Showing posts with label storytelling. Show all posts
Showing posts with label storytelling. Show all posts

Monday, December 27, 2010

Essay Rejected by McSweeneys: My New Job (Now Old News)

The bosses are brothers, and they bring their matching-eyed dogs to work. The dogs look like reptiles because of these yellow eyes. It makes them appear confused and ancient. There are two, and they ignore each other. One, a silken monkey food-stealer spaniel thing, barks hysterically at strangers. He lounges in the hallway, looking up with an expression of inexplicable terror. The other is a horse-pill shaped tick of a dog with respiratory problems that causes incessant and periodic honking on the exhale. When one of the bosses introduced her, he said “This is Funny,” in a most un-funny tone of voice. I was looking at the dog, stroking its throat, and I thought my new boss was referring to the sheaf of papers he was holding. Then I realized he too was looking down at his dog. He said it again. “This is Funny.” 
From my desk, in a windowless half-office, I can hear the rhythmic honking rise and fall as Funny lumbers up and down the carpet, searching for someone to smell her breath and comment on her Flying Nun ears. Sometimes she catches a whiff of something interesting and her breathing becomes its own drum fill, a shuffle-ball-change that might be snappy if it happened at regular enough intervals. Snuffly-DOO-snuff-AH! 
The dogs generally keep to themselves, or are ignored. Ignoring the dogs is an athletic act because we have to prove, on a regular basis, that we are in fact ignoring them. Regardless of how severely we ignore, one of the brothers is convinced we are going out of our way to feed his dog our celery or hummus or whatever. “I swear someone is feeding him,” he announced (yelled) a few days ago through a particularly noisy faceful of wasabi peas. Today he banged his sunburned forehead against the wall of my office very slowly, almost a dozen times in a row. DONK. DONK. DONK. I don’t know why, I think it was because I asked about something. His dog is the silky one, always appearing slightly jealous, lurking in doorways waiting for the sound of a spoon against the walls of a single-serving yogurt container. His name is Newman, and I cannot help but think when I look into his brass-button eyes: “New man.” Sometimes I say it aloud. Sometimes, for no apparent reason, someone else will say one of the dog’s names aloud. 
Newman was absent from the company picnic; Funny attended at the end of a length of clothesline. The line stretched from her owner’s belt loop to wherever the closest morsel of barbecued meat might be, which was basically everywhere on everyone’s paper plates. She made new noises, one of which was a snort-honk-grunt combination that actually startled people. We were told, while lying on sheets at the edge of the disc-golf course, that Funny is 75% Beagle with a quarter of indeterminate origin. Her owner had her DNA tested. Newman was submitting to the exact same background check, and the results came back totally Spaniel-free. Smallish shiny completely brown monkey dog wasn’t listed in his chart either: evidently there wasn’t much on his chart due to the complexity and completeness of his genetic emulsification. The afternoon was hazy with the moistness of a nearby hurricane, and yellowjackets hovered around everything.   
Wouldn’t it be amazing if we could harness this listlessness, this hunger for whatever? How much energy could be generated by aimless dogs? A dog gym, a facility of treadmills hooked up to generators, could easily power one house, perhaps two, or a small factory’s lighting needs. Run, little things, run. 

Monday, August 23, 2010

TONY RETTMAN: Do Less, Be More

Portrait of Tony by Ben Chasny

Tony Rettman is a music journalist and radio personality, which is saying very little about someone who's experienced so much. He's been to more shows than most people you know, which at this point makes him something of a music historian. Tony is also one of the few to weather the change from zines to blogging with elan: Revelation Records recently published his book "Why Be Something You're Not: Detroit Hardcore 1979-1985", and he can be heard on WFMU like crazy. 

What do you do? What are you doing the most lately?
I work a lot for a major financial entity and occasionally write stuff about music that people seem to enjoy. Lately, my time is taken up by whining about my job to my girlfriend, trying to tie up loose ends on a book I've written and cooking decent meals. 

