#the music between us concert ads of duran duran

[duranduratulsa]

Duran Duran Week Book 📖 of the day: The Music Between Us: Concert Ads of Duran Duran by Andrew Golub (2016) #book #books #nonfiction #TheMusicBetweenUs #themusicbetweenusconcertadsofduranduran #andrewgolub #Durandy #duranduran #duranduranweek2023 #duranduranweek17 #DuranDuranWeek #2010s

[cecyzinhaaa]

alchrista:

Michael Jackson’s MTV impact

How big an impact did Michael Jackson have on MTV? Put it this way: it took Jackson’s death to get the channel to start playing music videos again.

For the first day and a half after the death of the King of Pop,MTV largely abandoned its usual lineup of reality shows in favor of a marathon of Jackson videos,from the classics like “Beat It” to more obscure ones like 2001’s “You Rock My World” (with a Marlon Brando cameo!).

It’s been often said that Jackson brought about two fundamental changes to the world of music video:he desegregated MTV,and the cost and scope of his videos marked a paradigm shift away from the cheap,unambitious schlock MTV had been showing to that point.

There’s more evidence supporting the former theory than the latter,but Jackson inarguably made as big a mark in the world of video as he did in the world of music itself.

Great as his songs were,many of our strongest memories of him come from television:The early Jackson 5 appearances with Diana Ross.The Rankin/Bass-produced Saturday morning cartoon.Jackson moonwalking to “Billie Jean” on the Motown 25th anniversary special on CBS in 1983,which has to rank alongside the “Ed Sullivan Show” debuts of Elvis Presley and The Beatles among the most iconic moments in the crossover between music and TV.

Most of all,we think of the videos: of Michael as a dancing zombie in “Thriller,” Michael as a tough gang kid in “Beat It,” Michael evading the paparazzi in “Billie Jean,” etc. As he grew from boy to man,it was his dancing as much as his singing that made him the King of Pop,and nowhere was his otherworldly footwork on better display than in his videos.

MTV executives have always denied that there was any kind of prohibition against African American artists in the channel’s early days,while Walter Yetnikoff,who was the head of Jackson’s record label at the time,has always insisted there was.

Yetnikoff wrote in his autobiography, “Howling at the Moon,” that “I screamed bloody murder when MTV refused to air his videos.They argued that their format, white rock,excluded Michael’s music.I argued they were racist (jerks) and I’d trumpet it to the world if they didn’t relent… With added pressure from Quincy Jones,they caved in,and in doing so the MTV color line came crashing down.”

Whether MTV’s resistance to Jackson had to do with color or genre,there was no question that his videos quickly became the channel’s biggest draw.

The launch of the video for “Thriller” a 13-minute pastiche of ’50s horror movies,directed by John Landis and featuring horror legend Vincent Price in a cameo,was presented with all the pomp and circumstance of a movie premiere.Later Jackson videos,notably “Bad” and “Black or White,” got similar treatment.

Whether there had previously been resistance to artists of color on the channel or not,there’s no question that they became more prevalent after Jackson’s ascension.

As for changing the content of the videos themselves,what Jackson and his collaborators accomplished wasn’t so much a matter of kind as of degree.While the reputation of early ’80s MTV was of low-budget videos that were little more than glorified concert footage,many videos of the pre-“Thriller” period were ambitious and/or expensive,like Duran Duran’s “Rio,” or Blondie’s “Rapture.”

But the “Beat It” video cost a reported $150,000,a huge figure at the time.”Thriller” was an epic.Many of Jackson’s videos in later years would debut at an extreme length,then be cut down for regular airplay.

In addition to Landis,Jackson would work with directors like Martin Scorsese (“Bad”),John Singleton (“Remember the Time,”which featured cameos by Eddie Murphy and Magic Johnson),Spike Lee (“They Don’t Care About Us”) and David Fincher (“Who Is It”). (Jackson also got Francis Ford Coppola to direct “Captain EO,” the 3-D movie musical that used to play at Disney’s theme parks.)

