#john mayer trio music video

[youlovegoodmusic]

New Video

Another Kind of Green

John Mayer Trio

[AI Music Video]

[rachelminetti]

room for squares, 9.18.2001

i have a few john mayer related rituals i (sometimes) keep up with over the year, but none as sacred as this one. why do i have john mayer rituals? probably in some attempt to tether myself to myself. i wrap my years around it, i measure time against it, i keep my clocks in sync with it. so every year on september 18th i listen to room for squares, start to finish, followed up with some favorite live versions. this is the week when i no longer wonder when summer will wrap itself up, when the humidity disperses and i want to be home by 7. my hands are starting to show signs of age this year, my sentimentality has waned, renewal feels less likely, more daunting. 

but this tradition persists, i reconnect, i let the new year begin. this album has been given the gift of context, 22 years to settle in as an early 2000s soft-pop-rock-coffeehouse-easy listening delight. it is by no means my favorite album of his, i do not think it is a masterpiece, and this is the only time of the year i listen to it in full. but it is a great comfort and there are some stellar live renditions of its songs, exemplary of their time, their longevity and lack thereof. so, here are some of my favorite versions of each song, dug up from my personal john mayer archive. 

no such thing, live sometime in 2001.they listen to phish, but they can’t find the answers. added to my library sometime before 12/26/2012 (the day i got my MacBook, lost date-added data for most of my music up to that point), probably ripped it from the youtube link above. my library would be nothing without clipconverter, mystupidmouth, that giant torrent, and, of course, the internet archive. you’ll get a lot from this version: long, fun intro, alternate lyrics, an everything she does is magic tease – all wrapped up into a 9 minute, pretty solid recording. essential listening for those looking to dip their toes into the world of live JM.

why georgia, go anywhere intro. i have no idea how i found a download of this, i can only find the lyrics online. it’s been in my library prior to 2012, i must’ve downloaded from mystupidmouth. it’s a different version than the portable intro that’s easier to come across. after about 30 minutes of trying to track it down, i’m led to believe that it is from 9.06.02, thanks to a reply from Humming6ird on this post. going to spend another 10-15 minutes trying to track down a download, we’ll see if i’m successful. side note: cool to stumble upon an old self while tracking this down, i’m all over this page. ok, no luck. it’ll find me one day.

my stupid mouth, probably 2002-2003. i’ve had this labeled in my library as (Soundstage 2005) but i think that that is very wrong. great improv intro to a song i’ve never cared for. this is like level 2 deep cut live john mayer.  

ybiaw, 3/11/23. there’s nothing worthwhile about this song, so here’s a link to a nice transition from HOME LIFE earlier this year. 

neon, live 9.24.05 with the trio. 10/10 must hear version of this song. now this really is one of his masterpieces, take some time and listen to its versatility over the years. i was also going to share a version from what i thought was from 05.18.00 but i cannot find confirmation anywhere that this actually exists. it’s wonderful and i have no idea where i downloaded it from in 2021. oh well.

city love, i don’t really care for this song so here’s a trio video of covered in rain. 

83, live 3.26.04. this whole show is great – early version of don’t trust myself and a back to you closer, can’t lose here. this song very much feels like early fall, light and crisp. “83 was the vibraslap.” 

3x5, yet another mislabeled live version in my library. downloaded BMB (before MacBook). well, here’s a nice one from july 7, 2003. full show video available, always nice. 

love song for no one, i was going to link the one i have from 3.29.00 (terrible recording, live at the 40 watt in athens), but, of course, i have no idea how i even have my hands on that. it starts with tell me what to say, so it’s a real deep cut. here’s one from eddie’s attic in 1999, same vibe. 

back to you, live any given thursday. bring back back to you! bring back FULL BAND back to you! an all time favorite, one of my atlanta songs. here’s a link to any given soundcheck. 

great indoors, i was going to link a mysterious undated 2003 version with a lovely intro, but of course i cannot find it. this one from tower records on 6.31.01 holds up nicely. 

not myself, a lovely version from THE eddie’s attic shows in 2005. it will all come around again…

[pennylane85]

Dead & Co - 2 Night Wrigley Field Run

June 14th & 15th, 2019

Wrigley Field, Chicago, IL

Dead & Company played the infamous Wrigley Field over the weekend. A mixture of songs between the two nights featured a tour debut, fan favorites and additions to the set list last minute. Here are some of highlights of my favorites from the weekend. I wasn’t able to take notes due to the rain. So I’m going off memory here and it’s mostly Mayer related b/c I can’t for the life of me remember anything else.

Night 1

The debut of “To Lay Me Down” featured Mayer on the steel guitar. You could tell he was a little nervous, but he did a wonderful job. I haven’t seen him play that before, as I know in the past on his 2013 Born & Raised Tour Doug Pettibone played it during a song, can’t tell you which one off the top of my head at the moment, but I do recall taking a photo of Doug. All the Deadheads kept asking me if this was something of the norm for him and I told them that I can’t recall ever seeing him play it, but doesn’t mean he hasn’t.

“Brown Eyed Women” is one of my favorites and I know they’ve played it already this tour, but I just love that tune.

The bluesy “It Hurts Me Too” was killer, Chicago Blues at its finest. It paid homage to the town and Mayer’s guitar solo was phenomenal. It reminded me of the first time I saw him play with the John Mayer Trio at the House of Blues in Chicago back in 2005. The kid was just getting his feet wet.

I’m a huge fan of “Althea” so I was happy to hear that, Mayer’s vocals shine on that song as well. During “St. Stephen” the flood gates opened from above, as the rain fell from the sky. The band fed off the energy of the crowd, especially Mayer and Jeff’s chemistry during “The Eleven.” We were getting soaked, but didn’t care, we sang, we danced the night away. Dead & Company ended Night 1 at Wrigley with “Knockin’ on Heaven’s Door.”

Night 2

Everyone loves a good “Terrapin Station,” I myself adore “Sugar Magnolia.” It’s my favorite Dead song. I knew they’d return at the end with “Sunshine Daydream.” I hadn’t heard “Mr. Charlie” live yet, so that was a treat. Oteil and Bobby shared vocals on “High Time,” “Friend of the Devil” another fave of my sounded a little off, the tempo couldn’t get figure out or something, in between fast and slow. It was a little weird. To be honest when I listen to the Dead I listen to the Grateful Dead, not Dead & Company.

“Bertha” was added last minute, which got the vibe of the show back on track and everyone dancing. I was excited to finally heard Dead & Co play Merle Haggard’s “Mama Tried.”

The second set opened with “Spanish Jam” then another fan fave “Scarlett Begonias” was next.” I really enjoyed the “Help on the Way > Slipnot > Franklin’s Tower” segment. The great thing about jam bands is the way they transition to each song like it’s a part of the next song. I don’t know if the whole band has a say in what the set’s going to be like, but it all has to flow together. Sometimes I don’t notice the transition has even taken place until Mayer or Bobby start singing.

After “Drums > Space” I couldn’t see Mayer on stage as everyone came back out, turns out he was on the piano with Jeff playing “The Other One v.2.” I’m not sure if that’s happened before either. Mayer’s skill set has just sky rocketed since played with Dead & Company. He dabbles on the piano on Instagram Live (which to be honest I don’t watch the videos) and he has a few songs he plays piano on; but in the last two years or so since “The Search for Everything” he’s really taken that leap. I know he plays piano on “I’ll Be Found (Lost At Sea)” off “Paradise Valley” but he didn’t play it that much on the Born & Raised Tour, although I was able to catch one of the performances.

“Sunshine Daydream” ended the set with the encore of “Ripple” and “One More Saturday Night.”

I apologize to Jeff, Bill, Mickey, Bobby and Oteil. I know Jeff had a few times where he killed it on the keys and if I had a notebook I would have written it down, I still want a Jeff and Mayer collaboration. Oteil was jamming and getting lost in the music Saturday night, I was in front of him and really love his energy. Bobby’s been working out, sounding better than ever, this band is going to be here for years to come. Bill and Mickey do a great job as well, I just can’t see them from the pit and I wish I could b/c I feel like I’d have more of a connection with them if I could see what they were doing.

Sorry for the rambles of my review. There’s so much I want to say, express and attempt to describe that sometimes words fail me so just go listen to the shows. I hope you can feel what I felt this weekend. Thanks to Dead & Company for a few nights that healed my soul.

See you kids in Boulder!

[onestowatch]

Lollapalooza 2019: 13 Ones to Catch (Who Aren’t The Strokes or Ariana Grande)

The moment we have all been waiting for is nearly upon us -- who’s ready for Lollapalooza? The music fanatics’ equivalent to Christmas in August, Lollapalooza is set to fill Grant Park in Chicago, Illinois, starting August 1, with some of the biggest and best names in music for four days straight. We have personally been preparing by taking turns between moshing alone to The Strokes’ entire discography and getting over our ex thanks to Ariana Grande’s thank u, next.

While Lollapalooza is certainly the spot to be if you want to catch Flume’s first set in years or what may possibly be a stop on Childish Gambino’s farewell tour, if you do not read the fine print, you are missing out. Lollapalooza’s 2019 lineup features a host of not-to-be-missed up & coming artists who you can guarantee we’ll be front-and-center for. These are our 13 indisputable ones to catch at this year’s Lollapalooza

Scarypoolparty

When & Where: Saturday, 3:45pm at Lakeshore stage 

When we say an artist like Scarypoolparty comes around once in a lifetime, we do not say those words lightly. The spellbinding project of Alejandro Aranda, Scarypoolparty became a worldwide sensation after a heart-rending audition for American Idol went viral. Since that fateful audition, the last odd year has seen Aranda finish as the runner-up to Season 17 of American Idol, release his official debut single as Scarypoolparty, and sell out shows across the nation. This is a set and artist not to be missed.

half•alive

When & Where: Thursday, 2:50pm at American Eagle stage

How to begin describing half•alive… a wholly infectious amalgamation of R&B, funk, pop, rock, soul, and so much more all encapsulated under the iridescent reflective lights of an array of disco balls seems like a good as place as any to start. The Long Beach trio quickly became a pop-adjacent sensation after a seemingly one-take video for their single “still feel.” mesmerized us and more than 24 million others. half•alive is simply one of those bands you have to catch live, and what better a place than Lollapalooza?  

Alec Benjamin

When & Where: Friday, 1:50pm at American Eagle stage

With John Mayer taking him under his wing, Alec Benjamin may just turn out to be one of the greatest and most popular songwriters of the 21st century. Referring to himself simply as a “narrator,” the Phoenix-born singer-songwriter manages to elevate the seemingly mundane into rich, grand lyrically-driven narratives. Yet, to officially release his debut album, now is the time to catch Benjamin before he is quite possibly the biggest thing on the planet.

Joji

When & Where: Sunday, 3:30pm at Lake Shore stage

Joji’s music is an inescapable vibe–there is simply no other way to describe the ominous, space-age R&B of the Osaka, Japan-born artist and producer. A central figure of music collective and label 88rising, Joji stands at the forefront of a new wave of artists. It is a level of previously unheard innovation that runs through the pulsating electronic undercurrents of his phenomenal debut album BALLADS 1 and is sure to carry over into this rare live performance.

Sam Fender

When & Where: Saturday, 1:00pm at Bud Light stage

Sam Fender is the voice of a generation on the brink. The central figures in the electrifying British artist’s records are not lovelorn teens or heartbroken exes, but dystopic nightmares brought about by manmade failings, friends lost to suicide, and the eventual end of the world that seems to be creeping in at an alarming speed. It is not easy casual listening, but it shouldn’t be there. There is a pressing nature to Fender’s guitar-driven musings, a pressing nature that makes his music feel larger than life yet deeply personal.

