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Date: Fri, 10 Jul 1998 13:40:54 -0400
From: Jordana Robinson <eero67@geocities.com>
Subject: (exotica) Re: Sound Burgers -Reply
Nathan Miner wrote:
> In response to Charlie's recommendation of a portable record player. There's a company in Japan that makes portable players for around $100 (and available in U.S.).
>
> Saw this covered in a back issue of Giant Robot magazine.
>
> Don't have any specifics....
It was also mentioned in that issue of Grand Royal that had the
pullout poster of cute vintage record players.
Jordana
eero67@geocities.com
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Date: Fri, 10 Jul 1998 13:49:56 -0400
From: "Br. Cleve" <bcleve@pop.tiac.net>
Subject: Re: (exotica) Nike commercial (again?)
At 3:31 PM +0200 7/10/98, Johan Dada Vis wrote:
>someone (Yves Dewulf <yves@inwpent1.rug.ac.be>, off the list) contacted me
>to ask what music was used in the "Nike commercial with Ronaldo". i think
>this was discussed a while back, but i didn't follow the thread, as i don't
>watch tv...
It's the original version of "Mas Que Nada" by The Tamba Trio (the hit
version was by Sergio Mendes). It's been reissued as a CD/12" single, with
remixes.
br cleve
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Date: Fri, 10 Jul 1998 13:56:45 -0400
From: "Clark W. Draper III" <cdraper@sso.org>
Subject: Re: (exotica) Nike commercial (again?)
This song is also on the "Nova Bossa: Red Hot On Verve" comp. but no remixes.
c!
At 01:49 PM 7/10/98 -0400, br cleve wrote:
>It's the original version of "Mas Que Nada" by The Tamba Trio (the hit
>version was by Sergio Mendes). It's been reissued as a CD/12" single, with
>remixes.
>
>br cleve
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Date: Fri, 10 Jul 1998 14:03:07 -0400
From: "Br. Cleve" <bcleve@pop.tiac.net>
Subject: (exotica) Arling & Cameron
From The New York Times, Wednesday July 1
Pop Life: More Concept, Less Music; Hip Hop Battle
By NEIL STRAUSS
LOS ANGELES -- The Dutch music duo of Arling and Cameron recently had a
brainstorm. They decided that their next album should be a collection of
music from films, television shows and movies that don't exist.
As Richard Cameron explains it, there will be themes for "Hashie," about
the exploits of a drug-sniffing version of Lassie, and "Shiva's Daughters,"
a "Charlie's Angels" with Hindu deities.
Such off-the-wall ideas, which merge retro kitsch with modern imagination,
are the staple of the music of Arling and Cameron, who were recently in Los
Angeles, looking for an American
record deal for the label they run, Drive-In.
Four years ago, stateside interest in cocktail music and lounge acts from
the 1950s and '60s like Esquivel and Martin Denny, along with a rise of new
bands making similar music like Love Jones and Combustible Edison, led some
to predict kitschy soft-pop as the next big thing.
It never took hold in the United States, but at the same time an
international movement of similar (and more interesting) bands began to
coalesce in Europe and Asia as record collectors and disk jockeys began
trying to update their vintage pop, soundtracks and exotica.
In France, scores of lounge-pop acts including Air, Autour de Lucie,
Katerine, Etienne Charry and the Little Rabbits appeared. In Germany, bands
like Stereo Total, Maxwell Implosion and Le Hammond Inferno took root. From
Japan came groups like Pizzicato Five, Cornelius and Fantastic Plastic
Machine. From England, there was the Gentle People, Adventures in Stereo
and Momus. From Sweden poured a flood of bands including the Cardigans,
Eggstone and Charlots.
And from the Netherlands there was the upbeat, quirky duo of Arling and
Cameron, making music incorporating languages and musicians from most of
the other countries.
On its latest CD, "All In," and the forthcoming "Sound Shopping," Arling
and Cameron combines easy-listening vibes, strings and sound effects with
house-music dance
beats and vocal snippets, usually pop phrases like "yay," "ba-ba-ba" and
"la-la-la."
"It's a sound that's always happy," explained Gerry Arling, a bassist
trained in jazz. "It's very difficult to sing a depressing la-la-la."
Cameron said he was never interested in dance and lounge music until he
began working as a bar-back to pay off recording studio rental fees for a
more traditional songwriting project. While he was working there, a set
designer approached him with the idea of starting a band. "He said his
father used to be a Top-10 artist in the '50s and was now a general in the
army," Cameron said. "And the only reason he wanted to start the band was
so he could get an article about himself in a Dutch music magazine for fun."
Since Cameron was disillusioned with the record business and the set
designer didn't know the first thing about making music, they decided to
make a band in name only -- with no music. Three months later, a Dutch
music magazine wrote a feature on it. "I'd been making music for at least 10
years before that and I had at most two lines in the magazines," Cameron
said. "And now I had a band without music, and I had an article with a
photograph. That's when it dawned on me that pop was as much about the
concept as the music, especially dance music."
Cameron helped start a series of dance parties called Popcorn, and soon
teamed up with Arling. As their first project together, they put together a
two-record set made up of 19 remixes of one song. The wry pair called it
"Airbag: A Tribute to Safety," because they felt that the music took up a
lot of room but had very little content -- like an airbag. From their club
experience, they noticed that people would dance to nearly any style of
music if there was a house beat behind it, so they began making more
diverse music - - "conceptual but not cynical," Arling insists.
The duo's forthcoming single may be its most tongue-in-cheek synthesis to
date. The group appropriates the robot beats and voices of Kraftwerk, a
German group that has made a career of embracing electronic instruments and
detesting rock-and-roll. Only the lyrics in Arling and
Cameron's Kraftwerk song consist of a computerized voice saying, "We love
to rock. R-O-C-K, let's rock."
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