From a cultural perspective, though, this whole story again shows how culture is changing in very interesting and powerful ways. When we talk about things like “remixing” and “mashups,” we tend to hear from a chorus of folks who brush off such things as mere copying and not worthy of being considered art in itself. But there’s a lot more to it than that. What makes culture culture is the shared experiences around that work. This song is not only musically interesting, but also calls attention to a horrible incident that happened as well. And, again, some will brush it off as being meaningless, but the power with which it has interested so many people is not something that should be ignored.
In a report on Mr. Dodson’s sudden Internet fame, the Huntsville television station that first put him before the public reported that some African-American viewers had called to complain that “interviews with people like Antoine reflects poorly on the community.” Jonathan Capehart of The Washington Post wrote that he understood that reaction, since “Dodson’s cringe-inducing performance was something I — and whole bunch of other folks — thought only existed in the comedic minds of Eddie Murphy and Tyler Perry.” But, Mr. Capehart argued, after reflection it seemed unfair to criticize Mr. Dodson for his spontaneous outburst or flamboyant manner:
[W]e must put aside our judgments and remember that we don’t know Dodson, his family or their story. Like millions of families across this country, the Dodsons appear to be proud people who are making their way the best they can. They crave security and comfort. And no matter where you live, when that sense of safety is shattered, you lash out. Fo’ real.
Someone sent me a Tweet asking a good question: Have Huntsville, Ala., authorities found “the idiot in the projects” who climbed through a window and into bed with Antoine Dodson’s sister and tried to rape her? I didn’t know the answer, so I did some hunting around. Turns out, no, the perp who inspired the bed intruder song is still at large.
But 24-year-old Dodson, who has had more costume changes than Diana Ross at Super Bowl XXX has proven to be very wise. He hired a lawyer. And now he’s made a deal with iTunes and his Web site is promoting Antoine Dodson merch, with his “trademarked catch phrases,” such as “hide yo kids, hide yo wife.” He also hasn’t been shy about asking for donations. As a result, Dodson announced in an interview, “It was enough [money] to move my family from the projects.” I love good stories like this.
Even if you don’t spend a lot of time online, you’ve probably heard “Bed Intruder,” the similar “Double Rainbow” song, or the “Auto-Tune the News” series at some point over the past year. As you may know, the Gregory Brothers created all of them with the help of a large cast of “unintentional singers” including crime victim Antoine Dodson, featured above.
But you may not know that one of the Gregory Brothers is a woman — and you almost certainly didn’t know that the four-person crew is working on a pilot for Comedy Central, as they told Wired.com in an exclusive interview.
It’s no exaggeration to claim The Gregory Brothers have invented a completely new art form that is perfectly suited to our meme-crazed times, and — most difficult to replicate — is incredibly well made. Their skills are obvious and their ears perceptive, as evidenced by the way in which they mimic pop music tropes to perfection. And they’re popping up everywhere these days; they even made the soundtrack for the parody Twitter movie trailer.
This was the program at the Tri-Institutional Friday Noon Recital at Rockefeller University:
PASTORALE: Christmas Concerti, festival music & carols for recorders, flutes and strings;
performed by the REBEL ensemble and the DUO CAPRICE using Baroque period instruments with gut strings,such warm resonance.
Johann Christoph Pez (1664-1716) Concerto pastorale in F major
Giuseppe Torelli (1658-1708) Concerto in forma di Pastorale per il Santissimo Natale
Wilhelm Friedemann Bach (1710-1784) Adagio & Fuga in d minor
Antonio Vivaldi (1678-1741) Concerto in e minor
Johann Joachim Quantz (1697-1773) Pastorale in G minor
Michel Richard de Lalande (1657-1726) Simphonies des noels in C minor
The concert hall was packed. Sorry you missed a very fine Pastorale concert with period instruments. This was the start of my 2008 Christmas festivities. The faithful attend the Friday noon prayers, meanwhile I attend the Friday noon recitals. Tri-Institutional Noon Recitals, Caspary Auditorium, The Rockefeller University, 66th Street and York Avenue (#2 on this campus map – pdf), Recitals Hotline: 212-327-7007, ext. 1
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Posted December 7, 2008, 9:27 am
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Category: Music ·
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New York City Saturday, Nov. 15, 2008, jazz musical compositions by Thelonius Sphere Monk, 1PM concert performed by the Lincoln Centre Jazz Orchestra led by Wynton Marsalis …
Jazz For Young People – “Who Is Thelonious Monk?” Hosted by Wynton Marsalis, Lincoln Center, Rose Theater, Broadway at 60th Street, New York, 1 pm and 3 pm. tickets.
Green Grow the Rushes O
By Robert Burns
There’s no but care on every hand
In every hour that passes oh
That signifies the life of man
and twere not for the lassies oh
-Chorus-
Green grow the rushes oh
Green grow the rushes oh
The sweetest hours that e’re I spent
Were spent among the lassies oh
The wordly race may riches chase
And riches still may fly them oh
And when at last they catch them fast
Their hearts can ne’er enjoy them oh
-Chorus-
Give me a quiet hour at e’en
My arms around my dearie oh
And warly cares and warly men
May a gae topsy-turvy oh
-Chorus-
For you so grave you sneer at this
You’re no but senseless asses oh
The wisest man the world e’er saw
Dearly loved the lassies oh
. . . . . . . . .
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Posted November 1, 2008, 8:27 pm
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Category: Music ·
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A new film by Bret Primack, “Like Sonny” — part six of the ongoing Sonny Rollins Podcast series — celebrates the life and music of this remarkable creator by detailing the story of Trane’s unique friendship with Rollins. The film’s title is from a song Coltrane wrote about Rollins, taking the melody from a phrase he heard Sonny play.
The thirteen-minute documentary features interviews with Sonny Rollins, Jimmy Heath, and Paul Jeffrey; an excerpt from a 1960 radio interview with John Coltrane; and video performances by Trane and Sonny.
. . . . . . . . .
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Posted August 31, 2007, 7:27 am
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Category: Music ·
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