 How long have you done these things? How have the things changed?
I've worked all my life. I've written all my life (sorta). Nothing has changed with the work as far as I can see. It just gets more demeaning and crappy as it goes on. The writing has changed on many levels. First off, if you do anything for a long enough amount of time, it's just going to get better. So I think plugging away at it for so long has made it qualitatively better. I'm happier and less embarrassed of stuff I turn in these days. The subject matter has sorta stayed the same as far as being based on music, but the actual...(uh...) 'genres' of music have slipped around to different stuff. I started out doing a Hardcore punk 'zine when I was 14 and sorta went through the musical 'coming-of-age' alotta people did and explored other sound avenues in my late teens/early 20's and wrote about it in various fanzines I self-published. Strangely, I've got back into writing about Hardcore as it's kinda the only thing people ask me to write about when it comes to paying pieces. So, I've just come back to where I came from sorta, just with better referential ammo than I had when I was a kid. The writing has also changed in that I think I use it more as a vehicle to wrestle with words than hip anyone to some new crazy sound. I guess I'm 'trying' less these days. It's just like Brother JT said, 'Do Less, Be More'. 
 
Why do you do these things? No, really, why? How does it make you
feel? What's it like when you are unable to do these things?

To be honest, the reason I do most writing these days is to earn some extra loot. The intial reason I started writing I guess was because I was bowled over by the fanzine culture of Hardcore when my brother started taking me to shows. I was very inspired by merely holding these things in my hand. The idea of being interested or inspired by someones' writing style or musical taste came much later in my life. As stated in the previous answer, the writing - these days at least - is more of a thing where I graple with the words to get them to submit to what I'm trying to convey. I like twisting them into my own definition. I also like working with editors as well, which I'm sure most writers will think I'm crazy for stating. Some really do push you to come up with some great stuff. They really help in trying to convey certain things that might be lost in the cobwebs of your mind. I only get frustrated when I am unable to write when I have a deadline looming. Other than that, I can take or leave writing. 

When was That Moment in your life that told you you would become what
you are? What happened? 

I don't think I really know that moment. Whenever I read or see someone in some documentary/book say something like 'And when I saw (fill in the bands name) my life changed', I think they are full of shit. No one goes around documenting their lives for themselves like that. If they are, they're fucking nuts! I hate to keep going back to this, but I guess the first couple times my brother took me to Hardcore shows, I kinda got a feeling of defintion in myself. It made me feel it was OK to be a bit twisted. There's a few things that are popping into my head now...First time seeing Black Flag...First time seeing Youth of Today...My brother playing me 'Space Ritual' by Hawkwind, 'Psychedelic Underground' by Amon Duul and 'Patty Waters Sings' all in one sitting during a snowstorm...Seeing NNCK for the 1st time... These are some things that flash into my head that made me think about the power of sound in ways I couldn't fathom before hearing them. 

How has your life changed to accommodate That Moment's effect on you?
It's made me into a bum!
 
How has your work affected your life in return?
It's made me into a bum!

 How does your location affect what you do and who you are these days?
My lady and I have moved out to the North Shore of Long Island. To most outsiders, anything related to L.I. is bad news, but this area is very, very quiet with a sparse population and a low amount of football jerseys and gold chains. We are near the water and it's so quiet around here, some times all you can hear is a train whistle. I think the new location has really helped the writing as far as letting me get (as corny as this might sound) lost in my own thoughts. When we were in Brooklyn, I was always trying to find some quiet while drug dealers and general retards prowled in front of my window. Here, I can see or think one little thing and I just start flying. Personally, the location has just helped me be more at peace with myself and Danielle. I have to prepare a slow cooker meal everyday before I leave for my hour long commute to work, but I think it's worth it. 

What do you think of the future?
For the first time in a long time, I look forward to it. By the way, my hope for it has nothing to do with political climate, social climate, actual climate, etc. I just feel good about it...that's all. 


What does David Lee Roth mean? 
He is a celebration of the self. 



TONY RETTMAN IS ALL OVER THE INTERNET: 

Saturday, August 7, 2010

Round Robin 2008: The Movie

When Baltimore's 2008 Round Robin tour came to Oberlin College, we were given a conference room replete with shower stall and chalkboard to post up and eat pizza in. There, controversially and at great length, ROUND ROBIN: THE MOVIE was cast...

