Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Friday, August 22, 2014

Daniel A. Gross - This Is Your Brain on Silence

Silence is in short supply in the modern world. In fact, the World Health Organization has studied the impact of noise pollution and found it can be fatal:
It (the WHO) concluded that the 340 million residents of western Europe—roughly the same population as that of the United States—annually lost a million years of healthy life because of noise. It even argued that 3,000 heart disease deaths were, at their root, the result of excessive noise.
But did you know that your brain is more relaxed in silence than when listening to relaxing music? Or that we can probably add silence to small list of things that cause neurogenesis, the creation of new neurons in the brain [the others being cardiovascular exercise, relational stimulation (meeting new people), solving difficult challenges, and antidepressants]?

The author of this cool article from Nautilus (truly one of the great online magazines!), Daniel A. Gross, mentioned an article from Frontiers in Human Neuroscience in relation to this topic - I will post the full article this morning as this post goes up.

This Is Your Brain on Silence

Contrary to popular belief, peace and quiet is all about the noise in your head.


By Daniel A. Gross | Illustration By Leonard Peng
August 21, 2014

http://static.nautil.us/3898_37db6bb5f1db992df92a919d20757eec.png

One icy night in March 2010, 100 marketing experts piled into the Sea Horse Restaurant in Helsinki, with the modest goal of making a remote and medium-sized country a world-famous tourist destination. The problem was that Finland was known as a rather quiet country, and since 2008, the Country Brand Delegation had been looking for a national brand that would make some noise.

Over drinks at the Sea Horse, the experts puzzled over the various strengths of their nation. Here was a country with exceptional teachers, an abundance of wild berries and mushrooms, and a vibrant cultural capital the size of Nashville, Tennessee. These things fell a bit short of a compelling national identity. Someone jokingly suggested that nudity could be named a national theme—it would emphasize the honesty of Finns. Someone else, less jokingly, proposed that perhaps quiet wasn’t such a bad thing. That got them thinking.

A few months later, the delegation issued a slick “Country Brand Report.” It highlighted a host of marketable themes, including Finland’s renowned educational system and school of functional design. One key theme was brand new: silence. As the report explained, modern society often seems intolerably loud and busy. “Silence is a resource,” it said. It could be marketed just like clean water or wild mushrooms. “In the future, people will be prepared to pay for the experience of silence.”

People already do. In a loud world, silence sells. Noise-canceling headphones retail for hundreds of dollars; the cost of some weeklong silent meditation courses can run into the thousands. Finland saw that it was possible to quite literally make something out of nothing.

In 2011, the Finnish Tourist Board released a series of photographs of lone figures in the wilderness, with the caption “Silence, Please.” An international “country branding” consultant, Simon Anholt, proposed the playful tagline “No talking, but action.” And a Finnish watch company, Rönkkö, launched its own new slogan: “Handmade in Finnish silence.”

“We decided, instead of saying that it’s really empty and really quiet and nobody is talking about anything here, let’s embrace it and make it a good thing,” explains Eva Kiviranta, who manages social media for VisitFinland.com.

Silence is a peculiar starting point for a marketing campaign. After all, you can’t weigh, record, or export it. You can’t eat it, collect it, or give it away. The Finland campaign raises the question of just what the tangible effects of silence really are. Science has begun to pipe up on the subject. In recent years researchers have highlighted the peculiar power of silence to calm our bodies, turn up the volume on our inner thoughts, and attune our connection to the world. Their findings begin where we might expect: with noise.

The word “noise” comes from a Latin root meaning either queasiness or pain. According to the historian Hillel Schwartz, there’s even a Mesopotamian legend in which the gods grow so angry at the clamor of earthly humans that they go on a killing spree. (City-dwellers with loud neighbors may empathize, though hopefully not too closely.)

Dislike of noise has produced some of history’s most eager advocates of silence, as Schwartz explains in his book Making Noise: From Babel to the Big Bang and Beyond. In 1859, the British nurse and social reformer Florence Nightingale wrote, “Unnecessary noise is the most cruel absence of care that can be inflicted on sick or well.” Every careless clatter or banal bit of banter, Nightingale argued, can be a source of alarm, distress, and loss of sleep for recovering patients. She even quoted a lecture that identified “sudden noises” as a cause of death among sick children.



The Quiet Sell: Two wooden armchairs stand on a lake shore in Finland, where marketers have rebranded the Nordic country with a slogan, “Silence, Please.”veer.com

Surprisingly, recent research supports some of Nightingale’s zealous claims. In the mid 20th century, epidemiologists discovered correlations between high blood pressure and chronic noise sources like highways and airports. Later research seemed to link noise to increased rates of sleep loss, heart disease, and tinnitus. (It’s this line of research that hatched the 1960s-era notion of “noise pollution,” a name that implicitly refashions transitory noises as toxic and long-lasting.)

Studies of human physiology help explain how an invisible phenomenon can have such a pronounced physical effect. Sound waves vibrate the bones of the ear, which transmit movement to the snail-shaped cochlea. The cochlea converts physical vibrations into electrical signals that the brain receives. The body reacts immediately and powerfully to these signals, even in the middle of deep sleep. Neurophysiological research suggests that noises first activate the amygdalae, clusters of neurons located in the temporal lobes of the brain, associated with memory formation and emotion. The activation prompts an immediate release of stress hormones like cortisol. People who live in consistently loud environments often experience chronically elevated levels of stress hormones.

Just as the whooshing of a hundred individual cars accumulates into an irritating wall of background noise, the physical effects of noise add up. In 2011, the World Health Organization tried to quantify its health burden in Europe. It concluded that the 340 million residents of western Europe—roughly the same population as that of the United States—annually lost a million years of healthy life because of noise. It even argued that 3,000 heart disease deaths were, at their root, the result of excessive noise.

So we like silence for what it doesn’t do—it doesn’t wake, annoy, or kill us—but what does it do? When Florence Nightingale attacked noise as a “cruel absence of care,” she also insisted on the converse: Quiet is a part of care, as essential for patients as medication or sanitation. It’s a strange notion, but one that researchers have begun to bear out as true.

Silence first began to appear in scientific research as a control or baseline, against which scientists compare the effects of noise or music. Researchers have mainly studied it by accident, as physician Luciano Bernardi did in a 2006 study of the physiological effects of music. “We didn’t think about the effect of silence,” he says. “That was not meant to be studied specifically.”

He was in for a quiet surprise. Bernardi observed physiological metrics for two dozen test subjects while they listened to six musical tracks. He found that the impacts of music could be read directly in the bloodstream, via changes in blood pressure, carbon dioxide, and circulation in the brain. (Bernardi and his son are both amateur musicians, and they wanted to explore a shared interest.) “During almost all sorts of music, there was a physiological change compatible with a condition of arousal,” he explains.

