I understand that Guitar Hero has become a staple in gaming world. It gives bands with great rock musicianship a new outlet (i.e. Dragon Force) for exposure. It also provides established bands a chance to gain respect with a much younger generation. As a matter of fact, I feel it’s quite an entertaining game. This game has become such a source of passing time that it shows up at parties, bars, school functions, even art gallery openings. International competitions are being held as we speak. Our age group is beginning to become known as the guitar hero generation. However, I have some major complaints that I would like to share regarding the game itself, as well as some of the major ideas it instills.
The first major issue that needs to be addressed about this game is simple. In many cases, you are not hearing the actual artist play the song itself. After doing some research, it was brought to my attention that this was done because of the difficulty of programming the games guitar mechanism to sync up with certain recordings. In other cases, it was a copyright issue. This is quite a conundrum. There are some individuals who are learning about classic staples of the rock world through what is essentially a karaoke track. Some people may say that this is not a big issue. I tend to disagree. Can you imagine hearing a MIDI version of Stairway to Heaven several hundred times before actually hearing the original? What could potentially have been a mind blowing experience would be lost forever. This has major long term implications. Listening to music requires a great sense of refinement. Developing this sense requires years of choosing the music you think is of a high caliber. By having long exposure to these “cover” tracks will greatly affect those who have yet to develop that sense. I am not talking about people who are approaching their twenties and beyond, but the group of 8 and up who play this game at near obsessive levels.
Secondly, I am going to speak about what I like to call the “Tony Hawk” effect. Skateboard culture is a wonderful thing. However, learning how to skateboard takes years of hard work and lots of scrapes and broken bones. After Tony Hawk hit stores, many were introduced to this type of culture for the first time. Everyone became very enthusiastic about the skateboard. The only issue was that this game was highly unrealistic. It is physically impossible to do nearly all of the things executed in the game in real life. Many people who loved the game picked up a board, and were amazed to find themselves not being able to kickflip within first few days of riding. Thus discouraged, went back to living their dream through fantasy. The same type of effect is happening with guitar hero. I am a guitarist of 12 years. I cannot play guitar because I am so used to playing the actual instrument itself. What is going to happen to all of the younger individuals immersed in guitar culture who have no idea the amount of time and dedication it takes to master a real instrument? By living through fantasy, you are condemning a potential reality.
I by no means am trying to completely bash guitar hero. I would just rather see more people striving for musical excellence, rather than opting out.
They are not teaming up otherwise the world will end immediately.
This is follow up to the amazing auto tuned voice blog!
Yes, auto tune is being used to the extreme lately (I've been on the other side of this argument before). Many artists use some sort of pitch correction to fix everything from intonation to a wrong note when the perfect tone and emotion was present in a take. Moving on.
What I am not understanding is the Jonas Brothers. At least in regards to how the record sounds. I constantly question if those are real instruments, but that's besides the point. When have you ever heard a drum kit sound like that in person? (let me know if you have, I've been trying for years). There are no dynamics other than the fade ins and outs. No emotion. Everything is too perfect. To a person with ocd, the CD is a dream come true... or not.
Now lets move over to the same year... Robert Plant and Alison Krauss. They recorded in a top studio (Sage And Sound). Plant could've gotten ANY sound he wanted. Even the same sound that the Jonas Brothers achieved (my apologies Mr. Plant). BUT, he chose the natural sound of the instruments. 'Earthy' could be the term used, only because we have to come up with something to describe natural sound because we've forgotten what that is.
Maybe it's not all about slamming the audio file through the roof the produce the loudest, hottest, hippest, *_____* record. Maybe it's about the music, the sounds, the message and the heart (not the kind of jeans they're wearing or the instruments they are endorsing).
I have friend who was a successful recording engineer in the "pop" world (Eric Clapton, B-52's, P-Diddy, REM, Frank Zappa, Mary J Blige, Notorious BIG, to name only a few). One of his reasons for leaving that world was because of the lack of dynamics and musicality.
