too much typing—since 2003

7.30.2006

last week's cornflakes

In 1983 1982, Elvis Costello was asked to write the title track for a movie called Party Party (one critic on IMDB calls it sort of a British Animal House; here's the tracklisting for an import soundtrack CD). Costello rounded up a couple of horn players to accompany the Attractions, rambled on about drunkenness and bad behavior (something he'd had quite some experience with in those years, by his own admission), and came up with the eponymous song. And he doesn't want you to hear it anymore. It hasn't been on any of his reissues, and he seems rather embarrassed by it, in fact.

Certainly, it isn't the greatest song Elvis ever wrote - but it's certainly better than about half the material on Goodbye Cruel World, and if pressed I could probably think of a few more EC songs that easily outdo it in badness.

It's certainly catchy, and even if it does seem a bit forced (Costello's own tales of drunkenness and cruelty usually had more of a point to them than merely retelling the tale) it deserves better than oblivion.

Elvis Costello (with the Royal Guard Horns) "Party Party"

7.27.2006

MARS NEEDS PUNCTUATION

Or maybe just more education? I was at the post office the other day, and I noticed a brochure with the following printed on it:

USPS
Anti-Money
Laundering
Program


So, the USPS has a laundering program that is anti-money? Is that like, you mail your clothes to a laundromat and then use a credit card to pay?

No, what they mean is "Anti- Money-Laundering Program," right? That looks awkward, with the trailing hyphen. (If this were German, of course, "Money-Laundering" would be just one word.) I think this is correct (correct me) - but what we need is some sort of punctuation that hyphenates a prefix or adjectival modifier to a phrase. We don't use this ~ very often - why not? "Anti~Money-Laundering Program"? Eh...

maybe the moon was full?

Hola, amigos. I know it's been a long time since I rapped at ya, but - oh wait, I'm not Jim Anchower.

Anyway: see if you can follow the sparkling-clear, spring-fed logic outlined below:

1. Bill Clinton is a bit of a horndog;
2. Therefore: he's rather narcissistic;
3. Therefore: he likes himself;
4. Given (1) and (3), we conclude that he likes others who "look like" himself;
5. Bill Clinton is a man;
6. Men, generally, look like other men;
7. So we conclude, putting (4) through (6) together, that Bill Clinton is (wait for it) gay.

Thus spake Ann Coulter.

We could simplify, and conclude more directly that:

1. Ann Coulter is full-blown wolf-howlingly batshit crazy. (And, possibly, "doth protest too much.")

(As a leftist, I suppose I should spend my time fulminating against out-of-office right-wingers. (For illustrative purposes, assume that Clinton was a left-winger. No, really - stop laughing.) Damn that Warren G. Harding! And given that Harding died young, it's obvious that he was a child molester. I'll let you work out the logic yourselves.)

7.20.2006

always to less and less

A while back, someone pointed me toward a large file (37-minute flac file) which featured a medley of various avant-classical works and a few rock songs. That mix - titled "Long Shadows" after a Meredith Monk piece that opens and closes the mix, and assembled by Tim Rutherford-Johnson - works pretty well, although I kind of think the rock tracks foreground themselves a bit too readily (particularly the Curve track). At any rate, it reminded me of a mix I'd first done on videocassette* years ago. I put together a whole bunch of droney, ambient, oozy stuff from a range of genres, and with few exceptions tried to avoid beats (and definitely avoided sung vocals in English, which brings the listener right back into the world when I want them in the world the sound has constructed). I later redid that mix - now titled A Thousand Falling Pianos - in slightly reduced form to fit it on one CD: the tracklisting is up at Art of the Mix.

Most of the selections appear only in excerpts, and while I took great care in choosing which part of a piece to use, and exactly when to crossfade things, with the exception of those few seconds during the crossfade only one piece was audible at a time. With one exception: it occurred to me that it might be interesting to add some chanting from the Gyuto Monks CD that Ryko put out in the early '90s over the closing track of Material's William S. Burroughs-narrated album Seven Souls, "The End of Words." (I used the version from the original 1989 issue, since I don't have the reissued version of the CD.) I left in a couple of seconds of the crossfade at the end of this blend that segues into David Sylvian's "Answered Prayers" - because the rise in pitch, along with the blend of voices, is one of my favorite moments in the whole mix CD.

