger issues” and “the Nick Cave minus the receding hairline”, and when I ask about the straightened black parting she has today, Clark decides: “I want to call this one… the Lara-Flynn-Boyle-in-the-90s.” She isn’t quite such a speedy creator of names for her albums. The new LP still doesn’t have a title. I’ve heard about two-thirds of it and it’s superb – the same appealing, enigmatic, genre-spliced collision of ideas and influences that St Vincent fans cherish, only this time with a sleeker, more accessible through-line that ought to further expand her listenership. Some of the tracks, such as the scratchy, stirring Hang On Me, would work as well over the titles of a grand HBO drama as played through fizzing speakers in a dive bar. There are moments of peculiar, wonderful poetry. “Sometimes I feel like an inland ocean,” Clark sings, on a track called Smoking Section. “Too big to be a lake, too small to be an attraction.” A number of the songs certainly sound as though they pick over the end of a serious relationship, in particular an astonishing meta-epic she has written called LA, which seems to be about a break-up (“How can anybody have you and lose you and not lose their mind, too?”), while at the same time being about a fiercely avant garde musician’s reluctance to do anything as obvious as write about a break-up. “I guess that’s just me, honey, I guess that’s how I’m built,” Clark sings, “I try to write you a love song but it comes out in a melt.” Delevingne would be the most likely identity of “honey” here. But Clark is far too cool in person – and too determinedly non-specific as a lyricist – to admit to anything like that. “I don’t love it when musicians speak about their records being ‘diaries’ or ‘therapy’,” she says. “It removes that level of deep instinct and imagination that is necessary in order to make something that transcends.” She adds that such ways of talking too often become “erroneously gendered, in the sense that the assumption from the culture at large is that women only know how to write things autobiographically, or diaristically, which is a sexist way of implying that they lack imagination.” This being said, Clark concedes, “my whole life is in this record. And this is one of the first interviews I’ve done about it. And I guess I haven’t 100% figured out how to talk about it. I mean…” She laughs suddenly, a brilliant, solemnity-shattering hoot. Clark is aware there will be an assumption that a lot of her new songs are about her ex. “I’ve really got to figure this out, right? If I’m going to ever be able to talk about the record?” As is her custom whenever she’s finalising an album, Clark has currently placed herself in what she calls “deep nun mode”. Single. Work-focused. “Completely monastic. Sober, celibate – full nun.” I’m pretty sure she’s joking when she adds, in her slow, funny, unpredictable way, “I mean there are always sex plans. But none for, like, a month.”

Photograph: Arcin Sagdic for the Guardian Clark was born in 1982, briefly an Oklahoman before her parents separated and Clark relocated with her mother and two older sisters to a suburb of Dallas, Texas. “My mom was a social worker. She dedicated her life to doing very admirable things. One of my sisters more or less followed on that path, making the world a better place. But I did not.” Though Clark would see her father during school holidays, she describes her teenage years as “matri-focal”. She was surrounded mostly by women. “And Mom’s mantra was: ‘We girls can do anything.’ She didn’t explicitly call it feminism, but it was baked into our DNA.” Her mother had a quirky, creative streak. Once, after she’d accidentally crashed the family car, she was so intrigued by the aesthetics of the wreck, she climbed out to take photographs of it. “There was probably a picture taken of me and my sisters every day of our childhood. Have I seen any of those pictures? No. Has she gotten them developed? Mostly not. It was just her way of feeling safe, I guess, as if things would last for ever because she had documentation of it.” Is Clark the same in her songwriting? Documenting and so holding on to vanishing events and feelings? “I’m trying to get rid of things,” Clark laughs. “I’m trying to expel them.” We walk to Regent’s Park, where the warm weather and an outdoor art show have drawn a milling crowd. A sculpture installed by the park entrance resembles a tall pile of replica footballs. Fitting, as Clark was quite a player when she was young, soccer one of an eclectic assembly of high-school interests. “I was probably insufferable. I was the president of the theatre club, the kid who put Bertrand Russell quotes on their wall.” When I ask who her friends were at the time, she does not hesitate: “Oh, the sluts and the weirdos.”

