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Dangerous Finds: The story of Shudder to Think; Etymology of ‘dude’; The black rhino is extinct
11.06.2013
07:47 pm
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Hold Back the Road that Goes… The Story of Shudder to Think - Head Medicine

Western black rhino officially declared extinct - 11 Alive

“This is my co-worker’s dog. Seriously.” - reddit

Inside the outrageous world of child cage fighting - Daily Mail

A brief history of video game title designs - Nerdcore

A series of tracks in Oklahoma reveal where a dinosaur most likely slipped and caught itself before continuing on - Scientific American

These abandoned toy factories and shops will haunt your nightmares - io9

Missouri murder conviction based on dreams is tossed - LA Times

Female genital mutilation cases should be treated as child abuse - Huffington Post

Black Flag stream first new album in 28 years - NME

“Dogstep,” a web app that takes any song and adds musically appropriate canine accompaniment - ANIMAL

Testosterone supplements tied to heart attacks, strokes, early death - ABC News

Mystery Solved: The Etymology of “Dude” - Slate

This Breeders song epitomizes the CD era - AV Club

Maine’s largest city approves recreational pot - WCSH

Sarah Harrison joins other Edward Snowden files ‘exiles’ in Berlin: UK journalist’s lawyers advise against returning home after working with NSA whistleblower, says statement on WikiLeaks - The Guardian

Irish Prime Minister has declared his support for gay marriage and promised to campaign for it in a referendum - Independent.ie

Germany wants Snowden to testify on US spying—but in Moscow, not Berlin - Boing Boing

N.J. voters approve constitutional amendment raising minimum wage - NJ.com

Drug combination therapy causes cancer cells to ‘eat themselves’ - Parent Herald
 

Below, an insanely accurate South Park episode on dealing with Time Warner Cable:

Posted by Tara McGinley
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11.06.2013
07:47 pm
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‘Half Machine from the Sun’: The great lost Chrome album
11.06.2013
06:39 pm
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The first time I heard Chrome, I was tripping on at least two tabs of blotter acid. A friend of mine from school was a massive Chrome fan. I was a massive Tuxedomoon fan. A third friend present was a budding Residents freak. Although we were all three out of our everlovin’ minds, we could still agree on what to listen to when friend #1 pulled out the Ralph Records compilation, Subterranean Modern, which collected tracks from each of these decidedly avant-garde Bay Area-based groups, plus MX-80 Sound. Talk about a lysergic compromise!

Imagine if you will being exposed to this and then this (these are the two Tuxedomoon tracks) and The Residents’ “Dumbo, The Clown (Who Loved Christmas)” while in a state of, how shall I put it, being extremely tuned in to it. Then he flipped the record over and we were assaulted by Chrome’s “Meet You in the Subway” (see video below) with its primitive, crushing guitar, distorted vocals and almost motorik beat (dig those fuckin’ drums!). It was hooky and it was noisy and it was punky, psychedelic and heavy metal all at the same time. Evil sounding. Violent, even. My face melted off and slid onto the floor.

Chrome sounded like the Stooges channeled through a Philip K. Dick novel.

“Meet You in the Subway” is one of my favorite songs of all time but I hadn’t really listened to Chrome much in recent years. Then I picked up the Chrome box set earlier this year and played the shit out of that for about a month. When I was offered a copy of the “new” Half Machine from the Sun album of Chrome’s “lost” tracks by the publicist working the release, my immediate reaction was “Yes, please.” New vintage Chrome? I’m in!

The tracks on the album date from the era of Half Machine Lip Moves and Red Exposure, which is to say 1979-80. It is quite literally the great lost Chrome album—recorded when these guys were ON FIRE—that no one was waiting for or expected and that I guess even the surviving creator had more or less forgotten about, or considered lost.

Apparently someone had been shopping the tapes around when Helios Creed (his Chrome partner Damon Edge died in 1995) got wind of it and started a successful Pledge Music campaign to raise funds to buy back and complete the tapes for release:

“We had so much material, good tracks went unused. I didn’t even realize the tapes were lost (and sold) due to an unpaid bill! I forgot about them until they were played for me recently, some 30 years later, but listening to the work I was brought right back in time where we had left off. I remembered for instance that I felt ‘Something Rhythmic’ was a special track, maybe even a hit. I guess it wasn’t time to complete these tracks then, because now is their time.”

I’d have to say that he’s probably right about that given the number of times that I’ve played Half Machine from the Sun, but especially “Something Rhythmic (I Can’t Wait)”, since last week.

