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Archive for the ‘Essays’ Category

Bringin’ It All Back Home

Thursday, August 31st, 2006


Ars Technica posted an interesting article on US soldiers’ use of personal technology in Iraq. It brings to mind a number of questions about not just how Americans look to the less-developed world, but also about the ability to keep troop discipline and our operations under wraps. And that’s just the start. In a world where copyright violation is considered a serious problem and child labor is often used to make "Frauda" knock-off bags, is it really appropriate for our military to be shopping for bootleg DVDs in the local markets, encouraging that kind of commerce? If, as The Atlantic‘s correspodent Robert Kaplan asserts in a number his books and articles, the future of warfare is to acculturate our soldiers to train the locals, should the US military continue to allow its foreign bases to be a "little piece of America" amongst hostile locals?

Thinking about the long-term and "victory," in a world more and more besieged by "Inconvenient Truths," does it really make sense to have the values inculcated by our presence to be so overtly comsumption-based? What local children are going to see all of our cool gadgets and huge cars and not want at least a chance to own those items? If we’re worried about the pressure on our oil economy that China poses now, just wait until the rest of the equitorlal world realizes that it can afford air conditioning in every building.

It’s not just democratic values our military ventures should bring to the developing world. It’s sustainable values, too.

Ars Technica – iPods at war
Also: Miltary.com: David Sears: American Stuff

 

Two views on the power of communal music

Monday, June 5th, 2006

Tradition: Our primeval ancestors’ language and communal behavior were music-based. “This wasn’t language as we know it, in which words are assembled to convey meaning, but was more like a phrase of music. The individual notes mean nothing, but the sound as a whole can touch us to the quick. Or, in the case of Neanderthals, sing everyone to come to supper.”
Reuters: Hominids’ cave rave-ups may link music and speech

Transgression: Somebody plays Brian Eno’s hour-long ambient piece “Thursday Afternoon” on the jukebox at their local drinking hole. Anger and discomfort ensue. Remember this next time you want to conduct an anthropological experiment (or a prank).
NYT: True Life Tales – Unhappy Hour

Teenage Lobotomy

Tuesday, December 13th, 2005

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Howard Dully during his transorbital lobotomy, Dec. 16, 1960. George Washington University Gelman Library

For fear of being one of those bloggers who write “Guess what I heard on NPR today,” I still need to recommend this remarkable story. Howard Dully, a 56-year old man, spent two years researching the circumstances behind his lobotomy at age 12 and recorded his progress along the way.

In the face of the 1950s post-war malaise and Cold War dread, psychology and psychiatry arrived in the American cultural mainstream. The science of the brain was seen as a cure-all for its time, treating everything from depression to truancy, and many looking for quick fixes for everyday depression and headaches fell into the care of quacks.

Take Walter Freeman, for example, the doctor who gave Dully his lobotomy and a pied piper of this primitive psychosurgery: “Freeman was a showman and liked to shock his audience of doctors and nurses by performing two-handed lobotomies: hammering ice picks into both eyes at once. In 1952, he performed 228 lobotomies in a two-week period in West Virginia alone. (He lobotomized 25 women in a single day.)”

Add to this milieu a 12-year old who wouldn’t go to bed when asked (imagine that!), an evil stepmother, a fall-guy father and you have the makings of a Greek tragedy.

NPR : ‘My Lobotomy’: Howard Dully’s Journey

Holy Toledo, Bill King has left the building

Tuesday, October 18th, 2005

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Up on the playa, someone asked me to tell her something about me that might surprise her. After thinking for a moment, I came up with the most shocking thing I could think of in that place at that time: I am a diehard, dyed-green Oakland A’s fan. (The shock is the baseball fan bit, not the team affiliation, thanks.) It’s something that I spend enough time and psychic energy on that I find it a bit embarrassing. But I have to admit that there is something uniquely satisfying and orderly about a well-pitched game, a situation you’ve never seen before (and there always seems to be one), the fun of second-guessing where the infield should play, whether the starter should be left in, how will they fill the left-handed set-up man role… so many things that make my brain go Ahhhhhhh. It’s been this way as long as I can remember and it’s always been just this side of obsessive, though I try to mostly keep it to myself and share it with only my family and closest friends.

