WFMU's Beware of the Blog

Boris Karloff and Aesopus

Today some more of Karloff's Caedmon Records oeuvre with a visit to Aesop, "...who created an independent class of stories about animals, so that in a few generations his name and person had become typical of that entire class of literature. In course of time, thanks to his plain, popular manner, the story of his own life was enveloped in an almost inextricable tissue of tales and traditions, which represented him as an ugly hunchback and a buffoon. In the Middle Ages these were woven together into a kind of romance."

Masters of Communication: Charles and Ray Eames

By Robert Ham

The Films Of Ray & Charles Eames (part 2)

Watch Part 1 of The Films of Charles and Ray Eames

The spare beauty and narrative economy of the film work of Charles & Ray Eames should really come as no surprise to anyone who has seen the couple's design work. Their fabric patterns, chairs, buildings...everything they did was approached with an eye for combining simplicity, functionality, and beauty.

Applying those principles to films is a much trickier prospect than one might realize. Just take a look at any Hollywood creation from the last 15 years and you'll see what I'm talking about. In comparison, the Eames films are almost meditative to watch. They unfold slowly and patiently, getting the subject matter across using simple narrations and augmenting it all with a bouncy jazz score. It is impressively easy to drink in and absorb everything they are trying to accomplish and, yes, communicate.

Because for as much as scholars like to point to their 1968 documentary Powers of Ten as being their

Megaupload's Star-Powered Music Video/Endorsement Won't Censor Itself

You know Megaupload. It's one of those sites you sometimes encounter en route to download stuff. Ads pop up, and you try to avoid purchasing a Premium account, even though if you'd just give in then your download would be done by now.

Megaupload is different from Rapidshare, Hulkshare, and other similar sites because they have this new song w/ video endorsements from P Diddy, Lil John (pictured), Will.i.am, Alicia Keys, Kanye West, Chris Brown, The Game, Mary J Blige, Kim Kardashian, Floyd Mayweather, Jamie Foxx, Russel Simmons...

 

It's a video that the participating artists' labels don't want you to see, because it doesn't fit with their depiction of Megaupload as a "rogue site". The RIAA and MPAA have already convinced Google to censor "Megaupload" searches, and if SOPA and Protect IP pass they'll banish megaupload from the web once and for all. Since this video seems to imply that some of the world's best selling musicians think differently, the major labels tried to censor it under the guise of a DMCA copyright infringement notice. They did not succeed. So go ahead and let the soothing sounds of this song-length mega-mercial wash over your brain, and/or check out the additional celebrity endorsements at Megaupload's website (which looks to have been purged clean in anticipation of this viral campaign).

Some of us may remember earlier incarnations of Megaupload with more obtrusive ads and general sleaziness. In fact, the site was founded by Kim "Dotcom" Schmitz, a notorious sleaze. After his convictions for credit card fraud, computer fraud, insider trading, and embezzlement, Dotcom procured a fake Finnish passport under the name "Kim Tim Jim Vestor" and took up shop in Hong Kong as director of several "Mega-" companies. These include not just Megaupload but also Megavideo, MegaLive, MegaPix, Megabox, and Megaporn.

Pierre Henry's "Variations for a Door and a Sigh"

On Pierre Henry's 84th birthday, it only seemed fitting to put on some of his records with my morning coffee and celebrate one of the leading innovators of the 20th century's sound. Henry learned from the greats, studying under Messiaen, Boulanger, and Passerone. With Pierre Schaeffer, Henry "founded" musique concrète. Founded might not be the proper word, as musique concrète is not a genre or a style, but rather a framework in which to explore sound -- musique concrète and the French composers who pioneered it radically opened up the way we think about music and media. 

Art lived so long / with its head stuck in the myth of realism / that it got sand up its nose / that it forgot it was always abstract. / Music lived so long as an abstraction / that it forgot it could be anything else.

Pierre Henry, Variations for a Door and a Sigh, Side A - "Slumber," "Hesitation," "Song 1," "Awakening," "Song 2," "Stretching," "Gestures," "Reckoning," "Fever 1," "Yawning," "Song 3," "Wrath," "Hesitation 2," and "Breathing"

Listening this morning to "Variations pour Une Porte et Un Soupir" ("Variations for a Door and a Sigh") absolutely reaffirmed for me Henry's place as one of the greatest sculptors of sound. The idea of "sculpting" sound is a critical aspect Henry's "approach" to composition. In 1981, Henry himself said, "The origin of this music is also found in the interest in 'plastifying' music, of rendering it plastic like sculpture." 

DJ Handi's Archive Picks: Archie Bunker's Free Form Hammer

Duane's show last week had several high points: he dug out quality rare vinyl. One record was Hammer, a San Fransisco group whose 1970 album got FM airplay when current, then vanished. Duane also played soul singer Jo-Ann Garret. Hear the heavy echo and old style back up vocals.

