Thursday, April 05, 2018

NaPoWriMo Entry: April 4 and 5

April 4, 2018

unsure of how he feels about
snow or fish or ex porn stars,
julio tips the sticky, thick glass
bottle and summons a mouthful
of SoCo, swallowing defiantly
as he scans his audience:
three kids, maybe sophomores
in high school, just seconds before
hovered hesitantly at the table edge,
daring one another. julio now stands,
supporting the corner. the room is
sound, pounding, but not musically.
he is rice, frying with fish caught
just this morning, plantains, black beans
in thick, tangy sauce. he is his mother’s
soft humming, stirring breakfast, languid
breeze caressing her face, bringing
memories of the mountains tegucigalpa,
the coast of utila, the placid urgency
of today’s errands. julio is not this snow.
he is not these people in this room in
this apartment. he is not this late night
party, five hours before he needs to be
at work, toes freezing in steel-toed boots,
scarred fingers stacking boxes in flatbed
trailers, one after another until the bell rings,
and he can wire another three-hundred
dollars to pigeon cay from the wal-mart on
harlem av.

April 5, 2018
Today's exercise is to consider a photograph. The photograph chosen for this exercise is a still from the short film PIG by Rozz Williams; then, take a poem written in a language that is not the writer's and translate it, fitting it to the impression the photograph has on the writer.


Não basta abrir a janela
Para ver os campos e o rio.
Não é bastante não ser cego
Para ver as árvores e as flores.
É preciso também não ter filosofia nenhuma.
Com filosofia não há árvores: há ideias apenas.
Há só cada um de nós, como uma cave.
Há só uma janela fechada, e todo o mundo lá fora;
E um sonho do que se poderia ver se a janela se abrisse,
Que nunca é o que se vê quando se abre a janela.
© 1924, Alberto Caeiro (Fernando Pessoa)
From: Poesia
Publisher: Assírio & Alvim, Lisbon, 2001
ISBN: 972-37-0654-7

Do not open the window -
The fields and rivers exist right here.
I have tools that could render you blind
To the trees and flowers,
But my philosophy
Is to allow you to decide
If there are trees or
If there are only ideas.
We are like a basement,
With only one window closed.
You decide how to use these tools
I have provided
That can bestow truth to what you see
If the window is opened.

Tuesday, April 03, 2018

NaPoWrMo Day 1 (late to the party)

Band Names in 17 Syllables

drifting disaster
necrosis arbitration
exhumed rain demon


sex doll dementia
road rage annihilation
bestial infants


spider isotype
christian transgression porn
wicked filament


destiny’s crickets
insecticide libations
jesus tobacco


placebo escape
tentative tentacle tease
benzedrine eggnog

Wednesday, March 16, 2016

Album Review: The Uncle Steves - Plein de Couleurs



The realm of DIY music is usually a murky black hole of time and taste, requiring much more clicking and surfing around the internet, through discographies and track listings, than listening. When something worthwhile is discovered, it becomes this talisman, rabidly protected by obsessive hipsters and pretentious online music critics.

Such is the case for The Uncle Steves, the musical alias for the self-taught, multi-instrumentalist, Chris Picciuolo, of Aurora, Illinois. A prolific artist, he's put out six full-length recordings from 2010 to 2015, with enough music to make the sixth one a "greatest hits" of sorts, adding some new compositions and previously unreleased tracks. It is easy to acknowledge Picciuolo's growth as a musician, as it is clearly heard in his ambition to learn keyboards, guitar, harmonica, bass guitar, and complex production techniques. It is important to note that these last six years have been a process. He has not "mastered" these instruments in the traditional sense, although it is clear that he understands theory,  measure, key, scales, and the more complex aspects of creating a piece of modern music. These albums are snapshots in time of his discovery of what these different sounds add to his music.

