Stuff to read:
• Roger Catlin rants about Ticketmaster and its annoying fees and policies [Washington Post]. On the stupid fake-words that Ticketmaster makes customers enter, Catlin writes:
The method serves mostly to slow people down by having to retype the barely legible wavy words, while it allows scalpers to buy up every ticket to, say, a Bruce Springsteen show at Verizon Center on April 1 that sold out in one minute according to my computer. Can’t figure out why I got shut out while the local scalper Web site lists literally hundreds of tickets available at prices up to $1,000 each.
The problem is: everybody KNOWS how much Ticketmaster stinks, but if you want to go to a concert at a Ticketmaster venue, you’ve gotta use ‘em.
• Artomatic 2012 is still going to be in Crystal City– but at a different venue than previously announced [ARLnow]. Artomatic starts on May 18.
• David Mermelstein on the collaboration between pianist Christopher O’Riley (known for his adaptations of Radiohead songs) and cellist Matt Haimovitz (who is known for playing traditional classical music in non-traditional venues) [Washington Post].
• Book Review: Aaron Leitko on Gary Marcus‘s book Guitar Zero: the New Musician and the Science of Learning (available on Amazon).
In “Guitar Zero,” Marcus uses his musical midlife crisis to frame a discussion of the science of adult learning and music’s effect on the human brain. For the past couple of decades, developmental psychologists have believed that complex skills, such as playing an instrument, are best acquired during brief windows of time, usually in early childhood, when the brain is more malleable.
• Apparently everyone wants to talk to Fat Trel. Chris Richards at the Washington Post interviewed the rapper. Fat Trel was the cover of last week’s CityPaper as well.
• Hamil R. Harris reports on opera singers bringing “Art Songs” back to church [Washington Post].
• Day 9 of Justin Moyer‘s “Edie Sedgwick goes to SXSW” [Washington CityPaper]. Also, Chris Richards has his latest SXSW report [Washington Post]. The corporate presence at this year’s SXSW felt oppressive, contaminating the festival’s hallowed musical ecosystem of sharing and discovery. Bemoaners have bemoaned that SXSW has slowly lost its soul over the course of 26 years, but this go-round was exponentially yuckier than last spring’s. Nearly every musical transaction felt sticky with Mountain Dew.
• Live Reviews: Megan Buerger on The-Dream at Fillmore Silver Spring [Washington Post]. Andy Hess on John K Samson at the Black Cat [DCist]. Anne Midgette on Vadim Repin at Strathmore [Washington Post]. Cecelia Porter on BSO at Strathmore [Washington Post]. Stephen Brookes on Folger Consort at Folger Shakespeare Library’s Elizabethan Theatre [Washington Post].
Stuff to win:
• The Vinyl District is giving away a pair of lawn tickets to see the Black Keys at Merriweather Post Pavilion on 5/18. (contest ends today at noon).
• The Vinyl District is giving away a pair of tickets to Vetusta Morla at U Street Music Hall on 3/21 (contest ends Tuesday 3/20 at noon).
• The Vinyl District is giving away a copy of the Big Pink‘s Future This on vinyl. Winner must have a North American mailing address (contest ends Wednesday 3/21).
• The Vinyl District is giving away a copy of Electric Guest’s Troubleman 7″ (white). Winner must have a North American mailing address (contest ends Thursday 3/22).
• The Vinyl District is giving away a three-month Slacker Premium Subscription (contest ends Friday 3/23).
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