They Might Be Giants Genre
Melvina Kryder
They Might Be Giants, often abbreviated as TMBG, is an American alternative rock band formed in 1982 by John Flansburgh and John Linnell. During TMBG's early years, Flansburgh and Linnell frequently performed as a musical duo, often accompanied by a drum machine. In the early 1990s, TMBG expanded to include a backing band.[5] The duo's current backing band consists of Marty Beller, Dan Miller and Danny Weinkauf. They have been credited as vital in the creation and growth of the prolific DIY music scene in Brooklyn in the mid-1980s.[6]
The group has been noted for its unique style of alternative music, typically using surreal, humorous lyrics, experimental styles and unconventional instruments. Over their career, they have found success on the modern rock and college radio charts. They have also found success in children's music with several educational albums, and in theme music for television programs and films.
TMBG have released 23 studio albums. Flood has been certified platinum, while their children's music albums Here Come the ABCs, Here Come the 123s, and Here Comes Science have all been certified gold. The duo has been nominated for four Grammy Awards, winning two.[7][8] Flansburgh and Linnell won for writing the theme to Malcolm in the Middle (Best Film or Television Theme) and They Might Be Giants won for Here Come the 123s (Best Children's Album). Linnell and Flansburgh were also nominated for a Tony Award for Best Original Score (Music and/or Lyrics) Written for the Theatre along with other composers of the show for SpongeBob SquarePants: The Broadway Musical.[9] In total, the group has sold over 4 million records.[10]
Johns Linnell and Flansburgh first met as teenagers growing up in Lincoln, Massachusetts. They began writing songs together while attending Lincoln-Sudbury Regional High School but did not form a band at that time. The two attended separate colleges after high school and Linnell joined The Mundanes, a new wave group from Rhode Island. The two reunited in 1981 after moving to Brooklyn (to the same apartment building on the same day) to continue their career.[11]
At their first concert, They Might Be Giants were introduced as and performed under the name El Grupo De Rock and Roll (Spanish for "the Rock and Roll Band"), because the show was a Sandinista rally in Central Park, and a majority of the audience members spoke Spanish.[12] They had previously chosen a name that, according to John Flansburgh, was "so bad that John [Linnell] and I have made a vow that we will never tell anyone, even our children."[13] Soon discarding this name,[14] the band assumed the name of the 1971 film They Might Be Giants (starring George C. Scott and Joanne Woodward), which is in turn taken from a Don Quixote passage about how Quixote mistook windmills for evil giants. According to Dave Wilson, in his book Rock Formations, the name They Might Be Giants had been used and subsequently discarded by a friend of the band who had a ventriloquism act.[15] The name was then adopted by the band, who had been searching for a more suitable name.
A common misconception is that the name of the band is a reference to themselves and an allusion to future success. In an interview, John Flansburgh said that the words "they might be giants" are just a very outward-looking forward thing which they liked. He clarified this in the documentary movie Gigantic (A Tale of Two Johns) by explaining that the name refers to the outside world of possibilities that they saw as a fledgling band. In an earlier radio interview, John Linnell described the phrase as "something very paranoid sounding".[16]
At one point, Linnell broke his wrist in a biking accident, and Flansburgh's apartment was burgled, stopping them from performing for a time. During this hiatus, they began recording their songs onto an answering machine, and then advertising the phone number in local newspapers such as The Village Voice, using the moniker "Dial-A-Song".[23] They also released a demo cassette, which earned them a review in People magazine. Authored by Michael Small,[24] the review caught the attention of Bar/None Records, who signed them to a recording deal.[25]
At one point in 1988, the Dial-A-Song answering machine recorded a conversation between two people who had listened to Dial-A-Song, then questioned how they made money out of it. An excerpt from the conversation has been included as a hidden track on the EP for "(She Was A) Hotel Detective." In the late '90s, TMBG started switching to a digital unit to update the format for Dial-A-Song, but due to frequent crashes, the band returned to the original format.
In 2002, Dial-A-Song's answering machine broke down, and fans responded by sending new similar models. In the following year, Dial-A-Song resumed service with a new answering machine. By 2005, a computer system from TechTV was provided to maintain the system, but technical difficulties started bringing the system to an end.