This effect made sense, given that active listening requires alertness and attention. But the more striking finding appeared between musical tracks. Bernardi and his colleagues discovered that randomly inserted stretches of silence also had a drastic effect, but in the opposite direction. In fact, two-minute silent pauses proved far more relaxing than either “relaxing” music or a longer silence played before the experiment started.

The blank pauses that Bernardi considered irrelevant, in other words, became the most interesting object of study. Silence seemed to be heightened by contrasts, maybe because it gave test subjects a release from careful attention. “Perhaps the arousal is something that concentrates the mind in one direction, so that when there is nothing more arousing, then you have deeper relaxation,” he says.

In 2006, Bernardi’s paper on the physiological effects of silence was the most-downloaded research in the journal Heart. One of his key findings—that silence is heightened by contrasts—is reinforced by neurological research. In 2010, Michael Wehr, who studies sensory processing in the brain at the University of Oregon, observed the brains of mice during short bursts of sound. The onset of a sound prompts a specialized network of neurons in the auditory cortex to light up. But when sounds continue in a relatively constant manner, the neurons largely stop reacting. “What the neurons really do is signal whenever there’s a change,” Wehr says.

The sudden onset of silence is a type of change too, and this fact led Wehr to a surprise. Before his 2010 study, scientists knew that the brain reacts to the start of silences. (This ability helps us react to dangers, for example, or distinguish words in a sentence.) But Wehr’s research extended those findings by showing that, remarkably, the auditory cortex has a separate network of neurons that fire when silence begins. “When a sound suddenly stops, that’s an event just as surely as when a sound starts.”

Even though we usually think of silences as a lack of input, our brains are structured to recognize them, whenever they represent a sharp break from sounds. So the question is what happens after that moment—when silence continues, and the auditory cortex settles into a state of relative inactivity.



One of the researchers who’s examined this question is a Duke University regenerative biologist, Imke Kirste. Like Bernardi, Kirste wasn’t trying to study silence at all. In 2013, she was examining the effects of sounds in the brains of adult mice. Her experiment exposed four groups of mice to various auditory stimuli: music, baby mouse calls, white noise, and silence. She expected that baby mouse calls, as a form of communication, might prompt the development of new brain cells. Like Bernardi, she thought of silence as a control that wouldn’t produce an effect.

As it turned out, even though all the sounds had short-term neurological effects, not one of them had a lasting impact. Yet to her great surprise, Kirste found that two hours of silence per day prompted cell development in the hippocampus, the brain region related to the formation of memory, involving the senses. This was deeply puzzling: The total absence of input was having a more pronounced effect than any sort of input tested.

Here’s how Kirste made sense of the results. She knew that “environmental enrichment,” like the introduction of toys or fellow mice, encouraged the development of neurons because they challenged the brains of mice. Perhaps the total absence of sound may have been so artificial, she reasoned—so alarming, even—that it prompted a higher level of sensitivity or alertness in the mice. Neurogenesis could be an adaptive response to uncanny quiet.

The growth of new cells in the brain doesn’t always have health benefits. But in this case, Kirste says that the cells seemed to become functioning neurons. “We saw that silence is really helping the new generated cells to differentiate into neurons, and integrate into the system.”

While Kirste emphasizes that her findings are preliminary, she wonders if this effect could have unexpected applications. Conditions like dementia and depression have been associated with decreasing rates of neurogenesis in the hippocampus. If a link between silence and neurogenesis could be established in humans, she says, perhaps neurologists could find a therapeutic use for silence.

While it’s clear that external silence can have tangible benefits, scientists are discovering that under the hoods of our skulls “there isn’t really such a thing as silence,” says Robert Zatorre, an expert on the neurology of sound. “In the absence of sound, the brain often tends to produce internal representations of sound.”

Imagine, for example, you’re listening to Simon and Garfunkel’s “The Sound of Silence,” when the radio abruptly cuts out. Neurologists have found that if you know the song well, your brain’s auditory cortex remains active, as if the music is still playing. “What you’re ‘hearing’ is not being generated by the outside world,” says David Kraemer, who’s conducted these types of experiments in his Dartmouth College laboratory. “You’re retrieving a memory.” Sounds aren’t always responsible for sensations—sometimes our subjective sensations are responsible for the illusion of sound.

This is a reminder of the brain’s imaginative power: On the blank sensory slate of silence, the mind can conduct its own symphonies. But it’s also a reminder that even in the absence of a sensory input like sound, the brain remains active and dynamic.

In 1997, a team of neuroscientists at Washington University was collecting brain scan data from test subjects during various mental tasks, like arithmetic and word games. One of the scientists, Gordon Shulman, noticed that although intense cognition caused spikes in some parts of the brain, as you’d expect, it was also causing declines in the activity of other parts of the brain. There seemed to be a type of background brain activity that was most visible, paradoxically, when the test subject was in a quiet room, doing absolutely nothing.

The team’s lead scientist was Marcus Raichle, and he knew there were good reasons to look closer at the data. For decades, scientists had known that the brain’s “background” activity consumed the lion’s share of its energy. Difficult tasks like pattern recognition or arithmetic, in fact, only increased the brain’s energy consumption by a few percent. This suggested that by ignoring the background activity, neurologists might be overlooking something crucial. “When you do that,” Raichle explains, “most of the brain’s activities end up on the cutting room floor.”

In 2001, Raichle and his colleagues published a seminal paper that defined a “default mode” of brain function—situated in the prefrontal cortex, active in cognitive actions—implying a “resting” brain is perpetually active, gathering and evaluating information. Focused attention, in fact, curtails this scanning activity. The default mode, Raichle and company argued, has “rather obvious evolutionary significance.” Detecting predators, for example, should happen automatically, and not require additional intention and energy.

Follow-up research has shown the default mode is also enlisted in self-reflection. In 2013, in Frontiers in Human Neuroscience, Joseph Moran and colleagues wrote the brain’s default mode network “is observed most closely during the psychological task of reflecting on one’s personalities and characteristics (self-reflection), rather than during self-recognition, thinking of the self-concept, or thinking about self-esteem, for example.” During this time when the brain rests quietly, wrote Moran and colleagues, our brains integrate external and internal information into “a conscious workspace.”

Freedom from noise and goal-directed tasks, it appears, unites the quiet without and within, allowing our conscious workspace to do its thing, to weave ourselves into the world, to discover where we fit in. That’s the power of silence.

Noora Vikman, an ethnomusicologist, and a consultant on silence for Finland’s marketers, knows that power well. She lives in the eastern part of Finland, an area blanketed with quiet lakes and forests. In a remote and quiet place, Vikman says, she discovers thoughts and feelings that aren’t audible in her busy daily life. “If you want to know yourself you have to be with yourself, and discuss with yourself, be able to talk with yourself.”

