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From reading this, I'd assume it means those bands won't be on one of the 3 main stages at all, which explains how they increased the size of the lineup...? So it'll likely be the same sort of schedule as last year across the main stages, with unopposed headliners, I would imagine.
But so many of the acts are in the Arena that it would seem to open up at least a couple of spots on the outdoor stages to book more midday acts. I hope that's the case.
I do like the idea of expanding the Arena programming to cover more of the day. You've got the venue, why not use it to its fullest?
From reading this, I'd assume it means those bands won't be on one of the 3 main stages at all, which explains how they increased the size of the lineup...? So it'll likely be the same sort of schedule as last year across the main stages, with unopposed headliners, I would imagine.
But so many of the acts are in the Arena that it would seem to open up at least a couple of spots on the outdoor stages to book more midday acts. I hope that's the case.
I do like the idea of expanding the Arena programming to cover more of the day. You've got the venue, why not use it to its fullest?
They only moved 2 acts each day into the Arena, which basically brings the outdoor stage band count back to what it was before, so I wouldn't expect any changes.
ARENA STAGE ANNOUNCEMENT: In addition to performances on the Arena stage, fans will be able to enjoy Boston Ballet performances on the festival’s Green stage on Saturday and Sunday.
Where did you see this last part? It's not in the Vanyaland article. I'm assuming this would be to kick off the day and not somewhere in the middle..?
ARENA STAGE ANNOUNCEMENT: In addition to performances on the Arena stage, fans will be able to enjoy Boston Ballet performances on the festival’s Green stage on Saturday and Sunday.
Where did you see this last part? It's not in the Vanyaland article. I'm assuming this would be to kick off the day and not somewhere in the middle..?
It was in a press release email. I'm also assuming it'll be at the beginning of the day
Yaeji is one of my top acts friday. hoping they still do arena wristbands at the beginning of the day. also now worried she'll conflict with 21p or GVF because my GF really wants to be close for 21p.
But so many of the acts are in the Arena that it would seem to open up at least a couple of spots on the outdoor stages to book more midday acts. I hope that's the case.
I do like the idea of expanding the Arena programming to cover more of the day. You've got the venue, why not use it to its fullest?
They only moved 2 acts each day into the Arena, which basically brings the outdoor stage band count back to what it was before, so I wouldn't expect any changes.
ARENA STAGE ANNOUNCEMENT: In addition to performances on the Arena stage, fans will be able to enjoy Boston Ballet performances on the festival’s Green stage on Saturday and Sunday.
Where did you see this last part? It's not in the Vanyaland article. I'm assuming this would be to kick off the day and not somewhere in the middle..?
Three on Saturday, so there would be room to add one more act to the lineup.
They only moved 2 acts each day into the Arena, which basically brings the outdoor stage band count back to what it was before, so I wouldn't expect any changes.
Where did you see this last part? It's not in the Vanyaland article. I'm assuming this would be to kick off the day and not somewhere in the middle..?
Three on Saturday, so there would be room to add one more act to the lineup.
Naeem wasn't scheduled for Saturday, he's just doing an extra DJ set. Only Princess Nokia and Dessa are being switched to the arena
From reading this, I'd assume it means those bands won't be on one of the 3 main stages at all, which explains how they increased the size of the lineup...? So it'll likely be the same sort of schedule as last year across the main stages, with unopposed headliners, I would imagine.
I don't know if they're doing unopposed headliners all three nights. I suspect that there's so little overlap between the audiences for Travis Scott and Brandi Carlile that few if any people would complain if they completely overlapped. Same, more or less (maybe less), for Friday night. I suspect though that some people are going to be disappointed by Green and Blue overlap on Saturday night.
I didn't like disco 40 years ago and I don't like it now.
If both songs they perform on SNL sound like this, I'm out as soon as the Blue Stage wraps up for the evening.
LMAO DISCO SUCKS AMIRITE.
In the midst of 70's disco, there were a handful of really good songs which came out of the scene. The operative word, of course, being "songs," like Donna Summer's Dim All The Lights and Blondie's Heart Of Glass, which were well-written songs that could have translated to other arrangements and genres. Same for The Bee Gees disco era hits...Nights On Broadway is a great song.
