WTM #1131: Water2

•14/01/2012 • Leave a Comment

wReck thiS meSS ~ Radio Patapoe 88.3 
Amsterdam ~ Ethno-Illogical Psycho-Radiographies

27.06.11 // 16.45-18.30

“I was bathing my eye…”
• Jimi Hendrix

To have faith is to trust yourself to the water. When you swim you don’t grab hold of the water, because if you do you will sink and drown. Instead you relax, and float. 
• Alan Watts

Listen to Water2

Settlement > Dallas Simpson [Environments / DS]
+ Rainy Day Dream Away > Jimi Hendrix [Electric Ladyland / Reprise]
After Sinking [exc] > Craig Vear 
The Water Wars > Mumia Abu-Jamal
Ocean > Atmo
The Sinking of the Titanic 4 > Gavin Bryars 
Plastic Bottles in the Devil’s Water  > Rennie Foster  vs Miquell Santos
Mediteranné > Cordame [Migration / Actuelle]
Tap Water Flow > Mrlvchenko + Democracy Now
Ocean (SYN049) > Piero Zaffuto & Romano Marini
Water Pump > Dallas Simpson [Em:t / Time Recording]
Water Prayer (Rasta Dub) > Adham Shaikh
Adoration of the Willow [exc] > Dallas Simpson [Environments / DS]
Sinking of the Ososphere-03-10-2009 > Black Sifichi vs Gavin Bryars
Adoration of the Willow [exc] > Dallas Simpson
1983… [A Merman I Should Turn To Be] > Jimi Hendrix
Mermaid dub (feat. Ego) > Riot
The Mermaid of Elsinore > Lehadbik [Via Sinistrae / Black Note]
A Merman [In Reverse] > Jimi Hendrix
Fable of the Mermaid and the Drunks [Neruda ] > Judy Fleeton & Broken Paradox
Immersion > Power Steppers [Dub Clash 96 / Universal Egg]
Polluted Sea (Original) > Andrea Porcu
Cool Drink of Water Blues > Tommy Johnson [Complete Recorded Works / Document]
A Merman [In Reverse] > Jimi Hendrix
The Waters Ritual > Upanishad
The Ocean Doesn’t Want Me Today > Tom Waits
Water Pump > Dallas Simpson
Oceans of radio > MC Pal & b/art

The water wars • Mumia Abu-Jamal from death row
The recent visions of the tsunami rushing, raging, tearing through the Asian coasts has given us all some interesting insights into the truly stunning, and indeed awesome power of water, and how nature’s fury is virtually boundless when unleashed.Yet there is another watery war that is being waged, that may affect the lives of millions, but it garners neither the concern, nor really the attention of the world’s media. The electronic media, especially, thrives on drama and conflict, and seeks pictures and stories which reflect these features.

It also affirms the positions of the privileged, as opposed to the plight of the poor, and powerless. Yet all across the globe, in Africa, Asia, and Latin America–and even here–in North America– people are living under the very real threat of the corporatization of water and water systems. The waters of the earth, which have been, since the dawn of human civilization, for the collective usage of the community, are fast becoming just another commodity–something to sell. If you can afford it, cool. If not, tough.

Michael Stark, a senior executive at US Filter, a subsidiary of the multinational corporation, Vivendi, put it this way: “Water is a critical and necessary ingredient to the daily life of every human being, and it is also an equally powerful ingredient for powerful manufacturing companies.” (Lake)

Veronica Lake, a Michigan-based environmental activist, has noted that corporations acquire the world’s water by three major methods: a.) by “water mining” the underground aquifers, or deep sources of many of the world’s streams or rivers; b.) by leasing state and government water systems and collecting revenues; and c.) by “managing” city water systems. In short, there’s money in water, and where money is, there too are corporations, trying to get paid. That’s the dark, unforeseen and treacherous side of the globalization movement among western governments and corporations. That’s also what privatization really means–taking the common inheritance of nature, and making it into someone else’s private property.

In South Africa, this movement has resulted in more misery for the poor. Indeed, cholera rates are higher now there, than in the days of apartheid. It’s often the result of tough austerity measures imposed by the World Bank or the International Monetary Fund, where governments are privatizing essential services, and the costs of living now means the right to buy water, to live.

Nor is this merely a story for the distant Third World. In Detroit, Michigan, today, some 40,000 people on the southwest side have had their water shut off for non-payment. In many older buildings, water isn’t just the stuff that’s supposed to run through faucets; it also provides steam heat through old radiators. So no water means, no heat. In Detroit. Scholars say that the next world wars will be fought, not for oil, but for water, for it is infinitely more precious. Thankfully, people, all over the world, in South Africa, in Plachimada, India, in Bolivia, in Brazil, in France, Ghana, and Canada, are fighting both their sell-out governments and the corporations for the human right of free access to water. Those of you who have read my earlier pieces may remember my piece on the Bolivian water wars in a place called Cochabamba.