Conan Gray

When & Where: Friday, 2:45pm at Bud Light stage

Conan Gray is the undisputed king of bedroom bops. First finding his start with nothing more than GarageBand and a bargain mic taped to a lamp, the current state of Gray is one defined by a legion of fans, national sold-out tours, and a polished take on anti-pop that runs the gamut from explosive to deeply heartfelt. Without a doubt the next big thing in pop, Gray is ready to take Lollapalooza by storm, and you will want to be front-and-center for it.

Yeek

When & Where: Sunday, 2:10pm at BMI stage

Yeek belongs to an era of artists not bound by genre conventions or norms. The Florida-born, Los Angeles–raised artist weaves together elements of pop-minded R&B, hip-hop, and indie rock to create a hypnotizing concoction of sounds that is just as apt to catch you in a nostalgic bout of feels as it is to open doors to a previously unrealized future. Hot off the heels of his acclaimed IDK WHERE EP, Lollapalooza will give you just the chance to catch the magic of Yeek in a setting quite like no other.

Lennon Stella

When & Where: Thursday, 2:45pm at Bud Light stage 

To say Lennon Stella has come a long way in a few short years would be a massive understatement. Getting her start covering pop and R&B hits on YouTube with her sister Maisy, the rapidly rising pop starlet is in the midst of joining the same ranks as those superstars she once covered. With only a lone debut EP and a handful of singles to her name, Stella is now racking up streams in the hundreds of millions. This festival may just be one of the few times you can see her before she is packing arenas.

Roy Blair

When & Where: Friday, 4:30pm at BMI stage

Roy Blair is a name you need to know. Quite possibly the very definition of anti-pop, Blair’s music sees him instilling all the emotional depth and unapologetic honesty of sprawled diary entries into the pages of sonically rich hip-hop, R&B, and pop influences. While he has only released a single full-length album, 2017’s Cat Heaven, the impressive debut feels like more than enough material, and then some, for a standout festival set. And if we’re lucky, this will be one of the few opportunities this year to hear new music from Blair firsthand.

Omar Apollo

When & Where: Friday, 1:00pm at Bud Light stage

There is a multidimensional appeal to the dreamy sonic musings of Omar Apollo. Blending elements of bedroom pop and idyllic R&B with a relaxed lull that drifts in and out of English and Spanish, Apollo arrives as a star for a new generation. The universal charm of Apollo is only heightened by the DIY feel of the entire experience, as the Indiana native coaxes you further into his dreamscape behind a perfectly imperfect wall of fuzz and textured instrumentation. Now, this is an act capable of whisking up an inimitable groove and dreamlike state in the same set.

GothBoiClique

When & Where: Thursday, 5:45pm at BMI stage

Truth be told, we cannot tell you what exactly to expect from a GothBoiClique set, and therein lies part of the excitement. The Los Angeles–based emo rap group formed in 2013 by WICCA PHASE SPRINGS ETERNAL, Cold Hart, and Horse Head paved the way for the modern-day emo rap that now pervades mainstream public consciousness and airwaves. Beyond a set poised to feature the most artists on stage at once, GothBoiClique is a not-to-be-missed affair for any of our sad boys and girls out there.

Yung Gravy

When & Where: Sunday, 5:40pm at BMI stage

Blurring the lines between self-aware parody and viral rap phenomena, Yung Gravy is our newest not-so-guilty pleasure. First going viral with the Seuessian smash hit “1 Thot 2 Thot Red Thot Blue Thot” in 2018, the Minnesota rapper returned a year later with a debut album that has no right being as good it is. Sensational, the debut album in question, sees Yung Gravy cementing himself as more than just a punchline but a genuine artist fully capable of turning what could be thought of as a passing joke into an international sensation.

DJ Diesel

When & Where: Sunday, 5:15pm at Perry’s stage

We don’t know how many times you will be afforded the opportunity to witness Shaq drop a DJ set at one of the largest festivals in the world. That is all.

[bringinbackpod]

Interview with Trevor Dahl (Cheat Codes // Dahl)

Together with American Songwriter and Sean Ulbs of The Eiffels, we had the pleasure of interviewing Trevor Dahl over Zoom video! 

Trevor Dahl of multi-platinum EDM trio Cheat Codes returns with soul-stirring new track, "Best For Me," an orchestral ballad that sees Dahl grapple with forgiveness and acceptance as he ruminates on his ex. "Best For Me" is the third single off of his forthcoming debut EP, After Ours.

Earlier this year, Dahl introduced the EP with romantic ballad, "Can I Kiss You" and later revealed "After Ours," the EP's title track that revealed a more rhythmic side of Dahl's repertoire. He also recently collaborated with Josie Dunne on "Stay The Way I Left You", a catchy and charming duet that stole the hearts of listeners. .

Before he was collaborating on electro-pop hits with Trippie Redd, Demi Lovato, Liam Payne and Fetty Wap, Trevor Dahl was making music on his own terms. With the rapid rise of Cheat Codes with bandmates Kevin Ford and Matthew Russell, the trio has made it a priority to also focus on their own creative endeavors. Now, going by his surname, Trevor makes music as “Dahl” in a project parallel to Cheat Codes, returning to his solo roots. With a hybrid of current influences from Bazzi and Lauv alongside the lyricism of John Mayer, Dahl proves himself to be a triple threat: a writer, producer, and mixer. Dahl is a rare talent who can truly do it all!

We want to hear from you! Please email Tera@BringinitBackwards.com.

www.BringinitBackwards.com

#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork

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source https://bringin-it-backwards.simplecast.com/episodes/interview-with-trevor-dahl-cheat-codes-dahl-ltp3hkTm

[realretroroger]

QRKY Radio Playlist For 04/12/20

QRKY – Quirky Radio Playlist For 04/12/20

Listen Free.  Blues, Swing, Rockabilly, Old Time Radio Shows & More.

Click on the individual song titles in BOLD below.  They’re linked to music videos or to online audio files of the old time radio shows.  Or, if you’d prefer to autoplay the music video playlist, just click HERE.  It;s all for fun and for free, so enjoy.

The Weight -- Playing For Change

Hit That Jive, Jack -- Slicked Up 9′s

Let The Good Times Roll -- B.B. King & Bobby “Blue” Bland

Peter Gunn -- Sarah Vaughan

Medicated Woman -- Summertime Blues Band

Summertime Blues -- Eddie Cochran

Butterfat -- David Sanborn

Roy Rogers Quick Shooter Hat (Retro Commercial)

Bleach Blonde Bottle Blues -- Larkin Poe

Are You Hep To The Jive -- Cab Calloway

Hear Jerusalem Calling -- Elizabeth Cook

What Kind Of Woman Is This? -- Buddy Guy & John Mayer

Love Got In The Way -- Kandace Springs

Don’t Start Me To Talkin’ -- Sonny Boy Williamson

MELODY ROUNDUP Radio Show #511 with the Shady Valley Folks -- Armed Forces Radio Service

Milky Way Candy Bar (Retro Commercial)

Black Betty -- Ram Jam

Cool Cat -- Charles Sheffield

Burning Down The House -- Bonnie Raitt

Red Beans -- Professor Longhair

I Ain’t Got Nobody/Just A Gigolo -- Louis Prima

She’s My Witch -- Kip Tyler

Green Onions -- Booker T & the MG’s

Post Alpha-Bits (Retro Commercial)

Flat Black Cadillac -- King Memphis

Rockin’ My Life Away -- Jerry Lee Lewis

See Saw -- Aretha Franklin

We’ll Be Together Tonight -- Sting

Satan Is Her Name -- Steve King

Diamonds Are A Girl’s Best Friend -- Marilyn Monroe & the Swing Cats

JUBILEE Radio Show (12/27/43) with Louis Armstrong -- Armed Forces Radio Service

1959 Rocket 8 Oldsmobiles (Retro Commercial)

Seven Months, 39 Days  -- Boot Liquor Collective

The Sheik of Araby -- Jim Kweskin Jug Band

Makin’ Whoopee -- Dr. John & Rickie Lee Jones

A Real Mother For Ya -- Johnny “Guitar” Watson

Liar, Liar -- Castaways

Whoo-Wee Sweet Daddy -- Katie Webster

Pipeline -- Ventures

Pepsi-Cola (Retro Commercial)

Backseat Boogie Nights -- Relax Trio

T-R-O-U-B-L-E --Elvis Presley

Got Lucky Last Night -- Lonnie Brooks

Twist Fever -- Arch Hall Jr.

Man Like That -- Gin Wigmore

Strangest Ways -- Southern Culture On The Skids

Soul Sacrifice -- Santana

[dippedanddripped]

A skinny, gap-toothed kid gesticulates wildly in the parking lot of Mike’s Drive-In in Oregon City. Short dreads stick up on either side of his head, like antennae to some alien planet. His friends, in the deep background, hang out of a silver Honda, goofing on one another. But it’s nearly impossible to take your eyes off the skinny kid, with his awkward dance moves and urgent facial expressions. He commands your attention. He needs it.

This is the video for Aminé’s persistently catchy “Caroline,” a half-sung, half-rapped summer anthem that went viral in 2016—the video has more than 200 million YouTube views, and the kid front and center is the artist himself. It’s Aminé’s best-known song, and for most music fans both within his home city of Portland and beyond, it represented the MC/singer/director’s colorful first impression.

Aminé—born Adam Amine Daniel, son of Ethiopian and Eritrean immigrants to Portland and a graduate of Benson High—had been around awhile before “Caroline” hit. His debut album, Odyssey to Me, appeared in 2014, though it has long been expunged from the commercial internet. It begins with a low-key prophecy: “I’m headed to my next show / I gotta go / Headed to that Madison Square / 25,000 fans in the air.” Then an accented female voice repeats “Adam, wake up.” It’s Aminé’s mother, coaxing him back to Portland obscurity. But it’s too late. The dream has taken root.

Aminé hasn’t played Madison Square Garden just yet, but he has definitely found a bigger stage. In 2017, the hip-hop magazine XXL included him in its influential Freshman Class, which functions as a sort of critical watchlist of stars in the making. Billboard and the New York Times both weighed in favorably, the latter calling his major-label debut, Good for You, “one of this year’s most intriguing hip-hop albums and also a bold statement of left-field pop.” The album sold 13,000 copies in its first week, debuting at no. 34 on Billboard’s US charts. After a set at Lollapalooza, Daniel posed for photographs with his arm around a new fan, Malia Obama.

Through sheer will and a catchy song, a colorful dream world became Aminé’s reality. From the outside, it’s like he came out of nowhere. That’s intentional. To become the next big thing in the music world of the late 2010s, you have to let the world in on the ground floor. That can sometimes mean recalibrating, or even erasing, your pre-fame history. All the way along, Aminé—who, through manager Justin Lehmann, declined to be interviewed for this piece and did not respond to requests for comment on this story—had boosters and collaborators. Some have come along for the ride. Some were left in the dust. This is the years-long story of Aminé’s overnight success.

Born in 1994, Aminé grew up in Northeast Portland. He’s said his biggest aspiration back then was “to be Kobe Bryant,” a dream dashed when he was cut from the Benson basketball team as a freshman. But he also grew up in a musical environment—he’s told interviewers his parents listened to everything from Ethiopian music to John Mayer—and music eventually became an obsession. In his first recorded performance, he told Vice in August, he rapped about girls and rival high schools over Waka Flocka Flame’s “O Let’s Do It.”

