<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">A CD of "That's the Way I Feel Now" was mentioned a while back by Verve as
<BR>scheduled for this year, but seems to have fallen off their release
<BR>schedule. Again. Hold on to your vinyl copy...
<BR>
<BR>Alan Lankin
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">True. I just inquired about this recently in a shop and evidently it never
<BR>even got as far as a release date. I'm glad I was lucky enough to find the
<BR>old A&M (slightly abridged) single CD version though!
<BR>
<BR>Dale.
<BR></FONT></HTML>
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Date: 25 Aug 2001 01:30:09 -0000
From: "Millie Gorgon" <snacky@disinfo.net>
Subject: Re: Cultural vs. regular Zionism II
>I've read my Chomsky. (Yawn. Next.) And yeah, the UN makes a lot of
>resolutions about a lot of stuff with little effect.
Yawn - hundreds of thousands of people are driven from their homes. Yawn - water rights stolen from an entire people. Yawn - unequivocal international (except US) condemnation of all of this.
http://www.zmag.org/meastwatch/israeleth1.htm
>Why on earth should they have to let us in on what discussions might
>be going on among them privately?! Do you have some odd idea that just
>because people put music on CDs they are forced to bare their thoughts
>on everything to the entire world and to have and publish opinions on
>every topic?
....
>It is unconscionable to belittle their work ("fartin' in the wind" ?!)
>because they choose not to engage a particular topic in a particular
>project.
>I see that you have not addressed environmental pollution or gay rights
>in any of your posts to this list. Thus does the pot call the kettle
>black.
i propose that it is unconscionable to not care, while at the same time contributing to a group of Radical Jewish artists. i haven't addressed environmental pollution because i have not titled my posts as originating from the Radical Anti-Pollution Zorn Fan, or the Militant Queer Zornlist Member. see the difference? radical . . . jewish . . . culture
mg
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Date: Fri, 24 Aug 2001 20:09:52 -0500
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: Cultural vs. regular Zionism II
On Sat, Aug 25, 2001 at 01:30:09AM -0000, Millie Gorgon wrote:
> >I've read my Chomsky. (Yawn. Next.) And yeah, the UN makes a lot of
> >resolutions about a lot of stuff with little effect.
> Yawn - hundreds of thousands of people are driven from their homes. Yawn - water rights stolen from an entire people. Yawn - unequivocal international (except US) condemnation of all of this.
> http://www.zmag.org/meastwatch/israeleth1.htm
Yawn - utterly misreading my post. Perhaps the issues are important,
but Chomsky's rhetoric, which I've tried to muddle through since high
school, is the opposite of effective or convincing.
> i propose that it is unconscionable to not care, while at the same time contributing to a group of Radical Jewish artists.
Not having an opinion is not the same as not caring. In fact, if I
*didn't* care, it would be easier to formulate a suave opinion. But
when I take into account what I know and care about both the poets in
Beit Jala with whom I am in touch and my nieces in Herzliya, making an
opinion is much harder.
How about if you actually go over there, live a while, get to know
people on both sides there, and then attempt to form an easy
opinion. I suspect that your moccasins have not yet logged that mile.
> i haven't addressed environmental pollution because i have not titled my posts as originating from the Radical Anti-Pollution Zorn Fan, or the Militant Queer Zornlist Member. see the difference? radical . . . jewish . . . culture
And you still seem to be confusing culture and politics as synonymous,
and having, apparently, a woefully limited view of the extent of culture.
Someone engaging with culture *can* choose to engage with its politics.
Or not. Just as someone engaging with culture can choose to engage
with its cuisine.
And you seem to continue to insist on artists having bizarre
responsibilities because they happen to make music -- a belief that
most, if not all, of the many artists that I know and work with would
find laughable, if not utterly offensive. I may *choose* to make some
political or cultural beliefs known in the course of making art. But
to assume that that's an intrinsic part of being an artist is quite
simply to evince a lack of understanding of what an artist is and
does.
- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp
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Date: Fri, 24 Aug 2001 23:14:10 EDT
From: JonAbbey2@aol.com
Subject: Re: Was Re: cds for sale Now: XHOL
In a message dated 8/24/01 11:09:12 PM, chatterton23@hotmail.com writes:
<< NP: XHOL, MOTHERFUCKERS LIVE (United Durtro)
How is this? There's sure a lot of different opinions flying around about
it... >>
I was pretty underwhelmed, but Xhol were never one of my favorite Krautrock
bands. I'd say if you have and love Motherfuckers GMBH & Co KG, Electrip, and
hau-Ruck, then give it a shot, otherwise save your money.
on the other hand, the previous United Dairies Krautrock release,
Sand-Ultrasonic Seraphim, makes my short list of essential Krautrock records.
Jon
www.erstwhilerecords.com
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Date: 25 Aug 2001 03:26:06 -0000
From: "Millie Gorgon" <snacky@disinfo.net>
Subject: Re: Cultural vs. regular Zionism II.I
>> >I've read my Chomsky. (Yawn. Next.) And yeah, the UN makes a lot of
>> >resolutions about a lot of stuff with little effect.
>> Yawn - hundreds of thousands of people are driven from their homes. Yawn - water rights stolen from an entire people. Yawn - unequivocal international (except US) condemnation of all of this.
>> http://www.zmag.org/meastwatch/israeleth1.htm
>Yawn - utterly misreading my post. Perhaps the issues are important,
>but Chomsky's rhetoric, which I've tried to muddle through since high
>school, is the opposite of effective or convincing.
yeah, you're right, i did misread. itchy typing finger; i fail to see your point about the UN, though.
