Rolling Stone Interview: Rick Astley's Angry About "Rick Roll'd"

New, from Paste Magazine

 maryte wrote: 
So the Notebook for Anna Magdalena Bach might be an exercise in narcissism?  Say it ain't so, Jo(hann)!  

Forensics casts doubt on music of Bach

by Heather Catchpole
Cosmos Online

SYDNEY: A forensic analysis of 18th century letters and musical manuscripts has shown that Johann Sebastian Bach's second wife may have written or co-composed some of the genius composer's best-known works.  Bach was born in 1685 and died in 1750. He was a renowned organist, and is one of the most famous composers of all time. (click link on title for the full story)

Bump for Spambag

 phineas wrote: 

I saw that story! A kyrie and a credo just waiting for Daniel Barenboim to record on piano. Maybe Emanuel Ax or Murray Perahia, though.

 phineas wrote:As prolific as Mozart was, a discovery of a new score is spectacular!  I'd love to hear it.

< dateline >Nantes, France< /dateline > — A French municipal library has discovered a musical score handwritten by Wolfgang Amadeus Mozart in its archives, the Nantes town hall said on Thursday.

The one-page work, donated to the town by a private collector at the end of the 19th century, was until recently thought to be a copy rather than an original.

The unpublished score, measuring 16 centimetres by 29 centimetres, is thought to have been written around 1787, according to an expert musicologist from the Mozarteum university in the composer's native city of Salzburg in Austria.

The score is undergoing a second round of expert investigations, Nantes authorities said.

“A Mozart autograph is hugely valuable. There are lots of them in the vaults of Swiss banks,” said Michel Noiray, head of the French centre for research on musical heritage.

Mozart was one of the most prolific classical composers. He died in 1791 at the age of 35, leaving over 600 known pieces of music

DETROIT — Canadian pop singer Sarah McLachlan is splitting from her husband of 11 years, and is sharing her grief with fans in two new songs.

"U Want Me 2" and "Don't Give Up on Us" both appear on her upcoming greatest hits album "Closer: The Best of Sarah McLachlan," which comes out October 7 via Arista Records in both a single-disc version and a two-CD deluxe package.

"I'm separating from my husband, so these are the songs about that," McLachlan, 40, told Billboard.com.

McLachlan and her husband Ashwin Sood, who plays drums in her band, reside in Vancouver. They have two daughters, six-year-old India Ann Sushil and Taja Summer, 14 months.

"I wasn't planning on saying anything," McLachlan added, "but it's gonna come out at some point. I haven't said anything about it because I've been terrified to, but I figure ... there's no good time to say it, so I just said it."

McLachlan called the situation "pretty gross" but did not elaborate on reasons for the separation or the couple's future plans.

 

====

 

Tough for anyone. Tougher still to be a public figure. And the little one is only 14 months old... sad sad sad.

For all of you who are, like we are, fans of classic '70s soul music, an R.I.P. that got lost in the shuffle recently. Spinners singer Pervis Jackson dies days after cancer diagnosis.

The Associated Press • August 18, 2008

DETROIT - Pervis Jackson, the man behind the deep, rolling bass voice in a string of 1970s R&B hits by The Spinners, has died after being diagnosed with brain and liver cancer. He was 70.

Jackson died about 2 a.m. Monday at Detroit Sinai-Grace Hospital, his wife Claudreen told The Associated Press.

Doctors found tumors late last month, but had been awaiting tests to determine if they were malignant. He was diagnosed with cancer two days ago, she said.

"I was watching him waste away the past month," Claudreen Jackson said. "He wasn't eating. He was losing weight, coughing. At the end of July, we took him to the doctor. His words were `I'll be all right. I'll be all right."'

The native of the New Orleans area was one of the original five members of the group which started out in the late 1950s singing doo-wop in Detroit. They worked under the Motown label in the 1960s but shot to stardom after moving on to Atlantic Records in the 1970s.

Jackson last performed July 19 in California with the remaining original members of the group, Bobbie Smith and Henry Fambrough, and two new members, his wife said.