A little later, putting together a more song-oriented mix (tracklisting also up at Art of the Mix) but one still emphasizing texture (a lot of dreampoppish stuff included), I somehow decided it would be a fine idea to take the 4th untitled track from Labradford's E Luxo So and plop Neil Young's "Soldier" on top of it. On the surface, this makes no sense...I think what my unconscious had in mind was that (a) the Young song is kind of abstract and spacey, and (b) because it sounds as if it was recorded in a huge barn with a crackling fire nearly foregrounded in the mix, it already had a rather ambient cast to it. I was fortunate in that (more props to my unconscious brain which presumably remembered this) both tracks are in the same key. (Unlike the Material/monks mix, whose tonic incongruities give it a nice edge, at least to my discord-loving ears.) Anyway, I did a bit more looping here compared with the Material/monks mix (which was pretty much a straight layering, as I recall), as described in the notes on the mix at AOTM.

I don't think I'm quite ready to hop the DJ train here - but I had fun making these. I hope you enjoy hearing them.

Material + Gyuto Monks: "The End of Words" + "Mahakala" excerpt
Labradford + Neil Young: E Luxo So (track 4, excerpt) + "Soldier"


* For a while, before recordable CDs and after my then-current cassette deck had died, I used videocassettes as an audio storage medium. It was advantageous when making very long mixes like the original version of this one (about two hours) but deeply clumsy to find things, since indexing never seemed to work exactly. I'm curious if anyone else ever used videocassettes in this way...

7.18.2006

Monkey off my back

Another jumble of noise is herewith released, by the redoubtable Monkey Typing Pool. Some bits of trivia: (1) the title was floating around in my head for quite some time (since, in fact, it describes a pretty common reality). (2) Some of my past lyrics haven't rhymed. To make up for that, the chorus of this song features two different lines that rhyme throughout their 13-syllable entirety. (3) Yes, rhyming "moon" with first "June" and then "soon" was intentional. Here are a few further notes.

This will most likely be the last in a somewhat inadvertently ongoing series of musical homages. Comments, feedback, and rotting fruits and vegetables via parcel post welcome.

Monkey Typing Pool "Stephin Merritt Writes Another Song About the Moon"

7.17.2006

A moving, and unexpectedly heartening, remembrance of Syd Barrett by his sister, Rosemary, his closest confidante.

7.15.2006

everybody loves a parade

Driving earlier today, I noticed a huge pile of horseshit right in the middle of Kinnickinnic Avenue. That could be because the South Shore Frolics held a parade today.

Then again, George W. Bush was in town earlier in the week.

7.14.2006

le fond de mon cœur, etait radiation

UPDATE: Well, apparently someone at Zeitgeist Films (the distributor of the Maddin film) felt this was copyright infringement. (The actual film, with its original soundtrack, which had been up at YouTube, has also been removed.) So you'll have to go and rent the DVD, and the Stereolab song, and sync them up yourself.

A bit of an experiment here. A month or so ago, I rented a DVD which contained Guy Maddin's "Heart of the World," a fabulous short film. Its original soundtrack was by a Soviet composer from the 1940s (if I'm reading the small print correctly), but something about its visual texture made me think it would work well with a Stereolab song as soundtrack. I chose "The Emergency Kisses" primarily because it's about the right length - and the title resonates with that of the movie.

Even though I didn't edit the visual at all, and my editing of the music consists solely in looping a bit of the ending to add about 15-20 seconds so the two parts end together, there are some nice moments of synchronicity. The song is essentially in three parts with a coda; the film is basically three acts: the end of the first part of the song coincidentally coincides (!) with the end of the first act. The song's extended coda sort of slithers into place alongside the credits. And the lyrics, intriguingly, prove to have several metaphoric points of convergence with the film (the link includes both the French lyrics and an English translation). Oh - and to avoid anyone giving anyone the false impression that I'm too clever, I'll observe that I didn't think of any of this beforehand: I only discovered it after putting the two bits together.

(Needless to say, my main inspiration here was Pink Floyd's "soundtrack" work for The Wizard of Oz...)

7.12.2006

The Strummer Proviso

One of the subtexts of my entry on teaching history is this: facts by themselves are never sufficient to render a coherent account of anything. Those facts must be selected, ordered, and interpreted in order to form any coherent narrative of any historical moment. And that means that any such narrative is intrinsically subjective, not merely a matter of teaching only the facts.