Half Machine from the Sun is eighteen tracks available as a two-record set—including a collectible colored vinyl version—CD and high quality digital downloads. If you like Chrome, it’s an absolute must.
 

“Something Rhythmic (I Can’t Wait)”
 

“Meet You In The Subway”

Posted by Richard Metzger
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11.06.2013
06:39 pm
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Yo! Bum rush the ‘Gangster Party Line’!
11.06.2013
05:08 pm
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LA-based comedian Brent Weinbach posted his “Gangster Party Line” video on YouTube yesterday. It’s something else. Just go with it.

I haven’t tried calling the number, but after watching the video, $4.99 per minute seems rather reasonable for what you get.

PS - This is decidedly not safe for work! It’s also a gazillion times funnier than SNL (which is lucky to have ONE good sketch a week.)
 

 
With thanks to Edward Ludvigsen!

Posted by Tara McGinley
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11.06.2013
05:08 pm
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‘Just Like a Movie’: Young Michael Stipe covers Velvet Underground in clip from R.E.M. ‘Holy Grail’
11.06.2013
04:25 pm
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Right now on YouTube you can watch a brief clip of R.E.M.‘s semi-legendary side project from 1983/4, Just Like a Movie—this was a low-budget movie shot by Laura Levine in Athens, Georgia, featuring all four members of R.E.M. as well as some members of Pylon. In the clip Michael Stipe does a rendition of “Pale Blue Eyes” by the Velvet Underground. There’s even a nice Georges Meliès effect! The movie has been described as the “Holy Grail” for R.E.M. enthusiasts—here’s writer Alan Cross on the subject:
 

One of the most rare and most collectible things an R.E.M. fan can ever hope to have is a 45 minute film called Just Like a Movie.

It’s a pretty primitive thing, shot on Super 8 film in the fall of 1983. It features all the members of R.E.M. plus people like Michael Stipe’s sister, Lynda.

There’s really not much of a plot. It’s basically just a bunch of people cavorting around Athens, Georgia—-but it does feature Michael singing the Sonny and Cher song, “I Got You Babe.”

Just Like a Movie has rarely been shown in public (just once, from what I can tell) which makes it sort of a Holy Grail among those who source out R.E.M. artifacts. I can’t even seem to find it on YouTube.

 
Here’s Levine discussing shooting the movie:
 

I made the film, Just Like A Movie, during one of my longer visits to Athens, in the fall of 1983. I’d gotten a used Super-8 camera the year before and had been shooting a lot of home movies on the road with them and some other bands, so I decided to try my hand at a more narrative film. I had just seen D.A. Pennebaker’s Don’t Look Back so I used it as a jumping-off point; there are parts that are an homage to that film (for example, Michael Stipe presents the credits with cue cards a la Dylan). I was aware that R.E.M. at that time were in a similar place to where Dylan was when Pennebaker made his film; you know, just on the cusp of fame but not quite there yet, taking it all in, dealing with it. So I brought my camera, 60 minutes of black-and-white Super-8 film, and my Walkman down to Athens. The film was very much an improvisational affair – the cast came up with their own characters’ names and costumes and we pretty much improvised the scenes. The basic premise was that there were two rival musicians performing on the same night (similar to the Dylan/Donovan rivalry that existed when Dylan came to London to perform), each with their own entourage. They meet and fall in love, but evil forces keep them apart. Linda Hopper from OH-OK played the “Donovan”-inspired character, and Michael Stipe, the “Dylan”-inspired one. The other players included Lynda and Cyndy Stipe, Matthew Sweet, Jerry Ayers, plus of course all of the members of R.E.M. and Oh-OK. Members of Pylon and pretty much anyone else from the Athens scene who was in town that week also made an appearance. A few of them were in drag.

 

 
Thank you Annie Zed!

Previously on Dangerous Minds:
70s Michael Stipe in drag at ‘Rocky Horror’
What? You’re the world’s biggest REM fan but you haven’t visited Michael Stipe’s awesome Tumblr yet?

