Feeds:
Posts
Comments

Archive for the ‘Sex’ Category

CHERRY GLAZERR-NonComm 2019 (May 15, 2019).

A couple of years ago I had a pass to NonComm, but ultimately i decided not to go.  I had never been to World Cafe Live and, while it sounded like a fun time, it was just so many mid-week nights and lots of leaving early, that it sounded more exhausting than fun.

I have now been to World Cafe Live and I can imagine that the (less divaish) bands are hanging around talking to people (and radio personalities) which is probably pretty cool.

I loved the idea of these sorta personal concerts, too.  But I have since come to see that they are 20-45 minutes tops.  Hardly worth driving 90 minutes for.

But now that the sets are available to stream after the show, there’s no need to go.

The year I was going to go there were a bunch of artists I was excited to see.  This year there weren’t as many.

Although Cherry Glazerr is a band I’d like to check out.

Cherry Glazerr is a Los Angeles trio who formed in high school.  The blurb notes:

They’ve been known to keep a social and political message at the forefront of their songs, confronting the misogyny that’s too prevalent in their scene — and in our culture.   At one point, frontwoman Clementine Creevy turned her back to the microphone, leaned back limbo-style, jumped up and down — and didn’t miss a beat. That’s what frustrated feminist punk looks like in 2019 according to Cherry Glazerr.

They totally rock as well, cramming six songs into 20 minutes.

They open with feedback and drums that settles into “Ohio” –a distorted lumbering catchy song with Creevy’s vocals riding along the top.  I love the unusual riff that accompanies the song after the verses.  The solo is simple but very cool.

“Self-Explained” is slower with a cool vocal line in the verses.  It has a tempo that demands a big build up.  And the guitar solo fills that in really well.   “Wasted Nun” has some more great buzzing guitars and thumping drums over a simple but satisfying punk riff.

“Daddi” changes the dynamic of things with whispered creepy-sounding lyrics and a quiet guitar melody for the verses.  The big pounding chorus changes things up dramatically.

Those three songs come from their new album, while the final two come from their previous album, Apocalipstick.  “Apocalipstick” has a big powerful riff and turns out to be a rocking instrumental–it’s as good as the title of the song.

They end with “Told You I’d Be With The Boys,” a song with a cool riff and some nifty guitar licks as well.  I also like the vocal tricks that Creevy uses on this track.  And the way it ends is a total blast.

It’s a great set and makes me want to see them next time they’re playing more than 20 minutes!

[READ: May 27, 2019] “Ross Perot and China”

The title of this story was just so evocative.  I couldn’t imagine where Lerner would go with this.

And so as I started reading it, I had to wonder, is the main character Ross Perot?  Is that a young Ross Perot on a boat, drinking Southern Comfort in a man-made lake?  It sure could be.  Or maybe the young lady he’s with is Ross Perot’s daughter?

So that when the young lady slips off the boat unnoticed and he can’t find her, I wondered–where is this going?

Well, soon enough it is revealed that Ross Perot is not a character in the story, he is more of an abstract idea. (more…)

Advertisements

Read Full Post »

SOUNDTRACK: BAILEN-NONCOMM 2019 (May 14, 2019).

A couple of years ago I had a pass to NonComm, but ultimately I decided not to go.  I had never been to World Cafe Live and, while it sounded like a fun time, it was just so many mid-week nights and lots of leaving early, that it sounded more exhausting than fun.

I have now been to World Cafe Live and I can imagine that the (less divaish) bands are hanging around talking to people (and radio personalities) which is probably pretty cool.

I love the idea of these sorta personal concerts, too.  But I have since come to see that they are 20-45 minutes tops.  Hardly worth driving 90 minutes (one-way) for.

But since the shows are streaming you can watch them live.  Or you can listen here.

Bailen is a trio made up of siblings Julia, Daniel and David Bailen.  The have an interesting mix of rock and country with folk leanings all serving as a backdrop for their stunning harmony vocals. 

