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Saturday, April second, 2011
Well out of a year and a bit of jamming together, John and I have put together something worth listening to (IMO obviously). You can download our demo tape from box.net if you'd like to check it out. (Click the "Download Folder" button to get the tape as one big .zip file.) Streaming here:
Track list
- "Highway 61 Revisited" by Bob Dylan (with a bit of fooling around with the lyrics from yours truly)
- "NJ Transit" by Jeremy
- "Dancing Barefoot" by Patti Smith
- "Revelator" by Gillian Welch
- "Shady Grove," traditional
- "California Stars" by Woody Guthrie and Wilco
- "St. James Infirmary," traditional
Mountain Station is John Hicks on guitar and vocals, Jeremy Osner on Stroh fiddle and vocals. Follow us on Facebook to see new songs when we record them, and works in progress...
 Update -- I am thinking with this post I'll be taking a brief hiatus, a couple of weeks. Thanks for reading, those of you who stop by regularly -- I'll be back, just want a little time off. Please help us find our audience! If you are reading this post and you like the music, I would greatly appreciate links back, from your blog or your rss reader or Facebook, whatever. Help get the word out...
posted evening of April second, 2011: 4 responses
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Thursday, March 31st, 2011
 Eddie Fitzgerald has a funny site. I'm never quite sure what to make of Uncle Eddie's Theory Corner, beyond that Eddie has a wonderful eye for faces, for photos and drawings of faces. Today's post is no exception to the rule -- a bunch of great images tied together with a thread that I don't quite get.
posted evening of March 31st, 2011: Respond
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Slicing Up Eyeballs reports that another new Norwegian disc is coming our way from Robyn Hitchock. (or possibly from the Venus 3? They do not say.) One track is available for listening now! (And another one!) Another track is on the soundtrack of a movie coming out next month! Anticipation...Update: The record will be coming out next weekend and will feature 8 new songs, a re-recording of "Raining Twilight Coast," and a Norwegian-language recording of "Goodnight Oslo."
 *(Note: I had never actually bothered to look at a map and see what this lyric means. Tromsø is at the very top of Norway, inside the arctic circle; Christiansand is on the southern tip of Scandinavia.)
posted evening of March 31st, 2011: Respond
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Wednesday, March 30th, 2011
100 Years of Solitude is a pretty engaging book overall. What is really making the reading experience work for me though, what I'm thinking of as the high points, is the 2-to-5-page narrative sections told in long, quickly flowing paragraphs, anecdotes from Macondo's history. The journey leading up to the founding of the village was one such portion, another is the epidemic of insomniac amnesia which ends when MelquÃades returns to the village. It would be worth while to compile a list of these passages, they seem like the heart of the story to me but I'm not really sure what proportion of the book they make up. It is impossible to stop reading in the middle of one of these passages. Very difficult to quote from them, too -- I want to pick something from the insomnia passage which will communicate its feeling, but I can't quote one sentence without everything around it -- the passage is atomic in a way. Its impact lies in the flow of narrative from image to image rather than in any particular image. Well maybe this: Úrsula has been running a business selling candies shaped like little animals; these animals are how the plague of insomnia is eventually transmitted from the BuendÃa family to the rest of the village -- Children and adults sucked happily on the delicious little green roosters of insomnia, the exquisite rosy fish of insomnia, the tender little golden horses of insomnia, and when the sun rose on Monday, the whole village was still awake.
And, and look at this: Aureliano and his father have been fighting the amnesia by labeling everything in the village with its name and function -- "This is a cow. One must milk it every morning, and must warm the milk and mix it with coffee to make café con leche." A sign in the middle of town states "God exists." After months of this, when MelquÃades (as yet unidentified -- no one remembers who he is) returns, José Arcadio BuendÃa found him seated in the hall, fanning himself with a worn black hat, compassionate and attentive, reading the notes taped to the walls.
posted evening of March 30th, 2011: 2 responses
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Monday, March 28th, 2011
 At the behest of the Wisconsin IWW, Eric Drooker has created posters calling, in a wide variety of languages, for a general strike.
posted evening of March 28th, 2011: Respond
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Yeah, so, just two pictures that I thought go nicely together. One is the work of Scott Beseler from the streets of Covington, Kentucky; the other is one of Stanley's C-ville finds.
posted evening of March 28th, 2011: Respond
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Sunday, March 27th, 2011
I now believe that what most interested me in the novel, was to tell the story of a family obsessed by incest.
— Gabriel GarcÃa Márquez
Interview with Claude Couffon, 1968
Incest is all over the place in 100 Years of Solitude, practically every narrative block contains an incestuous relationship or one that hints at incestuous desires. I wonder what it is doing, what it is signifying? I've always sort of thought of this novel as being about the history of Colombia and about the Spanish conquest of Latin America; I'm not sure what role incest (or inbreeding, or incest and inbreeding as metaphor) plays there. Likely, of course, not a simple metaphor...
