In a message dated 99-06-15 21:12:20 EDT, you write:
>NP: Waits: Get Behind the Mule (thank God my five-year-old loves this
>album)
That's funny, one of my 5-year-olds thinks it is a great album, too. His
favorite numbers are "big in Japan" and "Cold Water." The fact that Waits
says "Cheese" in the former is a big plus, and the line in Cold Water about
the old dog that seems to like him also is a real pleaser. "What's he
building" is another one he likes a lot but is ONLY to be played during the
day--too scary for nighttime. He also is fascinated by the black elevator
going down, and of course, the eyeball kid.
Dave Royko
- -
------------------------------
Date: Wed, 16 Jun 1999 12:54:24 EDT
From: DRoyko@aol.com
Subject: Collecting and the grave
In a message dated 99-06-15 21:12:20 EDT, you write:
>I'd like to think that when I'm ready to kick, I'd want to do something noble
>like
>donating all of it to the Public Library so that everyone could enjoy the
>music.
Sadly, Jason, unless you already hear the reaper approaching, chances are,
few will want your collection by the time you kick, any more than most
libraries these days are interested in collections of 78s. CDs will become
more obsolete more quickly than LPs once the next technology comes along,
simply because of the speed at which computer technology moves. My guess is
CDs won't even carry the same cachet of nostalgia that LPs have, because CDs
will be around as the dominant medium for a shorter period of time than was
the LPs.
All these precious things I've been--and continue--acumulating, as I've
started saying to myself, will be left to my kids once I croak, and it'll be
their responsibility, and hassle, to cart it all to the dumpster. Sure, they
could end up being into all of this stuff and be happy to have it, but it is
at least as likely that it'll be nothing more than junk to them. If they
donate it to a library, wonderful, but that doesn't mean most of the
collection won't be relegated to the dumpster by the library. Basically what
it comes down to is, I ain't looking any further than what the collecion
means to me while I'm here. OK, so I ain't too noble.
As to the "I only buy what I want to listen to" argument about collecting,
same with me, but my DESIRE to hear things outstrips the amount of time I
have to listen. Thus, I've worked out a compulsively systematic way of using
travel time to acclimate, through repeated listenings, all I buy, thus
freeing my stationary listening time to guiltlessly listening to anything I
want. However, my "lag time" from purchase to repeated listening
'assimilation' (call me collector Borg) is pretty long now. But there's
always something more that looks intriguing, and I always buy it because I
want to hear it. I can't help it if life intervenes and delays my
gratification. And to come full circle with the theme of death, I have no
doubt I'll croak someday with a big backlog of stuff still awaiting repeated
listening. But hopefully I'll live long enough that the technology will allow
that the backlog will be able to fit in my burial suit's vest pocket, since
at that point I'll finally have enough free time to catch up.
Dave Royko
- -
------------------------------
Date: Wed, 16 Jun 1999 12:16:09 -0500
From: Dan Hewins <hewins@synsolutions.com>
Subject: Live Primus
Was it here that Primus was discussed a few days ago? If not...whatever.
If anyone's interested there's some live primus (whole shows) on primus'
web site in mp3: http://www.primussucks.com/frames/fboot.html
Dan Hewins
- -
------------------------------
Date: Wed, 16 Jun 1999 13:38:46 -0400
From: Bob Kowalski <BKowalski@genetics.com>
Subject: get on with it
Perhaps a separate listserv for those who'd like to continue discussing the amount of records owned and how musicians without platinum sales can afford large collections of said recordings can be taken up.
The New Yorker article was fantastic and seems most on list are always looking for places to tuck away new cds and books - but I'm keeping an eye out on what folks say about the music itself.
happy listening (& shelving)
Bob
ps: currently found priority space (on shelf & in cd changer) for Pink Martini's debut release - smashing!
- -
------------------------------
Date: Wed, 16 Jun 1999 14:09:22 -0400 (EDT)
From: Jeni Dahmus <jdah@loc.gov>
Subject: Re: Gainsbourg / Ornette
On Tue, 15 Jun 1999, William York wrote:
> > > How about that Zorn/Laswell/Frith/Lombardo set? Sounded incredible to me.
I thought so too.
> Was this show all improvised or were they playing from written stuff?
