More of an update than anything else. Ms. Peachez, the subject of my last post, made three music videos. The first was the catchy, apparently unintentionally offensive Fry That Chicken. I have since watched her other two videos, In the Tub, and From da Country.
In the Tub, from what I understand, was a parody of 50 Cent's In da Club. This video features Ms. Peachez in a large watering trough (the kind used for cows and horses), singing to her rubber duckie, surrounded by children. This is odd. I did notice that she made use of a "catch-phrase" from the Chicken video: "You hear me!", inserting the phrase in falsetto like before, at rhythmically opportune times. Actually, when she asks if "You hear me!" the video cuts from her in the tub to her popping out of a port-a-pottie, a recycling bin, or standing on a highway.
From da Country, for better or worse, is, in my opinion, the silliest attempt at a rap video. But maybe that was the intent. In addition to our colourful hero, Ms. Peachez, we are serenaded by a short man in a blonde wig (eating a huge slice of watermelon), and a person in a chicken suit. Country hip-hop, indeed. "Where you from? I'm from the country, man!"
da Country introduces us to new dance moves called the Neck Bone, the Corn Bread, and the Collard Greens. Peachez also offers us plates of food, covered in flies. This image reminds me of Salvador Dali paintings (these are realistic, impossible, and disturbing all at the same time, and usually feature an ant or ten.)
Silliness, but like I said, that may have been the intent.
Wednesday, June 29, 2011
Tuesday, June 28, 2011
Ms. Peachez
Occasionally, I'll go to a bookstore and pick up indie magazines with interesting cover stories. Sometimes out of boredom, sometimes because a cover story catches my eye, and sometimes I just can't find anything interesting on the mainstream shelf. A couple of days ago, wandering around Borders before I had to be at a rehearsal, I found a magazine called Utne Reader. It is sort of a reader's digest, that culls forward thinking articles from many different sources. After reading some thought-provoking articles on the dangers of patriotism, I came to the arts and media section.
In this media section, I read an article by Ben Westhoff (from The Oxford American) about a novelty rap act called Ms. Peachez. (I don't know why these kinds of things intrigue me, they just do.) The first couple of paragraphs describe a music video from 2006 called Fry That Chicken. I love Westhoff's comment that the song and video are "so dumb it's genius", because I think he's right. The video is clearly low-budget, with a mannish-looking woman rapping at the camera about her fried chicken, while a whole crew of kids beat on the table, eat fried chicken, demanding that she "Fry that chicken!" Naturally, I immediately looked for it on YouTube.
The article discusses the different styles of rap music, and Southern rap music, in particular. I had no idea this kind of distinction existed, but I suppose that it makes sense. There is Southern rock and Southern blues. Ms. Peachez's videos (she made two more, and none since then) are contoversial because they appear to be dripping with stereotypical devices. However, the author of the article explains how he tried to track down Ms. Peachez to get more information. He found "her" living in Shreveport, Louisiana, by the name of Nelson Boyd. The Peachez character was originally made for advertising spots and eventually it was decided that Ms. Peachez should rap, too. According to Rico Da Body, (who wrote the song and helped to produce it), all he was trying to do was to "show what normal people do in everyday life. We fry chicken. The video didn't have no rims, no cars, no lies. Just the truth." Which means the video was only accidentally offensive, if people chose to be offended by it.
Sometimes, a song is just a song.
The article can be found in the July-August 2011 Utne Reader, No. 166, pages 80-83. Finger-Licken' Rap. By Ben Westhoff.
In this media section, I read an article by Ben Westhoff (from The Oxford American) about a novelty rap act called Ms. Peachez. (I don't know why these kinds of things intrigue me, they just do.) The first couple of paragraphs describe a music video from 2006 called Fry That Chicken. I love Westhoff's comment that the song and video are "so dumb it's genius", because I think he's right. The video is clearly low-budget, with a mannish-looking woman rapping at the camera about her fried chicken, while a whole crew of kids beat on the table, eat fried chicken, demanding that she "Fry that chicken!" Naturally, I immediately looked for it on YouTube.
