My good old passion for Algorithmic Trading would never leave me alone. I wanted something else, so I decided to quit my Data Science career and pursue day trading for a living. We have seen Machine Learning applications everywhere.
Most of the paper trading tests will be awesome and will fail in real trading because they over-fit. You will fight it with cross validation and cherry pick the best models that performed best on out of sample, thinking you are safe, in a way adding bias and leaking data. This is not the way to do that. Avoid over-fitting by carefully averaging and evaluating on different assets, time frames or periods. Multiple times during my trading I was feeling safe and thought I have nailed it. I felt like there is nothing that can surprise me, and time after time I was slapped in my face by mister market.
Folks, this is reality, there is no free money out there. As an options trader, my edge relies on selling overpriced options and buying them back when prices drop. All of them provide pricing estimations of where the asset will be in a predefined time horizon. Usually IV Implied Volatility overstates the fear in the marketplace. But sometimes the fear is real.
As we have seen in February , market fear is sometimes real. Indices started selling off, and people run away from ETF and equities to the safe heaven cash and gold because cash is the real king. Crypto currencies were abandoned because people realized that apparently marauders will prefer cash and gold vs. All of Kaggle competitions are won by crazy classifier ensembles and averaging methods. I tried to be a smart guy for a long time by applying cutting edge techniques , algorithms and tools.
Usually, it will take you weeks or months to understand what went wrong. This evaluation costs you money, or you paper trade it aside the market, and as mentioned before, this is a non-deterministic process that just adds noise and leaks data. The truth is, simple statistics, Monte Carlo simulation and a little bit of Python is all you need. The fancy models are good for your ego and general understanding. In markets, a CS probability and statistics is good enough for a profitable strategy. If somebody with no trading experience asks you how you make money, you must be able to explain it in couple of sentences, otherwise, you are not making money.
Prior to that I used to explain people how fancy my Machine Learning flows are, without being able to explain the alpha. The asset price bounding methodology is pretty complex, but the alpha source is clear. Trading seems like a difficult task for most people, which requires training and financial education as a prerequisite. The truth is people act as traders each and every day without even noticing. You go to the supermarket to buy stuff. Here is your market exchange. Prices are your bid-ask-spreads level 1. You can only buy ask , but the supplier can also sell bid. The supply at the back of the supermarket is level 2.
The cashier is your order-book. Seriously, the more complexity I was adding to my algos, the larger were my losses. Clouded by fancy Spark jobs, Lambda expressions and beautiful Jupyter notebooks, I actually was making less money. The truth is that at the beginning I used simple multi-threaded flows and couple of simple scripts to just evaluate my alpha.
The moment I began concentrating on performance and ease, I lost track of the alpha itself. The most important thing is to keep track of a simple and working flow, then you can add the jewelry, on top of a strong skeleton. Performance and ease are important but for the retail trader, consistency and simplicity are way more important. Being profitable for 6 months is nice, but you can always lose more than the couple of previous months. Sometimes the market is brutal and fast like an alligator. Avoid those situations by playing small. One of the biggest mistakes I made was over betting.
Although Kelly criterion is important consideration, under betting is always better than over betting. Risk assessments and position sizing are key to your success. Having a strategy with high probability of winning is as important as correct position sizing and margin requirements analysis. People will tell you what should have been done constantly. Every mistake I made was followed by someone telling me it could have been avoided. Your family, friends and colleagues will doubt you, your alpha, your skills and your ideas.
Most of the pro trades specify the psychological robustness needed for the game. Some days will be rainy, always be prepared. Moreover, I lost my soul. In some moment I almost forgot how to play the guitar. Every social event was suddenly annoying and time consuming, or a waste of precious coding time to me. Long working hours and weekends full of development and hundreds of commits, eating disorders and the most obvious loss of weight. I read somewhere it was actually a sign of doing a great job in my endeavor. Suddenly I understood the well-known saying regarding how much money were you able to actually take and keep from the markets.