“Silence, Please” has proven to be the most popular theme in Finland’s rebranding, and one of the most popular pages on VisitFinland.com. Maybe silence sells because, so often, we treat it as a tangible thing—something easily broken, like porcelain or crystal, and something delicate and valuable. Vikman remembers a time when she experienced the rarity of nearly complete silence. Standing in the Finnish wilderness, she strained her ears to pick out the faintest sounds of animals or wind. “It’s strange,” she says, “the way you change. You have all the power—you can break the silence with even with the smallest sounds. And then you don’t want to do it. You try to be as quiet as you can be.”


~ Daniel A. Gross is a freelance journalist and public radio producer who writes about history and science.

Sunday, July 13, 2014

Elliott Smith’s “Roman Candle” Turns 20: Secrets of an Accidental Masterpiece

The 20th anniversary of a brilliant album by a brilliant musician who died far too young.

“Roman Candle” turns 20: Secrets of Elliott Smith’s accidental masterpiece

The complicatedly charming behind-the-scenes story of a heartbreaking album that launched a singular talent 


 

"Roman Candle" turns 20: Secrets of Elliott Smith's accidental masterpiece
All photos courtesy of JJ Gonson Photography, except where noted.
(Click the photos to view them full-size)

Elliott Smith’s archetypally indie “Roman Candle” album turns 20 years old on Monday. Looking back from a two-decade distance, it’s a case of art rising above conditions, like a kid given a screwdriver and building a chapel. Cavity Search Records co-founder Denny Swofford, who brought the record out, called the sound quality “perfectly bad.” The songs themselves were just plain perfect.

Elliott and the friends with whom he recorded in middle school in Texas
(photo courtesy of Dan Pickering)

The album’s latent story is complicatedly charming. “Roman Candle” wasn’t meant to be a record. If it’s a masterpiece of its form — literally homemade, recorded on zero budget, featuring four unnamed songs — it’s an accidental masterpiece. The very best kind, in other words. Maybe the only kind. No one ever plans a masterpiece.

Heatmiser publicity shot
(L-R: Tony Lash, Brandt Peterson, Neil Gust, Elliott Smith)

Since middle school in Texas on a friend’s dad’s borrowed four-track Elliott had been learning and writing and recording songs, a mix of Rush covers (he adored Rush, as a lot of musically gifted kids do) and originals (songs like ”Inspector Detector,” “Ocean,” “Outward Bound,” “#37″). He moved to Portland, Oregon, at age 14, where he attended Lincoln High School downtown and formed the band Stranger Than Fiction with songwriting partner Garrick Duckler, a brilliantly precocious lyricist, fond of writers like Pinter and Kafka. They played live now and then — at Duckler’s girlfriend’s 16th birthday party, for club gatherings (where they once shouted out, “Live from the Russian Club!”). Several cassettes followed, also recorded on various four-tracks, some sold at a local record store called Djangos. The songs were dense, complex, multi-sectioned, a blend of political satire (inspired by Duckler) and introspective soul-scouring. The process, then, was this: Duckler wrote words, and he passed them along to Elliott, who, with astonishing effortlessness, put the words to music. Now and then Elliott wrote his own lyrics but he never really liked them. In fact, he thought they sucked.
Elliott and JJ Gonson

In college at Hampshire, Elliott did what he’d always done — he started another band, Heatmiser, with gifted guitarist friend Neil Gust. What’s clear, from seventh grade on, is the force of the need to create. No matter where he was, no matter who he was with, no matter how hospitable the conditions, Elliott wrote and recorded music. This was easily the surest thing in his life. It never stopped, and it almost never failed him. Heatmiser gigged in college, they wrote and composed (even joke songs like “The Dicks on D-3,” about dipshits living below them), they recorded in dorm stairwells where the sound was thickest, but they didn’t take off until Elliott and Gust brought the band to Portland in the early ’90s, adding drummer Tony Lash (who’d also played in Stranger Than Fiction) and Oberlin bassist Brandt Peterson.

7-inch, Cavity Search Records

Early ’90s Portland warrants an essay all its own. Overripe, chaotic, heroin-infused venues like Satyricon hosted fresh, adventurous, intensely original bands — Hazel, Crackerbash, Pond, Dharma Bums, and eventually, Elliott’s Heatmiser. Virtually nightly Swofford scouted talent. His new label demanded no less. He lived in the clubs. Like everyone else, he adored Hazel immediately, and Cavity Search brought out their first vinyl seven-inch (CSR 1), “J Hell“ (with two B-sides, “Day-Glo” and “Joe Louis Punchout”). By now Swofford also knew Heatmiser well, excited by their “raw, aggressive, crushing sound.” Plus, just as important, “Heatmiser had manners. They understood a little about tact. They could be adult men. They were real people, not dumb kids. Properly reared. A smart band, smart individuals.” A meeting was set in the basement of the house Heatmiser lived and practiced in, on SE 16th in Portland, just off Division (a street Elliott would later reference in more than one song). For CSR 2, Swofford and label co-founder Chris Cooper knew what they wanted: Elliott’s song “Stray.” After a bit of back and forth, everyone agreed. The pressing was white vinyl, and in keeping with Heatmiser’s scrupulously 50/50 songwriting arrangement, the B-side went to Gust (“Can’t Be Touched”). “Stray” is worth a serious listen. Not only is it vintage Heatmiser, it captures Elliott in barking, throaty Joe Strummer mode, universes away from the more Chet Baker vocal style he’d later unveil on “Roman Candle.”

Two Heatmiser albums followed (“Dead Air,” “Cop and Speeder”), both put out by Cavity Search. Boston transplant JJ Gonson signed on as band manager (and later became Elliott’s girlfriend). There were publicity shots, van tours, interviews in small weeklies, and a growing sense of possibility – -this was something that could go big. Yet on the side, without fanfare, without clear intention, Elliott was busy with what Gonson called “note-taking” — writing and, as usual, recording songs, tunes that didn’t fit the chugga-chugga format. At Heatmiser shows it was difficult setting sound for Elliott’s vocals, according to friend Sluggo. He sang too softly, got buried in the mix. The new, solo songs posed no such problem. Mostly they were Elliott and guitar, vocals up front, as if he were singing right in your face.

Elliott’s Hampshire College ID photo, 1987

“Roman Candle” was homemade, but it was JJ Gonson’s, not Elliott’s, home (later owned, a little miraculously, by the Shins’ James Mercer). The mics were Radio Shack, the monitor courtesy of JJ, who traded a vintage Schwinn bike for it. One guitar Elliott used was a toy model by the name of “Le Domino.” Elliott set up to record in the basement, also in the stairwell. Bit by bit the songs came, scraped out, tape-hissy, intimate.

