14 August 2006

WHALEBONE

My friends in Franco and Billy have put their short film 'Whalebone' up at Youtube. If you have 10 minutes and headphones, give this one a whirl.

Pay special attention to the incidental music, as yours truly came up with it. The 'Theme from Whalebone' actually won Best Theme Song for a Short Film at the 2003 "Grammys".*





*This is true. Just don't confuse these Grammys with the ones you've heard of. These Grammys are short for 'Gramamines', and are the award show I play over and over in my mind when I can't sleep. Other categories include 'Best Breasts' and 'Best Superpower'.

11 August 2006

ROCKDOCS

Can I start with an aside, Shakespeare? The interiors of my East Village apartment building have just been freshly painted. all the trim is shit brown, and the walls are pale dead-flesh white. The fluorescent lighting isn't helping much; I feel like I'm living in a mint chocolate chip ice cream box that was built by Willy Wonka but ended up in the morgue on an episode of Quincy. If that makes no sense, come visit me. Especially if you comment anonymously.

To the content:

Lincoln Center screened a handful of documentaries about rock bands this week; I saw a couple of them. 'Does Everyone Stare' was filmed almost exclusively by Police drummer Stewart Copeland on a Super 8 video camera he bought when the band first formed. It's a pretty ugly looking video, but it appears that Stewart actually experienced the Police's thrust forward into world fame through his camera's eye, probably because he wasn't able to handle it in person. It's really voyeuristic, and breathtaking at points--I don't think I've ever seen a better document of what it's like to be in a band that explodes. There's a sequence where the band is trying to load into a car amidst a sea of 'We Want Sting' fans. After rushing through the fans into the waiting car, Stewart coolly neutralizes the fanatic throngs with an eerily detached subtitle (paraphrased): "We grew accustomed to the rhythms the crowds would beat out on the car as it drove away." And as they drive away, the car beats are deafening--it really is screaming fans bang on the side of the car. I don't think I've ever seen a better explanation of how tiresome and depersonalizing rabid stardom can be, and I now know why you can't approach celebrities. My starfucking days are marked.

At the same time, the documentary reveal the Police to be a conniving, market-positioning band from the start, which depressed me, because they were such good musicians. I can name dozens of people who count Andy Summers and Stewart as influences; and let's face it, Sting could sing. Despite a blistering performance of 'Next to You', where Stewart wisely hands his camera off to a lackey, I'm watching a band with a profit motive from day 1 unfold. Kinda depressing.

The antidote was the Mission of Burma film 'Not a Photograph'. MoB had a brief history in the late 70s early 80s, but are like the Velvet Underground in the legions of bands who they inspired. And the documentary shows them to be an extremely likeable band who challeged themselves, broke up amicably when guitarist Roger Miller succumbed to tinnitus, and reunited 19 years later without missing a beat. (The movie doesn't make enough of this, but they've put out two albums since reforming that are on par with their great work from the early '80s--2004's onOFFon and this year's The Obliterati.)

Ultimately, this movie left me wanting, too. Part of the problem is that the guys in the band are super humble, and don't want to talk about themselves. So how does bassist Clint Conley, who had never written a song in his life before he join the band, write the three most recognized, iconic Burma songs? (Academy Fight Song, That's When I Reach for My Revolver and That's How I Escaped my Certain Fate for those of you playing along at home.) The movie doesn't even ask him. Which is all the more glaring when his wife reveals that he met him after the band broke up the first time, and he *never* picked up an instrument in the 19 years the band was on hiatus. (does everyone stare?)

There's lots to offer in these films for fans of the Police or Mission of Burma, but I'm curious how people who aren't fans will react. There's no moment in the Police documentary that stumps for 'Synchronicity', as Stewart's completely dry-heaving on fame at this point, but it's one of the smartest, most varied pop albums Western culture will ever see. (Synchronicity II has the best lyric ever featured in a song played in heavy rotation on MTV and Friday Night Videos. If you don't work an office job, don't bother commenting.)