Shaun Flynn: Sylvester Stallone (or Vincent Gallo or Cillian Murphy)
Donovan: Flea
Olivier: Steve Guttenberg
Ed Schrader: Christopher Walken
Adam Endres: Bobcat Goldthwaite
Dan Deacon: Abigail Breslin
Lexie: Kirstie Alley in Cheers
April Camlin: Carol Burnett
Benny Boeldt: Conan O'Brien
Max Eisenberg: Steve Buscemi
Frank: Gary Oldman
Height: Glen Danzig
Jones: Snoop Dogg
Josh Kelberman: Haley Joel Osment
Lizz King: Hilary Swank Punky Brewster
Mark: Adrian Brody
Robby Rackleff: Christian Bale
Rose Chase: Diane Keaton
Justin Frye: Keanu Reeves
Kate Levitt: Mary kate Olson
Stefani Levin: Julia Louis Dreyfus
Alex Scally: Billy Crudup
Dan Franz: BJ Novak
Victoria Legrand: LiLo
Pete O'Connell: Paul Giamatti
Kevin O'Meara: Heath Ledger
Jim Triplett: Michael Cera
The Death Set: Blink 182
Dave Zimmerman: David Cross
Conor Kizer: Tom Green
Nolen Strals: Vin Diesel
Bruce Willen: Jeff Goldblum
Gerrit Welmer: Chris Martin
Sam Herring: Jack Black
Will Cashion: Philip Seymour Hoffman
Greg Fox: Alex Winter
Andrew Burt: Emilio Estevez
Jana Hunter: Jodie Foster
Geoff Graham: Chuck Norris
Lesser Gonzales Alvarez: Mark Ruffalo
Sam Garner: Elizabeth Taylor
Amy Harmon: Drew Barrymore
Katherine Hill: Uma Thurman
Amy Waller: Dakota Fanning
Twig: Michael Richards
Carly: Maggie Gyllenhaal
Ben Beast: Kevin Spacey
Bob O'Brien: Dan Aykroyd
Devlin: Kurt Russell
Dan: Charles Bronson
Chester Gwazda: Chevy Chase
Donny: Orlando Bloom
Rob: Kurt Cobain

Directed by Mel Gibson (or Alejandro Jodorowsky)
Screenplay by Charlie Kaufman

Friday, May 14, 2010

KARI ALTMANN: Zoomed-in View From The Trenches


Kari Altmann's knack for illuminating technology and its psychic imprints is impressive. Her real-time gif collages for Double Dagger drummer Denny Bowen's solo dance/pop mashup project Smart Growth were elaborate and clever without being self-congratulatory -- only the tip of the iceberg. A prolific artist immersed in the narrative possibilities of ephemeral imagery, Altmann DJs as Blackmoth.org, creates videos, and shows her work regularly around the globe. Her epic collection R-U-IN?S highlights the intersection between permanence, obsolescence, and the alluring constructions of the unreal. R-U-IN?S is a testament to its own double meaning as much as it is a challenge; all comers are invited to participate in the catalogue, to submit or remix. Plans are currently underway for a R-U-IN?S kiosk at Shanghai's World Expo. Here, Altmann responds to a question that's been on her mind for some time.


What are you doing the most lately?
Reading a.aaaarg.org and making a lot of videos, mixes, and tumblrs, it's winter. I spend most of my time emailing and ftp'ing files - I want a long computer hiatus this spring and I want to run away to some facsimile of Ibiza this summer. But today I'm excited about the igloo we're going to build behind our apartment (I'm answering this during Baltimore's "Snowpocalypse 2010")

How does your location (Baltimore) affect what you do and who you are these days?
  • Importing what I can't get locally to a city full of empty warehouses.
  • It is more convenient to go to Manhattan than to the suburbs.
  • Right now I think I attend more events in New York than locally, and I definitely seem to show my art everywhere else but here.
  • People think I live in New York.
  • I'm just bouncing between here and there, something more artists seem to be doing
  • I want the world tour lifestyle that all these musicians have but only my files seem to get it.


I feel really lucky to have moved here in 2004 and witness some magical years, but I'm not in a musical act so the ride on the wave was a little different. Mostly it was a spectacle to learn from - an education. I think of it almost like a research residency on the culture industry: watching things be planted, cultivated, then exported to the world. I actually saw it happen from start to finish, with varying degrees of success. I'd seen a little bit of that before but never with this intimate social intensity. In a place this raw with currents this dark it seems like viruses have the time and space to grow very carefully, in a unique way - so that if they get swept away to other places or hit that exponential dispersion they are almost invincible.

While all this was happening I was at MICA learning critical theory and art history, trying to maintain some kind of perspective on it all but still wanting to participate. It was a tricky balance. After watching people around you deal with fame and self-branding so many times, you really learn what you want and don't want, but more importantly you see new possibilities for yourself. Baltimore has made me understand freedom. It has made me tougher in a different way than New York, by testing what I do with that freedom. Not everyone flourishes under these conditions.