There, a popular group calling itself La Coordinadora de Defensa del Agua y la Vida (Defense Committee in Defense of Water and Life), organized the poor, the homeless, the street walkers, and everyone they could to oppose the corporatization of their water. They ran out the Bechtel corporation. It must spread.
Or else water will become as rare as gold; and as expensive.
Source: Veronica Lake, ‘Corporations Corner Market on Life, Offer Buy-Back: The New World War: Water,’ “Against the Current,” 108,. Jan.-Feb. 2004, 26-31.

One’s experiences with water are usually vague unless you are a swimmer or sailor. The relation is similar to the one we have with our hearts. One is only made aware of the importance or dependence upon it when something goes wrong. Heartburn, a bypass operation, water pollution or flooding…

We are, like the earth, 70% water. We are walking, sweating sponges exuding, gleaming, perspiring water. Any near-death experiences – other than car-related – have all had to do with water, or more precisely, the ocean and swimming in it innocently and naively and enchantingly until it shows a side of nature, of ourselves, of the unpredictable aspect, the precipitous, the chance nature of it and existence – awesome and humbling.

I have almost died 3 times in the ocean but this never traumatized me [for very long]. As a kid of 8-ish, I was swimming and body surfing at Sandy Hook, and suddenly noticed I was in over my head in more ways than one and the dreaded [ignored] undertow actually existed. I felt it. Looked to the sky and you see blue, sun, look to the horizon east and you see your vision cut in half: top bright blue, bottom a frothy but darker more menacing blue. Fun and beach culture obscures all this. Not to mention a child’s ignorance of mortality and it’s profundity.

I remember getting tired and I remember there was a moment when suddenly I went under in water over my head, deep water where the undertow had greedily pulled me – everywhere and in every direction one hears glee and laughter and the screams of awe and pleasure – and suddenly that begins to fade as you grow tired [I tried to write about this some years later when I was 16] and you either give it up or you invent some strategy to save oneself and that I did. You don’t know where the effort or knowledge comes from but I took a deep [last?] breath and dove underwater and pushed and swam towards the shore like a bullet through flesh and when I came up for air I could stand and I could control my watery surroundings once again. When I emerged from the water however I noticed nothing familiar, no familiar faces, sand castles, lifeguards, everything seemed just a bit off, foreign. And when I walked out of the water I realized I was lost. I had no idea where I was in relation to the blanket where my parents lay baking in the sun, where my brother was playing in the sand. I was so lost I just stood so still that my body language must have projected something like anguish and I ran to the lifeguard who was already moving intuitively toward me. He asked if I was OK. I said yes. Are you lost? Yes. And he took my hand and led me to the lifeguard stand where I had to climb up to the top and then the lifeguards whistled loud like an airraid siren, that type of effect. Eyes from all over the beach would turn toward the source of the whistles and I remember my mom came running toward the lifeguard stand and in broken Euro-English explained that I was her son.

This experience was repeated years later when I lived on the Jersey Shore, in Ocean Grove. Excluding the lifeguard part of course. But a near death experience is exhilarating especially emerging from a large body of water like the Atlantic Ocean under a hot sun. I remember heading toward our blanket and me kissing my girl friend profusely in front of who cares how many people and Christians a bit perturbed by a profuse show of affection.

This was later to serve as experiential backdrop to the polemical search for the state of coma as something [artistically] analogous to a coma in my novel OCEAN GROOVE, OCEAN GRAVE:

Or maybe the body floats hypnotically on dark water somewhere. In questo sacre mare, searching for the “reborn paradises of the forgotten sun.” We just have to find where and how far “beyond the solemn geographies of human limits” that somewhere is. Be it Atlantis, the collective unconscious where all the unformed material of human consciousness is stored, or private instants of inexplicable ecstasy or a subworld comprised of “this entire atmospheric essence” or “metarhythms,” (beyond detection) “hidden currents,” or currents below sea level, below consciousness, snugly hugging the contours of thought-becomes-territory.

Listen to selected shows at wreckthismixcloud

WTM #1130: Gil Scott-Heron RIP

•12/01/2012 • Leave a Comment

wReck thiS meSS ~ Radio Patapoe 88.3 
Amsterdam ~ Ethno-Illogical Psycho-Radiographies