With song's like "Mighty Love," "I'll Be Around," "One Of A Kind (Love Affair)" and "Then Came You," The Spinners were a constant on the R&B and pop charts during the 1970s.

The Spinners compiled 12 gold records, according to the group's official Web site. Jackson had been planning to perform with the group later this month in South Africa and in Wales in September, his wife said.

"I am extremely proud of the example he set in his music. The Spinners' music was clean," said Claudreen Jackson, 69. "What comforts me is he is one person who lived his life exactly the way he wanted to."

She met Pervis Jackson in 1964. They married in 1968.

He also is survived by four adult children.

Dave Matthews Band sax player LeRoi Moore dies at 46 from injuries sustained in ATV accident

By RAQUEL MARIA DILLON

Associated Press Writer

6:17 AM CDT, August 20, 2008

LOS ANGELES (AP) _ LeRoi Moore, the versatile saxophonist whose signature staccato fused jazz and funk overtones onto the eclectic sound of the Dave Matthews Band, died Tuesday of complications from injuries he suffered in an all-terrain vehicle accident, the band said. He was 46.

Moore died at Hollywood Presbyterian Medical Center, where he was admitted with complications that arose weeks after the June 30 wreck, according to a statement on the band's Web site. It did not specify what led to his death, and nursing supervisor Galina Shinder said the hospital could not release details.

On June 30, Moore crashed his ATV on his farm outside Charlottesville, Va., but was discharged and returned to his Los Angeles home to begin physical therapy. Complications forced him back to the hospital on July 17, the band said.

The band went on with its show Tuesday night at the Staples Center in Los Angeles, where lead singer Dave Matthews dedicated the entire show to Moore.

"It's always easier to leave than be left," Matthews told the crowd, according to Ambrosia Healy, the band's publicist. "We appreciate you all being here."

Saxophonist Jeff Coffin, who played with Bela Fleck and the Flecktones, had been sitting in for Moore during the band's summer tour.

Moore, who wore dark sunglasses at the bands' many live concerts, had classical training but said jazz was his main musical influence, according to a biography on the band's Web site.

"But at this stage I don't really consider myself a jazz musician," Moore said in the biography. Playing with the Dave Matthews Band was "almost better than a jazz gig," he said. "I have plenty of space to improvise, to try new ideas."

Lead singer Dave Matthews credited Moore with arranging many of his songs, which combine Cajun fiddle-playing, African-influenced rhythms and Matthews' playful but haunting voice.

The band formed in 1991 in Charlottesville, Va., when Matthews was working as a bartender. He gave a demo tape of his songs to Moore, who liked what he heard and recruited his friend and fellow jazzman Carter Beauford to play drums, and other musicians.

The group broke out of the local music scene with the album "Under the Table and Dreaming." The band won a Grammy Award in 1997 for its hit song "So Much to Say" off its second album "Crash." Other hits include "What Would You Say," ''Crash Into Me" and "Satellite."

Fans who attended Tuesday's concert expressed sadness over Moore's death and concern about the band's future without him. "LeRoi was just super important to the band," Shawn Harrington said before the concert. "That's how the band came to be."

The Classic Rock Magazine Is Switching to a Smaller, Rack-Friendly Size

Some packages like the curvaceous old Coke bottle become so iconic that they are recognizable at 30 paces. So it is with Rolling Stone, whose large format has stood out on magazine racks for more than three decades. It won’t for much longer, however. With the Oct. 30 issue, which will go on sale Oct. 17, Rolling Stone, published by Wenner Media, will adopt the standard size used by all but a few magazines.

In an interview in his office, Jann Wenner, founder, publisher, editor and general guiding force behind the nation’s biggest music magazine, was characteristically brash about the change. Leaning back in his chair, one leg slung over the side of it, he said, “All you’re getting from that large size is nostalgia.”

But as he knows well, nostalgia is a powerful marketing force, as is a package that instantly evokes not only the product, but an era. It is tempting to apply that logic to a 41-year-old magazine that seems to put as many pensioners as teenagers on its cover, but Rolling Stone’s readership, bigger than it has ever been, has a surprisingly young median age, in the early 30s, according to market research firms.