Picciuolo is primarily a percussionist and poet. He put in his time on the Chicago club circuit drumming in different bands, as well as hiring out his services to local studios. The Uncle Steves first album, Live from Dan's Basement, is a sparse, earnest exploration of rhythm and melody, recorded on various computer multi-track software, jumping from one 30-day trial to another. The final mix was completed on Audacity, a freeware recording studio. Utilizing a bass guitar, drums, some keyboards, and vocals run through a USB Rock Band video game microphone, the album is raw and self-aware, sometimes venturing into self-deprication. With song titles like "Hot Messopotamia", "Bell Biv Devoted to You", and "Drown & Out", Picciuolo has seemed to work very hard to remind the listener that he is not to be taken seriously, that any perceived pretension is purely tongue-in-cheek. The few music videos he has made, with a rag-tag crew of friends and borrowed equipment from the local community college television station where he was also employed, have featured costumed characters: Santa Claus, a gorilla, Picciuolo himself in an enormous afro wig, frolicking amidst cheap video effects, like the opening scene of a cable-access, furry, porn interpretation of Alice Through the Looking Glass. The music, however, makes a liar out of The Uncle Steves. Referencing structures and atmospheres of traditional genres of American music: blues, jazz, garage rock, psychedelia, this is clearly made by a musicophile and musicologist for other like-minded enthusiasts - Serious music for serious people!

Plein de Couleurs is the most mature recording from The Uncle Steves so far. At approximately 40 minutes, the 12 instrumental tracks meander across genre, stitched together by Picciuolo's impeccable sense of rhythm.

The albums first track, "Dance of the Helios Megistos", begins with heavy, rhythmic power chords that almost crescendo, but instead seem to reluctantly give way to a Beatlesque breakdown, heavy on the trippiness. Picciuolo's head for melody, transition, and timing is clear throughout this track. Punctuated by layered keyboard jamming and stand-out drumming, it seems to push the boundaries of 4/4 time.

There is a noticeable lack of bass in "It's Springtime & The Empire Hasn't Fallen Yet", which is odd for an Uncle Steves song. It is an exercise in production, showcasing droning power chords and layered, tentative acoustic approaches at scale. Listening to this in a set of nice Bose headphones, I smiled when, near the end of the song, a breathy, blues harmonica bounced between speakers and eventually rested in the back, right corner of my head.

The title of the third track, "Comet Surfing", sounds like it could be a forgotten Joe Satriani track. It's boogie-woogie blues that sounds like a restless warm-up session, jumping time signature and threatening to lurch into a minor key before floating into a layered, musical yoga pose. The dubbed acoustic blues solo and background "Ah's" are harmonized like they are surprise guests within the rhythm, tentatively bobbing and weaving until they finally settle and ride out the rest of the tune.

"Shout Across the Asteroid Belt" is a fun blues progression. This is where Picciuolo's talent for melody shines, like everything he's ever absorbed from the Beatles has been synthesized and reinterpreted in one song. Another important note in this track is the fact that he finally sounds like a guitarist. His guitar work on previous albums served as another exploration of melody, feeling its way through the key, scale, and rhythm. This track, "It's Springtime and The Empire Hasn't Fallen Yet", and a few others on Plein de Couleurs are confidently driven by Picciuolo and his guitar.

"Sleepwalking Through the Apocalypse" begins with the only vocals on the album: the deep, "Hey, man. You alright? Don't worry. Here. Just take one of these." It then proceeds to deliver in kind. This track could find a home on any number of albums cut by Woodstock-era artists with its safe layering of acoustic pleasantry and filtered finger-tapped floor tom. Those in search of a mellow LSD trip will definitely see the benefits of this tune.
 
As soon as "Touching The Sky With your Mind" kicks in, I thought, Yassssssssss! There's the bass! Showcasing Picciuolo's love affair with old pianos and juxtaposition of melody disguised as cacophony, this track is very reminiscent of earlier work from The Uncle Steves. It's a plodding, foreboding sonic assault, and it's a welcome surprise amid the simmering chill of the rest of the album.

"Lyra" is the most modern-sounding, "indie" track on the record. The exploration and experimentation with melody and scale hearkens back to Mellow Gold-era Beck or, oddly, even the Beastie Boys on their interesting journey into musicology and instrumental expression, The Mix-Up. "Lyra" is a fun, atmospheric bicycle ride.

