#dave tompkins

[redbullmusicacademy]

De La Soul by Dave Tompkins

[alwaysalreadyangry]

While still exploring the sound’s WWII origins, (Dave) Tompkins describes “ghost armies” conjured from nothing using sensory technologies as part of a “sonic deception strategy” practiced on the battlefield. “During World War II,” he writes, “artifice—the illusion of conflict—was a weapon in itself. There were wooden bombs, fake factories, inflatable tanks, synthetic fogs, electronically generated ghost armies, psychoacoustic ventriloquists, and magicians hired to make the coastline disappear.”

Technologists from places like Bell Labs unleashed hi-fi wizardry against the adversary, including misleading sound effects built into torpedoes and “artificial screaming bombs” that, to put this in somewhat Friedrich Kittler-like terms, turned warfare into a kind of lethal, all-encompassing, international discotheque of blinding lights and disembodied shock waves, a carnivalesque over-investment in technology’s fatal side-effects, distracting people long enough that they could be destroyed.

(BLDGBLOG: Ghost War) (Dave Tompkins)

[crazywisdommasters]

I don't usually scan reviews because truly who gives a fuck what some guy though about a record? (I think I stopped reading em after the Source gave 2.5 mics to Da Shinin). Form your own opinions says I. Couple differences here:

1. Dave Tompkins, I could read this guy's reviews of lawnmowers on Amazon or whatever. 

2. Creston Avenue was my marijuana dispensary of choice when I lived in the Bronx, so like the name alone holds godly, word to Citiesofdope. 

3. This record chops "Big Black Funky Slave" which once upon a time I found in the basement of New Wax Unlimited in The District of Columbia, word to Ira P. Lopez, may he rest in peace. 

4. Most significantly: CED GEE. Caz's Tuff City records were def some too little too late shit when viewed in light of the career he SHOULD have had, but everything Ced did for the infamous Mr. Fuchs during this period was amazing incredible and next level. Dude just did shit to samples that defied reason. A true genius, whose enormous footprint on the progression of rap production is not acknowledged anywhere near the way it should be. 

From Grand Slam #3

[theparisreview]

“What’s Christmas without some ancient demons embedded in the chimney?” 

Dave Tompkins on 1972’s television play The Stone Tape.

[theparisreview]

“A Pictorial History of Horror Movies scared me more than the movies. A constant presence in the house, I knew where that big red thing was at all times. The fear lay in the possibility of what happened within those images when the book was closed. Did the Phantom remove his tombstone dentures when I wasn’t looking?”

Read more of Dave Tompkins on Denis Gifford’s A Pictorial History of Horror Movies here.

[matthewnewton]

On learning that Yauch had passed away, I walked around Brooklyn assuming every woman, egg man, child, and pet to be thinking the same thing: I wondered which track their brains were playing.

-Dave Tompkins

[janvaneyck]

13 december 2011, 16:00 - kamer 201, JVE Vocoder day; sound as weapon, weapon as sound

Oorspronkelijk ontworpen voor telecommunicatiedoeleinden in de jaren ’30 en tijdens WOII, werd de vocoder later als stemvervormer gebruikt door muzikanten. Bands als Kraftwerk maakten de vocoder tot één van de meest alomtegenwoordige stemmen in de popmuziek van de afgelopen eeuw. Vocoder Day verkent de geschiedenis van de vocoder en geluid als wapen. Bijdragen zijn er van Dave Tompkins, schrijver van het boek How to Wreck a Nice Beach, Steve Goodman aka Kode9, kunstenaar DJ en schrijver van Sonic Warfare: Sound, Affect, and the Ecology of Fear, en geluidskunstenaar Kalle Laar. Lezingen georganiseerd door Hans-Christian Dany

Vocoder day; sound as weapon, weapon as sound Originally employed for telecommunications applications in the 30’s and during World War II, the vocoder was in later years repurposed as a voice-altering tool for musicians. Bands like Kraftwerk made the vocoder one of the most ubiquitous voices of popular music in the last century. The symposium Vocoder Day explores the history of the vocoder and sound as a weapon. This symposium will gather contributions by Dave Tompkins, author of the book How to Wreck a Nice Beach, Steve Goodman aka Kode9, artist, DJ and author of Sonic Warfare: Sound, Affect, and the Ecology of Fear, and sound artist Kalle Laar. Lectures organised by Hans-Christian Dany.