Frontier Ruckus - "Driving Home, Christmas Eve" (MP3)
I know nothing about Frontier Ruckus aside from the fact that they're from Lansing. They know someone else associated with the label and came to submit a song through them, as so often happens. I think the well-written lyrics, the delivery, and the production aesthetic all compliment each other perfectly. Yay.

Lickety Splits - "You Set My Christmas Tree on Fire" (MP3)
Ex-Michigander Tim Schreiber howls his way through an original R&B Christmas song that legitimately sounds like it was recorded in 1958. I heard via Dave that this is Tim's 'Favorite thing he's ever recorded.'

The Next Door Neighbors - "How to Make Egg Nog" (MP3)
The Next Door Neighbors have been fine-tuning their holiday-specific songwriting for a few years now, and I think this song is among their most fully realized. A classic Christmas recipe is set to verse, and as the instructions are followed the environmental sounds evolve into the music. I'm all about how they took the recipe as the basis for the song, but built a narrative story around it as well. LAYERS.

 

1. Invite a bunch of 'music people.'
2. Write names of all participants on slips of paper, which are then folded and placed in a bowl.
3. Draw 'Bands' of a predetermined number from the bowl
4. No more than 2 bandmates on any team, only 1 if they're regularly a trio.
5. Once the first band is drawn, they will descend into the basement, where they will have exactly one hour to write and record basic tracks.
6. No further names will be drawn until their hour ends, so no one gets a head start.
7. Each band will be granted an additional half-hour for vocals following the subsequent band's initial hour.
8. Strict clock enforcement!

"To symbolize impermanence (a central teaching of Buddhism), after days or weeks of creating the intricate pattern, the sand is brushed together and is usually placed in a body of running water to spread the blessings of the Mandala."

"Before a monk is permitted to work on constructing a mandala he must undergo a long period of technical artistic training and memorization, learning how to draw all the various symbols and studying related philosophical concepts. At the Namgyal monastery (the personal monastery of the Dalai lama), for example, this period is three years."

"In the early stages of painting, the monks sit on the outer part of the unpainted mandala base, always facing the center. For larger sized Mandalas, when the mandala is about halfway completed, the monks then stand on the floor, bending forward to apply the colors."

"Traditionally, the mandala is divided into four quadrants and one monk is assigned to each. At the point where the monks stand to apply the colors, an assistant joins each of the four. Working co- operatively, the assistants help by filling in areas of color while the primary four monks outline the other details."

"The monks memorize each detail of the mandala as part of their monastery's training program. It is important to note that the mandala is explicitly based on the Scriptural texts. At the end of each work session, the monks dedicate any artistic or spiritual merit accumulated from this activity to the benefit of others. This practice prevails in the execution of all ritual arts."

"There is good reason for the extreme degree of care and attention that the monks put into their work: they are actually imparting the Buddha's teachings. Since the mandala contains instructions by the Buddha for attaining enlightenment, the purity of their motivation and the perfection of their work allows viewers the maximum benefit."

"Generally, each monk keeps to his quadrant while painting the square palace. When they are painting the concentric circles, they work in tandem, moving all around the mandala. They wait until an entire cyclic phase or layer is completed before moving outward together. This ensures that balance is maintained, and that no quadrant of the mandala grows faster than another."

"The preparation of a mandala is an artistic endeavor, but at the same time it is an act of worship. In this form of worship concepts and form are created in which the deepest intuitions are crystallized and expressed as spiritual art. The design, which is usually meditated upon, is a continuum of spatial experiences, the essence of which precedes its existence, which means that the concept precedes the form."

     Shortly thereafter, Mr. Barli sent me an email thanking me for the link. Since I think he's doing something important, and I was working on a similar bit of coding for another project, I offered to throw together and host a quick, three template, database-driven site so he could showcase the results of his work, spread the word, and raise money to continue. Here 'tis: Digitalfunnies.com.