Posted by Martin Schneider
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11.06.2013
04:25 pm
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How to say ‘NO’: Whitey’s perfect reply to a TV company who wanted to use his music for free
11.06.2013
02:12 pm
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Amidst the ongoing discussions about the value of music, British alt/rock/tronica artist Whitey has had enough of being asked to donate his music for free to large companies who, by rights, can and should be paying him. After receiving one such email from a company called Betty TV, Whitey, aka NJ White, wrote this caustic response:

I am sick to death of your hollow schtick, of the inevitable line “unfortunately there’s no budget for music”, as if some fixed Law Of The Universe handed you down a sad but immutable financial verdict preventing you from budgeting to pay for music. Your company set out the budget. so you have chosen to allocate no money for music. I get begging letters like this every week - from a booming, allfuent global media industry.

Why is this? Let’s look at who we both are.

I am a professional musician, who lives form his music. It me half a lifetime to learn the skills, years to claw my way up the structure, to the point where a stranger like you will write to me. This music is my hard earned property. I;ve licensed music to some of the biggest shows, brands, games and TV production companies on Earth; form Breaking Bad to the Sopranos, from Coca Cola to Visa, HBO to Rockstar Games.

Ask yourself - would you approach a Creative or a Director with a resume like that - and in one flippant sentence ask them to work for nothing? Of course not. Because your industry has a precedent of paying these people, of valuing their work.

Or would you walk into someone’s home, eat from their bowl, and walk out smiling, saying “So sorry, I’ve no budget for food”? Of course you would not. Because, culturally, we classify that as theft.

Yet the culturally ingrained disdain for the musician that riddles your profession, leads you to fleece the music angle whenever possible. You will without question pay everyone connected to a shoot - from the caterer to the grip to the extra- even the cleaner who mopped your set and scrubbed the toilets after the shoot will get paid. The musician? Give him nothing.

Now lets look at you. A quick glance at your website reveals a variety of well known, internationally syndicated reality programmes, You are a successful, financially solvent and globally recognised company with a string of hit shows. Working on multiple series in close co-operation with Channel 4, from a West London office, with a string of awards under your belt. You have real money, to pretend otherwise is an insult.

Yet you send me this shabby request - give me your property for free… Just give us what you own, we want it.

The answer is a resounding, and permanent NO.

I will now post this on my sites, forward this to several key online music sources and blogs, encourage people to re-blog this. I want to see a public discussion begin about this kind of industry abuse of musicians… this was one email too far for me. Enough. I’m sick of you.

FUCK and indeed YES.

You can see the original screen grab of this email on Whitey’s Facebook page. As Whitey is at pains to point out, he has no problem donating his music for free to companies who literally cannot afford to pay him. He told me this via email earlier today:

I don’t want payment for everything. I don’t even care that much about money, I give away my music all the time. You and I live in a society where filesharing is the norm. I’m fine with that.

But i don’t give my music away to large, affluent companies who wish to use it to make themselves more money. Who can afford to pay, but who smell the filesharing buffet and want to grab themselves a free plate. That is a different scenario.

So what do you think? I completely agree, but I’m sure there’s DM readers who don’t. Are artists and musicians simply behind the times to ask that their music be paid for by large companies? What do you think Whitey’s music IS worth?
 

Posted by Niall O'Conghaile
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11.06.2013
02:12 pm
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Capitalism, Communism and dishwashers: Nixon and Khrushchev argue in ‘The Kitchen Debate’
11.06.2013
12:40 pm
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Nixon and Khrushchev
Nice body language, Dick. Photo credit: Elliot Erwitt.
 
In 1959, Richard Nixon and Nikita Khrushchev met in Moscow in a highly publicized diplomatic event. The highlight of the trip was a visit to the American National Exhibition, a sort of cultural exchange fair where the US could showcase all the amenities afforded to its citizens by capitalism. The US public relations strategy was to get the world to associate us with modern conveniences and easy living. What could go wrong?

Unfortunately for Nixon, Khrushchev decided to dispense with the formalities and staged a delightfully bitchy political debate with the then Vice President over the exhibit displaying a “typical” California kitchen. Below is the transcript and a partial video excerpt from the famous Kitchen Debate, wherein a flustered Nixon attempts to gracefully field criticism with a little slick diplomacy (it doesn’t quite work). The entire exchange is done through translators, but there’s not much a gentler tone could do to ease the tension—not that Khrushchev had any intention of doing so. Some things translate loud and clear.

Over three million Russians actually ended up attending the fair, and the crowds often echoed Khrushchev’s particularly volatile brand of interrogation. Audiences would ask personal questions of the tour guides, often berating them with leading questions about American racism, our lack of universal health care, and social security. Of course the guides were instructed to politely admit that the U.S. wasn’t perfect, but a dynamic work in progress, nonetheless. 