It was improvised for the most part. They played Iron Man at one
point. :-)
Jeni
- -
------------------------------
Date: Wed, 16 Jun 1999 19:10:15 -0400
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Of possible interest to DC area Zornsters:
WHO: The new music trio, Comma
WHAT: Washington Art-O-Matic FINAL EVENT
WHERE: Manhattan Laundry building
1348-1346 Florida Ave., NW
Washington, D.C.
WHEN: 6PM-9PM, Saturday, June 19, 1999
CONTACT: Comma: Tom Bickley, 202-546-1477, tbickley@artswire.org
Art-O-Matic: Aisha Davis, 202.986.7885
The new music trio Comma, based in Washington, DC, will be performing
during the closing day festivities of the Washington Art-O-Matic. They
will be performing a three-hour stream of new music, including works by
20th century composers, free improvisations, sound text poetry, and
selections from their CD, (voices) (Metatron Press 101). The performance
begins with Matt Davis' post-ambient "Prelude for 3," features Joe Zitt's
hommage to minimalism titled "Ghost Dervish Beach," and concludes with the
25-minute hypnotic soundscape "The Listening Room" by Tom Bickley with
spoken text by poet Joe Zitt. For more information on Comma see
For Anyone interested, my latest CD sale can be veiwed at:
http://members.aol.com/meandmrray/cdsale.html
Hope to hear from lots of folks. Thanks for the bandwidth!
Greg.
PS> sorry if this is a repeate message for some people, I've send it to all
the lists I'm on, and they often overlap.
- -
------------------------------
Date: Wed, 16 Jun 99 18:43:13 -0500
From: kurt_gottschalk@scni.com
Subject: neues kabarett, June 25&26
June 25-26, if you're in New York, you can stop by Academy and pick up a few
dozen used CDs that artists won't get any money for and you'll never listen to
anyway but they look nice on the shelf, walk up 6th Ave. to Barnes and Noble,
where you can update your dictionary collection while supporting a multimillion
$ chain that puts small independently owned bookstores out of business (what?
you only have one dictionary on the shelf next to your CDs? You plebe!), and
then walk up to The Brecht Forum for an evening of improv music and dance. And
probably still get home to curl up with the new Eco (you don't really read that
stuff, do you?).
(tee hee)
THE BRECHT FORUM
122 West 27th Street, 10th Floor
New York, NY 10001
212-242-4201
www.brechtforum.org
*******************
Neues Kabarett, a new series of avant-garde jazz and adventurous music
and dance, presents IT'S A VISION THING curated by Patricia Nicholson
June 25 & 26
The Brecht Forum continues Neues Kabarett, its new concert series, on
Friday, June 25 and Saturday, June 26 at 9 pm. IT'S A VISION THING is
curated by Patricia Nicholson - dancer, choreographer and organizer of
the annual Vision Festival. The schedule for both nights is:
Nicholson will perform with Rob Brown on saxophone; violinist Mat Maneri
will be joined by dancer Christine Coppola; Dancer Julia Wilkins will perform
with Bernard Rosat on bass, and Charles Waters on reeds will be joined by the
NuZion Dance Workshop.
Admission is $10 per night. That's June 25 & 26 at 9 pm at
The Brecht Forum, 122 West 27th Street, 10th Floor, between 6th and 7th
Avenues near the 1/9, A/C, N/R, 6 and F trains. For info call
212-242-4201.
*****************
Background:
The Brecht Forum is a non-profit cultural and educational center for
people working for fundamental change and a society that puts human needs
first. Arts events include Neues Kabarett, an avant-garde jazz series; The
Gashouse featuring radical music and words; Freedom Song highlighting music from
worldwide national liberation struggles; and monthly art exhibits
spotlighting issues of the day such as the powerful May-June Cellscape
II which focuses on incarceration and police brutality.
Upcoming events include dance performances, films and a three-day
concert spotlighting the contributions of innovative women composers. The
Brecht Forum has been raising funds to support the development of its
performance space, including the purchase of a new sound system and a piano. A
benefit concert in July will feature Stephanie Stone and Andrea Parkins on
piano, a rare solo performance by trumpeter Roy Campbell, and guitarist Loren
Mazzacane Connors with poet Steve Dalachinsky. In August, another
benefit will feature guitarist Marc Ribot and drummer Christine Bard. Also that
month we will also present North Carolina's Eugene Chadbourne, who will
treat New Yorkers to a night of original compositions and a night of his
interpretations of Phil Ochs songs. The Brecht Forum's schedule also includes
classes, such as a nine-session course "The Politics of Hip Hop: From Getting
Paid to Getting Free" which begins on June 16.