I moved here from Dallas which is the opposite of Baltimore in a lot of ways, so it has always felt like an escape. When I came here I was definitely on the run. At first I took advantage of school loan money and the cheap cost of living and just travelled all over the world every time MICA was on break. The transition was a little rough. Eventually, though, I settled down and got more invested in Baltimore itself, which is when it rewarded me with an ideal quality of life. That tribal experience people fetishize - we actually had it for a minute, with all its ups and downs. I took a net hiatus and spent my time raving and surrounded by people. I didn't care about blogs or a career. It was like the ideal end of college situation amplified by 200 percent.

Now I feel pulled back out of that experience, more zoomed out again. My website went back up. This is a great place to get some projects done, but you basically have to export those products everywhere else once they're finished. It's like MVP/Bolt Bus and Wimax are singlehandedly responsible for more MICA graduates staying and surviving.


More importantly though, it's a good place to experience the raw and hidden elements of America, if you can handle it. If you use it to educate yourself you become able to see the things at work behind a lot of the larger forces in the world. If New York gives you eagle-eye vision, Baltimore gives you the zoomed-in view from the trenches. And there are times I still get that dystopian/lost city/end-of-the-world feel from it all which is what seduced me in the first place. People here are creating their own utopias, whether productive or destructive, among the burnout. Those forces keep eachother in balance. These people are part of a network of post-industrial American settlers experimenting with a cultural "next wave" in cities all over the country, with the aid of the internet. Sometimes it's the second wave, sometimes it's the sixth. Since most of the music and art from these cities is accessible via internet, touring, or exportation to New York, you can actually feel the current of a "Post-Millenial American Frontier" which can motivate you. Not to suggest it's only coming from America though, it's happening all over the world and has been, in cycles, for a long time. It's just that the internet is uniting and diversifying it more than ever before. In 2012 my only dream is to have some huge mega-rave that pulls all of these art/music/party initiatives together, to actually feel this current frontier in one place at one time.

I don't know if I'll stay living here this year - a move is feeling more and more inevitable - but what I've learned in Baltimore, first-person, is invaluable.

What do you think of the future?
Look Up, Look Out




Friday, March 12, 2010

Stephanie Barber's Freshmen Pyramids

Today I made a presentation to Stephanie (top row, left) Barber's class of MICA freshmen. After showing some Lexie Mountain Boys video and discussing the Human Pyramids sculpture/ performance project, we formed some pyramids of our own. The students were really good sports; they took off their boots and after the briefest hesitation subjected themselves to all sorts of lumbar compromise, giggling fits and premature carpal tunnel syndrome. Mostly, though, I made sure to get them good & ready for any spring break photo ops. Remember to go quickly and keep your heads up, lil buddies!


This is the pyramid everybody was in, except for Stephanie.




Not bad-- we ended up with 6-5-4, sort of a human trapezoid. Stephanie took the pictures from a tabletop in the studio.

Below, another attempt at involving everyone in the class. Here, we were able to get everyone except one using the cheerleader thigh stand lift. Interestingly enough, one person in the class is a real-life actual former cheerleader and if they didn't volunteer their identity during the course of the presentation I'd never be able to guess which one had no qualms about the thigh stand.




We didn't have too much time to work on weird formations because I showed the Petals the Party Dress vid that N.O. Smith shot of Mt Boys at Current Canyon Festival. If we had more time, it might have been cool to try some yelling/pyramids, or some moving pyramids (groups of 3 moving around bumping into each other). Anyway, thanks dudes and hope to see you out there soon! Stay in touch if you want to, and great job today.

Tuesday, December 15, 2009

ERIC ALLEN HATCH: Separate Violent Accidents

photos courtesy Eric Allen Hatch, shown here behaving allegorically

Eric Allen Hatch was an original member of the Red Room. Which sort of makes him partway responsible (along with many other unsung and semi-sung heroes) for Baltimore's Cultural Landscape in The Naughties today because, musically speaking, The Red Room opened the floodgates for modern experimentalists and improvisers to enter Baltimore, and thus for Baltimore to enter them. He was part of the trickle that opened out, decades later, into a rich, rank, silty delta of radical. More recently, his
Free First Thursdays Film Series (Oct 2006 - Aug 2008) at the Baltimore Museum of Art was "a mixture of truly adventurous films ... focusing particularly on the visionary film explosion of the 1960s and '70s", with a programming emphasis on the rarely-screened. These days he programs the Maryland Film Festival, ever hot on the trail of helping out the city he calls home by watching movies all day and being nice.