     "I noticed this weirdly predictive MST3K quip the other day. It comes from a 1991 episode - "Fugitive Alien," and consists of a now familiar death / kenny / those bastards sequence. Struck me as weird since South Park premiered in 1997. No idea if Trey Parker & Matt stone have ever discussed the source of the recurring catchphrase -- and this probably isn't it -- but it seemed oddly coincidental."

In August 1992, (Bill) Bottrell convened Gilbert and other musicians at Toad Hall with the simple agenda of collaborating for the fun of it every Tuesday night. "We were all good, not to be immodest," Baerwald said. "We were also all cynical, embittered by the process of pop music. We were trying to find some joy in music again."

A party atmosphere predominated -- "Bill would sift through (the music) the next morning while we were all nursing hangovers," drummer Brian MacLeod recalled. Then Bottrell introduced a project he thought might force a little focus onto the freewheeling, chaotic sessions. Crow had finished an album for A&M Records, but despite the $500,000 spent on it, nobody at the label was thrilled with the results. Hoping for a quick fix, A&M hired Gilbert to remix the album, which was, in the immutable illogic of the record industry, already scheduled for release. Crow's manager asked Bottrell to step in as well.

On Crow's first Tuesday night with the club, Baerwald showed up with musical sidekick David Ricketts (from the 1986 David and David album), both of them high on LSD, with the first verse already written to a song, "Leaving Las Vegas." Baerwald picked up a guitar, Ricketts the bass, and the band fell together to pick up where it had left off.

For most of that year, Bottrell and his Tuesday crew -- now working all week long -- scrupulously fashioned and reshaped Crow's album. Because everything was a collaboration, songwriting credits were equally shared. "Everybody was equal," said Baerwald, "except Sheryl. She wasn't one of us. We helped her make a record."

Gilbert's name wound up on seven of the 11 songs; he sang and played keyboards, guitar, bass and drums. His relationship with Crow was kept separate and even a secret from the group. "I'd see long conversations in the parking lot," Baerwald said.

After nearly a year of working together, all for one and one for all, the Tuesday Night musicians were shocked to learn they didn't figure into any more of Crow's plans. Bottrell got the news when he met her to hand over the finished master in a Sunset Strip coffee shop. Although there had been much talk of hitting the road together to promote the record -- bassist Dan Schwartz even bought a new bass for the tour -- "she essentially told me to get lost," Bottrell said.

"I add Sheryl Crow to a long list of people in Hollywood who told me they were my friend until they got what they wanted from me," Schwartz said.

"I think I'm a tinge jealous over her upcoming release [1996's 'Sheryl Crow']," [Gilbert] wrote in his journal. "It's probably going to be huge so I have to prepare myself mentally for that. If she gets what she wants after behaving this way, she'll be absolutely intolerable."

For Gilbert, the final straw came when Crow sang "Leaving Las Vegas" [From 1993's 'Tuesday Night Music Club'] on the David Letterman show. Afterward, when Letterman asked her if the song was autobiographical, a flustered Crow blurted out, "Yes."

"I've never been to Las Vegas," continued Crow, who nobody remembers having contributed greatly to the writing of the song. "I wrote it about Los Angeles. It's really metaphorical."

The next day, she and Gilbert exchanged angry words over the phone. He wasn't the only one furious. Author John O'Brien -- who wrote the novel that inspired both Baerwald's early song lyrics and the movie starring Nicolas Cage -- was still grumbling about Crow's gaffe to his literary agent on the day he blew his brains out, a scant few weeks before the movie deal was complete [The film was released in late 1995].

Despite the tension with Crow, most of the Tuesday Night Music Club attended the Grammy Awards in March 1995... Crow sat in the row in front of them. Crow picked up three awards, including Record of the Year for ``All I Wanna Do,'' a Tuesday Night instrumental with lyrics borrowed from verses in a little-known volume by a poet in Vermont. A week later, Gilbert was still wearing his Grammy medallion around his neck like a badge of valor.

