explodingbubblelake

Sabadabada?

2006-05-04T00:16:00.000-07:00

Here is a recipe for a middle eastern recipe-sleaque, or some transliteration. It is delicious, and yogurt is an essential ingredient, and to me, what makes the dish that much better...

Spinach or Endive (spinach can be frozen, endive is hard enough to find fresh, or probably not found frozen anywhere)
onions
garlic
lemons
black eyed peas (they must be this bean, as it absorbs/doesn't weigh down the dish)
pepper/salt
olive oil

yogurt:
plain yogurt (whole milk, good quality)
lemons
garlic
pepper/salt (optional)

prepare your beans, make sure if you hot soak them, (boil then let soak for an hour) they are tender...I never do a cold soak, so I don't know how they turn out.

the key to this recipe is that the food is cooked with an abundance of olive oil/garlic, so while you shouldn't use too much oil, the yogurt balances this out...

sautee garlic in the olive oil at a low to mid heat, then place chopped onion (finely/coarsely... make sure it cooks tender) add some lemon juice. Since olive oil has a tendency to retain more heat, get hotter, make sure the heat is low-this dish is best when the ingredients are slightly undercooked.

meanwhile, steam chopped endive/spinach (if you use frozen spinach, this is as easy as placing in/over a bowl of water, and cooking in the microwave, as per instructions (steaming) or in a steamer over stovetop...

Place black eyed peas in the pan with the garlic/onions. You should use roughly the same amount of peas as you use greens-I found this ratio works best. Mix the beans with the garlic/onions, and cook them with some lemon juice/salt/pepper to taste.

After the beans have cooked for a short while, and have absorbed some of the garlic, mix in the greens, and add more olive oil-(not too much, although you shouldn't only use the oil for cooking...)/salt/lemon juice/pepper to taste.

Mix everything together, and continue cooking over a low-medium heat covered (i find this works best, although have left uncovered)

while this is cooking, mix the plain yogurt in a bowl with lemon juice and crushed/minced garlic (use fresh garlic) add enough so that you can clearly taste the garlic, as well, don't make the lemon overpowering, but it will add a refreshing garnish...(you may also add pepper to the yogurt, although it isn't necessarily the proper method here)

The onions/beans/greens should be tender, but not overcooked-take off the fire and let cool, (dish best served warm-warm/hot, in other words when you eat with the yogurt, it shouldn't affect the yogurt's temperature adversely)
Dish the yogurt on the sleaque as garnish, I find and prefer mixing as I eat, rather than pouring the yogurt all on at once.

if cooked correctly, this is an incredibly light and extremely flavorful dish (and the yogurt should balance the oil/garlic and greens) and give it a lightness-it should be easy to overeat...my roommate was incredibly impressed (calling in restaurant quality/asking me to teach her to cook it), but its very easy to prepare...

you can also cook with dish with bulgur wheat (or millet) as a grain, although i prefer without, and rice is not recommended.
First time i had this, at a Syrian restaurant, it reminded me of a traditional 'old-world'flavor, something my Grandmother (of Ukrainian/Polish descent) would make...

current listening:
Raw Brazil 3
Osvaldinho da Cuica
Enema & Gejonte 2 LP
trimmed bug eyebrows
Exploding Head Orgasm
Martin Grunwaldt
Blague LP compilation A non "punk manifesto" confined international compilation being all the more punk at heart by the inclusion of solo piano, noise, and horns. Crusty and arty and just plain weird, with Tribes of Neurot, I Fichissimi, Thierry Galai, Trespassers W, Witchknot, AOS 3, Korrupt, Inzirli, Die Toten Klavier, Hypochondriacs, Paralitik Woodktr, One By One, Cross On Your Past, Rawness, Boot Down the Door. Pressed in the Czech Republic on red vinyl; hence the price.
-a rare and terrific find (probably because its on a Berkeley label) from the late 80s early 90s in the vein of the Illusion Production/or the ADN label...
Captain Nemo 2000 lp
Gil Wolman l'anticoncept lp (with audio not only from the film)
Insomnia vol 2 dbl cass (with Human Head Transplant, Hunting Lodge (!), Matt Heckert (the find of the cassettes), and Greater than one...from the 80s)
Herculoids-land of the giants (?)
Metgumbnerbone-ligeliahorn
Koral (Slovakian band)
sapho (France)

I have been enjoying much samba lately, and was wondering if anybody could tell me where I should go in Brazil (am planning a trip for there at some point) to dig up/enjoy it...in the vein of Osvaldinho da Cuica, (I was thinking Sao Paulo?)

old / newly revised: mp3 of vicora
http://download.yousendit.com/1399497F6675B91F

