JURGEN@UMass.BITNET (10/01/86)
It seems that there are going to be a considerable number of noteworthy life performances this fall and winter, and i am eager to catch up some- what on the music scene, as i have been perforce neglecting it due to a lack of available time... anyway, here are some questions about shows that i'm interested in, and i hope that someone out there on the bitstream can answer them for me... 1) When are the Virgin Prunes playing in Boston? 2) When will PG be at the Centrum in Worcester, and will he also play the Orpheum in Boston? 3) Is there any indication that the Talking Heads might be touring in the near future..? 4) What else is "happening"..? JEB
tcjones%watdragon.waterloo.edu@RELAY.CS.NET (Crocodile Dundee) (10/27/86)
hi. some questions...
and does anyone out there know if/when/where laurie anderson is playing in
december and has anyone got the anderson/giorno/burroughs dbl album "you're the
man I want to share my money with" i got it last week --- and it's a good thing
too because it was that or my first ever Kate record :-) and... does anybody
know where to get hold of earlier anderson? e.g. "It's not the bullet that
kills you it's the hole" etc. and does anyone know of a group called Neu?
this guy here beside me wants to know - apparently they're german and they once
did a record and then put a hole in it in the wrong place and then played it
and used the result as the second track and if william burroughs is still out
there doing shows anywhere? hi australia. hi gregr. hi bruce. it's cold here!
terry
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PHONENET: 1 519 885-6686 (work?) or 1 519 744-1749 (home)dadoun@ubc.CSNET (Nou Dadoun) (10/27/86)
In article <8610270608.AA00608@watdragon.uucp> Crocodile Dundee <tcjones%watdragon.waterloo.edu@CSNET-RELAY.ARPA> writes: > > >hi. some questions... >and does anyone out there know if/when/where laurie anderson is playing in >december No, but I'd be interested in finding out. >and has anyone got the anderson/giorno/burroughs dbl album "you're the >man I want to share my money with" Yes, it consists mostly of material from United States I-IV including a couple of things not on the 5 record set. Burroughs, Giorno, and Anderson each get one side of the double album and the third side is triple tracked (so which one you get when you start the record is largely a matter of chance). > and... does anybody >know where to get hold of earlier anderson? e.g. "It's not the bullet that >kills you it's the hole" etc. Up until about a year ago you could still get the single from the New Music Distribution Service (I think it's something like Fourth Floor, 500 Broadway, NYC). There's also a late 70's experimental music compilation called 'Air Waves' which includes 'Bullet', 'Is Anybody Home?' (far superior), and two pieces for tape bow violin: 'Ethics is the Aesthetics of the Future' and 'Song for Juanita'. >and does anyone know of a group called Neu? No but they're no relation. "And the shrieks of the parrot filled the house through all the half-opened doors." LA -----------------------------------------------------------> Nou Dadoun
Love-Hounds-request@EDDIE.MIT.EDU.UUCP (02/05/87)
Really-From: " I do admit to feeling queasy in posting the psycodrama interview. especially since it isn't until the end that they admit that their klan/white patriot thing is all an act. I'm sure everyone thinks I'm a rascist for posting it in the first place and that psycodrama should be silenced (well, not everyone...) for this. Is that true? Is what they are doing a social statement (ask yourself if whether laurie anderson or someone had taken their most offensive statements, piped them through a voice synthesizer and put her requisite tinkly/psuedo-jazz music in the background whether you wouldn't blink?) or have they crossed the bounds. Would they be received differently if they weren't country bumpkins but new york art school students. (lord knows they wouldn't have gotten as far as they did in their "research" into klan meetings if they weren't couched in the basics of country anti-etiquitte). Are they really subversive researchers in disguise - afterall, they claim to have given their klan buddies false names and at least one of them is a gay (a frequent target of klan hate). I'm suprised that Doug let it go out on the network given the lack of brain power among the net-nazi types (are there rules?). If in fact they were totally serious, would silencing them (and me) by akin to what rossi said about killing the "american dream". Is this what we mean by the American Dream? The right to incite hate? Other questions are if a white supremacist party is so censured by the mainstream why are people like Farrakkkhan accepted by the black mainstream while gayle or collins are written off as crackpots (incidentally did you know that the white front agrees with farrakhan in his incitements for a seperate black nation? they just don't give details on what they believe the seperate black nation should have in way of resources. i.e. american versions of south african sepearte nations). Should we be allowed to insulate ourselves from these people so that we're ignorant of their demands? And finally what does this have to do with music or Art for that matter? Is the role of the Artist to point out these inconsistencies and abberences in our society? Do Psycodrama effectively do that by making their lifestyle the art-form rather than a canvas or what not? Should I continue to post the rest of the interview? ------
Love-Hounds-request@EDDIE.MIT.EDU.UUCP (02/07/87)
Really-From: Bob Knight <KNIGHT@SRI-NIC.ARPA>
James - Yes, you should. I don't profess to be an expert on the subject,
but, from the book I'm reading "The Making of the Atomic Bomb" by James
(last name not handy), repression and disinformation works best when its
not widely disseminated (eg. if its distributed word-of-mouth). And,
although the fact that we have THAT GEEK in Washington probably undermines
my position, I believe that MOST people in the US that vote are qualified
to peruse something, formulate a position, and understand what they're
doing, esp. if that something provides references. I must confess that I
had some doubts that the interview was tongue-in-cheek, but, shit, man, I
think that whoever doesn't care{matter}'ll hit n, and you'll reach who
counts, esp. with your non-disclaimer.