In 2006, Dial-A-Song became increasingly difficult to maintain as a result of unreliable answering machines that had to be replaced. The stress placed upon the answering machine in addition to its age caused excessive wear, and the machine broke down soon after. In August, Dial-A-Song ceased production and because fans started taking advantage of the internet, it was replaced with a page promoting the They Might Be Giants podcasts.
John Linnell stated in an interview in early 2008 that Dial-A-Song had died of a technical crash, and that the Internet had taken over where the machine left off. On November 15, 2008, the Dial-A-Song number was officially disconnected, though the number has at times been re-used in a similar style by other independent artists.
The duo released their self-titled debut album in 1986, which became a college radio hit. The video for "Don't Let's Start", filmed in the New York State Pavilion built for the 1964 New York World's Fair in Queens, became a hit on MTV in 1987, earning them a broader following. In 1988, they released their second album, Lincoln, named after the duo's hometown.[citation needed] It featured the song "Ana Ng" which reached No. 11 on the US Modern Rock chart. Both albums were produced on 8-track tape at Dubway Studios in New York City.
In 1989, They Might Be Giants signed with Elektra Records and released their third album Flood the following year. Flood earned them a platinum album, largely thanks to the success of "Birdhouse in Your Soul" which reached number three on the U.S. Modern Rock chart, as well as "Istanbul (Not Constantinople)", a cover of a song originally recorded by the Four Lads.
In 1990, Throttle magazine interviewed They Might Be Giants and clarified the meaning of the song "Ana Ng": John Flansburgh said, "Ng is a Vietnamese name. The song is about someone who's thinking about a person on the exact opposite side of the world. John looked at a globe and figured out that if Ana Ng is in Vietnam and the person is on the other side of the world, then it must be written by someone in Peru".[28]
Further interest in the band was generated when two cartoon music videos were created by Warner Bros. Animation for Tiny Toon Adventures: "Istanbul (Not Constantinople)" and "Particle Man".[29] The videos reflected TMBG's high "kid appeal", resulting from their often absurd songs and pop melodies.
In 1991, Bar/None Records released the B-sides compilation Miscellaneous T. Though consisting of previously released material (save for the "Purple Toupee" B-sides, which were not available publicly), it gave new fans a chance to hear the Johns' earlier non-album work without having to hunt down the individual EPs.
Following Apollo 18, for live shows, Flansburgh and Linnell (who themselves play the guitar and accordion or sax, respectively) decided to move away from recorded backing tracks and recruited a supporting band (Kurt Hoffman of The Ordinaires on reeds and keyboards, longtime Pere Ubu bassist Tony Maimone, and drummer Jonathan Feinberg).
John Henry was released in 1994. Influenced by their more conventional lineup, this album marked a departure from their previous releases with more of a guitar-heavy sound.[30] It was released to mixed reviews amongst fans and critics alike.
Their next album, Factory Showroom, was released in 1996 to little fanfare. The band had quickly moved away from the feel of John Henry, and Factory Showroom returns to the more diverse sounds of their earlier albums, despite the inclusion of two guitarists, the second being Eric Schermerhorn who provided several guitar solos.
Around this same time period, Danny Weinkauf (bass) and Dan Miller (guitar) were recruited for their recording and touring band. Both had been members of the bands Lincoln and Candy Butchers which were previous opening acts for TMBG. Weinkauf and Miller continue to work with the band to the present day.
For most of their career, TMBG has made innovative use of the Internet. As early as 1992, the band was sending news updates to their fans via Usenet newsgroups. In 1999, They Might Be Giants became the first major-label recording artist to release an entire album exclusively in MP3 format. The album, Long Tall Weekend,[31] is sold through Emusic.
Also, in 1999, the band contributed the song "Dr. Evil" to the motion picture Austin Powers: The Spy Who Shagged Me. Over their career, the band has performed on numerous movie and television soundtracks, including The Oblongs, the ABC News miniseries Brave New World and Ed and His Dead Mother. They also performed the theme music "Dog on Fire", composed by Bob Mould, for The Daily Show with Jon Stewart.[32][33]They composed and performed the music for the TLC series Resident Life, the theme song for the Disney Channel programs Higglytown Heroes and Mickey Mouse Clubhouse, and songs about the cartoons Dexter's Laboratory and Courage the Cowardly Dog.[34]
c80f0f1006