Score! BOX SEATS!

My fabulous neighbor Peter gave us KILLER box seats to the symphony tonight, which featured the Mozarteum Orchestra of Salzbug. They put on a lovely show with two pieces by Mozart, a piano concerto and the “Prague” symphony. Also performed was Beethoven’s Fourth. To my surprise, I couldn’t find a website for the organization.

This was the third or fourth event I’ve attended in Benaroya Hall, and certainly the first for which I was able to enjoy the excellent view from the low balcony.

An interesting aspect of the show was the very expressive performances of the individual players in the orchestra; I think they’d been encouraged to move around with the music. It added a pleasant dimension to the show.

A highlight was the very audible groaning basson-call of someone releasing gas from their intestinal tract during a quiet passage of one of the pieces. It threw my wife into a helpless fit of giggles which she very bravely kept silent. Another was an older gentlemen in the restroom, baffled by the lack of knobs on the sinks. “How the hell do you turn this thing on?” he appealed grouchily. Several people told him that you just put your hands under it, and all the men waiting in line for the urinal had a hearty chuckle at the codger’s expense.

This weekend we paid another visit to a museum, as well: the Burke Museum on the grounds of the University of Washington. The Burke has one of the world’s greatest collections of northwestern Native American art and artifacts, but sadly, not as much of it was on display as I would have liked.

Here’s a VR tour.

On the first floor there were two exhibits. One on the geological and biological history of Washington state features dino skellys and a very cool mastodon skeleton. A bonus was a very knowledgeable elderly docent named Everett Thykens (I think) who regaled us with elephant, mammoth, and mastodon facts including this bit of new-to-me data: once, there were pygmy elephants in Sicily and southern Italy, but the Romans wiped them out.

The other upstairs exhibit is called “the Big One” and it’s about our recent (last year) major earthquake, the history of quakes in the Seattle and Pacific regions, and earthquake safety. It’s a small exhibit, but it rocked, no pun intended. The single artifact on display is a van which was crushed by falling bricks in the 2001 quake, and (since we were fortunate enough to only have a few cars crushed and I think no fatalities) it acheived some media fame; walking in to see the van was indescribably cool. The van is the single most recognizable symbol of the event.

Adding to the beauty of the exhibit is the fact that nearly everyone who walks into it was in the quake; so pretty much everyone starts telling each other their quake stories the second they walk in. The tiny space was full of excited happy people sharing their own stories of not being crushed.

Downstairs was a big ol’ family-of-man type exhibit, emphasizing cultural rituals of ethnicities who have settled in Washington state or are native to it. Or maybe it was more Pacific Rim cultures, come to think of it.

Anyway, my favorite was these incredibly elaborate New Year rockets from Laos. They are Flash Gordon fireworks!

The Burke also has a small cafe on the lower floor which is paneled in unpainted, elaborately carved wood panels made in France in the early 1700’s. It makes for a lovely room, and I’m sure if I go to grad school at UW, I’ll be studying there frequently.

Happy Birthday, Tiny Tim!

April 12th is TINY TIM‘s birthday. He would have turned seventy.

I saw Tim in the context of a “golden oldies” roadshow at Navy Pier in Chicago, at the Festa Polonia (or whatever it’s called), in, um, 1988, the day before I got my tattoos. Oh my, there’s a story in that too.

There were retread versions of Iron Butterfly (yes, they played every note of “Inna Gadda Da Vida”), some Motown acts, etc. But the only performer who delivered an authentic show, full of passionate strangeness and honest sweat; the only one who really was giving everything he had, was Tim.

And against my expectations, he absolutely ruled. He was very strange, but he absolutley ruled the stage and had the crowd under his most peculiar spell.

As he left the stage, Dave, Scott and I all rushed the performers’ path at the side of the stage in a sort of drunken glee, calling out “TI-NY TI-NY TI-NY”. To our surprise, he approached the crowd at the barricade and slowly worked it, shaking hands, chatting, signing autographs. I believe Eric Sinclair must have been there as well.

Even more unpredictably, when he made it to our section, instead of shaking my hand, he very briefly lifted it to his lips and KISSED IT. I then drank very much too much bad beer (as I recall, Bud Lite was the only thing available).

All in all, it was kooky, as was he.

Say, I just realized this is some sort of segue from the Tulip Festival entries, earlier this week. After all, I’m quite sure you can sing part of the chorus of Tim’s monster hit, “Tiptoe Through the Tulips”.

the Velvet Underground

I recently picked up the VU bootleg tapes release, The Quine Tapes and have been enjoying it since. Scott Colburn of Gravelvoice a long, long time ago gave me a tape of some bootlegs from the 1966 “Exploding Plastic Inevitable” tour, and I have always loved the sounds on it; long droning screechy free-improv rock.