Normally I try to stay a bit dispassionate about baseball, mainly because it will break your heart if you let it. (Don’t get me started, but let’s just say that the A’s have a checkered playoff record this decade.) Today, though, some news hit that killed. Bill King, the A’s lead play-by-play man since 1981, suffered an embolism on the operating table and passed from this world.

There’s a big part of me that knows that baseball is stupid; it’s an opiate of the masses; it’s just a game; it’s a bunch of big dumb jocks running around a field (and more often just standing around); it’s full of meaningless statistics that ooze over your brain matter and slowly take over, pushing out more meaningful memories. But my “user satisfaction level” tells me otherwise and there are other little signals along the way that make me question my doubt (if that isn’t too abstract).

Bill King plays a huge role in my acceptance of my lot as a baseball fan. This was a guy who was incredibly articulate, had much to say about the cultural world outside of baseball (though he rarely did) and brought an air of erudition and excitement to every game he broadcast. He tacitly made it OK to be an egghead and love baseball.

In the last few years when I listened to him, I often found myself wondering as he made his way through the eighth inning of a crummy game in the middle of the country, knowing that he was stuck in a hotel room with a really unpleasant travel schedule: What does he see? How can he be so passionate about this? I knew – even though he never talked of such things — that he’d had tragedy in his personal life (the passing of his wife during the 2004 season) and that his health was shaky (he’d ceased to join the team on road trips off the West Coast). But still he came to the games and he told stories, incisively dissected strategy, threw out countless off-the-cuff witticisms, spoke truths about the team, its competitors, and its rules-makers (sometimes kind, sometimes not), and always inspired you to feel like a better smarter person even though you were doing something as stupid as listening to a dumb ol’ sporting event on an antique transistor radio.

How could he care so much? Somehow he did, and we cared too, and it was OK.

Another great thing about Bill King was his unique ability to question authority, no small thing to a person with such deep roots in the politically isolated Bay Area. Unlike any other sports broadcaster I’ve ever heard (Daniel Schorr being the closest parallel in ‘real broadcasting’), Bill King had no fear of challenging authority, be it an umpire’s call, interleague play or some bad decision by team management. My first memories of him are his absolutely livid play-calls he would make for the Warriors in the ’70s, where he held absolutely nothing back on the officials (to the apparent delight and approval of my Dad, who always seemed pleasantly astonished by what he was hearing; what a change that must have been from the stodgy New York sportscasters of his youth!). And of course that made him the perfect complement for the many memorable teams he covered: among them, the Rick Barry-era Warriors, the Ken Stabler Raiders, the Billy Ball A’s and the Moneyball A’s. Each of these teams were rebels in their own way, they each made me proud (and quietly relieved) to be their fans, and the voice of Bill King was a huge part of each of those team’s characters.

It’s ironic that here in the age of unbridled self-expression and self-absorption – y’know, people writing blogs and stuff – that I can’t produce an MP3 for you of any of Bill King’s great calls or style. Major League Baseball appears to have done what none of the record companies have been capable of doing: keeping its product from being shared all over the Internet. No, all I have left of Bill King is my Oakland A’s bottle opener, which blares King’s call of the Hatteberg homer that brought the 2003 A’s winning streak to a record 20 games. It’s nice, but it’s not even one of his best calls, though it does have the mandatory “Holy Toledo!”

A bottle opener seems like a really sad, tiny souvenir from someone who made such a mark on my life, whose voice took up so many pleasurable hours, but I guess that’s a life lesson, right? So now I’m going to go to the kitchen and use it to pop open a beer.

Thank you, Bill.

UPDATE: Hey, everybody! Vote for Bill King for the Baseball Hall of Fame!

[Soundtrack]

Hopefully some A’s clips will show up in the next couple of days – if I dare put myself in front of the wrath of Major League Baseball! — but here is a classic from Bill King’s days with the Raiders:

Bill King calls the Holy Roller — Oakland Raiders vs. San Diego Chargers, September 10, 1978
(courtesy of the Bay Area Radio Museum)

Bill King: The Bay Area Radio Digest Interview, 1990

Amazing first-hand account from New Orleans

Wednesday, September 7th, 2005

A friend of a friend of a friend sent out this account by E-mail yesterday. Last Saturday he managed to get into the city. Here’s what he saw:

Everyone,
I just returned from my first trip to Louisiana this weekend since Katrina. I spent the entire trip back trying to decide if I wanted to tell you all about what is happening down there, because honestly if I had the choice, I would choose not to know. But in the end, I figured e-mail you all was better than talking to each of you on the phone and over e-mail.

