Today in Bopst Design/Promotion/Programming: 4/25/2017 & 2018

Hi everybody sorry for falling off the face of the earth for weeks at a time. anyway do you guys think rimmer would enjoy shooby taylor

Bruce and the rest of the batfam make a lot more sense when you remember they’re from Jersey. Like we’re just kinda like that.

But I also love the idea that Gotham is in South Jersey cause that’s my area and like, it makes even more sense. Yeah the Philly and New York adjacent areas have their own wild shit, but just thinking about the people I grew up around and how decades of people like them shaped Gotham into a city where Batman and his group of unruly children is normal, it totally fucking tracks.

(Although I can’t decide if it’s funnier to have Gotham be like slightly north of AC and Brigantine, which would explain a lot, or if it’s funnier down by Salem which is just hilarious to me. If that’s the case then Bludhaven is absolutely by AC and nobody can convince me otherwise.)

Like, the batkids having the pork roll/taylor ham debate? Does central jersey truly exist? Tim, Jay, and Cass going to the pine barrens over a long weekend to camp out in search of the jersey devil? (Dami was physically locked in the cave so he could not join them. They had to use the heavy duty chains. He almost escaped.)

Dick comes back after spending too much time with the titans and asks if anyone wants to go to the beach. You can see Jay’s soul leaving his body as he prepares to beat the jersey shore back into his shoobie brother with extreme prejudice. Bruce gets nostalgia in the spring for corn season in the fall. The cowtown rodeo, lucy the elephant, wildwood, cape may, the possibilities are endless y’all. Gimme more South Jersey Bats damnit.

Dawes & Bahamas Live Stream Review: 11/15, Mandolin

Photo by Ward & Kweskin

BY JORDAN MAINZER

On their latest album Misadventures of Doomscroller (Rounder), Dawes finally stepped out of their comfort zone. With longtime collaborator Jonathan Wilson in the producer’s chair, the Los Angeles band ditched their trademark Laurel Canyon-inspired sound for longer, more experimental rock songs. Fittingly, they tackled everything from age-old tales of political control in a world of tyrants to new school themes of social media addiction. The proggy nature of the music fit the concept-heavy lyrics.

As if the about-face of Doomscroller wasn’t enough, Dawes decided to further shake things up with their recent tour with Bahamas, the project of Canadian singer-songwriter Afie Jurvanen. Throughout September, the two acts backed each other, even singing each other’s songs. Last Tuesday via Mandolin, they presented a stream of their concert from the Englert Theatre in Iowa City. At first, even older Dawes songs, stretched out to languid jam sessions, presented a clear contrast to Bahamas’ efficient pop. Jurvanen’s songs represented a welcome change of pace between ripping, tempo-changing Dawes tunes like “Someone Else’s Cafe / Doomscroller Tries to Relax” and “Most People”. Still, they contributed to each other. Jurvanen���s thrilling guitar solos bolstered Taylor Goldsmith’s urgent vocals, Lee Pardini’s smooth keyboards, and Griffin Goldsmith’s unexpectedly stadium-sized drums. On Bahamas songs like “Own Alone” or the snappy funk of “All The Time”, the Dawes folks offered up strong instrumental and vocal harmonies, guitars in sync before Jurvanen unveiled his terrifically prickly lines.

What was perhaps even more notable, though, was the difference in sentiment between the songs of the two acts. Take a Doomscroller song like “Everything Is Permanent”, introduced by Taylor as “our collective brains melting together.” A choogle with a mid-song breakdown and proggy keyboard solo, dipping to silence and elevating back, it ends with the refrain, “Did you really need to cry or be seen crying?” It’s a lukewarm take on social media performance, some Steely Dan cynicism for the modern age to go along with Taylor’s Becker-esque guitars. It couldn’t be farther in mood than Bahamas’ “Way With Words”, a smooth soulful keyboard-heavy tune with a heart of gold, or “Opening Act (The Shooby Dooby Song)”, wherein Jurvanen reflects on all the time he spent opening for other bands and learning from his own mistakes. (For what it’s worth, Doomscroller’s “playing in the band” song “Ghost in the Machine”, which Dawes didn’t perform, could be “Opening Act”’s sibling.) During “Opening Act”, Jurvanen goofily ad-libbed a semi-introduction to Dawes, “Taylor on my left and Trevor [Menear] on my right / I just remember to put away all the Fenders and just let Lee loose.” Real jam band lore should someone have been taping.