Saigon Falls

2006-03-24T20:28:00.000-08:00

Let's go
http://s23.yousendit.com/d.aspx?id=2SH0HG7FWEV6813P3DM21TV937

Hanoi Soul
http://s31.yousendit.com/d.aspx?id=1SFNESV3I9NPP2SD5EVEQK0HAX

+++

Recorded Summer 2005:
CCohen: Buchla/Rhythm
JGorchov: Reel to Reel/feedback/tones/noise/vocals

'Hanoi Soul' direct transfer from audio cassette
'Let's go' edited from 3 tracks from audio cassette (primary track CC/JG, all other material JG)
each track approx. 6'30

+++

Comments welcome

+++

Hanging Chads

2006-01-11T20:20:00.000-08:00

(Mas dume dolcho)

dimthings extravaganzza

so, pleased to report that i'm posting some V/Sanctomin yes yes that wasn't V. Sanctomin in the last post, but DIMTHINGS founder johnnie (or something) pictured.

1
2
3

well, look for some of these on the upcoming pastel album paysage au... (huh?)

if youre looking for a description, can't really say, it sounds like much else,'you've got a price to pay, your life is one the line' for track 3.

Analysis indicates many Gore votes thrown out in Florida

Web posted at: 1:29 PM EST (1829 GMT)

WASHINGTON (CNN) -- An analysis of a portion of November's votes in Florida for president shows those for Al Gore were far more likely to be disqualified because of so-called overvoting than ballots cast for George W. Bush.

The Washington Post reviewed the computer records of 2.7 million votes in eight of Florida's most populous counties.

According to the newspaper, overvotes -- ballots that were thrown out because more than one candidate for president was selected -- were three times more likely to include Gore as one of the choices, rather than Bush. The eight counties reviewed included Broward, Miami-Dade and Palm Beach.

The Washington Post found that in Palm Beach, 8,000 so-called butterfly ballots were thrown out because Gore and one of two other presidential candidates -- a candidate listed below Gore and another listed above Gore -- were selec

did you know about this!?!?! that's crazy!

V. Sanctomin

2005-11-28T19:41:00.000-08:00

Watersports - III
(part 1)
(part 2)

A prime piece ... from unheralded band. (great tastes in music, friendly Russ, I've picked up). known for short releases... apparently, if at all. dua of Russ/Lea.

This is the entirety of this release, hard to find, unfortunately, as this is quite possibly a most perfect musical experience. Press release (?) mentions harry partch as well as contemporary ususal psych heads but, i dont hear it...as much as minimalist klang, a balinese fluxist charlemagne palestine minimalism / crossed with psych-krautrocker 'space'. who? referents not coming so easily, but I think what is so appealing is the anachronistic quality...this is not the usual contemporary sound. after all, and can not be place as such...the first and most obvious deviance is the tautness of their work. (At 8+ minutes this being one of the longer releases?) this is highly cogent, single note philip corner/but/also limbus$! (take off the cap on the post-limbus)
..................
and speaking of single repetitivism, please check out the final piece on the otto muehl psychomotorik record...while most of the (classic) record deals with pontificating the aktionist aesthetic through spoken abjections, (in the documentations of the essentially extreme ideal) the final cut is a nascent no-wave single note primitive fumble like the best of them, this and many others (rarities) are available (the two otto muehl records!) at ubu.com ... search otto muehl download last track...(or all of it, a bootleg 7" containing 3 songs of this record was circulating as recently as a month ago for a reg.-non-collector new price of $15...save yourself the money and hear the whole record) while you're at it, get group ongaku (pre-taj mahal travellers), the material of which comes from a horribly rare/unavailable cd released a few years ago-essential material-far less dry/academic than the Western contemporary counterparts.
.................
Up next-Smersh.
WIll MISS IT!

Can't wait no longer no more

2005-10-28T19:39:00.000-07:00

Vinyl only Listening this time around

Time to uncork the Shiraz and relax with nice old time vinyl, please enjoy your peaceful night at home

ANNE HELLER _ THE FOUNTAIN OF ANNHIlation. Bobby J records (Distributed by)

dont know why but, Bobby J. sounds good to me, how about you? responsible for the magazine with the Charlie Mcalister/Caroliner/Five Starcle MEn/Charalambides double 7" (cant recall the title right now///good read though)
Ive got purple lips right now so dont believe everything i say-ah

Starts off nice enough, but, plain old loops... second side is much better, all dubbed inept guitar and scraggly (but pleasant) synths done in a stile of siltbreeze, but all woman!!

(when i think about it, Siltbreeze was anti-gyne, you know, how about her, having a field day, here~!!! i mean, really!) fuck i mean Alice JArdine have youread her books! blanchot! etc.

