> since internet radio is discussed, any good recommendations
> for online stations, ... who program music we discuss here?
> avantgarde, prog, jazz, ...
>
> thanks
>
> jW
>
> -
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Date: Thu, 9 May 2002 08:01:21 EDT
From: TagYrIt@aol.com
Subject: Tom Waits' Alice and Blood
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I just picked these up yesterday and have started familiarizing myself with
them, and I noticed in the liner notes that Robert Wilson is credited in the
"thank you's" for "directing the premiere of Alice" (on Alice, dated December
1992) and "Directed the premiere of Woyzeck by Georg Buchner" (on Blood
Money, dated November 2000). So, am I to take it that these two CD's were the
songs from some kind of theatre pieces? Anyone?
Dale.
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>I just picked these up yesterday and have started familiarizing myself with them, and I noticed in the liner notes that Robert Wilson is credited in the "thank you's" for "directing the premiere of Alice" (on Alice, dated December 1992) and "Directed the premiere of Woyzeck by Georg Buchner" (on Blood Money, dated November 2000). So, am I to take it that these two CD's were the songs from some kind of theatre pieces? Anyone?<BR>
In a message dated 5/9/02 6:10:39 AM, a_gadney@hotmail.com writes:
<< Semi-related: Did anybody else notice that not only was the music for
"Lord
of the Rings" horrible, it also ripped off "Titanic"?! >>
And it won an oscar.
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If you're talking about the soundtrack CD for 'Attack of the Clones,' that came out on April 23. It's currently available everywhere, with one standard cover and three limited edition variant covers (collect 'em all, and then buy the "definitive edition" that will most likely follow a year later...).
I agree with you about the leitmotif notion, which is why it surprised me when I tried to draw Williams out on the subject (using precisely that term) for an article that will appear here in NYC on opening day. He essentially said he had viewed 'Star Wars' no differently than any of the other scores he'd penned previously.
I suppose the leitmotif notion may be a subjective interpretation that has arisen simply because we have recurring characters in multiple films - the famous cello theme in Jaws is another example, except that in that series there were fewer recurring characters (and only one with a "theme song"!).
Williams's description of writing the Cantina Band scene was pretty priceless... he said that he'd originally had no idea what to write, and then Lucas told him, "Imagine if on some planet light years away these little guys found the sheet music for Benny Goodman's swing-band arrangements under a rock and tried to play them upside-down and backwards..." The image worked: Williams had first-hand experience with jazz, since he'd gigged as a pianist with Shelley Manne, Art Pepper and Bud Shank before turning to scoring. (He's also the pianist you hear on the 'West Side Story' soundtrack and the 'Peter Gunn' theme...)
The new score, I think, is much, much stronger than the score for Episode One. But then, that's true of the film, as well. And just as a number of familiar characters from the original "second" trilogy begin to make appearances here, so does their music.
Steve Smith
ssmith36@sprynet.com
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Date: Thu, 09 May 2002 11:29:12 -0400
From: Steve Smith<ssmith36@sprynet.com>
Subject: Re: Re: save internet radio
The backlash here in the New York area is the suggestion that WFMU might start to cull the more mainstream of its offerings, broadcasting and webcasting only the "little guys" with which it can make deals directly and non-American labels which are not signatory to the RIAA's mandates. Score one for the little guys, then, except that for free-form radio, any diminution of the available music pool is a bad thing.
Here's a quote that ran in an article in this week's Time Out New York that will confirm exactly what you expect, as regards the RIAA:
"Nevertheless, the Recording Industry Association of America (RIAA), a prime mover in these discussions and a supporter of [the Copyright Arbitration Royalty Panel]'s recommendations, claims shrinkage is good. Dr. Thomas Nagle, one of the RIAA's economists, says that losing 'marginal or insignificant' stations would be beneficial for the industry; it would mean that remaining webcasters could attract advertisers who are now reluctant to buy time on Net radio because of geographic constraints and free-form programming."