It’s funny, well after the fact, to survey initial reactions. In a word, everyone was nonplussed. Gonson played the tape for mutual friend Sluggo. “I didn’t really have a response,” Sluggo says. “The songs didn’t blow me away. I was used to Heatmiser, and this was nothing like that. So I didn’t know what I thought.” Swofford was a rabid Heatmiser champion. Initially, he too was bewildered, and the sound, he felt, “totally sucked.” But he kept listening, he keep feeling more and more charmed, more astonished, and gradually the sound seemed less a minus than a plus. The songs themselves, in other words, made the sound irrelevant. They were something like a flawless photograph taken with a bad camera.

Elliott with “Le Domino,” the guitar he used on “Roman Candle”

There has always been some question as to whether Elliott knew the songs were being spread around and casually promoted. Gonson says, “He didn’t know, but he also didn’t not know.” At any rate, he played them himself for Hazel’s Pete Krebs as the two worked a shit job scraping paint off ceilings. And apparently he mentioned to Chris Cooper, Swofford’s partner, that he might be down for bringing out a seven-inch single. It was a dicey situation. Heatmiser was building a following, searching out opportunities; Elliott’s ambivalence was therefore rather intense.

In the end, the songs decided. They were too good to suppress. Swofford bought wine, and he and Elliott reached a handshake agreement. No paper, no actual contract. Elliott wanted it that way. It somehow, one imagines, made the whole thing seem less official. No one expected the record to do much anyway.

Full “Roman Candle” record cover

“Roman Candle” was a departure — from Heatmiser — but it was also a return, of sorts, to a sound and style almost no one, to this day, knows anything about. In between his freshman and sophomore years of college, Elliott formed and recorded with a band — although assemblage of old friends seems more accurate — called Murder of Crows, including Duckler again (who was still in Portland on summer break from Reed College). This was, essentially, a continuation of Stranger Than Fiction, yet with tighter, more compact songs and quite a bit less instrumentation. The tape they made (in 1988) is called “The Greenhouse,” and only those who happened to be around at that time seem to have heard it. Most notably, it includes “Condor Avenue,” which also appears on ”Roman Candle.” There are interspersed falsetto harmonies, the song’s vibe and structure largely identical to the later version, with one spectacularly jarring exception — Elliott’s voice. The vocals sound exactly like a very lo-fi demo of a slightly congested Elvis Costello covering Elliott Smith. People who heard Elliott play in college have said it was almost painful to listen to him sing. He had a hard time staying in key. On “The Greenhouse,” he’s clearly in key, but he sounds nothing like himself (except, perhaps, on one tune called “Shotgun,” where he seems to drop the Costello impersonation). Something people who hear and love Elliott Smith often refer to is the purity and tone of his voice. What they do not know is that it was a very inauthentic instrument early on. A mystery — one I don’t really know the answer to — is how he gradually arrived at his signature style. Hearing the early recordings, it’s astonishing that he did at all.

Then there’s the matter of the lyrics. As with all songs on “The Greenhouse,” “Condor Avenue” was written by Duckler. I don’t have permission to reprint the first set of lyrics here, and some are hard to make out, but it’s clear roughly every other line remains intact in the “Roman Candle” version, either verbatim (“rhythmic quietude,” “I don’t know what to do with your clothes or your letters”) or fractionally. For instance, the first line is the same, except that the car is never named. The setting also does not change. Something is happening at a fairgrounds, and it’s going to alter the girl main character.

What’s unknown is how much of the final version was written by Elliott. Did he take Duckler’s lyrics and revise slightly, or did Duckler? I don’t know. And Duckler, for his part, does not care. He told me he kept contributing lyrics even up through Elliott’s “Figure 8″ record, but he never kept track of how many, and he never asked for credit. For Duckler, the invisible collaboration was a simple and clear continuation of an exceptionally close and private relationship. Was it peculiar that his contributions were never acknowledged? A little. Did it rankle or anger him? No. Anyway, it was nothing new. “Junk Bond Trader,” Everybody Cares, Everybody Understands,” King’s Crossing” — all had their origins in high school or college compositions that Elliott returned to and remade.

Elliott goofing off in Portland

The record features more collaborations, with friends pitching in here and there. Gonson wrote the music for “No Name #1,” Tony Lash helped with mixing, and Hazel’s Pete Krebs shows up on “Kiwi Maddog 20/20,” a drawling country acid tune. Its subject is bad wine. It sounds like the dizzy, nauseous morning after, an aural approximation of bed spins. So, with “Roman Candle,” it’s not as if Elliott pulled some sort of proto-hipster version of Emily Dickinson, burrowing himself away into Gonson’s basement and secretly, entirely independently, crafting fragile, twee tunes. The record implies its Zeitgeist. It’s a product of a place and time, and it’s also a defining moment — a hybrid, in other words, of a past and a possible future, continuous and discontinuous.

Heatmiser
(L-R: Elliott Smith, Neil Gust, Tony Lash, Brandt Peterson)
(courtesy of JJ Gonson photography)

“Roman Candle” kicks off with an acoustic guitar sound of hornets swarming and attacking. It may be the one moment of active assertiveness, Elliott repeating “I want to hurt him, I want to give him pain.” This sort of mind-set quickly drops off, replaced by its opposite: a desire to disappear, either with booze, sleep, or by slipping out quietly and unseen into nullifying night. The theme is oblivion. It’s a desired state. People feel “spooky and withdrawn,” they “leave alone,” they “don’t belong,” they get turned into “whispers,” they arrive “too late,” “ready to hide,” they “walk away, that’s all [they] do,” “home to oblivion.” It’s as if everyone’s “underwater” or “buried in sand at the beach.” At one point Elliott sings, “When I go, don’t you follow”; live alone “with your pain.” Even the record cover follows suit. Elliott’s not on it. It’s Neil Gust and a girl.

Everyone has his personal favorite. For me, it’s “Last Call,” the penultimate tune. It’s electrified, so it leaps out, great winding lead guitar loitering around the sung melody like a pissed off friend. In some ways the song returns to the title track, but here Elliott loses. He’s sick of it all, he’s “sick of your sound, sick of you coming around.” But he’s done, the unnamed “tongueless talker” nemesis having “won” — “you can switch me off safely.” He drinks himself into “yesteryear.” He waits for sleep to overtake him —  “I wanted her to tell me that she would never wake me.”

When Cavity Search brought the record out hopes were not exactly high. Swofford had no idea what to expect. Odds were split — it could go nowhere or modestly somewhere. Elliott toured in support of the record. Something about his humility, combined with a sort of sincerely intense vulnerability, quieted the small crowds who came. The record itself is full of “whispers.” Fans listened hard, as if every line was a fraught, sotto voce secret. It’s funny, because lyrically Elliott is always declaring let’s just forget about it, let’s not talk about it. When people whisper, it tends to be “quiet terror news.”