"this is me and my friend evan 16 years ago"

What do you do? What are you doing the most lately?
I’m a film programmer; my year-round day job is with Maryland Film Festival. I sort through hundreds of entries from filmmakers to select films for our festival in May, and travel to other film festivals over the course of the year (like SXSW, New York Asian, and Toronto International) in the hopes of luring gems back to Baltimore.

Prior to this I founded, programmed, and hosted the Free First Thursdays Film Series at the Baltimore Museum of Art (which ran from ’06 through ’08 and favored ‘60s and ‘70s world cinema).

Some people also know me as a former music and film critic for City Paper, and/or as a former manager of the Charles Village Video Americain.

Back in the day I used to DJ around town. In case you missed out on that, spend an evening listening to “Push It,” “It’s Tricky,” “The Humpty Dance,” and “Me So Horny” in a continuous loop, and it’ll be just like you were there.

Most often in my waking life I am listening to music (5-10 hours a day), watching movies (1-4 features a day), walking (3-10 miles a day), record shopping (all my $$$), or reading (data fluctuates wildly).


l to r: Eric Allen Hatch, Scott Braid, Skyzz Cyzyk, John Waters

How long have you done these things?
The BMA series launched almost 4 years ago (R.I.P.); I started working for MD Film Fest full time in January 2007. Before that, I’d done a spot of programming here or there (see “Moments,” below).

Why do you do them? How does it make you feel?
It makes me feel great to connect positively with other people, and one way to do this is through my cultural tastes.

"this is me playing dr dude"

When was That Moment in your life that told you you would become what you are? What happened?
Lots of slow-burn, lowercase-“m” moments: curating a 16mm film night at the Red Room nearly a decade ago; working as a member of the MicroCineFest screening committee under Skizz Cyzyk (one of Baltimore’s real cultural heroes); discovering the work of favorite directors like RW Fassbinder, Frederick Wiseman, and Claire Denis; attending double features at the Orpheum and the Satyajit Ray retrospective circa ’96 at the Charles; watching an average of 3 movies a day, 365 days a year from 1998-2004.

How has your life changed or not changed to accommodate that moment's effect on you?
With both film programming and critical writing, my life has become about connecting other people’s artistic accomplishments with audiences. My life’s goal had previously always been to find a way to make a living, however meager, via writing fiction (or maybe screenplays). In the long-term, I’ll have to figure out if that dream has been scrapped or just put on hold.

How has your work affected your life in return?
I have enormous amounts of free time in the summer and absolutely no free time from late February through early May. I get to New York more often and I’ve gotten to know Toronto fairly well. I drink a lot of coffee at Red Emma’s. I’ve met a lot of filmmakers, most of whom are really cool (with a couple of douches in the mix).

What do you dream about constantly?
Launching a gatefold-cover, 180-gram vinyl record label devoted to new Baltimore music; programming and managing a restored single-screen movie theater such as the Parkway on North Avenue or the Playhouse on 25th Street; living in the Bernal Heights neighborhood of San Francisco; becoming a Hollywood script doctor to raise money for any/all of the above; making a living as a novelist in Baltimore or even New York City; experiencing a Baltimore City with a subway system as extensive as DC’s Metro.


"this is me when a monkey visited the film fest office"

Some true, little-known facts about you?
  • Both of my grandfathers lost pinky fingers in separate violent accidents, decades apart.
  • A friend of the family named her child Eric Hatch Kim after me, shortly before the entire family was deported.
  • I was reared without a television from birth until, fortuitously, the month “Twin Peaks” was first broadcast.
  • My middle-school English teacher took a letter grade off a paper for my use of the phrase “Tom Sawyer was raised…”, and asked to see me after class – at which point she angrily shouted at me, “Human beings are REARED; livestock is raised.”
What advice would you give David Lee Roth if he was in the midst of an existential crisis and he came to you and only you for help?
He’s only a name to me, but my gut says move to Baltimore and start a band with Lexie. In general I am happy to listen to people’s problems.

JUSTIN SIROIS: Completely High

Justin Sirois is founder and co-director of Narrow House, an experimental writing publishing collective. His poetry is wicked. He received Maryland State Art Council grants for poetry in 2003 and 2007. His books include Secondary Sound (BlazeVOX Books) and MLKNG SCKLS (Publishing Genius). He is a designer for Edge Books, and he's also responsible for the original Taxidermy Lodge (now known as TAX LO) dance parties. Currently, Justin is trying to find a publisher for his first novel written in collaboration with Iraqi refugee Haneen Alshujairy about displaced Iraqis living in Fallujah in April of '04.