The article discusses the different styles of rap music, and Southern rap music, in particular. I had no idea this kind of distinction existed, but I suppose that it makes sense. There is Southern rock and Southern blues. Ms. Peachez's videos (she made two more, and none since then) are contoversial because they appear to be dripping with stereotypical devices. However, the author of the article explains how he tried to track down Ms. Peachez to get more information. He found "her" living in Shreveport, Louisiana, by the name of Nelson Boyd. The Peachez character was originally made for advertising spots and eventually it was decided that Ms. Peachez should rap, too. According to Rico Da Body, (who wrote the song and helped to produce it), all he was trying to do was to "show what normal people do in everyday life. We fry chicken. The video didn't have no rims, no cars, no lies. Just the truth." Which means the video was only accidentally offensive, if people chose to be offended by it.
Sometimes, a song is just a song.
The article can be found in the July-August 2011 Utne Reader, No. 166, pages 80-83. Finger-Licken' Rap. By Ben Westhoff.
Musical art
In a recent issue of Vanity Fair (or Vogue, I can't remember now), I found an article on a performance/art piece that had a pianist inside of a piano. The piano is on wheels, and it had been redesigned to allow for a person to stand in the middle of it (where the strings are) and then they walk the piano around the room and play Beethoven. What's fascinating about this, besides being a unique art concept, is that the player needs to learn to play the piano backwards. Because they are situated behind the keyboard, their left hand now needs to play the treble parts and their right hand plays the bass parts. And they are also playing upside down, because the keyboard is facing away from them.
I was happy to find that there is a video of this on YouTube. The piece is a performance work at the Metropolitan Museum of Art. The artists are Jennifer Allora and Guillermo Calzadilla and the title of the piece is Stop, Repair, Prepare: Variations on Ode to Joy for Prepared Piano. A prepared piano isn't such a new thing, John Cage and other avant garde composers have been throwing things into pianos (placing metal pieces, metal washers, etc., to create different sounds and vibrations) for years. What I like about this, though, is that the performer is actually part of the prepared piano. The musician is now part of the modified instrument. Love it!
I was happy to find that there is a video of this on YouTube. The piece is a performance work at the Metropolitan Museum of Art. The artists are Jennifer Allora and Guillermo Calzadilla and the title of the piece is Stop, Repair, Prepare: Variations on Ode to Joy for Prepared Piano. A prepared piano isn't such a new thing, John Cage and other avant garde composers have been throwing things into pianos (placing metal pieces, metal washers, etc., to create different sounds and vibrations) for years. What I like about this, though, is that the performer is actually part of the prepared piano. The musician is now part of the modified instrument. Love it!
Monday, June 27, 2011
Bombarde-ment!
My new instrument arrived today! A bombarde. Bombardes are related to shawms, and are still in use today, mostly in the Breton part of France. Here is a picture of it:
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Not the best picture, sorry, but it isn't terribly complicated. It has six fingerholes, (no thumb hole) and a single key. The key is to get the note below the pitch of the instrument. At least, that's what I've read. I haven't been able to check it to a tuner yet, because I just recently has been able to get a consistent sound. The bombarde uses a double reed (like oboes and bassoons.) It looks like this:
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It is shorter and broader than an oboe reed. The reed that came with the bombarde was also ridiculously hard. I couldn't get a sound right away, so, not having my reed knife with me, I used the sharp edge of a pair of scissors to shave it down to where it would make a good sound. After some repeated efforts of shaving and testing, I think I've gotten the reed adjusted to the point of being reasonably playable.
I have, so far, managed to play at least part of a scale and have determined that the key is sealing well enough. I have also managed to startle and annoy everyone around me with this loud, piercing instrument. Now I just need to learn some Breton tunes!
Not the best picture, sorry, but it isn't terribly complicated. It has six fingerholes, (no thumb hole) and a single key. The key is to get the note below the pitch of the instrument. At least, that's what I've read. I haven't been able to check it to a tuner yet, because I just recently has been able to get a consistent sound. The bombarde uses a double reed (like oboes and bassoons.) It looks like this:
It is shorter and broader than an oboe reed. The reed that came with the bombarde was also ridiculously hard. I couldn't get a sound right away, so, not having my reed knife with me, I used the sharp edge of a pair of scissors to shave it down to where it would make a good sound. After some repeated efforts of shaving and testing, I think I've gotten the reed adjusted to the point of being reasonably playable.
