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2001-02-16
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From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V3 #292
Reply-To: zorn-list
Sender: owner-zorn-list-digest@lists.xmission.com
Errors-To: owner-zorn-list-digest@lists.xmission.com
Precedence: bulk
Zorn List Digest Saturday, February 17 2001 Volume 03 : Number 292
In this issue:
-
(sound art festival)
RE: important music, cecil taylor (long)
sun ra/boredoms/brutal truth
Impotent Music
::boredoms
Re: Artist's label:are they reliable?
Re: Artist's label:are they reliable?
Re: AMM US tour-April
Re: AMM US tour-April
----------------------------------------------------------------------
Date: Fri, 16 Feb 2001 18:12:18 -0500 (EST)
From: Kim Sturdavant <somtom@email.com>
Subject: (sound art festival)
hello,
my name's Kim, I'm new to the list...
this is something I thought my provoke interest in some of the listers in
California. Involving "noise" "sound art" or whatever dare call it. (not
unlike Mike Patton's solo work or the Japanese scene involving Merzbow and
the Boredoms or people like Oval or Microstoria from Germany)
the 4th annual activating the medium festival is happening. it's put on by
23five incorporated (23five.org) and Cuesta College Fine Arts. This has
been happening in San Luis Obispo for 3 years, but this year it's expanding
to SF and LA. it's one of the only festivals of it's kind and involving an
area of music and art very different from the conventional, emphasizing the
medium of sound.
here's the info:
performances by Achim Wollsheild (Frankfurt, Germany), Damion Romero (LA),
and Joe Colley (Sacramento)
keynote lecture by Douglas Kahn (Sydney, Australia)
Feb 17 2pm. Phyllis Wattis Theatre, SF, MOMA Gen Museum Admission info: 415
285 6003
Feb 22nd Cal Poly State University San Luis Obispo Performing Arts Center
Rm. 124 (artist talk)
Feb 23rd 8pm Cuesta College Auditorium San Luis Obispo tickets: 12$ at the
door info: 805 546 3199
Feb 24 8pm Beyond Baroque 681 Venice Blvd., Venice. tickets: 12$ at the
door info:310 822 3006
it should be very interesting and exciting to watch. similer to instalation
art but with more emphasis on the audio aspects. The fellow that puts it on
(Randy H.Y. Yau) is a very prolific and absolutely amazing sound artist
himself so I expect nothing short of amazing from all of the performers at
this event. I've listened to Joe Colley before (aka: Crawl Unit) and his
work is really really good. I urge all of the curious to check it out... it
is to music what Dada was to art when it started and it's been growing and
changing ever since. A very fascinating scene.
if you want more info on this I suggest go to the 23five.org webpage as it
is dedicated to increasing awareness of sound art and has tons of info.
!thanks!
- -----------------------------------------------
FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com
- -
------------------------------
Date: Fri, 16 Feb 2001 16:16:13 -0700
From: "Matthew W Wirzbicki (S)" <M_WIRZBICKI@ColoradoCollege.edu>
Subject: RE: important music, cecil taylor (long)
skip wrote:
>The notion of importance is relative, selective, and not very conducive
>to anything except discussions about which records are relevant. It's
>fine at the quilting bee (such as we are), but means nothing out there
>in the world.
I'll continue the unspoken exercise (helpful or not) in the creation of the
'other' here:
I know there is one significant difference in the motivation behind my
listening vs. the motivation behind most people's listening.
(frighteningly general...) I do think that the US economy has
sufficiently impacted the entertainment element in music. As a result
we see quite a few people who listen for entertainment alone and quite
a few entertaining records are produced to feed the preconditioned
appitite. (nothing new here).
scott wrote (on the CT thread):
>I think the point is not to "get" an artist's work,
>but rather to get something out of an experience, even
>if that experience is (necessarily?) diffused
>throughout one's audition of an oeuvre.
precisely...I like to think that this is also the way I go about
listening....to trust that the artists intensions are good and focus on
non-doing... experiencing their music at face value as if nothing
existed before it...because really nothing does in the space of silence
before a particular space is consumed with sound. (of course this
presents a whole mine-field of difficulties -- ignoring the historical
development of an idiom is difficult to do and potentially problematic -
clearly - but i chose in general to disregard social/historical significance
when formulating my opinions of a piece of music. or at least I like to
think i do.)