It is beyond what you can imagine… it’s hell on earth. I flew into Baton Rouge, which sits about 80 miles northwest of New Orleans, and the city is destroyed, but not by the storm. There are over 750,000 refuges from New Orleans in Baton Rouge. People are camping on the side of the roads, in their cars if they have them, and all over the LSU campus. The first thing you notice is how outraged everyone is. The people of Baton Rouge don’t want us here. There seems to be no plan for the New Orleaneans once they are dropped off in Baton Rouge, and everyone is confused, horrified, or worse. They know this is potentially a permanent situation, or at least the way it will be for the next several months, and it is safe to say they are as scared as the homeless and exhausted refuges that litter their streets.

My sister and I rented four houses in Houma, Louisiana, which is about 50 miles south of Baton Rouge or about 30 miles west of New Orleans. We spent the weekend moving our family there, then our friends, and then in the end, people we met that had no other options. When I left, we had perhaps forty people with another twenty on the way. It is an amazing thing to see: your best friends, your family, and everyone in between huddled on floorboards, makeshift beds, and sleeping bags. It is truly like a nuclear bomb hit our city, and we are doing everything we can just to keep everyone housed, fed, and with water.

Saturday morning, I decided to go into New Orleans. There were far too many people from our home unaccounted for, but beyond that, New Orleans is part of everything that I am; it’s more than a city to those of us who call it home. It’s part of your family, and with the stories of looting, flooding, and complete inability of the government to make the matter better, it was as if a family member was being slowly killed. I was told by everyone it was impossible to get in and I would be arrested for trying, but I’m sure you call imagine how little that did to deter me.

There is no way to get into the city. The roads that are open are being used to bring people out, and no traffic is headed into the city. I had a rental car, and I started to drive the 30 miles on backroads that I guessed wouldn’t be flooded. I made it about half way before there was no way to get into the city by car. I loaded up a backpack with as much water as I could carry, two packs of breakfast bars, three canisters of bug spray, and an extra pair of shoes. Then I started walking.

From there, it was hell on earth.

First, there is the climate. It is almost 90 degrees, and the humidity plus the still water everywhere has made the swamp come alive with bugs. Trying to describe the mosquitos is almost impossible. Do you know the sound of the wind in the north when a blizzard is happening? The “whirring” sound? That is the sound this many bugs make. You have to wear long sleeve shirts and pants, and you are drenched with sweat because of the heat.

The first group of people I met were very friendly. I traded my ipod for a kid’s dirt bike so I could make better time, and they gave me some extra water. They did their best to warn me it wasn’t safe to head into the city, but they didn’t argue when I said there were people we couldn’t find. They warned me about what neighborhoods to avoid, and they said beyond everything else, it was critical to stay away from the police. They would force you to leave by putting you on a bus destined for who knows where, and if you resisted, they’d shoot you. It was the first I saw of a constant epidemic: the police and the government are considered absolute enemies by Katrina survivors. At first, I tried not to judge and simply considered that shortsighted, but over the next two days, I started to understand where it came from.

I got into the outskirts of the city by about 2pm… an upscale neighborhood called “Metaire,” where most of the money of New Orleans lives. To even get that far had already involved about half a mile of swimming. There is no way I can get you to understand just how destroyed everything is. It’s not just underwater – it’s more that the swamps have risen over New Orleans. There are snakes and alligators everywhere, and the more you see, the more you realize the city isn’t going to be livable for who knows how long.