- -
------------------------------
Date: Wed, 16 Jun 1999 20:32:08 -0400
From: "Caleb T. Deupree" <cdeupree@erinet.com>
Subject: Re: Dead weight - was record collections
At 06:56 PM 6/15/99 EDT, TagYrIt@aol.com wrote:
>
>Anyone care to indulge a thread about records/discs they own that get played
>the least?
Inevitably the oldest ones. I was really into progressive rock and space
music about 15-20 years ago, and can hardly stand to listen to even what I
thought at the time was good (not to mention what at the time was only
mediocre). Worse, I had fond memories of a Blue Cheer album from the 60s,
and when the Wire was going on about Haino in a big way, dropping Blue
Cheer's name all over the place, I picked it up again to see if it was as
good as I remembered (all I can say, the drugs at the time must have been
stupendous!). Wire also gave a top-of-the-year to a Michael Nyman disk
loaded with harpsichords and counter-tenors (I'm now much more suspicious
of their January listings). These are so bad I won't even offer them up
for trade, I'm saving them for a yard sculpture.
Here's another thread: vinyl we dumped, then bought back on CD. My lead
candidate on the plus side: Trout Mask Replica.
- --
Caleb Deupree
cdeupree@erinet.com
Computers are useless; they can only give you answers
- -- Pablo Picasso
- -
------------------------------
Date: Wed, 16 Jun 1999 21:19:01 -0400
From: Brian Olewnick <olewnik@idt.net>
Subject: Re: Dead weight - was record collections
Caleb T. Deupree wrote:
> Here's another thread: vinyl we dumped, then bought back on CD. My lead
> candidate on the plus side: Trout Mask Replica.
(Still chuckling since you made me recall 'Vincibus Eruptum' or whatever
the hell that thing was called).
Back around '75-'76, still in the throes of my avant-jazz fanaticism
engendered a few years before, I traded in virtually every album with
the remotest rock affiliations, with a few prescient exceptions (like
Fripp/Eno). Most of these I had little cause to regret, including a
bunch of early fusion. However, over time I ate crow and repurchased: 1)
all Beefheart (well, except for that mid-70's crap) 2) all Zappa up to
and including 'Burnt Weenie' (no interest after that) 3) any and all
Hendrix I could find. A couple of years ago I picked up the first
Crimson disc, curious as to my reaction nowadays to what, as a callow 15
year old, I though was the greatest thing I'd ever heard. Almost 30
years later, 'Schizoid Man' and the free-jazzy-ish 'Moonchild' hold up
fairly well; the rest seems pretty ponderous. Haven't continued up that
particular road. Almost picked up the Incredible String Band's 'Changing
Horses' recently, but drew back.
More stupidly, I jettisoned my minimal collection of non-minimal
classical music, more an ideological pro-jazz, anti-Euro decision than
actually not liking the stuff (I _said_ it was stupid). Out went
Xenakis, Stockhausen, Crumb and others. I'm still recovering...
Brian Olewnick
- -
------------------------------
Date: Wed, 16 Jun 1999 22:38:06 -0400
From: "Zachary J. Griffin" <zgriffin@iconn.net>
Subject: Re: get on with it
Bob Kowalski wrote:
> Perhaps a separate listserv for those who'd like to continue discussing the amount of records owned and how musicians without platinum sales can afford large collections of said recordings can be taken up.
>
Amen, brother!!!!!
>
> The New Yorker article was fantastic and seems most on list are always looking for places to tuck away new cds and books - but I'm keeping an eye out on what folks say about the music itself.
>
I finally got around to buying "New Traditions in East Asian Bar Bands". Perhaps I should log off my computer and listen to it.
Zach
- -
------------------------------
Date: Thu, 17 Jun 1999 04:46:09 EDT
From: XRedbirdxx@aol.com
Subject: played least
In a message dated 6/15/99 9:12:20 PM Eastern Daylight Time,
owner-zorn-list-digest@lists.xmission.com writes:
<< Anyone care to indulge a thread about records/discs they own that get
played
the least? >>
The Classic Guide to Strategy. And then there are the damn liner notes by
Rothenberg written in thin gold ink on dark background. Excruciating,
impossible to read. It's as if they don't want us to be able to discern the
words, or they're just fucking with us because we're such puppies for this
shit that it seems we'll drop money on absolutely anything he puts out.
These thoughts ever cross anyone else's mind, or am I just being cranky???