In this context, the Milwaukee Journal Sentinel's editorial calling for the firing of UW lecturer Kevin Barrett, who believes (and teaches, among other possibilities) that the 9/11 attacks were, essentially, an inside job, is both extraordinarily naive and quite dangerous. I've never attended any of Barrett's classes (which are, for the benefit of non-Wisconsin readers, in Madison, not at my campus, the University of Wisconsin-Milwaukee), so I do not know the extent to which Barrett pushes these theories or whether he merely presents them as possibilities to be considered. Ultimately, unless he denies any other possibility, it should not make any difference - so long as he makes clear that any interpretation of history is, necessarily, just that.

As anyone who reads this blog regularly knows, I am not a fan of George W. Bush and his administration. The evidence I've seen does not persuade me, however, that he or it could have gone that far - especially since whatever hypothetical benefit might have been gained could have been gained far more cheaply and at far less risk and cost. However: someone else might weigh the evidence differently, and that right - central to academic freedom - should not be infringed, no matter (and especially) how objectionable those conclusions might be.

What evidence might Barrett point to? Without wading too deeply into Conspiracy Central, when a long-term and conservative physicist such as Steven E. Jones (at the notoriously radical Brigham Young University) questions the physical evidence that such an unprecedented collapse as that of the WTC could have been caused by the impact of exploding aircraft alone, I at least (as a non-physicist) do not feel qualified to rule out his evidence. (Needless to say, other physicists disagree - but the point is that a qualified professional has put forth a reasoned perspective, which compels responsible academics to engage that evidence - not disregard it or sweep it under a rug as inconvenient or excessively controversial.)

One could also point to an article by William Arkin, originally published in the October 27, 2002 edition of the Los Angeles Times, in which Arkin describes Donald Rumsfeld as recommending the creation of a "Proactive, Preemptive Operations Group (P2OG), to bring together CIA and military covert action, information warfare, intelligence, and cover and deception." P2OG "would launch secret operations aimed at 'stimulating reactions' among terrorists and states possessing weapons of mass destruction -- that is, for instance, prodding terrorist cells into action and exposing themselves to 'quick-response' attacks by U.S. forces." In plain English: Rumsfeld wants to create a secret agency that will provoke terrorists to act, in order that they might be caught. But is there any guarantee under such a scenario that American lives would not be lost? Of course not: there can be no such guarantee, since there is no control over what such terrorists would do when provoked. On his own statements, then, Donald Rumsfeld is willing to sacrifice American lives (and not just those of soldiers).

One might also look into history for examples of the U.S. government behaving with reckless disregard for the welfare and safety of its citizens. For decades, as is well documented, the U.S. Public Health Service subjected hundreds of African-Americans to experiments wherein it purposely withheld treatment for syphilis, in order to have a "control group" which would demonstrate the course of the untreated disease (the Tuskegee Syphilis Study). Later, nuclear testing was conducted in the western desert regions of Nevada and Utah without informing residents of the testing or properly evacuating those who might be exposed to fallout (as documented by writer Richard L. Miller, environmental historian Philip L. Fradkin, and many others). And in the 1950s, as part of its research into possible mind-control techniques, the CIA conducted Project MK-ULTRA, in which citizens were exposed to hallucinogenic drugs (such as LSD) without their consent.

And of course, Bush has endangered, and continues to endanger, the lives of many Americans and countless Iraqis in the war in Iraq, having gained support for the war among American citizens via blatantly false and misleading statements and rationales.

None of this, of course, proves that Barrett's ideas are correct. But they suggest that when we dismiss any possibility of our government's wrongdoing, we do so at great peril to ourselves and to democracy.

Commemorating the twentieth anniversary of the founding of the Voice of America on February 26, 1962, President John F. Kennedy said, "We are not afraid to entrust the American people with unpleasant facts, foreign ideas, alien philosophies, and competitive values. For a nation that is afraid to let its people judge the truth and falsehood in an open market is a nation that is afraid of its people." What, exactly, is the Journal Sentinel afraid of?

7.10.2006

don't know much about history...

I see W. isn't the only shining beacon of intelligence to have sprung from the beefy loins of the senior Barbara Bush. Down in Florida, where all that water surrounding the state appears to have caused some folks to go a mite whimsical in the brainpan, Georgie's brother Jeb has decided that "American history shall be viewed as factual, not as constructed, shall be viewed as knowable, teachable and testable, and shall be defined as the creation of a new nation based largely on the universal principles stated in the Declaration of Independence." Well. Glad to have that settled.