Josh Hickman, a thoughtful and soft-spoken 26-year-old, is three years Aminé’s senior. He also went to Benson and both ran track, but the two barely knew each other then. Three years after high school graduation, as Hickman began his senior year at Portland State University, he connected with Daniel, a PSU freshman, who messaged him about music.

“My first impression of Adam was that he seemed older than he was,” says Hickman, who spent his college years composing and producing rap music under the name Jahosh. “There was a determination, or a focus, that resonated with me. It probably goes back to track and field at Benson. We would work out six days a week. It really instilled me with this work ethic and discipline. So when I met Adam, I was just like, ‘Man this is dope. He’s just like me.’”

I was screaming to the moon, ‘Check out Aminé! He’s doing the thing! Are you guys paying attention?’

Daniel loaned Hickman money to buy a microphone and portable vocal booth, and they began writing and recording on a relentless schedule. “He would come over in the morning and he wouldn’t leave till night,” Hickman says. “But it didn’t even feel like work.” Daniel would give Hickman input on the beats; Hickman says he helped with song concepts and even lyrics. Together they created the first DIY Aminé release, a mixtape called Genuine Thoughts.

With help from PSU music students whom the charismatic Daniel had recruited along the way—including multi-instrumentalist Irvin Mejia, who would go on to produce “Caroline” and other songs on Aminé’s major-label debut—Hickman went on to produce the bulk of Odyssey to Mein his windowless recording studio in East Portland in late 2013. The album’s songs run from vulnerable, confessional slow-burners (“My Emotions”) to explicit sex jams (“Feelin’ Like”). It’s ambitious both sonically and conceptually: The cover art adapts the poster from Richard Ayoade’s 2010 cult film Submarine, about a small-town 15-year-old named Oliver looking to lose his virginity. The album echoes the film’s plot in places, and references its protagonist throughout.

By Odyssey to Me’s 2014 release, Aminé had picked up a few key supporters in Portland, including Fahiym Acuay, an MC and writer (under the name Mac Smiff) for the popular regional hip-hop blog We Out Here. Meeting Aminé for a video interview, Acuay remembers a funny, slightly shy kid who seemed unusually driven. “He knew that he was a little bit different,” Acuay says. “He had a really different sound—kind of playful—but he also had these really deep melodies.” Acuay became an evangelist for the young artist: “I was screaming to the moon, ‘Check out Aminé! He’s doing the thing! Are you guys paying attention?’”

IMAGE: COURTESY MARCUS HYDE AND REPUBLIC RECORDS

While local acts like U-Krew, Five Fingers of Funk, Lifesavas, and Cool Nutz have made some waves, Portland has never spawned a true national hip-hop star. Instead, we have a closed rap ecosystem with its own set of references, stylistic tendencies, and small-town kingpins. Portland rap artists tend to be judged more on their lyricism and verbal ability than on their melodic instincts or pop savvy. And on those fronts, Acuay notes, Aminé is no match for local mainstays like Illmaculate and Rasheed Jamal—battle-tested MCs with dense, intricate rhyme delivery. In fact, if Aminé had emerged a decade earlier, there’s a good chance he’d figure in the Portland hip-hop story as an eccentric side character, selling mixtapes out of his trunk at rap shows. But Aminé was born in a new era, where the home-burned CD has been replaced by lightly curated “mixtape” download websites that connect artists directly to a national audience, with no middleman and no local-cred hurdles to clear.

And Daniel knew how to work that system. He spent $1,000 of his student loan money to secure Odyssey to Me a spot in the featured albums section of Datpiff.com, a popular hip-hop mixtape-sharing blog that has served as a bellwether for artists like Drake and Chance the Rapper. By the end of summer 2014, Odyssey had reached 20,000 downloads. Daniel and Hickman found a promoter to take a punt on them—Ibeth Hernandez, who offered them a show at Peter’s Room in the Roseland, opening for critically acclaimed California hip-hop trio Pac Div. “It was so sweet,” Hernandez remembers of Daniel and Hickman. “They got me a thank-you card afterward, and it had, like, a Starbucks gift card inside.”

But the biggest payoffs came from shows Aminé and Jahosh booked for themselves. A few days after Christmas 2013, they threw a show marking Odyssey’s imminent release, hit social media hard, and drew 250. A party the next year drew 400, among them Blazers star Damian Lillard. His presence alone hinted that Daniel and Hickman had sidestepped most Portland hip-hop rites of passage. Not everybody would be happy about it.

But Daniel was making connections outside of Portland, too. In summer 2014, after landing internships with Complex magazine and Def Jam Records, he connected with a young, unestablished New York City manager named Justin Lehmann. To Hickman, something about the new arrangement set off alarm bells.

“I was with Adam from day one,” he says, “thinking, his success is my success and my success is his success.” Though he won’t dive into specifics—and allows for miscommunications—Hickman says he decided to get his handshake deal with Daniel into writing. Daniel refused. Hickman “got even more weirded out.” The partnership slowly unraveled, taking the pair’s friendship with it, and Hickman would later pull Aminé’s first album and the subsequent En Vogue EP from the internet, asking social media outlets and blogs to do the same. “It was my assumption that he would have most likely taken the music down himself, had I not,” says Hickman.

He was building this full package for himself. He didn’t just focus on Portland.

Aminé’s second full-length album—the excellent, world-music-inspired collection Calling Brio—proved that he was capable of making great music without Hickman. That too has been scrubbed from the web post-“Caroline,” along with videos and articles from 2014 and 2015, as has become standard practice for many indie artists who take on a major-label rebrand. Around the same time, Daniel texted Acuay to ask him to remove all the pieces We Out Here had written about Aminé from the site. Acuay reluctantly agreed. Later, when he saw a national piece on Aminé billed as “the first interview” with the young artist behind “Caroline,” Acuay admits, “I was kind of salty for a second. I had the first interview.”

Two years after Josh Hickman and Adam Daniel parted ways, Aminé struck gold with “Caroline.” The single and video led to a deal with Republic Records, a Universal subsidiary home to artists from Ariana Grande to Black Sabbath. While Daniel moved to Los Angeles in 2016, his official label bio still begins with “Now, Portland isn’t traditionally referred to as a hotbed of hip-hop like Brooklyn or Compton is, but Aminé could very well change that perception.”

For a moment, it appeared that Aminé might force the issue. In November 2016 on Jimmy Fallon’s Tonight Show, Aminé performed a striking and minimal version of “Caroline” with a string section. At the end of the performance, the yellow stage lights switched to red, white, and blue, and he delivered a message to the incoming president elected just days before. “You can never make America great again / All you ever did was make this country hate again.” It was a bold choice, one the Times and other outlets focused on. But Portland music fans noticed something else: two vocalists backing up Aminé were established players in the Portland scene, earthy R&B artist Blossom and inventive MC the Last Artful, Dodgr.

Acuay was watching that night. “It was so very Aminé. ‘I’m not going to do what everyone expects me to do.’ I was really proud of him. I remember thinking, he’s making us look good. He’s really holding it down for Portland right now.”

Publicly, “Go Aminé” is the party line in the Portland hip-hop scene, as well. But there is grumbling behind closed doors. A handful of artists and music scene staples contacted for this story declined to be interviewed about Aminé, or did not respond to requests. One artist formerly associated with Aminé indicated a reluctance to be seen as a hanger-on. A polite decline came from Nikolaus Popp, the prolific Portland director credited as the cinematographer and editor behind the “Caroline” video. Popp sent a somewhat cryptic statement: “Respect is everything in this world and that really goes for any human being. People will try to minimize you, but you always have to know your worth. Money doesn’t pay for respect, no matter the amount. It’s about how you treat people.”

In his first big national profile in the New York Times, Daniel used the phrase “super depressing” to describe his path through the Portland music scene, which the article’s author further characterized as “dead.” Aminé’s lyrical take on Portland has been bittersweet since his earliest songs. And on Good for You, he raps about coming home to find kids who bullied him calling him a hero. In the song “Turf,” he details the city’s gentrification in a mournful chorus: “I look around and I see nothing in my neighborhood / Not satisfied, don’t think I’ll ever wanna stay for good.” Another lyric speaks to those mixed emotions with even more clarity, and perhaps provides an explanation for the artist’s systematic eradication of the old Aminé: “I used to have dreams / Now I dream.”

I asked Vursatyl, one-third of the Portland crew Lifesavas—they released their debut, Spirit in Stone in 2003—if his group experienced a Portland backlash when they surfaced on the national radar. “The difference is we were really trudging it out in the local scene for a long time,” he says. “There were a lot of us trying hard to make it. Some of it was friendly competition, and some wasn’t. But everybody wanted to be the guy to put the city on the map.”

That city—before the gentrification of its North and Northeast quadrants—was a place where the black community was still somewhat centralized, and Aminé’s family home, off NE MLK and Dekum, sat at its heart. “There’s less of a sense of community now,” Vursatyl says. “And I think that, in the long term, Aminé would have benefited from what was the black community still being fully intact. He’s had an awesome journey and he’s doing great, but I feel like there’s a disconnect in terms of local pride in him. And you want that groundswell. You want to play to your base.”

But for Hernandez—who also booked Aminé’s first South by Southwest performance (“The whole showcase fell apart. It was a disaster, actually.”)—the fact that Aminé’s dreams were bigger than his hometown is exactly what made him stand out. “He didn’t make the rounds like other artists, but that’s OK,” she says. “He was building this full package for himself. He didn’t just focus on Portland. A lot of artists put themselves in a box, and that’s cool, but at some point you have to expand. I saw him expand at such an early point, and he’s still expanding.”

Where Aminé is expanding to is an open question. In interviews, he’s low-key and likable—the right mix of confident, humble, and self-deprecating. Critics praised Good for You as “honest” and “carefree.” Its impressive breadth spans from the floaty Frank Ocean-esque Auto-Tune ballad “Hero” to a curious diss track laid out over progressive, minimal electronic music, “STFU.” If anything, the album seems built—albeit on a solid pop-rap foundation—as a showcase for Aminé’s versatility in both sonic approach and personality. He’s a sensitive, brutally honest outcast on the molasses-slow “Sunday,” and a bitter ex-boyfriend on “Wedding Crashers.” Album closer “Beach Boy” spells out the MC’s thoughts on his own mutability: “Who knows what the future holds / I don’t, if the truth be told / They say play it safe, young soul / Fuck that, I’mma take control.”

Two years ago, taking control meant parting ways with Josh Hickman, now studying software development in Los Angeles and making music as a hobby. When he won an $18,000 scholarship for making a tutorial video about sampling, Hickman used a song he built for Aminé as the video’s source material. “I took it as a message from the universe or God that, hey, I got what I needed out of that situation,” he says. He hasn’t spoken to Daniel in years, he says, but he’s not bitter about the experience. “We had all these doubts,” he remembers. “We’d be in the studio just talking, saying, ‘Man, are we crazy?’ And it’s dope to see those doubts were unfounded.”

In October, Aminé posted a new video to YouTube, this time for his playful song “Spice Girl.” It hit one million views in three days. The video features a cameo from a childhood hero, from the first concert he ever attended: the Spice Girls’ Mel B. Like every artifact of Aminé’s newly rebooted career, the video is colorful, cinematic, and dreamlike.

The video also makes obvious what should have been clear all along: Aminé never had Portland dreams. He saw himself, a first-generation American-born citizen living in an unlikely corner of the country, playing Madison Square Garden. He saw himself in the company of stars.

