Wednesday, February 29, 2012

iconoclasta#1...Okupación sensorial

                                                   ?Love (The Roots drummer)

“No dejaremos de explorar...“
T.S. Eliot


“Tank“/Yoko Kano performed by The Seatbelts/Cowboy Bebop Soundtrack/ Victor Entertainment

“Safari“/Brazilian Groove band (Leo Gandelman,Grant Green Jr &Charlie Hunter)/Anatomy of groove/Far out

“Let there be drums“/ Shaun Lee´s Incredible tabla band/Tabla Rock/Ubiquity records

“Scratchette Starter“ /Alexis Malbert aKa Tape Tronic/Best Of 1999-2009/

“Porno Melody“/Alexis Malbert aKa Tape Tronic/Best Of 1999-2009/

“Sleep rules everything around me“/Wugazi (Wu Tang Clan + Fugazi)/13 Chambers/

“Shame on Blue“/Wugazi (Wu Tang Clan + Fugazi)/13 Chambers/

“The Architect/Rob Swift/The Architect/Ipecac recording

“Lazy Bones“/Wooden Shjips/West/Thrill Jockey

“ 1st &1st “/Kieran Hebden &Steve Reid/NYC/Domino Recording Company

“Eastern Crossroads“/Loopa Skava meets Cayetano/Up and Down/ Phantom sound and vision

“Shivers“/Skalpel/Konfusion/Ninja Tune

“Etu Gela“/Imperial Tiger Orchestra/Etio event 1/ Traffic Entertainment Group

“For self Defense“/Quasimode/The land of freedom/ Sonar Kollektiv

WUGAZI (Fugazi+Wu Tang Clan)

Rob Swift


Imperial Tiger Orchestra

Alexis Malbert “Tape Tronic“ scratching with cassette tapes

Alexis Malbert from France goes by the name of TapeTronic, and cassette tapes are his kung-fu. He builds custom tapes and tape players and travels around Europe doing tape-scratching performances on his DIY tapes and loops.

The following is a short video clip of TapeTronic live in Paris:


Programación Eurojazz 2012

Sábado 3 de marzo: Francesco Cafiso y su Island Blue Quartet (Italia)
Domingo 4 de marzo: Mamatohe (República Checa)
Sábado 10 de marzo: Herd Trío (Finlandia)
Domingo 11 de marzo: Christian Mendoza Group (Bélgica)
Sábado 17 de marzo: The Phil McDermott Quartet (Irlanda)
Domingo 18 de marzo: David Helbock Trío (Austria)
Viernes 23 de marzo: Marcin Wasilewski Trío (Polonia)
Sábado 24 de marzo: Underkarl (Alemania)
Domingo 25 de marzo: Oddjob (Suecia)
Viernes 30 de marzo: Trío Kora Project (Francia)
Sábado 31 de marzo: Marta Sánchez Quartet (España)
Domingo 1 de abril: Saskia Laroo (Países Bajos)

Genre busting: the origin of music categories

Music's phrasemakers (clockwise from top left): Brian Eno, Bikini Kill, William S Burroughs and Ornette Coleman. Photograph: Redferns/Corbis

Michaelangelo Matos

Music comes from everywhere, and so do the names we call it by. There's a longstanding cliche that only the music business needs genre names – everyone else either likes it or they don't. That is, of course, bunk, as anyone who's heard enough people trot out lines such as "I like all music except for rap and country" is aware. Not least because quite a lot of those genre names come from the artists themselves.

Gospel, for example, was more or less invented by Rev Thomas A Dorsey. As Georgia Tom, Dorsey played jazz and blues piano before turning to the Bible for inspiration in 1932 and selling songs such as Precious Lord, Take My Hand to churches in Chicago, then across America. His group's name was the University Gospel Singers. Similarly, bluegrass originates from the name of the country singer-mandolinist Bill Monroe's backing band from 1938 to his 1996 death: the Blue Grass Boys. They were named after Monroe's native Kentucky, "the Blue Grass State". Glitter rock – a synonym for glam – comes from Gary Glitter, about which the less said, the better.

More often, a genre name will come from a musician's works. Free jazz comes from Ornette Coleman's 1960 album of the same name; ditto blue-eyed soul, from the Righteous Brothers' 1963 LP. The mid-60s Jamaican boogie dubbed rocksteady is named for an 1966 Alton Ellis single, while reggae followed it into Jamaican dancehalls on the heels of the Maytals' Do the Reggay in 1968. Soca is a condensation of Trinidadian artist Lord Shorty's Soul of Calypso, from 1974, while acid house, originally from Phuture's 1987 single Acid Tracks, has come to mean anything with a yammering, squealing TB-303 on it.