So good though, i enjoy 2nd side a lot, yes this is a record im listening to.

SI KAHN _ HOME (Flying Fish)

Gettin tired of listing the labels already. this was a find though, stopped by AKA today, got this for 99$ (where is cents sign?) along with Holger Hiller's Ein Bundel ...lp (his first lp), wah - nah poo, and giuseppi logans quartet on GET BACK please! i dont want to talk right now.

Total blue grass blue, updated by folkisms (and activisms) of the 60's but, this was recordered in 1979. oh now! at least he was a union organizer. yes, yes, yes~ sponsored by my belief that i didnt watch oh brother where art thou, and realizing i did when i watched it again, but, also realizing that bluegrass is a popular niche interest amongst boring peoples (and family...im sorry family!) This is really nice though, and is the nicest popfolk cord ive gotten for a buck since um. levi noonan houshmand's east river (i got that record for a buck!!!!) i dont get too many popfolk records for a buck mind you, so dont believe erething i say, now.

ASIA/ZAAT - NAUSCOPY

new record, first new one of the bunch, bought new and everything, because we're all new when it comes dorn to it, squeak.

first side is a collection of 78's from Eastern Asia(Southeast, India, etc) two of the tracks are even taken from a postal record (a record issued as a stamp? have to be seen to be believed) first 100 comes on blue vinyl, what more can one (you) ask for? Lets flip it over. ZAAT ZAAT ZAAT ZAAT ZAAT lets repeat the lyrics until you cause me to freak the fuck out MAN! motherfux i cant imagine a more extreme difference between two sides of a record (i guess nauscopy specializes in this kind oh thing...my issues i got al lot of issues, messing with me like that) thats razzing me to death, let me tell you.

OkAY!
I THINK I MENTIONED THIS BEFORE, BUT...

got Holger Hiller's first record on vinyl originally released in 1984 (fuck i cant even type numbers) i had like half the bottle of shiraz, mind you, thats why i have purplelips. i have this one on cd with his 2nd record (which uh,... is horrible) but the first solo record by MR. Hiller is better than his Palais Schaumburg record, its all CERTAIN RATIO crossed with POP GROUP crossed with GERMAN WAVE (which ive mentioned before) and if you like that kind of thing, its nice, its even short28 minutes, still listening to SI KAHN (the way they treat their workers its nextdoor to a crime!) i feel so good i got the union in my soul.

i cant speak german, i dont like KINSKI, HERZOG, either, mmmhmmm watch that river roll. yeahhaheahh, i got the union in my soul.

more later/

noW!

anenzaphalia-noehaem

wow!!!! amazing record, my kind of record let me tell you, death industrial!!!

anenzaphalia been around awhile, okay? get hip-stand right theree, yes, there!!!

SEA DONKEYS - (new release on ABDUCTION)

this is dissapppointing, really disapointing, let me tellyo-ouo=you.

imagine cabaret pirate sea shanteys (take away caberet and i'm liking it much more)

all showtunes, n' snuff

wow

what

next

okay

klondike and york - s/t on weird forest

this is pretty good, dont know why more people dont think of it more often, though/
synth sequencers and free jazz blowing, but still wont necesarrily take it over my milford graves' records. nice enough though, if still around pick it dad up. go on...

Reinventing the wheel at the top of the heap

2005-10-16T21:27:00.000-07:00

French fantastica. here at the '""' music is where we are right now.
not just exp. esoterica, but, music for all.

this series, will discuss that music not the well knowns, (ie) or the annoyingly cloying. (yeah) nor the FUTURA, nor the PASTa (you should know this label but is not always THERE, but is gone)

no i'm talking mainly about the 80's french music, touchstones of PTOSE, OFFICER_OSSIFICATION, ALESIA COSMOS guh. X_RAY POP , KULU HATHA MAMNUA , ZUT UN FEU ROUGE alternate universe newwave -but-that label is too limiting. THis is example of pure bonhomie shrouded, or in some cases, concealed by grotesque and surreal, not your typical esoteriscisms or discretions; there is no humanitariams or romanticisms here, no sensualisms, or comediasms (somtime shortcoming of french popart) no grandstanding post uring or polemics.

MUsic contained within its heterologic sphere . nothing else like it, yet always likable by humans ... (and others?)