While “White Light, White Heat” features something like this, the live stuff is infinitely better, more listenable. Longform rock is always best when it’s a trance-inducing hypnotic loop of indeterminate virtuosity – if there’s no display of prowess to celebrate or focus on, the listener is forced inward.

Lou Reed’s fantastically simple and solid songwriting is also a huge influence on Dale Lawrence of the Gizmos and the Vulgar Boatmen, the most influential musician of the Southern Indiana rock scene of my youth.

Vulgar Boatman discussion group
http://groups.yahoo.com/group/vulgarboatmen/

Dale’s label
www.nonostalgia.com

Gulcher Records (Gizmos reissues)
cdstreet | Gulcher Records

ASTOUNDING! ASTONISHING!

Jethro Burns Mandolin Lessons: FOUR CD’s worth, all free for the taking, in MP3 format.

Truly, the internet provideth all things.

“Jethro? Who dat?”

Homer and Jethro

Jethro Burns was one of America’s great masters of the mandolin. I’m aware that only about three of you are mando players (if you’ll indulge my self-delusion and permit me to call what do with the instrument “playing”), but take my word for it: the only cooler mando lesson find out there would be Bill Monroe doing the same thing.

I’ve been lax concerning matters mandolin hereabouts; I promise, I’ll fix it shortly.

THe GIZMOS: an open letter to Aaron Cometbus

(this bounced, from the email address below. I thought, gee, what the heck?)

To: aaron@cometbus.com
From: Mike Whybark
Subject: on the off chance that this works…
Cc:
Bcc:
X-Attachments:

Once, long ago, Aaron wrote about walking around Indianapolis trying to find people who knew about a band called the Gizmos that had released a song, “I like the Midwest” on the compliation LP “Red Snerts”.

Well, he didn’t find anyone then, but the zine eventually found me, and I had a ton of unreleased material by the band on a tape that was informally known as “the Gizmos Story”.

I meant to send it along, but I’m lame.

Flash forward ten or more years, and the label, Gulcher, that released the original Red Snerts is re-releasing old material and adding on lots of new stuff too.

The first 2 CDs by the Gizmos that Gulcher released are records by a completely different band than the band Aaron once wrote about. They’re interesting, but not my cup o’ tea. Each CD has an exhaustive booklet about this version of the band, due to the band’s surprisingly widespread exposure at the time of the initial record’s release.

The next 2, “The Midwest can be Allright” and “Never mind the Gizmos Here’s the Gizmos” are by the band I love. The first of these two (which features the “official” title of that midwest song) is six or seven songs recorded in 1980 just before the band broke up. “Never Mind” includes all the other released material by this incarnation of the band – from a 1978 EP to the half-album “Hoosier Hysteria” with maybe another track or two. Neither of these CDs has much in the way of written material included.

Gulcher will be selling another CD of unreleased late-period Gizmos material soon, “Real Rock n Roll Don’t Come From New York”.
You can reach Gulcher at gulcherrecords@aol.com.

Dale Lawrence, the late-period band’s primary songwriter, eventually went on to co-lead the Vulgar Boatmen (another band with very complex backstories), and currently (with Jake Smith and Freda Love of the Mysteries of Life) is involved with a label project, www.nonostalgia.com, which will be releasing a Vulgar Boatmen restrospective “soon”.

I hope you eventually see this note.

NPR: Yiddish Radio Project

Oh YEAH!

Yiddish Radio Project

March 26: real audio stream of the episode.

When I was a kid, my family used to listen to public radio rebroadcasts of Golden Age classics: Fibber McGee, the Shadow, The Lone Ranger…

Well, long story short (hard for me, you know), my tastes were formed to include a deep, slavering love of old-time radio. Hearing this kookiness is killer.

I’m struck by the structural similarity of the practice at the heart of this episode (adapting Klezmer tunes to 40’s big band arrangements and rhythms) to what we were doing in the Bare Knuckle Boxers, overhauling traditional irish tunes, stripping them to the chassis, and rebuilding ’em as hot rod rock tunes.

Greg brought in a couple klezmer tunes but we never finished ’em, really. I’m sure he and I will be able to pursue this again soon!

ROCK AND ROLL HIGH SCHOOL

In a wonderful serendipity, since I just got off the phone with Classmates.com, I caught the last half-hour to forty-five minutes of the classic teen rocker flick, “Rock and Roll High School”, which features the Ramones, Warhol scenester Mary Woronov, and the inevitable Clint “Balok” Howard (hmm… The Howard family and Star Trek… haven’t I been here before?), Ron Howard’s I-think younger bro.

Ah, I love this movie. What luck! Shot at the height of the Ramones’ superpowers, the filmmakers made the nearly incredible decision to include nearly an entire albums’ worth of Ramones tunes in their entirety. The centerpiece of the film is a five-or-six song concert in which the songs are presented pretty much as is, live on stage.

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