Merge Records defies everything you’ve heard about the music business. Started by two twenty-year-old musicians, Merge is a lesson in how to make and market great music on a human scale. The fact that the company is prospering in a failing industry is something of a miracle. Yet two of their bands made the Billboard Top 10 list; more than 1 million copies of Arcade Fire’s Neon Bible have been sold; Spoon has appeared on Saturday Night Live and The Tonight Show; and the Magnetic Fields’ 69 Love Songs is a contemporary classic.
In celebration of their twentieth anniversary, founders Mac and Laura offer first-person accounts—with the help of their colleagues and Merge artists—of their work, their lives, and the culture of makin
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jonzombie.com http WATCH ON YOUR MOBILE DEVICE: vimeo.com I LOVE THIS CITY | SAN FRANCISCO | BASS STAGE DOCTOR P | FEED ME | KILL THE NOISE | HELICOPTER SHOWDOWN I Love This City | San Francisco Presented by Live Nation (livenation.com) in association with Skills (http Filmed live at the Shoreline Amphitheater in Mountain View, California May 26th 2012 Special thanks to Live Nation, Skills, Doctor P, Feed Me, Kill The Noise, Helicopter Showdown, Bachelors of Science and everyone raging in the crowd that day! JON ZOMBIE VIDEO PRODUCTIONS jonzombie.com http Soundtrack: DKS – Illusion (Tim Ismag Remix) The Killabits – Motown 2000 (Ft. Riggadale) Doctor P – Neon (Ft. Jenna G) (Roksonix Remix) Camo & Krooked — Hot Pursuit (Dead Battery Remix) Innerpartysystem — Last Night In Brooklyn (NumberNin6 Remix) Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. —- I do not claim ownership of the audio / music used in this video. All rights go to the artists credited above.
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Grammy-winning Eminem (Marshall Mathers) is the first white crossover star of the hip-hop generation and it is a crossover notable for the absence of the resentment (but more of the controversy) that confronted past white performers of “black” music. In fact, black cultural bigwigs from Zadie Smith (who profiled Eminem in a Vibe cover-story lovefest) to rap progenitor and mogul Russell Simmons, not to mention superproducer to the stars Dr. Dre, a host of lesser lights, and hordes of bona fide fans have been crawling out of the woodwork to deflect the very criticism you might expect a white boy to draw when taking up a black form as his own. Meanwhile, self-consciously highbrow journals like the New Republic and the Nation have taken Eminem
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