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MJC455

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    The Who Thread

    in Other Bands / Music

    Posted

    Daltrey explains that while some people voiced a preference for Led Zeppelin over The Who back in the '70s, that was because Zeppelin's music is "easier on the ear in a way," and "a little bit more commercial."

    Meanwhile, he says the energy that used to come out from a Who concert was terrifying. Roger adds that the only thing The Who should perhaps apologize for is the haircuts.

    Come on Roger come up with reason than that to pull the zepp reference out of thin air

    http://www.lonestar925.com/articles/rock-news--104703/the-whos-daltrey-boasts-the-band-11397496/

    Led Zeppelin in movies.

    in Led Zep Trivia

    Posted

    Led Zeppelin loosens its grip on using its music in films

    Led Zeppelin licensed songs for two films considered contenders in this year's Oscars race.

    By Glenn Whipp

    December 3, 2012, 9:51 a.m.

    While cutting “Silver Linings Playbook” with editor Jay Cassidy, director David O. Russell was watching the scene in which Bradley Cooper’s bipolar protagonist Pat Solitano melts down in his parents’ attic looking for a copy of his wedding video. The frantic search had been triggered by a highly charged first evening with Tiffany (Jennifer Lawrence), a woman, Pat subconsciously realizes, who might derail him from his manic mission to reunite with his estranged wife.

    Russell wanted to marry the dialogue and visuals to a piece of music, heightening its cinematic appeal. And he found what he calls the perfect bipolar song, Led Zeppelin’s “What Is and What Should Never Be.”

    “It starts so gentle and loving and then gets really loud and crazy and then gets quiet and gentle again,” Russell says. “It was like a theme song written for Pat.”

    One problem: Led Zeppelin has been notoriously picky about allowing its music to be used in films. The band members' reluctance has lessened a bit over the years, but their asking price remains high, often in the neighborhood of a seven-figure fee. That kind of payout isn’t possible for a modestly budgeted movie like Russell’s.

    And even if you have the money, as Ben Affleck did when he approached the band to use its sludgy anthem “When the Levee Breaks” for his period hostage drama “Argo,” you basically have but one option: Dogged persistence.

    “You have to be like a man determined to marry somebody,” Russell says, laughing. “And you keep coming back humbly, and humbly asking, ‘May I please show you the film? Do you know how much this means?’ It’s a slow process, and you have to go about it passionately. Otherwise, you won’t get the song.”

    Both “Silver Linings Playbook” and "Argo" are considered contenders in this year's Oscars race.

    When Affleck shot the scene in “Argo” depicting the hostages’ last night in Tehran before their escape attempt, he didn’t know what song he’d use behind the footage. He filmed Tate Donovan putting the tone arm down on the first track of a vinyl record. In the editing room, Affleck and editor William Goldenberg tried some 40 different songs, settling first on The Eagles’ “Hotel California” before deciding that the lyrics “you can check out any time you like, but you can never leave” were too on the nose.

    Affleck had always leaned toward using Zeppelin, and after trying several songs, including “Kashmir,” he settled on “When the Levee Breaks.”

    “It’s got an ominous feeling, but it’s celebratory in a sense as well,” Affleck says. “Zeppelin, to me, is the greatest rock 'n' roll band. People say, ‘The Beatles, the Stones.’ No. It’s Zeppelin.”

    The band eventually signed off on the song, but had one request. Since “Levee” is the fourth song on side two of “Led Zeppelin IV,” they asked Affleck if he could digitally change the shot so it looked like Donovan was putting the tone arm down at the correct spot on the record.

    “So not only did we have to pay for the song,” Affleck laughs, “we had to pay for an effects shot. You have to appreciate their attention to detail, though.”

    David Chase’s coming-of-age, rock 'n' roll film “Not Fade Away” doesn’t contain any Zeppelin songs, as it’s largely set in the mid-'60s, before the band was formed. But it does have 52 musical cues, including four each from the Beatles and the Rolling Stones, meaning that 10% of the movie’s budget went to music rights alone. And that’s at the discount rate that the movie’s music supervisor, E Street Band guitarist and “Sopranos” alum Steven Van Zandt, was able to procure, thanks to his connections in the business.