The most important thing is that suddenly I was fearless, nothing could frighten me anymore. In a way I realized how fragile and dangerous this business is. I started trading small, really small. Instead of jumping into trades like a panther, I was investigating the company first, plus usually multiple trade ideas will appear for the same symbol, so there is no FoMO Fear of Missing Out. Moreover I reduced my watch-lists significantly, focusing on liquidity and volume.
What is phishing?
This a-ha moment was the most significant. Getting in and out of a trade is mandatory. All of my losing trades were with low liquidity assets and bad fundamentals, things that takes you seconds to evaluate nowadays. Commissions seemed irrelevant and minor. The only way to avoid commission ripping is trading size. People tend to talk about diversification and all of that stuff. Kind of like my wife. This just goes crazy. And I like having it at the end of the chain.
You kick this Rainbow Machine on and it does random things. With this triple delay, you can stack them as well. This is more just a big washy delay. So now I have a Decimator. If you hit all the strings it tells you which ones are out of tune. This Dunlop is an auto engage as well, and it has a variable Q and volume boost on it.
Rig tour: Devin Townsend Project. I use the Space on the Blackhole setting for the big reverbs on Dreams Burn Down: the twinkly lead in the verses. It just smoothes out and lifts and brightens up the whole sound. They work for different songs on different parts. I use it as just a huge volume boost. I had a standard Cry Baby for ages but then, after seeing the Roses, I ended up getting the Buddy Guy signature one with the polka dots, which John Squire plays. It has some extra circuitry and a little bit of a drive in it as well. Andy Bell talks returning to Ride and his Rickenbacker'd rig.
Most of the loops I record are either at normal speed or double-time, so most of the time [I record them in] half-speed so that when I take the [loop] speed up it goes into double-time or whatever. That feature has made the DL4 a staple of my rig. Because of the way the songs are written, that stuff is kind of a necessity now. I just love the way it brings out some of the chimey-ness and the upper-harmonic tonalities, especially in combination with a nice tube amp, like a [Fender] Twin, which I obviously use on a lot of stuff.
It just makes any amp sound better, and adds a whole bunch of extra character. For those kinds of things, I think that works great. It levels all that stuff out, so on songs like Pachuca Sunrise or Absinthe Party At The Fly Honey Warehouse, where there are a lot of high and low notes competing, this kind of flattens everything and brings it to a nice level.
Basically, everything. And then I use an actual old Tube Screamer on my dirty amp.
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It's the drive pedal I've used forever. Rig tour: You Me At Six. I was there tap-dancing eight different changes, while Chris would just be laughing and having maximum time for beer drinking! Then the Mobius, for me, I feel the selling point was that I could have chorus, phaser, flanger, rotary, vibe, tremolo - all of these settings in one box. I put it on top of my JHS Sweet Tea, so it adds this fizz and fuzzy tone underneath, or if I want to make something sound fat. There's also an Ernie Ball volume pedal on my pedalboard, which is just reliable and great. Then the classic TU-2 tuner: good old trusty TU-2!
I use these in pretty much every song. I use it all the time. I use both of them together if I want a real brittle, dark-sounding reverb, like on Pendulous Threads. They carry a lot of the higher frequencies through and they become kind of harsh-sounding, making it very dark, which I really like. It gives you an octave above as well as the sub octave. It will actually harmonise the whole chord, which is really cool. I use [the Octave] during the verse sections of Privilege. I'll click on this and it makes things go to 11, basically. A lot of times, I actually use it set at a midway point so you get this really throaty sound: I do it during the bridge section of Megalomaniac, in Adolescents, during the bridge section of Are You In?
It is awesome. You know all this dubstep-type stuff that people are trying to do? This is like dubstep in a little box! I use it during the Pistola solo. It ends up sounding like an analogue synth filter section. The guys in my band tease me a lot of times because sometimes I end up losing control of the thing. Rig tour: Rise Against. The fourth is always a flanger. I use it for a few songs. Rig tour: Extreme's Nuno Bettencourt. I just leave it on most of the time, to tell you the truth, because I like the sound of it so much.