Something familiar about the particular inflection Daniel gave the titular “Caroline” suggests she’s the same character André 3000 sang about 15 years ago, on Outkast’s smash-hit “Roses.” In Aminé’s later song “Veggies,” from his 2017 so-called “debut” album Good for You, he refers to himself as “André’s prodigy.” These tributes to the eccentric vocal genius and fashion icon who got every wedding party in America dancing to “Hey Ya” are rare signposts from an artist who seemed, to most fans, to “come out of nowhere.”

Just one year after he uploaded the “Caroline” video to YouTube, Daniel posted a street-corner selfie to Instagram. On the left, wide-eyed with his mouth forming a stunned “ooh,” is Aminé. On the right, Outkast’s André 3000.

Adam Daniel used to have dreams—now he dreams. And his most compelling characteristic seems to be that he’s living out his fantasies in the public sphere. But dreams, by their nature, are not collaborative. They are personal. One dream lived is always another deferred. It’s been clear from the moment “Caroline” hit YouTube that the skinny, gap-toothed kid in the front was going to stay there. It’s still anybody’s guess whom he’ll take with him.

[joementa]

Week Of April 3, 2017.

I was lucky enough to get to two great shows this week.  First, I got to see The Pretenders, a new band for me in 2017.  Throughout the year, I will be listening, in chronological order, to each of their albums.  Before this year, I had never heard one of their albums before.  The show was awesome.  We got a great spot, maybe 4 or 5 rows back from the stage.  I was expecting Chrissie Hynde to be incredible, and she exceeded my colossal expectations.  What a bandleader!  What a star! What a voice!  Her voice literally sounds just like it did on the early Pretenders albums, nearly 40 years ago.  With the exception of anything from their most recent album, I knew nearly all of the songs that they played, especially the ones from the first three albums.  I was very happy that they played “Mystery Achievement” and “Talk Of The Town”, which are probably my favorite Pretenders songs, at least out of the ones that I’ve heard so far.

One of the biggest surprises for me as I’ve explored their discography is how much they can ROCK. They still can do that.  The show I was at proved that.  Their guitarist, James Walbourne, is incredible.  I really enjoyed watching him.  He’s very emotional when he plays.  When you watch him play, you can tell that he’s been through some things in his life.  It makes it very easy to connect with a musician when you can see that.  I felt so lucky to be able to see such a great band like The Pretenders, especially during this year, when I chose to listen to all of their music and finally discover the band.  

Then later in the week, I got to see the great John Mayer.  This was my first show of his in nearly 7 years.  That was way too long!  What a talent.  I truly think that he is a one-in-a-million talent.  The guy just writes some really great songs.  The number of hits that he has is evidence of that.  Oh, and did I mention that he’s also a really great musician? Both on the guitar and on the vocals. It’s not even debatable.  

It was fun to see him play a combination of both the classics and the new songs from The Search For Everything.  The covers are always a fun part of a John Mayer show, and he totally crushed “Free Falling” (the crowd went NUTS during this) and “Bold As Love”.  The format of the show was three different sets – a full-band set, a solo acoustic set, and a John Mayer Trio set.  That was great!  “Walt Grace’s Submarine Test” is definitely one of John Mayer’s best songs, and he played it solo acoustic.  He knocked that performance out of the park.  

The stage show was really cool, too.  I have seen John Mayer a few times over the past 10 years, and this was the first one where there actually was an entertaining stage show – there were interesting videos during some of the set changes, stage props appropriate for each set, and a really beautiful all-white design/lighting during his solo piano performance of “You’re Gonna Live Forever In Me”.  That closed the show, and it was a great way to be sent home.

John Mayer has tour dates scheduled through early September, and I highly recommend you attend at least one of his shows.  If you are a fan of music, I would find it pretty hard to not find enjoyment during his show.  Make sure you check out a show!  

I’m quite happy with two new releases from this week.  The New Pornographers’ Whiteout Conditions is really great.  That’s not very surprising when you consider that Neko Case is in the group.  I’ve loved everything I have ever heard of hers. Whiteout Conditions has some really great songs and I’m looking forward to spending some time with it.  Make sure you check out “This Is The World Of The Theater.”  What a melody!

Pure Comedy is the new album by Father John Misty and I do think that the lyrics on the album match the title of the album.  It’s a long album – nearly 75 minutes – but it’s worth getting through.  The real treat is on the bonus 7” that came with the vinyl.  Both “Real Love Baby” and “Rejected Generic Pop Song March ’15 #3” are fantastic songs and while I don’t think they would have fit musically or thematically on Pure Comedy they very much deserve a proper release.  You need to make sure that you get these songs.  Try your local record store to see if they have any leftovers.

Cory Branan’s new album, Adios, was also released this week.  I have not yet had a chance to listen to it, but I have no doubts that it is great.  I can’t wait to check it out.  

Here is a list of some of the music I’ve been listening to the past week.  Format: musician – album title, or musician – “song title” (album title).

The Shins – Heartworms

DRA – Prisoner

The Menzingers – After The Party

Bob Dylan – Triplicate

The New Pornographers – Whiteout Conditions

Father John Misty – Pure Comedy

Father John Misty – “Real Love Baby” b/w “Rejected Generic Pop Song March ’15 #3”

Dave Hause – Bury Me In Philly

Alison Krauss – Windy City

Laura Marling – Semper Femina

The Menzingers – On The Impossible Past

The Menzingers – Rented World

John Coltrane and Don Cherry – The Avant-Garde

Erykah Badu – Baduizm

Public Enemy – It Takes A Nation Of Millions To Hold Us Back

Prince – For You

Prince & The Revolution – Purple Rain

The Drifters – The Drifters’ Golden Hits

The Gin Blossoms – New Miserable Experience

Miles Davis - Tutu

Some upcoming dates that you need to know about:

-          April 21 is the anniversary of Prince’s death, but we will celebrate his life.  Although it doesn’t differ from most weeks, I will be listening to Prince non-stop that week in particular.  I will be hitting you with a playlist of great Prince songs.

-          April 22 is Record Store Day.  The release list is really great, in my opinion.

-          May 26th is when John Mayer’s The Search For Everything is released on vinyl.

-          May 26th is when the reissue of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band comes out.  This is not just any reissue, though.  Previously unreleased COMPLETE takes of each song are included in the vinyl reissue.  Even more songs are included in some of the other reissues.  This one is a no-brainer.      

[tatauini-blog]

what i'm interested according to facebook ads topics

Feb 19th

i’ve downloaded my facebook data today and it was very interesting to kind of go back in time while looking at things i’ve done on my digital/social life since i’ve created an account (nov 2006).

These are the ads topics that i’m interested in according to my facebook data:

Youth Lagoon

Athletics at the Summer Olympics

Aventura

Home video game console

Hour

Solidarity

Escape pod

McSweeney's

Federal University of Rio de Janeiro

Public broadcasting

60 metres

Vivo (telecommunications)

Guto Requena

Parsons School of Design

Artnet

Joan Cornellà

Table tennis at the Summer Olympics

Amazon Student

Vitis

Hammer throw

d3

Exame (magazine)

Humanities

Monologue

TV5Monde

AIESEC in Brazil

ClickBus

jerome jarre

A Mighty Girl

Baroque pop

Fernanda Lima

mofilm

Trama (mycology)

Simon & Garfunkel discography

Miles Davis

Observatório da Imprensa

Kelis

Badminton

Antônio Carlos Jobim

Tiny Furniture

Morgan Library & Museum

Weta Workshop

Motherboard

Torta

Goethe-Institut

Organism

Bamboo

BoA

Le Lis Blanc

Frank Ocean

Amy Poehler's Smart Girls

Quartz

Moringa

Latitude

Sketchbooks

Cutty Sark (whisky)

Flea

Totem

StreetArtGlobe

Independent record label

scarface

Funhouse

Republic

Panda (band)

Aion (Japanese band)

Road

Lisbon

Jinx (DC Comics)

Artforum

Hugo Weaving

The Creators Project

Brilliant.org

Degustation

Hostel (2005 film)

Mystery film

Livery

Planá (Tachov District)

Consortium

Simon & Garfunkel

Launch vehicle

Secret NYC

Exame

Nerds (candy)

childish gambino

Braun (company)

Deception Point

médicos sem fronteiras

H2 (TV network)

Tropicália

Workers' Party (Brazil)

Tisch School of the Arts

Zine

Governors Ball Music Festival

Printed Matter, Inc

WeWork

HuffPost Women

Andre (band)

Smot (chanting)

Decriminalization

Vine (service)

Garance Doré

Meta, Campania

MIT Media Lab

Taste of Cinema

New York University School of Law

Pole vault

Anthology film

Coconut Records (musician)

Frequency

Levant

Sensacionalista

Special effect

Artist-in-residence

Navigation

Bananal, São Paulo

States of Brazil

1900 Summer Olympics

Steering wheel

IEEE Standards Association

revista piauí

Pro Evolution Soccer

romantic comedies

D-A-D

the cool hunter

Flux

Getty Images

HuffPost Brasil

René Aubry

Kizomba

Knot (unit)

Palestine Liberation Organization

King Krule

Room

New Art Dealers Alliance (NADA)

Thread (computing)

Kite

News magazine

Rozendaal

Lincoln Center

SOS

Sigur Rós

Urbanus

Steeplechase (athletics)

Romário

Shaivism

Gilberto Gil

Museum of the Moving Image (New York City)

Olympic medal

Sochi

Formigueiro

2016 Summer Olympics

Landform

Tijuca

Arte

Dream pop

Opala .

Orquestra Voadora

Forum for Urban Design

Móveis Coloniais de Acaju

Fair

History of Europe

800 metres

Marcus Junius Brutus the Younger

Illuminated manuscript

Sociedade Brasileira para o Progresso da Ciência

Financial Times Global 500

Moog Music Inc.

The Intercept

Democratic Labour Party (Brazil)

Bossa nova

Western Europe

Rio, I Love You

Rama

Freak folk

Epic film

Protest

Psychedelic pop

New York University Graduate School of Arts and Science

Extremis

guardian

Mediterranean Sea

Operating system

El Hormiguero

Swimming at the 2000 Summer Olympics

Araucaria angustifolia

Shot put

Helianthus

Dr. Martens

Extended play

Nectar

Ariel Pink

do bem™

Breakfast at Tiffany's (film)

Plastic

Blake Edwards

2020 Summer Olympics

Laurus nobilis

London Organising Committee of the Olympic and Paralympic Games

Queremos

Carl Linnaeus

Selectism

Megaforce Records

Nike Soccer

Giorgio Moroder

Moog synthesizer

Chitty Chitty Bang Bang

400 metres hurdles

Portmanteau

Dance-punk

Prix Ars Electronica

enlace

The Awl

CreativeApplications.Net

DOS

Glossary of musical terminology

Jout Jout Prazer

Sensationalism

Rosin

100 metres

República

Marshmallow

void

Rodrigo Hilbert

Tank (magazine)

Deborah Colker

Fundação Estudar

Música popular brasileira

IEEE Electromagnetic Compatibility Society

AIESEC

Rio (2011 film)

Casablanca

Quentin Tarantino Movies

Cactus

CRESCER E VIVER

Brooklyn Museum

100 metres at the Olympics

Lego The Lord of the Rings (video game)

Beach House (album)

Helianthus annuus

Noisey

Infinitum

Nova (TV series)

Common quail

NOO

Woody Allen

Hudson River

Award

Samba-enredo

fear

The Week

The Proud Family

Bubblegum pop

Drive-through

110 metres hurdles

Guarda, Portugal

2010 Winter Olympics

ARTE Concert

W

The Party (film)