Maybe I'm a sarcastic person who watched a little too much Lewis Black growing up, but which artist has more emotion? Which one evokes more emotion from the listener? Who is nominated for Album of The Year and Record of The Year?
There's a reason for that. (take a listen to Herbie Hancock's album, River - The Joni Letters)
I could go on forever about this duo and the show (and I hope someone does at some point... dibs?), but this is just a quick post about the upcoming premiere of the show's second season.
Last night, I went to a free screening of the premiere episode, which shows on HBO this Sunday, January 18th. Highly highly recommend it. I went to the screening with several friends, some who were huge fans and some who had never seen or heard of the show/them, and everyone loved it. Worth checking it out if you haven't, and definitely worth watching if you're a fan.
Also, they're running a promotion right now where you can submit a video online of you lip syncing to "Hiphopopotamus vs. Rhymenoceros," and the best ones will be shown on HBO. We tried it at the premiere but I'm pretty sure we failed horribly. Check it out: http://www.flightlipdub.com/
Music is, and always has been, a very social experience.I know I’ve made several friends by bonding over music at concerts, at parties, in dorms; hell, I had a whole conversation with a woman over elevator music once when we got stuck (the music, thankfully, had turned off).With the internet a secure part of our daily lives, it was only a matter of time before those social connections through music made it to the web.While most of the attention has focused on the uproar around illegal downloading sites, what interests me is the legal stuff- the sites like last.fm, Lala, and Pandora where users can stream music, share what they’re listening to, and browse the selections and recommendations of other users.
A recent article from CNN looks at the newest surge of music sharing as it spreads around the internet.The article mentions several ways users can now broadcast their music interests, like the “now listening” feature on Skype or status updates on Facebook, Twitter, and the music-oriented Blip.fm. What caught my eye was the mention towards the end of the article about a new company called Jook.
(Random sidenote: I don’t know how familiar you are with Asian cuisine, but “jook,” also known as “congee,” is a common kind of rice porridge: an odd association, and probably the first reason why this company caught my eye.)
Jook has created technology for headphones and music players that allows a listener to broadcast what they’re playing and allows others near them to listen in.You can change the mode that your headphones are in from “Me” mode (normal headphones setting, completely private) to “Us” mode (you are broadcasting whatever song you’re listening to) to “U” mode (you are listening to someone else’s music).A light on the headphones changes color to indicate what mode a listener is in.
The company explains on their website that they are trying to bring back the social aspect of music, as personal MP3 players are rather solitary experiences.Their intent was to allow the social sharing of music in an easier and more universal way than speakers or splitting a pair of ear buds.
I still haven’t fully processed my reaction to this.At the very least, it will be interesting to see if the idea can gain popularity in the future.I think I’m mostly curious to see how much this technology will cost the consumer. And hoping I won't be broadcasting to others when shuffle pulls up some of the more embarrassing songs in my collection.
With the creation of the DVR, I now have the ability to watch any TV show I want at anytime. Let me say this to you all now, "Hi, My name is Amanda Cox and I am a TV-aholic." I admit, I probably watch about 15 different television shows with my roommates while we do homework, hang out, or even just have shows running when people are over.
Something I have noticed that really has drawn me into television series lately is how great all of the background soundtracks are. There are a few shows that come into mind that have interesting artists on their episodes. Some shows include Gossip Girl, Chuck, 90210, Grey's Anatomy, and Cold Case among many others. I found this website a while back called Tune Find. (http://www.tunefind.com/) If you have ever wondered what track had played on what episode of the show you were watching, check out this site.
I know I have personally found artists because of my excessive TV habit and it makes me happy to hear WEA artists being played on primetime spots. Gossip Girl alone has played Bloc Party, Death Cab for Cutie, Jenny Lewis, and Phantom Planet during their current season. Chuck (produced by Josh Swartz) plays a variety of independent and upcoming artists, and 90210 has played The Raconteurs, Death Cab for Cutie, Cute is What We Aim For, The Virgins, Jason Mraz, and Carolina Liar.