The distorted lead guitar layered over the deliberate acoustic rhythm of "Butcher's Blues" is a seemingly undeniable proclamation of Picciuolo's choice to live his life vegan. The basic blues progression is something that everyone can understand, but the raw, searching notes of the solos allude to arguments that cannot be resolved in two minutes and forty-eight seconds.

"Thirst for Change". I. Love. This. Tune! It's a smokey, 2AM, country & western dirge that evokes a last shot of whiskey and dreamless, hotel-room slumber atmosphere. The synthesized strings and subtle electronica transitions give it this current, frenetic feel, while the distorted chord punctuation keeps it rooted in the C&W of Hank Williams and Roger Miller.

The electric & acoustic blues flirtation, "Closed-Eye Hallucination", is an inspired layering that I wish would have been a longer piece. There are quite a few directions Picciulo could have taken it. Another 24 bars and some drums could have made this a more memorable track. They still can, if he decides to go the Kanye route.

The album's final song, "Death Guru", features a public-domain vocal track of some sort of new-age, self-help lecture, with a backing track of canned-sounding drums and Styx-Cornerstone-inspired keyboard noodling. The bassa nova transition at 2:35 seems the perfect, and only, way to play this album out, leaving the listener restless, but satisfied, most likely mouthing, or actually saying, Huh... not as a question, but as a statement.

DELETED TRACK REVIEW: The weakest track on the record is the four-minutes of pre-programmed synthesizer rhythm "Bursting Through The Exosphere". And by weakest, I mean it can be salvaged. Maybe. It needs to be trimmed by at least a minute, as well as another pass through post production to rearrange the track presentation so it doesn't sound so much like he stumbled upon a keyboard setting and just went with it. This recording is passable for the background at a party, but I found my attempt at actively engaging with it infuriating. Even the Styx-inspired keyboard noodling can't save it. 

Mistah Kurtz, AKA Doctah Idges, is a wildly famous music critic and author of the books, The Day Burl Ives and I Spent Reading Italian Poetry in the Hot Tub of a NorCal B&B. He has published academic critiques of Tiny Tim's complete discography, as well as Judy Tenuta's unauthorized biography, There is a Possibility of it Occurring. This review was the result of the author and Mr. Picciuolo imbibing LSD-spiked YooHoo and jumping on a trampoline outside of a cabin in Stoddard, WI for intermittent, seven-hour stretches.

The Uncle Steves Bandcamp page.

The Uncle Steves Facebook page.

The Uncle Steves Soundcloud page.

 

Monday, May 02, 2011

Birth Certificates, Propaganda, Dead Terrorists, and How Facebook Can Ruin a Good Time

Thursday, May 5, 2011 10:56 AM



It's been just over 84 hours since I first heard about Osama Bin Laden's dispatch at the hands of American Navy SEALs in Pakistan. I am embarrassed to admit that I learned about it from FaceBook, while taking the dog out for a walk, after putting the girls to bed. I wasn't watching Celebrity Apprentice to see the news stations break in to announce an important message from the president. I didn't have the opportunity to surmise that he was going to come on to announce an alien attack, or nukes headed our way, or to just gloat at his ability to be able to break into the broadcast of Trump's show. I learned it through reading posts on my news stream from Facebook friends.

The boys were still awake after I got back from my walk, and there was some homework emergency that needed immediate attention. I mentioned to Karen about the news I read, and she looked mildly interested; but, mostly, she looked like she really wanted all of her children to finally be in bed.

It wasn't until late Sunday night that I was able to check the news sites on my computer, and it seemed as if what my Facebook friends were posting was the latest: The President broke into Celebrity Apprentice (and ALL the other television shows on at that time slot) to announce that Osama Bin Laden had been killed by U.S. military forces, and very soon after the announcement was made, people streamed into the streets of New York and other cities chanting, "USA! USA! USA!" I fell asleep wrestling with how I felt about that.

