Ooh! It's weird, it's not listed on his website or in a simple search like "Sir Mix a lot Tour.." He's playing at Dante's on the 14th too.. A friend of mine who works at the pizza place attached owes me a favor, maybe he'll let me sit in the kitchen.

One of the weirdest shows I ever saw was back in Madison. It was one of those "welcome freshmen" sorts of things and by this point I had graduated, but the show was outside on a hill so it was easy to watch. The bill was Better Than Ezra and Sir Mix a Lot. I found it a shock that my then-wife secretly LOVED Better than Ezra.. anyway, two bands playing for ostensibly the graduating class of 2009.. even I was a little too young for Sir Mix a lot. He was literally on stage for 15 minutes.. the only song any one knew was "Baby got Back".. then Better Than Ezra played for 2 excruciating hours. The only time the Freshmen looked like they were having any fun was when The Darkness' "Thing Called Love" was playing on the PA system during a break.

If you want to hang with the Mothership in addition to Mix you'll have to get one of the last remaining VIP tickets.

http://www.brownpapertickets.com/event/667624

Id totally go if I had the extra $$.. I'm just a poor door person. Hey wait a sec...

I remember the former, but not the latter. It's racist how? Oh the 90s.

Because the white girls in his video didn't have ghetto booty.

During their 1992 special, Spy Magazine ran a clip from BGB to commemorate "the year of the woman", which is what the pundits were calling it because of the 92 election.

"Banjos and Beethoven are WHITE PEOPLE music. Keep it that way!"

oddeye 10 minutes ago

Not sure how you jumped to that conclusion. Do you agree or disagree that a techno remake of Joy Division's greatest hits is in principle a shitty idea?

Yes or no, motherfucker.

I thought Joy Division *was* a techno band?

But it wasn't really like that, was it? It was funny, but It wasn't a joke. Sir Mix-a-Lot performed the song, and the orchestra provided the beats. He wasn't wearing a tuxedo, or any of that shit.

I'm probably being naive, but fuck it, I'm just going to go ahead and be naive. In my aging Caucasian brain, this is what hip-hop should be about: bringing different people together, and crossing musical barriers recklessly, just for the hell of it, and to piss off the purists.

Loved it,

Last time I went to the Opera was at the National Theatre, to see Tosca. I had to take a piss so I went to the restroom, and inside the marbled room with brass finishings you could hear the loud groans and moans of a man suffering from incredible stomach cramps, they came from one of the stalls. After every strained groan, the sound of a loud gush of diarrhea could be heard falling wetly into the toilet. It went on and on.

This was during the interval, so there were several other men in the restroom, all elegantly dressed in their suits and ties. Their faces showed visible discomfort, but all went about their business in utter silence.

It was hilarious.

It's sad but true (no offense Lord Mix a Lot) but this is the state of non profit arts groups. The Oregon Symphony has been doing something similar with (mostly) local artists like the Modest Mouse, Laura Gibson, Mirah.. don't get me wrong I like those people just fine, but scrunching it in to a regular symphony subscription series is insulting to the young and old. It's assuming that young people don't appreciate Mahler, Dvorak etc. and need their rock n' roll, and also giving the Vaudeville Hook to the long-term subscribers and donors, saying "your time has past."

It was the same when I worked at the Opera. One of my few ideas that worked was to bring in local zine artists to illustrate the Operas during tech dress rehearsals, and it worked great! It was still your standard Toscas, Bohemes, et al, but it gave a fresh young perspective on a 500 year old art form. But when we dared do a Philip Glass or even Benjamin Britten, heads would roll.

That's because Philip Glass was an unlistenable hack and Britten was a pedofork.

@John Holmes Motherfucker

That is exactly what this concert series is about - bridging the gap between different forms of music.

Forms of music? What is that, exactly? Where are the gaps between these arbitrary boundaries that encapsulate what is considered a type of music?

Even if such gaps existed, which they don't, why would anyone even need or want to bridge them? To what purpose does it serve?

How I see this video must be how the universe sees itself, the emptiest of parodies.

I don't think it's inherently a "bad" thing: its mission is to show that classical music isn't just for squares. I run a free monthly classical music event for children where they're encouraged to dance (when it got to be too much and parents complained, I put up a big paper canvass so they could draw what they heard.) Anyway, it is important to bridge the gap. My problem is that it's ridding itself of a stigma that never really existed: that classical music is just for the elderly or upper crust youth, the kinds that already have their monocles at the ready, driving daddy's old 2009 BMW and eating at Morton's beforehand.

When I worked at the Opera people would ask me how my day at the Symphony was, and eventually I got tired of correcting them. These are people who know much more about what's popular (mainstream and "indie") than myself yet they've never attended a classical production of any kind. The idea of roping people in, with the tag-line "if you liked our pops concert, check out the rest of the season.. trust us you won't be as bored as you think" is just wrong from a marketing/development perspective like yours' truly's.

But classical music *is* for the elderly and the upper crust; it is part of their own sacred cultural heritage. And what's wrong with that? People who aren't posh or elderly should be able to listen to classical music, sure, but we must take care not to marginalize the posh and the elderly, or make them feel like their culture is being co-opted and disrespected. We're white-washing classical music, telling the ascot-wearing indigenes that their culture is acceptable only if it blends in with our own. We are colonizing their art-form and destroying - even denying! - their sense of historical identity.

yes.

Also, I'm hoping, her date that night.

When I watched this video a second time, it was to see the chick in the black dress.

But how you you prove something exists by bridging it when it doesn't exist?

MAYBE some people enjoy it but some people also enjoy regular old shit music. Playing Beyoncea or whatever on some bongos doesn't make it inherently funny or clever, which is what a lot of people seemto assume.

Cause they are stupid shits.

>>But how you you prove something exists by bridging it when it doesn't exist?

You can't. You can prove that it DOESN'T exist, which is what I actually said.

So what I see is a lot of people having fun, and enjoying music, and somehow this offends you, and your reason for being offended seems laced with assumptions that I don't share. I wish I could talk you out of your bad mood, but since I can't, it's not going to impair my enjoyment.

It doesn't offend me dude. To me, it's on the same level as someone turning a bucket upside-down and calling it art because the bucket can no longer hold water or some shit.

I'm just saying, reworking the sound of a condemned horse corpse going through an industrial crusher with turn-tables and a freestyle MC does not inherently turn shit into gold, that has to be earned. Quite the opposite usually, the sweetest of noises is often destroyed when translated thus.

Hey! Wait! Let's try Mezzo Forte!