It's been a while since I've seen Dig, and that post reminds me I should re-watch it. Watching Anton Newcombe is like watching a car crash in slow-motion. If it weren't a documentary I'd write his shenanigans off as a poorly executed cliche. But I guess he is the real-deal as far as self-destructive rock stars go.
I remember watching the film and being fascinated by how immature Newcombe is. He's obviously got some brilliance in him, but he acts like a little boy. This is reaching pretty far, but it's almost as if he spent so much time developing his musical abilities, he neglected to develop emotionally. Rocstars often seem imbalanced. Maybe they overcompensate in their music for what they lack in their ability to be a "normaly" functioning person. I guess it's pretty selfish, thinking that because you are a gifted artist you can shirk certain responsibilities most people are beholden to, and the fact that you are a "genius" excuses your behavior.
I wonder why the hell people in Newcombe's band didn't just fucking quit immediately. You see him fighting his bandmates in this video, and obviously this is shit they have had to put up with before. How come they keep tolerating Anton's behavior? He makes me angry when I see him because he comes off as being totally selfish. But yet he has something to offer I want to hear, or I want to know about. Something about his character is just as enticing to me as it is repelling. And at the end of the video I kind of feel sorry for him. He's so clueless, he almost shakes any responsibility for creating the melee. It's like the only way he knows how to tell with the messes he causes is by victimizing himself. It must be incredibly confusing and exhausting to see things that way.
The Tom Waits post is awesome. I have to be honest, I can't figure out if it is all one big gag, or sketch, or if it is really a T.V. interview gone wrong. And that's just a testament to how well Waits can really create a persona, and manipulate whatever media/medium he is working in to perpetuate this persona.
Shannon talked about this in an earlier post, but it is a really cool power reversal, or role reversal of the interviewer/interviewee relationship. These dumbasses in the polyester suits are trying so hard to make-fun of or bully Tom Waits, but Tom waits is like consistently three steps ahead of them and totally beats them at their own game.
I think I talked about this a little bit in the earlier Thruston Moore post, but it's obvious Tom Waits feels really comfortable in his role of dismanteling this two hosts (one of whom is Fred Willard, right?). But it's obviously a character Tom Waits is playing, and so for me, the fact that he is putting on a show alleviates the awkwardness or tension, because I'm kind of clued in to what he is doing, and i kind of know it's not real.
I like the idea of being betrayed in a situation like that. I'm really drawn to the emotions that come out of public meltdowns, ones you can't hide over. I really get the sense Tom Waits was in full control of his performance and his environment, and if I were hypothetically in that situation I would love to imagine myself acting like him, and handleing myself like him, but I think the truth of the matter is I would get really frustrated in a situation like that, and i would probably feel betrayed and angered by people cheating and using their "media advantage" to try and make me out to be a certain way that I'm not really like.
Remember when Tom Waits is playing the piano, and really he is just playing this absolutely beautiful song, and the camera keeps cutting back to that d-bag blond host, and he is covering his face like he is mortified for Tom Waits, and absolutely telling the audience how they should feel, and Tom Waits couldn't give a shit because either a.) he isn't even paying attention to the host or b.) is so confident in what he is doing, and so confident in his knowledge that the host is TOTALLY full of shit, it doesn't even phase him.
I feel like, if I were in Tom Waits position everything from thought b.) would be running through my head, but still the dumbass blond host would get the best of me, and it wouldn't be fair because it is totally a misrepresentation of reality, but the dudes in charge of the cameras usually the ones who win. I hope this makes sense.
Thursday, July 31, 2008
Wednesday, July 30, 2008
fucker broke my sitar, motherfucker...
look how fragile musicians are! i'm sure most (if not all) of you have seen the documentary "dig" which this clip is from, but if you haven't, this was supposed to be the biggest show of the brian jonestown massacre's career as it was their showcase for a bunch of major labels. i think it just goes to show how scary success can be. translating what's in your head into an actual song/performance is a terribly difficult process and will drive you crazy if you aren't willing to adapt to all the variables that will inevitably present themselves. anton newcombe has such a clear idea of what he expects of his music that he refuses to account for the however many other people in the band that are participating in bringing his songs to life. there are about a billion interviews with him on you tube. good examples of the "rock star losing his mind"
Tuesday, July 29, 2008
schizophrenic stravinksy
Hey Guys:
Still waiting on my neurochem. source to confirm some of the hard science, but I'll post this for now and correct later if needs be.