The entire premise of the exhibit was just a show of Cold War dick-measuring, and the Kitchen Debate was the big finish. By the end, both men believed they had “won,” and the two shook hands, agreeing to broadcast the entire conversation in their respective countries.The U.S. went off half-cocked and aired the segment on three networks, which angered the Soviets, who had assumed they would coordinate simultaneous broadcasts. The Soviets then threatened not to show it at all, but after a few days it was aired, though with Nixon’s words only partially translated.

[Both men enter kitchen in the American exhibit.]

Nixon: I want to show you this kitchen. It is like those of our houses in California.

[Nixon points to dishwasher.]

Khrushchev: We have such things.

Nixon: This is our newest model. This is the kind which is built in thousands of units for direct installations in the houses. In America, we like to make life easier for women…

Khrushchev: Your capitalistic attitude toward women does not occur under Communism.

Nixon: I think that this attitude towards women is universal. What we want to do, is make life more easy for our housewives…..
 
Nixon and Khrushchev
Photo credit: Associated Press
 
Nixon: This house can be bought for $14,000, and most American [veterans from World War II] can buy a home in the bracket of $10,000 to $15,000. Let me give you an example that you can appreciate. Our steel workers as you know, are now on strike. But any steel worker could buy this house. They earn $3 an hour. This house costs about $100 a month to buy on a contract running 25 to 30 years.

Khrushchev: We have steel workers and peasants who can afford to spend $14,000 for a house. Your American houses are built to last only 20 years so builders could sell new houses at the end. We build firmly. We build for our children and grandchildren.

Nixon: American houses last for more than 20 years, but, even so, after twenty years, many Americans want a new house or a new kitchen. Their kitchen is obsolete by that time….The American system is designed to take advantage of new inventions and new techniques.

Khrushchev: This theory does not hold water. Some things never get out of date–houses,for instance, and furniture, furnishings–perhaps–but not houses. I have read much about America and American houses, and I do not think that this is exhibit and what you say is strictly accurate.

Nixon: Well, um…

Khrushchev: I hope I have not insulted you.

Nixon: I have been insulted by experts. Everything we say [on the other hand] is in good humor. Always speak frankly.

Khrushchev: The Americans have created their own image of the Soviet man. But he is not as you think. You think the Russian people will be dumbfounded to see these things, but the fact is that newly built Russian houses have all this equipment right now.

Nixon: Yes, but…

Khrushchev: In Russia, all you have to do to get a house is to be born in the Soviet Union. You are entitled to housing…In America, if you don’t have a dollar you have a right to choose between sleeping in a house or on the pavement. Yet you say we are the slave to Communism.

Nixon: I appreciate that you are very articulate and energetic…

Khrushchev: Energetic is not the same thing as wise.

Nixon: If you were in the Senate, we would call you a filibusterer! You–[Khrushchev interrupts]–do all the talking and don’t let anyone else talk. This exhibit was not designed to astound but to interest. Diversity, the right to choose, the fact that we have 1,000 builders building 1,000 different houses is the most important thing. We don’t have one decision made at the top by one government official. This is the difference.

Khrushchev: On politics, we will never agree with you. For instance, Mikoyan likes very peppery soup. I do not. But this does not mean that we do not get along.

Nixon : You can learn from us, and we can learn from you. There must be a free exchange. Let the people choose the kind of house, the kind of soup, the kind of ideas that they want.

[Translation lost as both men enter the television recording studio.]

Khrushchev: [In jest] You look very angry, as if you want to fight me. Are you still angry?

Nixon: [in jest] That’s right!

Khrushchev:…and Nixon was once a lawyer? Now he’s nervous.

Nixon: Oh yes, [Nixon chuckling] he still is [a lawyer].

Other Russian speaker: Tell us, please, what are your general impressions of the exhibit?

Khrushchev: It’s clear to me that the construction workers didn’t manage to finish their work and the exhibit still is not put in order…This is what America is capable of, and how long has she existed? 300 years? 150 years of independence and this is her level. We haven’t quite reached 42 years, and in another 7 years, we’ll be at the level of America, and after that we’ll go farther. As we pass you by, we’ll wave “hi” to you, and then if you want, we’ll stop and say, “please come along behind us.” …If you want to live under capitalism, go ahead, that’s your question, an internal matter, it doesn’t concern us. We can feel sorry for you, but really, you wouldn’t understand. We’ve already seen how you understand things.