Clothes from a selection, garethpughstudio.com. Styling: Priscilla Kwateng. Stylist’s assistant: Stanislava Sihelska. Hair: Stephen Beaver at Artists & Company. Makeup: Dele Olo. Photograph: Arcin Sagdic for the Guardian Music was her main obsession. “I was a 10-year-old fan of Pearl Jam and Nirvana, and I would’ve got into a fistfight defending them. Art mattered.” Her maternal uncle, Tuck Andress, was a touring musician, half of a jazz duo called Tuck & Patti, and during the summer Clark graduated from high school he gave her a job assisting his band on tour. Clark enrolled at a music college in Boston after that and lasted a couple of years before dropping out and heading back out on the road, this time as a musician in her own right. She toured successfully as part of the expansive, experimental band the Polyphonic Spree and later as a guitarist for Sufjan Stevens. She’s always been a political liberal – these days, one in mourning over last November’s election (“I feel like we watched America vote on their daddy issues”) as well as the reign of President Trump, a man she refers to as “a cartoon yeast infection”. As early as her teenage years, Clark had to get accustomed to the fact that a great many political and social norms, predominant in the suburbs where she grew up, were not her norms. She believes in the essential fluidity of sexuality and of gender. (“Boys!” she sings on a new track called Sugarboy, “I am a lot like you. Girls! I am a lot like you.”) “The mutability of gender and sexuality, as you can probably imagine – that was not a prevalent subject in the suburbs of Dallas when I was growing up. Not even a little bit! And no shade on it now. I love Texas, I’m there all the time seeing family. But I was always gonna get out of there. It felt imperative that I get out of there.” I can only write about my life, and dating Cara was a big part of my life In her 20s she moved to New York, borrowing the name St Vincent from one of the city’s hospitals, by way of its mention in a Nick Cave song. (St Vincent’s hospital was where “Dylan Thomas died drunk”, as Cave sang in There She Goes, My Beautiful World.) She released a debut record called Marry Me in 2007 and toured it through Europe to dispiritingly inattentive audiences, carrying away from London a special memory of “playing in a pub where you definitely couldn’t hear me over the crowd”. Between her next couple of records, Actor (2009) and Strange Mercy (2011), her career really started to take off. She performed on US chatshows; wrote and wrote; founded an influential creative relationship with Byrne, after he approached her at one of her gigs. “I was kind of stunned,” Byrne later said, of seeing Clark play guitar for the first time. The pair would collaborate on a celebrated 2012 album, Love This Giant. By the time her 2014 album won the Grammy for best alternative album, Clark was entitled to ask, as she did ask: “Alternative to what?” Prince came to one of her shows, and she was invited to guest-guitar for the surviving members of Nirvana, later for Taylor Swift. As an award nominee at the Brits in spring 2015, Clark came and went on the arm of Delevingne – and pretty much overnight her public persona became a curious, split thing. As St Vincent, she was a fiercely respected musician, patiently fattening a fanbase in the most honourable way, by writing and recording and touring hard. As the “secret girlfriend” (Metro) who was “secretly dating” (Mirror) Delevingne, she was tabloid feed. Clark saw first-hand what it was like for somebody she cared about to be “hounded, hassled, hacked – all of that stuff”.

‘Certain levels of fame are unenviable’: with Talking Heads’ David Byrne “Having seen certain levels of fame,” Clark tells me, “having been, y’know, fame adjacent… That in and of itself seems very hectic to me. If it’s a natural byproduct of doing what it is you love? Then great. But there are certain levels of fame that I’ve seen, just by proxy, that are unenviable.” If the upward trend of her music continues, she might find herself in a similar place, whether willed or not. Clark shrugs. “I can’t control any of that stuff. So what am I gonna do? I’m just gonna keep making music. I know this is another Pollyanna answer, but it’s about the music. Did I write better songs than on the last album? Did I sing them better? Did I play better guitar? Did I connect?” Maybe it was that I heard a low-quality version of the track, but on a new-album song called Pills there was a minor failure to connect. I misheard the song as having a lyric about somebody being “defamed by fame”, something I took to refer to Clark’s 18-month stretch in a celebrity relationship and all the demeaning wrangling with paparazzi and gossip bloggers that must have entailed. Clark looks panicked and says, no, the lyric was about someone being “de-fanged by fame… What I was referring to was that people’s art sometimes suffers when they get into that too-big-to-fail mindset. How things get really boring when people get too risk-averse, or too comfortable, or when they have overheads that are too high.” She can’t seem to get my mishearing of the lyric out of her head, though. “Oh!” she says eventually. “Maybe ‘defamed by fame’ is better?” For a moment she seems to be wondering how quickly she can sprint to Heathrow from here, and fly back to America to rerecord it. In the end she decides she’ll let listeners hear what they want to hear. “There is no way to control how people perceive a song. And if you try to, my God, are you in for a sisyphean task.” In the park we walk up a promenade between neatly manicured flowerbeds. When we settle on a bench, Clark seems overawed. “This is so beautiful,” she says. “I love this. Do you know how hard we’d have to work, in the States, to keep something this beautiful this beautiful?”

With former partner Cara Delevingne in September 2015. Photograph: Dave Benett/Getty Images for Burberry She’s now ready to address the Delevingne quandary. When the new record is out, reference to her ex will be exhaustively scoured for – it’s already started to happen, as when Clark released a single called New York in June, and Vice responded with a think-piece: “Is St Vincent’s new track a love song for Cara Delevingne?” Nobody trawled through her past writing about CCTV surveillance, or masturbation, in quite that way. “Nuh uh,” Clark says. She takes a breath. “Right! Um. I’ve always kept my writing close to the vest. And by that I mean I’m always gonna write about my life. Sometimes, in the past, I did that way more obliquely than now. But it’s almost like an involuntary reflex. I can’t help but be living and also taking notes on what’s going on, always trying to figure out how to put that into a song. And that does not mean there’s literal truth in every lyric on the way. Of course not. But I can only write about my life, and that – dating Cara – was a big part of my life. I wouldn’t take it off-limits, just because my songs might get extra scrutiny. People would read into them what they would, and you know what? Whatever they thought they found there would be absolutely right. And at the same time it would be absolutely wrong.” Clark looks out across the park. “A song that means something very specific to me, a song in which I might be obliquely or otherwise exploring some really dark things, is a song that another person might hear and go: ‘Wow, this one really puts a smile on my face.’ I’m thrilled by that. I’m thrilled that people might take my songs into their life and make whatever suits them out of it.” Clark nods: done. She lets her gaze travel over the park, over the sculptures in the distance, a couple of which look like giant ice-cream cones. Earlier, she said that she’d got to a point in her career where strangers would send over free starters. If this new album does as well it should, I start to say… “I know, right?” Clark interrupts. “If I play my cards right? With this album? I might – get dessert.” She hoots. • St Vincent’s new single, New York, is out now through Loma Vista/Caroline International. • Opening photograph by Arcin Sagdic for The Guardian [ Source ]

#St Vincent #Annie Clark #the guardian #interviews

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