The saving grace in the two movies was Peter Prescott, the drummer for Mission of Burma. His interview segments in the movie inspired me to no end. In the 19-year hiatus, he's been bread-lining at a record store in Boston. Near the close of the movie, he intimates that he thinks that after years of underappreciation, his band is unfairly heralded. And he's not sure what is better, being criminally ignored for years, or being faddishly adored for a few weeks. It's maybe the most earnest sentiment I've ever seen displayed by a musician who brushed up against fame (& fortune).

Anyway, Mission of Burma have a fantastic new album out this year, The Obliterati. Seek it out. And fuck The Police (RIP Eazy-E)

10 August 2006

WHY I LOVE SOCCER/NY

9:07 a.m. I'm insanely late to work and am on the uptown 6 train platform, shaking like a palm tree in a hurricane from a food-free coffee blast. I've got my iPod in my hand and am feverishly searching for the 10-15 minutes of music I'll use to speed up my adrenaline drip before I turn into an office lobotomy for 9+ hours.

The train comes. As I'm stepping onto the car, the iPod slips out of my hand and is heading right for the gap between the train and the platform. I bend down to catch it, and my sunglasses pour out of my shirt pocket.

Thanks to a childhood of soccer, I swing my right foot (I'm left-footed) and safely kick my iPod back onto the platform. It skitters about 6 feet, while my momentum carries me onto the train, and two women gape at me. Then their eyes turn to a fixed place outside the door. I follow their gaze, I jump outside the doors and pick my iPod up, it's still working. I reenter the train.

One of the women mouths something...my earbuds are still lodged firmly in my brain. "You wop we woppw op." I take the earbuds out. "You dropped something else." I jump back off the train. Her friend says, "it's on the track". "My sunglasses", I realize. They're gone. I re-enter. The train pulls out.

I sit down a couple seats across from one of the women. Her friend is sitting directly across from her; let's call her Woman 2. I'm checking out the iPod - it still works, and now I really need that 10-15 minutes of music. But she asks me a captivating question:

"Would you have gone down into the tracks to get that iPod?"

I don't have an answer for that. The iPod is a pricey piece of equipment, yes, but not worth a human life. On the other hand, I've spent countless hours loading songs onto that thing so I can paint any moment I'm experiencing with the appropriate hue. So I start rationalizing -- it's rush hour and trains are coming every 2 minutes. But all I need to do is jump down - I'm several feet away from the third rail - grab it, and come back up.

My reverie is broken by woman 2: "I'd jump down there in a second for my iPod, my cell phone."

We get to talking. Her boyfriend has told her there's a recess under the platform to hide in if a train does come. I engage; I ask her what her boyfriend's been down on the tracks for. It turns out he's an MTA employee and knows the minutiae of track jumping. She also confirms that most people don't realize how deep the track is; it's about 6 feet 4 inches. And then Woman 1 puts the question to me again - would I go after an iPod?

I realized the answer hinges entirely on my ability to pull myself out of a 6 foot 4 inch ditch. I've never done that. And if you're down there and a train comes, there's no way to predict how you make out in panic mode.

The conversation ended, and I plugged myself into a song. A couple stops later, they got off and tapped me on the shoulder to say goodbye. I'll never ever ever see them again.

In thses hree minutes, I was reminded yet again why I love living in New York City. We're rats 99% of the time, but when we plan our 1% prison breaks, someone's watching. On top of that, they listen and help us escape.

06 August 2006

CABARET

Last Thursday, I had the unique opportunity to see songs that I'd written performed by entirely different other people. I had put lyrics from a friend of mine to music and recorded them (8 songs in total). She assembled a band, rented out a space in hell's kitchen and put on a show where she performed the songs and interspersed them with monologues.

For awhile, I've been experimenting with the idea of making music for other people. This was my first project of crafting songs completely as a technician, which is a huge jump from writing songs to express myself creatively. It was an alien abduction to sit anonymously in an audience and watch the music spill out to the crowd without any personal control over how they'd be conceived.