And then there are the bodies. I first started seeing them as I crossed from Metaire into what is called “mid city.” Have you ever been to Jazz Fest? The neighborhood you drive through to get there and the fairgrounds are called “mid city.” It was the first place where I saw them. Before this weekend, I had only seen a few dead bodies in my entire life: traffic accidents, I once witnessed a shooting, and then funerals. I don’t know how many dead people I saw this weekend. Some have been pushed against dry spots by what I am assuming are rescue workers. Others are just floating in the water. Then there are all the houses with red marks on them, meaning there is someone dead inside. The most horrifying part of all of it is what happens when a body is floating in the water for two or three days. It’s barely recognizable as a person. When you see one, it is riddled with mosquitos and who knows what else.

The other thing you have to understand is people are still everywhere. Any idea the media may have given you about a city wide evacuation is insane. I found hundreds if not thousands of people in all the different neighborhoods, and they have no intention of leaving. First and foremost, they have nowhere to go. And having come from Baton Rouge, the people that did get evacuated are simply unloaded from the busses, told loose plans of food that is coming, and told to hold tight and someone will come up with a plan. It’s chaos. Second, they don’t want to leave. They don’t trust they will ever be let back in, and they certainly are not going to allow their homes to be pillaged by the people crafty enough not to get kicked out. Finally, they just don’t believe the argument that the city will be unsafe and riddled with disease. The people still in New Orleans are our uneducated and angry masses. You know the people of the world that “don’t beleive” in AIDS, who thinks the government is out to get them, and don’t understand why they should ever get jobs when unemployment pays just fine? Try convincing them typhoid fever is real. But beyond that, they are armed and angry, they have already survived five straight days of no food and no water, and they don’t believe those who haven’t gotten them food or water are going to find a place for them to live. I know it sounds ignorant on their part, but can you imagine it? I was there on Saturday, five days after the storm, and still no one had been told where to go for food or water. People are surviving by breaking into each other’s homes. It’s chaos, and it’s dangerous, and there doesn’t seem to be a plan to fix anything any time soon.

My main goal was to go to the homes of family and friends and make sure everyone was safely out of the city. I grew up in the 9th Ward – it’s one of the lowest income areas in the city, and it is also the sight of the first levi break. For me to get to my childhood home, I would have needed to dive down underwater just to get to the roof. I went to the second house we lived in after that. It’s roof had been torn off, and there was a body floating not fifty feet away from the front porch. I wish I could say the journey to friends’ houses fared better, but I can’t. Most of the homes were either completely submerged, sitting in ten to fifteen feet of water, or just not standing anymore. I found three people I knew in all, and they set off for Houma that afternoon.

Then I started to explore the city. Like I said, it is hell on earth. The people are furious. They feel as if they have been abandoned. You have to understand, there is no power anywhere. The rescue crews are going through New Orleans proper, not all the neighborhoods where people live. Most of the city doesn’t even think there is a rescue effort underway at all. It became clear to me the one thing people need is communication, and in the absence of communication, fear takes people over. I never realized how powerful the raw ability of communicating is. There is nothing more important to restoring order than giving the leaders an ability to get messages to everyone.

I know you have all heard about people firing on helicopters. I’m certainly not saying it is right, but after being there, I understand. For five days, helicopters were flying overhead, but none of them are even so much as dropping water or food down for people. They fly by using load speakers saying that anyone found looting or stealing will be arrested, and those are the helicopters that are followed by gunshots, from what I saw. I don’t know who is controlling the message being given to everyone, but they need to be replaced. The only government group anyone has seen are the police with sawed off shotguns threatening to arrest everyone who is walking around on the streets. Everyone is scared about their future, about their friends and family, and about their city, and fear leads people to do amazing things. Like I said, I’m not saying firing guns at the helicopters is the right thing to do by any means, but after being down there, I understand.

When I left, I thought I was going to see the 3rd world, but it isn’t the third world. It’s a state of war. People don’t even know who they are fighting, but they know they are at war. Twice, I had to bike at full speed away from gangs that came at me, and before I left the city, I had my cash, my backpack with my food and change of clothes, and my camera stolen from me. It’s like a family member of mine has been possessed by a confused, frightened, angry force that can’t be stopped. Every interaction with someone who is supposed to be helping, like the helicopters flying overhead or the police barking threats only makes it worse.