It is, for me, all about the experience of a person's music _that
moment_. Always, I believe, filtered through my own experience of the
past. And, of course, each 'moment' of listening is it's own. (ie:
listening to a record today is different from listening tomorrow or seven
years form now)
scott also wrote:
>learning his
>music (as a listener), and
>thereby---hopefully---learning something ABOUT MUSIC.
or really about yourself?...and this gets back to skip's comments: in
general, it all comes down to preferance. I simply hope to
expand my range of possible preferance. I think there is plently to be
learned from listening to someone like Cecil Taylor. When I first heard
Ornette I was a bit confused but now I'm overjoyed. It takes repeated
exposure but I do believe that listening can broaden one's conception of
self and society (idealistic?)
Still, some elements of myself which are brought out by music are a bit
overwhelming...perhaps I'm not old enough. Fushitsusha was/is a difficult
one. Perhaps i took them a bit too seriously.
so perhaps this is similar to how/why people here listen and different
from the way the 'other' is listening.
I need to put a huge qualifier on the above: I don't feel that 'other
people' - "normal" people who listen to "normal" music - are neccessarily
worse off by not having these musical experiences. There are certainly
other equally valid art forms to learn from or perhaps - for some - these
sorts of activities are not neccessary at all??
sorry for the long windedness. It retrospect it seems I may have needlessly
extrapolated on the concise thoughts of skip and scott.
Matt Wirzbicki
- -
------------------------------
Date: Fri, 16 Feb 2001 23:51:16
From: "William York" <william_york@hotmail.com>
Subject: sun ra/boredoms/brutal truth
>Talking about Kevin Sharp and Brutal Truth again: I just found out that >on
>their last album "Goodbye Cruel World" Brutal Truth cover songs by
> >Boredoms and Sun Ra! This seems pretty interesting to say the least.
> >Anybody know excatly what the songs are? And is the album any good? I
> >don't want to buy it just to get a 15 sec grindcore version of Sun Ra,
> >surounded by an album of boring metal. Any comments?
They do "It's After the End of the World" by Sun Ra, and two Boredoms covers
that they couldn't even remember the names of (and I can't recognize). I
don't listen to that CD much b/c the sound quality is really poor. It's
cheap -- basically 2 CDs for the price of 1, but when you hear the muddy,
bass-less sound, you will see why. But they do play more than 15 secs of
those songs.
The Sun Ra song is also on their Sounds of the Animal Kingdom
album, but I don't have that (scared by the horrendous cover, I guess).
Speaking of rock bands doing Sun Ra songs, NRBQ's version of "Rocket #9"
from the late '60s is one of my favorites. Also one of the first times I
heard anything to do w/ Sun Ra.... Then again, the album that I have that on
(forget the title) isn't so consistently great either (at least to my ears).
WY
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com
- -
------------------------------
Date: Fri, 16 Feb 2001 16:16:15 -0800
From: "s~Z" <keith@pfmentum.com>
Subject: Impotent Music
whew...reading all of these threads about music criticism
has been as painful as reading music criticism...My needs
are pretty simple...I need a list of what music has knocked
a given listener's socks off...if it matches my socks knocking
list, then they are a reliable resource...then I want to hear
what they recommend, that I don't have...I don't want to know
why are how or wherefore...my favorite resources are end of
the year lists on THE WIRE or CADENCE or CODA...I've read
the reviews long enough to discern which critics' socks are
knocked like mine...so I make sure and get the end of the
year recommendations by those critics...makes me a bit late
on hearing some things...but saves reading all of that useless
verbage...I still have all of the lists posted on this list a long
while
back...listers' favorite recordings of all times...the exercise
that pissed off our list-owner...that exercise was more helpful
than all the verbage about those recordings in the world...now
this verbage I am spewing forth sucks too, I know...it is much
better to listen to music than read this as well...my sincerest
apologies...
- -
------------------------------
Date: Fri, 16 Feb 2001 18:15:20 -0800 (PST)
From: jason tors <jasontors@yahoo.com>
Subject: ::boredoms
I got inspiration to dive into some of this material. I listened to a
few clips and every album is so different, what is the quintessential
boredoms introductory album?
thanks in advance
__________________________________________________
Do You Yahoo!?