Other U.S speaker: Mr. Vice President, from what you have seen of our exhibition, how do you think it’s going to impress the people of the Soviet Union?

Nixon: It’s a very effective exhibit, and it’s one that will cause a great deal of interest. I might say that this morning I, very early in the morning, went down to visit a market, where the farmers from various outskirts of the city bring in their items to sell. I can only say that there was a great deal of interest among these people, who were workers and farmers, etc… I would imagine that the exhibition from that standpoint would, therefore, be a considerable success. As far as Mr Khrushchev’s comments just now, they are in the tradition we learned to expect from him of speaking extemporaneously and frankly whenever he has an opportunity. I can only say that if this competition which you have described so effectively, in which you plan to outstrip us, particularly in the production of consumer goods…If this competition is to do the best for both of our peoples and for people everywhere, there must be a free exchange of ideas. There are some instances where you may be ahead of us–for example in the development of the thrust of your rockets for the investigation of outer space. There may be some instances, for example, color television, where we’re ahead of you. But in order for both of us benefit…

Khrushchev: [interrupting] No, in rockets we’ve passed you by, and in the technology…

Nixon: [continuing to talk] You see, you never concede anything.

Khrushchev: We always knew that Americans were smart people. Stupid people could not have risen to the economic level that they’ve reached. But as you know, “we don’t beat flies with our nostrils!” In 42 years we’ve made progress.

Nixon: You must not be afraid of ideas.

Khrushchev: We’re saying it is you who must not be afraid of ideas. We’re not afraid of anything….

Nixon: Well, then, let’s have more exchange of them. We all agree on that, right?

Khrushchev: Good. [Khrushchev turns to translator and asks:] Now, what did I agree on?

Nixon: [interrupts] Now, let’s go look at our pictures.

Khrushchev: Yes, I agree. But first I want to clarify what I’m agreeing on. Don’t I have that right? I know that I’m dealing with a very good lawyer. Therefore, I want to be unwavering in my miner’s girth, so our miners will say, “He’s ours and he doesn’t give in!”

Nixon: No question about that.

Khrushchev: You’re a lawyer of Capitalism, I’m a lawyer for Communism. Let’s kiss.

Nixon: All that I can say, from the way you talk and the way you dominate the conversation, you would have made a good lawyer yourself. What I mean is this: Here you can see the type of tape which will transmit this very conversation immediately, and this indicates the possibilities of increasing communication. And this increase in communication, will teach us some things, and you some things, too. Because, after all, you don’t know everything.

Khrushchev: If I don’t know everything, then you know absolutely nothing about Communism, except for fear! But now the dispute will be on an unequal basis. The apparatus is yours, and you speak English, while I speak Russian. Your words are taped and will be shown and heard. What I say to you about science won’t be translated, and so your people won’t hear it. These aren’t equal conditions.

Nixon: There isn’t a day that goes by in the United States when we can’t read everything that you say in the Soviet Union…And, I can assure you, never make a statement here that you don’t think we read in the United States.

Khrushchev: If that’s the way it is, I’m holding you to it. Give me your word…I want you, the Vice President, to give me your word that my speech will also be taped in English. Will it be?

Nixon: Certainly it will be. And by the same token, everything that I say will be recorded and translated and will be carried all over the Soviet Union. That’s a fair bargain.
 

 
The Kitchen Debate. One of the first uses of color videotape, which was provided by the Ampex corporation. The impromptu international game of Soviet vs. Yank one-upmanship was shot at the Ampex booth at the fair.

Via Teaching American History

Posted by Amber Frost
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11.06.2013
12:40 pm
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Countdown to Ecstasy: An interview with the creator of the forthcoming ‘Steely Dance’ covers project
11.06.2013
11:30 am
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I recently caught wind of an exciting musical project based out of New York City—an album-length set of Steely Dan covers (roughly ten tracks) recorded in a disco or dance style with exclusively female vocalists. The project is called Steely Dance, and its presiding genius is Julian Maile, formerly a member of the original Hedwig and the Angry Inch ensemble and lately a regular at the longrunning Loser’s Lounge series of cover concerts at Joe’s Pub in downtown Manhattan.

Maile is working on the Steely Dance project as we speak, and he’s started a Kickstarter in order to pay for the mixing and mastering of the tracks as well as kick the singers a little well-deserved dough. If you are as eager to hear these tracks in their pristine, danceable glory as I am, be sure to drop by and send Maile a few bucks. Below are three sample clips to indicate what the final product of the songs will sounds like.
 