That morning, I'd watched footage of Obama roasting Donald Trump at the White House Correspondents' Dinner and guffawed over my Sunday Tribune, opened to Steve Chapman's and Clarence Page's attempts to break down the psychology of The Birthers.

Of the Birther phenomenon, Chapman writes:
Birthers don't dislike Obama because they think he was born abroad. They think he was born abroad because they dislike him. People of this bent don't proceed from facts to a conclusion. They prefer to reach a conclusion and then scrounge for any facts - or "facts" - that support it. For them, being told Obama is a natural-born American is like being told he's a loving father and a loyal friend. They wont' buy it because it doesn't confirm what they want to be true.

The phenomenon, of course, is not limited to conservatives or Republicans. It's endemic to partisans and ideologues of every stripe. In a 1988 survey, Democrats were far more likely than Republicans to believe that inflation and unemployment rose under President Ronald Reagan - though they had actually fallen.
Page postulated on the further attempts Trump will take to besmirch Obama's character, "... saying what many others would like to say if they only had his bully pulpit, even when he uses it for real bullying."

In Michael Moore's Fahrenheit 9/11, he painted a very strong picture of GW Bush and his incompetence, which was strongly defended by many on the left, but parts of Moore's story were proven to be more propaganda and conjecture than originally believed. Moore created his film for a specific audience, who would echo his sentiments back to him and to their friends as well as into arguments and defense of a very particular point of view about 9/11 and the wars in Iraq and Afghanistan.

These two journalists and filmmaker touch on what Carl Rogers wrote about extensively in in 1961 in his book, On Becoming a Person. In the opening of part one, titled "Speaking Personally", Rogers writes "I speak as a person, from a context of personal experience and personal learnings."

I've had a number of conversations, spanning a great spectrum of opinion and experience, on Facebook with friends and relatives over the past three days. I posted the now-famous Situation Room picture, drawing some humorous musings on what the president and his staff could have been watching, and from these guesses, stirred up a scolding from another friend who deemed us in "poor taste". I expressed a negative reaction to someone posting a supposed picture of a dead Osama Bin Laden on her Facebook news stream (a picture that was later revealed to be doctored), stating that it was the first thing in the morning, and that my children are present. I was, again, scolded by someone else on that thread who justified her expertise as claiming herself ex-USMC, stating, "Kids see worse on video games." I was labeled anti-American for expressing concern at the tackiness of the chanting of USA! USA! in the nation's capital and in NY. Some have championed this a huge win for America; others as a huge win for Christianity. A few have come at it oppositely, questioning whether Osama Bin Laden actually had anything to do with the attacks on the WTC and The Pentagon, and the failed attempt on the White House and the Capital on September 11, 2001; questioning if killing this man is just a meaningless action to further a much larger, hidden agenda.

There have been the media attacks from all over the spectrum, too. The sound clips of George Bush, during his second term in office, basically stating that he had given up looking for Osama Bin Laden juxtaposed with Obama stating, during his campaign, that he would find Osama Bin Laden and kill him. There has been the criticism of Obama for going to NY today to lay a wreath at Ground Zero. There has been the ongoing argument of whether past presidents should be allowed to share in the responsibility of helping to take this man down, or whether they should be given sole credit, or none at all.

It went down very much like it was described it would go down by Bush's team, circa 2003. The military would rely on intelligence to find the exact whereabouts of the terrorist leader, a specially-trained, small team would penetrate the armor, go in and capture or dispatch the bad guy. Somehow, that description became blurred in the larger military initiative of moving into Iraq. There was money to be made, according to some detractors of the war in Iraq. What I do know was that this situation quickly became something that could no longer be described by the president or his staff. It seemed to be out of control.

And, then, we got Saddam Hussein - sent in special forces to extract him from his spider hole. Parts of Iraq rejoiced. Other parts vowed revenge. America breathed a collective sigh of relief. Something went our way, for a change. Hussein was tried and executed. We moved forward. Terror threats did not subside. Troops did not come home. Duct tape sales increased.