The Greenhouse Sleeve — Cassette sleeve from Murder of Crows release
1988, with first appearance of Condor Avenue
(photo courtesy of Glynnis Fawkes)

This would be Elliott’s leitmotif: elliptical, sideways truth telling. There’s a saying: If you don’t know what you’re talking about, speak loudly. What Elliott did was whisper, because he knew.

Saturday, July 05, 2014

Watch John Coltrane Turn His Handwritten Poem Into a Sublime Musical Passage on "A Love Supreme"


Via Open Culture, of course. I had no idea that this piece (the 4th movement, "Psalm," on A Love Supreme) was John Coltrane's translation of his own poem into such a sublime piece of music. Amazing.

Watch John Coltrane Turn His Handwritten Poem Into a Sublime Musical Passage on A Love Supreme

in Music, Poetry | July 4th, 2014


On Vimeo, James Cary describes his video creation:
A few years ago, knowing I absolutely adored the John Coltrane album, “A Love Supreme” my wife gave me this incredible book by Ashley Kahn : “A Love Surpreme/The Story of John Coltrane’s Signature Album.” Reading the book, I discovered something remarkable: the fourth movement, Psalm, was actually John Coltrane playing the ‘words’ of the poem that was included in the original liner notes. Apparently he put the handwritten poem on the music stand in front of him, and ‘played’ it, as if it were music. I immediately played the movement while reading the poem, and the hair stood up on the back of my neck. It was one of the most inspirational and spiritual moments of my life.
I’ve seen some nice versions of this posted on the net, but wanted to make one using his exact handwriting. I also wanted to keep it simple. The music and John’s poem are what’s important. I hope you enjoy this. I hope this inspires you, no matter what ‘God’ you may believe in.
You can find a transcript of the poem below the jump. And while we have your attention, we’d also strongly encourage you to explore another post from our archive: John Coltrane’s Handwritten Outline for His Masterpiece A Love Supreme. Housed at the Smithsonian’s National Museum of American History, this handwritten document captures Coltrane’s original sketch for his 33-minute jazz masterpiece. It’s truly a treasure of American history.

via Ellen McGirt


I will do all I can to be worthy of Thee O Lord. 
It all has to do with it. 
Thank you God. 
Peace. 
There is none other. 
God is. It is so beautiful. 
Thank you God. God is all. 
Help us to resolve our fears and weaknesses. 
Thank you God. 
In You all things are possible. 
We know. God made us so. 
Keep your eye on God. 
God is. He always was. He always will be. 
No matter what…it is God. 
He is gracious and merciful. 
It is most important that I know Thee. 
Words, sounds, speech, men, memory, thoughts, 
fears and emotions – time – all related … 
all made from one … all made in one. 
Blessed be His name. 
Thought waves – heat waves-all vibrations – 
all paths lead to God. Thank you God. 

His way … it is so lovely … it is gracious. 
It is merciful – thank you God. 
One thought can produce millions of vibrations 
and they all go back to God … everything does. 
Thank you God. 
Have no fear … believe … thank you God. 
The universe has many wonders. God is all. His way … it is so wonderful. 
Thoughts – deeds – vibrations, etc. 
They all go back to God and He cleanses all. 
He is gracious and merciful…thank you God. 
Glory to God … God is so alive. 
God is. 
God loves. 
May I be acceptable in Thy sight. 
We are all one in His grace. 
The fact that we do exist is acknowledgement of Thee O Lord. 
Thank you God. 
God will wash away all our tears … 
He always has … 
He always will. 
Seek Him everyday. In all ways seek God everyday. 
Let us sing all songs to God 
To whom all praise is due … praise God. 
No road is an easy one, but they all 
go back to God. 
With all we share God. 
It is all with God. 
It is all with Thee. 
Obey the Lord. 
Blessed is He. 
We are from one thing … the will of God … thank you God. 
I have seen God – I have seen ungodly – 
none can be greater – none can compare to God. 
Thank you God. 
He will remake us … He always has and He always will. 
It is true – blessed be His name – thank you God. 
God breathes through us so completely … 
so gently we hardly feel it … yet, 
it is our everything. 
Thank you God. 
ELATION-ELEGANCE-EXALTATION
All from God. 
Thank you God. Amen. 

JOHN COLTRANE – December, 1964

Thursday, April 10, 2014

Animated Video: Johnny Cash Explains Why Music Became a Religious Calling

If you are a fan of the late Johnny Cash, this is a cool little animated video. As always, this is courtesy of Open Culture, the curators of cool on the interwebs.

Animated Video: Johnny Cash Explains Why Music Became a Religious Calling


April 9th, 2014


Blank on Blank is back with another animated video. This one animates a long lost interview with the great Johnny Cash. Interviewed by Barney Hoskyns back in 1996, Cash talked about music as a religious calling. Playing music was akin to preaching the gospel, and he knew he’d continue making music until his final days. Should we be surprised then, that seven years later, Cash completed more than 60 songs during the last four months of his life? He died with his boots on indeed.

Below we’ve highlighted for you some great Johnny Cash material from our archive.

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Monday, April 07, 2014

Nine Inch Nails on Austin City Limits (April 5, 2014)


Courtesy of Rolling Stone, we get to see the video performance of Nine Inch Nails that aired on Austin City Limits Saturday night. They recorded 19 songs in their live show, 10 of which made it onto the show. There is also a 15-minute interview with Trent Reznor - a real bonus for fans.

photo by Scott Newton

Enjoy!

Watch Nine Inch Nails' 'Austin City Limits' Show

The show also posted a 15-minute interview with Trent Reznor, in which he explains why he has shied away from television concerts



By Kory Grow
April 7, 2014

It may have taken Nine Inch Nails a quarter of a century, but the industrial rock pioneers played the first television-specific concert of their career last week on Austin City Limits. The full, hour-long concert is now streaming here. The band's set list drew tracks from its 1989 debut, Pretty Hate Machine, as well as Year Zero, The Fragile and The Downward Spiral, but it weighed most heavily on the group's most recent album, 2013's Hesitation Marks. In fact, the group played 19 songs at Austin, Texas' 2,750-person-capacity Moody Theater for the taping, 11 of which were from Hesitation Marks, but only 10 songs made it to air. The show also put one outtake, Hesitation Marks' "Satellite," online.

Prior to the taping, Austin City Limits released an impossibly short comment from frontman Trent Reznor about the taping: "We've waited a long time to do anything like this." But now the show has also posted a 15-minute interview with Reznor, viewable below. "I've shied away from really any television, live or otherwise, because I think a lot about the context in where you hear the performance and the experience that the audience goes through," he said. "And we spent a lot of time thinking about that before tour, how we're going to present it, and a lot of emphasis goes into production and the right setting. So you're coming into our place and we're framing the music in an experience that's special. It's an event, it's a thing."