 

 

 
Yesterday I conducted an email interview with Maile to get a little bit of background on the project. As a preliminary question I asked him whether these tracks are remixes or what? Maile clarified that the term “remix” is inapt because “I’m starting from scratch, not using any of Steely Dan’s actual recorded sounds. The styles are not really set in stone, because it was kind of difficult to get The Dan material to adhere to a ‘pure’ expression of Techno or even Disco. …The genres are loosely: Techno, Disco, Italo-Disco, House,  Reggaton, Dubstep and Techno-Shuffle. Hardcore proponents of these genres might not agree that the label fits: but there it is.”

Here’s the rest of the interview.

Dangerous Minds: Why choose Steely Dan for your project?

Julian Maile: Well, to be quite honest, in January 2012 I had just done a long weekend playing “The Music of Steely Dan VS. The Music of The Doobie Brothers” [Loser’s Lounge gigs] and while there was no clear winner, I enjoyed the difference between the two. Like two different pharmaceutical drugs…. Anyway, Dan music was on the brain—at the same time I was getting a new computer, after years of using an outdated one. I thought I should probably sharpen my skill set and play catch-up with the current crop of music software. One day I was testing a synth or technique or something, and I just needed a loop to play while I figured it out. For no reason I put down the chords to “Deacon Blues.” Later I listened back and realized I had made kind of a funny thing. It kind of made me chuckle to have all those major 7th chords zipping by at breakneck speed. It was really just to amuse myself that I continued down this path, with no real plan. Then one day I went to see a band at Santos Party House [in downtown Manhattan] and before the band there was a DJ playing some uptempo stuff. One of my friends asked me what have I been up to, and the music was so loud—she had to repeat herself. Then I said “Oh I’ve just been messing around with Steely Dan songs, adding dance beats and synths,…” “WHAT? I can’t hear you!” I repeated myself. She just looked at me, puzzled, and said: “Steely Dance?” I immediately kissed her and gave her a gigantic hug.

Now when I’m nearing the end of this project—I still have to get the songs mixed and mastered—I feel that I can answer Why The Dan. It’s because their music is un-coverable. Their personas are so intricately woven into the music, and that music is so goddamned well-recorded that people probably say “You know what? Fuck it—let’s do ‘Locomotion’ instead.” Which I completely understand… when I was playing the aforementioned Steely Dan vs. Dooble Brothers extravaganza, there was one intense guy sitting right in the first row watching everything onstage, turning his head at the tiniest detail. We were doing a Dan song and I was playing guitar—an iconic guitar solo. At the climax, just as I was hitting [this] famous lick, my hand slipped—you know, it gets hot on stage and sometimes you forget your sweatbands. I flubbed the end of the solo. Dude in front, who was watching me like a hawk the whole time, shakes his head, let’s out an exasperated “ARRGGHHHHH!” and throws up his hands in the air. His girlfriend calmed him down, and he glumly sipped his Sea Breeze, looking at the program, wondering what other masterpiece we’re going to destroy with our incompetence.

Now I’ve played a fair amount of shows, and the only other time this happens is when you play Beatle music for Beatle fans. The difference is “Beatle music” is covered all the time. Sometimes the covers are better than the originals—Donny Hathaway’s “Jealous Guy” is one example. There is absolutely no chance of this happening with the Dan. So it’s an impossible task, and with all impossible tasks—there is a special kind of freedom.

DM: When did you first get interested in Steely Dan?

JM: I first got interested in The Dan kind of late, as in, not when I was a sarcastic teenager. My aunt used to play their records, but my parents didn’t. Of course I knew the hits. Here is an example of my ignorance: one of the crappy jobs I had was working at a Mom & Pop used computer store on the Upper West Side in the Days Before The Internet. Except there was no Mom—and Pop was nuts. He would buy stolen equipment and re-sell it. He tried to hide it from the employees but everyone knew what he was doing. He would get paranoid and wave a gun around the store. Bear in mind—this is a computer store. One relatively calm day into the store walks a mild-mannered bespectacled gentleman wearing a tweed jacket. He wants to buy the fastest used 486 with the latest software. I’m just about to tell him that the 486 IS the fastest, because it’s faster than a 386—when my boss runs out of the back room, covered in cat hair. He had a very hairy cat—there was cat hair on all the display models. Anyway, he fawns and fusses over Mr. Tweed Jacket, and I’m brushing cat hair off my shoulders, when another employee—who was studying music conducting and knew about these things—whispered, “THAT’S WALTER BECKER.” A very distant bell rang. Oh yeah. Steely Dan. Later in life I regretted not saving his receipt or copying down the address in Hawaii where he wanted the computer sent.

DM: The Steely Dance project showcases the musicianship and songwriting skills of Fagen and Becker. Can you talk about the tradeoff of focusing on that, possibly at the expense of, say, the trademark sardonic quality of Fagen’s vocals or his lyrics?

JM: Well, it is definitely not easy to dance sardonically. To be sardonic you need a target, and if you are dancing sardonically you are probably making fun of someone else near you on the dance floor… which could result in a laser pointer on your chest.

So another good reason to use female singers in Steely Dance is because the sharp barb of the snarky comment can be deflected into the air by a Diva. Where a lyric sung by Donald Fagen with a beatnik sax accompaniment might be sarcastic or cutting, that same line sung by a drop-dead fabulous diva fighting for her rights in spandex tights with sweeping synthesizer and peppy kick drum—that same line might be transformed into something amusing or playful.

I think this is why I like Aja so much, because there are a lot of backup female singers on that record. And their presence, to me, kind of says: “Hey, people may characterize us as misanthropic smart-alecs, but we LOVE harmony singing!” And anybody who loves harmony that much MUST have a cordial, playful, good-natured vein in their body. And in their music. Except The Eagles.

DM: How is Steely Dan perceived in the dance/disco scene?

JM: Well, I myself can’t believe I’m actually sending emails and Facebook updates basically telling people that “Hey everybody, I like Steely Dan.”  I suspect, or maybe it’s wishful thinking, there are crate loads of respect for Steely Dan in any music scene—among people who make the music. Not really for the lyrics—but the sound.  A Dan record is very well-recorded, and well-arranged.  The musicianship is top drawer and the grooves are solid. Sound guys are always using Steely Dan songs to test their equipment. One sound guy I met said that he thinks Steely Dan are the Stanley Kubrick of jazz-rock (!). I guess you could say that Steely Dan is music by professionals for professionals… but why should the professionals have all the fun?

DM: Tell me about some of the vocalists you’ve gotten involved with the project.

JM: I’ve gotten some fun singers to participate in Steely Dance: Anna Copacabana is a singer and go-go dancer that has her own variety show at Joe’s Pub. Amber Martin is a singer and performance artist who also does shows at Joe’s Pub. Cici James is a singer and a Trekkie who owns a science fiction bookshop in Dumbo. Most of the rest all sing at the Loser’s Lounge tribute series at Joe’s Pub.

Each is a Diva in her own way!

DM: I understand you’re working on a video. When can we expect to see that?

JM: Yes. We are editing a video for “Do It Again.” That should be live sometime around the holiday season. We are also in the planning stages now for a video of “Rikki Don’t Lose That Number.”

Here’s a little bit of tongue-in-cheek footage in which “Fagen” and “Becker” discuss some of the material that didn’t make it into Steely Dance (It’s an homage to one of my favorite rock docs ever.)

 

Previously on Dangerous Minds:
Reconsidering Steely Dan
Donny & Marie cover Steely Dan. On ice.

Posted by Martin Schneider
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11.06.2013
11:30 am
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‘99% of stoners are Satan worshipers’
11.06.2013
09:50 am
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For a stretch in the mid- to late 1980s, Satanism was almost an everyday topic in the media. Future “Second Lady” Tipper Gore founded a group called the Parents Music Resource Center (shudder), which spent its days lobbying Congress for increased censorship of rock albums—two groups that attracted its scrutiny for its “occult” content were Venom and Mercyful Fate.

In 1989 Dr. Jerry Johnston published a book called Edge of Evil: The Rise of Satanism in North America, and this video—also with Johnston, I believe—must date from about the same time. (in this video he is unidentified; I’ve consulted pictures and videos of Dr. Johnston from more recent years—it’s probably same guy but he’s softened his preacherly accent quite a bit.)

Today Johnston’s focus is on more mainstream subjects like teenage suicide, and the tone is a lot less doomy. I would venture that he’s been influenced by someone like Rick Warren, who (like him or not) has given evangelism a more compassionate face. Anyway, in this clip the preacher is in full Satanic alarmist mode, speaking with such great understanding about the presumably hundreds, if not thousands, of teenage Satanists he’s met—“some of them, I noticed, on the little web between the thumb and right index finger was a Satanic emblem…. They had the pentagram tattoo and some of the girls were dressed in black. Closer looking at their fingers, I noticed they had skull rings.” In a troubled teen’s bedroom he spies “the decorative heavy metal rock posters of Venom and Slayer and Ozzy and a few others.” (His account of the Satanists he’s met for all the world sounds like something he read in a book or just made up.)

And I haven’t even gotten to the part with his impression of a teenage Satanist luring his would-be victims into undertaking human sacrifice with promises of drugs and easy sex…...

At the end of the video a number is given to call if you think you know of a teen who has fallen or is on the verge of succumbing to the allure of Satan—it’s 1-800-SV-A-TEEN. I called it the line is dead.
 


via William Caxton Fan Club (a.k.a. John Darnielle’s Tumblr)

Previously on Dangerous Minds:
Is Barry Manilow a tool of Satan?
1982 news special on Satan-worshiping rockers Kiss

Posted by Martin Schneider
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11.06.2013
09:50 am
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Mutant, poison-eating ‘Super Rats’...coming soon
11.06.2013
09:05 am
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Mutant “super rats,” which cannot be killed by regular poisons are spreading across the UK, according to researchers and pest control experts.

Just like those creatures in James Herbert’s classic pulp horror novel, The Rats, these super rodents eat toxic pellets “like feed,” and have spread as far as Kent, the West Country and Sussex.

In an interview with Metro newspaper, Richard Moseley of the British Pest Control Association said:

“Normal rats are being killed off by poison, so these resistant species are taking their place—it’s only natural that their numbers are expanding. But they’re being found further afield than previously anticipated. They eat poison like feed; you might as well be leaving out grain for them.”

There are an estimated 10.5million rats in the UK. Rats can breed rapidly and have a gestation period of 21-days, one female can have as many as 14 “pups” at a time. It is believed that some breeding pairs can produce as many as 800 young in just two years.

While poison resistant rats have been observed in the UK for over 50 years, researchers from the University of Huddersfield have claimed these mutant rats are spreading rapidly. Last year, researchers discovered that up to 70% of rats tested in some counties were resistant to poison.

Dr. Dougie Clarke told Metro that a naturally occurring mutation of genes was most likely responsible for these “Super Rats.”

“It’s now a big problem in some areas of the south of England. The only solution is stronger poisons.

“There are concerns about poisoning secondary animals and birds but, if it’s carefully controlled it can be kept to an absolute minimum.”

Rats are considered a major health risk to the public, if their populations are left unchecked. However, Jeff Knott from the Royal Society for the Protection of Birds said:

“We cannot afford to lock ourselves into a toxic arms race we can never win, as wildlife will be the loser.”

Mutant giant rats are also a problem in Iran, Central Europe and New York, but now that Mr Herbert’s once fictional “super” Rats are spreading across the UK, how long before Guy N. Smith’s giant Crabs and Shaun Hutson’s mutant Slugs make their appearance?
 

 
Via the ‘Metro

Posted by Paul Gallagher
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11.06.2013
09:05 am
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Voices of angels on AM radio: Isolated vocal track for The Turtles’ ‘Happy Together’
11.05.2013
08:23 pm
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Of all the “isolated vocals” tracks going around the Internet these days, one of the most beautiful of all, I think, comes from The Turtles’ “Happy Together.” I just stumbled across this looking for something else and man, it’s just… glorious. It’s one of the best known, most beloved, best pop songs PERIOD and you’ve never heard it quite like this before.

You could take apart every element of the song and the kernel of pure pop perfection would be found in every component part, right down to the high-hat, but nowhere more so than with Howard Kaylan’s lead vocal and the harmony he’s got going on with Mark Volman and the other Turtles. Here we have two of the greatest voices of the rock era—the harmonies of Flo and Eddie can be found on Frank Zappa albums, Bruce Springsteen’s “Hungry Heart,” Blondie’s Autoamerican, “Love My Way” by The Psychedelic Furs and “Get It On (Bang a Gong)” by T.Rex among many other classics—and this is so beautiful that I would imagine that it will bring a tear to more than a few of your eyes.

Thing is, you could do this to virtually any Turtles number—“Somewhere Friday Night” or “Lady O” say—and it would be amazing.

You’ll notice that in the clip below—it’s from The Ed Sullivan Show—Mark Volman “plays” a trumpet, meant to openly (and comedically) acknowledge that they were lip-syncing.
 

Posted by Richard Metzger
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11.05.2013
08:23 pm
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