13.06.11 // 16.45-18.30


Sunship > John Coltrane [Sunship / impulse]
Real Black WTM > B/art
Rivers of My Fathers > Gil Scott-Heron
The Negro Speaks of Rivers > Langston Hughes
New York City – It’s Your World (1976) > Gil Scott-Heron & Brian Jackson
Shut Em Down > Gil Scott-Heron
Real Black WTM > B/art
I’m New Here  > Gil Scott-Heron
The Revolution Will Be Televised  > Smoove
The Revolution Will Not Be Televised (Buyos Remix 2011) > Soul Rebels
The Revolution Will Not Be Televised > Gil Scott-Heron
On Coming From a Broken Home 1 > Gil Scott-Heron
The Revolution Will Not Be Televised > Gil Scott-Heron + Skip Blumberg
The Revolution Will Be Televised > Black Sifichi vs Negative Stencil [Tick / Noise Museum]
Home Is Where The Hatred Is (1971) > Gil Scott-Heron
+ Amen [backwards] > John Coltrane [Sunship / impulse]
On Coming From a Broken Home 2 > Gil Scott-Heron
B Movie > Gil Scott-Heron
Ascent [variable] > John Coltrane [Sunship / impulse]
+ Hard Facts: Rockefeller’s Your Vice-President and Your Mama Don’t Wear No Draws > Amiri Baraka [Totally Corrupt / Dial-a-Poem]
Ascent [variable] > John Coltrane [Sunship / impulse]
+ Definition of a Poet [Reelblack POET]  > Ursula Rucker
Whitey on the Moon  > Gil Scott-Heron
Real Black GSH WTM > B/art
The Negro Speaks of Rivers > Langston Hughes
Your Soul Or Mine > Gil Scott-Heron
Brother > Gil Scott-Heron
I’ve Been Me (Interlude) > Gil Scott-Heron
The Weary Blues > Langston Hughes
Where Did The Night Go > Gil Scott-Heron
We Almost Lost Detroit- Bridges > Gil Scott-Heron & Brian Jackson
The Revolution Will Not Be Televised (Lunar Disco Remix) > Soul Rebels
I, Too > Langston Hughes
Lady Day & John Coltrane > Gil Scott-Heron
NY Is Killing Me > Gil Scott-Heron and Jamie xx
Revolution Uber Alles > Dead Kennedys vs Gil Scott-Heron vs Who Boys
New York Is Killing Me > Gil Scott-Heron Featuring Mos Def
Real Black GSH WTM > B/arT

Gil Scott-Heron is an important artist who has somehow become devalued by/over time and the zeitgeist [which is characterized by attention-deficit and increased onanistic desires reinforced by social media and entertainment hardware]. The more relevant, the more shoved into a corner, proper for neglect. Was it because he was an outspoken black critic of US culture and government policy and did not play the strict entertainment game. Was it because he was a crack addict? Perhaps. Despite an amoral veneer, the Western and/or American entertainment business is terribly and hypocritically moralistic and demonizes and ostracizes at will those who do not fit their constellation of stars. Could it be that he is black and combined with the above, he created a body of work that was both impressive and imposing, difficult to categorize or make light of. He kept plugging away, ever the gentleman, ever the gracious guy in public, seething and in pain deep inside. Despite some chic protest and some chic beautiful people types doing celebrity activism there is never much room in the entertainment business for acerbic critique despite the musicality, talent, cleverness and jazzy nature of his material. I really, really liked him and I am pathetically to blame for the very thing I despise: raiding the cemetery: we wait until someone dies before we re-notice them, giving them full honors, lots of retrospectives, lots of rereleases [the joke was that when Michael Jackson died he became a better selling artist dead than when alive, certainly when you compare recent years…] and respect – the very things he could’ve used while he was alive. It is as if we are consumer-graverobbers, more comfortable with a dead idol/artist so that we can interpret him in the neat/clean way we want, rather than a messy living person who might disrupt our own need to create streamlined heroes.

Saddest thing is him dying [probably alone] just shortly after this dynamite, powerful, wonderful, revealing, warm, engaging and creative new album comes out…

nice story by someone who knew him: Growing Up With Gil Scott-Heron: In Loving Memory Danny Goldberg, AlterNet

Listen to selected shows at wreckthismixcloud

WTM #1129: Water1

•11/01/2012 • Leave a Comment

wReck thiS meSS ~ Radio Patapoe 88.3
Amsterdam ~ Ethno-Illogical Psycho-Radiographies

30.05.11 // 17.00-18.30

In an age when man has forgotten his origins and is blind even to his most essential needs for survival, water along with other resources has become the victim of his indifference.
• Rachel Carlson