Scott Williams played the Turkish rock of Erkin Koray in a set with Mercury Rev and Spacemen 3. I love the tar thick bass lines of early 1970's Turkish psychedelia--almost heavy enough for modern dance music. (Listen to the Koray next to "Beat The Clock" by Spark, played by Trent On Sound And Safe.) More important, Scott plays a broad range of psychedelic rock--enough to make his set diverse but cohesive.

New Yorker Archie Bunker probably didn't appreciate such free form FM greatness, even during its early 1970's Big Apple hay day. On 100% Everything, Mary Wing used the All In The Family sketch "Scranton"--and a Cordova add--before playing "Wrong Way" by Brian Eno and John Cale. The implications: old TV as pure sound, locations as a theme, (Scranton--Wrong Way), widening the range of DJ source material. Think about it if you like, or appreciate the comedy..

Better yet, don't analyze, embrace visceral aural joy.

A Few Forgotten 90's Hip-Hop Jams

Industry Rule #4080 was still in effect throughout the 90's, but for at least a brief period during this time, there seemed to be a slew of fascinating label acquisitions that saw a rather wide-breadth of talented MC's and crews that nevertheless went nowhere commercially. Before shiny suits and thug cliches became an easy cash-cow for rich label execs, a more open-minded attitude regarding hip-hop personalities made for an interesting landscape of talent that at least left some great material behind before typical industry incompetence and/or bad luck befell their careers.

Live at WFMU videos: Stepkids and Wooden Shjips

Keep checking WFMU's Vimeo portal and our Youtube channel, we're putting new stuff up all the time. Most recent highlights: an amazing live set by the great Argentina-via-Berlin synthpunk duo Mueran Humanos, a peek into the volunteer room on an average Friday afternoon, and these:

 

Wooden Shjips Live on WFMU! from WFMU on Vimeo.

12/15 - WFMU co-presents Psychic TV at Europa

Psychic TV / PTV3 takes the stage at Europa (98-104 Meserole Ave., Greenpoint/Brooklyn) with Cult of Youth and Bryin Dall on Thursday, December 15th. WFMU is co-presenting the show (though it isn't a benefit) and tickets are on sale here. Swing by our table to say hi!

Genesis Breyer P-Orridge and company promise a "deeply psychedelic" set, and the show celebrates two new vinyl Psychic TV releases: "Mother Sky vs. Alien Sky" and "Thank You (Parts I & II)" (check out some sample tracks here).

In case you didn't feel like showing up - Volume 23

::Den Svarta Fanan::
Joe Merolla - bass
Nonoko Yoshida - alto
Weasel Walter - drums

Joe Merolla's "Den Svarta Fanan live at 319 Scholes in Brooklyn 11/26/2011.

Mining the Audio Motherlode, Volume 144

Give the Drummer Some's
Favorite Downloads from the MP3 Blogosphere

Humanity's fascination/revulsion with the mechanization of mortality reached its poetic acme in the form of Maschinenmensch in Fritz Lang's 1927 epic Metropolis. Nevertheless, the species has clawed its way through much of the past century trying to reinvent itself mechanically. I find cinematic droids and robotic vacuum cleaners tiresome, but camp me in front of a music box, calliope, or player-piano and I go gaga. There just something about an inanimate hunk of junk making music that I find thrilling.

Speaking of thrilling, get a load of this imaginary mechanical instrument, which for all the world appears to be the creative lovechild of Dr. Seuss and Rube Goldberg:

    
Various  ~  "From Music Box to Street Organ"
(Blog: Mrs Blucher)    From the album: Organ-opheide with and without sourdine (mp3)

C'est Mechanique!
"With the advent of the sound reproducing instruments, the heyday of the mechanical instrument was over the end had come for an industry, which for hundreds of years had flourished. With the exception of carillons, very few mechanical instruments are made nowadays. Most of the instruments, among them no doubt many rare and valuable specimens in which great craftsmanship and an evolution of more then four centuries was embodied, have been lost. Evidently the precious few that are still left to us deserve to be preserved, the more so since they should not be regarded as curios from bygone days. On the contrary, today many a music lover has a marked preference, an affection, for mechanical instruments, especially for those which have a sound entirely their own."  (From the liner notes)

Wanlov the Kubolor's New Music Video

Thanx to Chief Boima for the tipoff.

Young Curse (Yonkers rmx not ft Tyler the Creator) - Wanlov the Kubolor from Wanlov Kubolor on Vimeo.