Here is the set list that aired from Nine Inch Nails' Austin City Limits performance:
"All Time Low"
"Sanctified"
"Came Back Haunted"
"Copy of A"
"The Frail"/"The Wretched"
"The Big Come Down"
"In This Twilight"
"While I'm Still Here"
"Hurt"

Related

Monday, March 10, 2014

John Hammond - The Search for Robert Johnson


Robert Johnson is one of legendary blues guitarists of the Mississippi Delta Blues tradition - and we know very little about his life and his death at the age of 27. Largely forgotten until the 1960s, Johnson's blues style and guitar skill influenced a generation of guitarists and musicians, including Keith Richards, Jeff Beck, Eric Clapton, Jimmy Page, and many others.

This documentary by John Hammond tries to trace the life of Johnson with the limited and contradictory information available, As an added bonus, I have included the Radiolab episode (from NPR) on the "crossroads" myth on Johnson's skills.

The Search for Robert Johnson

Uploaded on Mar 14, 2011


A very good bio-doc (from 1992) effort to untangle the life and myths of blues legend Robert Johnson. This is a challenging task, as not a lot is known about Johnson except through his music and through lore. There is speculation at times, but this is inevitable. It still uncovers a lot, from his rejection by his family (blues was the work of the devil) to the darkness of his lyrics and the mysterious circumstances surrounding his death.

I would have preferred the original music of Johnson, but narrator John Hammond does a very satisfactory job in his renditions. Relatively minor players "Honeyboy" Edwards and Johnny Shines give classic delta blues performances that stand out. Appearances by Eric Clapton and Keith Richards help to emphasize Johnson's lasting impact on blues and rock.

Johnson was never interviewed, and his performance was never captured on film. Beside his music, all that are left are oral accounts, peppered by exaggeration and myth. An accurate, objective bio may be impossible to achieve. But The Search for Robert Johnson comes about as close as might be expected, and has great entertainment value as well.
* * * * *

Crossroads

Monday, April 16, 2012



Crossroad at night (eioua/flickr/CC-BY-2.0)

In this short, we go looking for the devil, and find ourselves tangled in a web of details surrounding one of the most haunting figures in music--a legendary guitarist whose shadowy life spawned a legend so powerful, it's still being repeated...even by fans who don't believe a word of it.

For years and years, Jad's been fascinated by the myth of what happened to Robert Johnson at the crossroads in Clarksdale, Mississippi. The story goes like this: back in the 1920s, Robert Johnson wanted to play the blues. But he really sucked. He sucked so much, that everyone who heard him told him to get lost. So he did. He disappeared for a little while, and when he came back, he was different. His music was startling--and musicians who'd laughed at him before now wanted to know how he did it. And according to the now-famous legend, Johnson had a simple answer: he went out to the crossroads just before midnight, and when the devil offered to tune his guitar in exchange for his soul, he took the deal.

Producer Pat Walters bravely escorts Jad to the scene of the supposed crime, in the middle of the night in the Mississippi Delta, to try to track down some shred of truth to all this. Not because they really thought something spooky would actually happen, but because deep down, there's a part of this story that--as much as the facts fall apart--still feels kind of true.

To help us get close to the real human behind the tall tales, we talk to Robert Johnson experts Tom Graves, Elijah Wald, David Evans, and Robert “Mack” McCormick. And we hear, posthumously, from Ledell Johnson...a man of no relation to Robert, who unintentionally helped the world fall for a blues-imbued ghost story.

Read more:

Saturday, February 22, 2014

The Doors: Live in Denmark & Los Angeles (1968) - Jim Morrison Near His Charismatic Peak


Via Open Culture, the curators of cool on the interwebs.

The Doors Play Live in Denmark & LA in 1968: See Jim Morrison Near His Charismatic Peak


Open Culture | February 21st, 2014


Do they look a bit scruffy, the Doors on live Danish TV in 1968? My image of the Doors is forever colored by Oliver Stone’s The Doors. But the real Jim Morrison had even better hair than his doppelgänger Val Kilmer (“not a case of casting,” quoth Ebert, “but of possession”), even if the above performance is less Lizard King than lounge lizard. John Densmore lays back on the beat, gets out the way of Morrison’s free associative poetry. Guitarist Robbie Krieger riffs intently, looks subdued. Always the one to watch, the recently departed Ray Manzarek plays hypnotic baselines with his left hand while his right dances around melodic blue note phrases. It’s a very cool show, but the lack of an audience is palpable.



Morrison was at his best, and probably also worst, before crowds of admirers. He has no lack of them in another ’68 performance, this time at the Hollywood Bowl. Where the Danish gig is cabaret, this is a shamanistic happening: Morrison wears something like a sleeveless toreador’s jacket and the band plays loud, especially Densmore, who bashes his drums like John Bonham. Jim Morrison seems entranced, and really stoned. Densmore later said he’d just dropped acid: “I could tell once we hit the stage because his movements, his performance, was a little deliberate; a little like he was holding it together. But he was fantastic.”
The Hollywood Bowl is the show to see. It was a magical night. It was a big deal to play the Hollywood Bowl. We were all so excited. We’d had dinner with Mick Jagger just before the show and he was right in the front. For any fan of The Doors — young or old — this is really the way it was; this is the way to see what it was all about.
In neither of these concerts is Morrison quite the unhinged maniac of legend, but things, as they say, had already begun to unravel. Two years later the band would play its last show with Morrison at The Warehouse in December of 1970. Some believe the Doors peaked in 1967 and never topped their debut (a “stoned, immaculate classic” and the dark underbelly of Sgt. Pepper’s sunny psychedelia). I don’t buy that at all. But even if these shows catch them on the start of a decline, it was a long slow burn, and beautiful to watch.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Wednesday, November 13, 2013

The Black Rider: A Theatrical Production by Tom Waits, William S. Burroughs & Robert Wilson (1990)


Awesome! Open Culture rocks.

I have had the soundtrack to this production (or at least an edited version of it) since I was in college the first time. It's great to see the video of the production. The Black Rider has been a relatively unknown entity outside of the small by loyal following of Tom Waits and William Bourroughs.
The Black Rider: The Casting of the Magic Bullets is a self-billed "musical fable" in the avant-garde tradition created through the collaboration of theatre director Robert Wilson, musician Tom Waits, and writer William S. Burroughs. Wilson was largely responsible for the design and direction. Burroughs wrote the book, while Waits wrote the music and most of the lyrics. The project began in about 1988 when Wilson approached Waits. The story is based on a German folktale called Der Freischütz, which had previously been made into an opera by Carl Maria von Weber. It premiered at Hamburg's Thalia Theatre on 31 March 1990. November Theatre produced its world English-language premiere in 1998 at the Edmonton International Fringe Festival in Canada, and the American English-language premiere at the New York International Fringe Festival in 1999. Det Norske Teatret in Oslo staged a Norwegian (Nynorsk) version in 1998, with Lasse Kolsrud as Pegleg.[1] Only the dialogue was translated, the songs were performed in English.