On something like Turtle Neck, where it feels a bit more dreamy and lush, I wanted this sort of wavy, atmospheric sort of sound. I used tape delays like the Copicat tape delays in the studio. With the Blackout Effectors phaser, I change its setting, so I can get it to be more of a vibrato. Rig tour: Interpol. It takes a lot of palm muting to make some of these sounds work at high volumes, too.
But I always see a volume pedal as kind of like the gas pedal on a car. So if I want that recorded sound of the Fender and Marshall coming in for a second chorus, I can have more of that studio-esque effect with two amps running different sounds. For electric, I can do the thing I have with my acoustic where I have my clean sound, but still have those nice blends. Rig Tour: John Butler. Usually people like to hide this stuff, but I decided a couple of years back, 'Why hide it? So now I'm going to show you everything and if you want to go buy it, you can and spend a million-billion dollars, like me.
It's got a couple of inductors [giving a choice of high or low-mid emphasis], it's got a boost on it and it's got a cool graphic on top - so it must work good! It's the version four King Of Tone, which is coveted. It's a wonderful overdrive — beautiful. It's hardwired and it's got a Germanium tranny in it.
It's awesome. Look how good it looks, it's got a giant copper plate, funny graphics and it's organic, so it's really great. It's distracting, freakish and hard to control - I love it! What could be inside that box? Well, I won't tell you, but it's called 'Zap! It's a fuzz I use on basically everything. What could it be? I am going to tell you what this one does: it's a Basic Audio Gnarly Fuzz. I use this on a lot of the earlier stuff, too, as well as some of the newer songs.
As I told you earlier, I use the two for a clean and a dirty sound and that's how I get it. It's also difficult to control, unpredictable What will it do next? We do not know It's just one guy, Kevin Randall, who builds these - Uni-Vibe clones. There's nothing much more to say about that. It's not that exciting, but it's a Dunlop volume pedal and it works great. It's the Strymon Flint and I get reverb and tremolo sounds out of this. I love it. It's the first one he made - my buddy Jay Woods over in the US built that. It's been working ever since I got it years and years ago and does a kind of rotary Leslie speaker effect.
It is an analog delay that we use for all sorts of, well, delay! The floor to noise ratio is really, really good. Rig tour: Rival Sons. A custom switching system on the floor allows the racked pedals to be engaged easily via conventional footswitches. Just so he had something else to try. But out of that came Marooned - which won a Grammy. And there are bits of Whammy on The Endless River. Is David playing slide, or is he playing a Whammy?
In pictures: David Gilmour's guitars, amps and effects. That's the main sound on Infatuate. And then the other side is the IC Big Muff; it's got a switch on it that takes the tone control out so it just gets more woolly but really, really fat. It's just for really sick, My Bloody Valentine atonal nonsense — it's really good fun. You get a lot of crazy oscillation and distortion out of it. It's really, really ugly and beautiful at the same time. Everything is mainly backwards delay, but it's subtly done so you can't tell. Infatuate has that sort of delay.
Mike Vennart talks debut solo album The Demon Joke. I have it on for 50 per cent of my show. And it has a looper in it, as well. I was just hoping it sounded good! And [fortunately] when I got it in, it was perfect. We have it set to do an organ-style effect, and it sounds incredible. Then there are also a couple of [older] songs, like White Trash Millionaire, that I use it on now. Then I have effects in the effects loop. This one is used by Killswitch and As I Lay Dying — many bands in that kind of vein were advocating it.
But the DD is just easy and user-friendly. He had this one originally. Lee [Malia] from Bring Me the Horizon is the one that sold me on it. For my sound, I boost the bass a little bit, the lower tones, then I bring it up a little towards the mids so it gets a little of that high saturation. Then I just run that to the return of the amp. You can hear where the bad things are, and just cut them out. This thing definitely helps sculpt the tone. If I step off that pedal it almost sounds like a lo-fi on my amp. It gives me a nice little studio delay. It makes everything flow a little easier for me.