You can’t trust water: Even a straight stick turns crooked in it.
• W.C. Fields

LISTEN To Water1

Schiff ahoi mit der GALLIA > Cyrill Schläpfer [Die Waldstätte / CSR]
The Sinking of the Titanic 1-2 > Gavin Bryars [The Sinking of the Titanic / Point]
Shipwrecked at Sea [damaged] > Beach Boys
Auf Dampferfahrt > Cyrill Schläpfer 
The Sinking of the Titanic 3 > Gavin Bryars
The Sea Calmed Down > Danielle / Palardy / Roger [Pinta Nina & Maria / Actuelle]
Land Ho! / India Which Is Not India > Danielle / Palardy / Roger
Deception … And Melancholy > Danielle / Palardy / Roger
After Sinking WTM in Blue Gold > Craig Vear vs b/art vs Sam Bozzo
Water Music (1979 Exposure) > Robert Fripp
Auf Dampferfahrt > Cyrill Schläpfer
Water / Drowning Dub  > Male Or Female 
Water > Mt Eden Dubstep & Khadafi Dub
Waterfight > Tarwater
The Sinking of the Titanic 4 > Gavin Bryars
Titanic > Pure Sound
Transition No. 1 > Cyrill Schläpfer
Backwater Dub > 100th Monkey
Water + Yoga > DJ Cor Blimey [DJ Cor Blimey & His Pigeon / Conundrum]
California Saga [Cool Water exc] > Beachboys [Holland / Reprise]
Leviathan’s Thema > Cyrill Schläpfer
The Memory of Water > Paul Schutze
Transition No. 1 > Cyrill Schläpfer
Water + The Story of Bottled Water > Anton Zap vs b/art vs storyofstuff.org
Kreuzrichter > Cyrill Schläpfer
The Waters Ritual > Upanishad
Water > Beat Pharmacy vs. Mutabaruka
Eisberg Suite > Cyrill Schläpfer
Rivers of My Fathers > Gil Scott-Heron

Water Research

It is probably no coincidence and a wonder of some consistency that the human ear looks a lot like a shell spit out by that sea and washed ashore. That the sound of water gently dripping, waves shushing across a sandy beach or plunging against a rocky shore or waterfalls, or the sound of rain all have a calming effect and are common ambient details in countless compositions from classical to ambient to downbeats and songs such Riders on the Storm by the Doors. There is a relationship between these sounds of nature and our own relationship to the earth, to our surroundings. It is as if the sounds form a binding material between topography and soul.

The irony, then is the political and economic tension that has arisen around the ownership of water. The failure of capital is best exemplified by the privatization of clean water by corporate interests and added to the effects of globalization + global warming, for which unhindered industry and human consumption are responsible for. As humans drift ever further from their relation to the land in their enhanced [and even lionized] roles as consumers or as underpaid labor too downtrodden and exhausted – and too busy attempting to consume oneself out of this predicament – to care about their immediate surroundings has created the stage for perhaps one of the most intense struggles of the 21st century – the right to clean water…

Listen to selected shows at wreckthismixcloud

WTM #1128: Radio As Bomb

•31/12/2011 • Leave a Comment

wReck thiS meSS ~ Radio Patapoe 88.3 
Amsterdam ~ Ethno-Illogical Psycho-Radiographies
 15.05.11 // 16.45-18.30

Music under present radio auspices serves to keep listeners  from criticizing social realities

Theodor Adorno

Dérive of Geiger’s Counter > B/art [Radio Emits Itself 3]
The Proprietor’s Sensations > B/art [Radio Emits Itself 3]
Interference in the Medium Waveband > B/art [Radio Emits Itself 2]
Sesame Street Martians Radio + WTM ID > Sesame Street Gang vs b/art
Royal Trux Radio IDs > Royal Trux
Radio > Klangwart
Ersatz Filament > Grey Area
Sonic Traveller > DJ Krush
Odd voices over WWVH time signal 10MHz
+ Homegrown RMX > DJ Seepus vs Dubphonic
Torn Eb German WW2 radio noise
Radio Broadcast 1, Resistance 2 San Francisco > Henry Stillman
Lithuanian instrumental music [1983] > DJ Lith
Pirate radio station > Grosse Pointe AM Radio
Sonic Carrier Pigeons > B/art [Radio Emits Itself 2]
Radio report on Yodeling > Korean Radio
Vrije Radio > King Harris
Dutch Radiopirates early 80’s > Reportage
UiS Radio Station ID > Philippines Radio
Apologize for Radio > DJ Anonymous
WFAT 1620 AM Brooklyn, Circa 1980 > Indie Documentary
Some Sort of Dark Force > Sarah Boothroyd [Deep Wireless 3 / NAISA]
Northeastern Provincial Frequencies > Radio Thailand [Transmissions From the Tropical Kingdom / SF]
Tourism Past the Medium Wave > Radio Thailand [Transmissions From the Tropical Kingdom / SF]
Torrential Nostalgia > Radio Thailand [Transmissions From the Tropical Kingdom / SF]
Pirate Radio London, 1994-95 Rush fm > Towerblockradio.com
Grip Radio: A Specific Scandal [exc] > Stephen Lategan [Deep Wireless 3 / NAISA]
Pirate Radio Northsea 3 > Documentary
Irish Pirate Radio, 1988 2 > Documentary

I’m a bit of a nerd, I wouldn’t mind working in a shop selling records, or having a radio show where I could play obscure singles.
• Bjork