Bob
-------Love-Hounds-request@EDDIE.MIT.EDU.UUCP (02/10/87)
Really-From: uwvax!astroatc!gtaylor@harvard.harvard.edu (Ou sont les neiges d'antan?) While some others of us are struggling with our three-letter identities and toasting the Dreaming on CD (Yes, it does sound wonderful.), the erstwhile J. Hofmann is, in his own way, down there slaving away in the art-pits and wondering about how far our polite sense of theatre extends.... >I do admit to feeling queasy in posting the psycodrama interview. especially >since it isn't until the end that they admit that their klan/white patriot >thing is all an act. And there's where the unease sets in, isn't it? That sense of hanging on and waiting for the punch line that may *never come*. I spent a lot of time wondering how uncomfortable Jim was in *doing* the review (seeing as he did seem pretty restrained-to me, anyway). After doing it, putting it in print is the easy part. The remaining risk lies with the possibility of finding a poor reader with a gun and an ax to gring-or a good reader with a bit more than the usual discomfort that such views may be allowable even if they *are* a joke....Jim is aware of this: >I'm sure everyone thinks I'm a rascist for posting it >in the first place and that psycodrama should be silenced (well, not >everyone...) for this. Is that true? I'd assume that anyone who would care to speculate that "since Jim has no manners, he must have lots of other icky vices as well and racism is no doubt one of them" might be tempted to think such. It wraps it all up in a nicely disposable package, doesn't it? Jim and Wicinski talk naughty and are therefore unreconstructed bigots. Ditto for Trainor (who sends nasssty notes to Marvick and makes him squeal to the Powers that Be). No, Jim. I imagined that you were reporting. In 'zine world, reportage just looks diffeent-you know, the no-frills approach. >Is what they are doing a social statement (ask yourself if whether >laurie anderson or someone had taken their most offensive statements, >piped them through a voice synthesizer and put her requisite >tinkly/psuedo-jazz music in the background whether you wouldn't >blink?) or have they crossed the bounds? Good question. David Byrne puts together a little terrorist scenario with the heads (sub Kate's little silver buddha/silver bullet if you like) and we praise their structure and detachment, right? We sit through the swans and PTV and who else with nary a bat of the eyelash. This kind of anomie is merely *described*, not advocated, we claim. But what's the real difference? In a way, you could argue that the only real difference is that we've got little contact with the real individuals themselves, and that helps us to reinforce the objectification of artist/work. Music in the marketplace expliots this separation when it serves the purpose of rendering the product as the acceptable face of X. What Hof's thing runs at is (in a way) whether or not this is an acceptable condition. ForFor all we know, David Byrne *could* be funneling money to a network of Basque separatists. Kate *could* be bankrolling IRA arms shipments and we'd be none the wiser, would we? You put a little bit of personhood into the equation with the chiming guitars and the dress and things get complicated. To ask it another way..... >Would they be >received differently if they weren't country bumpkins but new york art >school students. (lord knows they wouldn't have gotten as far as they >did in their "research" into klan meetings if they weren't couched in >the basics of country anti-etiquitte). THe answer, I think, is a qualified yes. Given the present situation, context *does* confer a certain status on things. How far that status would get them in New York is another matter however. I think that Greil Marcus(e) would chew them up and spit them out, and the Voice would slag them mercilessly (byline on the recent racial tensions in Howard Beach).... >Are they really subversive researchers >in disguise - afterall, they claim to have given their klan buddies false >names and at least one of them is a gay (a frequent target of klan hate). No, since their interest in role-playing is itself a form of editorializing. You can think that G-P'Orrige is just doing all the research on Crowley until he starts drinking goat's blood for *fun*. Then it's over. There's nothing like frame of reference there. Oh yeah. One other thing. To the extent that they draw crowds with the put-on, they're exploiting it rather than researching. The possibiltiy that they can out-Nazi the Nazis shouldn't really count as news. It turns out that they're doing all that role playing in the context of a slice of culture that doesn't go for the "acceptable face" of anything. All the crudity one can muster is fair game-as I suppose it should be (here's where nice persons like me get a little touchy about "real" pluralism....). But what I wonder about is somewhat akin to a kind of bizarre parallel....they're running into the same problem as someone like Stryper. I imagine that they may well stand or fall on the same grounds: that of trying to take an idea that's extra musical and ah...."textual" and reducing it to something that the loud music and the role and the tapes will hold. That's what us boring college-types call the "Procrustean Bed". You cut stuff out and off when you try it and you're left with gesture alone. Is that enough to talk about real ideas? Can there be a such thing as inherently *racist* music (the FORM, I mean. Serious distinction). What they're really left with is the ability to evoke, and WHAT they evoke is out of their hands. They can no more control interpretation than Kate or David or Brian or Eggs can. If this is all a game, then they're a bunch of trivially interesting poseurs-men (one of whom is gay) playing fascists. And you know what we think of poseurs here....right, Tim? What I want to know is, what's the music like? It's a judgement call on mailing the rest out, Hof. I think that making us all a little less comfortable about being "live and let live" weenies was part of the idea, it worked-at least for me. I'm sure that there are lots of other persons who'd like nothing better than to go back to discussing nice things. And we could lead this into an interesting attack on the whole aesthetic of "industrial" music here, couldn't we? Of course, if I do that, I guess I'm just a wimpy new-age dilettante, exchanging mail with my racist pal Jim.... ;_) -- "And all the seven heavens showed to me/their magnitudes, their speeds, the distances/of each from each. The little threshing floor/that so incites our savagery was all-/from hills to river mouths-revealed to me..." Dante, Paradiso (XX I,148-152) Gregory Taylor (gtaylor@astroatc)