The problem is that 90% of the disco hits were just a generic disco beat and string chart welded to a very short, repeated lyric and melody. My philosophy has always been that if you're going to make groove music where the songwriting is secondary, it better be one hell of a groove. The early music which pointed the way towards disco either featured very strong R&B songwriting (i.e., just about all of the early-mid 70's Philadelphia International productions of Gamble & Huff -- The O'Jays, Harold Melvin & The Blue Notes, Philippe Wynne-era Spinners, etc.) or an incredibly funky groove (see early-mid 70s NYC funk band B.T. Express. Chic always struck me as being a watered-down ripoff of B.T. Express)
FYI, B.T. Express went downhill fairly early in their career, but their first two albums Do It ('Til You're Satisfied) and Non-Stop may be the greatest dance albums of all time.
In the midst of 70's disco, there were a handful of really good songs which came out of the scene. The operative word, of course, being "songs," like Donna Summer's Dim All The Lights and Blondie's Heart Of Glass, which were well-written songs that could have translated to other arrangements and genres. Same for The Bee Gees disco era hits...Nights On Broadway is a great song.
The problem is that 90% of the disco hits were just a generic disco beat and string chart welded to a very short, repeated lyric and melody. My philosophy has always been that if you're going to make groove music where the songwriting is secondary, it better be one hell of a groove. The early music which pointed the way towards disco either featured very strong R&B songwriting (i.e., just about all of the early-mid 70's Philadelphia International productions of Gamble & Huff -- The O'Jays, Harold Melvin & The Blue Notes, Philippe Wynne-era Spinners, etc.) or an incredibly funky groove (see early-mid 70s NYC funk band B.T. Express. Chic always struck me as being a watered-down ripoff of B.T. Express)
FYI, B.T. Express went downhill fairly early in their career, but their first two albums Do It ('Til You're Satisfied) and Non-Stop may be the greatest dance albums of all time.
I'm gonna check out all those names listed, thanks for that. Of course you have every right not to like a certain genre (as we all do), though I would argue that trying to judge all sorts of music from a songwriting perspective isn't the best approach.
Post by jorgeandthekraken on Mar 23, 2019 19:19:57 GMT -5
There is a shit-ton of great disco from the ‘70s. It just didn’t chart, because it was being made in the (mostly black, mostly gay) underground. A lot of what would end up being the mainstream hits were a homogenized version of that, churned out by major labels looking to capitalize mechanically on a scene that had risen up organically, as major labels have always been wont to do, and sell a less scary (read: less black, less gay) version of the good stuff to mass market America.
In the midst of 70's disco, there were a handful of really good songs which came out of the scene. The operative word, of course, being "songs," like Donna Summer's Dim All The Lights and Blondie's Heart Of Glass, which were well-written songs that could have translated to other arrangements and genres. Same for The Bee Gees disco era hits...Nights On Broadway is a great song.
The problem is that 90% of the disco hits were just a generic disco beat and string chart welded to a very short, repeated lyric and melody. My philosophy has always been that if you're going to make groove music where the songwriting is secondary, it better be one hell of a groove. The early music which pointed the way towards disco either featured very strong R&B songwriting (i.e., just about all of the early-mid 70's Philadelphia International productions of Gamble & Huff -- The O'Jays, Harold Melvin & The Blue Notes, Philippe Wynne-era Spinners, etc.) or an incredibly funky groove (see early-mid 70s NYC funk band B.T. Express. Chic always struck me as being a watered-down ripoff of B.T. Express)
FYI, B.T. Express went downhill fairly early in their career, but their first two albums Do It ('Til You're Satisfied) and Non-Stop may be the greatest dance albums of all time.
I'm gonna check out all those names listed, thanks for that. Of course you have every right not to like a certain genre (as we all do), though I would argue that trying to judge all sorts of music from a songwriting perspective isn't the best approach.
Sure, there's been great music based on grooves and riffs since the dawn of popular music. It wasn't the songwriting that made James Brown great.
But the groove better be great if you're going to fly without the net of a great song. The metronome-like disco beat didn't bring the funk.
So, maybe we didn't get The Strokes because they've just announced a London date for 5/25 at All Points East, headlining a daily lineup including The Raconteurs, Interpol, and more.
It's a shame that they didn't decide to pond hop and play both fests. Plenty of acts have played both Boston Calling and Sasquatch/Bottlerock in the same year.
Last Edit: Mar 26, 2019 8:44:13 GMT -5 by tw12 - Back to Top
So, maybe we didn't get The Strokes because they've just announced a London date for 5/25 at All Points East, headlining a daily lineup including The Raconteurs, Interpol, and more.
It's a shame that they didn't decide to pond hop and play both fests. Plenty of acts have played both Boston Calling and Sasquatch/Bottlerock in the same year.