When I left for New Orleans, I thought I wanted to help the people I couldn’t find. But once there, I realized I was just trying to feed my selfish vanity of wanting to see the city in turmoil. If it was flooded and there was chaos, I wanted to see it and be a part of it. It was as if I was one of those idealistic kids who wanted to head off to war to seek glory. I’ll never forget this weekend my entire life, and I’ll spend years wishing I could. You just can’t describe what it is like to see your hometown that you love, that is a part of everything you are, with dead bodies floating in the street and the people you consider “your people” firing guns at strangers and hating everyone and everything. It was one of the worst things I have ever felt or seen. It’s a war being fought against no one.

But not all is ruined. I was thrilled to see the French Quarter, the Garden District, and the central business district were all ok. The shipping yards along Tchapitoulas were also undamaged. It is enough to make you believe the city can be salvaged.

I got back to Houma Sunday morning, and that is where the real work began. We’ve been trying to construct mosquito nets around the houses. Jjust using screen doors and screen windows isn’t enough, because of how many people we have living there. Opening the door for ten seconds every hour can make the house unlivable. We managed to get a generator going, and we are using it to boil water, keep food cold, and charge up non-working cell phones (we can make calls out of state, but we can’t receive any phone calls with in-state phone numbers).

So many of you have asked what you can do, and I am sorry to sound pessimistic, but I just don’t know. I wish I could say “donate money to the Red Cross,” but I didn’t see the Red Cross doing anything. The entire time I was there, I only saw Jesse Jackson and his buses, a huge congregation of busses from Baltimore (for some reason) bringing food and water, and private companies like Dysani, Evian, and K-Mart bringing supplies. The more you look around, the more you realize it is the private sector that is the only group that is doing anything. I genuinely believe private companies are going to do more for us than our own government, but I’m ignorant to the entire picture, I only know what I saw, so I don’t want to judge anyone.

If you want to help, all I can say is there are different levels of help. There are 1,000,000 people that need homes and some semblance of a future. My sister, mother, aunt, and I are going to do our best to make a home for people in Houma. We don’t need money, but we do need bodies. There is just too much to do.

I’m going back on Thursday, and I hope to figure out an address for people to ship things to us. Right now, what we need more than anything else are:
- light sleeping bags (not designed for the cold)
- battery chargeable power tools
- mosquito netting by the square yard
- CELL PHONES with out of Louisiana phone numbers are CRITICAL

We have enough breakfast bars and bottled water for now, and there is no power for preparing food as it is. There are stores to the north that can sell food once we have the power to make it, so that isn’t needed, even though you would think it is.

I know this sounds crazy, but if there could be anyway to make an outdoor movie theatre powered off a generator, it would do more good than you can imagine. New Orleaneans are social, and one of the biggest problems we have is not being able to be with each other… share the stress and find a way to deal with it together. It’s being isolated from each other that is really destroying people’s will.

If you can, please consider opening up your home to people that need one. But as these people are strangers, I don’t pretend it is something everyone will find comfortable. If you can, there is an amazing site setup to help you register as a host (http://www.shareyourhome.org/).

Thank you to you all for everything you will do in the next coming months,
Nick

Yes We Can Can

Monday, September 5th, 2005

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I get back from my annual Burning Man-forced news blackout and frickin’ Armageddon hit a huge swath of the country. I knew going up that things were going to be bad; my last news as my radio signal faded in the desert was that the levees had broken and the water was spilling in. I imagined that the city was gone, but I was still surprised by the level of depravity and desperation achieved. We should all be asking ourselves questions about how this might happen in our own communities and what we can do to prevent it, but that is a topic for a later post.

I never had the privilege of visiting Nawlins, but it always loomed large for me as a place of cultural richness and weird behavior, seemingly catering to the very worst touristic instincts — gluttony, drunkenness, sloth — but without the cold calculation of the minds that run Las Vegas. Not to mention centuries of political machinations, running the gamut from virtual dynastic royalty to populist uprisings to Lee Harvey Oswald hawking socialist newspapers down on the corner.

For the next several posts, I’ll be whipping out some of the great artists that made Nola one of the most influential musical cities in the universe. With the great diaspora under way and most of the area’s housing stock destroyed, we may never see a city like this again where history and demographics conspired to blend such disparate influences and peoples to create unique, exciting music.