Mare

Ben Gibbard

AD Parla

Christopher Lee

International System of Units

Darcy Ribeiro

Sport Club Internacional

Brooklyn Academy of Music

Psychosis

GBK

Frank Ocean discography

Mini (marque)

It's Nice That

Study in Germany

Orient

IEEE Communications Society

Victoria Harbour

Acne Studios

Sea of Shoes

eMAG

Pagode

Réunion

Oboe

Fernando Gabeira

Quartz (publication)

Jornal Meia Hora

Líbano, Tolima

Kings of Convenience

NewYorker

EF Brasil - Intercâmbio

Residency Unlimited

Grass

Samba-canção

Sagmeister & Walsh

Araucária

Vertigo

BAMcinématek

Hyperallergic

Academy Award for Best Costume Design

Nowness

Hyperbole

The Tallest Man on Earth

Wednesday

Bachelor of Fine Arts

Dark wave

2014 Winter Olympics

Olaria Atlético Clube

Cachaça

Smaller Earth

Kingston upon Hull

Plastic bag

Space Shuttle

Hyphen

One Million Voices Against FARC

Muda (Japanese term)

Lightning strike

Eunápolis

Sketchbook

Guillermo del Toro

Brazilian science and technology

Phonebloks

Silent film

John Mayer Trio

Paste (food)

Ralph Bakshi

Chevrolet Opala

vox

A&E Networks

Hunna

Levante UD

Brownie (folklore)

Mad Decent Block Party

Etapes

best vines

Hurdling

Piracy

Beautiful/Decay Magazine

Anima Mundi (event)

Trip hop

Long jump

Street

Perestroika

Winter Olympic Games

The Dodos

VFX Solidarity International

Green Party (Brazil)

Mobile, Alabama

Pali

Roman Forum

Party (role-playing games)

List of Sonic the Hedgehog characters

Moog Music

MUBI

Discus throw

Gold medal

Frontier

Ema (Shinto)

Xcaret Park

Sliced bread

Post-punk

Sambass

ClickBus

gus

Xcaret

Death Cab for Cutie

breakfast at tiffanys

Catcher In The Rye

Vuze

D3 road (Croatia)

Buga, Valle del Cauca

Loungerie Intimates

Cut, copy, and paste

Binders full of women

Carnival block

Social class

Médecins Sans Frontières

Local Natives

Maxxie Oliver

The Last King of Scotland (film)

End Homophobia

Dazed & Confused (magazine)

graduate

Individual Olympic Athletes at the 2000 Summer Olympics

Samba

Svetlana Kuznetsova

Toda Criança Pode Aprender

Little Joy

Girls Who Code

Pes

Munchies (film)

Robert Moog

Partido alto

Pictoplasma

New Art Dealers Alliance

Alto

Bois de Boulogne

Control key

Bus

uber

Cereal Magazine

Diego Ribas da Cunha

Dia Art Foundation

Bolt (2008 film)

Agência Pública

MOODs

Human Development Index

Z (Aion album)

MIMO

Power station

Marcelo Freixo

The Antlers (band)

Shiva

spicy food

Rhythm

(Le) Poisson Rouge

Boiler Room

Unidentified flying object

200 metres

Girls (comics)

Print on demand

That '70s Show (Official)

Sociedade Esportiva do Gama

Ondina

Colossal

Mae

Psychological thriller

Artsy

Escola Nacional de Belas Artes

Music Photographers

design-dautore.com

MTV Europe Music Awards

Vuze Bittorrent Client

Biographical film

Poorly Drawn Lines

Piauí (magazine)

Mac DeMarco

Non-governmental organization

Propaganda

StreetArtGlobe

Olympic Games ceremony

Vila-seca

Tijuca Forest

Sarah

Pedro (footballer, born July 1987)

Inhotim

Praia da Vitória

MyFrenchFilmFestival.com

Mandrake the Magician

Vector space

Convenience store

The Beach (film)

Indie folk

Multi-sport event

São Paulo

New York (magazine)

OZY

Midfielder

Action Bronson

Jerry Mouse

Philippines at the 2012 Summer Olympics

Vinicius de Moraes

npr music

Link (knot theory)

The Hobbit: The Battle of the Five Armies

British rock

Gaia (mythology)

I-D

Fountain

Italo disco

Skins (UK TV series)

James Blake (musician)

Nord (French department)

Token ring

Comparison of BitTorrent clients

Kinescope

Courage

Nõo

Helianthus annuus

e-flux

Cave

Seed

High jump

Cultural diversity

2000 Summer Olympics

Instituto Moreira Salles

2012 Summer Olympics

Alpine skiing at the 2014 Winter Olympics

Belgium

Designtaxi

Anima mundi

Academic journal

Military dictatorship

Dumont, New Jersey

Wilfred

Adaptations of The Lord of the Rings

Glass House

Somos tão Jovens

Domestic worker

Units of measurement

Porvir

Ars Electronica Center

Bubble wrap

Summer Olympic Games

Atlantic Records

Bon Iver discography

CCBB Rio de Janeiro

Sovereign state

Oriente (Ecuador)

Ministry of Education (Brazil)

Sigur Rós discography

Condé Nast

Nanotechnology

Emporium (antiquity)

CPI

Céu

Mark magazine

Thought Catalog

Spaceflight

Sanskrit

The City of the Sun

Sense

Temple

Student exchange program

Ciência sem Fronteiras

Grammatical mood

Comic strip

Third Man Records

Collection catalog

Devendra Banhart

Mammal

Tictail

Cell nucleus

Blue-eyed soul

Facebook Lite

Carona, Ticino

Celina, Ohio

Residency (medicine)

MGMT (album)

Pontifical Catholic University of Rio de Janeiro

Cronus

Heima

La Blogothèque

Public library

Help Kids with Cancer

Russia

Trem Desportivo Clube

Cooper Union

Professional wrestling promotion

Opening ceremony

binders full women

Bar da Praia

República (Nepalese newspaper)

Bento

Ethnic groups

The New School

Chico Buarque

Smile (band)

Institution

The Cure (The Cure album)

List of Girls episodes

Associação Quatro Patinhas

MyFonts

IEEE 1541-2002

Gus Van Sant

Fictional film

400 metres

MIT Technology Review

International Olympic Committee

Port

Computing

Fuerza Bruta Wayra

awl

Design Milk

Studio

Earth, Wind & Fire

Ian Holm

Pingu

Middle-distance running

Foster the People discography

European Union

Parque Lage

Mixcloud

Jah Wobble

Vox (blogging platform)

John Mayer discography

Videos

Hue

Unbreakable

Tempo

Piauí

Archive

Middle Ages

Skill

Academic publishing

Incendies

Nice

Air (French band)

Grizzly bear

Somos Tão Jovens - O Filme

Deckdisc

Urban area

Caetano Veloso

Dirty Projectors

Triple jump

Musical film

Astronaut

Chameleon

Salário digno aos PROFESSORES do Brasil

Code Club

1996 Summer Olympics

O Terno

Ear

Konbini

Rockland County, New York

Apartamento

Public university

FIBA Americas League

Land use

Jinx

Penny

Nothing

Sukha

Bronze medal

Video hosting service

[pennylane85]

Brazil & John Mayer: A Love Story

Honestly, I don’t know where to begin. Every time I think about what to write I get super emotional and start crying. Brazil, you are amazing. Thank you for your hospitality, I enjoyed my time in Rio and Sao Paulo and I wish I could have experienced more shows with you. I will be back. As long as John keeps coming back I am too.  Special thanks to Camila and her friends for taking care of us. Even though we don’t speak the same language, we speak music. Hearing some of you guys talk about your favorite songs and seeing you express your excitement brought an endless amount of joy to me. You are truly some amazing and special John Mayer fans. It was an honor to watch a show with you.

I wish I could go into detail about John and the Band but to be honest I was paying more attention to the crowd. I wasn’t front row. I was in the middle of the first general admission section and I was taking it all in. Every song, every word, every tear, I watched you guys have the time of your life. Seeing a show in South America is not like it is here. I didn’t experience anyone not paying attention, drunk or obviously looking like they came to see John Mayer Twitter/Instagram Star, everyone was there to see John Mayer, the singer/songrwriter/musician. You sang every single word to every song at the top of your lungs, danced the night away and truly enjoyed the music. I’ve never experienced anything like that at a concert. It brought tears to my eyes.

As soon as John stepped out on stage and began “Helpless” everyone started singing and dancing. During “Changing” you could barely hear John sing because the crowd was singing so loud, it was beautiful. There was a moment during “Why Georgia” we’re all singing “’Cause I wonder sometimes about the outcome of a still verdictless life, am I living it right?” and I turned my camera to Camila and I singing b/c I couldn’t believe after 5 years I was seeing a show with her in Brazil and I had to capture it. I cried quite a bit during that song. I’m crying now, writing this. You could barely hear John go into “No Such Thing” because of everyone singing the next verse of “Why Georgia.” “This is the first time we’ve played this song since we lost Tom Petty and we play this with all the love in the world for him. I wish this song was mine, I play it like a little kid dreaming he had the song and it’s forever Tom Petty’s and I get to sing it for you guys tonight,” John said as he and David Ryan Harris broke into “Free Fallin’.” I’m fortunate to have seen Tom Petty and the Heartbreakers back in April. I think Tom was looking down on Sao Paulo Wednesday night. Everyone sang the song with love in their hearts. I won’t complain about hearing this song live anymore because we will never get to hear Tom play it again. All we have now are musicians keeping his music alive, including John.

Many of the fans I met were excited about seeing the Trio. They never thought they’d see the Trio perform live. John, Steve and Pino were on fire. During “Who Did You Think I Was” the screen behind them had electricity flowing and that’s how I felt the Trio performed, electric.

Back to Full Band, during the break in “Queen of California” Mayer strapped on his electric guitar and started dancing, saying he had just learned this dance, which Camila explained to me was dance originated from funk music. It was quite comical and the fans loved it! I know hearing “In the Blood” live for the first time was special for a lot of the fans as well. I loved hearing the first chords to “Slow Dancing in a Burning Room” and hearing the cheers from the crowd; even in America, it’s one of my favorite moments. I love it. Everyone goes crazy! “Who Says” featured “It’s been a long night in Sao Paulo too” and “Who says I can’t get stoned, plan a trip to Brazil alone.” Larry‘s solo was beautiful as always.

Ever since 2013, “Dear Marie” has been Brazil’s song. I couldn’t wait to hear this one! I’m so glad he played it! The “ohhh” parts are amazing. “Thank you guys so much for coming out this evening and sending so much love and appreciation from afar, when I’m in the States I see it every night that I’m laying in bed on my phone, I read it every morning somewhere, you say ‘Come to Brazil.’ And I have come to Brazil because I love you and I’d like to come here for the rest of my life,” John said.  

Before he launched into the song Uncle John gave us some words of advice about turning 40.  “I want to tell you something that I learned. The only thing I would ever have to tell someone about being 40; watch out how much time you spend waiting for stuff to be over. Watch out. You know, we all got flights, and we got jobs, we got traffic that we gotta wait through, but watch out for waiting for too much stuff to be over. Never wish for less time. Waiting for something to be over is just wishing for less time. ‘I wish there was less time right now. I wish there was less time on this flight. I wish there was less time in this car. I wish there was less time in this week. I wish there was less time in this year.’ And before you know it, you’ll be 40, and that’ll be beautiful, but from that point forward memories take on a whole different life and the future takes on a whole different life. Never wish for less time. And that’s what you do when you wait for stuff to be over.”