And as Jackson put more time,money and artistry into his videos,other singers followed suit.

by Alan Sepinwall

[overlooked-tracks]

Isabella Manfredi, Tumbleweed and Sollyy: Australia’s best new music for October

The following article has been posted on October 09, 2022 at 10:01AM:

An Overlooked Tracks News Finding: Here’s an article you might have overlooked. Having a partnership with NewsAPI, we try to catch music entertainment news for you to view, read and possibly enjoy. We will continue to find what’s available in the world of music entertainment, concert information and music releases. But obviously you – the listener and reader are the biggest source for news in your area, so if you can share with us. For right now, look at what we found for you:

“From The Guardian Music News UK Website – Isabella Manfredi, Tumbleweed and Sollyy: Australia’s best new music for October”

Isabella Manfredi – Seasons Change: For fans of: Holiday-era Madonna, Haim, Duran Duran

‘Chaotic, but also cathartic’: Manfredi’s new track Seasons Change

Isabella Manfredi lived a lot of life between the demise of the Preatures and her technicolor debut record: she broke off a decade-long relationship, got engaged, and became a mother for the first time. All this life and birth fizzes from her debut album, Izzi, and its opening gambit, Seasons Change, a stylistic and emotional palate cleanser. With a bop worthy of Cyndi Lauper and a breezy vocal that rakes over past hurts from an emotional distance, pointed questions – “How could you let me be all alone in my pain, without your sympathy?” – are danced away with the hard-earned knowledge that there is a brighter season on the horizon. A change of seasons can be chaotic, but also cathartic.

For more: Manfredi’s debut album, Izzi, is out now.

Sollyy, Zion Garcia – Apply The Pressure: For fans of: RXK Nephew, Desiigner, Azealia Banks

Triple J presenter Sollyy is fast becoming one of the finest young producers in Australia, and on the fierce and assured Apply The Pressure he easily cruises past his previous best. Western Sydney rapper Zion Garcia delivers reams of exceptionally dexterous bars that spin a kaleidoscope of references from Pokémon to shout-outs to Mount Druitt and St Marys. A loving but realistic ode to western Sydney and self-belief in the face of dissent.

For more: Check out recent singles NahJokes by Sollyy and Fried by Zion Garcia.

Adalita – Dazzling: For fans of: Magic Dirt, Paul Dempsey, Suze DeMarchi

Adalita Srsen wrote Dazzling nine years ago, around the time her second solo album, All Day Venus, was garnering universal praise. It was a different beast from her previous work, kicking off a songwriting exploration into “the universal themes of obsessive love, the inner void and reclaiming of the self” that resulted in her forthcoming third album.

Musically, this piano-led track lands somewhere between the stripped back heartbreak of her 2011 debut and the band-driven All Day Venus. “I won’t be made to feel bad for loving you,” she sings, adding a wrinkle to what appears an unabashedly romantic ode. As the song comes to a close and the hypnotic chorus continuously crashes in and out like waves, it becomes very obvious that Dazzling is worthy of its near-decade gestation.

For more: Adalita’s third album, Inland, is out 2 December.

Folk Bitch Trio – Lost: For fans of: Tiddas, Lucinda Williams, Bright Eyes

Folk Bitch Trio: proof that simple, stellar songwriting will always command an audience. 

Folk Bitch Trio wowed recently at Brisbane’s Bigsound conference, proving that sterling songwriting, and three-part harmonies dragged in from the porch will always command an audience. Lost is the third single from the Melbourne group, and their rich sound already seems fully formed. Heide Peverelle’s lyrics are well worthy of attention but the very best moments come when the three members wordlessly harmonize over a weeping slide guitar and the gentle waltz of the instrumentation. Beautiful.

For more: On Lost’s B-side, Folk Bitch Trio tackle Rowland S Howard’s Shivers – joining Screaming Jets, Courtney Barnett, Laura Jane Grace, and Divine Fits in covering the Aussie classic.