It's hard to compare across festivals of such different sizes... but I thought both drops today, Osheaga and Outside Lands, were underwhelming. I counted about 12-14 acts I'd be excited to see on each of those lineups, and the same number on the Boston Calling lineup. Percentage-wise that's a lot higher for BC, so I think somehow I like this lineup more now than I did yesterday. Overall, I think it's just a weak year across the board (for my taste.)
Post by theeimportance on Mar 26, 2019 15:15:24 GMT -5
Haven’t really looked too much into OSL and Osheaga but they all (including BC) are okay, but definitely not amazing. However at least those two fests have one unique, exclusive headliner.
It's hard to compare across festivals of such different sizes... but I thought both drops today, Osheaga and Outside Lands, were underwhelming. I counted about 12-14 acts I'd be excited to see on each of those lineups, and the same number on the Boston Calling lineup. Percentage-wise that's a lot higher for BC, so I think somehow I like this lineup more now than I did yesterday. Overall, I think it's just a weak year across the board (for my taste.)
As they used to say, different strokes for different folks. Not counting the acts playing both OL and BC, Paul Simon, Gambino, Mavis Staples, BOCC, and Alex Lahey make this a much better festival, to my tastes, with Leon Bridges, Kacey Musgraves, Toro y Moi, Counting Crows, and Blink-182 all icing on the cake.
I'm not as impressed by Osheaga, although Gambino, Interpol, and St. Paul all interest me more than anyone at Boston Calling except for Hozier and Fred Armisen.
(Seeing how many festivals Gambino is doing on what may be his retirement tour makes BC's failure to book him on par with their failure to book Outkast.)
It's hard to compare across festivals of such different sizes... but I thought both drops today, Osheaga and Outside Lands, were underwhelming. I counted about 12-14 acts I'd be excited to see on each of those lineups, and the same number on the Boston Calling lineup. Percentage-wise that's a lot higher for BC, so I think somehow I like this lineup more now than I did yesterday. Overall, I think it's just a weak year across the board (for my taste.)
As they used to say, different strokes for different folks. Not counting the acts playing both OL and BC, Paul Simon, Gambino, Mavis Staples, BOCC, and Alex Lahey make this a much better festival, to my tastes, with Leon Bridges, Kacey Musgraves, Toro y Moi, Counting Crows, and Blink-182 all icing on the cake.
I'm not as impressed by Osheaga, although Gambino, Interpol, and St. Paul all interest me more than anyone at Boston Calling except for Hozier and Fred Armisen.
(Seeing how many festivals Gambino is doing on what may be his retirement tour makes BC's failure to book him on par with their failure to book Outkast.)
It's hard to compare across festivals of such different sizes... but I thought both drops today, Osheaga and Outside Lands, were underwhelming. I counted about 12-14 acts I'd be excited to see on each of those lineups, and the same number on the Boston Calling lineup. Percentage-wise that's a lot higher for BC, so I think somehow I like this lineup more now than I did yesterday. Overall, I think it's just a weak year across the board (for my taste.)
As they used to say, different strokes for different folks. Not counting the acts playing both OL and BC, Paul Simon, Gambino, Mavis Staples, BOCC, and Alex Lahey make this a much better festival, to my tastes, with Leon Bridges, Kacey Musgraves, Toro y Moi, Counting Crows, and Blink-182 all icing on the cake.
I'm not as impressed by Osheaga, although Gambino, Interpol, and St. Paul all interest me more than anyone at Boston Calling except for Hozier and Fred Armisen.
(Seeing how many festivals Gambino is doing on what may be his retirement tour makes BC's failure to book him on par with their failure to book Outkast.)
Gambino played in Boston last September, so BC didn't fail for shit.
It's hard to compare across festivals of such different sizes... but I thought both drops today, Osheaga and Outside Lands, were underwhelming. I counted about 12-14 acts I'd be excited to see on each of those lineups, and the same number on the Boston Calling lineup. Percentage-wise that's a lot higher for BC, so I think somehow I like this lineup more now than I did yesterday. Overall, I think it's just a weak year across the board (for my taste.)
Yeah, Osheaga allows for way more variety due to the location. And on a sidenote: if you're a music lover in Boston, you really don't have an excuse not to visit Osheaga at least once.
I also agree that the North American majors have been weak this year, so I'm super glad I made the decision to hit up Primavera Sound in two months. It's not too late to jump on that bandwagon y'all!
big surprise 
