On this hangout episode we have an eclectic conversation about the relationships between new technology and the creation and distribution of artistic works. Topics include the newly formed Internet Creators Guild that seeks to educate professionals and amateurs alike on the potentials of internet content creation, the very first recording of music generated by a computer in 1951, the future of virtual reality content, and the experience of watching a new movie released through Netflix.
In part two of our three-part series, we examine the development of punk through the 1970s as it transforms from a small collective of like-minded artists into a worldwide cultural phenomenon. First, we look at Iggy Pop and the Stooges' influence on the sound and attitude of punk music. This leads to the New York CBGB scene with Patti Smith, Television, and The Ramones. Finally we see how this style crossed over to England with The Sex Pistols and The Clash.
Throughout the episode we explore the musical characteristics and philosophies that formed these bands. The creation of punk as it is commonly known today was heavily influenced by the work done by these six bands.
Justin Vernon is a musical force of nature. Between his last album in 2011 and now he recorded tracks with Kanye, James Blake, Mavis Staples, Francis and the Lights, and Colin Stetson, recorded full albums with Volcano Choir and Shouting Matches, produced albums for Kathleen Edwards and The Staves, started the Eaux Claires Festival in his hometown with The National’s Aaron Dessner, opened a studio in the same area, and won a Grammy despite openly insulting the Grammys.
After all that activity he’s finally finished his newest album with the project that made him famous in the first place, Bon Iver, and it’s even more opaque than usual. Directness has never been a virtue that Vernon honors. Many assumed that the eponymous Emma from his first album was an old flame. But he later revealed that it was actually a state of mind, a combination of a broken relationship, sickness, and leaving his old band DeYarmond Edison. He obscures meaning to an almost comical degree with the songs titles of 22, A Million.