Today’s artist, Lee Dorsey, is a personal favorite. With several huge national hits in the mid-60s (including “Ya Ya,” “Working In A Coal Mine” and “Everything I’m Gonna Do Is Gonna Be Funky”), Dorsey was massively influential on the birth of funk in the late 60s. Although he didn’t have the flash of megastar performers like James Brown, you can hear Dorsey’s intonation and groove in many of the great funk bands of the 70s, like Parliament and Cameo. Perhaps he’d be better known today if he hadn’t retired in 1970 to open an auto repair business. Yes, really.

[Soundtrack]
Lee Dorsey – Yes We Can Can.mp3
Lee Dorsey – Give It Up.mp3
Lee Dorsey at AllMusic
Robert Christgau covers Dorsey opening for The Clash in 1980

Teenage. Fanclub. Reunion.

Wednesday, August 17th, 2005

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The news that Teenage Fanclub would release its first record in five years came as a welcome surprise. I had assumed that Scotland’s finest working pop band had thrown in the towel, and when the news rolled out that Tortoise’s John McEntire would be producing, this became easily one of my most anticipated releases of the year.

The new release Man-Made finds the Fanclub in a pensive mood. While both Songs From Northern Britain and Howdy! saw the band mix pop euphoria with a decidedly melancholic streak, Man-Made tends more toward subtlety than the release of some of their earlier records. Each of the songs have deceptively dense structures & productions that don’t initially bring the songcraft to the fore. Repeated listenings, though, bring out delicate touches – a harmony that zags when it should zig, hidden layers of strings and reverb, and indeed the same great songs and pop sense that the band has effortlessly brought to its music throughout its career. This is surely an album that I will return to many times in the next few years.

* * * * *

This weekend found me spending three straight days at my 20th high school reunion — a “pub crawl” on Friday, a dance party on Saturday and a family picnic on Sunday. It was pretty amazing – a word I don’t use lightly – to be among all those folks again, still so much themselves, but more self-assuredly so. At first it was almost embarrassing to make eye contact with people; how did they get so old? Surely that’s not true of me, too? Or was it that I was younger then than we thought we were? All those tired eyes, shifting hairlines,… offspring and lifemates! After the initial shock, everybody got along and had fun. So far nobody has confessed to melancholy, but then that’s not something you would send out in a mail to 120+ people, most of whom are strangers. No, that’s something you reserve for your blog.

Here’s a note about the picnic from my old friend Chris, who I’ve known since first grade but hadn’t spoken to in 20 years:


It was hilarious to see kids at the picnic and know instantly who their BHS mom or dad was. DNA is an amazing thing. Also fun to hear the kids trying to figure out together if their parents were friends.

Chris introduced himself Saturday by apologizing for whatever he’d done to me. Funny thing is, I remember doing more to him than he did to me. Refractionary tricks of the mind. Probably neither of had ever “done anything” to each other.

* * * * *

It’s a myth that your body’s cells are completely replaced every seven years; some cells can live up to 120 years. So that means that I haven’t been three different people since high school, which might have been fun to imagine and feels like its close to the truth. But, alas, as I learned over the weekend, we are all ourselves just so much more so.

* * * * *

Teenage Fanclub has a new song out about the inevitability of aging. “[It's] written about coming to terms with your place in the world, about dealing with ageing,” Norman Blake says. “When you’re almost 40 years old and you’re still in a pop band, you can sometimes have doubts.”

[Soundtrack]
Teenage Fanclub – Cells.mp3

My so-called post-punk life, Part 8

Monday, July 18th, 2005

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In the dark days before MP3 blogs and the internets, it was a lot harder to come by music news out of the mainstream. Now put yourself back in 1981 and 14 years old. Even for a kid working in a record store, there were very few outlets to find out what the latest on the art punk heroes from far away. The mainstream music press, which then was Rolling Stone, Rolling Stone and Rolling Stone, took an almost complete pass on the punk revolution and its aftermath. I had three main sources, each of them lovable and flawed in their own ways.

First there was Trouser Press. Today it’s considered one of the ne plus ultra music reviewers of its time, but that’s mostly on the strength of the Trouser Press Record Guide, which is still in print and can now be accessed in full for free. TP was the only national magazine covering the New Wave in any kind of detail with cover stories for the likes of The Clash and Devo.