Storytelling In Japanese Art at the MET

Up through May 6th at the Metropolitan Museum of Art is an exhibit entitled "Storytelling In Japanese Art" with a main focus on the Emaki, or Emakimono hand scrolls; some dating as far back as the 12th century. What's interesting about these pieces is that they are physically lengthy, so only certain portions of the scrolls are available for viewing at a time. The scrolls will be advanced during the length of the exhibition, so if you visit more than once, chances are you'll see different sections of the scrolls, which contain illustrations as well as japanese character text. Some are faded and reflective of their age, and some are in phenomenal shape considering the fragility of the medium. The exhibition also includes full views of some of the handscrolls on iPad displays in the beautifully crafted reading room. The current of the presentation of the pieces is very fluid - literally, with a fountain by Isamu Noguchi in the center of the route and a study/bamboo mat room.

When visiting the exhibition, we learn narrative was not only told on the medium of the scroll; visitors will see illustrations on screens, fans, cards, hanging banners, books, kimonos and porcelain as well. Some are showing one or two ideas as a story, and other pieces have multiple scenes and many utilize the stylized cloud formations to separate panels or sections of the stories that is present in Japanese art through the years. Take a look at some of the details of this show in the photos after the jump and see if it doesn't pique your interest!

And In the Middle of Negotiations - The Fabs' Last Stand

by Jason Gross

ED NOTE: After Apple Records had a fire sale of their items in April 1970, a collector named A.J. Weberstone came across a videotape labeled 'Final Meeting'. He was curious about this and told by Derek Taylor that he could view it and take notes only. Weberstone watched the tape and wrote down everything that he heard and saw there. Mysteriously, the tape was never seen or heard about after that. Weberstone died last year but in his papers were the notes that he carefully and thoroughly jotted down from the tape that he saw at the Apple offices. For the first time, we're pleased to present this important piece of Beatles history, looking into the dissolution of the band with an intimate, first-hand view.

-----

September 1969- Savile Row office of Apple Records

Scene: meeting room filled with 30-40 loud talky people, some in business suits, some in hippy gear; mood is a little somber. In the middle of the room are John, Paul, George and Ringo, looking tired and distracted. Yoko is also there, quietly sitting next to John.

Lennon: (loudly) Alright, that's enough! That's enough! (room quiets down). Everyone who isn't in the band is going to have to leave NOW. Come on then! (loud grumbling and arguing) I mean it, NOW! Get going! (more grumbling) Let's start with the barristers- all lawyers gone, now! (a dozen suited men file out methodically). Right, now the hangers-on, get on now! (a dozen hippies shuffle out). OK, now the groupies! (two forlorn guys slowly leave).

Harrison: (shaking his head) Sad, isn't it? Used to have much more than that.

Lennon: (to Yoko, solemnly) Alright mother, you too.

McCartney: (protesting) But she's the fifth Beatle! We wouldn't all still be together if it wasn't for her!

Lennon: (sighs, annoyed) I know, I know...

read the full transcript below...

The Ecstasy Of Break-Up Psychosis: Possession (1981)

We are all the same, but in different words,
In different bodies, and different versions.

These words above (especially the dub-science word, version and the ultimate word, words) called out to me from the media feed of fellow sub sub Jason D. Bigelow, subtitling what seemed to be a still from one of the only 70s/80s Occult Horror Films Starring Moon Eyed Brunette I hadn't seen yet. The web search for the phrase brought only one return, an ancient message board movie-quote stump game for which this phrase proved successful in obscuring its source, the Andrzej Zulawski film, Possession 1981.

Songs By Adults About The Pain of Adulthood

Now that I am an "adult" by most people's definition, I get to reconsider all the adult-contemporary radio hits I heard in middle school -- this time with a full understanding of how well they articulate "grown-up" issues. When my newly-divorced dad would vacuum the apartment while singing along to "Back in the High Life Again," I didn't realize that he and Steve Winwood must have shared a 1980s-style optimism about reentering the dating scene after a midlife crisis.

Similarly, during my first-ever slow dance at a school party, I didn't know that the song the boy and I were dancing to -- Richard Marx's "Right Here Waiting" -- was about a painful long-distance relationship. Michael Bolton wondered hoarsely how he was supposed to live without me; as I amassed 1-ups on Super Mario Bros. with the radio turned up and the sound on the NES turned down, I was largely unclear on why he'd find this difficult. BUT I KNOW NOW!

I admit I don't sit around and listen to these songs. But on a deep, hard-to-explain level I like when they come on in the drugstore: I know all the words, and I've spent my life gradually, unintentionally getting what they're about. Especially if you were not yet an adult in 1987 - 91, please examine:

.

Don Henley, "Heart of the Matter" (SEE ALSO "Last Worthless Evening," "Boys of Summer," "The End of the Innocence," "New York Minute")

Gloria Estefan, "Cuts Both Ways" | Phil Collins, "Do You Remember" | James Ingram, "I Don't Have The Heart" | Billy Joel, "And So It Goes" | Lou Gramm, "Just Between You And Me"

CYBERPUNK’S NOT DEAD!