Though some of the shows might not be something you enjoy to watch, pay attention to what music is being played in the background. Sometimes I feel that the music really gives the scene a whole new light and really adds so much emphasis to the storyline. I am no critic when it comes to television, but I really enjoy the new emergence of background soundtracks to all of my shows.
I wanted to share this blog series on Velvet Rope(if you haven't checked out this site, just read a couple forum posts and you'll see some of the funniest view points on pop culture and the music industry.) entitled Belly of the Beast that recounts Jack Ponti's life in the music biz.
In between anecdotes involving his regular encounters with "A Night At the Opera" producer Roy Thomas Baker, Ahmet Ertegun, and his former bandmate Jon Bon Jovi, Ponti creates a personal narrative that really puts you in every situation he brings up as his career evolves.
It's chronological so start from the beginning with a preface.
I know I'm not the only one who is tired of this but I'll say it so other's don't have to, enough with the Auto-tuner...please! Considering the alarming rate that artists such as T-pain, Lil' Wayne and even Kanye are played on the radio, it is hard to be listening to you're local hip hop radio station and not hear an artists whining or mumbling into a microphone with the auto-tuner effect over it. It might have sounded cool and fresh the first 10 thousand times T-pain did it, but it's time to give it a rest.
I've become so annoyed with the auto-tuner sound I have to turn the station every time I hear a song that features this "new effect" and pray that it hasn't yet crossed over to other genres (can you imagine Metallica with auto-tuner? The thought sends chills down my spine, and not in a good way). I am increasingly convinced with every new song that I hear with this effect that it is now just being used to give the illusion of singing talent. You've heard the in-audible mumbles of both Kanye and Lil' Wayne on their newest albums.It's a good thing lyrics are included in the cd jackets or we may never had known what they are saying (gives incentive to buy the physical copy instead of the single off of iTunes).
I know at this point it will still sell records and there are people out there who aren't as annoyed with it yet as much I am. That being said, I can't be too mad at the artist for "striking while the iron is hot" so to speak. However, I will be heavily anticipating the day that rappers stop trying to sing and put that twangy effect over their voices. I know I'm not alone in this anticipation, so while we wait check out this SNL sketch with Andy Sandburg ft. Ludacris and T-pain. Apparently they even know auto-tuner is rediculous.
Cheers, Roon
Because NBC doesn't allow their videos to be shared I had to use a you tube video. If you want to just see the regular sketch use this link(http://www.nbc.com/Saturday_Night_Live/video/clips/blizzard-man/848723/). Otherwise, this is an interview done my MC Search formerly of the 1990's rap group 3rd Base. He ask's Ludacris about Sandburg's skills.
The inductees for the Rock and Roll Hall of Fame were announced. Metallica and Run-D.M.C are two of the acts that will be inducted in April. Both of these groups are extremely talented and deserve to be recognized. What artists that have come on the music scene since 2006 do you feel will be future nominees?
I had the chance to be interviewed for the local paper about the resurgence in vinyl just recently. Talking about why and what customers are buying, future of, etc. (this was apart of my job working at the indie record store).
It was an interesting discussion about how over the holiday it was a huge seller for the store where I work at. Not like a few pieces over the course of the week, but a dozen a day going out the door. Watching people dig through the bins for that lost album they had as a kid or discovering something completely new like the "Figure 8" 180 gram repressing from Elliott Smith, a picture disc for "Sgt. Pepper" by the Beatles, or that super deluxe Metallica "Death Magnetic" 5 LP set with CD combination...oh heaven.
What's even better was noticing more and more younger kids/adults buying vinyl this year. And I'm not talking like teenagers or 20 somethings picking up a stack here and there but 8 & 10 year old kids walking up to the counter with stack of gems like Marvin Gaye, the Smiths, Toby Redd and others. It' simple sets me back in awe. Sure, some are buying to collect them, others to play. Whatever the case, it's just amazing to see the pickup in vinyl increase steady every year.