At a certain point towards the end of the concert--probably Bahamas’ “Trick To Happy”--I couldn’t help but think that as much as I enjoyed how much each band bolstered the other’s songs, that even if you were dropped in not knowing either one prior, and even if they weren’t alternating, you’d be able to tell whose song was whose. Ingeniously, however, and intentional or not, they then played two songs in a row that bucked the trend. Dawes’ “Roll With The Punches” sported a Bahamas-like strut, while Bahamas’ gentle “Lost in the Light” embodied the scratchiness of the earliest Dawes records. And their encore performance of Bahamas’ “Stronger Than That” personified both bands, Jurvanen’s inherent hopefulness combined with Dawes’ skyward melodies. All in all, it was the third time Dawes surprised me this year. Perhaps only a fool would say this, but Dawes’ concert with Bahamas exemplified a band in their second decade of existence growing as much as ever.

12 and 18 :)

oh ho ho nice

12. 3 songs from video games

-odin sphere theme, the new leifthrasir arrangement is really beautiful but linking the original for nostalgia

-far away by jose gonzalez, torn between this and the 2018 game of the year awards compilation of the rdr2 soundtrack....fuck it both

-horny old man from little big planet :)

18. 3 songs make me think of best friend (@lauroara <333)

-isles by fleet foxes

-past and the pending by the shins

-if we hold on together by diana ross

-bonus cuz i cannot ignore it: stout-hearted men by shooby taylor

Question for anyone that likes folk music: what’s the worst folk song out there? Like is there an Ed Wood or a Shooby Taylor or a Tara Gilesbie of the folk music scene?

Don’t worry, I won’t (stifles a laugh) I won’t remix it with a club beat or anything

from BobMarleyHats.info (RIP)

thirteen songs ive been listening to recently :-) tagged by @fischmonger (thank u, i did listen to your songs hehe) and im tagging @curiouslycreative if you want

1. Merrily We Roll Along sung by Eddie Cantor

2. Oh Gee Georgie, also by Eddie Cantor

3. Limbo by Negativland

4. Tuku Tuku Lampaitani sung by Tapio Rautavaara

5. To Me He Is So Wonderful by Shooby Taylor (honestly every song by him)

6. Lazybones sung by Paul Robeson

7. Woodpecker Song sung by The Gaylords (smrik)

8. I'm Crazy 'Bout My Baby sung by Fats Waller

9. The Birth of The Blues sung by Sammy Davis Jr.

10. My Blue Heaven sung by Fats Domino

11. Before I Ask by Negativland again..

12. Zing!Went the Strings of My Heart by Frank Sinatra -_-

13. When There is No Sun by Sun Ra :-)

On the final exam to get your certification as a professional transcriber, there’s only one question: “Shooby Taylor Scats Mozart” from his album “the Human Horn”

IF YEEZY HAD BEEN REAL ABOUT IT HE WOULDA SAMPLED SHOOBY TAYLOR AND DITCHED KENNY G’S ASS

Shooby Taylor rly is the greatest artist of the 20th century

lesson learned: never hand Kris the aux cord cause he just plays shooby taylor the whole time

I love your pets, especially Goose and her eyes that scream that her thoughts are just elevator music.

*stout hearted men by shooby taylor on repeat*

Neil Cicierega fanfic: “We Like To Shooby”

It’s the instrumental to “We Like To Party” by the Vengaboys beefed up with some of Biz Markie’s beatboxing, vocals by Shooby Taylor samples and the verses from “I’m the Scatman”. Then, once the listener has gotten used to them, BAM, tune the ‘boo wop a doo heema neema’ part of “Freak On A Leash” to imitate the ‘hi-de-hi-de-hi’ call-and-repeat section from “Minnie the Moocher” punctuated with 'ba dee yah’ from “September”, climax with your choice of Ella Fitzgerald’s scatting. Attempt to avoid the temptation of including the ‘doot doot doot’s from “Semi-Charmed Life” but if they sneak in that’s fine.

Florence Foster Jenkins - Aria: Queen of the Night (1940-41)

Hasil Adkins - She Said (Jody Records, 1964)

Mrs. Elva Miller - Downtown (Capitol Records, 1966)

The Legendary Stardust Cowboy - Paralyzed (Psycho-Sauve’ Records, 1968)

Lucia Pamela ‎– Into Outer Space With Lucia Pamela (Gulfstream, 1969)

The Shaggs - Philosophy of the World (Third Word, 1969)

Shooby Taylor - Blowing my Mind (Shooby Records, 1970)

Peter Grudzien ‎– The Unicorn (Self-Released, 1974)

Jandek (The Units) - Ready for the House (Corwood Industries, 1978)

Rick Grossman - Hot Romance (Thunderbolt Productions, 1978)

Examples of ‘outsider’ music (part 1)