![]() ![]() I'm at the Goodwill, you can find me in the Uptons Thank your granddad for donating that plaid button-up shirt One man's trash, that's another man's come-up I'm digging, I'm digging, I'm searching right through that luggage What you knowin' about wearin' a fur fox skin? What you know about rockin' a wolf on your noggin? The sneaker heads would be like "Aw, he got the Velcros" I could take some Pro Wings, make them cool, sell those John Wayne ain't got nothing on my fringe game, hell no I bought a skeet blanket, then I bought a kneeboard They had a broken keyboard, I bought a broken keyboard No for real - ask your grandpa - can I have his hand-me-downs?ĭookie brown leather jacket that I found diggin' I'mma take your grandpa's style, I'mma take your grandpa's style Savin' my money and I'm hella happy that's a bargain Passin' up on those moccasins someone else's been walkin' in Kelly's sheetsĬoppin' it, washin' it, 'bout to go and get some compliments Probably shoulda washed this, smells like R. Rollin' in, hella deep, headin' to the mezzanineĭressed in all pink, 'cept my gator shoes, those are greenĭraped in a leopard mink, girls standin' next to me That people like, "Damn! That's a cold ass honkey." I'm so pumped about some stuff from the thrift shop Walk up to the club like, "Whaddup? I'm up for some big shot!" I'm gonna pop some tags, only got twenty dollars in my pocket Bradlee himself will tell you, simply, “I reimagine a song in another style because I want to hear it that way.”Ĭlearly, so does everyone else, as evidenced by PMJ’s presence on concert stages (stateside and abroad) and Billboard’s Jazz Albums chart, where its self-released 2014 opus “Historical Misappropriation” landed in the Top 10 alongside John Coltrane’s “Offering: Live at Temple University” and “All Rise: A Joyful Elegy for Fats Waller.” But as far as the fans are concerned, it’s just fun (and sometimes funny). He’s manifesting postmodernist ideas in his approach to production and business as well as music. He’s educating his audience about 20th-century song styles he’s commenting on the elasticity of the pop form he’s confounding cultural context he’s uniting generations he’s breaking the rules. Miley Cyrus’ “We Can’t Stop” assayed as a doo-wop number Macklemore and Ryan Lewis’ “Thrift Shop” tricked out in flapper jazz Sam Smith’s “Stay With Me” rendered a 1940s big-band standard. The madness: pop hits of the present performed à la pop hits of the past. On the surface, the method is video – clips of full-band performances (that’s Bradlee on piano) shot in the bandleader’s living room with a single stationary camera. Most of those doing the viewing, however, are not fully aware of the method to Bradlee’s madness. ![]() Read Full Bio The work of Scott Bradlee & Postmodern Jukebox has been viewed on the ensemble’s YouTube channel well over a hundred million times. The work of Scott Bradlee & Postmodern Jukebox has been viewed on the ensemble’s YouTube channel well over a hundred million times.
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