     So yes, all this scandal, followed by death by autoerotic asphyxiation (See the article) -- an insane story in and of itself. Then I find out that his friends have posthumously released a concept album he had been working on -- a song cycle about the music industry called "The Shaming of the True." Naturally, I had to hear this. If you feel the same way, you can listen to clips of each song here, or buy the whole album here. The production on most songs isn't my cup of tea, so I don't necessarily recommend the album as a whole, but the narrative thrust is every bit as hostile towards the music industry as you might imagine. The track below is a perfect illustration, and the arrangement is hard to beat.

Kevin Gilbert - Suit Fugue (Dance of the A&R Men) From: "The Shaming of the True"

     'Suit Fugue (Dance of the A&R Men)' is an actual acapella fugue, sung from the points of view of several A&R men, to a new prospect ('Johnny Virgil'). The lyrics are available here (excerpted below).

Hi, John, it's Mel from Megalophone
I've been listening to your tape for the 19th time
Oh that's another call - can I call you
          Back when I was in a band we used to sound like this
          And I loved your songs, they reminded me of myself
                You sound like Air Supply meets Gwar
                In a good way; Here's my other number
                        Can you wait for just a sec -
                        That's another call coming in
                        I'll get back to you -
                        Have my girl take your information

Hi, John, it's Guy from Groanophone
Heard some talk about the band and the way you sing
I really think it's great - Can we make a
        Deal with me, call me a friend, we'll be a family
        You're a talented individual
                If you sign here on the dotted line ... that's good
                And my nephew will be your producer

etc...

     ...and that just leaves one other loose end. The mysterious, unreleased first sheryl crow album - the debut that 'Tuesday Night Music Club' replaced. The album is pretty easily found on file-sharing networks - I've posted one song below so you can asses for yourself the trajectory her career may have taken had she not met Mr. Gilbert. It's not nearly as immediately dismissable as I'd hoped it would be, but it's still a far cry from the 'organic' production found on 'Tuesday Night Music Club.'

Sheryl Crow - The Last Time From: Unreleased 1992 Debut

]]> 2006-02-28T02:17:38-05:00 http://www.kempa.com/blog/archives/001048.html 1048@http://www.kempa.com/blog/ here. Also available: iCommentary.]]> 2006-02-23T17:38:32-05:00 http://www.kempa.com/blog/archives/001047.html 1047@http://www.kempa.com/blog/

     "I was lucky enough to save a couple of months worth of hand-written documents by the producers recording each session -- who they were recording, the musicians, what they did that day, what songs they were working on..."

     I grew up in Detroit. I visit regularly. My parents still live there. I had not idea that there were documents still in that building. I just called the Mayor's office and was told that I should call Motown to complain and not the City of Detroit, who 'once again is getting blamed' for something going 'wrong' in the city.

     I was also told that scholarly or neighborhood groups should have gone through the building to search for historic materials. I don't know if anyone knew that items were still left in the building.

It's all so incredibly tragic.

     I'm a transplanted Detroiter - I went to Wayne State University, and worked at the labor archives there... While I was a student, and was thinking of jobs, I got to talk with Berry Gordy's sister, Esther Gordy, who runs the Motown Historical Museum when I was going through the museum... She told me at that time that there were lots of documents down at the building on Woodward that needed going through, and that they didn't have anyone to do it - and if their budget allowed, etc., they'd be hiring, etc. This was probably 2001...

Obviously it never got done, and yet more vital Detroit history is lost. So sad!!

     Thanks very much Chris for the headsup and link--that was a thought provoking report on NPR. It's no surprise that there are many ex-Michiganders around the country who may take an interest in the story. What is surprising is the apparent lack of interest from those closer to the source. Does the Motown matter represent standard archival management in Detroit? Should this be a wake-up call for Detroit archivists and historians? Are they all hibernating permanently? Maybe the "exers" should come back to help exhibit the value of taking a proactive role in local history appreciation and preservation. Let's hear some good news on Detroit archives from the locals, please.

