An Infamous Pop Music Moment: Catwoman Steals Chad & Jeremy’s Voices

Chad & Jeremy guest star on Batman (as singing duo Chad & Jeremy). Catwoman and her evil companions, on the cue “Let’s get them!”, proceed to use a ray gun to steal the singers’ voices, which Catwoman intends to put into a box and hold the British government ransom. (The government will refuse to pay. Hmm.)

Batman, superhero that he is, is nonetheless completely neutralized by a darkened room–seems among all his high-tech gadgetry he doesn’t carry a simple flashlight. But nabbing Catwoman isn’t his priority anyway, nor is returning the stolen voices. Quieting an excited group of young females is the job for this superhero.

Your Preteen Hip-Hop Fan May Be Headed for Trouble

lilwayne

Lil Wayne

New research from the Netherlands suggests a youngster’s music preference can predict whether he or she will be a shoplifter or vandal four years later.

(Reprinted from The Guardian)

by Tom Jacobs

Concerned that your 12-year-old is on the road to delinquency? Newly published research suggests an easy way to either assuage or confirm your fears:

Check what’s on their iPod.

“Music choice is a strong marker of later problem behavior,” a research team from Utrecht University in the Netherlands writes in the journal Pediatrics.

Specifically, the scholars report, kids “with a strong early preference for music types that have been labeled as deviant—hip-hop, heavy metal, gothic, punk, and techno/hardhouse—were more engaged in minor delinquency in late adolescence” than their Beyonce- and-Bieber-loving peers.

The study featured 149 boys and 160 girls attending urban high schools in the Netherlands. They took surveys at ages 12, 14, 15 and 16, in which they rated their appreciation of various musical genres. They also reported “how many times they had committed minor offenses, such as shoplifting, petty theft and vandalism in the previous year.”

After controlling for such factors as academic achievement, the researchers found “evidence that an early preference for different types of noisy, rebellious, non-mainstream music genres is a strong predictor of concurrent and later minor delinquency.”

Specifically, those kids who loved hip-hop, metal, gothic and/or trance music at age 12 were more likely than their peers to exhibit delinquent behavior, both at age 12 and age 16. Those who preferred rock, R&B, punk and techno at age 12 were not more likely to be delinquents at that age, but were more likely to engage in such behavior by age 16.

The researchers, led by Tom F.M. ter Bogt, caution that “public claims that engaging with ‘deviant’ media will inevitably lead to problem behavior are wildly exaggerated.” They point out that the study measures not hard-core criminality, but rather “typical adolescent norm breaking behaviors that tend to disappear in early adulthood.”

They also note that, in their study, gradually developing preferences for non-mainstream music in the years between 12 and 16 was not related to delinquency in late adolescence. Rather, the correlation was found only among kids who were already heavily into alternative music at age 12.

The researchers believe such youngsters tend to congregate with peers who have similar musical tastes, creating cliques that are cut off from mainstream influences and behavioral norms. “In peer groups characterized by their deviant music taste, norm-breaking youth may ‘infect’ their friends with their behaviors,” they speculate.

If they’re right, it isn’t the music per se that leads kids into delinquency (although anti-social lyrics could conceivably play a role). It’s more the fact that kids who gravitate to other nonconformists at a young age miss out on the benefits of being part of mainstream society—including the positive influences of popular peers.

So if your preteen is listening to Metallica, some early intervention may be in order. On the other hand, if he or she is into Mozart or Monk, fear not: Such kids may also be outside the mainstream, but this isolation does not manifest itself in a negative way.

Indeed, the researchers report, “Preferences for classical music related negatively to delinquency at age 12.”