They opened with “Rose Leaves,” which features lead vocals fro Julia and lovely harmonies from David.  Those harmonies continued on “Something Tells Me” in which both of them sang the whole song in perfect synchronicity.

“Going on a Feeling” is a much faster song with, again, dual vocals for the verses and then some cool Fleetwood Mac-esque vocals for the chorus.  There’s some really gorgeous wordless-harmonizing during the middle of the song and the a fairly rocking guitar solo from Julia.  That’s Julia on guitar for all of the songs as well as Daniel on bass and his twin David on drums.  So they’re sort of like the mixed-doubles version of Joseph.  Daniel says they couldn’t find any friends to be in their band, so it’s just family members.

After a jokey “thank you for choosing NonComm over ComicCon,” they play “I Was Wrong.”  The song has been getting a lot of justified airplay on WXPN and I really like it.  I really like the riff and the way it counterpoints with the smooth chorus.  It’s also catchy as anything (and their voices are stunning–even live).

It’s fun to hear a young band play a festival like this and talk about meeting some of the other bands.  I think it’s David who says, “we’re technically opening for Morrissey… with some stairs involved.”

“Your Love is All I Know”  sounds even more Fleetwood Mac the way the guitar and drums open the song.  There’s some country leaning in the sound,  but then another ripping buzzing rock guitar sound rocks the ending.

Their set ended with “Not Gonna Take Me.”  One of the guys sings the main lead vocal.  But when Julia adds harmonies after a few verses, it’;s magical once again.

I can see Bailen getting huge and yet, I can also see them being too hard to market.  Which is a shame because their music is superb.

[READ: May 3, 2019] “The Second Coming of the Plants”

The July/August issue of The Walrus is the Summer Reading issue.  This year’s issue had three short stories and three poems as special features.

I have enjoyed Gartner’s stories in the past. I liked the premise of this story but felt that, even at its short length, it was too long.  I get that the over the top language is done for effect, but plants can be boring too.

The premise of the story is that plants have taken enough from people and animals and are ready to dominate the earth.

There are three parts to the story, with the first being “Twilight of the Insects.”  This section is very long compared to the other two.  In this one, we hear about the plants kingdom’s rage.  Rage at letting “the insects carry on our fornication for us.”  Especially since “some of us virtually all vulva and vagina, penis and gland.”  They are the true hermaphrodites. The Mighty Hermaphrodites! (more…)

Read Full Post »

SOUNDTRACK: NEGATIVLAND-No Other Possibility (1989).

In the year that Helter Stupid came out, Negativland released this one hour video.  It is a visual approximation of a Negativland album.  Lots of cuts, lots of snippets of ads and songs and news broadcasts.  It’s mostly nonsense with some reality and some things that may or may not be reality.  Who knows?

It opens with a critical diatribe that scrolls over a test pattern.  The diatribe by Crosley Bendix criticizes everything that is (correctly) poor about the video and making up other things–the death of a stuntman.

After the opening credits, the video opens with David Willis’ mother watching TV.  On the screen is a clip from Dick Vaughn and his Jack-O-Lantern (more below).  Then she asks David for her cigarettes and the song from A Big Ten 8 Place is acted out hilariously.

After some clips from video games and a commercial for Marlboro, there’s a video for “Nesbitt’s Lime Soda Song.”  When the bee comes into the song, it turns into clips of David filming his family talking about bees and more (like his grandma looking in the fridge for potato chips which makes David laugh).

Change channels until The Dick Vaughn Show comes on and he brings out David Willis to light up a Jack-O-Lantern with 700 volts.

After a commercial from ZOTOS and Nation Hairdressers and Cosmetologists Association that tells women they have to look their best in order to get a job.  “Appearance and good grooming are essential.”

Then it’s time for Trick or Treat with David Willis who is dressed as E.T.

He talks about Halloween safety with 5 hand drawn posters.