To my surprise, I reacted very selfishly - I wasn't concerned with how people would take to the songs. I wrote them for my friend, and she'd already told me she was very happy with how they turned out. I also wasn't concerned about how she'd perform. I was way too worked up over the very irrational concern that the band play them right and sell them with the same conviction I invested in writing them. And the band was fantastic - they learned the songs in 3 weeks, performed them very faithfully to my arrangements, and put on a great show.

But I had a severe case of the nerves letting go of these songs. Do plastic surgeons feel like this, building the perfect nose, and then telling their patients not to become boxers or deviate their septums? I found it hard to let go.

I also realized how talented I am at ripping off Pat Benatar songs and Aerosmith power ballads, and how much more 'successful' I could be if I did so on a regular basis. Look out, mediocrity.

02 August 2006

LESSONS PART III

What a week! I don't know where I've been.

I took my first ever guitar lesson with Charles Bissell from the Wrens. I'd met Charles before; a very good friend of mine turned me onto the Wrens right before their last album 'The Meadowlands' came out. We saw them in North Philly; they played a set of originals and then a set of covers, where they invited audience members up to sing and play. When they launched into 'Don't Change' by INXS, I waited until the whole song was over, and then offered up my rudimentary keyboard skills. they ushered me onstage and we played the whole song over again. For about 3 minutes and 30 seconds, I took the Wrens to a level they've never realized before or since. At least, that's how I saw it.

To the present--The Wrens launched a new website two weeks ago and on it announce that Charles is giving guitar lessons again. I figured there'd be a rush to that front door, but when I showed up he intimated I was the first lesson since he'd made the offer, and thus the first student in 7 years.

Aside about lessons:

I've never had a guitar lesson before. But I learned music theory on piano as a kid. I remember distinctly that my first lesson was a week before my 5th birthday. When I was 7, my parents unleashed a 120-pound manic grad student on me. He lived in Oakland, and he drove me like a garment maker. He'd hold recitals in his apartment and all I can remember is nervousness and dust.

At some point he signed me up for some standardized skills test, where an instructor sat next to me and asked me to play minor 4ths and augmented scales. In my unreliable memory, I remember this taking place on some vacuous plain, somewhere between Cloud City, the labs of NIMH and the video set of Tom Petty's 'You Got Lucky'. I think I passed.

Later he told me I'd be playing a recital and taught me Beethoven's Minuet in G, which I performed on a stage in front of at least 50,000,000 people, and I've never been more freaked out. two weeks later i'm outside playing a spirited game of kickball with friends, and my mom comes outside and tells me my piano teacher is on the phone. WTF? (I didn't know the f word at that point, but I assure you that I said What the F?)

I get on the phone and he tells me that I just earned $25. My reaction is legendary: $25 in 1981 to a 9-year old is like $50 billion to Warren Buffett today.

I ask him about the 'earned' part. He tells me that the recital I freaked out in was a contest, and I came in 2nd place. I lose my shit. (And I'm 9, I still don't know what shit is, either). I had instanteously learned that I was (a) competing, and (b) lost. Enough of piano!

In the deal of the century, I negotiated (a) discontinuation of piano lessons, and (b) a drum set. In return, I gave up nothing. back to the guitar lesson!

The first 30 minutes were a little rough as he sussed out that I had fairly good technique (I had no idea; I must have learned it from watching the misanthrope play for several years). but he was intent on teaching me something, so we finally negotiated a couple scale exercises.

At one point I asked him about how easily knowing scales on guitar translates into playing over actual songs. I don't remember what he answered, I just started playing C - G - F on my guitar and he played over it for about a minute, and the shit he played was better than most of the new music I'll hear all year.

We talked a little politics, made some Yngwie jokes, and discussed the virtue of recording to a click track (the wrens generally don't). I told him I'd seen him play solo, where he records 1-2 guitar loops live and then plays and sings over them. he told me he'd be interested in a more equipment-themed approach at a future lesson, and is also working on getting his laptop set up for recording at guitar lessons. So
I could conceivably be recording ideas with him at future lessons. Fun.