AIGA'S MY MTV: WHERE ARE THEY NOW?

THURSDAY 10 JUNE 2010 6:30–8:30PM

MY MTV: WHERE ARE THEY NOW?

AIGA/NY Presents: “My MTV: Where Are They Now?” and takes a look at the work and creative legacies of those that helped create MTV’s world-renown visual identity. 6/10/10, 6:30–8:30PM at Tishman Auditorium

FROM ELVIS TO LADY GAGA: PLAYING WITH SHOCK VALUE IN MUSIC

From NPR music:



Musicians have long used shock value to pump up interest in their music. Elvis Presley swung his hips, Ozzy Osbourne bit the head off a bat, Madonna sang about her nonexistent virginity and Marilyn Manson named himself after a convicted killer. But how much has shock value changed since the days when Osbourne supposedly bit the bat? And what would have happened if the Internet had been around?

The story is something of an urban legend, and that's part of its power, says Tavia Nyong'o, a professor of performance studies at New York University. No one had cameras in their phones back then, so the shock came from repeating the story. "Did you hear? Ozzy Osbourne bit the head off a bat!"

Read more.

DETROIT'S DANCE SHOW, 'THE SCENE' WITH NAT MORRIS... AND GUMBY

This is a real shout out to Detroit. With all the mayhem, devastation, and death the media claims to be running the city right now, here is something that hollers back to the “olden days” of the city. This was a time when jobs were plentiful and Mayor Coleman Young was still alive to see the city being run with love. The city has its own local television and radio station, channel 62 and 107.5 WGPR. And after you got off at the plant, you could hear MOJO, one of the baddest DJ’s ever to spin a record on the radio. But on the TV channel, you were privy to The Scene, the local dance show hosted by none other than the infamous Nat Morris. Young people gathered to show off their best moves, clothes and be entertained by the latest local group or national sensation.

Yeah, those were the days when the city popped. I’m not saying that there wasn’t any crime because that element of Detroit has been known for a long time in the place I like to affectionately call the D. But, in 1987, the community still stood strong. The Pistons reigned supreme in basketball; even against the best, Mr. Michael Jordan. There wasn’t a Hockeytown downtown, there was no Comerica Park or Ford Field, just Joe Louis arena, Cobo Hall and Tiger Stadium and the authentic people of the city who liked to have a good time after 5pm when the whistle blew for many at the Big 3.
The Scene was on and on this day, we were watching Gumby Live. Enjoy, Detroit.

-J.C. Brooks

IS AMERICA'S 'RACE MUSIC' PAST HURTING JANELLE MONAE?

From over at theroot.com:



Is America's 'Race Music' Past Hurting Janelle Monae?
How a segregated music industry makes it almost impossible for genre-busting musical talent to succeed.

By: Latoya Peterson

Kitschy, socially conscious singer and songwriter Janelle Monae has all the tools for a successful debut music career--interesting and dynamic production, a melodic singing voice, an interesting look, a new dance--and one of hip-hop's heavy hitters (Big Boi, of Outkast fame) as her mentor and co-collaborator. So why hasn't her new single torn up the airwaves? Is it because the world isn't ready for Monae's tuxedoed swagger and retro-meets-R&B supersonic sound? Or is it the music industry's stubborn adherence to narrowly defined genres, coupled with monopolization of the airwaves? As an independent artist, Janelle Monae's fresh sound may actually be her downfall. Since her music crosses conventions, a logical conclusion would be that the Atlanta-based singer/songwriter has a broad appeal. Unfortunately, thanks to a system where music is market tested and distilled down to appeal to just one demographic, ''innovating'' means ''liability.'' Our current state of musical affairs stems from America's racial past.

Before euphemisms like ''urban'' took hold, music was strictly divided among racial lines--black music for black audiences, white music for white audiences. These boundaries began eroding in the 1960s, 1970s and 1980s as music consumers would twist the radio dials in search of their favorite sound. However, as racial boundaries fell, new barriers sprang into place. The music business began tightening its model for ''success.'' Instead of allowing artists to organically flourish from record to record, the industry started favoring bands that would churn out hits. And musical artistry has suffered for it.


In The Hip Hop Wars, scholar Tricia Rose discusses the commercialization of music, and the influence that consolidation has had on playlists, noting, ''Commercially established major-label acts, because of their visibility and notoriety, are easily packaged for a national audience and easily transportable across regions. Thus they dominate their genre specific playlists across the country'' (p.19). In conjunction with overall control of media shifting to just a handful of companies, this move effectively discouraged stations from taking risks with their content. While most regions have been able to hold on to a small hour or so in the daily programming to promote local music and local artists, the vast majority of airtime is dedicated to artists who have the backing of major labels, artists who fit a certain type of sound.


Read more.

OHIO PLAYERS' "LOVE ROLLERCOASTER" [LIVE ON 'MIDNIGHT SPECIAL' SHOW IN 1975]

While watching this performance by the legendary funkateers, the Ohio Players, take note of the pop-lockin' dancers who take it to the stage when the band breaks down the groove.And if you did not know, Midnight Special' was a dope live music performance show from the 70s.

Enjoy!

























And for some more info on the Ohio Players you can cop a back issue of Wwaxpoetics magazine (or cop the issue, issue number 40, at your local newsstand if they've not replaced the issue yet).

http://www.waxpoetics.com/2010/03/wax-poetics-issue-40/