Me, I love vinyl. Everything about it. I collect it. I play it. I marvel at the shear greatness and sound that simple piece of plastic-vinyl material produces every time I drop the needle down. Playing vinyl is a zen moment for me. With a CD, you just pop it in and press play & then forget about it. But vinyl is such a tediously loving project of flipping from side to side, placing the needle down on the track you want to hear, and protecting the record with plastic dust sleeves and shelves. It's become something to respect and love for me.
I find it great reading articles and see stories about vinyl. Watching all the attention that this once forgotten medium is getting now. Seeing how vinyl sales were huge this year, up 50% from reports I read, it doesn't look like it's going away any time soon. If anything, I only hope that it can continue the trend of people going out and buying a record pressing of the favorite artist or album.
My favorite quote that I've read about vinyl sums it up best: "You can't roll a joint on a download".
For young music enthusiasts, it is easy to spend hours online checking out bands and albums. Lala, Myspace, Pandora, Last FM, take your pick, they all offer more music than you could ever listen to, right at your fingertips.
I had to spend hours on the phone though. For the same reason, to hear new bands and records. The high-speed Internet boom hadn't emerged, and I was too young to drive to record stores. If I was lucky, I might hear a few new bands on the radio each week, or catch a new MTV Buzz Bin act. That was until 1-800-Music-Now hit the market.
What more could I ask for? An automated music store with samples of every album imaginable. My friends and I were hooked, we would call almost every day. We would listen to every band we were curious about in the BMG Record Club catalog, then listen to the opening acts for every band coming to town. 1-800-Music-Now was an audio encyclopedia of music for us.
I never bought a record from them though, and I don't think many people did, they were gone within a year or so. Recently, it really hit me that they were a little bit ahead of their time. If they started a few years later and sold ringtones and digital files delivered directly to handsets, I think they may have really had chance.
These days, there are a flood of new ideas, and nobody is certain what direction formats and distribution will go. Maybe the answer isn't that far off from where things are now though. 1-800-Music-Now was an attempt at selling music in a new way before it was a necessity, but maybe if they stuck it out the mp3/ringtone revolution would have caught up.
I knew that it was only a matter of time before the supposed physical "replacement" to the CD would come, but will it be enough to overcome the ground that digital downloads have gained in the last couple of years? Like any new technology, only time will be able to tell whether the idea of HD Sound recordings will catch on with the general public.
For many of us, I think its fairly easy to appreciate what superior sound quality can do for any listening experience, but until I hear what one is like, I won't be placing any bets on it (this coming from the kid who thought that Mini Disc's were the next "it" thing haha) I definitely feel that with time, like Blu-Ray, there could be a market for it, the question is whether it will be large enough to make a difference.
Visiting stores since the holidays has been a pretty depressing activity. With all the leftover Cd's and vinyl who weren't chosen as a holiday gift this year as well as the both jaded and bored employees waiting for someone to walk through their store's door, man January sucks. Does it have to though?
I have talked to several employees over the last week and a half, and they all seem agitated that record labels don't release substantially exciting records over the weeks following the holidays. They feel that a big release will bring in more traffic and people might be looking to use their gift cards or holiday money at their stores. Apparently, the stores have been making their feelings known about this issue for years, but to no success. How big of a risk would it be for a major label to release one of their bigger releases of the year during this time, when the other labels are quiet? It is true that many kids have iTunes gift cards, store gift cards, money from grandma and grandpa, all waiting to be used on the first thing that hits them after the holiday. Maybe it wouldn't hurt to make a big splash during a quiet time?
I should preface this by saying that as a decidedly suburban black kid from Detroit I should have had more knowledge and interest in Metallica than Idid prior to last night's concert. With that said Metallica thoroughly rocked my face off last night. My no means do I consider myself a heavy metal fan (nee Disturbed) but the concert showed me a new side of music that i didn't think I would like. It was loud as fuck, there were lasers, mosh pits broke out, people threw shoes (once at James), people got drunk and just like a good session of "vertical monster mashing" left me tired, sore, sweaty and ready for more after a nap. It really was pretty amazing.
