MetaFilter posts tagged with DavidByrne

We live in the city of dreams, We drive on the highway of fire

Toekneesan — Sun, 27 Sep 2009 09:59:08 -0800

David Byrne has just published a new book about bicycles called Bicycle Diaries. A long time rider, Byrne muses on how the world looks and works from the vantage point of a cyclist. It's getting pretty good reviews. To launch the book, Byrne is touring the US and arranging public forums. Each event features a civic leader, an urban theorist, a bicycle advocate, and Byrne himself speaking about bikes in cities. Here’s a schedule of the upcoming events. He’s also designed some bike racks for his hometown of New York City. Special Bonus Links! Byrne's review of Pedaling Revolution: How Cyclists Are Changing American Cities by Jeff Mapes A map of Byrne's Bike Racks. A three part tour of Byrne's New York studio. David Byrne on the perfect city. (Previously)

This music video is MONEY.

slappy_pinchbottom — Sat, 17 Jan 2009 14:08:22 -0800

"Money" is a completely AWESOME music video of a track by N.A.S.A. (North America South America), a DJ collective featuring Squeak E. Clean and DJ Zegon plus many famous guest artists, including, on this track alone, David Byrne, Chuck D, Ras Congo, Seu Jorge, & Z-Trip. (Other tracks by N.A.S.A. feature the likes of Tom Waits, M.I.A., Gift of Gab and Kool Keith.) The video features the artwork of Shepard Fairey, who has been discussed previously here. The video was directed by Paul Griswold and Syd Garon (who also did this great video for DJ Qbert and this one for Dan the Automator, which features some nice Gilliamesque touches.)

Can you spot Mr. Cook's cameos in the videos?

flatluigi — Thu, 27 Nov 2008 18:15:39 -0800

The Brighton Port Authority was a shadowy musical project lasting from the early 1970s and lasting until the mid 90s, or so it's rumored. The tapes from this project have recently been found and are slowly being released. Or, it could just be the new project of Norman Cook, more commonly known as Fatboy Slim. So far, two singles have been released: "Seattle," featuring Emmy the Great; and "Toe Jam" (NSFW), featuring Dizzee Rascal and David Byrne.

You may ask yourself, how do I work this? David Byrne on robots

whir — Fri, 08 Aug 2008 08:50:55 -0800

David Byrne writes three thoughtful essays on robots, song, and the uncanny valley on the occasion of the creation of a robot which sings in his voice at a Madrid museum: Visiting the robot factory in Texas, regarding the uncanny valley, on machines and souls.

Another Reason You Wish You Were David Byrne

Fuzzy Skinner — Fri, 13 Jun 2008 06:17:44 -0800

Once again, David Byrne plays the building. Previous post, referring to the 2005 version.

Stop making sense of this business of music

psmealey — Thu, 20 Dec 2007 12:01:41 -0800

David Byrne's Survival Strategies for Emerging Artists — and Megastars Where there was one, now there are six: Six possible music distribution models, ranging from one in which the artist is pretty much hands-off to one where the artist does nearly everything. 1. At one end of the scale is the 360, or equity, deal, where every aspect of the artist's career is handled by producers, promoters, marketing people, and managers. 2. Next is what I'll call the standard distribution deal. The record company bankrolls the recording and handles the manufacturing, distribution, press, and promotion. The label, in this scenario, owns the copyright to the recording. Forever. 3. The license deal is similar to the standard deal, except in this case the artist retains the copyrights and ownership of the master recording. The right to exploit that property is granted to a label for a limited period of time — usually seven years. 4. Then there's the profit-sharing deal. 5. In the manufacturing and distribution deal, the artist does everything except, well, manufacture and distribute the product. 6. Finally, at the far end of the scale, is the self-distribution model, where the music is self-produced, self-written, self-played, and self-marketed. No single model will work for everyone. There's room for all of us. Some artists are the Coke and Pepsi of music, while others are the fine wine — or the funky home-brewed moonshine. And that's fine. Sometimes a corporate soft drink is what you want — just not at the expense of the other thing. I like Rihanna's "Umbrella" and Christina Aguilera's "Ain't No Other Man". In the recent past, it often seemed like all or nothing, but maybe now we won't be forced to choose.

"Window in the Sky", a U2 montage of 137 video clips

stbalbach — Mon, 29 Jan 2007 14:20:28 -0800

"Window in the Sky" is a YouTube style video synch mash-up done on a professional budget with the magic of copyright clearances. "It's a triumph of postmodern reconstruction" says the Washington Post.

Sane as it ever was... Same... As... it... ever... was.

nathan_teske — Sun, 06 Aug 2006 11:40:52 -0800

David Byrne blogs, including a recent post on Jesus Camp. (Via BoingBoing. Jesus Camp, previously on Metafilter

My Life in the Bush of Ghosts released with CC license.

dobbs — Thu, 30 Mar 2006 13:36:01 -0800

Brian Eno and David Byrne released My Life in the Bush of Ghosts in 1981. It's a great album--and now it's available with a Creative Commons License. "This is the first time complete and total access to original tracks with remix and sampling possibilities have been officially offered on line."

An anthropologist from Mars

Swampjazz! — Mon, 29 Nov 2004 07:32:04 -0800

David Byrne's web journal

austin animators extraordinaire

madamjujujive — Mon, 11 Oct 2004 08:32:55 -0800

From surreal and scathing political satire to muisc videos such as Molotov's hot latin Frijolero and David Byrne's The Great Intoxication, Austin's Jason Archer and Paul Beck are producing some great animation. (large flash and quicktime clips) - via snarky malarkey

Learning to Love PowerPoint

kirkaracha — Wed, 20 Aug 2003 09:43:32 -0800

Learning to Love PowerPoint Wired and the New York Times feature David Byrne's DVD/book Envisioning Emotional Epistemological Information, which contains art he created with PowerPoint. The title's a reference to Edward Tufte, who has his own opinion of PowerPoint (which was remixed by Aaron Swartz).