Read More Music Headllines

and can be found on the Overlooked Tracks website: https://ift.tt/YjiJzU1. Check out more music news from Overlooked Tracks! Music Headline News, Australia, Music Releases, UK

[musicheritageuk]

Celebrating International Duran Duran Appreciation Day with the world’s biggest collector

To celebrate international Duran Duran Appreciation Day this August 10th (yes, this is actually a thing), we met up with Andy Golub, the world’s largest collector of Duran Duran memorabilia to ask him a few questions. 

For those with good memories, we previously covered the release of Andy’s book, ‘The Music Between Us’.

Thanks Andy, or should we say Durandy? Firstly, how and when did the love affair with Duran Duran start?! 

The seeds were planted with my introduction to ‘The Reflex’. Simon’s distinctive, soaring vocals played deliciously against Nick’s sweeping synth melodies, and I quickly committed myself to memorising every intriguing lyric. The combination of charismatic photo sessions, a captivating video for 'The Reflex’, and the rest of the Ragged Tiger album cemented my interest. From the stylish marketing to the mountains of memorabilia, Duran Duran promised much more than catchy pop songs… there was a carefully-constructed, utterly seductive visual identity that ignited my imagination and left me yearning for more; each glossy poster displayed Duran’s individual and collective personality through fashion, makeup, and self-expression, bigger than life on my bedroom walls. Every new song I absorbed made me want to hear more, to immerse myself in the band’s catalogue, and to lose myself in the music. After nearly four decades, not much has changed...

So how and when did the collecting start?

I have always been a visually-minded person, naturally drawn to bold, compelling images and colorful designs. While Duran Duran’s songs continued to spark my devotion, I needed something tangible to complete the experience. I wanted to learn about the men behind the music, to have something in my hands that went beyond the records… Posters were my gateway drug. Rolled one-sheets, staple-bound fold-outs, and even magazine centerfolds all seemed to present the band in the manner I was seeking: large, colorful, and always around me in my room, keeping the songs and emotions alive long after my Walkman had been put away for the day.

My mother will testify to my lifelong struggles with moderation, never more evident than in my collecting efforts. How can I settle for just five or six posters when… there are others out there? So my appetite for completion took root, and the hunting began. Posters and pin-ups led to calendars, photographs, and official fan club materials, each item filling in a piece of Duran Duran history. Before long, I was curating a collection that numbered in the hundreds. I developed a focus, choosing paper ephemera over records, and learned how to properly care for these fragile treasures. After years passed and my inventory grew exponentially, I began to realize there was more in my custody than just pop memorabilia – this was evolving into a comprehensive, tactile examination of one artist’s career.

Did you ever feel that maybe your collecting was getting out of hand?

My heart has always been involved in my work, so I suppose any moments of “Holy moley, what have I created??” end up transforming into “Wow, I’m proud of what I have accomplished!” In recent years, as I’ve opened up the archive to visiting fans, my perspective has evolved even further; the touching reactions I’ve seen in my fellow Duranies has made me realise it’s not just the band’s history that’s being preserved – but history that belongs to the fans as well.

So turning to your collection now, what are the challenges you’ve faced?

There’s definitely a reason why most fans seem content to live in the moment, enjoying the band’s music, and waiting (im)patiently for the next tour - it’s a lot easier and cheaper than curating a collection with archival standards. The challenges that come with my archive are significant:

Firstly, space: in a 10’ x 20’ area, every square inch of real estate is crucial. Towering racks of flat poster boxes command a good amount of room, big rolls of linen-mounted Subway posters threaten to exceed their confines, and over 15,000 pages of articles reside in a sea of volumes… organizational creativity has become essential, especially when Duran Duran’s career shows no signs of slowing! So if there’s anyone out there who knows a good deal on a small airplane hangar…. I could be interested.

Secondly, temperature: even though the facility is designed to maintain a specific temperature range, I often pop in to check on conditions; a fan, and a heater, are available to keep things comfortable if necessary, and there are steps in play to remove excess moisture from the air. I never forget that paper is organic, and therefore can react to environmental extremes, or absorb elements such as excessive humidity.