     You have to remember that the Motown Museum (the original recording studio) is still around and I'm sure most people, including area archivists, assumed all of their records were there. I also had no idea that records were left in the building they occupied from 1968-72 until I heard the NPR story. I was as shocked as a lot of you were. Obviously it was not common knowledge and I think it's uncollegial to point a finger at area archivists and accuse us of not caring. I deplore not only the loss of records, but of the building itself, for what it stood for historically in terms of Motown Records, but also because it was a piece of architectural history as it was an Albert Kahn building. I assumed, as did most others, that the building was an empty shell like so many abandoned buildings in Detroit that are constantly being torn down despite protests from local preservationists. It's unrealistic to assume that archivists or local historians should have "known" to go through the building before it was torn down. Most people don't just go exploring through an abandoned building in Detroit - not exactly a safe endeavor. The situation is perhaps a sad comment on our city, but one that should not necessarily extend to the entire archival community.

     The NPR story reported that Hitsville on Grand Blvd, which is the Motown Museum, knew about the documents but could not get the funding to get them out of the building. Other than that, I wonder what other routes did they or the gentleman in the piece go about to advertise the need to get them out of the building. Wayne State has a library school with an archives component, I wonder if they were contacted?

     The gentleman in the piece reports that he had been in the building several years ago and took some of the documents out of the building. The link to the NPR story has additional photographs of the interior of the building.

     Anyway, it's too late, and as I said before, very very tragic. I wish I had paid more attention, I live in NY and only go back once or twice a year. Makes me feel a bit guilty myself.

     I second your feelings of guilt - transplanted as I have been for a few years now... I still feel that I personally could have done something about this...

     "I was transferring the Motown documents that I rescued after and during the demolition of the Donovan Building to the possession of the Detroit Public Library Special Collections director, Mark. He was as happy to recieve them as I was to donate them. They are now officially part of the DPL, here in Detroit, where they belong. Needless to say I was contacted by a wide variety of institutions, but never in my mind for one second did I consider putting these documents in any other collection. They are now happy and safe and will be cared for with love and expertise."

NPR - 'Motown Building Razed for Super Bowl Parking'

The City On Film - "O Holy Blanket (A Christmas Waltz)" [MP3]

     I was a huge Braid fan, and Mr. Nanna's post-Braid band Hey Mercedes was kind enough to play a benefit show for the Art Scholarship we set up in memory of my younger brother, Chris. The City on Film is Bob Nanna's long-running one man band-ish project. Needless to say, I'm really excited to have this song on the comp.

Knight & Doble - "The Man With All The Toys" [MP3]

     Shawn Knight (New Grenada, SSM's resident sleeve artist of late) and Christian Doble (Kiddo): Even greater than the sum of their parts!

The Canadian Dollars - "Outsourcin' Christmas (The Unemployed Little Elf Song)" [MP3]

     I'm not sure yet if the 'Canadian Dollars' name is just for fun or if he really wants his identity kept secret, so I'll play it safe and say that this guy has impeccable production abilities, is super nice, and writes music you can hear on the Cartoon Network.

Hairshirt - "Xmas in Mesopotamia" [MP3]

     Local favorites Hairshirt serve up an oblique Christmas card to Iraq, Run through a Depeche Mode filter.

Timothy Monger - "Airstream" [MP3]

     Tim (of Great Lakes Myth Society fame) delivers a stripped down Carol that has made me notice way more Airstreams this year.

     Chris Hatfield of Those Transatlantics isn't a newcomer to the comp, but I love the crap out of his song, because it's like a painstakingly researched history lesson crossed with a comic book, and I harangued him into writing it just a few days before it was due. So good!

Chris Hatfield - "Born Again Pagan" [MP3]

"Born Again Pagan" taught me the history of Christmas that everyone should know:

     "It's very tough for us North Americans to imagine Mary and Joseph trudging to Bethlehem in anything but, as Christina Rosetti memorably described it, "the bleak mid-winter," surrounded by "snow on snow on snow." To us, Christmas and December are inseparable. But for the first three centuries of Christianity, Christmas wasn't in December -- or on the calendar anywhere.