But over in the States I usually use it, as it gives a nice bite. Now I have this so that it automatically turns off [similar to the Morley Bad Horsie wah]. A typical gate works a little differently, but the Suppressor just cleans up the hum. I use it on a song called Room Full Of Eyes where we just need to take it up a notch and make it really, really heavy… It just makes everything that you put through it gnarly. He started Rolling Stone in ; within a few years, it had placed itself at the center of the counterculture. The inside, as Hagan tells it, was less pretty.
His book is a damning tale of a striver of almost infantile ambition who, while he did encourage and pay for reams of honest journalism, had so many moral screws loose that he left decades of wounded and bitter friends, employees, and artists in his wake. And stories abound of Wenner letting his rock- and movie-star buddies vet their profiles. Waters is probably the greatest of the Chess Records stable, and indeed, all urban blues artists, and was an avatar for early rockers like Chuck Berry. The hall, incidentally, has a few ancillary induction tiers, which for the record make no sense.
His emotional dynamic range is unmatched. He died in a plane crash in Squeals of lust and desire, a recklessly extravagant piano attack, and a devilish energy were what Richard brought to rock and roll. He was one of the chief architects of the music. He was capable of more routine blues, and even calm songs. But at his best, he was personification of priapism and kink on a scale that made all who came after, even Prince, mere pretenders. His band, Richard would recall fondly, had an orgy after every show.
Zeppelin were a decisive turning point in rock, in which the blues were beaten into submission by a larger-than-life guitarist and his sidekick singer, a Viking. They unapologetically purveyed the heaviest of heavy metal. They eschewed the single, forcing fans to buy their albums or see them live.
Nothing too profound in the songs, but on balance they probably have the least embarrassing lyrics of any hard-rock band. I asked Jann Wenner if that was the case. The funds went to our general account. It would be incorrect to say it was used directly for that settlement. My guess would be in the one or two hundred thousand range.
The band released one studio album and played a total of eight American shows in a single disaster of a tour. And yet even today, 40 years later, their record feels as harsh and uncompromising as it did originally. Note that even Ramones songs are fodder for commercials and movie soundtracks these days. Upped five notches because they remain the one band that has refused to dignify their induction with anything more than a raspberry. He played on their records and became their road manager.
She is the preeminent blues-rock singer. Most people have heard about Ike Turner because of his monstrous treatment of his wife and others. Turner was 20 at the time. All you need to know about this outfit is right here. They stood up, as Whitman did, for the stupid and crazy. They wanted to tear down everything that came before and build a better world, and destroyed themselves trying. Diddley was a big man with a gigantic sound — tribal, insistent, but somehow always good-natured — in some ways unequaled to this day. I put Diddley above people like Jerry Lee, because without his crazy breadth and humor married to his primal, juggernaut of a beat, rock would not be what it is today.
Amid groundbreaking production coups and a cyclone of verbiage these guys helped create something new under the sun, as iconoclastic as Bo Diddley, as engaging as Fats Domino, and yet darker than the Stones or Marvin Gaye at his most political, laying down elements that, like the Beatles, opened doors of possibility that would influence decades of innovators to come and, like the Ramones, finding a new primal bottom for the music to build on once again.
Over the years, there have been many rumors about behind-the-scenes fiddling with votes at the hall. One oft-repeated tale involving Grandmaster Flash was originally reported by Roger Friedman, at the time a fairly well-sourced Hollywood online columnist for Fox News. He said that Wenner had disregarded some late-arriving votes for the Dave Clark Five in order to insure that the hall finally inducted a hip-hop artist.
I asked Wenner about it as well. A singer whose artistry transcends the music. The voice she was born with could pierce glass, and her own technique embellished everything she recorded. After years of relationships with both sexes, Wenner came out in middle age. But I did ask him if there was discomfort with this side of rock on the part of the hall. Forgive me a short digression on exactly how collected Hendrix was. Note that the inductee here is not Hendrix but his band. Another hall pressure point is what to do with stars like Janis Joplin, Hendrix, Tom Petty, or Bob Seger, who did some or all of their most important work with a particular backing band.