Finally, the expense! While I have always viewed the collection as an invaluable investment, the costs of archival curation are certainly felt. Acid-free bags, boxes, tissue, mylar sleeves - these are the weapons in my arsenal, designed to defend against the ravages of time. Paper can yellow and grow brittle, colors fade in direct sunlight, bindings can loosen under stress… with each passing year, and every new milestone in the band’s story, my commitment to the archive deepens. I enjoy feeling that I’m part of something bigger than myself.

How have fans and the band reacted to your collection?

It’s never been enough to simply build a collection. The real joy comes from sharing it with others. I remember how everything changed with my first exhibition in February 2001, held over a weekend at the local Art/Not Terminal gallery. Duran Duran: A Retrospective took over all three floors, a first for the gallery; over 100 people showed up on opening night, arriving as curious adults and quickly transforming into delighted, wistful teenagers. That evening, my family learned this passion was much more than a bedroom wallpapered with posters, and I discovered how my efforts affected others in beautiful ways.  

My second exhibit, Some New Romantics, took place in 2007, primarily showcasing framed prints from Paul Edmond, Duran’s first photographer. The intimate space at the Caffeine Café became a time machine, decorated with stunning photos of the band in the earliest stages of their career. I filled out the walls with smaller posters from later years, educating attendees on where the band has been and where they were at the time – heralding the release of the Red Carpet Massacre album. I will never tire of the smiles and enthusiastic stories that emerge in an organized Duran Duran celebration… it reminds me why I do what I do.

You've also released some books? Can you tell us a bit about them...

Both of my books felt like natural extensions of the archive and the direction it’s taken. Beautiful Colors: The Posters of Duran Duran evolved into an ambitious, hefty examination of the band’s trajectory through the lens of official posters – promoting record releases, special events, and concerts around the world. I am always envisioning ways in which the archive can be shared with fans who can’t make the trip over, and my book proved to be a wonderful first step.

If Beautiful Colors was my love letter to the band, then The Music Between Us is a love letter to the fans. I wanted any follow-up to focus in closer, examining the impact Duran Duran makes on their loyal audiences. Live shows are the biggest, most dramatic context through which Duranies can gather, network, share experiences, rejoice in their collective passion, and truly enjoy a sense of belonging. This is a profound phenomenon that has certainly affected me over the years, and linking concert advertisements with fans’ memories seemed like a perfect concept for my second book. As I procured tender recollections from my fellow Duranies, The Music Between Us: Concert Ads of Duran Duran took on a very personal feel; reading others’ memories prompted me to revisit my own, and I felt more connected than ever to what some fans described as their “tribe.” I reveled in the poignant, inspiring, and even humorous experiences entrusted to me, each quote revealing a remarkable common thread that spans the planet.

I loved imagining that the second book could give Duran Duran a rare glimpse into how their shows really affect fans, since the band usually only hear the overwhelming roar in front of them!

But the end result has been incredibly gratifying, heartwarming, and more meaningful than I ever expected. On one level, Duran Duran deemed Beautiful Colors “magnificent” and have shown consistent support for both books through social media – always a view to a thrill (a single Tweet from the band has the power to send a Duranie’s day into the stratosphere, as countless fellow fans can attest). Then there are the fans’ reactions, proclaiming both books as “must-haves” and “collector’s items,” sharing spectacular smiling selfies with books in hand, and expressing emphatic endorsement of my endeavors. It’s immensely validating to have others believing in my work, encouraging my vision, and even trusting me with their own stories. Sometimes I even see fans contacting me to donate something special to the archive, just because they know it will be cared for properly. If I ever needed a sign that my efforts matter, I get one nearly every day.

Most pictures courtesy of the Durandy archive, apart from top image taken from Wikipedia and reproduced under creative commons. Please see the Durandy archive for more items from the collection. Duran Duran are currently completing their 2017 World Tour.