By Chris Cantino

Doc - CYBERPUNK (1990)

Watch more on Network Awesome

Marianne Trench’s 1990 documentary on the world of cyberpunk observes digital outlaws on the forefront of new technologies, fighting for freedom of information. Founded upon the spirit of the first cyberpunk novels by William Gibson, the movement is a networking hub for politically-concerned technophiles who poke around inside protected digital databases and occasionally wreak mayhem by inducing malicious software. Sometimes for fun, and sometimes to extract information, the hackers are concerned with increasing access to knowledge and generally throwing a wrench into the system. Often set in dystopic near-futures in which the lower class is dramatically underrepresented, cyberpunk (and sci-fi literature in general) helped develop the context in which we discuss the arrival of new technologies: with a guarded interest, and sometimes fear that they might eventually wreak similarly undesirable results.

Unfortunately, this cyberpunk prescience is starting to look less and less like fantasy. Gibson once described his fictional futures as “social Darwinism designed by a bored researcher who kept one thumb permanently on the fast-forward button,” where the ones calling the shots cut corners at the expense of the

Quality Reissue Alert: The Happy Refugees

You can feel confident dispensing with the occasionally necessary weighing of obscurity versus quality when considering the recent reissue of UK post-punks the Happy Refugees' 1984 mini-LP, Last Chance Saloon (originally released on Gymnasium Records). Augmented with the band's 1982 Gymnasium single, as well as outtakes and demos, Return to Last Chance Saloon (released by Acute Records this week, and only their second vinyl release) sheds light on one of the more curious, not to mention unknown, bands to emerge from the legion of artful noisemakers of early-'80s England.

To celebrate the rescuing of their music from the purgatory of record collector auctions, the band will play with Crystal Stilts at Brooklyn's Knitting Factory on Friday, December 9. You can also catch them live on WFMU's own Cherry Blossom Clinic, Saturday, December 10 from 3:00 to 6:00pm and at the Cake Shop in Manhattan later that same night.

Happy Refugees-Hamburger Boy

Happy Refugees-This is Cold

 

Thunk Tank Listener Meet-Up Tomorrow

Join Bronwyn Carlton & Jay Bachhuber of WFMU's Thunk Tank for a Meet-Up celebrating the opening of their first ever photography show at the Dino Eli Gallery (81 Hester St, Manhattan) on Saturday, December 3rd, 6-9pm.

The show is titled Thunk Tank: Corpus Absurdum, and runs through December 8th.

Details and RSVP for the Meet-Up here. All proceeds from the show benefit WFMU.

DJ Handi's Archive Picks: JFK on KLIF on WFMU

Radio as archeology is fascinating. On Ariel View, Chris T. played tapes from Dallas's KILIf AM from November 22, 1963, the day President John F.Kennedy was killed. There are endless levels to listen on, but here are a few:. Listen to the air checks as old style, just-the-facts journalism. Listen to the air checks as pre-Beatles top 40 radio. Listen, especially, to the adds: popular culture before rock permeated that culture. Popular culture with naivete the Kennedy murder brought to an end.

Now to present day, free-form FM. Brian Turner played the dark psychedelia of Les Rallizes Denude, Though organic and 1960's influenced, the bass and trippy nuance remind me of Portishead's "Half Day Closing," played by Irene Trudel. Some say Portishead extracted this bass line from "American Metaphysical Circus" by The United States Of America, played by KBC on Bitslap.

Liz Berg did a set that included 1970's synthesized cinema music from Ilayaraaja, and hip-hop from Volume Five of Madlib's Medicine Show. There are tracks between these two, but I found the use of driving vocals in both to create two very different tone colors was a powerful thread binding Liz's set. Listen and see if you agree.

The Space Ghost Coast To Coast Sonny Sharrock Tribute Episode

When Space Ghost Coast To Coast started airing in the mid-90's, it's brand of off-kilter absurdity went way over my 10-year-old head, but I'm sure if the adult-me had been around at its inception, I would've embraced its genius without haste and in addition, freaked out over their choice of free jazz legend Sonny Sharrock to provide the score. Sadly, Sharrock passed away as the first season was airing, and during the third season in 1996, the show's creators produced an incredibly poignant tribute episode for Sharrock which still kept firmly in-line with the show's gleefully nonsensical universe. A showcase for a few of Sharrock's improvisations set against a phoney emergency and a non sequitur Thurston Moore guest spot, the episode is pretty much 12 minutes of Sharrock at his most fierce.


Space Ghost C2C - 26 - Sharrock by SpaceGhostC2Cfan0224