Category: Music

Mariah Carey Joins American Idol — Good Idea?

When I found out about Mariah Carey’s decision to join American Idol, I thought: “I’ll take the Mariah Carey from ten years ago, and not the Mariah Carey of today.” That’s not a dig at the current state of her career, it’s a dig at the current state of her public persona. In short — she’s almost become a caricature of herself, exuding a diva-like temperament in every interview. I miss the down-to-earth, flannel wearing Mariah Carey of the old days. To prove my point, I’ve posted a vintage interview with the superstar below. Here’s hoping she’s relatable enough to pull off this new role. After all, if Jennifer Lopez can turn her image around, so can Mariah Carey.

Joseph Gordon-Levitt v. GQ — Who’s Right? — The Dishmaster Decides

Interviews with actors often run long, in hopes that journalists will get enough material to pick-and-choose what works best with their article. Though actors might think certain disclosures are the most interesting, they are often times incorrect. In the case of Joseph Gordon Levitt, it’s a tough call. Levitt objected to GQ Magazine’s coverage of his brother during their interview, specifically that GQ talked more about how his brother died than how he lived, and mistakenly said his death was related to drugs. I re-read the content in question, and I think Levitt’s sensitivity about the subject skewed his judgment. GQ barely addressed the subject, which is likely because after Levitt’s instruction they were probably paranoid about mentioning him at all. Furthermore, they referred to the drug overdose as “alleged,” and they mentioned his name in a positive context.

Langhorne Slim & The Law Interview — ‘The Way We Move’

Photo by Todd Roeth

It’s my secret agenda in every interview to befriend my subject. And Langhorne Slim certainly made the list. His real name is Sean Scolnick, and he might be the most normal, down-to-earth guy I’ve ever interviewed. In doing my research for his new record, The Way We Move, I realized that we have a lot in common, which is a data-point that will surely help in our future friendship. We’re both Jewish, and we both exited five-year relationships that were subject to long distances apart. Because I’m egocentric, I made sure to ask about these commonalities, along with questions about his joyful, dance-worthy style of music that I’ve fallen in love with. Read below.

Do you refer to yourself as Langhorne, or do your friends call you Sean?

It’s different. Some call me Sean, some call me Langhorne, some call me Seany Boy, some call me Slim. I’ve got lots of names. It just depends on who’s talking to me.

Is it true you wrote this album while mourning a breakup?

I wrote a few of the songs after my wonderful ex and I broke up, but a lot of the songs were [previously] written. [When] we went into the studio to record the record, we had already broken up.

Is it difficult to record in such an emotional place?

It was a difficult period, but it was amazing to have that kind of release, and to feel it in such a raw, immediate way. Instead of leaping off a cliff, I had this creative outlet.

I assume “Someday” is directly about the breakup, right?

The funny thing is . . . we were still together. Maybe you’re breaking-up before you realize it.

Do you ever get a call from an ex who is combing through your songs and wants to know if it’s about her?

They know that it is. I’m a man that hasn’t been with very many women. The last fifteen years of my life I’ve been in relationships. My ex knows exactly what songs are about her, because she heard me writing them.

Is it hard to sing songs that remind you of the time when you wrote them?

When I listen to [this record], it takes me very much back to that time and place, and I think that it always will. But it’s freeing. Even if you’re singing about pain, it’s a blessing to be able to create something that gets me through it. I don’t feel the heartbreak, I feel the release.

You raised the money for this album through PledgeMusic, which requires you to fulfill some very random promises to fans you’ve never met. I know you’re Jewish, and if I told my over-protective Jewish mother about the promises I’d have to fulfill, she’d kill me. Was your mother concerned?

I’m ten years into [my career], and my mother embraces it. [But] I remember the first time we ever got booked in Europe, she said, “Okay, wait a second. You’re going to Italy to play for some random people? How do you know they’re not going to kill you?” [laughs]. Now [my family] gets it. They knew I wasn’t cut out for a conventional job. Thankfully, they supported [me]. [They’re] still neurotic though.