What do you do? What are you doing the most lately?

Writing stories. I just finished a novel about two young men in Fallujah (Iraq) that I wrote in collaboration with Iraqi refuge Haneen Alshujairy. She’s amazing. We met on the internet and now she lives in Cairo. We’ve never met and she’s beautiful. A small press is reviewing it right now and I’m hoping they’ll publish it, but you never know. It’s tough, getting published and all.

Publishing Genius just released MLKNG SCKLS, the “deleted scenes” from that novel. People seem to like it a lot, especially the story where Salim, the main character, “uncooks” a meal for his girlfriend. It’s endearing and gross at the same time. Dehumidifiers line the kitchen counter. Everything sounds “undelicious”.

I’m about 2/3 finished with a new novel about two metalhead brothers growing up in New Hampshire in 1993. It’s a pretty sad story about disappointment (much like my other novel… oops), but it’s more about admiring the wrong people for the wrong reasons and realizing that before it’s too late. There are a lot of D&Dish hallucinations in the narrative – and the main character imagines he’s having sex with the drawings from The Joy of Sex.

It might upset my parents.

How long have you done these things? How have the things changed?

I’ve been writing all my life, I guess. I wrote a comic book when I was six and the spelling was so bad that my dad would read it to my brother and me and we’d fall on the floor laughing. Through high school I drew and wrote a comic/music magazine that I hope no one still owns, but people back in Florida mention it sometimes. It was named after a Sound Garden song. Yikes. Let’s forget that. Completely.

I wrote poems mostly between the ages of 18-28. They were easier to compose and manage. They changed a lot – confessional to language based then a combination of the two and then whatever. BlazeVOX published my book Secondary Sound in 2008. It’s about piracy and copyright law and sampling. But I always wanted to write stories. Now I’m trying to do that mostly. I’m a bit happier.

Why do you do these things? No, really, why? How does it make you
feel? What's it like when you are unable to do these things?

Because it’s absolutely absorbing and it’s impossible not to get these ideas/images/characters/issue out on paper. It’s good therapy. And it’s the closest thing to religion that I have at the moment. There’s no better feeling than writing a beautiful sentence or finishing a solid story. It’s literally the best feeling I’ve ever had. And if writing brings me closer to people – understanding and empathizing with strangers, observing behavior, both negative and positive – then it’s the best thing in my life.

Writing fiction is the only creative act that I can concentrate on for longer than an hour or two, everyday, no matter what. A disciplined schedule is essential if you’re working on one project for 10 months or longer – sometimes much longer. Between projects I won’t write for months at a time and it feels terrible; it’s close to feeling directionless and useless. Drinking happens more. Video games, too. Man! What a time vampire those video games are.

During that down time, I try to research as much as possible. Reading helps, of course. Eventually the next project bubbles up and I’m back to normal.


When was That Moment in your life that told you would become what
you are?

I think it was when I finished the first draft of Falcons on the Floor, that first novel. I felt completely high. It was a, “did I really do that?” kind of experience that built and built after two years of work.

Now I know I can do what I’ve always dreamed about, but with that realization comes a whole lot more pressure on myself to keep going.


How has your life changed to accommodate That Moment's effect on you?

Dramatically and not at all. Now I know I have the discipline to sustain a rigorous work schedule, I can stay motivated about a project no one knows a thing about, and there’s a building community of strangers who want to read my work, but, that said, I’ll always be suspicious of the quality of the work. It’s that inner voice that constantly tells you, “Man, you have nothing to offer… you’re so cliché.”

All creative people deal with that insecurity. You just have to work through it – keep making and loving and caring about what you do. Falling in love with your labor is just as important as loving your language.

How has your work affected your life in return?

I can’t imagine my life without writing. My best friends are in the creative community and I’d rather have massively great creativity surrounding me than a sweet house or car or whatever. I feel like I have the absolute best quality of life and I share it with the most interesting people in one of the best cities in the States.


What do you think of the future?

I’m excited about the new XBox hands free controller because I won’t have to buy a gym membership. Lifting Cuba’s embargo will be a beautiful event; generations have suffered for something they had nothing to do with. Maybe gay marriage and pot smoking will be legal one day – everywhere – even on airplanes. Gay marriage on airplanes, you ask. Yes. The Future. Goodness! I don’t smoke pot.