During the beginning of “Gravity” the stage lights were on and everyone held up their phones for lights and I took a moment to video it near one of his solos b/c it was truly a sight to see, as this was one of the largest venues John has played in his career. That’s when I noticed the stage lights were off, but you could still see the stage, it was still illuminated in the lights from the phones. “Chapter 5: Epilogue” popped on the screen, but then the theme to “The Search for Everything” started playing and the credits rolled through. It was 11:15 p.m., the show was over.

If this could be nothing but tears, it’d pretty much sum up how I feel about the show and the love I and Brazil have for John Mayer.

Obrigado & Amor, Karri~

[onestowatch]

Songs For Girls, John Mayer, & Fan Stories: A Q&A With LANY Before They Hit The Road

Pictured: Jake, Paul, Les in our studio office

Los Angeles-based trio LANY is following up their rookie years with some major moves this 2017. Friends Paul Jason Klein (lead vocals), Les Priest (keyboard and guitar) and Jake Goss (drums) will hit the road with John Mayer for seven arena shows in April, followed by a headlining U.S.  tour through the end of May. The tour begins on April 24 in Sacramento, CA, and finds the band hitting markets outside of your typical big cities. 

The trio has also announced their eagerly-awaited debut album, LANY, set for a June 30 release. If the band’s EPs are any indication, the album should be stellar. Fans who pre-order the album will be treated to the brand new song "Good Girls,” a catchy synth-driven track that offers some serious dreamy disco vibes. Pre-order the LANY record here.

When we sat down to interview LANY, we were happily surprised to discover just how humble the guys are, considering their massively growing and highly devoted fan base. Read below to get the scoop on the trio’s background, their life on tour, and what we can expect when they hit the stage on the second leg of the kinda tour. Tickets are available here.

OTW: Do you remember a specific moment when you had a lightbulb moment that music was your calling?

LANY (Paul): My mom put me in piano lessons at the age of 5, so I was classically trained all the way through high school for like 13 years. I didn’t want to do music because classical piano was not that fun--it was like a rule in the house. But then I got into high school, and I started writing songs about this girl I really liked, and I think that that was kind of when I realized, “Oh this is fun to write my own stuff.”

(Jake): For me it was that movie, That Thing You Do. When I was younger, I took piano lessons for a few years with my brother, but I stopped, but then I saw That Thing You Do, and I wanted to play drums and just be in bands. That kind of jumpstarted everything for me, that movie.

(Les): For me, I grew up in a very musical family but I never knew what my place was going to be in music. I knew I wanted to do something musical, but when I went to college, I was trying to do commercial voice and the school that we went to, Belmont, was like “You know, I don’t know if commercial voice is your thing, maybe you should try music production,” [Laughs] And I was like, alright.

OTW: You guys have toured with a bunch of people in the past--Troye Sivan, Halsey, about to go with John Mayer. How is the transition between being the opener and being the main act?

LANY (Paul): We spent like a year being a support act, and you kind of want to go out there and, you know, give it to them. Yeah! But then there’s no expectations when you’re a supporting act, so it’s kind of easy in that sense. You’re just like, “Let’s just go”--you’ve got nothing to lose almost. 

And then you’re like “Oh, people spent money to see us, that’s a thing.” It changes the game; it changes the way of what you’re doing. You get way more thoughtful about your performance and even your production and how things feel when someone comes to a LANY show.

OTW: Do you think it’s given you more confidence on stage?

LANY (Paul): I don’t know if confidence is the word. It’s just a challenge, you know? And when you’re challenged, you grow and you become better. We brought three 6’x6’ LED screens to the last tour. That was awesome. Now it’s like, not necessarily like how can we top that but like, let’s do something different. How do we change it and evolve and bring something fun to this tour? It’s a very thought-provoking and challenging thing.

(Les): That’s the thing about headlining, there’s so many parts to it, and it is more work and all that and it’s a fun challenge. Opening is just like, “Okay we’ve got 30 minutes, let’s just go crush it.” But the headline stuff’s fun because there’s just so much that goes into it.

OTW: Can you give us a little visual description of what someone standing in the crowd will see on this next tour?

LANY (Paul): I can’t because we are in rehearsals right now, and we just loaded the lights into the rehearsal space yesterday to kind of figure out what we’re going to do. I do want there to be a little bit more mystery to the show, so when you’re playing in front of an 18-foot LED wall divided in three, it kind of illuminates everything and everyone, and it’s very much like, “Oh wow.” But now, I want there to be more shadows and more of a mysterious vibe.

OTW: Have you guys met John Mayer yet?

LANY (Paul): I mean I have, but not. It was a while ago and has absolutely nothing to do with this situation [laughs].

OTW: How do you imagine he’ll be like?

LANY (Paul): Jake has this funny joke that I am obsessed and in love with John Mayer but I also love Pino [Palladino] and his band. We are huge fans of everybody that’s going to be on that stage, so we joke about like if Steve walks by Jake and is like …[to Jake] you do it, it’s funnier!

(Jake): Steve’s the drummer. He’s one of the best drummers in the world. I’m going into it expecting that they’re never going to speak to me; they don’t have to. But I imagine if he comes up to me, and he’s like, “I just want you to know, find a new line of work. Because you suck.” And then I’ll just be like, “Thank you so much for taking time out of your day to speak to me.”

OTW: [Laughs] You’re preparing for that?

LANY (Jake): That’s pretty much it. Yeah, that’s how stoked we are to be there. Just being able to watch that level of talent.

(Paul): Being surrounded by that, I hope that we just pick up on stuff that we don’t even realize, even the way they walk and talk. I’m dead serious--these guys are the greatest to ever do it. I mean John Mayer is the best guitar player in pop music.

(Jake): I think we’ll be a different band after these 7 shows. It’s going to be crazy.

(Paul): So just to see how they talk and interact with each other and walk on stage, off stage, backstage, that kind of swagger--I hope that just rubs off on us, and we can learn and rise. You always rise or fall to what you’re surrounded by, so we’re going to be the worst in the room, and it’s going to be awesome! 

OTW: Any funny or particular tour antics that each of you have? You can talk about each other.  

LANY (Paul): Jake’s the comedian of the band.

(Paul): We don’t have anything that we do that regular dudes don’t. We’re funny. Oh yeah, we have a guy named Steve who kind of oversees our merch on tour, and he’s got this Google document that gives us every coffee shop pretty much in the world. So he’ll open it up, and we’ll be in like Oslo, Norway, and he’s like, “Alright, here are the top 5 coffee shops.”

(Les): Well, we’re all still asleep, but he’s texting us and he’s like, “When you guys wake up…”

(Paul): Like, I’m bringing my tennis racket on tour, and he likes to play tennis, so I’m like, “Do you have a tennis doc? So you can find the courts?”

OTW: [Laughs] Wow, amazing. In general, what would you say each band member’s role is--not musically, but in the group dynamic?

LANY (Paul): Jake’s the comedian.

(Jake): I just try to keep the smiles going. Keep the vibe high.

(Les): I probably worry the most, and stress the most; he will level me out.

(Paul): Les will level us out too. Les is really quiet.

(Jake): We also get sucked into passion and vision, and Les is just like, our wisdom grandfather.

OTW:  Good balance!

LANY (Paul): He can also fix everything.

(Jake): if there’s anything wrong, we’re just like, go to Les, and he can handle it. We tried to unpack the van once without Les, and it was like we had to get four bands together, because we didn’t know how to do Tetris.

OTW: What has been the craziest fan experience you’ve had (on tour or in general)?

LANY (Jake): Last tour we’ve had people starting to jump on stage.

(Les): When we played Salt Lake this last time, we had some people take time lapse videos of people like rushing into the venue. I thought that was pretty wild; they were just like running over each other.

(Paul): It was fun man--we have some fun people that come to our shows. There is no trying to be pretentious or too cool for school. People just lose their minds at our shows. And it’s fun. Because we’re losing our minds with them, you know? Like we feed off each other.

(Jake): I remember one show, it was in Minneapolis, when Halsey came out, but…was there a barricade at that one?

(Paul): No, there wasn’t a barricade, and we’re playing on like a 2-foot stage. I would be playing “Made in Hollywood,” and people would just be ripping out their hair, like it was just…

(Jake): I remember we were playing “Made in Hollywood,” and this girl was just getting squashed, and she was crying. I was trying to get one of the security guards, and I was like “Can you help this girl?” Because she was hurting, and I stopped playing. It’s just crazy people are rushing the stage and people are getting hurt. It’s been wild.

OTW: Crazy teenage girls right?

LANY (Jake): No, these were like moms…

OTW: Really? [Laughs] Your debut album is coming out SOON--is it going to follow a certain theme or sound?

LANY (Paul): There’s no real theme--we didn’t set out and say, “Alright, here’s the concept and here’s chapter 1,” but it still all feels super cohesive. It’s pretty much like if you were just to open up a journal. If I were to have recorded a bunch of life experiences and emotions and ups and downs, that's what it would be.

OTW: Nice! Last question, which artists are on your Ones To Watch list?

LANY (Jake): There’s a band from L.A. called the Vulfpeck. A lot of is like soul, but they’re younger guys, just amazing musicians. We actually saw a few of them open for John Mayer at the Hotel Café. We’re just always excited when they release stuff.

(Paul): It’s funny because I feel like we’re Ones To Watch and I don’t know who I listen to that’s smaller than us. I love this kid named Matt DiMona. He remixed “Bad Bad Bad,” and he put out an EP last year that I just listened to death. Other that I just listen to these giants, like Frank Ocean, I love Bon Iver… oh yeah Jorja Smith. Who else? I love MUNA!  We saw them play at The Teragram Ballroom.

[2700fstreet]

JAZZ / 2017-2018

ERIC HARLAND, VOYAGER

PERFORMANCE / DEMONSTRATION

So, What’s Going On?

Eric Harland is one of the most respected drummers on the jazz scene today. Though he’s only in his 40s, he’s been studying and playing professionally for over half of his life. Whether on stage or in the studio, Harlan’s passion and excitement for jazz inspire his audiences and fellow performers alike.

One of Harland’s favorite pastimes is hanging out in his New York City Studio, casually making music with friends and colleagues through improvisation. In jazz, improvisation is the spontaneous aspect of creating new melodies within the jazz structure. Jazz music is a subtle balance of structure and inventiveness.

The Language of Jazz—A quick guide to being in the know.

Here are some key jazz terms to know and to listen for during the performance:

Articulation: Performance techniques used by musicians that determine the style or sound of the music by specifying how individual notes are to be played within a section or entire piece of music

Improvisation: Creating music or song spontaneously, a technique that requires great musical skill and creativity

Melody: The tune of a piece of music created by a series of notes; most often recognizable as the main tune you hum or sing along with in a musical work

Harmony: Two or more notes played together that create a compatible or pleasant sound

Rhythm: A strong, repeated pattern of sound

Soloing: When a musician improvises by elaborating on the music’s melody and harmony in their own personal style

The best jazz musicians, Harland included, need a firm understanding of jazz theory (the rules and language of jazz music) and structure (the order of compositions) to succeed. In fact, Harland studied for years to master the technical aspects of jazz music. But jazz “cats,” as they’re called, are also all composers by default, participating in improvisation through solos that are either planned or occur spontaneously in the middle of a performance. Because improvisation is invented at the moment it occurs, it’s true that no two performances, even of the same piece, are exactly the same.

Jazz Fundamentals: What is Improvisation?

Let’s begin. Watch this:

Harland is a technical master who has earned the ability to stretch and expand how music can sound. Harland and his group certainly think about techniques, chords, and musical form, but then they allow their imaginations to expand upon the technical aspects of music. For example, Harland likes to use technology to take a melodic line and experiment around that line. He might add random notes and rhythms to the score and see what comes out, adjusting those notes and rhythms to try to find a central key—an activity he calls finding “a melody in the chaos.”

Eric Harland mixes up more than just the melody—as a drummer, he plays with the beat, too. Watch him give a lesson on playing behind, on, and ahead of the beat:

During the demonstration, Eric Harland and his band Voyager will play music from their repertoire, including original pieces. They’ll also take questions before finishing up with a final tune. Be prepared to ask the musicians about how they approach composition and improvisation, their influences and early music experiences, and how they practice.

Who’s Who

Eric Harland is an award-winning drummer and composer, seriously accomplished for a such a young man. Originally from Houston, Texas, Harland entered the music scene early, beginning private lessons at age 5, and studied music seriously as a teen. He graduated from the High School for the Performing and Visual Arts in his home town where he found his niche, excelling in jazz performance groups and even beginning his professional performing career. In fact, legendary jazz trumpeter Wynton Marsalis conducted a workshop at his high school and was so impressed with Harland’s musicianship and dedication, he encouraged the teen to study music in New York City. Harland won a full scholarship to the Manhattan School of Music.

Hear Eric Harland speak about his introduction to jazz and how he finds his voice:

But the New York music scene, though successful and fun, led Harlan towards a path that he wasn’t sure was right for him. So he returned to Texas and attended Houston Baptist University, where he studied theology and was ordained as a minster, giving up music for a time. He describes that period as an evolution, one which eventually led him back to the drum kit.

Harland returned to New York and built a reputation as a creative and skilled drummer. He has since shared the stage with prominent jazz musicians across the country. He’s played on nearly 400 recordings and in several film scores. Harland has made music with jazz legends like Wynton Marsalis and modern artists like Terence Blanchard, Taylor Eigsti, and Aaron Parks. He’s collaborated with artists from KRS1 and Mariah Carey to John Mayer and Spike Lee. Harland has also performed (and continues to perform) with jazz artists including Joshua Redman, Dave Holland, Kevin Eubanks, Jason Moran, and Chris Potter. In fact, he’s become the drummer of choice for many icons in the jazz world.

Harland waited until his second decade of performing jazz to release an album as a band leader and composer. His group Voyager is highly regarded with two albums under its belt. Harland released his first album, Voyager: Live by Night, in 2010 and a second album, Vipassana, in 2014. He’s also worked with the SFJAZZ Center and Monterey Jazz Festival as Musician-in-Residence. Harland and Voyager are known for their high energy, while also providing plenty of opportunities for solo exploration. Harland’s self-described musical mission is to provide his listeners insight into the music.

Take a listen… Catch Eric Harland’s quintet in action:

Meet Voyager

Besides Harland on drums, Voyager is composed of a saxophone, guitar, piano, and sometimes double bass, representing accomplished musicians that critics call a musical “brain trust.”

Taylor Eigsti (piano) leads his own trio and is a member of several other jazz groups. He has been a faculty member of the Stanford Jazz Workshop at Stanford University in California since he was just 15. His trio has been nominated for two Grammy® Awards.

Julian Lage (guitar) was a child prodigy in jazz music, featured in the documentary Jules at Eight. He played live on the Grammys at age 13, and, like Eigsti, became a faculty member of the Stanford Jazz Workshop at 15. The leader of his own trio, Lage also performs and records as a solo guitarist.

Walter Smith III (saxophone) is a jazz performer and composer from Houston, Texas. In addition to playing with his own group and Voyager, he plays with Ambrose Akinmusire Quintet. He specializes in tenor saxophone.

Harish Raghavan (bass) grew up in Northbrook, Illinois, just north of Chicago. At age eight he began studying Western and Indian percussion, and later switched to the double bass at seventeen.

Take a listen: See Voyager performing at the Melbourne International Jazz Festival in 2015:

Check This Out…

As a drummer, Harland uses different techniques to create different sounds and effects. Pay attention to his skills with the cymbals. What do you notice about how he adjusts his instruments, sticks, and techniques as he plays? Watch Eric Harland talk about different cymbals and techniques he uses with each:

Jazz may have a unique sound, but it’s fundamentally not that different from other types of music. One major similarity? Jazz, like many types of music, places great importance on the relationship with the audience. How do Harland and Voyager create a relationship with the audience through their music?

Harland’s performance has been described as “a firestorm” and energetic. What do you hear that would fit this description? Are there other words you might use to describe Harland and his group’s music?

Harland talks about “staying in the musical moment.” By that, he means experimenting with technique in composition that, while following the “rules” of jazz, leave room for creativity and organic music—those exciting and sometimes unexpected musical moments that bring goosebumps. Is there a point when you hear that “musical moment?”

Think About This…

Jazz music is heavily connected to song writing. Even when a band plays a “standard” (a musical composition that’s a part of the historical musical repertoire of jazz), the leader and/or instrumentalists often add their own “spin” to it, through improvisation. Think outside the box for a minute. Can you apply this concept to life? In what ways can or do you take historical events and ideas and change them to fit your life?

Becoming an expert in anything takes practice. Harland says that he’s always had focus surrounding his music. At eight, he even told his mom that he wanted to tour the world as a musician. Though Harland faced roadblocks at times in his life, he credits his success with working every day, one day at a time, to become the best at what he was doing. What’s the lesson here for you as a teen?

Rhythm is an intrinsic part of both language and music. If that’s true, think about what language and music have in common. Could it be that language is just an extension of music, or vice versa? What do you think? Watch Eric Harland talk about the rhythmic nature of language:

Take Action: Be Bold

Eric Harland thrives on the creative experience of boldly throwing it all out there (musically speaking) and then refining what results into a meaningful piece of art. Picture a painter throwing paint on a canvas to see what shapes might emerge. In writing, this might be called brainstorming. Harland even says that he doesn’t write full tunes for his band, but allows the group to experiment with his framework in order to create a song. How can you apply this to your own life or art? Is there a project you’re working on that could use some bold creativity? Are you bold enough to try?

Snap a picture or take a video of your bold artistic exploration and post it to Facebook, Instagram, Twitter, Tumblr, Snapchat, or any other platform. If other people are involved, make sure that you have their permission to include them in your post. Then, tag five friends and ask them to share their exploration. Use #BeBold as your hashtag.

Explore More

Go even deeper with the Eric Harland Performance Extras.

–

Support for Jazz at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

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Notes de film: 7/10 26 röster

Date de sortie: 2009-12-11

Production: Leidseplein Presse /

Wiki page: https://en.wikipedia.org/wiki/AC/DC: Live at River Plate

Genres: Musique

Les cloches de l’enfer du groupe le plus rock de la planète résonnent à nouveau ! Tourné en 2009 au « El Monumental » River Plate Stadium, le programme marque le retour du groupe à Buenos Aires, où 200 000 fans et 3 spectacles à guichets fermés ont salué l’une des dates les plus spectaculaires du « Black Ice World Tour » des AC/DC. Réalisé par David Mallet et produit par Rocky Oldman, « Live at River Plate » a été tourné avec 32 caméras HD et dévoile la dernière tournée mondiale d’Angus Young & C dans toute sa splendeur. Incontournable !

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AC/DC: Live at River Plate – Acteurs et actrices

Angus Young Himself

Malcolm Young Himself

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Les 19 morceaux de « AC/DC Live At River Plate » balaient le répertoire du groupe, de classiques en classiques, parmi sequels on retrouve « Back In Black », « Thunderstruck », « You Shook Me All Night Long » et « Rock N Roll Train ». Billetterie AC/DC Tous les évènements … Live at River Plate est un DVD du groupe de hard rock AC/DC sorti le 10 mai 2011 comprenant des performances live du groupe pendant leur tournée Black Ice World Tour Description. Le DVD comprend des séquences de trois concerts donnés en décembre 2009 à Buenos Aires, en Argentine [1]. Il a été réalisé par David Mallet et produit par Rocky Oldham [1]. Une société appelée Serpent … AC/DC Live at River Plate, Argentina 2009 Full Concert HD Emanuil Petrow; 19 videos; 32,101,100 views; Last updated on Oct 12, 2014 AC/DC – Highway to Hell (Live At River Plate, December 2009) Leave a “LIKE” 👍🏽 if you ENJOYED today’s video! ROAD TO 100K… subscribe JOIN THE DOUBLEK Follo… Music video by AC/DC performing Let There Be Rock. (Live At River Plate 2009)(C) 2011 Leidseplein Presse B.V. This is the definitive live concert documenting AC/DC’s Black Ice world tour. Shot with 32 cameras entirely in HD in December ’09, Live At River Plate marks AC/DC’s triumphant return to Buenos … AC/DC: Live At River Plate ‎ (2xCD, Album, Red) Columbia, Columbia, Columbia: 88765 41175 2, 88765 41175 2-DG1, CKA541175: US: 2012: Sell This Version: 88765411752: AC/DC: Live At River Plate ‎ (2xCD, Album, Dig) Columbia, Sony Music: 88765411752: Brazil: 2012: Sell This Version: Recommendations Reviews Show All 2 Reviews . Add Review. roquermind August 10, 2018 Report;. Mehr auf Rock.de …

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Un stade démesuré pour un groupe démesuré. Il fallait au moins ces 80.000 personnes hystériques pour qu’éclate toute la puissance et la fureur du groupe. Freddie Mercury, qui se sait déjà malade, sent que c’est peut-être sa dernière tournée, alors il se donne sans compter avec un groupe à son apogée. Ce concert exceptionnel est considéré comme l’ultime témoignage des performances live du groupe. Le concert du vendredi est inédit ce qui fait de cette sortie un événement.

8.7

Where the Light Is: John Mayer Live in Los Angeles

Où la lumière est: John Mayer, Live in Los Angeles, comprend trois ensembles: une performance acoustique, un trio ( John Mayer, Steve Jordan et Pino Palladino), ainsi qu’un troisieme set avec un groupe complet

8.1

Taylor Swift: The 1989 World Tour – Live

The 1989 World Tour est la quatrième tournée de la chanteuse américaine Taylor Swift, qui a débuté au Japon le 5 mai 2015 et s’achèvera en Australie le 12 décembre 2015. Le 20 décembre The 1989 World Tour est publié en exclusivité sur le nouveau site de streaming Apple Music.

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AC/DC: Live at River Plate (2009)

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[starfriday]

24 years old Sooraj Bishnoi to release his next song ‘The Actor’

24 year old USA based Indian singer, lyricist and composer Sooraj Bishnoi is all set to launch his new song “The Actor”. After the success of his tracks Nemesis (February 2017), City Beat (4 December 2018) and his debut 11 track ablum “Here We Go” (January, 2019) gathering a whopping two lakh+ views on YouTube, Sooraj is releasing his video format song “The Actor”. He states that the Video format song will have “twist in the tail” kind of story. It sends out a Clear message, ‘One cannot be successful by blindly being ‘Someone Else’. The album will hit the local track soon. The teaser is out.

https://m.facebook.com/story.php?story_fbid=2858282077528020&id=193996133956641&ref=content_filter

The idea of the song is - just by looking at the stars on the boulevard and thinking, “Well, if the pinnacle of fame is to have a star on the ground for people to walk all over, then what even is fame, and how much of an identity  must someone lose, to just be another star on the ground.” Speaking about the Song, Bishnoi added, “I wanted the music video to have a ‘twist in the tale’ kinda story - which drives home that you cannot be successful by being ‘someone else’...a definite story set in Hollywood though, not just a montage. But shots of typical ‘Hollywood’ scenes (like the sign, the stars, the lights etc) to establish clearly the hopes and aspirations of stardom that actors and performers come to Hollywood with!!”