     If observed at all, the celebration of Christ's birth was usually lumped in with Epiphany (January 6), one of the church's earliest established feasts. Some church leaders even opposed the idea of a birth celebration. Origen (c.185-c.254) preached that it would be wrong to honor Christ in the same way Pharaoh and Herod were honored. Birthdays were for pagan gods.

     Not all of Origen's contemporaries agreed that Christ's birthday shouldn't be celebrated, and some began to speculate on the date (actual records were apparently long lost). Clement of Alexandria (c.150-c.215) favored May 20 but noted that others had argued for April 18, April 19, and May 28. Hippolytus (c.170-c.236) championed January 2. November 17, November 20, and March 25 all had backers as well. A Latin treatise written around 243 pegged March 21, because that was believed to be the date on which God created the sun. Polycarp (c.69-c.155) had followed the same line of reasoning to conclude that Christ's birth and baptism most likely occurred on Wednesday, because the sun was created on the fourth day.

     The eventual choice of December 25, made perhaps as early as 273, reflects a convergence of Origen's concern about pagan gods and the church's identification of God's son with the celestial sun. December 25 already hosted two other related festivals: natalis solis invicti (the Roman "birth of the unconquered sun"), and the birthday of Mithras, the Iranian "Sun of Righteousness" whose worship was popular with Roman soldiers. The winter solstice, another celebration of the sun, fell just a few days earlier. Seeing that pagans were already exalting deities with some parallels to the true deity, church leaders decided to commandeer the date and introduce a new festival." - Christianitytoday.com

     Maybe I'm turning into a grandpa, but this American Apparel 'holiday' ad (link) officially makes me 'Anti.' Really? THAT'S your holiday message? A faceless female ass with "STUFF THIS" in block type beneath it? Stuff this ass? Good job guys.

     Also, thanks to Pitchfork for accepting advertising that brings that classy 'soft porn' aesthetic to their site. ]]> 2005-12-13T00:18:55-05:00 http://www.kempa.com/blog/archives/001044.html 1044@http://www.kempa.com/blog/ Zach: "performances from breathing underwater, broken sunday, autumn and wasp, pillar of autumn, forever in a day, between broken ends, the evening raid"

Zach: those are all real band names

Adam: hahaha

Adam: you should name a band that

Adam: "Those are all real band names"

Adam: And insist on always being billed last

Zach: hahahah

Zach: that would be pretty funny

Adam: I'm starting a band called the mapquest directions

Adam: and we book shows

Adam: and just never show up

Zach: hahahah ]]> 2005-12-11T01:19:28-05:00 http://www.kempa.com/blog/archives/001042.html 1042@http://www.kempa.com/blog/ Floyd Farland: Citizen of the Future,' an out-of-print collection of College-era strips featuring the titular character. 'Floyd Farland' is illustrated in a modernist style that is completely unrecognizable when compared with Ware's later works, so it's somewhat difficult to trace the path of his 'artistic development.' It was recently pointed out to me that additional college paper-era Ware material was collected in a trade paperback called 'Commix,' published by Protein Storm Press in 1988.

     After I expressed interest in seeing what the book contained, Chris Rice pointed out that Mile High Comics had a copy in stock for just over cover price, so I went ahead and ordered it. The book is of the 'Garfield' size and shape, and contains all the fascinating developmental beginnings that I'd hoped to find in 'Floyd Farland.'

     Included are several strips bearing the title 'Comick Strip,' presumably published in the Daily Texan. Four of these, which bear separate titles and appear to have been published on consecutive days, can be cut out and joined together to form a circular, infinite comic strip. There's a brief Floyd Farland strip, an oddly postmodern page-sized lettering of the word 'Joke,' and an interesting precursor to the faux-advertising style that Ware became known for when The Acme Novelty Library was publishing regularly.

     This one is an interesting combination of advertising imagery and linear narrative, a disconnect that echoes another of Ware's early works - 'I Guess,' which is available online here.

]]> 2005-10-23T22:51:31-05:00