The future isn’t as bleak as people think. Now that DIY is mainstream and nerds are cool, life is better for creative people. We can make books or albums on the cheap and post them for free and if it’s good work people will pay attention. Wars are essential because they’ve always happened. That sucks. The planet is suffocating under the stress of irresponsible consumption. That sucks, too.


Would you vote for David Lee Roth in an election? Why or why not?

It depends what he’s running for. President? No. Sorry. NFL Commissioner? YES. Oh hell yes. I saw this YouTube video of an old interview Roth did for MTV and he was soaring on coke or some narcotic from another planet and I was like, “That man should be running the NFL.”

Tuesday, November 10, 2009

BONNIE JONES: Foods, Toothaches

Bonnie performing at High Zero Festival; photo by Michael Anton Parker

"Born in 1977 in South Korea, Bonnie Jones was raised by dairy farmers in New Jersey, and currently resides in Baltimore, MD. In sound performances Bonnie plays the circuit boards of digital delay pedals. Her primary sound collaborators are Joe Foster in Korea (as the duet “English”) and Andy Hayleck. She is also a member of the Performance Thanatology Research Society, a interdisciplinary performance group dedicated to the advancement of a higher histrionics brought on by imminent finalities. Bonnie has performed at the Kim Dae Hwan Museum, the Ontological-Hysteric Theater, the ErstQuake Festival, and the 14 Karat Cabaret. She is currently an MFA candidate at the Milton Avery Graduate School of the Arts, Bard College." She's obsessed with the microtonal and the microsyntactic, but she parties like a bear in a stream, is always ready with a joke and will roast you a chicken any day of the week. Whether its wearing fake teeth at the 14Karat Cabaret while Blaster Al Ackerman tosses red glitter about in a dental monologue, or masterminding elaborate, sophisticated events, Bonnie's body of work is varied, exciting, and, best of all, just begun.

English: Bonnie Jones & Joe Foster


What do you do?
I make music with broken digital delay pedals and microphones. I make sound/text compositions. I sometimes perform these sound/text pieces. I write a little prose and a little poetry. Lately I've been practicing my variousness with seriousness.

How long have you done these things?
I've been inputting for 32 years and outputting at a low frequency for about 20 years and at a higher more accessible frequency for about 10 years.

Why do you do them? How does it make you feel?
I do these things because it makes me feel human and closer to other humans and helps me understand things - My things and other people's things and non-human things. I feel pretty good about it on the whole. Sometimes though it's better for things not to be understood. That's also what I'm learning these days.


When was That Moment in your life that told you you would become what you are? What happened?
I'm not so sure yet what I am to become so that's a hard question. There might instead be a series of self-defining moments - one after the other after the other in a rapid motion through time. Oh this is what it's going to be like, oh this is what it is, oh this is another one. The last one I remember was when I realized I wanted to stop thinking about everything as a problem to be solved. First off - everything is not a problem and every problem doesn't need to be solved.

How has your life changed or not changed to accommodate that moment's effect on you?
To the last moment, I'm taking a lot more time experiencing things. People, sounds, foods, toothaches, closenesses and farnesses. I'm starting up an old machine that is latent in me called - experiential living. Also - I'm thinking about how if I want to make things that are very fast, complicated and layered --- how they can really communicate this idea of slowing down and paying attention that I find to be so intriguing these days.

How has your work affected your life in return?
Every time I make something I wonder.

Bonnie atop a human pyramid during a Lexie Mountain Boys performance for Sophia Dixon's Glowworms at Current Space, Baltimore MD 2007.
L - R, top to bottom: Bonnie, Samantha Garner, Lauren Bender, Nicola Knight, Amy Waller, Liz Flyntz, Megan Reid, Jen Kirby


How does David Lee Roth make you feel?
http://www.youtube.com/watch?v=hgo-ks37M2s

Do you have anything you'd like to ask me?
I'm wondering how you do your hair? Or what your hair routine is like each morning/evening/every other day? Also I'm wondering what you're working on these days.
Wash with a mixture of pearls and enchilada sauce, comb thrice with cat's paw to increase shine, apply coagulated salve of baby tears beneath a fountain of cold running water and upon drying much prayer is necessitated so any curl will hold even after the sun has set. The trick is never changing the basic shape ever for years and always making sure it looks like David Lee Roth in the darkness but without the balding part and the shameful cutting of the locks once he reacheth fifty. Tender shampooing is always careful, on the condition that one does not transmit head lice to a family of four in Portsmouth, NM. Including dog. Some things cannot be helped, and the itching persists for years. Nature's Gate opens the herbal way to a deep shine on my checkbook, ordered by the gallon and biotin its cousin and friend also soaking me for the long run. DO NOT BRUSH WHEN WET!! Do this every other or every third day as the weather and smell in the air dictates. Lately, I've been working on a remix of a song and it will be debuted at Mirkwood sometime this month of November 2009.

baltimoreperformance.com/lossolos
bonniejones.wordpress.com

Thursday, November 5, 2009

IAN NAGOSKI: Exciting Monkey Times!