James Taylor’s 1970 BBC Performance

(Reprinted from Open Culture)

James Taylor Sings James Taylor, a BBC broadcast from November 1970, appears above. Though the nearly 40-minute solo performance showcases a player who has developed and mastered his distinctive musical persona, it also showcases one who has only reached a mere 22 years of age. But don’t let his aw-shucks youthfulness fool you; by this point, Taylor had already endured a lifetime’s worth of formative troubles. He’d fallen into deep depression while still in high school, spent nine months in a psychiatric hospital, taken up and quit heroin, bottomed out and spent six months in recovery, underwent vocal cord surgery, taken up methedrine, gone into methadone treatment, had an album flop, and broken his hands and feet in a motorcycle wreck. Fire and rain indeed. But he’d also found favor with the Beatles, becoming the first American signed on their Apple label and recruiting Paul McCartney and George Harrison to play on his “Carolina in My Mind.” At the end of the sixties, the world at large didn’t know the name James Taylor, but his fellow musicians knew it soon would.

“I just heard his voice and his guitar,” said McCartney, “and I thought he was great.” Earlier in 1970, many listeners surely felt the same thing after dropping the needle onto Taylor’s breakthrough second album Sweet Baby James. By the time James Taylor Sings James Taylor went to air, he’d accrued enough of an international reputation to guarantee appreciation from even non-Beatles on the other side of the pond. Knowing his audience, Taylor opens with a rendition of Lennon and McCartney’s “With a Little Help from My Friends.” The Beatles connections don’t stop there: Songfacts reports that Taylor’s “Something in the Way She Moves,” the first single from his pre-Sweet Baby James Apple debut, may have inspired George Harrison to write “Something.” What’s more, Taylor had originally titled his song “I Feel Fine,” before realizing that the Beatles had recorded a song by that name. Though more troubled times lay ahead for the humble (if already well on his way to wealth and fame) young singer-songwriter, this production captures Taylor just before superstardom kicked in.

Backup Singer Documentary ‘Twenty Feet From Stardom’ Set for Summer Release

stardomDirector of ‘Twenty Feet From Stardom,’ Morgan Neville.

(Reprinted from Rolling Stone)

by Katie Van Syckle

Several years ago, former A&M Records head Gil Friesen was stoned at a  Leonard Cohen concert when he became fixated on Cohen’s backup singers. 

The  result of Friesen’s musings is Twenty Feet From Stardom, a documentary  that explores the culture of such supporting singers. Friesen once quipped to  its director, Morgan Neville, that the movie was “the most expensive joint I  ever smoked,” and the final product premiered last week at the Sundance Film  Festival.

“This is a story about people whose fingerprints are all over the music we  know but we have no idea who they are,” Neville, a self-described “hardcore  music geek,” tells Rolling Stone. His other credits include  Troubadours, Respect Yourself: The Stax Records Story and Johnny  Cashs America. He is currently at work on a film about the  rivalry between Gore Vidal and William F. Buckley.

Friesen, who passed away from cancer in December, saw the final film before  his death and knew it would premiere at Sundance. It was purchased last week by  the Weinstein Company’s label Radius-TWC and, according to Neville, is set for a  summer release.

“You could have talked about Nashville, you could have talked about girl  groups. . . To me, the interesting story was the rise of these black voices from  the church into the studios and onto vinyl,” says the director. “What was Lou  Reed singing about [in “A Walk on the Wild Side”]? This is what he was singing  about.”

The film includes interviews with artists who are notable for their use of  backup singers, including Mick Jagger, Bruce Springsteen, Stevie Wonder and  Sting. Many well-known supporting vocalists are also interviewed, including  Darlene Love, Merry Clayton, Lisa Fischer, Tata Vega, Judith Hill, Claudia  Lennear, Gloria Jones and Dr. Mable John.

These performers – who Neville says “can often sing circles around lead  singers” – have produced a soulful, harmonic blend for decades, one derived from  the Motown, rock and R&B of the 1960s, 1970s and 1980s. 

”There was really  kind of a heyday in the late 1960s and 1970s,” Neville explains. “The Brits were  coming and they were pale white guys and they thought, ‘Hey, if I am really into  R&B and soul, why don’t I just invite black singers to come onstage with  me?'”

In Twenty Feet, Neville also explores the psychology of standing in  the shadows of super-stardom and the lack of individual identity – which,  depending on the singer, can feel like bliss or purgatory. He also looks at how  relatively recent changes in the recording business – including lead singers  recording their own backing tracks – caused the backup singer scene to dry  up.