I don't suppose Jeb has any advice as to which facts are to be known, does he? At least the first couple of clauses of that phrase above would allow a history textbook consisting of nothing but a description of meals eaten by George Washington (so long as the contents of those meals could be verified, of course), the number of trees on Button Gwinnett's properties, hobo symbols, or any other random collection of facts. Absurd, you say? Probably...but the moment you decide which facts (of which there are rather a many) are worth "knowing, teaching, and testing," you're (uh-oh...) "constructing" history.

This is not, as historian Jonathan Zimmerman points out, some newfangled postmodern deconstruction wafted forth from suspiciously perfumed cheese-eating surrender academies. Rather, it's been a recognized aspect of the historian's work since at least the 1920s. Florida Republican representative Richard Glorioso, co-sponsor of the bill, says, "I don't want [historians] to construct anything. I want students to read the original documents," such as the Constitution and the Bill of Rights. However laudable the goal to have students read the founding documents of our nation, those students will run into trouble under the Florida standards the moment they start having questions about the documents - even on as basic a level as what some vocabulary item obscure to them means. I mean, the courts haven't been able to settle on an agree definition of the phrase "a well-regulated militia" - inevitably, trying to figure that out involves (competing) constructions of history.

Theron Trimble, who is executive director of the Florida Council for the Social Studies, wonders whether the Battle of Little Big Horn is to be regarded as "an atrocious massacre by bloodthirsty savages or a last-ditch effort by a people to save their homeland from a bunch of European invaders" When Rep. Glorioso imitates Joe Friday saying "just the facts, ma'am," he clearly can offer no answer to questions like that one - since they are not fact-based at all, but interpretive. History stripped of all interpretation is meaningless, just as words stripped of context are meaningless (or nearly so: I say "bunny" and you assume I mean...what, exactly? You need to know more - you need context.) - and worse yet, it's utterly boring, a surefire route to solving students' sleep disorders.

Reporter Catherine Dolinski notes that "Glorioso said he simply wants students and teachers to get the fundamental facts straight." Who decides which facts are fundamental? And who decides the significance, the consequences, the implications of those facts? Some indications: An entry in the Daily Kos quotes a passage from the bill--

The history and content of the Declaration of Independence, including national sovereignty, natural law, self-evident truth, equality of all persons, limited government, popular sovereignty, and inalienable rights of life, liberty, and property, and how they form the philosophical foundation of our government.

"Limited government"? Really. Wasn't there, uh, a bit of debate about the scope of government in the early days of the republic? Apparently, that debate has now been retroactively settled - by the Florida State Legislature, that renowned body of indisputable historical last resort.

(Note: all the links above were brought to my attention via David Davisson's article in George Mason University's History News Network.)

-- -- --

Here is a factual, knowable, and teachable slice of '80s musical history. Wire offer "a soundtrack for your silence, insincere" while sagely observing that "it's all history"; Gang of Four propose a "universal principle" that "History's Bunk"; and Split Enz, from one of those countries that gets the seasons all backwards forchrissakes, suggests that "History Never Repeats." Unless, of course, you don't know it.

Wire "Cheeking Tongues"
Gang of Four "History's Bunk!"
Split Enz "History Never Repeats"

7.07.2006

tripping over one's tongue

I ran into an ad for a Christian festival of some sort called "Lifest." Now, my first reading of that word is as an odd sort of superlative - which I suppose is apt enough, but probably not what the organizers intended. I suspect, instead, that they're running together "Life" and "Fest" - but spelling it "Lifest" puts a burden on anyone pronouncing it out loud, since it will most likely sound exactly like "Lie-fest" - a festival of lies - which is hardly what a Christian organization would want to be thought of, I'm guessing. Sure, you can pronounce both Fs to distinguish...but that would be a far likelier result if the word had been spelled "Life-Fest" - or even (and they're getting a special dispensation in relation to my normal policy regarding intercapitalization) "LifeFest."

A similar sort of pronunciation stumbling block seems to have escaped whoever came up with the name for the AmericInn chain of hotels. I get it: they're combining "America" or possibly "American" with "Inn"...but try saying it out loud. Either it's indistinguishable from "American," and thereby loses the pun - or you have to push hard on the "Inn" and put a sort of stop after the "k" sound. Both possibilities (or the two combined) sound odd and unnatural. I suppose I could find out if and how they surmount this issue by calling their switchboard - but that would be too much like research, and that in turn would be too much like work.

And I am lazy.

7.04.2006

a question

This piece is still the best one I've ever read on our national anthem - even though some passages, probably read over without much thought when I first encountered them in July of 2000, resonate quite differently, post-9/11.

Have a good holiday - and try to remember that the bastards currently in charge aren't the only America.