Ian Nagoski & daughter June

Record collector Ian Nagoski has been many things: experimental musician, vocalist, trader, journalist, cabbie, and part of the brains behind the first years of True Vine Records in Baltimore. These days, Ian's time is given over to his beloved 78s; collecting slabs of the fragile format, trading with other enthusiasts, and sharing his knowledge of the music's histories at occasional listening parties. After the success of The Black Mirror, Ian's extraordinary and thorough compilation of global music on 78s, he formed Canary Records. He remains a font of enthusiasm for the world of endangered song, deeply committed to the genuine experience of music.

What do you do? What are you doing the most lately?
Dream into sound... Hustle sides...Like a lot of artists and many other people, I'm trying to re-balance a world out of balance. There are mistakes to rectify and lies to be replaced with truth. I'm one of those who sees their purpose in working from deeply held beliefs toward adjusting the course of things. For me, it's music and the ideas and stories that surround it and the qualities of the pleasures it can give, particularly the pleasures of the operation of memory, that keep engaging me. Lately, over the past couple years in particular, I've been learning the stories and musics of good musicians, long dead, to answer questions about the recent cultural problems of group relationships in the U.S. - the problems of "us-and-them." I'm trying to create feelings of compassion and wonder by presenting old recordings and suggest irreducibility of human dignity through the meaning of the brief lives of the performers - heartening evidence of universal human genius and a question about where feelings come from. What are they? Shortly, there will be another expression of my own sound to finish, but those things take a long time for me.

How long have you done these things?
I liked studying and listening to music since I was a little kid, and somehow I was identified socially pretty early for my passion for it - certainly by 11 or 12. Through my 10s and 20s, I mostly worked on my own music, wanting to be given appreciation and understanding for it. Even through that time, I gathered stories, wanting to be educated, and celebrated people who I thought ought to celebrated.


Why do you do them? How does it make you feel?
It makes me feel a little less like a pair of eyeballs floating in space.

When was That Moment in your life that told you you would become what
you are? What happened?
There are many, but the first one that jumps to mind: I remember watching the film of the Coltrane quintet with Dolphy in Europe in '61 when I was in my late 10s, sitting at a monitor in the library and thinking that I understood dignity and grace and honesty for the first time. "That's how a person should behave," I thought. It was as if they had invented themselves. It just seemed obvious that every person would want to play a sound that was like that, full of crying out and deeply intelligent, and make statements as bold as that.

How has your life changed or not changed to accommodate that moment's effect on you?
I've given myself over to those feelings and that image in my mind, totally.

How has your work affected your life in return?
It has given me purpose and comfort in the face of death. It has been a good way to open lines of communication with people. And it has opened me up to the world experientially and intellectually.


David Lee Roth?
= exciting monkey times!

Do you have anything you'd like to ask me?
Knowing that you're Lebanese, I've been meaning to ask you about your family history. You sister told me about your grandmother and her hand tattoo, which was wonderful to hear, although I didn't quite understand the story. But it made an impression. Can you tell me that story? Were you raised in the Eastern Church? Can you tell me about the Maronites? Were you exposed to music in Arabic in Massachusetts?
It was actually our grandmother's mother who had tattooed hands; according to Kadra family lore at the age of 15 she bore five children and when they all passed away she traveled to the Unites States and had five more. Our grandmother Julia was one of the last surviving members of this family; she herself passed away before I was able to get much out of her besides the above story. She was Catholic, and since the man she married was Catholic and Italian-Irish to boot, she went with him to his parish St Tarcisius in Framingham, Massachusetts. They are both interred in that church's yard. She never mentioned the Maronites, didn't speak any Arabic, listened to Nat King Cole and preferred the Pope above all. She did, however, tell our father that we're related to Kahlil Gibran, and as far as her cooking goes she made a mean kibbeh. Raw, with the fist print in it and everything.


Black Mirror/ Canary Records