  1. no fresh fruit–nails razors
  2. looks for holes or tears in wrappers–inject chemicals
  3. avoid homemade treats
  4. avoid weird, strange-looking people.
  5. if you bob for apples make sure your partners are not sick

Then some explosions with cars flipping.  A small video slowly evolves revealing a live performance of David singing the “Very Stupid” song from 10-8.   It is noisier and rocks pretty hard while David yells the lyrics: “1, 2, stupid ; 3, 4 dumb.”  The version slowly comes into focus as David roams the audience.  he even adds new lyrics: “1,2 urinate ; 3, 4 defecate ; 5, 6 fornicate ; 7, 8  seat be sate!”

After a text: “Earlier that same evening,” a car drives into the building under a scroll from Dick Goodbody raving about this beauty, “her name is Monarch Mercury Monarch.”

Followed by a commercial for the Monarch.

Then there’s a video clip of the fire in the Negativland recording building (which I think is true?).  They interview Mark Hosler who grabbed master tapes and studio equipment.  He tours the burned out building.

Then there’s interstitial questions of what people think about TV.

  • An old man complaining about sex on TV.
  • Teenage girls saying they like soap operas because of the sex.
  • A guy saying TV would be improved if they quit showing so many commercials.

Up next is Crosley Bendix (“Director, Stylistic Premonitions” played by Don Joyce) of the Universal Media Netweb has an insane piece about numerology, at the end of which he cries, “Thanks a million!

  • MTV has fine guys on it

Then comes Negativland “Fire Song” with Mark singing in the burnt house.

A series of ads for canned foods: tomatoes, grapes, yams, dog food over a muzak version of “Age of Aquarius.”

Then comes the religion portion of the show.  Another diatribe by Crosley Bendix complains of people always searching for more intense entertainment.  Since Jesus’s time.  In fact, The Last Supper is the crucial link-up of food and show business.

Then comes more live scenes of some crazy music and kids walking around in costumes who start shouting about ice cream and other food.

  • I don’t watch religious TV because I have a personal relationship with Jesus Christ.

Clips of preachers and then Pastor Dick comes out,

He tells some dad jokes like asking for coffee without cream and the waitress saying “you’ll have to have coffee without milk because we are out of cream.”

He brings out a racist ventriloquist dummy Enrico Gomez.  Then has everyone sing along with the Christian Youth Fellowship song from the album How Do You Spell Joy?

He has a Stop sign and asks everyone to clap along. Stop! [clap clap] And let me tell you what the Lord has done do me.  When he turns around the sign is a hand written note “fuck you pastor dick.”

Then comes the 5 eyewitness news team featuring Hal Eisner, with the video of the audio used in side one of the album Helter Stupid.  Don Joyce is interviewed.

As the video ends, there’s one more guy that they interview.  He says

TV is gonna make me famous one day.  When the interviewer asks how, the guy says

“you gotta know how to exploit the media.”

Was he a plant?  Who knows.  There is no other possibility, godammit.

Watch the whole video here.

[READ: April 25, 2019] “Attention Geniuses: Cash Only”

Woody Allen doesn’t seem to write much for the New Yorker these days.  I’ve found over the years that I rather like some of his New Yorker jokes and then others are just ho-hum.  Of all of the short “funny” pieces in the New Yorker, Woody tends to be able to pull off three pages better than others.

Although this one drags and often come across as an excuse to throw out pretentious references.

And yet he’s got some great turns of phrase:

Jogging along Fifth Avenue last summer as part of a fitness program designed to reduce my life expectancy to that of a nineteenth century coal miner

(more…)

Read Full Post »

SOUNDTRACK: BETTER OBLIVION COMMUNITY CENTER-Tiny Desk Concert #844 (April 24, 2019).

This Tiny Desk Concert marks another one of those rare occasions where I’ve seen a band live BEFORE their Tiny Desk.

I saw BOCC on April 2.   I assume that this Tiny Desk was recorded around that time (bands usually play DC right before or after Philly), but it takes a week or so to get online.

I really enjoyed the BOCC concert, which rocked more than I thought it would.

But I enjoyed this Tiny Desk even more than that because Conor Oberst and Phoebe Bridgers are having so much fun with this show.  Truth be told they had a lot of fun at our show too, but they experiment more here.  They also have lots of experience at the Tiny Desk.

When this fabulous new duo arrived for their Tiny Desk, it felt like old friends coming home. Both Conor Oberst and Phoebe Bridgers are Tiny Desk alum. Conor’s first Tiny Desk Concert came in 2014. Phoebe has come by twice in the past few years, first as a solo artist in 2017 and then as part of another creative and collaborative endeavor with Lucy Dacus and Julien Baker as boygenius in 2018. So, unlike the bundle of nerves that often come with an appearance at the NPR offices, this one was fun and, at times, silly, like when Conor Oberst sang into a fake rubber microphone on the other end of a chopstick that was sitting on my desk. But there was nothing trivial about the songs or the collaboration.

The first song starts off fairly seriously.  They play their (only?) hit, “Dylan Thomas” with Conor on electric guitar and Phoebe and backing guitarist Christian Lee Hutson on acoustic.  It sounds great–possibly even better than the record.

when their voices intertwine, there’s a radiance that often feels joyful even while singing words like the ones on their opening number, “Dylan Thomas.”

“I’m getting used to these dizzy spells
I’m taking a shower at the Bates Motel
I’m getting greedy with this private hell
I’ll go it alone, but that’s just as well”

For the second song, “Exception to the Rule,” Conor and Phoebe put down their guitars and simply sing (Conor into that fake microphone).  Christian plays guitar and Emily Retsas plays an omnichord.  As Emily sets up the “toy” Phoebe says, we’re going to set it to avoid choreography.”  Their voices really do sound great together, even with this ultra-minimal backing music.  The chorus is catchy, too!

For the final song, “My City” Bob Boilen himself comes out swinging a plastic whistling tube.

So I was whipping a corrugated, ribbed plastic hose over my head, creating a high pitched siren sound, trying to blend in with Christian’s electronics on “My City.” It was my Tiny Desk performance debut, and I was thrilled to be part of this magical act.

Conor and Phoebe pick up acoustic guitars and Christian plays a pocket piano (I gather).  This song feels the most like a folk song and again, they mostly sing together.  But Phoebe gets a solo verse near the end and that little change make a big difference in the overall flow of the song.

For the most part this is a quiet song, but the buildup for the end is pretty great.

[READ: April 20, 2019] “Brothers and Sisters Around the World”

This story is set in Madagascar.  Michel is a French-Italian white man who is married to the narrator–an African American woman.  They live in Cannes where it is always sunny.  But on vacation they travel the world to get hotter and wilder.  Islands are what Michel prefers.  “Any place where the people are the color of different grades of coffee.”

She says he loves her for all the wrong reasons.  He thinks she has some of that island wildness inside of her, but she grew up in Massachusetts and has a “steely Protestant core.”  Her parents never thought it would last.  But they have been together for eight years and they have a child.

As the story opens, he is telling her about how he drove “those two little whores” on the Zodiac.  “You should have seen their titties bounce!”

She admits:

It’s no surprise to me when Michel tries to share the ribald thoughts that run though the labyrinth of his Roman Catholic mind.  He doubtless thought that I would get a kick out of hearing about his boat ride with a pair of African sluts.

(more…)

Read Full Post »

SOUNDTRACK: NEGATIVLAND-Escape From Noise (1987).

This was my introduction to Negativland.  And I loved it.  I loved everything about his album.  I used to play songs from it on my college radio show all the time.

I loved that the first track, “Announcement” opens with this ponderous statement

This announcement from the producers of this record contains important information for radio program directors, and is not for broadcast. The first cut on this record has been cross-format-focused for airplay success. As you well know, a record must break on radio in order to actually provide a living for the artists involved. Up until now, you’ve had to make these record-breaking decisions on your own, relying only on perplexing intangibilities like taste and intuition. But now, there’s a better way.  The cut that follows is the product of newly-developed compositional techniques, based on state-of-the-art marketing analysis technology. This cut has been analytically designed to break on radio. And it will, sooner or later.

After a count down comes the “radio hit” they call “Quiet Please” which opens with a cacophony of noise–smashing cymbals jagged guitars and bizarre sound effects with a man yelling “Quiet Please!”  It’s insane and really quite catchy–at least by 2019 standards.

After we hear David say, “I’m going to record all the noise,”, his mom talks about how much noise they don’t have there before a Girl says Michael Jackson and then a loud voice lists a whole bunch of 1980s bands indulging Weird Al and David…Booie (Bowie).

AND WE ESPECIALLY CALL FOR THE JUDGMENT IN THIS HOUR AND THE DESTROYING OF ROCK MUSIC DIRECTED SPECIFICALLY AGAINST CHILDREN AND WORKING SPECIFICALLY THROUGH THESE INDIVIDUALS FOR WHOM WE CALL FOR THE JUDGMENT IN THE SACRED FIRE IN THIS HOUR BEFORE THE THRONE OF ALMIGHTY GOD

This rant is followed by a catchy bouncy synth riff which opens the next song “Escape from Noise.”  It continues the premise of breaking music on the radio.  But then a man starts shouting about the noise all around us.  “Is there any escape from noise?”  This line always made me chuckle: IT’S NO WONDER YOU’RE EXHAUSTED AFTER A DAY OF SHOPPING.

Then David states in his inimitable voice:

Supposing you’re watching the Playboy Channel, (“Ooooh yes! Oh….”) and it’s just about time for them to have an orgasm(“….Oh! Oh! Harder! Oh! Oh! I think I’m gonna explode! Oh! Oh!”) When all of a sudden: Wham! The horrible noise comes in, and completely destroys your orgasm on the Playboy Channel. (“Oh yes-“).

“The Playboy Channel” also features Jello Biafra, flushing a toilet.

The bouncy riff returns for “Stress in Marriage.”  Along with other various song snippets, the announcer tells us, there’s enough built-in stress in marriage without noise contributing.

“Nesbitt’s Lime Soda Song” is a straight up folk song (and very catchy too.  But there’s a surprisingly dramatic temp throughout as a bee gets into the last bottle of the previous lime soda.

I brought a case of Nehi, and Double Cola, too
A half a dozen Upper 10’s, and good old Mountain Dew
I bought a quart of Cola-Up, to get me through the day
But just one bottle of Nesbitt’s Lime Soda
And we had to throw it away

“Over the Hiccups” features a little girl (Louisa Michaels) singing “Over the Rainbow” while suffering from the hiccups  It’s cute and bizarre.

“Sycamore” is a fascinating song that splices spoken clips about guns and a planned community.

“Car Bomb” is two minutes of thumping drums and screaming vocals.  Each “verse” ends in a shout of CAR BOMB! and a humongous explosion.  It’s awesome.

“Methods of Torture” has various synth sounds and then describes how sound was used as methods of torture: “put someone’s head in side a bell and ring it.  And eventually they’ll go insane.

“Yellow Black and Rectangular” is a pretty song–various bell-like sounds looping while a man and woman talk about a sign that’s yellow and black with wedge shapes inside.  The splicing is exquisite.

“Backstage Pass” has samples of presumably Jerry Garcia and Mickey Hart (see below) with a sitar, I guess?  Not the best song on the record, for sure (and an homophobic slur).  But it leads into the masterpiece that is “Christianity Is Stupid.”

“Christianity Is Stupid” is a four-minute track that samples the propaganda movie If Footmen Tire You, What Will Horses Do?, with primarily the narrator saying over and over “Christianity is Stupid, Communism is Good.  Give up!”    It’s awesome.

Shop as usual and avoid panic buying.

You can only follow that up with something more ridiculous and sublime: “Time Zones.”  I’m not sure why, but this track was a personal favorite among myself and my friends.  After a musical interlude, a narrator talks about the Soviet Union before a transistor radio begins talking about how many time zones there are in the Soviet Union.  Eleven.  Eleven.

“You Don’t Even Live Here” is a great recording of a hearing in which a woman yells about a nuclear reactor being built in their community.  It’s pretty inspiring, actually (even if it is rather distorted).  The music is pretty cool, too.

“The Way of It” ends the disc in a kind of recap–”this is not the way of it…all that shouting, all that noise.”  Followed by “Endscape” a little cheering section to close the record.

I haven’t listened to this is many years, but it sounded even better this time through.  This album is so far ahead of it’s time it’s ridiculous.  Its not even funny.

The creators of this masterpiece were:

  • Mark Hosler: Singing, synthesizers, guitars, voice tapes, percussions, rhythm loops, bomb parts, David manipulation, tiny metal banjo, recorder, lots of other noises, mix
  • Don Joyce: Yelling, talking tapes, electric tympani, synthesizer, lyrics, singing, Booper bee, bomb parts and assembly, noises everywhere, mix
  • Chris Grigg: Drums, synthesizer, singing, computer & software, field recordings, mix
  • David Wills: Talking, shortwave, family tape, bomb parts, regular Booper
  • Richard Lyons: Singing, lyrics, voice
With contributions from
  • Ian Allen: Helicopter (on “Sycamore”), Rhythm Loop (on “Car Bomb”), Bell (on “Time Zones”)
  • Jello Biafra c/o Dead Kennedys: Toilet Flushing (on “The Playboy Channel”)
  • Das c/o Big City Orchestra: Voice Tapes (on “Quiet Please”)
  • Dina Emerson: Wordless Vocals (on “You Don’t Even Live Here”)
  • Steve Fisk: Optigan and Voice Tapes (on “Michael Jackson”)
  • Tera Freedman: Voice Tape (on “Backstage Pass”)
  • Phil Freihofner: Bomb Parts (on “Car Bomb”)
  • Ray Briem: radio talk show host (on “Time Zones”)
  • Ed Markmann: Paid Voice
  • Fred Frith: Urban Drum and Halfspeed Violin (on “Michael Jackson”)
  • Jerry Garcia c/o Grateful Dead: Mouth Sounds and Chimes (on “Backstage Pass”)
  • Alexander Hacke c/o Einstürzende Neubauten: Metal Noises (on “Christianity Is Stupid”)
  • Mickey Hart c/o Grateful Dead: Percussion and Processed Animals (on “Backstage Pass”)
  • Tom Herman c/o Tripod Jimmie: Torture Guitars (on “Methods of Torture”)
  • Henry Kaiser: Doublespeed Disco Guitars (on “Quiet Please”)
  • Louisa Michaels c/o Step One Nursery School: Singing (on “Over the Hiccups”)
  • Mark Mothersbaugh c/o Devo: Jazz Bass, Jimi Hendrix, E-cussion, Saxophone and Noises (on “The Playboy Channel”)
  • The Residents Hoots and Clanging (on “You Don’t Even Live Here”)
  • Rev. Ivan Stang c/o The Church of the SubGenius: Larynx (on “Christianity Is Stupid”)
  • Rand Weatherwax c/o CBS: Orchestra Hits and E-cussion (on “Quiet Please”)
  • Rob Wortman c/o Kingshouse: Leaf blower (on “You Don’t Even Live Here”)

[READ: April 20, 2019] “Quality Time”

This story was sitting on my kitchen table and my mother-in-law picked it up and wondered why I had a 19 year-old story from the New Yorker.  She bristled at the early sentence: “She had her husband’s permission.”

This shaped my view of the story before I read it and I looked at it with a 2019 viewpoint to see if the story was retrograde.

The fact that a woman is hit by a car and killed didn’t help very much.  Especially since, although her death affects him, it is never given a justification.  Nor is it even a plot point, per se. (more…)

Read Full Post »

SOUNDTRACK: NEGATIVLAND-A Big 10-8 Place (1983).

After the cut-and-paste craziness of the first two Negativland albums, this third one was a bit more thought through as a whole.  It’s still a bizarre pastiche of samples and sounds, but there’s a more unifying theme.  And a lot of cursing.

There are six tracks on the disc.  It opens with “Theme from a Big 10-8 Place.”   Many of the sounds that you’ll hear throughout the disc are sampled here, but the main point of this song is a simple drum beat and David speak/singing “very stupid, very stupid” as well as some other thematically appropriate lines.

One two stupid
Three four dumb
Five six idiotic
Seven eight seat bee sate
Very stupid very stupid very stupid very stupid!
I like Concord
And 180-G
I like Pleasant Hill
No other possibility

The track ends with fascinating instructions like, “I want you to put parakeet feathers into your television set if you’re watching MTV” and “I want you to trip over your grocery cart if you’re shoplifting from Safe Muffins.”

The bulk of side one is “A Big 10-8 Place –Part One”: 13 and a half minutes of samples placed back to back.  These include: A woman screaming “Tommy?”; a clip from what sounds like a butchering video (“the second thing that happens is that the butcher loses control”) ; car commercials (“then the door closes behind you in safe and secure comfort”) ; house shopping commercials and the piano from “Clowns and Ballerinas.”  After about 6 minutes the bad language comes in–insults from what sounds like a CB radio.

“Clowns and Ballerinas” is 90 seconds of a little girl singing the song “Clowns and Ballerinas” to a simple piano accompaniment.

“Introduction” brings David out as he prepares us for him to talk about 180 and the Letter G.  “In a few moments we’re going to be 10-8.”

“Four Fingers” is a surprisingly catchy song played on an acoustic guitar with a whistling solo.  The vocals are smooth and clean and the lyrics are almost creepy but are actually funny:

I am a man, a man with two fingers
A man with two fingers on my hand
I am a man, a man with two fingers
But that doesn’t count my middle finger, my index finger, or my thumb.

Then comes “180-G: A Big 10-8 Place –Part Two” a 16 minute pastiche of David telling us how to get to 180 and the Letter G.  There’s cut up music behind them with choice lines like this:

Okay people we are 10-8 and the number is 180 and the letter is G.  There is no other possibility.

But before you get onto the bridge, around one big turn, you’ll come up to the place where the sex chemicals burned up.

First of all it’s very important that you turn on your AM radio. Set it to 1010 on your dial, and let the radio frequency energy from K-101 overload your little tuner until it distorts very highly [crazy extreme distortion] . And right at the point of that extreme distortion, there’s the big chairs. I’m not exactly sure, but I think that’s where all the sewer water from Oakland goes.

my favorite ham radio repeater station — that’s WR6 Automatic Bowel Movement.  And any of you who are into jamming, keep talking, keep jamming, because I’ll be listening on my scanner radio, and just maybe…you’ll be on the next album.

And just before you get to the top of the hill, you’ll notice the green slime oozing out from under the house at 180 and the letter G.

I repeat, you’re gonna have to shoplift the HR Steam Cleaning System from Safe Muffins.

About half way through it turns more jazzy (with guitars and bongos)

The door opens automatically, and the first thing you see is the orange carpet inside 180…and you’ll see the dog juice, the horrible dog juice all over the orange carpet at 180 and the letter G.

And then comes another well-known section from Negativland, a lengthy argument between David and his mother about where he put her cigarettes.

“I think I’d like to have a cigarette now. Where are my cigarettes, David?”
“They’re on top of the refrigerator.”
“I looked on top of the refrigerator. They aren’t there. will you please tell me what you did with my cigarettes?”
“Maybe you left them in the car.”
“I haven’t been in the car all day. You must have put them somewhere and I can’t find them. You better tell me now or I’m going to really get mad.”
“Oh yeah, I think I know where they are. They’re in back of the TV set, where all the parakeet feathers are.”

