How and why flash sucks my ass - some good insight by Rose Marshack  ¶ 11:59 AM

  Steinski in the NY Times, Ben Ratliff's Playlist from 5/11/08: Quiet Jazz, Roaring Noise, Hip-Hop Wizardry:

Steinski

Steve Stein, calling himself Steinski, and his friend Doug DiFranco, known as Double Dee, made a series of hip-hop collages starting in 1983, the most famous being the first, “The Payoff Mix.” They were full of funk and great drum breaks, but they were also extended wisecracks: Mr. Stein was a fan of Dickie Goodman’s “break-in” novelty records, like “Flying Saucer” and “Mr. Jaws,” in which a fake reporter would ask questions, and the answers came back as snippets of popular songs.

Double Dee and Steinski’s early records reflected a little more pop-cultural history than your average hip-hop song might have back then: ’50s show tunes, the Marx Brothers, Lester Young, obscure James Brown jams, old television programs. (Not surprising: the creators were 10 to 15 years older than most of hip-hop’s D.J.’s and producers.) Steinski continued on his own, making chilling, ambitious pieces about the assassination of John F. Kennedy and the Sept. 11 attacks, among other subjects.

“What Does It All Mean?” (Illegal Art) is a two-disc retrospective of Mr. Stein’s work, and a tight puzzle of references. A reasonable first impulse is to try to identify all the sound sources; the inevitable second impulse is to marvel at how well he has chopped up and rearranged them into units of rhythm.

  ¶ 11:15 AM

 
step 1 of the re-branding of illegal art via Andrew Strasser.  ¶ 1:27 PM

  Japan to propose copyright fees on iPods, digital hard disk recorders (thanks EY!)
  DJ Shadow & Cut Chemist - The Hard Sell  ¶ 3:41 PM

  "The post-Double Dee material isn't as compulsively filled with stuff, which gives the parts a chance to accumulate, resonate and speak to each other. 'The Motorcade Sped On' is built on broadcast tapes from the Kennedy assassination, and it starts with Ed McMahon's introduction, 'here's Johnny,' followed by the opening chord to 'Hard Day's Night,' then John F. Kennedy's voice. The link of him to the Beatles is a nice comment, one echoed later when a news anchor reads, 'Mrs. Kennedy jumped up, she called 'Oh no,' ' and 'Oh no' is repeated until it sounds like 'Ono,' while a voice yelps in the background. Revolution is evoked when the word 'Time' is looped over a drum and cowbell pattern that recalls psychedelic mid-song freakout in the Chamber Brothers' 'Time Has Come Today.' Am I inventing connections? Maybe, but in the best of these tracks - and the second disc, a mix prepared for the BBC - he scatters enough voices and ideas to suggest a comment and conversation." -from Alex Rawls' Pop Life  ¶ 9:45 PM

 
reviews of GT's Toad's Place show: Style Weekly & The Trinity Tripod  ¶ 12:53 PM

 
Artistic License, by Trademark G. (of The ECC).  ¶ 7:14 PM

  “I have no moral issues with what I’m doing. With all these elements of viral marketing these days, I think people can look at my albums and see that they’re transformative and they exist as their own entity. Nobody would buy them in place of someone else’s music.” -Gregg Gillis from Sample Naked

"In a New Haven Advocate article previewing the show, Gillis said of his appeal and audience: 'Frat dudes like it, rap guys like it, rock guys like it.' This was true of the Trinity presence in the audience and on the stage. I was with my Pike brothers, and noticed Hall brothers, Psi U brothers, members of The Fred, and Tripod online staff among many others. It was far more varied a group than you may see at any Trinity function, save for maybe orientation and graduation." from Girl Talk Creates Revolutionary Music, Energizes Audience  ¶ 11:52 AM

  Ben Chaykin's MotorBuddies:

(Ben is a student in our program and does some Max stuff that is beyond my abilities)  ¶ 3:48 PM

  Steinski interview on What to Wear During an Orange Alert?': Band of the Week  ¶ 1:17 PM

  Lesson 3 Live At Roseland, 11/20/02 (the first DD&S performance ever)

(via steinski.com)  ¶ 1:11 PM

  miserable and sick, Steinski still managed to pull off this interview at SXSW:



  ¶ 4:43 PM