Ambient, of course, comes from Brian Eno's Ambient 1: Music for Airports (1978). Eno says in his famous liner notes from 1975's Discreet Music that the idea had come to him while recuperating in hospital after getting hit by a car in January 1975; a guest put 18th-century harp music on at low volume, then left the immobile Eno to ponder its placement. The guest remembers it differently: in Geeta Dayal's Another Green World, Eno's then-girlfriend Judy Nylon says she put the harp music on intending to balance it with the pouring rain outside, and that Eno caught on immediately.

Sometimes lyrics become genres. Doo-wop comes from any number of primordial R&B harmony vocal-group records – the two most obvious are the Turbans' 1955 When You Dance ("Doo-wop, de-doo-doo," runs the end of the refrain) and the Five Satins' In the Still of the Nite a year later (under the sax solo, the chant "Doo-bop, doo-bah!"). In the late '60s, New York oldies radio DJ Gus Gossert put it into wide use, though he claimed he got it from California aficionados.

Old-school Bronx DJ Lovebug Starski claims to have coined the term hip-hop by rhyming "hip-hop, hippy to the hippy hop-bop" at early parties, telling Peter S Scholtes in 2006: "Me and Kid Cowboy from [Grandmaster Flash's] the Furious Five used to say it together. I'd say the 'hip', he'd say the 'hop'."

The term jungle came from a soundsystem yard tape from Jamaica that featured the chant "Alla the junglists". MC Navigator of pirate station Kool FM told critic Simon Reynolds in his book Energy Flash: "There's a place in Kingston called Tivoli Gardens, and the people call it the Jungle." When Rebel MC sampled it, breakbeat-led house had a new name. Reynolds points out that the British rave label Ibiza had "the first use of the word 'jungle' on their [12-inch] sleeves", including 1991's Noise Factory single, Jungle Techno.

Sometimes record labels become genre names, as with industrial, named after Throbbing Gristle's imprint, established in 1976, and lovers rock, industrial's polar opposite: sentimental, romantic reggae named for the London label of Dennis and Eve Harris from around the same time. And sometimes record labels just mandate new terms. Outlaw country, no wave and techno all came into use via compilation albums: respectively, 1976's Wanted! The Outlaws (featuring Willie Nelson, Waylon Jennings, Jessi Colter, and Tompall Glaser); 1978's No New York (Teenage Jesus & the Jerks, Contortions, Mars and DNA); 1988's Techno! The New Dance Sound of Detroit (Juan Atkins, Derrick May, and Kevin Saunderson).

There are occasions, too, when an artist just says something is something, and that is that. Think of Afrobeat – not be confused with Afropop, an old catch-all to describe, well, all pop from Africa. Afrobeat was the name coined in 1968 by Fela Kuti to describe the music he was inventing around that time, made up of funk, jazz, Nigerian highlife, anti-authoritarian lyrics and high-grade weed.

The 90s were rife with musician-coined genres. Riot grrrl was the name of a 1991 fanzine put together by four of that music's key players: Allison Wolfe and Molly Neuman of Bratmobile; Kathleen Hanna and Tobi Vail of Bikini Kill. Illbient was coined in 1994 by DJ Olive, of the trio We, to describe a multimedia presentation to a journalist in Brooklyn. "Some older man who said he was a journalist asked me if this was ambient music," Olive says, "and I blurted out as a joke, 'Nope, this is illbient.' We all had a laugh about it." And in 1996, producers Ed Rush and Trace of the No U Turn label minted the phrase techstep to describe their blaring, dense, hard-as-hell style of drum and bass.

But sometimes an artist assigns a title that becomes something else. Power-pop was coined by Pete Townshend in 1967 to define the Who, but wound up being what Eric Carmen of prime power-pop practitioners the Raspberries described as "groups that came out in the 70s that played kind of melodic songs with crunchy guitars and some wild drumming". Not to mention the endless acolytes who mimicked them.

Often, technology drives musical changes, so equipment plays its role, too. Acid, noted above, is one example. So is dub, short for the "dubplate" (duplicate platter) Jamaican sound system operator Ruddy Redwood ordered in late 1967 from Duke Reid's pressing plant. The recording was On the Beach by the Paragons, and the engineer, Byron Smith, accidentally wiped the vocal. Reid played it alongside the vocal version; the response was so strong he began putting instrumentals on the B-sides. Eventually, creative engineers such as King Tubby and Lee Perry would take the dub side into whole new areas of bass-heavy abstraction.