This decision by the hall is another much-debated one. The s were awkward, after which she headed out into a jazz odyssey understood only to her. You have to remember he was originally the angriest of angry young men, his name a pointed deflation of a sacred rock icon. Under the anger were exceptional melodies and rhythms, and a lyricist who was a lover of words with some scores to settle, sometimes with the mass media and the military-industrial complex but more often with women.
He is now a rock elder, not exactly pompous but a little overeager to share his intelligent but numerous thoughts about anything. He was shot by his father in a family fight in This was a transformative band. And so, serious and not serious, they defined an early, genial hip-hop that broke barriers cultural and racial and musical in America and around the world.
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An utterly sensational rock-pop-funk ensemble under the visionary, spangled leadership of Stone. His simplest songs still resonate; his productions and arrangements radiate a kaleidoscope of sounds yet somehow make up a consistent picture of an artist, befitting one of the first people to write, perform, and produce his own records. A mystic and unsatisfied explorer with a voice capable of great power and nuance. He then created an immortal song cycle of elusive dreamscapes Astral Weeks and then a definitive piece of rock-pop-jazz Moondance. And yet he was still unhappy and by every indication remains unhappy today.
His wild sound and unapologetic mysticism would heavily influence folks like Springsteen and Patti Smith. The brother be right a lot of the time. Anyway, I love PE but I think the music and history passed them by. In a genre of music that was created and often defined by sui generis oddballs, this group was led by the sui generic-est oddball of them all, astral traveler and funk paragon George Clinton; the result was James Brown crossed with Frank Zappa crossed with a three-ring circus, disguising some pretty heavy themes down below.
Clinton was an underrated producer — his tracks teem with sonic inventiveness, humor, and hooks. But a great man. His music changed the world, and brought international recognition to a poor little island no one cared about. Marley died of cancer in As the hall was set up, Wenner and Ertegun and a bunch of other record-industry men they were virtually all men got together once a year to vote on a slate of nominees.
The top five or so vote-getters get inducted. This year, there are seven. The nominating committee meet in a Rolling Stone conference room over lunch, generally in September. Then each nominating member gets to make the case for two potential inductees. This is sent out to the much-larger voting committee, a somewhat amorphous group of journalists and industry weasels along with all of the previous hall of fame inductees up to that point.
More on the implication of that later. This group gets a ballot in the mail, complete with a self-addressed, stamped envelope, to put his or her five proposed inductees. These are sent back to the hall. Peresman says the foundation will call voters who filled their ballots out incorrectly, and make some calls to bring in late ballots, too. A lot of the data on the hall in this article I have taken from him, either from the site or a recent phone chat we had.
Inventing progressive rock was a dumb idea, but it was their dumb idea. A rock-and-roll seeker dogged by mental demons — and a goofy avatar of rock authenticity. Long may he run. Another of the disparate folks who invented rock and roll in different ways, with different styles, and in different places; Domino, in partnership with songwriter and producer Dave Bartholomew, created a magnanimous, inoffensive, and hugely enjoyable form of rolling, expansive pop; deeply ethnic, but so open-hearted as to include the world in its infectiousness and enthusiasm.
They were pretentious and quite often unlistenable. A group of instrumental misfits, all but one from Canada, who came together as the Hawks under Ronnie Hawkins and then were propelled to an unexpected fame due to the songwriting beauty of Robbie Robertson and then a stint as the backing band for one … [shuffles papers] B. A lovely voice, a striking songwriter, and an indelible influence on pop, rock, and soul. Roxy was one of the most challenging bands of its time, mixing glam, art rock, and some species of European chanteuserie courtesy of leader Bryan Ferry layered with postmodern rock imagery, a decayed, regretful sexuality, and venturesome soundscapes courtesy of founding member Brian Eno.
Roxy is on a pedestal with Bowie in the U. Publicist Bob Merlis, who was on the nominating committee for many years, argued for Johnny Hallyday, a rock star whose popularity in France has really no equivalent in the Western world. The Stooges are Ur—almost everything noisy and confrontational that came after them, dumb metal to punk.