Schizophrenic Stravinsky
There is a special type of neuron in an area of the human brain called the Auditory Cortex. The neurons in the Auditory Cortex combine to make an information cataloguing system know as a Cortigalfugal Network. Musical notes will pass through the ear as vibrations. The brain will interpret these vibrations and translate them into electrical signals.
The neurons in the Cortigalfugal Network prefer, or are most content, with electrical signals they already recognize; signals that combined to create a particular rhythm familiar to the brain. These signals can be described as consonant.
When the neurons in the Cortigalfugal Network receive an electrical signal with which they are unfamiliar (i.e. an irregular, or dissonant rhythm), they are generally adept at processing and familiarizing themselves with this new information. The neurons will store these new signals in their proverbial “libraries.” The unfamiliar signals are now familiar and catalogued. They have become sounds the human mind can accommodate.
Every once in a while, someone like Igor Stravinsky will create music the human mind simply cannot accommodate.
Stravinsky’s sounds send electrical impulses to the brain the likes of which the neurons in the Cortigalfugal Network cannot comprehend. As a result, the neurons over-excite and in a panic release a flood of dopamine into the brain. Too much dopamine can cause schizophrenia.
When Stravinsky sent The Rite of Spring to the minds of listeners for the first time in 1914 (date check that), the listeners’ brains could not process the sounds, their neurons became panicked and subsequently released such huge amounts of dopamine so as to create in the listener what can be described as state of temporary schizophrenia.
FALSE MEDIA sends electrical impulses to the human mind that are the exact opposite of The Rite of Spring, impulses that are so rhythmic and familiar the human mind (i.e. the viewers) cannot help but be lulled into a state of (mass) hypnosis.
Low basic’s performance at the end of FALSE MEDIA sends such a radically dissonant signal to the heads of the viewers, it explodes their minds from hypnosis and makes them go crazy. Low basic resurrects the minds of the viewers, and when the viewers are awakened, the first thing they hear is Josh and Thomas screaming “Low basic! Low basic! Low basic!” over and over again.
Beat your media.
The posts are slowing a bit, let's try to keep a steady pace. At least one thing every other day from each member.
Still waiting on my neurochem. source to confirm some of the hard science, but I'll post this for now and correct later if needs be.
Schizophrenic Stravinsky
There is a special type of neuron in an area of the human brain called the Auditory Cortex. The neurons in the Auditory Cortex combine to make an information cataloguing system know as a Cortigalfugal Network. Musical notes will pass through the ear as vibrations. The brain will interpret these vibrations and translate them into electrical signals.
The neurons in the Cortigalfugal Network prefer, or are most content, with electrical signals they already recognize; signals that combined to create a particular rhythm familiar to the brain. These signals can be described as consonant.
When the neurons in the Cortigalfugal Network receive an electrical signal with which they are unfamiliar (i.e. an irregular, or dissonant rhythm), they are generally adept at processing and familiarizing themselves with this new information. The neurons will store these new signals in their proverbial “libraries.” The unfamiliar signals are now familiar and catalogued. They have become sounds the human mind can accommodate.
Every once in a while, someone like Igor Stravinsky will create music the human mind simply cannot accommodate.
Stravinsky’s sounds send electrical impulses to the brain the likes of which the neurons in the Cortigalfugal Network cannot comprehend. As a result, the neurons over-excite and in a panic release a flood of dopamine into the brain. Too much dopamine can cause schizophrenia.
When Stravinsky sent The Rite of Spring to the minds of listeners for the first time in 1914 (date check that), the listeners’ brains could not process the sounds, their neurons became panicked and subsequently released such huge amounts of dopamine so as to create in the listener what can be described as state of temporary schizophrenia.
FALSE MEDIA sends electrical impulses to the human mind that are the exact opposite of The Rite of Spring, impulses that are so rhythmic and familiar the human mind (i.e. the viewers) cannot help but be lulled into a state of (mass) hypnosis.
Low basic’s performance at the end of FALSE MEDIA sends such a radically dissonant signal to the heads of the viewers, it explodes their minds from hypnosis and makes them go crazy. Low basic resurrects the minds of the viewers, and when the viewers are awakened, the first thing they hear is Josh and Thomas screaming “Low basic! Low basic! Low basic!” over and over again.
Beat your media.
The posts are slowing a bit, let's try to keep a steady pace. At least one thing every other day from each member.