Of course, journalists need these terms more than anyone, in a sense – a recognisable genre name is powerful shorthand. As the longtime bible of the American music industry, thanks to its trendsetting album and single charts, Billboard has played a significant role in disseminating musical titles. Easy listening, for instance, was coined in the 17 July 1961 edition (not, sadly, included on the magazine's Google Books archive, though every other 1961 issue is). Rhythm & blues came to be in 1947, when Jerry Wexler, then a Billboard editor, began using it to denote the kind of postwar black pop that he went on to pioneer with Atlantic Records. Rhythm & blues became a chart name in the 25 June 1949 issue, replacing the previous issue's "Race Records".

Long before producing The Chris Rock Show and Good Hair, Nelson George was himself a Billboard reporter (he was behind the magazine's use of the term "black music"). But it was in the Village Voice that George came up with retro-nuevo, while reviewing Anita Baker in 1986. The term meant 80s black pop with roots in pre-disco R&B. "Black pop music had always felt grounded in a very adult perspective on life and love," George says. "The music became a lot more juvenile in the 80s. To me, 'retro-nuevo' was a way to highlight singers who were very contemporary but hadn't totally abandoned tradition."

George's longtime Voice editor was Robert Christgau, who made his own coinage with skronk, a phrase synonymous with no wave that Christgau first used in 1978. "It was a complete piece of onomatopoeia," Christgau says. "It just popped into my head. I was looking for a way to describe DNA and Mars. That's what the guitars sounded like to me."

Heavy metal was also first used to describe ugly guitars. The phrase, of course, originated with William S Burroughs in his 1962 novel The Soft Machine, featuring Uranian Willy, the Heavy Metal Kid. Then John Kay of Steppenwolf sang the phrase "heavy metal thunder" in 1968's Born to Be Wild. But it first reached print as a synonym for hard rock via Mike Saunders (later Metal Mike Saunders, singer for early-80s punks the Angry Samoans), in a review of Humble Pie's As Safe As Yesterday in Rolling Stone from 1970, describing the album as "more of the same 27th-rate heavy metal crap".

The same year, punk rock was coined Stone's Detroit rival, Creem, via Dave Marsh, who used it in a ? & the Mysterians live review ("Needless to say, it was impossible to pass up such a landmark explosion of punk rock, even after two nights running of Tina Turner"). Punk magazine came along a few years later.

Britain does nomenclature like no one else. Krautrock came from NME's Ian MacDonald in 1972, to describe Neu! and Can and the like; a year later, Faust led their album IV with the 12-minute epic Krautrock. Similarly, Simon Reynolds began using post-rock in early 1994 (he says he used it in Melody Maker, and the May 1994 issue of The Wire has his essay on it) to denote bands using rock instruments to non-rock ends. "I didn't actually coin it," says Reynolds, citing Richard Meltzer and Paul Morley's use of it before him as "an avant-rock synonym". He explains: "I made it into a concept."

Also in 1994, Andy Pemberton coined trip-hop in the June 1994 edition of Mixmag to describe the head-nodding instrumentals of DJ Shadow and the early Chemical Brothers. Similarly, dubstep first entered print in 2002, in sometime Guardian writer Dave Stelfox's XLR8R magazine feature on UK garage producers Horsepower Productions. According to the journalist Martin Clark, the term originally stems from a "tight circle" and originates either with UK promoter Ammunition or DJ Hatcha, whose Dubstep Allstars Vol 1 came out in June 2003.

As that indicates, the music business needs to know what it's selling and who it's selling to. Hillbilly music, a term that predates country music, was the coinage of Ralph Peer, who in 1925 recorded a North Carolina group he named the Hillbillies. When Peer recorded Jimmie Rodgers and the Carter Family two years later, the name stuck to the sound. Sire label boss Seymour Stein famously came up with new wave to sell punk to US audiences who were afraid of punk's violent connotations. In 1995, Motown executive Kedar Massenburg, who signed D'Angelo and Erykah Badu, came up with neo-soul as a way to sell them. (It definitively supplanted Nelson George's retro-nuevo.)

