triggerhappymedia

My earliest music memories are from the stack of albums my mom kept piled near the record player. My favorite by far was Upside Down by Diana Ross. I was in awe of her photo on the sleeve- she was so sexy before I knew what sexy was. Second was Teddy Pendergrass’ Get Up, Get Down, Get Funky, Get Loose. I would dance to the point of exhaustion to that one. And I still could.

A long time after we moved I found the good stash: Supremes a Go-Go, a J.J. Jackson 45, and some amazing Motown compilations. The prize find though was Mavin Gaye’s Anthology, the red fold out album with photos of the man looking just cool as ever. I listened to it all his records far too much, from the achy-heart duets to Inner City Blues.

Inner City Blues. I began to paint. I painted New York City as an eerie translucent skyline rising above a filthy abandoned couch and a pile of garbage. To the side was Marvin with his hands covering his face, unable to bear witness any longer. Years later I had the chance to visit the studio in Detroit where his sound was recorded resonating from an echo chamber built into the ceiling. I stopped there for a moment and I could hear it. His voice was like a haunting, not of a person but an idea: remember when you felt inspired?

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Trigger: R.I.P. Teddy

October 8, 2009–October 18, 2009

Continuing its Filmmaker in Focus series, MoMA’s Department of Film presents the first-ever retrospective of Spike Jonze (b. 1969, Rockville, Maryland), celebrating his work as a director, producer, cinematographer, writer, actor, choreographer, and sometime stuntman.

Jonze’s reputation as one of the most imaginative, intelligent, and daring filmmakers working today was established early on with his legendary skateboard videos, music videos, and commercials, and has since been cemented by three features: Being John Malkovich (1999), Adaptation (2002), and Where the Wild Things Are (2009).

On October 8, Jonze, who came up with the exhibition’s wry title himself, participates in an opening-night discussion with Maurice Sendak and exhibition curator Joshua Siegel.
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The Spike Jonze that sticks out in my mind is the Pharcyde’s Drop (1995). The video was shot entirely in reverse- the rappers even learned how to say their lyrics backwards- and then played in reverse to appear to move forward. Such a simple effect that, 15 years later, still looks pretty sick.

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Trigger: Spike Jonze: The First 80 Years @ the MoMA

This clip has such a natural tone. The slate at the beginning says they’re on take seven, but it looks spontaneous. Must be that Swedish cool.

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Trigger: Lykke Li and friends

The world passes through the tourist. The tour consumes us, not vice versa. Always a step ahead or a step behind, the tourist is never there exactly, never sees or hears or smells or touches the country or its inhabitants exactly, always experiences something other, something else— an illusion, an itinerary packaged, sold, administered like doses of a drug, unless, perhaps, we imagine a world in metaphors, making it up, making up ourselves as we travel, dream, tell stories.

–from The Island Martinique by John Edgar Wideman

Above: the product of a late-night brainstorm that turned Category 5 somewhere between my mind and my notebook.

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Trigger: Zouk Love: a documentary film

It used to be that musicians wanting to spread philanthropic vibes in the name of Africa would gathering together to record timeless classics like 1984’s “Do They Know It’s Christmas?” That song has stuck around since then (like it or not), as has Bono’s commitment to the cause.

Over 20 years later, “Brooklyn Go Hard” by Jay-Z featuring Santogold is available via the (Red) Wire campaign to eliminate AIDS in Africa. The song is also part soundtrack for Notorious, the upcoming film about B.I.G.

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Trigger: Typographical illustration by Evan Roth

I’m really digging the nice hook on singer/songwriter Santogold’s “L.E.S. Artistes”. The video is interesting…it kind of looks like a commercial for the Whitney Biennial.

By the way, Res fans should know that Santogold co-wrote and produced her 2001 album How I Do. Those Philly women sure know how to rock.

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Trigger: Santogold

I’m pretty much all over the place when it comes to music, so I love getting recommendations. Imeem is a nice little social networking site to share your musical tastes with friends- and any random person who will listen.

Right now I’m in a hot and slow summer days kind of mood. Here’s the playlist:

Morena Mia - Miguel Bose feat Julieta Venegas
Gold for the Price of Silver - Kings of Convenience
Forget Me Nots - Patrice Rushen
Que Creias? - Selena
It Ain’t Hard to Tell - Nas
Na Ri Na - Lura
Leiley - Dania
My Moon My Man - Feist
Ya Salam- Nancy Ajram
Balance - Sara Tavares
All the Way - Craig David
Allem Alby - Amr Diab
No One - Alicia Keys
Escapar - Sussie 4
Al Sa’ban Aleh - Sherine
Siempre Me Quedara - Bebe
Je Sais - Perle Lama & Princess Lover
Eres Para Mi - Julieta Venegas feat Anita Tijoux & Serko Fu

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Trigger: imeem - what’s on your playlist?

Brazilian dancing, African/French artist Kaysha’s music, English lyrics…just watch…

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Trigger: A couple, one love and the Zouk in Goiânia, Brazil

This is cantante Julieta Venegas, but the gorgeous photo’s not mine. One thousand people over capacity showed up to her SummerStage performance in Central Park on Saturday. This is my view of the concert from outside the fence:

She sounded good though, and the grass was kind enough not to wilt when I started to sing along…
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Trigger: SummerStage upcoming events

Then-

Now-

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Trigger: Breakin’, 1984 ; Buraka Som Sistema’s Sound of Kuduro, 2007