They produced album after album of highly melodic, rhythmically serious, lyrically mystifying Smart Songs for all the best rock girls and boys. I was one. There are groovy songs on most if not all of the rest of his solo albums, but it must be said they are generally erratic. His distinctive singing style rarely fell into the mannered; he was reservedly carnal, cautiously joyous.
Seventies pop radio would have been much less textured without him. Now, while the hall of fame proceeded apace in New York, bigger pans were being hatched, for an actual physical rock and roll museum. Pei to design the place. Exhibit space was eventually placed underground. A gracious albeit haunted presence to the end. The hall should consider inducting Richard Pryor on the same grounds — but not Steve Martin, for chrissakes. A graceful, elegant presence over decades. Reinvented soul, and came close to reinventing country, too. Fun fact: The band had only one top-ten hit in the U.
Jersey guy, nice wife. He met her at work. More than any other great star, he is a recombinant concoction of his forebears: Van Morrison, Dion, Presley, Spector, just about everything else he listened to growing up. It is a tribute to his vision, work ethic, and perfectionism that he looks good in their presence.
Bands should be given more credit for quitting early, and keeping their percentage of top-quality work high. In theory, this could encourage great artists to considering retiring from recording rather than foisting mediocre and labored work on their fans late into their career. It would also save Rolling Stone critics from having to figure out ways to tell us how artists like Springsteen are back in top rock-and-roll form and have, amazingly, released yet another five-star album.
Note that Springsteen was inducted without the E Street Band. His manager, Jon Landau, is a major figure at the hall, and of course Springsteen himself has lent his name to it for years. And now he writes songs for Pixar movies. The debate about Radiohead is whether they are a transformative, pantheonic band worthy of immediate entry to the hall, or just a really great one. I think they are at least as great as, say, R.
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And they may go down in history as the last great rock band. She is also one of our most precise and meaningful vocalists, from that pure emotional vibrato to those dark whispers. Along with Jonathan Richman, they showed early on that punk was a thing not a sound; austere and questioning at first, then with a darkened postmodern paranoia, and then on to an ecstatic, highly mental funk.
They merged New York hipster intellectualism to Southern California anomie, and first flecked it with and then immersed it all into a persuasive jazz sheen. The band engaged in some high-level trolling of the hall of fame for a year before their induction, posting various demands on their website and mocking the hall in various ways.
Their presence is so large now, we forget they were kids from one of the most fucked-up cities in the Western world who liked the Ramones. Not a bad rhythm section, and you have to give the Edge credit for expanding the sound of rock guitar, always at the service of riffs riffs riffs. Yes, I am aware the lead singer has become annoying. He was convicted of manslaughter and died in prison at the age of His mids stardom was phenomenal, and he spurred it on with various tactics, some clever, some Trumpian, and of course many self-destructive.
In other words, he was a big known star who suddenly got very big. Elvis and the Beatles by contrast offered confrontational, controversial music — music of the world to come, not the world they were in. That said, as a pop artist Jackson was certainly innovative, and set new standards. And as a Presley-like pop archetype of failed potential, very rock and roll. The two boards really, really hated each other. John unquestionably is a pop-rocker not a rocker. He was flamboyant, but he was also someone you could take home to mother.
He fairly bravely came out in the mids. His melodrama never goes overboard and his pop instincts were always natural and flowing. Diana Ross has now been a star for nearly 60 years, floating on a magical projected personality and a dulcet voice. I know the other Supremes had spectacular voices as well, but the rules are different for a superstar, which is what Ross is.
The trio with a lot of help from Berry Gordy, the stable of songwriters and the Motown production teams radiated a sophistication and a glamour that never clashed with the urgent emotions and happy stories they sang out. Very early exemplars of the potent emotional beauty the music was capable of conveying, spurred by the cosmic fraternal mix of their voices.
Among other things, the perfect showcase for the songs of Boudleaux and Felice Bryant. Smith is an interesting figure, a bit too hippieish and too accepting of shamanism and religiosity for my taste. But albums one and three — Horses, Easter — were sprawling and daring, more daring than anything else at the time.