Waits recorded much of the music from the play in different arrangements under the eponymous title, The Black Rider.
Enjoy!

The Black Rider: A Theatrical Production by Tom Waits, William S. Burroughs & Robert Wilson (1990)


November 13th, 2013


Yes, you read correctly: there exists a piece of theater whose production brought together three of the most ardently-followed, iconoclastic creators of recent decades. First staged in 1990 at Hamburg’s Thalia Theater, The Black Rider: The Casting of the Magic Bullets appeared as the fruit of multidisciplinary labor from renowned avant-garde director Robert Wilson, best known for extra-long-form productions like Einstein on the Beach, created with Philip Glass; raggedly American singer-songwriter Tom Waits, a musician with no small theatrical bent himself; and William S. Burroughs, writer of Naked Lunch, Junkie, and other texts that have blown away generations of counterculturally inclined reading minds. They based their tale of a hapless young file clerk in love and his fateful pact with the devil on the German folktale-cum-opera Der Freischütz. Hence the work’s premiere in Germany, and the German dialogue in the television version of the full production above.


But worry not, non-Germanophones; the Waits-composed songs remain in English, and as with anything directed by Wilson, you buy the ticket as much to a striking pure visual experience as to anything else. You can hear and see more from Waits and Wilson about what went into The Black Rider in the half-hour TV documentary just above. (The narrator may speak German, but everyone else involved speaks English.) For a pure musical experience of The Black Rider, pull up Waits’ eponymous album, released in 1993. (See also the bootleg The Black Rider Outtakes.) And now, with twenty years’ distance from The Black Rider’s American debut, maybe we can put the question to ourselves of whether it counts as a streak of poor taste or a stroke of artistic genius to have Burroughs, of all people, pen his own version of a story that — spoiler alert — ends with the protagonist fated to shoot his own bride.

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~ Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on literature, film, cities, Asia, and aesthetics. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall.

Monday, November 11, 2013

Tool - The Ultimate Review - Full Documentary - Plus, a 2012 Live Show in Full


Tool has been one of the most innovative hard rock/art metal bands in the last 20 years. This documentary looks at the history of the band and their origins in the LA "hair metal" scene that revolved around Motley Crue and Guns and Roses.

Besides the raw emotion of their first full album, Undertow (1993), one of the things that grabbed my attention was the use of Brothers Quay style story-telling (created by Adam Jones) in videos for that album. The Brothers Quay are certainly among my favorite film-makers.

Here is the video for "Sober" from the album Undertow:


Tool have also had an on-going collaboration with visual artist Alex Grey, another intriguing artist.

 

Included after the documentary is a bonus live concert from 2012.

Tool - The Ultimate Review - Full Documentary (2008)


Published on Aug 24, 2012

The entire Ultimate Review documentary on one of the greatest bands of the last twenty years, Tool. Features samples and videos of some of Tool's defining songs as well as interviews with people that know and worked with the band well and the band members themselves. A must see for a Tool fan. Made in 2008.

* * * * *

But wait . . . there's more!

Tool ~ Live 2012/01/31 [HD DVD - Full/Uncut Concert] @ Mohegan Sun Arena, Uncasville, CT


Published on Jan 18, 2013

Tool concert. Performed Live @ Uncasville, CT, 01/31/2012. Physical Video Information: 1080 HD Quality/1:41:18 Minutes.

Monday, October 28, 2013

Lou Reed Is Dead at Age 71 (Includes a Live Performance of "Magic and Loss")

Lou Reed during his stint in the Velvet Underground (1967-1970)

As Rolling Stone's Gavin Edwards notes in his video tribute to the music of Lou Reed, who died Sunday of suspected liver failure at the age of 71, 20 Essential Lou Reed Tracks:
After leaving the Velvet Underground in 1970, Lou Reed went to work for his dad's accounting firm as a typist. If he had never played a note of music again in his life, the four albums he made with the Velvets would be enough to establish him as one of rock's leading songwriters and visionaries.
Here is the obituary from Rolling Stone, followed by a video playlist of a live performance of his generally ignored 1992 album Magic and Loss (transformative in my life, and my favorite of all of his work).

Lou Reed, Velvet Underground Leader and Rock Pioneer, Dead at 71

New York legend, who helped shape nearly fifty years of rock music, underwent a liver transplant in May


By Jon Dolan
October 27, 2013

Lou Reed - Lex van Rossen/MAI/Redferns

Lou Reed, a massively influential songwriter and guitarist who helped shape nearly fifty years of rock music, died today on Long Island. The cause of his death has not yet been released, but Reed underwent a liver transplant in May.

Look back at Lou Reed's remarkable career in photos

With the Velvet Underground in the late Sixties, Reed fused street-level urgency with elements of European avant-garde music, marrying beauty and noise, while bringing a whole new lyrical honesty to rock & roll poetry. As a restlessly inventive solo artist, from the Seventies into the 2010s, he was chameleonic, thorny and unpredictable, challenging his fans at every turn. Glam, punk and alternative rock are all unthinkable without his revelatory example. "One chord is fine," he once said, alluding to his bare-bones guitar style. "Two chords are pushing it. Three chords and you're into jazz."

Lewis Allan "Lou" Reed was born in Brooklyn, in 1942. A fan of doo-wop and early rock & roll (he movingly inducted Dion into the Rock and Roll Hall of Fame in 1989), Reed also took formative inspiration during his studies at Syracuse University with the poet Delmore Schwartz. After college, he worked as a staff songwriter for the novelty label Pickwick Records (where he had a minor hit in 1964 with a dance-song parody called "The Ostrich"). In the mid-Sixties, Reed befriended Welsh musician John Cale, a classically trained violist who had performed with groundbreaking minimalist composer La Monte Young. Reed and Cale formed a band called the Primitives, then changed their name to the Warlocks. After meeting guitarist Sterling Morrison and drummer Maureen Tucker, they became the Velvet Underground. With a stark sound and ominous look, the band caught the attention of Andy Warhol, who incorporated the Velvets into his Exploding Plastic Inevitable. "Andy would show his movies on us," Reed said. "We wore black so you could see the movie. But we were all wearing black anyway."