The song has been inspired by people pretending to be someone else constantly in their daily lives, in the hustle of Hollywood, and what this town makes them do. It’s an admonishment, of sorts, telling people to strip away the mask and be themselves - not just another role to play.

About Sooraj Bishnoi..

Sooraj is a singer, songwriter, instrumentalist, composer, and arranger from India. Playing the keyboards since the age of one and a half, and the guitar and piano since age 9, Sooraj’s musical journeys range from traditional Indian classical raags, to Mozart, to the likes of the Beatles and John Mayer.

As a vocalist, Sooraj has performed with many bands as well as singing in acoustic/solo settings, choirs, a cappella groups, and theater productions. As an instrumentalist, he plays the keyboard, acoustic piano (classical and jazz), drums, guitars, violin and various hand-percussion instruments, passing the Grade 8 keyboard practical examination of the Trinity College of London at the age of six, possible the youngest to do so. He has also performed with several bands, as a soloist and in several ensembles and theater music groups.

Drawing on major influences like The Beatles, John Mayer, Jason Mraz, Simple Plan and many more, Sooraj won a scholarship to the Five-Week Summer Program at Berklee College of Music, Boston, after which he worked on his debut EP, “It’s Your Life,” released in the winter of 2012. The home recorded EP can be found on iTunes, Amazon and most other music distribution platforms. He performs his original songs and several popular covers both as a solo singer-songwriter as well as with his band, The Sooraj Trio at venues like Score Bar, Blue Frog etc.

[blogvinceguadagno-blog]

TheGuitarGuy

Hello ladies and gentlemen,

Welcome back to another great blog post! As you know, last week we covered some excellent rock bands and their style of music. Today, we are going to discuss Blues, Jazz, and Folk music! I’m talking about pentatonic scales on the electric guitar like B.B. King plays in The Thrill Is Gone. Well, I am in a good mood and I hope you are too! Let me begin by asking you one question….Do ya like Jazz?

It seems as though jazz/Blues music has fallen off in today’s music charts. Every once in a while, there is a feature with a blues legend like Stevie Ray Vaughan or saxophone jazz player Kenny G, but for the most part, the genre stays hidden beneath the rap and pop music. I enjoy it probably because I grew up listening to it with my parents and grandparents. I admire the simplicity of a couple chords being played along with a pentatonic scale to produce a rhythmic tune. A pentatonic scale contains 5 tones, hence the name, pentatonic. Those 2 things alone, the chords and the scale, are the main variables in the formula to create Jazz music. For Example, playing a G minor pentatonic over a G Major chord or playing a C Major pentatonic over a C Major chord will sound jazzy. You are able to move up and down the fret board depending on what scale you approach. Here, is an example of a G Major Pentatonic Scale.

I enjoy listening to all sorts of jazz and blue music, but my favorites consist of B.B. King, John Mayer Trio, and Christone Ingram also known as Kingfish. Some other nominees include Jimi Hendrix and Stevie Ray Vaughan. If you have not heard any of these people preform, I suggest you do. I will drop a couple videos down below for you to be enlightened. B.B. King is a legendary blues player from Mississippi who basically created the blues genre. He started recording in the 1940s and released over 50 albums throughout his career, many of them classics. Songs like Sweet Little Angeland Every day I Have the Blueshelped pave the way for guys like Stevie Ray and John Mayer. John Mayer Trio consists of bassist Pino Palladino, drummer Steve Jordan, and guitarist John Mayer who play extraordinary live concerts such as Where the Light Is: Live in Los Angelesand John’s nationwide tours. Using his iconic Fender Strat, the group created singles such as Who Did You Think I Was, Come When I Call, andOut Of My Mind. They also covered songs like Wait Until Tomorrow by Hendrix. I listen to their Try! album, which consists of mostly live music, every day in my car. I strive to have a group similar to that trio when I am older. Last, but not least, Christone “Kingfish” Ingram. The young protégé absolutely slaughters the electric guitar and has been gaining a lot of attention. He did his first big shoot with Fender, promoting the “Vintera Series” and covered, I Put A Spell On Youby Annie Lennox. I’ll drop that video down below for those of you who want to be entertained.

Some people consider Blues the devil’s music like in the movie Crossroads, but we will address that on next week’s blog post! Until next time, keep learning to play the guitar and try to implement a couple Jazz techniques. Barry Benson would be happy!  

[tileyarded-blog]

TILEYARD EDUCATION CHRISTMAS PARTY!

New Post has been published on https://tileyardeducation.co.uk/events/tileyard-education-christmas-party/

TILEYARD EDUCATION CHRISTMAS PARTY!

Join us for our second ever Tileyard Education Christmas Party on 12 December featuring exclusive performances from some of the hottest talent coming out of Tileyard Education, as well as some very special guests.

The night will commence at 7pm at the world-famous NAMBUCCA in Holloway Road. The event is free, but will sell out, so grab your ticket quick! You can get yours here.

On the night, you can expect live performances from:

ELEVNS (@ELEVNS)

ELEVNS are an electronic-beat maker duo based in London. The line-up consists of just two musicians Aurelian and Gramm. The duo decided to start a project where they would produce tracks with special feature singers: and ELEVNS was born. The name came from the fact that they share the number 11 in their birthday. The pair describes themselves as sponges absorbing anything that inspires them. Their music weaves between genre boundaries including elements of Hip-hop, soultronic, pop and contemporary R&B. Coming from a live background and having performed their first ever headline gig at the Rockwood Music Hall in New York, the combo created a project that allows them to perform on stage as a duo, trio or in full band. In Autumn 2017, they got in touch with the innovative company ROLI after attending a conference about creativity including a talk between Pharrell Williams and ROLI founder Roland Lamb. A few weeks later ELEVNS met ROLI’s artists management in New York and eventually got endorsed by the brand who also shared their footage on their official Instagram. They joined the Soundbrenner family a few months later and now use Soundbrenner’s smart wearable metronome Pulse. ELEVNS created their own label Deja-New Records in 2016. The concept is to induce listeners into remembering about a good feeling while discovering new music.

On Spotify: https://open.spotify.com/artist/37ym38esNAak96v1uOij2f?si=qBKNS2oGT8qchUEy8DbFFw

CHLOE RONA (@chloërona)

Chloë Rona is returning as Tileyard Education alumni royalty for a very special performance. Chloë is a London-based singer who effortlessly weaves between the sounds of dark pop, electronica and RnB. Music isChloë’s language of communicating and expressing herself, turning life experiences into songs with beautiful honesty and raw lyrics.

On Spotify: https://open.spotify.com/artist/5pfMK1RDJCE9AMBTc2zxRD?si=j9bB6XcNQMSGCQottB5hjQ

THE BAY RAYS (@thebayrays)

Bay Rays started as 3 best friends from Tunbridge Wells, Kent. Harry Nicoll, Maxwell Oakley and Anthus Davis.

The trio formed in 2015 and built a reputation for an energetic live show in their local area. Following the success of their debut single ’Satisfaction’ the band went on to headline Glastonbury’s BBC Introducing Stage in 2016, as well as heading out on numerous UK tours, supporting bands such as Kent friends, Slaves, Hidden Charms, Estrons and Ten Fe. Their latest EP, ‘Darkness and Doubt’ was released in August 2018 and was produced by good friend Drew Bang, who had previously worked with Royal Blood and U2. Collaborating with him brought a fresh perspective and a refined sound. The singles, Begin Again, Can’t Let Go and The Chamber, were soon picked up by Huw Stephens and Annie Mac at BBC Radio One, Steve Lamacq at BBC 6 Music, John Kennedy and Felix White at XFM. The band will be playing numerous shows for the rest of 2018 with intermittent stops to the studio to start laying down their next ideas.

On Spotify: https://open.spotify.com/artist/1FQePmeQzZ5CrnZYyoPek6?si=V2CuBsDFQJ-F3KTIN1LQUQ

LAKY (@iamlaky)

Laky is a singer-songwriter signed to Saulty Songs. She sits on the calmer, cooler side of pop. Her country and soul undertones, alongside her clever lyrics, bring a raw maturity to her songs. Mix that in with her hook driven melodies and unique vocal and you’re on to a winner. Growing up with musical parents, most of her inspiration stems from eclectic 70s and 80s music (that she still loves today). More recently you can catch her listening to musicians such as; Jade Bird, Joss Stone, Christine and The Queens, Ed Sheeran, John Mayer and The Civil Wars to name a few. Having recently changed her artist name from ‘Kyla Stroud’ to ‘LAKY’, she is discovering a whole new sound and writing more than ever before. You won’t find a lot online for now but be sure to keep an eye on this humorous 24 year old.

OTHER PERFORMANCES FROM

JEREMY ZULU (@kingjelzmusic)

UK Zambian artist King Jelz has an infectious and unique zeal for music mixed with a devout compassion for people. In a world where street riots, terrorism and general unrest haunt us each day the talented rapper chooses to look at things from a positive alternative clearly spoken out from his sculptured lyrics full of his real life journeys, hope and healing. Inspired by he likes of Lil Baby, Gunna, Migos, Young Thug, Tinie Tempah, J-Cole, Kanye West, Michael Jackson, Afronaut Zu, Levelle London, Kojey Radical, and Ryan Leslie. King Jelz is defo one to look out for in the near future. King Jelz born Jeremy Dunduza Zulu dreams that through his music he can deliver a positive message that will encourage and empower listeners to achieve their dreams and overcome their struggles, King Jelz believes that we are all destined for greatness (DFG).

EMMA HORAN (@EmmaHoranmusic)

Emma Horan is an independent artist, writer and vocalist from N.Ireland. She started at the age of 15 creating online ‘mash-up’ cover versions of her favourite songs. 4 years later her videos have captured the attention of over 500,000 unique active followers. Emma has released two singles that have been playlist across National and Irish commercial radio and regularly travels to Amsterdam writing and collaborating vocals on trance tracks through Raz Nitzan music which have picked up traction from Armin Van Buuren.

On Spotify: https://open.spotify.com/artist/6RXuRgsuIKZFOAzZHRGeXA

SILENT FIASCO

Silent Fiasco is an alternative rock band from Brixton, south London. Crafting music with complexity, Silent Fiasco combine progressive and atmospheric rock, with additional touches of world music, to create an expansive, dynamic sound that is influenced by the likes of Radiohead, Steven Wilson, Deftones, Pink Floyd and Muse, among many others. Formed in 2014, the band started out performing acoustically at open mic nights and writing material before completing their line up and graduating to fully fledged rock shows. In 2018 the band gigged extensively across London and the south of England, honing their live performance and constantly looking for new ways to turn a gig into a spectacle. After the release of their new single, Serotonin, the band are currently taking a break from the live circuit to focus on new, experimental and exciting material with a plan to release in 2019.

On Spotify: https://open.spotify.com/artist/6IqQSS1AOBSrDNnbNSJv6l?si=4l8Ob05nSPGIxPj_gpmbRA

EVE-LILY

On Soundcloud: https://soundcloud.com/evelilymusic

LEO ALEXANDER (@leoalexanderofficial)

London based trio of Anton, Leo and Maurizio, their groovy blues rock will be sure to entice you throughout. The amount of badass noise they make between the 3 of them is something else! Reminiscent of a mixture of bands such as ‘The Black Keys’ to Royal Blood! Don’t miss these guys!

On Soundcloud: www.soundcloud.com/leoalexanderofficial

The night will commence at 7pm at the world-famous Nambucca bar in Holloway Road, and is free and open to all. RSVP is a must though, this night is going to be popular.