Then there is advertising. Bossa nova – Portuguese for "new wave" – gained currency, according to Brazilian music historian Ruy Castro, when it appeared in an advert for a 1958 multi-artist concert put on by Grupo Universitário Hebraico do Brasil. World music was hashed out in 1987 at an industry meeting. It was intended only for a brief marketing campaign to pump non-Anglophone musicians in retail spaces they might not otherwise fit into, only to remain an acknowledged, if unwieldy, category. Radio formats sometimes impose themselves on the music. AOR is a US abbreviation for "album-oriented radio" (later "rock") coined in 1972 by Lee Abrams and Kent Burkhart's consultancy firm for the FM rock radio stations that would define ultra-slick middle-American rock: Styx, Boston, Aerosmith. In practise, it usually translates to "definitively pre-punk".

And of course, radio plays a big role in the history of the term rock'n'roll itself – though it had been used in blues records dating back to 1922 (Trixie Smith's My Man Rocks Me with a Steady Roll, for example) and, as Preston Lauterbach's superb new book The Chitlin' Circuit makes clear, was basically everyday talk in postwar R&B: Roy Brown's 1947 Good Rockin' Tonight (later cut by Wynonie Harris and, on his second single, Elvis Presley); Wild Bill Moore's We're Gonna Rock, We're Gonna Roll (1947); the Dominoes' Sixty Minute Man (1950) ("I'll rock 'em, roll 'em all night long"). Then in 1952, Cleveland DJ Alan Freed switched his radio show's name from Record Rendezvous to The Moondog Rock'n'Roll House Party. We'll leave it there.


De los suspiros algo nace. (Dylan Thomas)

De los suspiros algo nace
que no es la pena, porque la he abatido
antes de la agonía; el espíritu crece
olvida y llora:
algo nace, se prueba y sabe bueno,
todo no podía ser desilusión:
tiene que haber, Dios sea loado, una certeza,
si no de bien amar, al menos de no amar,
y esto es verdadero luego de la derrota permanente.

Después de esa lucha que los más débiles conocen.
hay algo más que muerte;
olvida los grandes sufrimientos o seca las heridas,
él sufrirá por mucho tiempo
porque no se arrepiente de abandonar una mujer que espera
por su soldado sucio con saliva de palabras
que derraman una sangre tan ácida.

Si eso bastase, bastaría para calmar el sufrimiento,
arrepentirse cuando se ha consumido
el gozo que en el sol me hizo feliz,
qué feliz fui mientras duró el gozar,
si bastara la vaguedad y las mentiras dulces fueran suficiente,
las frases huecas podrían soportar todo el sufrimiento
y curarme de males.

Si eso bastase: hueso, sangre y nervio,
la mente retorcida, el lomo claramente formado,
que busca a tientas la sustancia bajo el plato del perro,
el hombre debería curarse de su mal.
Pues todo lo que existe para dar yo lo ofrezco:
unas migas, un granero y un cabestro.

Versión de Elizabeth Azcona Cranwell

Monday, February 27, 2012

Paradigm Magazine Presents: Rear Window with Glen E. Friedman

‘If you’re inspired to do something, if you want to do something, if you have some kind of feeling that you should do something … then you should just do it; don’t let what other people’s preconceived ideas of good behavior, or whatever it is, limit you to thinking what you should and shouldn’t do.“
Glen E. Friedman

Sunday, February 26, 2012

Projection Mapping Onto Turntables

Projection Mapping Onto Turntables from E.N.S. on Vimeo.

Vinyl Bicycle

While we’ve seen plenty of crazy boombox bikes in our day, this bicycle by Dutch designers Merel Sloother, Liat Azulay and Pieter Frank de Jong, takes that idea one step further into the past. A prototype of their Feats per Minute project, this retro-inspired ride allows riders to play records as they travel throughout the city. We’re assuming that pedaling faster will speed up the music — which could prove problematic unless you’re going for a leisurely ride or enjoy listening to chipmunks squeak — but we’re in love the concept, as long as no one comes riding down our street too early on the weekend


Friday, February 24, 2012

ON THE ROAD AGAIN documentary (Dietrich Wawzyn 1963)

On The Road Again reminds us of a world familiar and yet distant, a place that will never exist again but persists at the edges of our consciousness like the insistent memory of an old lover stuttering in the sprockets of memory’s dysfunctional machine, an America vaguely recalled which has been buried under a tacky facade called “America,” composed of viral shopping malls, endless interstates and cookie cutter suburbs that cover our land like a scab made of plastic and plywood.

