http://www.opinionjournal.com/la/?id=110007902
Quotes:
"It's a whole new thing to me," said Frank Oz, who originated the voice of the Cookie Monster. "I've never heard of it."
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Mr. Oz agrees that making Cookie Monster sounds is an arduous occupation. "I never trained for it and I blew my pipes out," he told me. "It's completely unnatural, an explosion of force that comes from the belly through the throat. I would do a day of it and my normal voice would be a half an octave lower." (During our conversation, Mr. Oz demonstrated the Cookie Monster voice. The sudden force was startling and the volume so loud, I had to pull the phone from my ear.)
WSJ Article on Cookie Monster Death Metal Vocals
Moderator: drizzle
WSJ Article on Cookie Monster Death Metal Vocals
When we act, we create our own reality. And while you're studying that reality -- judiciously, as you will -- we'll act again, creating other new realities, which you can study too, and that's how things will sort out. We're history's actors . . . and you, all of you, will be left to just study what we do.
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cascarrabias
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[quote]That's Good Enough for Me
Cookie Monsters of death-metal music.
BY JIM FUSILLI
Wednesday, February 1, 2006 12:01 a.m. EST
While the extreme branch of heavy-metal music known as death metal is defined in part by often-vile lyrics about violence, catastrophic destruction, nihilism, anarchy and paranoia, its singing style is associated with a beloved goggle-eyed, fuzzy blue puppet.
Death-metal vocalizing is also known as Cookie Monster singing, if not in tribute to, at least in acknowledgment of, the "Sesame Street" puppet that blurts in a guttural growl, his words discharged so rapidly that they tend to collide with each other.
All this was news to people at Sesame Workshop, the nonprofit organization behind "Sesame Street." "We have nothing to do with it," said Ellen Lewis, vice president of corporate communications. "What is it?"
"It's a whole new thing to me," said Frank Oz, who originated the voice of the Cookie Monster. "I've never heard of it."
Most death-metal vocalists don't seem to mind the term. "We think it's funny," said Angela Gussow, lead singer for the Swedish band Arch Enemy and one of the few female death-metal vocalists. "We take ourselves too seriously."
The term is considered derogatory by some metal fans, but it's an apt description. Issued like machine-gun fire, death-metal vocals are low, guttural and aggressive, with no subtlety, no melody and very little modulation. But unlike the garbled sound emanating from the lovable and occasionally frenetic Cookie Monster, death-metal vocals seem to come from a dark spot in a troubled soul, as if they were the narrator's voice on a tour of Dante's seventh circle of hell. Cute and funny they ain't.
It's not easy to determine where and how Cookie Monster singing actually began. Early death-metal bands such as Death and Morbid Angel that emerged from Florida in the mid-'80s helped create the musical template that characterized the blasting sound as well as that of its Satan- and occult-obsessed sibling, black metal: fast, relentless drumming often featuring two bass drums; grinding, rapid-fire chording on guitars; squealing guitar solos; muted electric bass; unexpected sudden tempo changes; and a sense of theatricality that's inevitably threatening--"a horror film put to music" is how Monte Conner, a vice president at Roadrunner Records, sees it.
But while the vocals in early death metal are low, raspy and aggressive, not unlike the vocals by, say, Lemmy Kilmister of Mot
Cookie Monsters of death-metal music.
BY JIM FUSILLI
Wednesday, February 1, 2006 12:01 a.m. EST
While the extreme branch of heavy-metal music known as death metal is defined in part by often-vile lyrics about violence, catastrophic destruction, nihilism, anarchy and paranoia, its singing style is associated with a beloved goggle-eyed, fuzzy blue puppet.
Death-metal vocalizing is also known as Cookie Monster singing, if not in tribute to, at least in acknowledgment of, the "Sesame Street" puppet that blurts in a guttural growl, his words discharged so rapidly that they tend to collide with each other.
All this was news to people at Sesame Workshop, the nonprofit organization behind "Sesame Street." "We have nothing to do with it," said Ellen Lewis, vice president of corporate communications. "What is it?"
"It's a whole new thing to me," said Frank Oz, who originated the voice of the Cookie Monster. "I've never heard of it."
Most death-metal vocalists don't seem to mind the term. "We think it's funny," said Angela Gussow, lead singer for the Swedish band Arch Enemy and one of the few female death-metal vocalists. "We take ourselves too seriously."
The term is considered derogatory by some metal fans, but it's an apt description. Issued like machine-gun fire, death-metal vocals are low, guttural and aggressive, with no subtlety, no melody and very little modulation. But unlike the garbled sound emanating from the lovable and occasionally frenetic Cookie Monster, death-metal vocals seem to come from a dark spot in a troubled soul, as if they were the narrator's voice on a tour of Dante's seventh circle of hell. Cute and funny they ain't.
It's not easy to determine where and how Cookie Monster singing actually began. Early death-metal bands such as Death and Morbid Angel that emerged from Florida in the mid-'80s helped create the musical template that characterized the blasting sound as well as that of its Satan- and occult-obsessed sibling, black metal: fast, relentless drumming often featuring two bass drums; grinding, rapid-fire chording on guitars; squealing guitar solos; muted electric bass; unexpected sudden tempo changes; and a sense of theatricality that's inevitably threatening--"a horror film put to music" is how Monte Conner, a vice president at Roadrunner Records, sees it.
But while the vocals in early death metal are low, raspy and aggressive, not unlike the vocals by, say, Lemmy Kilmister of Mot
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b0mbs_of_death
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