>> i propose that it is unconscionable to not care, while at the same time contributing to a group of Radical Jewish artists.
>Not having an opinion is not the same as not caring. In fact, if I
>*didn't* care, it would be easier to formulate a suave opinion. But
>when I take into account what I know and care about both the poets in
>Beit Jala with whom I am in touch and my nieces in Herzliya, making an
>opinion is much harder.
this is interesting and is exactly the type of sentiment that might fit well into a political discussion about the Mideast. unfortunately, not even the ambivalence is expressed much of anywhere in the RJC. and it doesn't change the fact that their is no indication of the current Mideast even existing in Zorn's music or the RJC Series (counterexamples?).
>How about if you actually go over there, live a while, get to know
>people on both sides there, and then attempt to form an easy
>opinion. I suspect that your moccasins have not yet logged that mile.
you pegged me right - i'm young. i'm guilty. i've never been to Hebron.
however, i don't wear moccasins. you might be interested to know that young hippy activist types never like me. why are we talking about me?
>> i haven't addressed environmental pollution because i have not titled my posts as originating from the Radical Anti-Pollution Zorn Fan, or the Militant Queer Zornlist Member. see the difference? radical . . . jewish . . . culture
>
>And you still seem to be confusing culture and politics as synonymous,
>and having, apparently, a woefully limited view of the extent of culture.
>Someone engaging with culture *can* choose to engage with its politics.
>Or not. Just as someone engaging with culture can choose to engage
>with its cuisine.
i'm not confusing them - i'm just saying it's better when artists don't make such a clear distinction between art/culture and politics. and that's what we should demand from artists who are central to Radical movements in art before we howl in favor of them. it's funny you mention food- Alvin Curran at least mentions Matzoh in the liner notes to Animal Behavior. but not a squeak about colonization.
>And you seem to continue to insist on artists having bizarre
>responsibilities because they happen to make music -- a belief that
>most, if not all, of the many artists that I know and work with would
>find laughable, if not utterly offensive. I may *choose* to make some
>political or cultural beliefs known in the course of making art. But
>to assume that that's an intrinsic part of being an artist is quite
>simply to evince a lack of understanding of what an artist is and
>does.
could be that the current role of art and behavior of artists is impoverished and useless? and as incredible and beautiful as Zorn's music is, that, in the end, it is nothing but a a series of statements limited within a self-circumscribed community of artists that professes to be, somehow, radical. contrast with rural american folk and blues - there was always subject matter about power and current events; this was how music existed long before the commodified, self-referencing form we consume now.
this will probably be my last response; i think we're both beating our respective dead horses. (with clarinets)
respectfully,
mg
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Date: Fri, 24 Aug 2001 23:42:20 -0400
From: Lang Thompson <wlt4@mindspring.com>
Subject: fwd: Langley Schools Music Project
This has been my favorite album of the year so far. Lang
>For Immediate Release August 22, 2001
>
>THE LANGLEY SCHOOLS MUSIC PROJECT:
>"Innocence and Despair" (Bar None Records) Release Date: October 9, 2001
>
>"This is beauty. This is truth. This is music that touches the heart in a
way no other music ever has, or ever could." - John Zorn
>
>On October 9, Bar None Records will release =93Innocence and Despair=94, a
19-track collection of recordings by The Langley Schools Music Project.
Originally recorded in 1976-77, =91Innocence and Despair=92 documents a cho=
rus
of 60 rural Canadian school children, aged 9-12, recorded in 1976-77.
Untrained but captivated by melodic magic, the students sing one-of-a-kind
renditions of tunes by the Beach Boys, Paul McCartney, David Bowie,
Fleetwood Mac, the Bay City Rollers, and others. They accompany
themselves with the shimmering gamelan-like chimes of Orff instructional
instruments, and elemental rock trimmings arranged by their itinerant, rock
n=92 roll-obsessed music teacher, Hans Fenger. A native of Holland, Fenger
was,a music-loving free spirit who sought to reach beyond instruction, and
instill a true passion in his students for their subject. He still teaches
music to this day.
>
>These recordings were captured on a 2-track tape deck in a school
gymnasium, and pressed on two 12" LPs exclusively for the students, their
classmates, teachers, and parents. When the recordings came to the
attention of Irwin Chusid - author and producer of the recently published
outsider music book/cd =91Songs in the Key of Z=92 and producer of other
landmark cd reissues of Raymond Scott, Esquivel and The Shaggs - he vowed
to make the Langley School Music Project commercially available. Chusid
contacted many Langley School administrators, as well as Mr. Fenger and
several of his. With their blessings these priceless recordings will
finally be introduced to the rest of the planet. The cd issue of
=93Innocence and Despair=92 will include a 16-page full-color booklet with a
history of the recordings, personal reminiscences from Hans Fenger; photos
from the original LP covers, and colorful sidelights.
>
>The Langley Schools Music Project wasn=92t staged to achieve money or fame =
- -
these kids played music because they loved it. Innocent, flawed and
bittersweet, these recordings deserve to be heard and preserved. They brim
with charm and youthful =E9lan, sparked by flashes of lo-fi Spectorian
majesty and Pet Sounds subtlety. Call it folk art, outsider music, or
campfire rock -- the labels don't matter. The fact that these gorgeous,
heavenly artifacts are being made available to a larger audience does.
>
>NOTE: Under a trustee arrangement with Langley School District #35,
royalty payments from the sale of this cd will be collected in a fund and
used to finance music scholarship in the schools and/or pay pro-rated
shares to participating former students. For more information go to:
