Posts tagged “david byrne”
Robert Caplin for The New York Times
Philip Galanes, interviewing Cyndi Lauper and David Byrne in Greenwich:
PG: Was there struggle at the beginning of the Talking Heads?
CL: (singing) “This ain’t no foolin’ around.”
DB: It was a slow step by step, like on a ladder, and doing tours in a station wagon.
CL: That sucks.
DB: But there was never a rejection or a sense that this is not connecting. It was always connecting to a certain group of people. That’s good. Now let’s see if we can get it to another level.
CL: I was told I sang like a rat, but I didn’t care because I felt so great when I sang. I didn’t give a damn what anyone else said.
DB: And our connection with the audience seemed real and heartfelt. They really did care about us. They weren’t going because they had been told by some advertising agency.
CL: They didn’t stand in the back yelling “Free Bird”?
DB: Yes, they did that, too. But I think about what Cyndi was saying, there were periods, later on, when I would think: Oh, I’m no longer flavor of the month. What happens now? I think I’m still writing good songs, maybe even better songs. I’m more in control of my voice, it’s not that strangled squeak anymore. And I was willing to accept that people might go, “You sing good now, but we liked it when you sang bad.”
The Best American Infographics 2013 came in yesterday. It’s chock-full of goodness and inspiring visual displays of data. Some are nonsensical, some are dense and shocking. They’re all pretty engaging and the collection appears well-curated. Wired has a number of the selected graphics online.
The book’s introduction was written by David Byrne. I’ll add a link to the essay if it appears online. In the meantime, my favorite bit follows.
The very best of these, in my opinion, engender and facilitate an insight by visual means - allow us to grasp some relationship quickly and easily that otherwise would take many pages and illustrations and tables to convey. Insight seems to happen most often when data sets are crossed in the design of the piece - when we can quickly see the effects on something over time, for example, or view how factors like income, race, geography, or diet might affect other data. When that happens, there’s an instant “Aha!” - we can see how income affects or at least correlates with, for example, folks’ levels of education. Or, less expectedly, we might, for example, see how rainfall seems to have a profound effect on consumption of hard liquor (I made that part up). What we can get in this medium is the instant revelation of a pattern that wasn’t noticeable before.
One would hope that we could educate ourselves to be able to spot the evil infographics that are being used to manipulate us, or that are being used to hide important patterns and information. Ideally, an educated consumer of infographics might develop some sort of infographic bullshit detector that would beep when told how the trickle-down economic effect justifies fracking, for example. It’s not easy, as one can be seduced relatively easily by colors, diagrams and funny writing.
David Byrne, in an editorial at Creative Time Reports:
Some folks believe that hardship breeds artistic creativity. I don’t buy it. One can put up with poverty for a while when one is young, but it will inevitably wear a person down. I don’t romanticize the bad old days. I find the drop in crime over the last couple of decades refreshing. Manhattan and Brooklyn, those vibrant playgrounds, are way less scary than they were when I moved here. I have no illusions that there was a connection between that city on its knees and a flourishing of creativity; I don’t believe that crime, danger and poverty make for good art. That’s bullshit. But I also don’t believe that the drop in crime means the city has to be more exclusively for those who have money. Increases in the quality of life should be for all, not just a few.
The city is a body and a mind—a physical structure as well as a repository of ideas and information. Knowledge and creativity are resources. If the physical (and financial) parts are functional, then the flow of ideas, creativity and information are facilitated. The city is a fountain that never stops: it generates its energy from the human interactions that take place in it. Unfortunately, we’re getting to a point where many of New York’s citizens have been excluded from this equation for too long. The physical part of our city—the body—has been improved immeasurably. I’m a huge supporter of the bike lanes and the bike-share program, the new public plazas, the waterfront parks and the functional public transportation system. But the cultural part of the city—the mind—has been usurped by the top 1 percent.
Happy Monday morning. First up, from Volcano Choir, a teaser of a new album and a new song.
Next, a free EP from David Byrne and Annie Clark. The page requires flash to download the EP (boo!).
DB and St. Vincent discussed their album, their collective powerless apartments, and their use of showers in Brooklyn. Colbert suggested the three of them shower together in his office. And that SV and DB were eseentially dating.
The interview was hilariously awkward, with Colbert being Colbert, DB being DB, and Annie looking uncomfortable. It’s awesome, as were their performances on the show.
Photo by Andreas Laszlo Konrath
Impossibly good looking super-musicians David Byrne and Annie Clark have been making small rounds discussing their collaborative effort Love this Giant.
There is very little eye contact made in a room with David Byrne and Annie Clark in it. Seated a healthy distance apart from each other on a SoHo studio couch, the pair genially trade compliments and jokes, but their restless eyeballs seldom, if ever, light on each other’s, as if the energy exchange involved in a head-on glance might scorch their fragile nerve endings. Byrne’s legs joggle constantly, his hands clutching absently at the green fabric of his pants when he is lost for words, while Clark, carefully sipping water with her legs arranged neatly beneath her, gives thoughtful answers from beneath the partial shade of an artful hat.
On what they admire in each other’s work:
DB: I know I’m not the first to remark on this, but I hear an acceptance of melody without any fear in Annie’s work, which isn’t totally common in up-and-coming musicians. But these beautiful melodies are often undercut by very creepy or disturbing subject matter. When I met Annie, I complimented her on how disturbing her video was.
AC: David is capable of so many shades and moods, and one of them is a rare combination of paranoid mania and ecstatic joy. It’s a really unmistakable, singular tone. He also has an ability, lyrically and musically, to talk about or address big subjects in a way that never feels pretentious or lofty. David never seems to be suffering from a dearth of creative energy. It takes many forms, but he doesn’t seem to be a nostalgic person. He always wants to be moving forward. That’s inspiring.
David Byrne on being David Byrne:
I feel like I’m a fairly boring, almost well-adjusted person. But I am fascinated by extreme mental states. I love outsider art from people who are making up their own worlds, exposing some part of human life that would be really uncomfortable for most of us. Or they do something that touches some part of you and you go, “I recognize this person is probably out of their fucking mind, but I recognize that part in myself, too.”
And, of course, stream the whole album at NPR.