In 1971 Jean Garetto and Pierre Codou began to dream of a radio station that could calm even the drivers stuck on the Paris Périphérique. It would play wonderful, unexpected music chosen by people who knew their onions. The tracks would be drawn from diverse genres and chosen to seque enchantingly. There would be no jingles, commercials or self-aggrandising DJs - not even defined programs - just some announcers chosen for their mellifluous voices but paid to mostly stay quiet. The result was - and is - FipRadio
. Fans have included residents of Brighton in the UK who enjoyed an illegal re-transmission of the station
for many years - and journalist David Hepworth who describes the thrill of hearing "a voice you want to marry whispering words you can't understand
! [more inside]
posted by rongorongo
on Sep 26, 2013 -
Two and a half years ago, we explored the early history of Cartoon Network
... but it wasn't the only player in the youth television game.
As a matter of fact, Fred Seibert
-- the man responsible for the most inventive projects discussed in that post -- first stretched his creative legs at the network's truly
venerable forerunner: Nickelodeon
Founded as Pinwheel, a six-hour block on Warner Cable's innovative QUBE
system, this humble channel struggled for years before Seibert's innovative branding work transformed it into a national icon and capstone of a media empire.
Much has changed since then, from the mascots and game shows to the versatile orange "splat."
But starting tonight in response to popular demand, the network is looking back
with a summer programming block dedicated to the greatest hits of the 1990s
, including Hey Arnold!, Rocko's Modern Life, The Adventures of Pete & Pete, The Ren & Stimpy Show, Double Dare, Are You Afraid of the Dark?, Legends of the Hidden Temple
, and All That
To celebrate, look inside for the complete story of the early days of the network that incensed the religious right, brought doo-wop to television, and slimed a million fans -- the golden age of Nickelodeon. (warning: monster post inside) [more inside]
posted by Rhaomi
on Jul 25, 2011 -
is a media platform with the latest, most relevant news from the worlds of art, fashion, design, music and film. Recent features include: Harvest by Haroshi: Skate and Destroy
, artworks created with old worn, or snapped, skateboard decks | Disassembly
, capturing relics of our past in a unique, dismantled and exposed form | Murakami at Versailles
, knee-deep in controversy since its inception | and Darren's Great Big Camera
, a short documentary
about a camera that shoots on 14" x 36" negatives and measures 6ft. in length.
posted by netbros
on Jun 1, 2011 -
19th-century newspaper ads for patented stomach cures and digestive aids [...] foregrounded mince pie as the K2 of digestive summits. But for every published warning on the dangers of mince, the newspapers published a poem, essay, or editorial praising it as a great symbol of American cultural heritage or a nostalgic reminder of mother love and better times bygone—or even, as the State of Columbia, South Carolina, asserted in 1901, a beneficial Darwinian instrument that had "thinned out the weak ones" among the pioneering generations.
So wrote Cliff Doerksen in his wonderful, James Beard award-winning article Mince Pie: The Real American Pie
. Doerksen not only gives the history of this once most American of foods, he also makes two mince pies from 19th Century recipes to see if they are indeed all that. This is but one of many great articles Doerksen wrote for The Chicago Reader in recent years (links to a selection below the cut). Sadly, Cliff Doerksen passed at the age of 47 just before Christmas
. [more inside]
posted by Kattullus
on Dec 29, 2010 -
is perhaps the internet's most infamous hack
, digi/net artist
. His work
stands for a growing culture
of artists who run wildly
through animated GIF landscapes populated
with corrupted data-compressed
bunny rabbits and tinny, MIDI renditions
of Savage Garden ballads. As the Lisson Gallery
, London, opens its archives to Arcangel's curatorial eye, could digi/net art
be set to infect
the real, fleshy world
, like a rampant Conficker Worm
? Has YouTube become
the truest reflection of our anthropological
selves? Are we destined to roam the int3erw£bs like the mythic beasts of yore
, hoping, in time
, that digi art can free us
from the confines of this fleshy void?
posted by 0bvious
on Dec 8, 2009 -
is a "metasearch engine" that generates a sprawling cornucopia of sound, text and images based on your query.
posted by dhammond
on Feb 13, 2008 -
Verizon Must Reveal Internet Song Swapper
In a recent discussion
of the Supreme Court's decision to protect the rights of the individual from the greed and sloth of the many I warned that the RIAA and MPAA, comically inept though the media paints them, would soon have things their way. This link is to a news report about an important step in their fight for individual rights.
posted by BGM
on Jan 21, 2003 -
MTV bans Public Enemy
's video "Gotta Give the Peeps What They Need" because the video contains the lyric "Free Mumia and H Rap Brown". MTV are willing to air the video if the lyric is cut. Public Enemy front-man Chuck D is vocal in his response
. Responsible action or censorship in its worst form?
posted by nthdegx
on Sep 14, 2002 -
This evening 20/20
broadcast a report on the new payola
.Names are named. This explains a lot about the current state of music radio. Ironically, one of those complaining the loudest was good ol' Hilary Rosen of the RIAA
who are doing their damnedest to destroy internet radio
, along with college and public radio, the only alternative to the institutional corruption she decries. But in this case, she's on the side of the angels, it would seem. This report is timely though and does illustrate what's wrong with concentrating media power in too few hands.
posted by jonmc
on May 24, 2002 -
Sony to introduce new CD format.
No, it's not DVD-Music. It's a new double-capacity CD format that Sony says "will be able to prevent illegal copying." I'm assuming the new format will require all-new hardware to read and to write. So my question is, what's the point? Won't another music format just increase consumer confusion and make them more reluctant to buy? Why come out with a 1.3GB format just as recordable DVDs, with much larger capacities, are becoming practical? Do they really expect people to buy all new hardware to support what is obviously a dead-end format?
posted by daveadams
on Jul 5, 2000 -