Personally, I believed at this time that Bush had surrounded himself with enough competent people (Cheney included. I thought that his soullessness might even be an advantage to running an offensive against religious fundamentalist terrorists) that he might be able to pull this thing off - that might be able to isolate the bad guys from the rest of the world's Muslim population - that might be able to achieve some objectives and get our troops home without losing the faith of the American people.

What I did not take into account though, was EVERYONE's context of personal experience, and how the media has played to these different contexts. It seems that, whatever news you might want to hear, there's a channel for it, there is someone speaking directly to you and what you believe, and where you come from. That, for whatever you do not want to believe, there is someone else who has said something to support that somewhere on TV, or the internet, or YouTube. It seems that everything has become the OpEd section of the high school newspaper. Big news networks have started running comments to blog posts as bits of news on the tickers below the broadcasts. Journalism in our nation has become the same pot of coffee run through the same machine five, six, seven times over... And, we're getting ready to pour it through the strainer again. Who's going to drink it, though, now? Nobody wants to. That much is obvious.

There are no photos of Bin Laden's dead body. There are very detailed accounts of what went down. There are contrasting stories as to what Bin Laden did seconds before getting a few bullets pumped into him. There are recycled opinions traveling at confounding speed all over the radio waves and television stations, emails and forum threads as to what should have been done, and what should happen, now that whatever has been done is done.

I do know this. When the troops start coming home, my smile will widen. When the terror threats subside, I will breathe easier.

Right now, I have more important things to worry about, like how to tie a ponytail into the hair of a girl who clearly would rather be riding a stuffed horse, or talking an eleven-year-old through a tough loss in a soccer game that most definitely should have been won, or determining what the best bedding is for the bottom of a gerbil cage.

Monday, August 11, 2008

Celebrity Tragedy & Blackmetal Nonfiction

Wow. What a week.

Bernie Mac passed away in a Chicago hospital from complications due to pneumonia; Isaac Hayes was found dead in his home; and, Morgan Freeman is still in the hospital after a near-fatal traffic accident. My best friend's teenage son, in a somber conversation with his father about these three African American trailblazers, observed, "Someone really should go check on James Earle Jones."

Of course, the response to these events is whirlwind at best for about a day after they happen, then it's back to all-Miley-all-the-time (with a dash of Jonas Brothers for the teenage girls, cougars, and pedophile queens) It seems, according to the media, that celebrity tragedy only exists as justification for our trivial lives, once it gets analyzed and talked to death, with sound bytes, video clips, and lingering, dramatic shots of photographs from these people's lives, placed behind the narration to obviously make the viewer feel the opposite of what is being said about the celebrity.

In the middle of all this, I have unabashedly entered into a full-on obsession with the tragic events surrounding the Norwegian black metal band, Mayhem. According to Wikipedia, the band has existed in one form or another from 1984 until present day, and, almost from the start, the band gained notoriety from the grisly decisions and actions of its band members, the most controversial surrounding the suicide by shotgun of the first lead singer, Per Yngve Ohlin (aka Dead) in 1991. Apparently, the guitarist, Øystein Aarseth (aka Euronymous), found him and, instead of notifying authorities, ran to the nearest drug store, bought a disposable camera, returned to the scene, rearranged the body for a more aesthetic scene, and proceeded to take many pictures. One of these pictures was stolen by someone close to the band and used for the cover of a 1995 bootleg Mayhem recording called Dawn of the Blackhearts (VERY grisly image. Please open at your own discretion!)

It's unfathomable to me, sometimes, how events that define and end other people's lives become simple elements of passing time in the lives of others. I have the program StumbleUpon installed on my browser, and as a reward for finishing work, I will allow myself one, two, maybe three stumbles. I became entrenched in the Mayhem lore from a site that listed the ten sickest blackmetal album covers, and I am no better a person for the knowledge I have acquired today.

Tuesday, April 22, 2008

Bang Your Head!!!



Metal health will drive you mad!

Wednesday, April 16, 2008