I have, so far, managed to play at least part of a scale and have determined that the key is sealing well enough. I have also managed to startle and annoy everyone around me with this loud, piercing instrument. Now I just need to learn some Breton tunes!
Saturday, June 25, 2011
Eeek!
I always used to think that The Beatles were saying that they would "pay her back later" in Paperback Writer. Considering that the lyrics dealt with getting a job, it made sense to me.
I also used to think that in Penny Lane The Beatles were singing: "And Elaine is in my ears and in my eyes." I spent years wondering who Elaine was and why she wasn't mentioned anywhere else in the song.
I also used to think that in Penny Lane The Beatles were singing: "And Elaine is in my ears and in my eyes." I spent years wondering who Elaine was and why she wasn't mentioned anywhere else in the song.
Friday, June 24, 2011
How do you get to Carnegie Hall?
How to be a good music student:
1. Get quality equipment. It doesn't have to be top of the line, or professional grade, but get something that wasn't scrounged up from EBay because it was cheap. If the deal sounds too good to be true, it probably is. Go to a reputable music store or a music-minded friend and get something that you don't need to replace again in six months. Some well-invested money up front will save time, headache, and repair bills down the line. Also, quality equipment is just made better, which comes back around to the "you won't need to replace it again in 6 months" rationale. If you get an instrument from a friend or the attic, take it to a good repair shop to see whether it is still playable and what kind of work you'd need to put into it to make it sound okay for you.
2. Find a good teacher. A well-trained, understanding, patient teacher can help in so many ways. Not only will they help you with the nuts and bolts of the instrument you are trying to learn, they can help to guide you to others who share your interests or goals. A good teacher will also inspire you to learn things you never thought you'd be interested in, and inspire you to do your best, whatever your goal may be.
3. Practice. Remember the old joke: "Excuse me, sir, can you tell me how to get to Carnegie Hall?" "Practice!" There is no substitute for putting the time in on your instrument. There is the unavoidable awkward first few months that you will sound weird, bad, or unmusical. Stick with it, though, because, eventually the awkwardness goes away. Eventually your guitar chords will sound cleaner, shifting will become more automatic, your saxophone reed will start to cooperate, and the notes will begin to look less like dots on a page and more like a language you can now understand. As I tell my students: There is no shortcut in music.
4. Listen. Borrow CDs from the local library or friends, watch YouTube videos, listen to the radio, attend live concerts. The best musicians knew how to listen and they listened to everything. If you play the flute, listen to flute players, but also listen to singers, violinists, and other players. You can learn phrasing, musicality, and how to use the technique that you are learning. Listen across genres too. You can learn stuff from a Baroque dance-form, even if all you do is sit in your garage playing a guitar. If anything, it will teach you to become a better listener, which is helpful when you start to play with others. It is irritating to play with someone who can't seem to play outside of their personal bubble. To be in a band or ensemble means that you need to integrate your sound with other sounds.
5. Stay curious. Try to learn the history of your instrument. Where did the banjo come from? Who first invented it, who improved it, who makes it the best? How do other players from around the world play your instrument? How is the American style of clarinet playing different from the Australian style? These sort of things will open your ears and mind to what is possible on your instrument. It may also give you ideas to try something new and innovative that no one else has though of yet. Whatever instrument you decide to play, commit to it and cultivate a passion.
Now, go practice.
1. Get quality equipment. It doesn't have to be top of the line, or professional grade, but get something that wasn't scrounged up from EBay because it was cheap. If the deal sounds too good to be true, it probably is. Go to a reputable music store or a music-minded friend and get something that you don't need to replace again in six months. Some well-invested money up front will save time, headache, and repair bills down the line. Also, quality equipment is just made better, which comes back around to the "you won't need to replace it again in 6 months" rationale. If you get an instrument from a friend or the attic, take it to a good repair shop to see whether it is still playable and what kind of work you'd need to put into it to make it sound okay for you.