The movie moves with a grace, energy and rhythm that echoes the music it documents. We follow the camera eye as it captures…

[...] Mance Lipscomb singing “Goin’ Down Slow” on his front porch in Navasota, then follows piano player Buster Pickens as he leads the film crew through Houston dives and pool halls looking for other musicians. They locate Lightnin’ Hopkins in a garage partaking in a game of chance, and Hop Wilson playing bluesy steel guitar in Miss Irene’s Tavern. In Dallas-Fort Worth piano player Whistlin’ Alex Moore whistles along to a rolling boogie woogie, and B.K. Turner, who recorded in the 1930s as Black Ace, plays his signature tune on lap top National steel guitar.

In San Francisco, Lowell Fulsom, one of the foremost shapers of West Coast blues is filmed, then across the Bay King Louis H. Narcisse, the spiritual leader of the Mt. Zion faith, at his Oakland temple leads his congregation in stirring gospel rockers like “Let It Shine.” Heading east, Rev. Louis Overstreet brings the gospel to the winos, gamblers, and the down and out on the streets of Tucson, Arizona.

In the shadow of Nashville’s Grand Ole Opry, the Blind James Campbell String Band, one of the few traditional black string bands ever filmed, plays “John Henry.” At the easternmost point of the journey, J.E. Mainer and his family band play the fiddle breakdown, “Run Mountain” in Concord, North Carolina.

Celebrated New Orleans clarinetist George Lewis is filmed at the newly opened Preservation Hall playing “Royal Garden Blues” and a plaintive version of “Burgundy Street Blues,” which is enriched by images of French Quarter street life. Piano player Sweet Emma Barrett gives a rough barrelhouse treatment to “I Ain’t Gonna give Nobody None of my Jelly Roll,” and the Eureka Brass Band plays at a funeral in the New Orleans tradition.

OTRA from J. Sprig on Vimeo.


UNDUN film (2011) & first show ever(1993)&The Legendary The Roots

Wednesday, February 22, 2012


“Let the music speak for itself“
Roy Hargrove

Vovímos a las andadas y por nuestros fueros...empezando desde cero.


“Grooving with Mr. G“/Richard “Groove“Holmes /Blue Break Beats vol 1/Blue note records

“Manish boy“ / The ElectriK Mud Kats A.K.A. (The Electric Mud Band) with vocals by Chuck D, Common & Kyle Jason Chuck D (vocals); Common (vocals); Kyle Jason (vocals); Pete Cosey (guitar); Phil Upchurch (guitar); Louis Satterfield (bass); Morris Jennings (drums); Gene Barge (sax); Johnny "Juice" Rosado (turntables); Ahmir "?uestlove" Thompson (percussion); Rahzel (beatbox); Kenny Siegal (guitar overdub) /Godfathers & Sons Documentary (Scorssese blues)/

“Karabine“/Renegades of jazz/Hip to the jiv/Wass records

“Cheefproduction“/Phonosapiens/Circulating Instrument/

“Unspecial (bits from the U.B.)“/Waxolutionists/The Smart Blip Experience/

“Cha Cha“/Mulatu Astatke&The Helliocentrics/Inspiration Information 3/Strut Records

“Killimanjaro“/Shaolin Afronauts/Flight of the Ancients/

“Harlem House“/Booker T Jones/The Road from Memphis/Anti records

“The Bronx“/Booker T Jones (vocals Lou Reed)/The Road from Memphis/Anti records

“Machine gun death“/Franco Micalizzi/Italia a Mano Armata/

“Somebody else was sucking my dick last night“/Fred Wolff Combo/Eat to the beat:the dirties of the dirty blues

Richard “Groove“ Holmes

Booker T Jones

Mulatu Astatke

The Heliocentrics


The Phonosapiens

Tuesday, February 21, 2012

1960’s New York Skateboarders by Bill Eppridge

From the lens of Photographer Bill Eppridge and brought to our attention by Retronaut, 1960s NYC goes skating. You get the feeling that someone just pulled up with a truck full of boards, handed them out and looked on as everyone went a little nuts. We can’t pretend we weren’t pulled in by the amazing garms some of these guys are sporting but these images are just about big fun. Respect to all the perfectly turned out ladies who don’t even bat an eyelid as out of control kids hurtle towards their ankles. Images via Life.


Wax on Film:A vinyl Photo Contest

Wax On Film: A Vinyl Photo Contest is an opportunity for vinyl collectors of all walks of life to showcase their true love for vinyl. It’s put together by Jamison Harvey of Flea Market Funk and Eilon Paz, of the acclaimed vinyl documentary photo site Dust & Grooves.

The mission of this photo contest is to help preserve vinyl heritage, as well as the artists that make it, just as our contestants do with their collections.