It was interesting to watch Máncora last night, a recent Peruvian film about (among other things) an incestuous relationship, and have GarcÃa Márquez in the back of my mind while I was watching it. Not much similarity at all between the two works or between the uses of incest in the two works, but fun to think about how the two different authors are using this device for their own ends. Looks like it's a bit of a central theme for this filmmaker, Ricardo de Montreuil; his other movie is called My Brother's Wife.
(...and now all of a sudden I am thinking about Ada...)
posted evening of March 27th, 2011: Respond
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So after some further reading and reflection, I'm not so convinced that José Arcadio BuendÃa's dream at Macondo is intended as a reference to Jacob's dream at Beth-el... There doesn't really seem to be enough parallels between the two stories to give the reference any weight or any explanatory power. I got the idea from a footnote in the edition of Cien Años de Soledad that I'm reading (ed. Jacques Joset, 2003). Overall the footnotes in this edition seem pretty weak -- or that is to say, there are just unnecessarily many of them. The footnote references Michael Palencia-Roth's book Gabriel GarcÃa Márquez: La lÃnea, el cÃrculo y las metamorfosis del mito -- who knows, maybe a convincing case for the reference is made there. I am glad to have seen the note though, since it led me to reread the story of Jacob (Genesis 27 - 35, roughly), a story which I had by and large forgotten, in the kjv translation and in Crumb's illustrated version, and because I found Blake's painting of Jacob's Ladder -- highly productive weekend research! Reading about Jacob's travels back and forth across what would one day be the Holy Land, I felt distressed -- and remembered feeling this same distress in years past -- by the sheer universality of bad faith in the characters' dealings with one another; a bad faith that seems to me to be most pronounced among those who are identified as blessed by God. Just to take a few of the most brazen, least sympathetic instances -- - (This happens in an earlier chapter, but very much setting the tone for the stories to come) Isaac tells the Philistines, when he and Rebekah are staying with them, that Rebekah is his sister rather than his wife, apparently in the expectation that they will rape her but will not molest him. When this deception is exposed, Abimelech shows himself to be just and honorable, forbidding his subjects from troubling either Isaac or his wife. What is this doing in the Hebrew people's national mythology?
- Jacob, at his mother Rebekah's urging, deceives Isaac into giving him the blessing intended for his brother Esau. (This scene strikes me as pretty comical -- why should the lord's blessing be such a limited resource? Is a blessing bestowed under false pretenses even theologically binding?)
- Rebekah deceives Isaac into thinking she is concerned about the lack of non-Caananite brides for Jacob locally, so that Isaac will send Jacob away and he'll be safe from Esau's vengeance.
- Laban deceives Jacob by sending in Leah in place of Rachel on their wedding night. (And again I am befuddled -- what is Rachel's take on this? Leah years later accuses Rachel of stealing her husband, but that does not seem to be consistent with the rest of the narrative.)
- Jacob and Laban deceive one another many times over in the matters of what Jacob will be paid and how Laban's flocks will be managed.
Etc. -- it just goes on and on. These characters seem to have no uplifting or redeeming qualities aside from their association with the Creator. What the deceptions all seem to have in common is their being inspired by fear and/or greed; I have to wonder what is the function of a national mythology showing its protagonists as being motivated primarily by fear and greed. (And note -- sure lots of national mythologies have deceitful trickster gods in them; but my untutored impression is that when e.g. Anansi deceives someone, it is done in good humor and with a sort of Koanic effect. I don't see that kind of thing operating here.)
posted afternoon of March 27th, 2011: 1 response
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I read a lot this past week about the fire at Triangle Shirtwaist Factory -- and this is a piece of American history that I consider part of common knowledge, something that people (taking myself as an example) are likely to know about without their having any detailed familiarity with the history of the labor movement in the US. (And indeed I did not know a crucial bit of this piece of history until this week, namely that two years prior to the fire, the Triangle company had successfully broken an effort by its workers to unionize.) Of course it is dangerous to extrapolate from my own experience and knowledge to that of people around me. But I want to pursue this for a minute.
Lessie Jo Frazier talks in Salt in the Sand about the process of institutional memory in Chile, whereby the massacre at St. Mary's School of Iquique is remembered as a totem, as a way of forgetting similar repressive events in the history of Chile's labor movement. This is making me wonder if there's a similar process in place here in the US, whereby one factory fire stands in for a whole class of events, a whole period of history, and what memories are lost in this process, what distortions are introduced. I ultimately don't have much to say about this -- I am not a historian and as I say am extrapolating totally from my own experience -- but thought it might be useful to throw out there.
posted morning of March 27th, 2011: Respond
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Friday, March 25th, 2011
At the Triangle Factory in nineteen-eleven.
One hundred and forty-six died in the flames
On the ninth floor, no hydrants, no fire escapes--
—Robert Pinsky, Shirt
Take a moment to commemorate the passing of 146 garment workers in a factory in Greenwitch Village one hundred years ago today. Read Sec'y Solis' observations about what this anniversary means for exploited workers today. And take some time to read about the intimidation critics of the Republican agenda are facing in Wisconsin, and about the organizational clout behind that agenda.
posted evening of March 25th, 2011: Respond
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