Nevertheless, during my readership it was still handing covers to Bill Wyman and Genesis. It’s a great reminder of how confusing a time it was for listeners and for the music press. Petty was being marketed as a new waver power poppers like The Police and Squeeze were advertised as cutting edge. Even Billy Joel got in on the act; “It’s Still Rock and Roll To Me,” incredibly, was seen at the time as his punk hit. (Click here to see TP’s bizarre cover choices.) If you wanted the latest on the new wave sounds that managed to fight to the top of the charts, though, Trouser Press was the only choice.

More fun was Damage Magazine, a tabloid-sized punk zine from San Francisco in the manner of Search & Destroy or Slash, which had both already come & gone. Unfortunately I can find nothing anywhere about Damage, not on eBay, not anywhere. It’s just plain gone. If anybody has an archive, let me know!

The most influential for me, though, was Greil Marcus’ column in New West. The magazine was like New York Magazine, West Coast-style. For some reason, the editors gave Marcus completely free rein, and instead of writing about the burgeoning West Coast punk scene – or even the West Coast sound dominating the charts at the time (Eagles, Fleetwood Mac, etc.) – he tackled the fringes of UK post-punk with feature length articles about the likes of Gang Of Four, Delta 5 and the Au Pairs. Then he’d mix all that in with pieces about his love for Jackson Browne’s back-up vocalists. It must have been terribly confusing for readers his age, but for me it made perfect sense. The post-punkers were my bedroom listening, but all that California pop was what my parents were playing when they got stoned while I sat in the backseat of the Volvo. They were deeply separate worlds, but I was living in both.

[Soundtrack]
Public Image – The Cowboy Song.mp3
Trouser Press had a (regular?) column about misheard lyrics. (Creedence: “Don’t go out with Ike / He’s bound to take your wife / There’s a bathroom on the right” Ha ha ha) One time they wrote that they wanted to include the complete lyrics to PiL’s “Cowboy Song,” the B-side to “Public Image,” but space prevented them from doing so. Naturally I was intrigued, so I ran out and found a copy. Well, your guess is as good as mine. Were they kidding? Was this an in joke? I still can’t tell.

Crime – Piss On Your Dog.mp3
Representing Damage Magazine, here’s an example of how it looked and read, but in sonic form: messy, smart and pretty darn funny.

Greil Marcus’s New West columns are collected in In The Fascist Bathroom, originally published as Ranters & Crowd Pleasers. This book is still a fixture in my fascist bathroom.

Ralf Is Live

Thursday, June 30th, 2005

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Gang, we have to have a little talk. It’s about our beloved Kraftwerk. Yes, we all agree that they are the unchallenged leaders in the growth and acceptance of electronic music. I would take that further: that Kraftwerk were visionary about how we would come to use and accept technology as an essential, completely integrated part of our everyday lives. It’s hard to remember now, but when “Home Computer” was released in 1981, computers were still way out of anybody’s reasonable price range and required cassette tapes for data storage.

But I’m sick of the backhanded compliments for the live show. No, you object, you said you loved it. You gave strong reviews to the new live tour document, Minimum-Maximum. But you’re always slipping in something about “four guys standing around with laptops” or “what’s the point of a live performance by a band that’s just triggering their loops.”

Let’s start with what we mean by “Live.” I propose the following definition, as useful for a classical pianist as a drum circle as a guy with a laptop: A live musical performance is one in which the musician is 1) Performing music from a score or via improvisation; 2) Making conscious decisions about how the music is played as it is performed, and; 3) Injecting meaning through his/her actions, words demeanor and stagecraft.

With Kraftwerk, I don’t think anybody has any doubts about 1) or 3). It’s 2) that you might have a problem with.

My observation is that Kraftwerk does indeed make lots of decisions as the music is performed. I saw them last May at The Warfield, and even to say that they “are just standing there” is dishonest and wrongly dismissive. I stood at the very front towards Stage Right, just in front of Florian Schneider with a clear side view of the other three band members’ set-ups. Ralf Hutter has a MIDI controller that he uses frequently, playing the vast majority of the melodic parts. He also sings and is a might good dancer. The two fellows in the middle, newer members Henning Schmitz and Fritz Hilpert triggered bass lines and percussion. The one who does the bass lines had several foot pedals that emphasized and deemphasized different elements of the bottom tracks. And Florian … well, actually I’m not sure what Florian was doing. Everquest? Checking local maps for a bike ride tomorrow? He did cut some awkward dance moves during “Music Non Stop,” but otherwise your guess is as good as mine.

The cut from Minimum-Maximum I’m putting up today, “Neon Lights,” is a great demonstration of Kraftwerk’s musical ‘chops.’ Hutter sounds practically emotional, awestruck by the spectacle of a city lit up for the night. Above all, it sounds like he’s having fun, which is not something you can glean from any of Kraftwerk’s studio recordings post-Autobahn. There’s lots of interplay between the loops and lines; it’s closer to a group jamming than a simple triggering of a program. Most telling, it sounds like Hutter makes a mistake playing out the melody at the very end. Maybe the non-exactness is part of the art, programmed in to add humanity to the proceedings, but having seen how he operates on stage, I’m not buying it. It’s human error, right there in the middle of a Kraftwerk song. Given 30 years of dehumanization as an art form (in a good way!), that slip-up and its preservation by the artist who made it is worth noticing.

The song titles, which feature the city of the performance used on the album, are also a dead giveaway that there is something more going on here than pantomime with MIDI controller. If the guys in the band feel like the performances are different from city to city, we should take that seriously. We owe that to them as musicians. On the other hand, maybe it’s just another in a series of wry jokes going back through 30-plus years of recording and playing live.

[Soundtrack]
Kraftwerk – Neon Lights (London).mp3

Here is a great shot from above that gives a glimpse of each member’s on-stage set-up.

PS How come no enterprising computer company has gone and got the Kraftwerk product endorsement yet? What would Dell give to have had their name on their on-stage laptops? Thank goodness it hasn’t happened yet, really; every effort should be made to keep Kraftwerk from looking like a NASCAR team. Or maybe that’s next year’s joke. I was a little surprised to see that they were on PCs and not Macs, though.

PPS I concede that when the robots are on stage that that is not a live musical performance. Nice stagecraft, though.

Library Of Congress saves Public Enemy

Thursday, April 7th, 2005

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The Library of Congress announced the latest additions to The National Recording Registry. These are the sound recordings deemed valuable enough to American history that Congress funds their preservation into perpetuity. 500 years from now — assuming humans are still around — these are the sounds that people will know from our time.

So what did they select this year? Neil Armstrong on the moon, Dwight MacArthur, Woodrow Wilson, Fred Astaire, Al Jolson, Vladimir Horowitz, John Coltrane… Indeed many of the most influential sounds and voices of our time

…and Nirvana! and Public Enemy!

Really this isn’t that surprising; one of the first items named back in 2000 was Grandmaster Flash’s “The Message.” But it’s still incredible to try to imagine earthlings in another millenium trying to make head or tail of “911′s A Joke,” “Burn Hollywood Burn” or “Lithium.”

Why Fear Of A Black Planet? My hunch is that this album represented the commercial and legal pinnacle of sampling as an art form before it all was forced underground. (We’ll have to count on illegal-art.org to take care of the rest.) Also, Public Enemy’s ‘Black Nationalist’ message will probably seem more consequential to future historians than Paul’s Boutique‘s or 3 Feet High & Rising‘s content.

But is it worth it if people can’t hear the originals? Will future listeners even understand that these songs were built off of other recordings if those other recordings aren’t preserved, too? Today’s MP3 is highly dependent on Isaac Hayes samples. Does this make Public Enemy more historically important than Issac Hayes?

If I have been able to see further, it was only because I stood on the shoulders of giants. — Isaac Newton

What do you think? Drop me a comment!

2004 National Recording Registry
The full registry to date

[Soundtrack]
Public Enemy – By The Time I Get To Arizona.mp3
(Yes, I know this is the wrong album, but the peculiarly 1991 political content — Chuck D’s anger at then-Arizona Governor Even Mecham’s refusal to ratify Marting Luther King Day — should prove plenty confusing to listeners in the year 2525.)

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