    “When we made the deal with the Beatles’ and Stones’ people, especially the Stones people, we told them we would not use the big hits,” says Chase, who used the Rolling Stones’ music on several episodes of “The Sopranos” as well. (“I could have scored the whole ‘Sopranos’ using just Stones songs, he says.)

    Chase did stick with lesser-known songs such as “Tell Me” and the Stones’ cover of bluesman Willie Dixon’s “I Just Want to Make Love to You” ... until he hit on a late inspiration that required the band’s signature hit, “(I Can’t Get No) Satisfaction.”

    “That wasn’t in the script,” Chase says. “I needed a guitar riff that went along with living in an age when everything could be destroyed in an instant. I needed ‘Satisfaction.’ Thankfully, we got the rights. The right song means everything.”

    http://www.latimes.c...0,6146243.story

    Available at Newstands (Nearly) Everywhere

    in News

    Posted · Edited by MJC455

    I did'nt want to start a thread with this but maybe post here

    Jimmy Page on the Pre-Raphaelites

    29 August 2012

    jimmy_page_1_102repl_0.jpg

    Edward Coley Burne-Jones The Attainment: The Vision of the Holy Grail to Sir Galahad, Sir Bors and Sir Percival 1890-1894 Cotton, wool and silk 239 x 749cm

    © AKG images, private collection

    Pre-Raphaelites: Victorian Avant-Garde at Tate Britain II — The guitarist and founder of Led Zeppelin is a fan and collector of the art of the Pre-Raphaelites. He talks to Tate Etc. about his lifelong passion

    • page_02_0.jpg
      Edward Coley Burne-Jones The Arming and Departure of the Knights of the Round Table and the Quest for the Holy Grail 1890 - 1894 Cotton, wool and silk 240 x 347 cm
      © The Bridgeman Art Library, private collection

    I have had a passion for the Pre- Raphaelites since my early teens. I would have initially seen them as reproductions, but I remember a visit to Tate and encountering the actual paintings. They had a profound effect on me. It was quite an experience – the realism of their technique along with the idealism, and of course the romanticism.

    This was before I attended art college. Most people would assume that it was there that I was first exposed to their work, but actually the teaching and syllabus of that time was much more to do with modern art and using modern materials – acrylics in particular – so oil painting, particularly of earlier styles, was not championed. My study of Pre- Raphaelitism, if you need to call it that, was therefore entirely self-driven and a personal quest.

    As you know, this art was selling for mere hundreds of pounds at the time, but I was a student and didn’t have that kind of money to buy it. However, as soon as I was in a position to do so, I indulged myself. As to which of the artists I most admired, of course I adored Edward Burne-Jones and Dante Gabriel Rossetti, but is there any point or justification in singling out any of them? The art and life and death of Lizzie Siddal always moved me. I think it would be fair to say that I was pretty intoxicated with the whole movement.

    Later, I had the chance to buy the two tapestries which are on loan to the Tate exhibition. There were three in an auction at Sotheby’s,Belgravia; I think the date was 1978. I fixed on the two I acquired, although all three were beautiful. What enthralled me was the majesty of their drawing and of the execution of the tapestries by those unbelievably skilled craftsmen. The attention to detail of the subject matter and even the background of verdure and flora is still quite astonishing to me. At the time I found it overwhelming. I only hope visitors to the exhibition will feel the same intensity of passion as I did when I first saw them. They were the absolute zenith of Burne-Jones’s and William Morris’s output. I believe Morris himself said the series of tapestries was his masterwork.

    Jimmy Page talked to Paul Reeves.

    http://www.tate.org.uk/context-comment/articles/jimmy-page-on-pre-raphaelites

    Current music recommendations

    in Other Bands / Music

    Posted

    Café del Mar (freely translated as “cafe by the ocean”) is world famous bar located in Sant Antoni de Portmany, Ibiza, Spain. Known for its spectacular sunsets and chill-out music, it is a popular tourist destination during the summer season. Hundreds, sometimes thousands, of tourists and locals gather in front of the café to enjoy relaxing chill-out music, while the sun slowly disappears under the horizon. Café del Mar has played a major role in the foundation of chill-out music culture[1].

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