Oh, and music is my bitch because I put it out on the street and it makes me money...nuff said -Jordan (Ann Arbor, MI)
In the music business, as noted in Allie’s last post, we rely heavily upon Billboard data for our statistics and industry news. We assume that the generation, distribution, and interpretation of all this data is accurate, reliable, and reflective of actual market conditions. One of the thrusts of the music industry is to relieve the ambiguity and uncertainty surrounding the market, that is, crunch numbers, research blogs and print media, keep an eye on trends, etc. As of now, Billboard is quite a reliable source for accurate POS information and industry news (we all get the daily emails and for me, it’s become like reading the newspaper everyday). But, it hasn’t always been this easy and we now take the accuracy of the Billboard charts for granted.
The American commercial music field really has its roots in the 1880s, developing around printed sheet music publishers, touring theatrical shows (minstrel shows), and early vaudeville acts. As the business grew, it became necessary to develop new copyright laws to accommodate new technology. As many writers note, our current dilemma with digital music copyrights is nothing new. Needless to say, amidst all the new technology in the first half of the 20th century (the microphone, phonograph, expanded radio reach, etc) Billboard emerged in Cincinnati in 1894 as “Billboard Advertising”. At this point, it was mainly a method of discovering talent for booking agencies across the United States. From 1894 to 1913, the magazine ran articles, not statistics, on vaudeville, burlesques, circuses, Wild West shows, and all things entertaining. From then until 1948, Billboard focused on generating the “most popular songs” from a combination of radio, record stores and publishing and licensing companies to supplement their articles on industry news.
On August 4th, 1958 Billboard split its song charts into three categories: “Best Sellers in the Stores”, “Most Played by Jockeys, and “Most Played in Juke Boxes”. This move towards removing the ambiguity of the market enabled accounts to start trusting Billboard as a source of dependable, accurate information. The “Hot 100” category was implemented in 1958 as a reliable predictor of future sales, mainly for singles.
However, from 1948 to 1991 all of the information gathered on Billboard’s statistical charts was sales information from a “sample” of records stores and radio stations in the United States. Stores would report the estimates of their weekly sales of a record and Billboard’s research teams to tabulate the charts and interpolate the information. The data went directly to the Billboard offices, making it nearly impossible to independently verify. Also, there were several reports throughout the period of “buying chart position” that are better represented in the payola scandals of the time. For example, buying advertising in the magazine for better positioning and directly influencing personnel on the Billboard team is well documented in several reports (see Karshner 1971, Denisoff 1986, Dannen 1990, Negus 1993, and Peterson 2000).
In the 1980s, Mike Fine and Mike Shallet developed SoundScan Inc, a company that was implemented in 1987 to accurately pinpoint point of sale purchases based on the number of scans, not an arbitrary report from record stores. Soundscan threatened Billboard’s ability to influence the industry with their quick movement to sign exclusive agreements with labels and record store chains to hoard all of the new information, effectively keeping Billboards older and less effective methods out of the market. Billboard was outraged, reportedly because chart positions could not be manufactured or manipulated anymore due to the development of true POS data, although this was denied fervently by Billboard execs. Finally, on May 25, 1991, Billboard, in desperation, signed an agreement with SoundScan and the first POS based chart appeared in Billboard Magazine courtesy of Fine and Shallet’s SoundScan.
Our business then, is based on the business and competitive market of other 3rd party statistics reporting companies. It’s an important lesson for us, in that we should never put all of our chips on the table for numbers that can’t be independently verified and expounded upon. But, the Billboard charts that we have now are by far more accurate and reliable due to the development of Fine and Shallet’s SoundScan POS system.
So thank you Mike and Mike. Even if I don’t feel as though “music is my bitch”, I can be certain that the Billboard charts are my bitch.