“I asked them, ‘When do you think it changed?’ And one singer said, ‘In  1993,'” Neville says. “Hip-hop, grunge in the 1990s – all those things were  going on as well as changes in taste, business and technology.” What hasn’t  changed is the talent of these artists – and soon, their story will be told.

Who Is Making Today’s Most Original Music?

bjork_bastards(Reprinted from MSN)

by Robin Hilton

Full disclosure: I stole this one from a friend’s Facebook page.

I also know the answer (I don’t really know the answer). It’s The Dirty Projectors. No, wait! It’s Animal Collective. It’s definitely Animal Collective. Or actually, maybe it’s Radiohead. Or … Micachu.

Lord. I don’t know. I guess first we should define what it means to be original, especially in an age where it feels like there are no new ideas. (Ask any generation and we’ve been in this age since the beginning of time. When Loglog, a Neanderthal, started banging rocks together around 200,000 years ago, everyone said he “borrowed heavily” from Ahknok, a well-known Homo Erectus who was doing the same thing with sticks in the later Pleistocene epoch. Duh!)

When I listen to music, it’s usually easy for me to hear its roots. I can tell where it’s coming from. This is how we come up with phrases like “folk-flavored Brit psych-pop” or “punk-inspired drone-rock.” (I’m sorry about that, by the way). The vast majority of what we hear can be traced to an earlier sound which, in turn, can be traced to an earlier sound, and so on and so on. And, of course, that’s totally fine.

For me, the less I can make sense of the music’s roots, the more original it feels. I mentioned Dirty Projectors and Animal Collective, and the music of both of those bands often does leave me scratching my head as I attempt to link it to the past. Some of the stuff on Sufjan Stevens’ Age Of Adz challenged me to rethink what makes a song a song, especially the genius closing track “Impossible Soul.”

With that in mind, I think I’m going to have to go with Bjork. Bjork most consistently challenges just about all of my notions of music — where it comes from, how it’s made, what it means and, most importantly, my expectations of how it should be. Over the year’s she’s obliterated standard chord progressions, rhythms and melodies, severing ties to any clear, preexisting genres and reconnecting them in ways most of us have never imagined. Her most recent project, Biophilia, was so inventive it was hard to say what, exactly, it was. It was music, sure. But it was also a series of apps with strangely alluring, interactive graphics that allowed you to travel through the songs visually and even dismantle the music to make your own versions of each “track.” The beats, lyrics, everything about the sounds felt like it came from another planet. It’s easy to dismiss Bjork as just being “weird,” and a lot of people do. But really, I think she’s a genius who’s thinking and operating on a completely different level.

But Bjork is far from the only musician doing these sorts of things. Tell us who you think is making the most original music now, in the comments section.

Report: Bunny Wailer blasts Snoop Dogg for new Rastafari persona

Snoop Lion Portraits

(Reprinted from MSN)

Bob Marley’s former The Wailers bandmate Bunny Wailer has reportedly taken aim at rapper Snoop Dogg for posing as a member of the  Rastafari movement after immersing himself in Jamaican culture last year.

The hip-hop superstar previously revealed he had been anointed Snoop Lion by a Rastafarian priest after experiencing a spiritual awakening while recording his first reggae project, “Reincarnated.” He adopted the traditional dress and  dreadlocked hair during his time in Jamaica and filmed his transformation for a documentary, also titled “Reincarnated.”

But Wailer is not convinced by Snoop’s new lifestyle and he has accused the rapper of the “outright fraudulent use of (the) Rastafari community’s  personalities and symbolism,” according to TMZ.

Members of the Rastafari Millennium Council have also launched a verbal  attack on Snoop, demanding he refrain from using the moniker Snoop Lion and  apologize for his behavior or face legal action, according to TMZ. They have also fired off a seven-page letter to the marijuana-loving star, insisting that “smoking weed and loving Bob Marley and reggae music is not what defines the Rastafari Indigenous Culture.”

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