Get personalized email addresses from Yahoo! Mail - only $35
a year! http://personal.mail.yahoo.com/
- -
------------------------------
Date: Fri, 16 Feb 2001 20:20:26 -0800
From: "Fag music" <pattonsucks@37.com>
Subject: Re: Artist's label:are they reliable?
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- -
------------------------------
Date: Fri, 16 Feb 2001 22:17:34 -0800
From: Fred Heller <velaires@earthlink.net>
Subject: Re: Artist's label:are they reliable?
on 2/16/01 8:20 PM, Fag music at pattonsucks@37.com wrote:
> Hey,
> wait a minute now...I didn't say the artists were the one to get flamed..=
.I
> said,let Biafra fry.For his own bad.As for the levi's commercial,I heard
> someone saying that california uber alles used to play in one of their
> ads....not sure about it.Fry,Biafra,fry!
> Frieds,
> Fried Firth (aka Frizzle Fry)
>=20
>=20
>> From: "Richard Allen" <richardfallen@hotmail.com>
>> To: zorn-list@lists.xmission.com
>> Subject: Re: Artist's label:are they reliable?
>> Date: Fri, 16 Feb 2001 16:14:16 -0500
>>=20
>> I wouldn't go that far. A lot of really great artists have releases on
>> Alternative Tentacles -- Zeni Geva, Ultra Bid=E9, Wesley Willis, the Butth=
ole
>> Surfers, etc. I don't know Biafra, but a lot of people talk a lot of sh=
it
>> about him. I still haven't heard the full story about the other Dead
>> Kennedys suing him over royalties. He said something about not wanting =
a DK
>> song in a Levi's commercial. Does anyone know the story behind this?
The whole Biafra/AT/East Bay Ray thing is not as cut and dried as people
here are implying, and, for anyone who has read transcripts of the trial an=
d
looked into the circumstances regarding the admissability of testimony and,
in more cases than you'd think, evidence (and often the lack of evidence),
there's a different story than "Jello screwed his buddies". In fact, it's =
a
MUCH different story than that.
Neither "California Uber Alles" nor any other Dead Kennedys song has been
used -- with Biafra's permission, anyway -- in any ad campaign of the Levis
kind.
Before making a judgement call about Biafra, AT, East Bay Ray, or anything
pertaining to that case, I suggest you look closely into the actual facts,
and not just some bumpersticker gossip, and especially not bad rock
journalism (RJ Smith's piece in SPIN was low-rent spin-doctoring at its mos=
t
appalling). I also suggest you view the personalities up close. I would
not loan East Bay Ray the cost of a postage stamp. Biafra, I would, becaus=
e
I know he'd pay it back. The annoying thing would be that Jello would call
a press conference to let everyone know he paid me back. Of the two, Jello
has more "stand-up guy" about him (in my experience), even if he makes sure
everyone knows it.
The "Get Jello Biafra" attitude that seems to live out there is largely
based on the fact that Jello Biafra is a loud guy with a big mouth. But,
from what the trial transcripts showed, he did not act dishonestly. Guys
who are as smart as he is and who are as loud as he is are not usually
duplicitous. Self-serving, perhaps. Duplicitous, not usually.
as ever --
skip h
np: marion williams, the new message (fantastic late 60s Atlantic LP)
=20
- -
------------------------------
Date: Sat, 17 Feb 2001 01:05:00 -0500
From: fate@telepath.com (Jon Mooneyham)
Subject: Re: AMM US tour-April
Any word on those AMM Chicago dates/locations yet? It's a lot shorter drive
to Chicago than to Colorado from OKC...
Jon M.
FATE, Discorporated
Graphic Design
405.524.2003
fate@telepath.com
- -
------------------------------
Date: Sat, 17 Feb 2001 02:27:55 EST
From: JonAbbey2@aol.com
Subject: Re: AMM US tour-April
In a message dated 2/17/01 2:03:53 AM, fate@telepath.com writes:
<< Any word on those AMM Chicago dates/locations yet? It's a lot shorter drive
to Chicago than to Colorado from OKC... >>
the dates are 4/13-15. I don't know the location, but you should keep an eye
on the listings at:
http://tisue.net/chicagonow
I'm sure it'll be posted there soon.
Jon
www.erstwhilerecords.com
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------------------------------
End of Zorn List Digest V3 #292
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