Hearing Aid Danger > Radio Blab
Aircheck Chatter on KSOL San Francisco & promoting malt liquor > DJ Sly Stone
Listening to Pirate Radio Stations on 6MHz
Free Radio Service Holland 6400Khz #2
Radio Austria International on FRG 7
Arirang > Radio Pyongyang
Let Me Be Your Radio > Red Dragon Band
Cool Noises > RadioMentale
Random Swedish Radio > Sub Pop
Radio Africa > Latin Quarter
Bad Trip > Bell System [Youth Radio Commercials]
Apologize for Radio > DJ Anonymous
Sonic Carrier Pigeons > B/art [Radio Emits Itself 2]

It’s not true I had nothing on, I had the radio on.
• Marilyn Monroe

Radio is so much a part of my life it has filtered to a strange audio backdrop on the level of perfume, ephemeral aspects of daily life seldom noticed unless something goes wrong. And “luckily” things often go wrong at Patapoe. Equipment is missing, destroyed, beer has been spilled upon it, turntables disappear, you gotta jiggle the cables to get a connection, plugs are defective – all of these things keep you on your best behavior, keep you young or make you old. We haven’t decided which it leads to yet.

The thing about radio is it is anomalous and confusing and full of conundrums and contrary signals. Is radio a booming business or is radio’s best kept secret [by advertisers anyway] that it is an antiquated medium about to give way [commercially] to other sexier media? I think it is going both ways at once. It is becoming ever more an anachronism and yet remains one of the most democratic of media [listeners], while simultaneously remains along with TV one of the most hierarchically and transparency-wise one of the least crackable for normal people. That is only partially true of course because local/community radio is the bone thrown to the common folk, the listeners with a dream or a gripe to pursue their issues. And this works fine old-fashioned as it may be.

So there is actually plenty of room, of ear space, of playground acreage in a metaphoric manner of speaking, for radio that serves another function as audio atelier for those who want to take radio beyond the usual parameters of pop music fodder conveyor.

A new project may very well include an audio collage of radio sound bites from around the world – station IDs, discussions, music, intros, commercials, sonic bits to create a kind of global overview of radio sounds in the 21st century.

Of course, one of my favorite uses of radio in film comes in Midnight Cowboy, with the cocky, naive cowboy played by Jon Voight comes to NY with a cowhide suitcase and a transistor radio with antenna as his only companion and as his social navigation device – news, human voices, music, companionship.

• About.com Interviews Radio DJ Bart Plantenga
• Guest Playlist: Bart Plantenga – Patell And Watermans History Of New York
Poly-Aural Space – Radio, Reverie And Ether
Radio writing
• Radio & Aural Destabilization #4a

• Listen to selected shows at wreckthismixcloud

WTM #1127: X-Ray-Sax

•30/12/2011 • Leave a Comment

wReck thiS meSS ~ Radio Patapoe 88.3 
Amsterdam ~ Ethno-Illogical Psycho-Radiographies

“Saxophone is one thing, and music is another.” • Steve Lacy

“Supreme equality / We used to compete / The right to decide / Is denied to the sheep” • Poly Styrene, “Highly Inflammable”

Train WTM ID Lagerfeltz + Borbetomagus > B/art
Part 2 > Urban Sax [Fraction Sur Le Temps / EPM]
Gitty Up Go > Teddy Bear
Part 2 > Urban Sax [Fraction Sur Le Temps / EPM][
Oh Bondage Up Yours > X-Ray Spex
Let’s Submerge > X-Ray Spex
Some Come > Blurt [Let There Be Blurt / Salamander]
Pretty In Pink > The Psychedelic Furs
Germ Free Adolescents > X-Ray Spex
Soul Serenade > King Curtis
I Am A Cliché > X-Ray Spex
Contort Yourself > James Chance & the Contortions [Buy / Ze]
My Mother Was A Friend of the Enemy of the People > Blurt [Let There Be Blurt / Salamander]
I Am a Poseur > X-Ray Spex
Pick up the Pieces > Average White Band
Pick Up the Pieces > Candy Dulfer
Ruminant Plinth > Blurt [Let There Be Blurt / Salamander]
Why Do You Love Me > Dave Clark Five [25 Thumping Great Hits / Polydor]
Art-I-Ficial 1978 [Old Grey Whistle Test] > X-Ray Spex
Everyday Sax > Tommy McCook [Blazing Horns Tenor in Roots / Blood and Fire]
Plastic Bag > X-Ray Spex
Kazimir’s Tractor > Blurt [Let There Be Blurt 2 / Salamander]
Cigarettes > X-Ray Spex 2:48
Live at the Knitting Factory 18.11.00 > Borbetomagus
End of Marvelous Night Outro  > B/art & MC Pal

I considered the saxophone to be the sexiest of rock instruments. That is why I loved the DC5 when I was a pre-teen. Wanted to dress sharp like the DC5, they had a coordinated splendor, a kinetic precision that the other English Invasion groups did not have, led by a strong frontman drummer and that wailing sax. That is why I love Blurt [in part, Milton’s lyrics also help] and early Psychedelic Furs; that is why I really liked X-Ray Spex. There is something room-filling, big, fat, ambient, voluptuous about the sax. It’s timbre goes from warm and swaddling, to blood-curdling but always full and expressive – generous.