Saturday, July 26, 2008
kiss, kiss thurston's lips
Another nice post. What immediately grabs me about this interview is how well Thurston keeps his composure as he is unexpectedly accosted by this whack-job of an interviewer, who assaults Thurston with some unfair questions. It's pretty obvious to me that this media-jester's original intentions were to sneak attack Thurston and make him look a fool, but Thurston keeps his cool and totally executes a power reversal, where the media-jester is left looking foolish.
I expect Thurston was able to handle this interview with grace because he has likely had ample experience in similar situations. He must, by this point in his career, be a "media-pro."
Imagine how a dude with zero media or interview experience might navigate this situation. Would certainly be different than Josh's post. I'd probably freak out and throw a punch at the media-jester, or call him really mean names because I felt threatened, ambushed and extremely annoyed. I certainly wouldn't be nearly as polite as was Thurston. (Although, I guess he did try to break the album again).
Which reminds me of the inserts from the media-jester's first encounter with a much younger (and likely more inexperienced) Sonic Youth. Interesting to consider the difference in reactions to this jag-bag.
Spot on about CDs being the 8-track of the yuppie generation.
Keep posting.
I expect Thurston was able to handle this interview with grace because he has likely had ample experience in similar situations. He must, by this point in his career, be a "media-pro."
Imagine how a dude with zero media or interview experience might navigate this situation. Would certainly be different than Josh's post. I'd probably freak out and throw a punch at the media-jester, or call him really mean names because I felt threatened, ambushed and extremely annoyed. I certainly wouldn't be nearly as polite as was Thurston. (Although, I guess he did try to break the album again).
Which reminds me of the inserts from the media-jester's first encounter with a much younger (and likely more inexperienced) Sonic Youth. Interesting to consider the difference in reactions to this jag-bag.
Spot on about CDs being the 8-track of the yuppie generation.
Keep posting.
Friday, July 25, 2008
you mean we've met before?
what a weird interview. thurston really nailed it about cds, huh? 8 track of the yuppie generation for sure.
p.s. hope you guys don't mind the abundance of videos i've been posting lately...can you tell i went back to work?
Response to Monks Post
Yes, this is a great video. I think it is very near in spirit to what Low Basic performs at the end of 'False Media.'
Typically, one considers a television performance to be a big break, that will bring lots of exposure. The wise, collected band will likely put their best foot forward in such a situation and play a safe number (usually a well rehearsed, familiar single). What's cool about this Monks performance is this: what the fuck are they doing? Is that a song? Sort of. It's really just crazy noises and screeches with a beat. Their energy is epileptic and dangerous. And they're on (German?) television in the media modest mid-1960s. Certainly not a performance meant to advance their career or broaden their appeal/fan base. But they really don't give a shit.
And that's what makes a performance such as this one startling and fucking fulfilling. I like the idea of a band who powers through something with the holy spirit spurtin' outta them. Sustaining that fragile, volatile energy appears to be an incredible tight-rope walk. It's dangerous because the performance can spin out into chaos at any moment, but that's what makes the music exciting. Especially when it's on living room safe live-t.v. You can't fake that shit. It's real.
Josh, you make some interesting points about audience participation fueling a band's performance. All good things to consider for Low Basic.
p.s. A public service announcement from the Low basic Ministry of Information. The band name Low Basic shall from now on and henceforth appear written as: Low basic. Thank you.
Typically, one considers a television performance to be a big break, that will bring lots of exposure. The wise, collected band will likely put their best foot forward in such a situation and play a safe number (usually a well rehearsed, familiar single). What's cool about this Monks performance is this: what the fuck are they doing? Is that a song? Sort of. It's really just crazy noises and screeches with a beat. Their energy is epileptic and dangerous. And they're on (German?) television in the media modest mid-1960s. Certainly not a performance meant to advance their career or broaden their appeal/fan base. But they really don't give a shit.
And that's what makes a performance such as this one startling and fucking fulfilling. I like the idea of a band who powers through something with the holy spirit spurtin' outta them. Sustaining that fragile, volatile energy appears to be an incredible tight-rope walk. It's dangerous because the performance can spin out into chaos at any moment, but that's what makes the music exciting. Especially when it's on living room safe live-t.v. You can't fake that shit. It's real.
Josh, you make some interesting points about audience participation fueling a band's performance. All good things to consider for Low Basic.
p.s. A public service announcement from the Low basic Ministry of Information. The band name Low Basic shall from now on and henceforth appear written as: Low basic. Thank you.
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