We want you to submit photos of your own vinyl collection!

We urge you to be creative with your photography. It could be a straight on shot, a collage, a digitally manipulated image, or any other creative art piece in the medium of photography.

Submissions will be judged by Jamison Harvey (DJ & creator of Flea Market Funk), Eilon Paz (Photographer & creator of Dust & Grooves), influential world famous DJ Rich Medina, Brian Ho (art director & creator of Dreams In Audio) and Brian Cross aka B+ (photographer & film maker from Mochilla). All finalists of the contest will be featured in articles on Flea Market Funk as well as Dust & Grooves.

Prize Packages:

First Place:
1 Tucker and Bloom North South DJ Bag
1 Nixon RPM Headphones
1 Rare Byrds 45 Poster
1 Listen Clothing and 1 101 Apparel Tee
1 Cultures of Soul 7” test pressing of The Darling Dears “I Don’t Think I’ll Love Another”
1 Hot Peas & Butta Limited Edition Print
1 Tropicalia In Furs: Brazilian Guitar Fuzz Bananas 3D LP
5 Truth and Soul Records 7” records
1 Super HI-FI Latest single “Single Player” on 7”

Second Place:
1 Nixon Crux Messenger Bag
1 Nixon RPM Headphones
1 Rare Byrds 45 Poster
3 Truth and Soul Records 7” records
1 Cultures of Soul 7” record
1 Listen Clothing and 1 101 Apparel Tee
1 Hot Peas & Butta Limited Edition Print
1 Tropicalia In Furs Brazilian Guitar Fuzz Bananas 3D LP

Third Place:
1 Nixon Crux Messenger bag filled with Nixon Trooper Headphones
1 Rare Byrds 45 Poster,
1 Truth and Soul Records 7” record
1 Cultures of Soul 7” record
1 Hot Peas & Butta Limited Edition Print
1 Listen Clothing and 1 101 Apparel Tee

5 Runners Up:
1 Truth and Soul Records 7” record
1 Listen Clothing or 101 Apparel tee

* Prizes are subject to change without notice, based on availability.

Submission Rules:

* Submissions will be accepted until March 15th , 2012.
* Finalists will be announced no later than April 2nd, 2012.
* There is no limit to the number of images each artist may submit.
* Submission is open to all persons over the age of 18.
* Artwork should be submitted as a digital file.
* Maximum file size: 2MB
* File Format: JPEG
* Images should be saved at 72dpi
* Color Profile: sRGB
* Images should be no larger than 1400 pixels on their longest dimension.
* File names should consist of: Artist name_Artwork name_Sequence Number
* On the caption field please write your full name and a valid email address so we can contact you in case your submission wins.

Send all submissions here

Friday, February 17, 2012

Create A Tilt-Shift Lens From A Shower Head A Rubber Glove And a Nifty Fifty

Loving the idea of free lensing, yet hating the idea of the lens accidentally crashing into the ground, Maciej came up with a clever concept of utilizing a shower head for its smoothness.

The Nifty fifty has undergone surgery to separate the bionet from the lens and install an advanced tilt-shift mechanism in the form of a shower head held in place with a heavy duty rubber glove. Hit the jump for the full pictorial.

*Keep in mind that the mechanism on old 50mm lenses goes deeper than modern crop-factored lenses, so if you are building one on your own, watch the lens-to-mirror distance carefully.

Thursday, February 16, 2012

Wednesday, February 15, 2012

Theremug Recipe

Instructions for turning a mug of tea into a Theremin:
1 Prepare some tea
2 Expose the L/R leads on an 1/8" cable
3 Immerse leads in tea
4 Plug cable into audio input
5 Start up max/pd/processing/etc. and average every 735 samples (882 if you're in Europe/running on 50Hz)
6 Scale value and drive oscillator

(The tea should not be neglected, be sure to drink it once you're done making noise.)

Theremug from Kyle McDonald on Vimeo.


Tuesday, February 14, 2012

“FunkJazz Kafé: DIARY OF A DECADE”(Jason Orr)

This film is the story of a cultural legend as told by the innovators of an important, and in some cases overlooked, era in Black culture. Spanning the late 1980′s through to the early 2000′s, this story goes deep into the fabric of soul music, it’s definitions, it’s pioneers, it’s offspring, it’s movements and the challenges with the “mainstream” industry.

“FunkJazz Kafé: DIARY OF A DECADE” [Extended Movie Trailer] from FunkJazz Kafé®/Life Arts Films on Vimeo.