Moreover, the way one plays a sax, holds it, maneuvers it between the legs, fondling it right at the crotch gives it that prurient factor so essential to hot rock n roll, etc.

UK punk band X-Ray Spex [1976–79, with various reincarnations], were the epitomy of junk punk, of DIY glory, of noisiness transformed into strange, affecting harmonies. Their first single, “Oh Bondage, Up Yours!” represents in a nutshell the very critique that punk offered on mainstream consumer society [“My existence is elusive / The kind that is supported / By mechanical resources…” • Poly Styrene, “Art-I-Ficial”].

It also heralded the glorious rise of women in music as producers, musicians, songwriters, critics, and it is during this era that women’s participation was welcomed. When I look back at the empowering aspects of early punk it has a DIY meets OWS feel to it – the ugly [not really but in terms of consumer cliches], the poor, the disinherited, the misfits were brought front and center and the entire idea of power in an industry was shaken to the core if only for a few years.

If I begin naming all the great women in punk it totally puts to shame today’s music. These were tender women who got tough and took on their lots and exploded some gender myths along the way. You had the Slits, Ari Up, Lizzy Mercier Descloux, Patti Smith, Niagara, even Chrissie Hynde and Cyndi Lauper, but also Siouxie Sue, Annie Anxiety, Debby Harry, Judy Nylon, Runaways, Plasmatics, B-52s, ESG, Delta 5, Pulsallama, Kim Gordon … See Women in Punk for a great list.

But the most exemplary among all of these was X-Ray Spex featuring the sexy sax honking of Laura Logic [Susan Whitby] and the outspoken histrionic but terribly charming yelping vocals/lyrics of one Poly Styrene [Marianne Joan Elliott-Said].

Poly Styrene was one of those disheveled anti-sex symbols – “Some people think little girls should be seen and not heard – well I think, oh bondage, up yours!”  – that despite the deconstruction of every sex symbol/image cliché became sexy by sheer ironic force of will. She had guts, balls, and critique and daring-do. When you see/hear these punk declamations of pure DIY force and anger you know you are dealing with another level of performance, stripped of all pretense without sacrificing stage presence and intrigue. When you look at the managed/groomed images of today’s stars with their handlers and coiffures and media savvy you realize you are dealing here with raw, unadorned, even frightful energy and with a kind of clarity that was undiminished by career considerations. Her/their critique was firmly anti-consumerist/anti-capitalist in nature and they understood how we were transformed from people into consumers, from beings into statistics.

Styrene was the gal’s answer to the Johnny Rotten and X-Ray Spex were the female Pistols, inspired as she after seeing the Pistols perform…  But the true dynamic was established by the raucous interplay of Logic’s sax and Styrene’s harsh-tender vocals that often broke to reveal both consciousness and hints of fragility overcome by pure honesty.

Poly Styrene was a sex symbol despite her threatening to erase all sexiness from her being if she were to become such made her all the more sexy in the best sense of the word: intelligent, funky, spunky, braces, wild hair, untrained and yet somehow very endearing vocals. That they were all serious-but-funny, self-effacing and RIGHT and for that reason continue to be marginalized in the histories and nostalgia driven industries that rehash top 100 lists without including anything by bands like this. This is a crime against human conscience and cultural history. That Styrene passed away, dying of cancer on April 25, 2011 of cancer without much notice is really sad.

Listen to selected shows at wreckthismixcloud

WTM #1126: De Player: Sound as Weapon

•29/12/2011 • Leave a Comment

wReck thiS meSS ~ Radio Patapoe 88.3 
Amsterdam ~ Ethno-Illogical Psycho-Radiographies

