Well you know, I just thought I was doing something natural, but right from the start, my songs were divisive for some reason. They divided people. I never knew why. Some got angered, others loved them. Didn’t know why my songs had detractors and supporters. A strange environment to have to throw your songs into, but I did it anyway. Last thing I thought of was who cared about what song I was writing. I was just writing them. I didn’t think I was doing anything different. I thought I was just extending the line. Maybe a little bit unruly, but I was just elaborating on situations. Maybe hard to pin down, but so what? A lot of people are hard to pin down. You’ve just got to bear it.
Toby W. Rush’s “Music Theory for Musicians and Normal People” covers a massive range of topics like pitch, rhythm, scales, intervals, and harmonics. The online book itself is more arranged as a collection of high-quality PDFs that offer diagrams, notes, and tips for everything music theory related. There’s around 50 PDFs to go over, but each one could make for a useful reference printout if there was a specific topic you’re interested in. Learning to play music can have a number of benefits, and though music theory isn’t required for doing so, it can certainly help if you want to create your own tunes.
Thackray sang in a lugubrious baritone voice, accompanying himself on a nylon-strung guitar in a style that was part classical, part jazz. His witty lyrics and clipped delivery, combined with his strong Yorkshire accent and the northern setting of many of his songs, led to him being described as the “North Country Noël Coward”, a comparison Thackray resisted, although he acknowledged his lyrics were in the English tradition of Coward and Flanders and Swann, “who are wordy, funny writers”. However, his tunes derived from the French chansonnier tradition: he claimed Georges Brassens as his greatest inspiration, and he was also influenced by Jacques Brel and Charles Trenet. He also admired Randy Newman. He was admired by, and influenced, many performers including Jarvis Cocker, Mike Harding, Momus, Ralph McTell, Morrissey, Alex Turner, and Jasper Carrott.
AU Review: Your appearance in the Eurovision Song Contest in 2008 was interesting, in that you represented France and sang mainly in English and inhaled helium on stage. Looking back on that, how do you remember the time?
Sebastien Tellier: It was fun to be in Serbia with a lot of crazy people. I never understood why Eurovision was so badly produced with all the money it costs. Anyway, weed is great in Serbia, so it was cool.
This edited volume presents an original analysis of the role of sound in Latin American and Caribbean societies, from the late nineteenth century to the present. The contributors examine the importance of sound in the purveyance of power, gender roles, race, community, religion, and populism. They also demonstrate how sound is essential to the formation of citizenship and nationalism.