You’ve toured with some heavy-hitters. Before you go on tour, do you think about whether you’ll get along on a personal level?

At this point it’s a little different. We’re in a position of picking who we tour with. [But] when we were going out with other bands, it wasn’t random. It already comes with a bit of a connection. There’s already a respect.

What about in your own band? Is it tough to be in close quarters for an extended period of time?

You learn each other’s eccentricities. It’s very much like a romantic relationship, but the romance is creative and musical.

How do you sustain a romantic relationship when you tour for 8 months out of the year?

I don’t know. People have told me it’s not feasible. But I did it the entire time I was a touring musician. It’s difficult to connect on a day-to-day basis, but I believe in it still. I’m a big, sappy believer in love. I feel like it’s just as difficult in different ways to have a 9to5 job and come home to each other every day. It’s a different set of challenges.

Do you have a favorite song on your new record?

The song that’s really meaningful to me is “A Song for Sid.” I wrote it for my grandfather. I’m very happy with it. You were asking if I’m brought back to the heartbreak or pain of a song that I wrote, and I am brought back [with that song], but in a beautiful way. It’s a tribute to him that he would probably feel proud of me for writing.

Watch below to see the video for Langhorne Slim & The Law’s single, “The Way We Move.” And thanks to Sean for proving that you can be talented and normal at the same time.

Steven Tyler Quits American Idol — Returns to Real Music

This is a hit I never saw coming. Steven Tyler officially announced that he’s leaving American Idol, saying, “I strayed from my first love, Aerosmith, and I’m back.” It’s rumored that Jennifer Lopez is on her way out also, which is mostly attributed to her recent career resurgence. I can’t help but wonder if his announcement is a fancy way of saying, “they didn’t ask me back,” but I’ll squash my internal cynic for a moment and make an even more cynical comment: His exit is completely irrelevant. His “everyone-is-wonderful” attitude didn’t add much to the show, and it only served to hurt his rock-star brand. So welcome back to the real world, Steven. We missed you over here.

Jean Paul Gaultier: From the Sidewalk to the Catwalk

When people tell me they don’t understand fashion, I tell them they don’t understand art. And to gain a better understanding of what I mean, please visit the de Young Museum in San Francisco to see “The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk.” The exhibit is open until August 19th, and it features some very interesting mannequins that Gaultier designed with the Ubu Compagnie de Création theater company. You’ll see the timeline of his designs, along with sketches and videos from concerts that featured his work, most notably Madonna. Watch below to preview the exhibit

Maroon 5’s ‘Overexposed’ Music Review — It’s Good

I’ve never claimed to be a music critic, even though The Dishmaster is heavily centered on music. My very basic reviews are exclusively based on whether I’d like to listen to an album while driving down the Pacific Coast Highway on a beautiful Los Angeles day. So when I read the extremely intricate (and sometimes hilarious) assaults on Maroon 5’s new album, ‘Overexposed,’ I just assumed I’d hate the record. “How could so many critics be wrong,” I thought. And given my hatred for Adam Levine’s egotism, I also assumed I’d find pleasure in disliking his record. But I loved it. It is genuine and enjoyable, and the tracks are just the right mix of workout-out-worthy up-tempo and imagine-a-man-is-singing-this-to-me low-tempo. Listen below to “Sad.”

Quote of the Day — The Washington Post Hates Maroon 5’s New Album

“Overexposed is a hit-seeking missile that doesn’t just slaughter Maroon 5’s reputation for sincerity (which was pretty nonexistent anyway), it festoons its corpse with glitter, hairspray and Hello Kitty stickers. It seems more like a collaboration between Swedish hitmakers and AutoTune than between Levine and members of his band, who apparently exist, but it’s a small price to pay.” An excerpt Allison Stewart’s very cutting and well-written review for The Washington Post on Maroon 5’s new record.

These United States Interview — Self-Titled New Album

Fifty percent of my taste in music is about the music, and the other fifty percent is about an artist’s personality. And Jesse Elliott of These United States has a great personality. I’m admittedly a new fan of his music, which I discovered when I noticed his joint tour with Trampled by Turtles — another great band. Once I found his music, I played every These United States album for about two weeks straight, an obsession that was solidified immediately after listening to Crimes. And because of my insatiable desire to pick the brain of artists I like, I reached out to his team for an interview. I knew it would be good, but I couldn’t predict the extent of his openness. He’s not just a good musician, he’s an interesting guy. In fact, I might have a new crush. Enjoy the interview!

I know your band started with different members. Why the rotation?

In the beginning it was a matter of practicality. We had a lot of different sounds in our mind that we weren’t capable of making ourselves, so we had to recruit other people. I think it mostly came out of liking different kinds of music and wanting to interpret songs in different ways.

What made you stick with your current band members?

It’s still a little bit of a free flowing thing, because all the people I play with have always played in their own projects with other people. I think of it as a big extended family, and people are free to come and go as it makes sense for their own lives.  That’s been good and bad but mostly good, and in the long term it keeps most of us as relatively sane creative collaborators.

Continue reading “These United States Interview — Self-Titled New Album”

Daniel Bedingfield Interview — ‘Stop the Traffik — Secret Fear’

I’d always liked Daniel Bedingfield, but he entered my interview-radar when my musician friends played his first album from top-to-bottom, while endlessly praising his songwriting prowess and vocal range. “He’s incredible,” they said. “You have to be great to get a number one dance track and a number one ballad on the same album.” When I discovered his very catchy new single, “Rocks Off,” the next day, I considered it fate and wanted an interview. I quickly found out that he’s gone completely independent, and I’d have to contact him directly. So I tweeted him, and he invited me to his show at Hotel Cafe the following week. Though Hotel Cafe is often a low-energy singer/songwriter venue, I knew his performance would be unique when he showed up in very colorful clothing, removed all the tables and chairs, and took the time to greet almost every fan that arrived. His charm and stage-presence won over the audience, who danced to both his new material and his most-loved hits. We scheduled an interview the following week, and I had an extremely long list of questions. Where has he been for the last eight years, how often will he be releasing new music, and whose idea was it to get naked at the end of his “Rocks Off” video? I figured I’d hold that last question until the end and only ask it if things went well, which they did.

I notice your very colorful style of dressing. Is the wardrobe choice a product of being an independent artist now?

I used to think that you had to consider the opinions of the people that you’re working with, because they work so hard and they’re so successful and they’re making millions, so they must know what they’re talking about. It doesn’t really matter anymore. I think the make-your-own-decisions, do-whatever-the-fuck you-like [approach] is much better.

Did the label have specific demands about how they wanted you to sound?

Sure. That’s why they didn’t release anything for eight years.

The irony is that when you first started in the industry the label was something you were probably aching to be a part of.

No. Your first job for the mafia, you could become a Don, or you could try to get out, and they could kill your whole family. My version of that is eight years of my twenties.

How does it feel to now be completely independent?

Now that I don’t care whether I succeed or not — I hope that I succeed, I dream that I succeed — [but] I don’t have the same pressure. It’s tough enough fighting this world to get music out without having to fight the business side. I’m very glad that I did it, [but] I never thought it was a golden opportunity. I don’t get excited by success, I get excited by creativity. So when I wasn’t able to release anything, that was difficult. But it was good for me. Now I know what it’s like to desperately want to do something for eight years.

You must get a little excited by success, though.

I’ve had enough to satisfy me, and I know it didn’t satisfy me when I had it. It’s not success that’s ever going to make me feel good. On the day “Gotta Get Thru This” hit number one, it was my 22nd birthday, and I had my first kiss with this girl I had been chasing for two years, and I was certainly more excited about the kiss.

Is it true you wrote the song on the way to professing your love to that girl?

I wrote it in the morning crossing the Tower Bridge on the way to work. My feet hitting the pavement gave me the tempo. After an hour-long chat with my mom she said, “It’s very obvious what you have to do,” so I went up to [talk to her]. We were best friends, and we were trying to pretend not to be in love with each other.

Is “Secret Fear” from your new EP also about a specific girl?

Yes.

Who’s the girl?

[He shakes his head to indicate he’s not going to tell me]. All my songs are true. As awful as it sounds, it’s that awful, and as wonderful as it sounds, it’s that wonderful. It’s a diary transcript.

Does the girl know it’s about her?

I don’t know if you’ve ever heard my song, “Wrap My Words Around You.” But it’s about whether it’s a good idea to tell a girl that a song is about her, because it can really play with the dynamics of a girl genuinely or not genuinely liking you. You can make a girl like you when she wouldn’t like you otherwise by writing a good song.

Is that a bad thing?

Yes. Because if you leave her, then it was all a lie. You can win someone’s heart and then leave her, and it can really hurt. It’s tricky. My songs have caused incredible devastation to a number of people. You can get absolutely into someone’s head with your song, and it becomes impossible to get out.

You didn’t answer my question. Does the girl know that “Secret Fear” is about her?

The beginning of that song is so shocking, what it says. I’m so frightened that any woman that I date will hear the lyrics and think I won’t be happy with her. It was a deliciously bad feeling writing that. I knew I could be fucking my life hard-core. I was getting-off on the danger. Imagine you’re lying in bed as my wife and thinking of those lyrics.

I also love “Rocks Off” from the new EP, and I like how different it is from “Secret Fear.” Is the variety on your records a calculated choice?

This idea of an artist having one sound is nothing I’ve ever connected with. I don’t think it’s a valid restriction, so no — I don’t think about variety, I just think about the song. I’m not trying to be clever, I’m just incredibly ADD.

I know you’re releasing EPs 3-5 months apart. Do you think this is the wave of the future in the music industry?

Everyone I’m listening to thinks so.

You’re in a family of musicians. Are there moments when you have to tell them to buzz-off?

We are the last people to hear each other’s music. We don’t like playing it for each other. An honest opinion might not have a place in your family. Is the point of family to criticize?

Were you ahead of your time with the social media transition in the music industry? You’re really good with replying to your fans on Twitter.

I really like them! I have an amazing social media coordinator. I told her I didn’t have the time and energy to reply to my fans on Facebook and Twitter. She said, “That’s incredibly sad.” She said so many people are finding a way of interacting with their true fans through this. She’s like a Twitter evangelist. So I started replying, and I now wake up in the morning so happy to see what people are talking to me about. I realize that it’s the beginning of peeling away the wall of managers and record company people that are supposed to protect the artists from their fans.

I read a tweet about your “Rocks Off” video where a fan called it misogynistic, and you said that you’d seriously consider the criticism. I found the exchange very funny.

It is misogynistic. It’s an expression. Art doesn’t have to be balanced.

Whose idea was it to be naked at the end of the video?

Me! I wrote this thing! I’m trying to say something behind that video, and one of those things is that I don’t give a fuck about clothes or what I’m wearing, and I desire to be naked in all my music and in this interview. And also — guys getting stripped by girls . . . I think that’s quite funny.

I’m not sure I’d have the guts to be fully naked in a video.

That’s the point. I found the guts to be naked in a video in front of the planet, and in my next video I’m completely naked, underwater, in fire, and spinning. It’s not a perverted thing. I’m a nudist. I’m naked all the time.

My other favorite song on the new EP is “Don’t Write Me Off.”

Thank you. That’s something that’s very important. There’s a whole crowd of people that want the piano stuff, and there’s a whole crowd of people who just want the rock stuff. [One guy will] say, “Daniel, nobody likes that falsetto.” Then the other guy will say, “The best thing about you is your falsetto.” So if it’s really moving me, and I’m feeling the energy of everything flowing through my veins, then I’m going to release it.

Listen below to Daniel Bedingfield’s EP, Secret Fear — Stop the Traffik, and watch the video for his new single, “Rocks Off.” Note: Be sure to stay tuned for the end of the video — that’s when he gets naked.