Listen to this show at WTM Mixcloud

Trafficante Onosphere > B/art [Radio Emits Itself 1 / B/art]
The Head of Waldo’s Penis > DDV [Sound as a Weapon / Player]
EPMD > Eric van Lieshout [Sound as a Weapon / Player]
Trafficante Onosphere > B/art [Radio Emits Itself 1 / B/art]
A > Moha [8-Inch #5 / Player]
Cockatoo > Eric van Lieshout [Sound as a Weapon / Player]
My Brain Hurts > Anonymous Poetess
Track > Goodiepal > [Sound as a Weapon / Player]
Little Boy’s Balls Are Gone > Das Phantom vs Peter Fengler [Audible Pictures / Player]
I Wish I Could Shimmy Like My Sister Kate > Rusty Warren [Knockers Up! / Jubilee]
Epiphany In Rubber > Helena Gough [Audible Pictures / Player]
Accidentasia Sideband > B/art [Radio Emits Itself 1 / B/art]
10inchAside > Tyfus [10-Inch / Player]
The Birds > Toxomplasmosis [10-Inch / Player]
Radio Emits Itself > B/art vs Black Sifichi [Radio Emits Itself 4 / B/art]
B-side > FWOE [8-Inch #4 / Player]
+ She’s Got Big BooBoos & Navel Tingle > Rusty Warren [Knockers Up! / Jubilee]
Along A Holy Divide > Gangpol & Mit [8-Inch #5 / Player]
A > MoHa! [8-Inch #6 / Player]
Radio Emits Itself > B/art vs Black Sifichi [Radio Emits Itself 4 / B/art]
GATE > Michael Morley [8-Inch #1 / Player]
Safety Instructions > Gangpol & Mit [8-Inch #5 / Player]
Radio Emits Itself > B/art vs Black Sifichi [Radio Emits Itself 4 / B/art]
Track 04 > No Bra [8-Inch #3 / Player]
EPMD > Eric van Lieshout [Sound as a Weapon / Player]
Trafficante Onosphere > B/art [Radio Emits Itself 1 / B/art]
Cockatoo > Eric van Lieshout [Sound as a Weapon / Player]
Valley of DJ Outro > B/art vs Warp Technique

• COM.POST is a series of performances produced by DE PLAYER, which commissions artists, filmmakers, composers, scientists, architects and performers to explore the current state of affairs in the field of composed sound.

• DE PLAYER is a polymorphous production venue and an eclectic delicatessen that features audio-based performances that may involve the sex shop, the catering service, the metro, the market, the late-night pubs, the sewing ateliers, the bakery, or the park with its food stands where you can come any time, night or day.

DSPS is an artist-run foundation based in Katendrecht, Rotterdam [This is where all the stripper and pole-dance clubs were]. In the beginning there was DE PLAYER, a former nightclub on the south side of Rotterdam, Holland. It focussed, in the tradition of a nightclub, on presenting live performative stuff. Not ‘titties and beer’, but more artistic in a spectrum from highbrow underground to low-fi übergrund. Unfortunately, the beautiful nightclub was bound to be demolished and razed to the ground to give way to more ‘decent’ entrepreneurs… But then they became part of the project Groeibriljant Deliplein, an initiative to enhance the neighbourhood with actual renovations and cultural activity. DSPS was founded and it organised Zomerkamp #1, 8 weekends of total-entertainment: concerts, performance, exhibitions and food.

• Sound as a Weapon  DDV’s contribution to ‘Sound as a Weapon’ by De Player heard here. A soundtrack cut in clear perspex that looks like someone nervously wielding a knife on your turntable with handprinted woodcut and 75x100cm poster. “Sound is a signal. Sound is politics, politics is sound, sound is associated with subcultures and lifestyle. This makes that sound is defining for the developments is society as a whole. It may not come as a surprise that sound as a manipulative means is a solid weapon in any battle. In ‘Sound as a Weapon’ De Player presents four remarkable artists all committed to this case and all with their own distinctive fetish view on the subject.

• 10-Inch and 8-inch are record series that promote the idea that sound can provoke significant shifts in thought, spirit and deed and, when combined with visual or textual artistry can lead people to new experiences.

The song “Op Katendrecht” by Marinus van Henegouwen goes like this:

Waar kan een zeeman het best terecht
Op Katendrecht, op Katendrecht
Waar heeft een zeeman de meeste pret
Waar vindt ie het zachtste bed
Waar vindt een zeeman het beste bier
De liefste meisjes van plezier

[Where’s the best place for a sailor to end up / on Katendrecht, on Katendrecht / Where does a sailor have the most fun / where does he find the softest bed / Where does a sailor find the best beer / the loveliest girls of pleasure…]

I first lectured on Beer and cargo cults as well as DJed on Katendrecht in the very atmospheric early whorehouse location of De Player with its cheap-elegant trappings, the velveteen rough-sex-red wallpaper and performances that pulled even the most veteran of avant connoisseurs out of our lazy or clichéd ways of looking at things. I witnessed the area at the very last possible moment to catch any whiffs of its former intriguing in-elegance as a work terrain for mechanics and warehouses and as the location of one of the largest sailor / red light districts in the Netherlands. An island that had been neglected and forgotten by urban renewal – until just recently when it became a hip-chic place for upscale sorts to settle into the new housing there.

This again occurred when I was asked to lecture on yodeling during a 2-day post-Dada fest in rotterdam and Tilburg in March of 2007 for the launch of a new multi-tentacled magazine done the old handcrafter way: BigMag #1. My contribution to the opening theme of ‘outsiders’ was a Powerpoint lecture with graphics, photos and sound samples was on Mike Johnson, Black ex-truck drivin’, yodelin’, pamphleteerin’ and rabble-rousin’ country-singin’ cowboy.

