“What Gregg did on stage was nothing short of amazing,” recalled the silver-haired statesman, who came dressed in business casual and wielding a camera phone. The latter dubbed the congressman “Girl Talk’s biggest fan,” a title given more weight in September when Doyle attended his first Girl Talk show at the Black Cat in Washington, D.C. Since then, the unlikely duo has garnered a great deal of media attention, including profiles in Newsweek and Rolling Stone online. “ash-ups are transformative new art that expands the listener’s experience,” Doyle told his befuddled colleagues-few of whom had heard of mash-ups, let alone Girl Talk. ĭuring a memorable hearing, Doyle stumped on the floor of Congress for both his young constituent- “a local guy done good”-and the mash-up genre in general. Kenneth DeGraff, one of Doyle’s young staffers and a huge fan of Girl Talk, introduced his boss to the mash-up star. Luckily for Gillis, Doyle is the vice chairman of the Telecommunications and Internet Subcommittee and a progressive on copyright issues. In early 2007, the Pittsburgh native met a powerful ally: his congressman, Rep. So what’s your favorite, most inspired cover story that veers significantly from the original? Let me know at Update from our reader above: My favorite mini-cover of “Superstar” is from Girl Talk, a mashup DJ and one of my all-time favorite artists, who sampled the song on “Like This,” the seventh track off Feed the Animals ( starting at the 2:07 mark). But my favorite cover is by Sonic Youth, who turn the song into the creepy tale of a stalker.Įmbedded above. It’s been covered many times since then (I personally own five versions), most famously by The Carpenters. It’s an emotional telling of a women in love with a man who’s seemingly forgotten her on his climb to rock stardom. Probably the most famous example is Jimi Hendrix’s version of “All Along the Watchtower,” which so improved on Bob Dylan’s original that even he does it “Jimi’s way” now.īut my favorite example of a song being reinterpreted is “Superstar.” The song was written by Bonnie Bramlett (of Delaney & Bonnie fame) and Leon Russel and was initially done by Rita Coolidge way back in 1970. But my favorite type of cover is when something completely new is done with the song. There’s the “what the heck?” cover-e.g., who would have guessed that U2 are huge ABBA fans? There are all those millions of tribute albums (a particularly good one is “ I’m Your Fan: The Songs of Leonard Cohen”). This may not be to everybody's taste - many found the twee tunes irritating, not charming - but anybody who loved the movie completely will find the Juno soundtrack just as witty and warm as the film itself.I love all kinds of music, but I particularly love covers. Some might say that the sickly sweet songs of Dawson don't fit comfortably alongside the Kinks, Mott the Hoople, and Sonic Youth's cover of the Carpenters' "Superstar," but a large part of the appeal of Juno is how the world-weary sarcasm of Gen-X rubs against the unapologetic quirkiness of Gen-Y, and the soundtrack reflects that almost more than the movie, as the Dawson songs are even more prominent on this 19-track album than within the 90-minute movie. Juno, the pregnant teen of the title role, isn't just a kid who loves rock & roll she and her boyfriend Paulie Bleeker play guitars together, the adoptive father of Juno's kid is a recovering grunge rocker who toured the world and elsewhere in 1993, and Reitman punctuates the film with songs, both classic rock and precious twee folk tunes from Kimya Dawson, formerly of the Moldy Peaches. Music plays a key part in Juno, the way-too-charming indie comedy directed by Jason Reitman and written by Diablo Cody.
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