Listen to 20 essential Lou Reed tracks here

"Produced" by Warhol and met with total commercial indifference when it was released in early 1967, VU’s debut The Velvet Underground & Nico stands as a landmark on par with the Beatles' Sgt. Pepper's Lonely Hearts Club Band and Bob Dylan's Blonde On Blonde. Reed's matter-of-fact descriptions of New York’s bohemian demimonde, rife with allusions to drugs and S&M, pushed beyond even the Rolling Stones’ darkest moments, while the heavy doses of distortion and noise for its own sake revolutionized rock guitar. The band’s three subsequent albums – 1968’s even more corrosive sounding White Light/White Heat, 1969’s fragile, folk-toned The Velvet Underground and 1970’s Loaded, which despite being recorded while he was leaving the group, contained two Reed standards, “Rock & Roll” and “Sweet Jane,” were similarly ignored. But they’d be embraced by future generations, cementing the Velvet Underground’s status as the most influential American rock band of all time.

After splitting with the Velvets in 1970, Reed traveled to England and, in characteristically paradoxical fashion, recorded a solo debut backed by members of the progressive-rock band Yes. But it was his next album, 1972’s Transformer, produced by Reed-disciple David Bowie, that pushed him beyond cult status into genuine rock stardom. “Walk On the Wild Side,” a loving yet unsentimental evocation of Warhol’s Factory scene, became a radio hit (despite its allusions to oral sex) and “Satellite of Love” was covered by U2 and others. Reed spent the Seventies defying expectations almost as a kind of sport. 1973’s Berlin was brutal literary bombast while 1974’s Sally Can’t Dance had soul horns and flashy guitar. In 1975 he released Metal Machine Music, a seething all-noise experiment his label RCA marketed as a avant-garde classic music, while 1978’s banter-heavy live album Take No Prisoners was a kind of comedy record in which Reed went on wild tangents and savaged rock critics by name (“Lou sure is adept at figuring out new ways to shit on people,” one of those critics, Robert Christgau, wrote at the time). Explaining his less-than-accommodating career trajectory, Reed told journalist Lester Bangs, “My bullshit is worth more than other people’s diamonds.”

Reed’s ambiguous sexual persona and excessive drug use throughout the Seventies was the stuff of underground rock myth. But in the Eighties, he began to mellow. He married Sylvia Morales and opened a window into his new married life on 1982’s excellent The Blue Mask, his best work since Transformer. His 1984 album New Sensations took a more commercial turn and 1989’s New York ended the decade with a set of funny, politically cutting songs that received universal critical praise. In 1991, he collaborated with Cale on Songs For Drella, a tribute to Warhol. Three years later, the Velvet Underground reunited for a series of successful European gigs.

Read Rolling Stone's 1989 Lou Reed cover story

Reed and Morales divorced in the early Nineties. Within a few years, Reed began a relationship with musician-performance artist Laurie Anderson. The two became an inseparable New York fixture, collaborating and performing live together, while also engaging in civic and environmental activism. They were married in 2008.

Reed continued to follow his own idiosyncratic artistic impulses throughout the ‘00s. The once-decadent rocker became an avid student of T'ai Chi, even bringing his instructor onstage during concerts in 2003. In 2005 he released a double CD called The Raven, based on the work of Edgar Allen Poe. In 2007, he released an ambient album titled Hudson River Wind Meditations. Reed returned to mainstream rock with 2011’s Lulu, a collaboration with Metallica.

“All through this, I’ve always thought that if you thought of all of it as a book then you have the Great American Novel, every record as a chapter,” he told Rolling Stone in 1987. “They’re all in chronological order. You take the whole thing, stack it and listen to it in order, there’s my Great American Novel.”
 * * * * *


When Lou Reed released Magic and Loss in 1992, I was finally beginning to process my father's death (he died in 1980) through poetry (writing), music (listening to), and other avenues, including a spirituality influenced by the Tarot, shamanism, and Jungian psychology.

This is from the review at All Music (linked above):
Reed lost two close friends to cancer within the space of a year, and the experience informed Magic and Loss, a set of 14 songs about loss, illness, and mortality. It would have been easy for a project like this to sound morbid, but Reed avoids that; the emotions that dominate these songs are fear and helplessness in the face of a disease (and a fate) not fully understood, and Reed's songs struggle to balance these anxieties with bravery, humor, and an understanding of the notion that death is an inevitable part of life -- that you can't have the magic without the loss. It's obvious that Reed worked on this material with great care, and Magic and Loss contains some of his most intelligent and emotionally intense work as a lyricist. 
 From there, the review takes the common "But" route to discredit most of what was just said.

The live performance of the album was recorded on VHS and Laser Disc (wow, those were the days). All of the songs, in order, are presented below. The live versions are a little different than the album versions, to both good and bad effect.

Sunday, September 01, 2013

Watch Big Time, the Concert Film Capturing Tom Waits on His Best Tour Ever (1988)

http://1.bp.blogspot.com/--E8p56xWC04/Tc80w-_YUCI/AAAAAAAAq0g/P1rQv2b1Mnk/s1600/tom-waits-big-time-dvd-very-rare-1987-59ff3.jpg

Awesome - happy Sunday! This comes courtesy of Open Culture.

Watch Big Time, the Concert Film Capturing Tom Waits on His Best Tour Ever (1988)

 August 30th, 2013


Here at Open Culture, we’ve often featured the many sides of Tom Waits: actor, poetry reader, favored David Letterman guest. More rarely, we’ve posted material dedicated to showcasing him practicing his primary craft, writing songs and singing them. But when a full-fledged Tom Waits concert does surface here, prepare to settle in for an unrelentingly (and entertainingly) askew musical experience. In March, we posted Burma Shave, an hour-long performance from the late seventies in which Waits took on “the persona of a down-and-out barfly with the soul of a Beat poet.” Today, we fast-forward a decade to Big Time, by which point Waits could express the essences of “avant-garde composer Harry Partch, Howlin’ Wolf, Frank Sinatra, Astor Piazzolla, Irish tenor John McCormack, Kurt Weill, Louis Prima, Mexican norteño bands and Vegas lounge singers.” That evocative quote comes from Big Time‘s own press notes, as excerpted by Dangerous Minds, which calls the viewing experience “like entering a sideshow tent in Tom Waits’s brain.”

Watch the 90-minute concert film in its entirety, though, and you may not find it evocative enough. In 1987, Waits had just put out the album Franks Wild Years, which explores the experience of his alter-ego Frank O’Brien, whom Waits called “a combination of Will Rogers and Mark Twain, playing accordion — but without the wisdom they possessed.” The year before, the singer actually wrote and produced a stage play built around the character, and the Franks Wild Years tour through North America and Europe made thorough use of Waits’ theatrical bent in that era. Its final two shows, at San Francisco’s Warfield Theatre and Los Angeles’ Wiltern Theatre, along with footage from gigs in Dublin, Stockholm and Berlin, make up the bulk of Big Time‘s material. As for its sensibility, well, even Waits fans may feel insecure, and happily so, about quite what to expect. (Fans of The Wire, I should note, will find something familiar indeed in this show’s rendition of “Way Down in the Hole.”)

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~ Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on literature, film, cities, Asia, and aesthetics. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall.