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A new piece of music I made: "Eine Zwei Drei" [1 min - 1.37MB - .mp3]. I find it kind of sinister. Coming this soon after talking about Monotrona, it might be compared to that, but I'd say it's closer to Laibach. That's it--a kind of abject, basement Laibach (Slovenian dirge-y synth stuff, but this is goofier.)
Joe McKay's preReview, where yrs truly occasionally moonlights with trenchantly uninformed coverage of Hollywood crapola, was named "Unfortunate Site of the Week" by Time Out NY this week. Here's what they said: "Everyone's a critic--only some people think they're so smart they can review a film based on previews alone. Encourage them to get a life by not going to homepage.mac.com/joester5/prereview for 'prereviews' of soon-to-be-released films." This is what's known in the preReviewing trade as an "inverted psych maneuver" or the less technical "stroke'n'slap." Tell'em not to go and then give'em the URL, ri-iii-ght. Yet beneath that passive aggressive unplug you can smell the stench of fear hovering over a trade that knows its day is about over. I mean, these people expect you to shell out at the box office for a product you know you'll hate, and then plunk down coin AGAIN to read what they say about it. preReview on the other hand saves you both payments and is actually entertaining. So by all means, don't pick up Time Out NY this week to read their plug of McKay's site.
An earlier post described a "radio musical" I heard several years back by Electro musician and performance artist Monotrona (it might be called the first Electro opera.) I taped it on cassette and am now posting it here in all its hissy, lo-fi glory. [36 min, 33.6MB] Here's what I wrote before:
I first heard Monotrona on the Stork Club on WFMU-FM (a sadly missed live music show), around '97 or '98, performing "Joey, a Mechanical Boy,” which was described as the "fourth in a 14-section work called the 'Fourteen Imitations of Man.'" The story--told in music and dialogue, all performed by the artist using a variety of accents, vocoderlike filters, etc.--was extremely weird. Joey is an ectopically-spawned robot child who goes to work for NASA. His mother, in a ridiculous Chicago accent, tries to reach him on the phone and is headed off by the "Dark Technical Force," a gnostic demiurge that has a strange hold over Joey. Meanwhile, two shadowy government operatives discuss a rogue scientific scheme to create a ManWoman. The piezoelectric puppet show includes some really beautiful songs in the Chrome/Suicide/Throbbing Gristle postpunk vein, performed with buzzy, distorted keyboards. After the performance, Stork described Monotrona's equipment for listeners as "a mountain of unpatented cheap toy electronics adapted for her use--an indescribable array of electronics centered around a Casio machine, using light sabres, pistols, all sorts of mixers, and an oscillating device that looks like a little recipe box with two joysticks coming out of it..."Combining music and stand-up with the sheer Cage-ean randomness of these toy store electronics, "Joey" is brilliant even in a crappy, taped-off-the-radio recording. The bleeping, buzzing acoustics wed the arcade with the abyss, as Joey struggles to master simple digestive and muscular functions under the tutelage of a scary voice recalling Tron's Master Control Program. Monotrona is considerably more than just an entertainer or proto-Electroclash musician or what have you (although her recent songs are tight, smart pop): she is a poet of the "dark technology" embracing us whether we hug back or not. (video still from punkcast 237)
One More Half-Truth for the Road
Former White House Press Secretary Ari Fleischer has a letter in the New York Times today, attempting to set the record straight on a creepy statement he made in the immediate aftermath of 9/11/01. Read it carefully:
In "Lifting the Shroud" (column, March 23), Paul Krugman alleges that at my White House press briefing on Sept. 26, 2001, I "ominously warned" Americans to "watch what they say, watch what they do." He accuses me of telling citizens "to accept the administration's version of events, not ask awkward questions.""They're reminders"--meaning both the statement by the racist congressman and the Maher statement. Nice try, Ari.At that briefing two weeks after Sept. 11, I was asked about a racist comment made by a Republican congressman from Louisiana who said that if he saw a Sikh-American with a towel wrapped around his head, he would tell the Sikh to get out of his state.
I said, "It's important for all Americans to remember the traditions of our country that make us so strong and so free, our tolerance and openness and acceptance." The president, I said, was disturbed by Representative John Cooksey's remarks.
Moments later, I was asked about Bill Maher's statement that the members of our armed forces who fire missiles are cowards while terrorists who crashed planes into buildings are not cowards.
I answered: "It's a terrible thing to say, and it's unfortunate. And that's why — there was an earlier question about has the president said anything to people in his own party — they're reminders to all Americans that they need to watch what they say, watch what they do."
My remarks urged tolerance and openness and were addressed to those who made statements and threatened actions against Muslims or Sikhs in America.
ARI FLEISCHER
Washington, March 23, 2004
The writer was White House press secretary from 2001 to 2003.
UPDATE: To make his argument work, even though it doesn't, Fleischer also has to paraphrase Maher's comments. Here's an excerpt from an article giving the context of what Maher said:
Of course, all this was said before President Bush put soldiers in harm's way with an unnecessary land war--forcing them to prove their courage on the ground. The article doesn't mention that Maher groveled to try to save the show, or that there was another prominent dissenter--Susan Sontag--who got slimed around the same time.In the weeks after September 11, critics wondered how late-night talk shows would change. Predictably, Leno and Letterman told fewer and safer jokes, mostly at the expense of easy targets like the Taliban and Osama bin Laden. The Daily Show's Jon Stewart was so shaken he cried. But Politically Incorrect, true to form, crashed the somber late-night party. Appearing on Sept. 17 for the first show since the attacks, Maher made it starkly clear his show would live up to its name.
"I do not relinquish - nor should any of you - the right to criticize, even as we support, our government," Maher said. "This is still a democracy and they're still politicians, so we need to let our government know that we can't afford a lot of things that we used to be able to afford. Like a missile shield that will never work for an enemy that doesn't exist. We can't afford to be fighting wrong and silly wars. The cold war. The drug war. The culture war."
What Maher said later in the show, however, is what made headlines. Panelist Dinesh D'Souza [a young conservative --ed.] mentioned that he didn't think the terrorists were "cowards," as George Bush had described them. Maher replied: "We have been the cowards. Lobbing cruise missiles from two thousand miles away. That's cowardly. Staying in the airplane when it hits the building. Say what you want about it. Not cowardly. You're right."
Res Ipsa Loquitur
While I'm getting a bagel this morning I see a photo of Secretary of Defense Donald Rumsfeld on the front page of a local newspaper, testifying before Congress. His hands are raised in a weird gesture, half-imploring, half balling his fists, his mouth a rictus of mock-agony. "Even if bin Laden had been captured or killed in the weeks before 9/11, no one I know believes it could have prevented 9/11," the caption has him saying. The same day, President Bush said, "Had my administration had any information that terrorists were going to attack New York City on September the 11th, we would have acted." These statements make 9/11 sound like an inevitability, a work of subtle genius that no one could have stopped or anticipated.
But think about it--how subtle was it, really? 19 terrorists pass airport security, four planes are hijacked from three different locations, three planes reach their targets, one of which is the military command center of the United States. No fighter jets intervene during their copious flight time. In law, there is an expression "res ipsa loquitur" (the thing speaks for itself), as when a surgeon sews up a sponge inside someone's body after operating. Meaning, this is the type of thing that would never happen absent negligence. 9/11 is one of those events. And yet no one, not one person, has been fired. The dissemblers in the Administration think if they refer to it often enough as an unpreventable, act of God-like event, people will be worn down and start to disbelieve their own common sense about it.
Speaking of the Middle East and Star Trek, the picture above of the late, soon-to-be-blown-away Sheik Yassin (from the New York Times, looking much like a waxwork from Madame Tussaud's) made me think of Captain Pike:
Which reminded me to look for a cybertheory essay I read years ago, by Alan Shapiro, called "Captain Kirk Was Never the Original." Lo and behold, I found it, and commend it to your reading. In a nutshell, Shapiro contrasts Kirk's Cartesian man of action with Pike's traveler in virtual reality, suggesting that we "read Star Trek against Star Trek" rather than dismiss it, as many theorists do, as a relic of pre-digital consciousness. Here's a good excerpt:
The successful media product model has as prerequisite a mythical moment of transcendent creativity which clears the way for the emergence of a new spectacle object. The spectacle object (celebrity, consumer gadget, media property) then enters the panoply of fetishes among which we shop in our efforts to find an identity "niche" and dubiously distinguish ourselves from others. The model serves as lightning rod for ambivalent collective projections, allowing each individual to feel unique at the very moment when all consumers of that same niche are imitating the same elevated pattern.And another cool passage:
But the fully achieved simulacra of virtual reality threaten the stability and profitability of this system of differences. This is why Captain Pike, who was too far ahead of his time, had to be shunted aside in favor of the valorous Captain Kirk.
So Pike, the true first-born, was whisked away into virtual reality and replaced by the changeling Kirk. There was, of course, another way forward for Captain Pike, but the screenwriters of "The Menagerie" were unfortunately ignorant of the basics of writing operating systems software drivers for peripheral devices. Since Pike's bio-rehabilitation programmers had succeeded in resuscitating at least one controllable nerve impulse from his consciousness, and connecting the discrete signals of this impulse across the synaptic gap to an output device (the beeping for "yes" or "no"), further layers of software to drive more sophisticated output devices and sound cards would certainly be possible. From the single binary registering of a 0 or a 1, an entire operational language (a full digital communication) can be devised. One merely has to enumerate and combine varied sequences of 0s and 1s as discrete identifiers in an infinitely permutated system. The only drawback would be that Pike's consciousness itself would always remain at the level of the lowest machine language, forced to perpetually master and will the lengthy binary sequences in order to express himself! He would literally be the machine and its finally awakened artificial intelligence.
| Who Dares Disturb My Slumber? *cue eerie theremin sounds--figure comes towards you slowly in FLASH animation--surfers faint dead away at their keyboards*
SEE IT TODAY1 at the Nasher Sculpture Center2 website, a Flash-and-popuphell extravaganza declared by this weblog to be Gratuitously Dynamic Website of the Week.3 1. Okay, there's no theremin, but the figure does come towards you from the back of a "virtual gallery" in dramatic, ever-enlarging stages. The sculpture, Willem de Kooning's Clamdigger (1972), introduces Abstract Expressionist subjectivity to the human figure in three dimensions and is one of Count Floyd's favorite artworks.
2. Housing the Raymond and Patsy Nasher sculpture collection, Dallas, TX. 3. This weblog is not responsible if you become lost in the Nasher site and are unable to navigate back to this URL. Thanks to Bill Schwarz, who inadvertently provided this target. |
Beige Programming Ensemble at the Whitney; The Slowes
I missed Cory & Jamie Arcangel and the Beige crew at the Whitney last night because I had to w_rk, but fortunately Thickeye is on it with an excellent report. I like his description of the line of kids wrapped around the block for free admission night, soon to be groping in the darkened video rooms, contrasted with the image of middle age people sitting at tables in the downstairs dining room, politely listening to the Beige-rs explaining their new 8-bit iPod concept.
Beige has a music download page that I highly recommend, consisting of their vinyl releases in mp3 format. Cory also recorded several songs as The Slowes, which I am pleased to offer here. The melodies are faux-dumb and very catchy. I say faux-dumb because they're actually fairly ambitious in terms of musical reach--a lot of pop music history is integrated in them (lounge, 60s-electronica, progrock, Pink Floyd...). The lo fi-ness keeps the homages from being overt or too reverent. Here's how Cory explains them in an email (edited slightly):
yeah,...the slowes is just me. most of the melodies were written by a melody writing program i wrote called "Rudy Tardy Generator Pro"..it was a cgi script. every time you went to its web page, it generated a new song and melodies (in the slowes style, which is lotsa open roller rink kinda chords) so....... i would have the program spit out 10 melodies...i would then pick the best few, turn them into a song, and go into my bedroom and record them. i used an organ, atari, drums, + guitar////The Slowes downloads:the whole myth of the slowes that I made up was that it was this guy who sat in his basement all day and worked on his atari. his name was Rudy Tardy. This was his band. For a few years, i used Rudy Tardy to sign all my art projects...[Beige recording artist] Paul [B. Davis] to this day still Dj's under the name DJ Rudy.
"Fat Bits" [.mp3 - 1.33MB]
"Starship Izod" [.mp3 - 4.12MB]
"The Anthem" [.mp3 - 2.29MB]
"Hooked on a New Thing" (cover of 3Nuff Z'Nuff) [.mp3 - 5.2MB]
Suite: All Four Songs Above [.mp3 - 13.14MB]