Over the weekend my wife Andrea Carney told me that Greenland is experiencing another heatwave, not unlike in 2012. And as always the opinion of an expert, at an institution forty-five minutes away from me, brings the iconic island and its—our—challenge ever closer.
It reminds me of a topic I’ve intended to cover here.
Survivor: A Reality Competition
I once got burned, listening to and then watching a TED Talk by someone who claimed to be able to turn desert into meadow. So enthusiastic was I that I sent the talk to family and friends, only to be told by one friend, who had ranching experience, that the claim was preposterous.1 When I looked into it I found out my friend appeared to be right. So, caveat lector; I don’t think I could confirm or deny what follows as easily.
I came across an article online last October and made a note to write about it. Checking now, wouldn’t you know, the author did his own TED Talk in December. When reading the article, all I knew about Douglas Rushkoff was that he often is invited to speak at gatherings of—well, the conclave he discusses in the article was of “a hundred or so investment bankers.”2 I could have moved on at that point but his title and tagline were too intriguing: “Survival of the Richest. The wealthy are plotting to leave us behind.” Continue reading “Survives of the Rich and Famous”
On the eve of PrideFest here in Denver I thought I’d reminisce by telling about a particular visit to a lesbian bar in the Los Angeles area.
I started hanging out with Judith1 in 1959 or 1960 when we both worked at a North Hollywood manufacturing plant, Borg-Warner, making electronics for aeronautics.2 One night she convinced me to go on a double date and I agreed. But I could tell that my guy wasn’t really into me; he seemed to be interested in her. And Judith’s guy wasn’t really into her, so we swapped partners. (The three of them had gone through school together and at some point the district allowed girls to wear pants. These same two boys—our dates—had been so angry at this change that on the day it went into effect they attended class in dresses.)
After a bad experience with a guy, Judith told me she was swearing off men and she’d occasionally invite me to go with her to lesbian bars. At the time, North Hollywood and Studio City were known for having several that catered to women and to men. Later she (and her son) and I got a two-bedroom apartment together in North Hollywood. Continue reading “I coulda been a bartendah!”
As I noted in my last post, I can’t ignore Morrissey’s recent displays of support of the relatively new political party For Britain. What follows is my personal approach to the ongoing controversy—mainly looking for clues in Morrissey’s own words via his 2013 memoir, Autobiography (London: Penguin Classics). But I begin by listening to his new album. Continue reading “Morrissey and Milkshakes: Some Say (I Got Devil)”
Given my commentary regarding Morrissey in my posts here I can’t ignore his support for what’s described as the “far-right political party” For Britain. I haven’t delved into this but am reminded of how filmmaker Derek Jarman, with whom Morrissey collaborated, sounded the alarum of Britain’s demise. And there’s other stuff. Again, I won’t ignore this.
Listening to songs by The Royal Family and the Poor while writing my last post, I found myself comparing them with those of Scott Stapleton, who has created and contributed to music in various guises: solo, Virgin Forest, Phosphorescent, New Duo.
I first became enamored of Stapleton when viewing the chipped silver laquer of his nails as he played pedal steel on Phosphorescent’s “Song for Zula” at Glastonbury in 2014. It’s just about all we see of him apart from a denim shirt. His picking is tasteful and ensemble (yes that’s an adjective) and contrasts with his keyboard work the year before on Phosphorescent’s “The Quotidian Beasts” at the SXSW music festival. There, he is flamboyant in a red T on the keys, practically conjuring the song’s lyrics as they are sung by Matthew Houck (aka Phosphorescent), with flourishes from his hands and arms.
Last week, when I was uninspired whilst reviewing my running list of blog topics, YouTube operated as a sort of Oblique Strategies, the deck of cards initially developed by musician Brian Eno and artist Peter Schmidt independently in the late 1960s and early ’70s. (Eno included four of Schmidt’s prints in his 1977 album Before and After Science.) The cards’ suggestions and comments can act as disinterested—oblique—prods for artists when they encounter roadblocks during the creative process. And so YouTube essentially did the same for me, but not obliquely—rather, evidently, based on my past searches and pointing-and-clicking. “Recommended for you” last week was an obscure track from The Zulu Compilation (1984), an album I happen to have in my collection. Zulu Records was formed by Jayne Casey and Ambrose Reynolds (both of whom also worked in the band Pink Industry, which issued lovely minimalist and melancholic music in the ’80s). The compilation is perhaps most collectible for its inclusion of a pre-Trevor Horn version of “Love Has Got a Gun” by Frankie Goes to Hollywood.
I hadn’t listened to that compilation LP in years and had completely forgotten the track YouTube selected for me: “The Kremlin in Flame [sic]” by S.T.F.O.T.P.A. It sounds like something from the 1976 Art & Language-Red Crayola collaboration, Corrected Slogans (discussed in my post I Found That Essence Rare). After some searching I found the identity of the track’s creators in a 2010 interview by Arthur McDonald of The Royal Family and the Poor fame. Except that I’d never heard of the band. Or, rather, when coming across their LPs, two of which were issued by Factory Records, I’d passed them by. Continue reading “Vaneigem and Bubblegum”
Seeing the nave and altar of Notre-Dame de Paris after its recent fire, and thinking of it open to the elements, I had an eery sense of, well, déjà vu. I had been there, literally, with my family on a 2002 trip to France in celebration of my parents’ fiftieth wedding anniversary. But I had been in that ruin, virtually and earlier, twice more. Continue reading “Took Me to Church”
In December while trying to verify the colloquialism in The Smiths’ song title “Reel Around the Fountain”1 I noticed that the band’s singer Morrissey had employed a now-abandoned slang in his solo single “Piccadilly Palare,” sung in the character of a former street hustler. It was the lead track on his album Bona Drag, but I hadn’t really collected Morrissey records and skipped that one because it was a compendium of singles. I had, however, collected much Smiths, but I was confused by the band’s many, many compilations and 12-inch vinyl product. In fact “Paint a Vulgar Picture,” from the final album, can be seen as a commentary on this excess, as it laments a pop star’s exploitation in death but also questions the star’s complicity in life.
Satiate the need
slip them into different sleeves!
Buy both, and be deceived
This second installment of movement musings begins (or rather ends…) below with a variation of a video sampling technique that I covered in “Knee, Sugar” of the last section of Everybody Dance Now 1 (Knee, Sugar, Hammer, Shame). I also look at what was suggested by “Shame”: what might be seen as anti-dance, or what I call adansual.
I first became acquainted with the Australian band Bumblebeez 81 via their suggestive “Pony Ride” from 2002. Five years later they released “Dr. Love,” the promo for which involves a parody of a dance music video that could have been shot on a smoggy day along the Los Angeles River. All the performers sport Sharpie-ed chest adornments: pushbuttons and keyboards, chains, phones and headphones, a bandolier, a mink stole, an LP, even sham shoes. Rapper Christopher Colonna is bedecked in markered bling, and his sister Queen ViLa, dons an eyepatch through which she easily sees. The promo’s coda reprises the song’s sonics with pushbuttons pushed and keyboards keyed, essentially A/V sampling.