Despite the attractions of delirious chaos, and the fact that this was the opening night for this nomadic club in their new location, behind a gym in a dilapidated Katendrecht neighborhood, the crew of Johan, Peter, Annemiek, Koos and others managed to put on a professional and smooth running evening where many things were celebrated besides the launch of Big Mag. The new location, the good crammed-in turn out, free culture, independent spirits, DIY attitudes. I cannot say enough about the conviviality that the inveterate spirit of art pioneering breeds, if fast enough, no adversely hipster attitudes can cling to it to clog up the lines of human communication with attitude.

In Tilburg, I checked into the Hotel Central [45 euros, so you can imagine it was just under Spartan – dour, rundown, dank – and had hints of human odors that permeated the walls altho the place was clean and the bed wasn’t saggy and the TV worked altho there was no remote – I told myself, it is across from the train station, and I am only there to sleep].

The NS 16 art collective located in a great old building behind the train station was recuperated and converted by a group of enterprising artists, which was approved by the city and here they are able to host evenings like the one that was about to test the limits of taste and acceptability. This was then was their inaugural event, part 2 of de Player’s Big Mag events. Another evening of nice, clever, creative, pleasant, interested, helpful people and an amazing turn out of Tilburg’s demi-monde.

After a local street poet did his bit for humanity I did my powerpoint presentation and reading on Mike Johnson with some 70 yodel sound samples. And to tell you the truth, the vaguely nerdy aspect of my reading seemed to fold in perfectly to the reigning terror of experimentation and the provocative chaos that was about to happen with the fckn bstrds from Amsterdam who convert disposable stuff, garbage and recycled electronica plus post-Dada rantings emerging from sagging garbage-carnaval masks and melting collapsing costumes made of garbage bags into ritualistic fervor. A frolicsome punkette joined the groveling, grunting, lo-fi electronica and sound poetry with some naked writhing.

This was followed by Lord of the Yum Yum (Paul Velat), a geeky-looking [and quite enjoyable] guy who looks almost suspiciously unassuming and normal [in real wage-slave life he’s a music teacher to young kids] but who steps into the backroom emerging as his alter-ego in lounge tux doing deceptively engaging Attention Deficit mega-BPM human beatbox throat singing and extemporaneous controlled kind of sound strut and boom rap with the help of a simple sampler [allowing him to become a stuttering choir accompanying himself plus his effects board, toe triggered, allows him to create a tsunami of tsound] that were actually Devo-like cover versions of classical operatic and pop music pieces. Yikes, this is a one man band for the 21st century. Fold him up and take him on board, add water and inflate and you’ve got a dynamic performer.

Meanwhile, the English duo called Die Trip Computer Die [or Xanthos or L. Voag] disassemble not only simple circuits and sound equipment but rearrange our entire notion of what sound performance should be. Through their circuit breakery and searching for new fusions and welding noisemakers together that were never meant to be side by side in the same rhizomic serendipitously determined creation of controlled random sounds that when focussed upon becomes a strange hypnotic kind of DIY sound. Amazing stuff.

I slept well and the next morning it was very quiet in abandoned Tilburg. After breakfast I wrote down what Ivo, one of the directors of NS 16, had told me late into the night’s events, about the Hotel Central, which had served as the HQ for Dutch Dadaists as they hatched their schemes to destroy complacency in the early 20th century.

Is amiability something we combine with cutting-edge anything? De Player proves that sonic pioneering and audio provocation can be very joyous activities indeed despite the ability of noise [or seemingly misdirected sound] to annoy. But if you let go of your ability to be easily annoyed because it fails to meet expectations that you desperately swaddle yourself in then you will be able to move beyond the norm into a realm of strange heavenly sensations…

Radio Emits Itself: Volumes 1 – 4 Minutes:Frames:Seconds

“Radio will forge the unbroken links of the world and fuse together all mankind -” Velimer Khlebnikov

REI is a sound project proposed by writer and founder of the radio program ‘Wreck This Mess’, Bart Plantenga. The recordings and sound treatments were done with Sifichi. “The radio show for N5M3 [Next Five Minutes Tactical Media Conference] in Amsterdam. Radio Emits Itself = Self referential radio, psycho-radio-graphies, deep statical archives, radio hypnosis and unconcious radio dérives. Broadcast during the first day of the conference and afterwards on both Radio 100 and Patapoe in Amsterdam on many occassions. Notion: To allow radio to refer to itself by emitting its own sounds in a collage format of overlapping radio references, voices and noises using one cassette, a double cd player and an old radio that fedback and funneled its broad bandwith. The radio equivilent of Zen Satori or an instant of surprise that leads to illumination…”

• De Player release blog
• De Player home
• De Player hosts Beer Mystic
• wreckthismixcloud

WTM #1125: Yodels Hanging on to Trains

•10/11/2011 • Leave a Comment

wReck thiS meSS ~ Radio Patapoe 88.3 
Amsterdam ~ Ethno-Illogical Psycho-Radiographies


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