She also reinjected Van Morrisonian levels of exaltation and ecstasy to the music, which then lived on in the work of R. Meanwhile, back at the hall: I asked Conforth for an example of how the Cleveland—New York division manifested itself. He said that one day shortly after he started work he was abruptly summoned to meet with Wenner, so he dutifully boarded a plane to New York. I was allowed to enter the inner sanctum.
There is something irresistible about Eddie Cochran. Presley always seemed a bit Olympian; Cochran was rough and ready, but never distant. But this is another tragic rock story: Cochran was killed at 21 in a car crash while on tour in the U. With lots of help from producer Rick Rubin, they made their mark with extreme brattiness married to highly artful and meaningful samples. Smart enough, too, to formally distance themselves from early anti-women behavior. A viscerally exciting performer with a mighty voice and a magnanimous and supple mind. She was the first female rock star; among nonblack artists, you could argue that she had been the most persecuted, and endured the most humiliations for her art, having grown up creative, gay, and odd in Texas.
I have to bow to the blues experts on this. He is a lovable character and a friendly, articulate guitarist; he is considered by all to be a, if not the , quintessential bluesman but to me lacks something. She fought hard to emerge from a Eurodisco ghetto and became, for a time, a glamorous pop-disco superstar whose thick and luscious gatefold albums penetrated deep into the consciousness of suburban America, culminating in Bad Girls , a rock-disco triumph of no little power. Some people like them, of course. With the Airplane, the Dead defined the San Francisco psychedelic sound, such as it was, and over time came to embody a chaotic independence, in their latter days providing a comfy hippie vibe for stadia of slumming yuppies.
Note that he lineup of the band inducted into the hall includes several highly inessential members, ranging from the dubious Constanten, Mydland to the risible Welnick, formerly of [ checks notes ] the Tubes. Garcia was supposedly on his way but never made it to the ceremony. I asked Wenner who decides such things. Turner had an unmistakable and infectious voice and used it, irresistibly, to turn blithe not-quite-blues, not-quite-rock songs into highly enjoyable romps. More about this under Ruth Brown, below. This makes no sense. Deservedly, the first of the girl groups to be inducted. I find McCartney refreshingly one-dimensional and dependable, save for this one thing: He is both industrious and lazy.
There are great songs strewn throughout his albums from this period, and slighter, highly enjoyable ones, too, but way too many throwaways. He still likes you. In their own way, subtle. Then they became MTV stars. And the youngest had a lot of potential. Later recorded as the Jacksons.
Is the hall of fame voting process rigged? And no one had any idea how the votes from the voters at large were tabulated. The story about Wenner clinging to a penultimate vote count to sneak Grandmaster Flash into the hall in front of the Dave Clark Five surprised me in this way: Having read Sticky Fingers I had no expectations at all that any sort of count was kept in the first place. For the record, Peresman says that, today, ballots come in and are tabulated each day, and that Wenner has nothing to do with the counting.
This manic white-blues outfit, with the Stones, were the commercial face of the move from white-bluesmen wannabes to rock stars. They have lots better work than that. One of the difficulties the hall has grappled with is how it should take into account popularity; Madonna was, after all, one of the very biggest pop stars of all time. There is an argument for excellence that gets overlooked in all sorts of artistic endeavors, so let me make it clear: Being popular gets you a lot of things. Fuck off! The Moody Blues are a great example. They pioneered a sort of orchestrated, lush, and it must be said ambitious rock but have never quite been taken seriously.
What to do? The hall has been schizophrenic. Tamarkin recalls he was asked if he was an enthusiastic supporter of the band. The meeting moved on. The Moonglows got in, eventually, in ; the Moodys in In fairness, the long delay in inducting some of these bands, like the Moodies and Chicago, to some extent points to their second-tier status.
Still, I think the hall should push back on this point, and insist on the primacy of artistic value, but it will be difficult after the induction of bands like ABBA. As for Tamarkin, he said his stay on the nominating committee came to an end after he published an editorial in Billboard criticizing the hall.
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