It’s all crazy and bizarre, but it’s kind of fun as a fractured narrative.

[READ: April 19, 2019] “Le Mooz”

This story is set in Ojibweg land.  Margaret has survived three husbands.  Nanapush has survived six wives.  They got together, “they were old by the time they shacked up out in the deep bush.”

They were both heated and passionate–both in love and in anger, “they made love with an amazed greed and purity that astounded them.  At the same time it was apt to burn out of control.”

To survive their passions, they rarely collaborated on any task, finding solitary work was more productive for both of them.  One day Margaret came swiftly home.  She beached the boat and was running up shouting “Le Mooz!”

Nanapush was sleeping and was irritated to be awoken by the yelling.  But if there was a Mooz, a moose, that would be meat for them for a long time. (more…)

Read Full Post »

SOUNDTRACK: THE CALIDORE STRING QUARTET-Tiny Desk Concert #843 (April 22, 2019).

Whenever I hear a wonderful string quartet, I yell at myself for not listening to more classical music.  I’m not sure why I don’t–I just like my rock too much I guess.  But these 18 minutes of strings are really fantastic.  And I’m adding The Calidore String Quartet [Jeffrey Myers, violin; Ryan Meehan, violin; Jeremy Berry, viola; Estelle Choi, cello] to the list of quartets I particularly admire.

The blurb is great for unpacking what’s going on, so I’ll let it do just that.

The [string quartet] genre was born some 250 years ago and pioneered by Joseph Haydn, but composers today are still tinkering with its possibilities. Consider Caroline Shaw. The young, Pulitzer-winning composer wrote the opening work in this set, First Essay: Nimrod, especially for the Calidore String Quartet [back in 2016].

Over a span of eight minutes, the supple theme that opens this extraordinary work takes a circuitous adventure. It unfolds into a song for the cello, is sliced into melodic shards, gets bathed in soft light, becomes gritty and aggressive and disguises itself in accents of the old master composers. Midway through, the piece erupts in spasms that slowly dissolve back into the theme.

I love the pizzicato on the cello–there’s so much of it, from deep bass notes to very high notes.  Including the final note.

Their new album explores composers in conflict.  In the case of of the next song, loveless marriage.

The Calidore players also chose music by the quirky Czech composer, Leoš Janáček who, in 1913, set one of his operas on the moon. He wrote only two string quartets but they are dazzling. The opening Adagio, from “String Quartet No. 1, ‘Adagio'”, is typical Janáček, with hairpin turns that veer from passionate romance to prickly anxiety.

This piece is much more dramatic with powerful aching chords ringing out.

Reaching back farther, the ensemble closes the set with an early quartet by Beethoven, who took what Haydn threw down and ran with it. The final movement from Beethoven’s “String Quartet Op. 18, No. 4, Allegro – Prestissimo” both looks back at Haydn’s elegance and implies the rambunctious, even violent, risks his music would soon take.

2020 is the 250th anniversary of his birth.  They are celebrating by playing all of his string quartets in various cities.  He says that this piece is the most exiting part.

I love the trills that each instrument runs through in the middle of the song.

All of these pieces sound amazing.

[READ: April 22, 2019] “Cut”

This story started out is such an amusing way:

There’s no good way to say it–Peggy woke up most mornings oddly sore, sore in the general region of her asshole.

But it’s not an amusing scene at all.  It burns when she uses the toilet and she finds blood in her pajamas.

She could see a cut but only when using a hand mirror while she was crouched at the right angle.  But even so, her groin “was that of a middle-aged woman and not as strictly delineated as it once had been.”  Nevertheless, whenever she looked for it she always “paused to appreciate the inert drapery of her labia.”

The cut was there, but it seemed to migrate.   She tried to look it up online, but only found porn.  Adding Web MD brought back porn in doctor’s offices.  And adding Mayo Clinic introduced her to people with a fetish for mayonnaise. (more…)

Read Full Post »

Older Posts »