2. Find a good teacher. A well-trained, understanding, patient teacher can help in so many ways. Not only will they help you with the nuts and bolts of the instrument you are trying to learn, they can help to guide you to others who share your interests or goals. A good teacher will also inspire you to learn things you never thought you'd be interested in, and inspire you to do your best, whatever your goal may be.
3. Practice. Remember the old joke: "Excuse me, sir, can you tell me how to get to Carnegie Hall?" "Practice!" There is no substitute for putting the time in on your instrument. There is the unavoidable awkward first few months that you will sound weird, bad, or unmusical. Stick with it, though, because, eventually the awkwardness goes away. Eventually your guitar chords will sound cleaner, shifting will become more automatic, your saxophone reed will start to cooperate, and the notes will begin to look less like dots on a page and more like a language you can now understand. As I tell my students: There is no shortcut in music.
4. Listen. Borrow CDs from the local library or friends, watch YouTube videos, listen to the radio, attend live concerts. The best musicians knew how to listen and they listened to everything. If you play the flute, listen to flute players, but also listen to singers, violinists, and other players. You can learn phrasing, musicality, and how to use the technique that you are learning. Listen across genres too. You can learn stuff from a Baroque dance-form, even if all you do is sit in your garage playing a guitar. If anything, it will teach you to become a better listener, which is helpful when you start to play with others. It is irritating to play with someone who can't seem to play outside of their personal bubble. To be in a band or ensemble means that you need to integrate your sound with other sounds.
5. Stay curious. Try to learn the history of your instrument. Where did the banjo come from? Who first invented it, who improved it, who makes it the best? How do other players from around the world play your instrument? How is the American style of clarinet playing different from the Australian style? These sort of things will open your ears and mind to what is possible on your instrument. It may also give you ideas to try something new and innovative that no one else has though of yet. Whatever instrument you decide to play, commit to it and cultivate a passion.
Now, go practice.
Thursday, June 23, 2011
My dog has fleas
A grab bag of musical tidbits today:
A friend has recently picked up the ukelele. A ukelele is a four stringed instrument, sort of lute-like. It has its origins in Hawaii, where it was made as an interpretation of other instruments called the cavaquinho, bruguinha, and rajao. These instruments were introduced to Hawaiian culture by Portuguese immigrants. They are also super fun to play! I have one too, and it's a quiet, soothing kind of instrument to strum on and sing along with. Go out and get your own! It's uke-mania!!!
In the background is some blues music by Muddy Waters (born McKinley Morganfield, 1915-1983), an American bluesman, who is considered to be responsible for Chicago style blues. Chicago blues, generally speaking, is characterized by electric guitar and harmonica, in contrast to the acoustic/bottleneck guitar of the Delta blues. Some of his popular hits include (I'm Your) Hoochie Coochie Man, They Call Me Muddy Waters, and I Just Want to Make Love to You. He was influenced by the great Delta bluesmen Son House and Robert Johnson.
I have ordered a new instrument, and recently got a message that it has been shipped. Can't wait for it to get here, because it is so different than any of my current instruments. It's another cliff-hanger. You'll have to tune in again to find out what it is!
A friend has recently picked up the ukelele. A ukelele is a four stringed instrument, sort of lute-like. It has its origins in Hawaii, where it was made as an interpretation of other instruments called the cavaquinho, bruguinha, and rajao. These instruments were introduced to Hawaiian culture by Portuguese immigrants. They are also super fun to play! I have one too, and it's a quiet, soothing kind of instrument to strum on and sing along with. Go out and get your own! It's uke-mania!!!
In the background is some blues music by Muddy Waters (born McKinley Morganfield, 1915-1983), an American bluesman, who is considered to be responsible for Chicago style blues. Chicago blues, generally speaking, is characterized by electric guitar and harmonica, in contrast to the acoustic/bottleneck guitar of the Delta blues. Some of his popular hits include (I'm Your) Hoochie Coochie Man, They Call Me Muddy Waters, and I Just Want to Make Love to You. He was influenced by the great Delta bluesmen Son House and Robert Johnson.
I have ordered a new instrument, and recently got a message that it has been shipped. Can't wait for it to get here, because it is so different than any of my current instruments. It's another cliff-hanger. You'll have to tune in again to find out what it is!
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