Rolling Stone, published every other week, has paid circulation in the United States of more than 1.4 million, the highest in its history, but its single-copy sales have fallen from 189,000 in 1999, to 132,000 last year. Magazine racks at bookstores, newsstands and checkout counters tend to be made for the standard dimensions, and if Rolling Stone is there, it is often on a high or low shelf, out of eye level, or even on its side or folded over.

Gary Armstrong, chief marketing officer for Wenner Media, pointed to Vanity Fair, which has lower overall circulation than Rolling Stone, but nearly three times the single-copy sales. With a standard format, he said, it should be possible to raise newsstand sales significantly.

“The consumer we want to reach watches ‘Lost’ on a big TV screen, on a computer screen and on an iPhone,” he said. “They’re agnostic on format.”

While the people who run the magazine argue that there is much to be gained from the change — in advertising, sales and aesthetics — they also admit to losing something that made Rolling Stone distinctive. “I myself was kind of torn about it,” Mr. Wenner admitted.

Along with the change in size, Rolling Stone will switch to heavier, glossy paper and sleeker page designs, and it will be glued rather than stapled — “perfect bound” instead of “saddle stitched,” in magazine lingo — giving it a flat spine rather than a tapered edge. In all, the revisions make for a more professional, more grown-up look.

Those might be fighting words to Rolling Stone’s original audience, and no big deal to a generation raised on desktop publishing that makes even dorm-room projects look polished. The changes fit a magazine that, after taking a much-maligned detour in the 1990s toward more celebrity, pop culture and bite-sized reports, has returned to form in the last few years, winning awards for long articles on topics from Iraq to presidential politics.

To save money on paper, many newspapers and magazines have taken to printing smaller pages, fewer pages or both. But Rolling Stone says it will spend more and print more, not less: in addition to using more expensive paper and binding, it plans to add 16 to 20 pages per issue.

Magazine size has become increasingly standardized, at around 8 by 11 inches, give or take a fraction. Rolling Stone, at 10 by 11 3/4 inches, is, like ESPN and W, one of the few large-circulation magazines left that are significantly taller and wider.

Rolling Stone is profitable, according to Wenner, a privately held company — outside analysts agree — but like the industry as a whole, it is going through a rough period. The magazine had 486 ad pages in the first half of 2008, according to the Publishers Information Bureau, down 33 percent from the same period in 2005.

On balance, going to standard size should appeal to advertisers, according to Brenda White, senior vice president for publishing at Starcom USA, a major media agency. “But when you change something that’s been that way for — how many years? — people might hesitate,” she said.

For most advertisers, she said, the improved picture quality on glossy paper more than compensates for the smaller size, and it will save many of them the expense of revising their usual ads to fit in Rolling Stone.

Media buyers and Rolling Stone executives say the change in size is likely to make a bigger difference in selling insert ads, like those with scent strips or tear-out postcards. For technical reasons, it is more difficult and more expensive to put them into saddle-stitched magazines than into perfect-bound ones.

Independent experts agree that the new size could help Rolling Stone strike better deals with retailers, distributors, even printers — all fields that, over the last decade, have experienced great consolidation and a drive toward standardization.

“There are disadvantages to being an odd size in handling, moving it through distribution centers, in addition to retail display,” said John Harrington, editor of The New Single Copy, a newsletter about magazine marketing. “If you came forward trying to sell a brand new magazine today with that size, you’d have to have a lot of money behind it for it to be accepted.”

Rolling Stone created a prototype issue at the smaller size in July, sent it to more than 3,000 readers and asked them to take a survey. The company says the reaction was overwhelmingly positive, and it showed the survey results to some of its major advertisers and ad buyers.

In the large format, long articles often turn up as daunting expanses of almost uninterrupted type. With the revision, such pages are smaller and less intimidating, and more likely to be broken up with photographs. Sections filled with shorter items look less cluttered with fewer of them on a page. Smaller design changes give the pages a slightly airier, cleaner look.

“We’ve evolved,” Mr. Wenner said. “But the core tradition, the mission, remains the same.”