IS this a primer? maybe not. but, here's a start. Please check (most of) the AYAA label which transmuted into the IN poly SONS. okay. you may avoid teh chamber music, or the cloying sentimentalism of sometimes Klimperei, Dragibus (pains me to say it)

but.

as alluded to, the image of the above is a record called "Il y a des Jours" and it is by Hellebore, and it was released by AYAA in 1985 in an editino of 1005 (needless knowledge), but the cover art is credited to the Mnemonists (who aside from the otherwordly Horde) didnot completely explore the same grounds as the top ffrenchh experimental surreal cluster sky shots of midnight deserts in teh night of the mid 1980s (let us put aside the issue of musicianship, not even argue it...it is what makes prog distending horror for me,but fandom mathematical freaks. i do not liek that) there is , and it is difficult to put it, a premium on removing the normative 'language' and typical symbols of the musical instrument, (as well as the typical identitity relations with said instruments) in providing ... real, but transitive textures in an acceptable language (not completely removed, or intentionally gone, outsounding). (check Zut en fou rouge , typcial cold-wave in other hands, but...)

listening to Hellebore right now (a favorite from the teens, believe) it is not a jazz record or a prog record, it is a there record but billowing in sheen and dissonancenad progress and bonhomie and heterology. An excerpt of the studio but also of the elevation above the studio, beyond the media (wehter it be tape record or cd)

the sometimes look de bouk, and Officer and others are differnt but great in there wayus also. tupidek etc. (but!) they are not typical forms or intended regressions, so don't categorize them ... they are differential, they are not 'french' nor are thye european in the same way they are not typical musical forms. however, there are some you should avoid, youmay ask, but ive listed some you might not want to, depending.

and, if you like things like charlie mcalister, digressions and variances on the ragtime, the bluegrass, (ie outmoded in taste, though not in essence=spirit) there are seriously wasted gutted versions languishing in insulare emerald murk fog.

investigate

Officer

Look de Bouk

Paul Bourre's "the Ticking"

Un bouk de unicorn

R,I,P,

2005-10-10T23:33:00.000-07:00

R.I.p. HABEEB
R.I.P. ORF
R.I.p tigercat
Rip Herculids
REst in peach eyebow
M.I.P. women
L.R.p. poison pouch (dr. yuk!!!)
R.I.P. ORF
RIP egg toats
RIP alligator python
RMP u ncharged phone
RIP tote bag
ROP raprop
RIP XXX movies and liquor in cartoons and
RIP mang
rISD
R.I.P. Luc Ferrari
trip opend mail box (closed) concord grapes.
mm quicksandp

)()()()()()()()()()(X)(X)(X)()()()()()()()(X)(X)(X)()()()()()()()

test names namus mlmlm loks
locks.

$$$###

exploding bubbles!

i have anidea based on concepts of accumulation/condensation and dispersion and (above) watchi this.

click on above links random accumulations you cam/just non associative to RIP just there.

submit random links just images even prefererd which will be displaced arbitrarily and accumulated in one place. all things welcome send lists of links to gonctatc page. (links added/assigned later) will acknowledge contributor if requested.(i dont remember where put what. make am ind change a life this has bene)
)

I take a chance man, National REviw

2005-09-06T22:08:00.000-07:00

ARchiving several old records/cassettes/cds and rediscovering somethings; as a teen traded for/with those involved in reissuing microlabels (mostly diy/postpunk); so: the interesting thing about the tape trading scene in europe (prominently UK?) is fairly undiscovered, undocumented releases of great quality (the tape trading scene of the late 80's into the 90's in contrast centering around post-industrial, noise, and to my knowlege, much more widely documented...this being the preferred medium, i believe, of these artists)

regardless, there goes still many expansive indivudiually dubbed tape forgotten from the british, german wave, french italisn , and american cassette diy / posatpunk trading community of the early 80s in my mind with a more murky appearl

posting these for the time being, will have to find the info re: these tracks in the process of cataloging:

I am the diceman, i take a chance man

This is a cover of the early Fall song, adhering the qualities i find appealing about diy postpunk (detached minimally delivery/intonation, metronomic tmie) in contrast to impassioned commercial postpunk or punk. cant say i like the guy;s vocals much but this YMG's the Fall. (and i dont know is this akin to mark e. smith heresy to devoteds?---i nver really appreiciated them, so i dont know personaloy)

ijngle

This one is good too off another cassette, more appropriatley fits the metronomic/inntonation (relaxed?) description above, reminds at first of an organ xchristmas jingle, or dissected 50's (rock?) also. moving from appropriated organ riffs...in fact my favorite thing about most of this music is are the blatant appropriatinos/rearrangings of popular music forms in the cognitive sense of the riff (oh i recognize that) such as german wave with nursery melodies///well known to all...effectively recontextualizing popular music. i would like to do a compilation in these theme eventually.

*************************************************************************************

The Editors: The 2008 Republican convention should be in New Orleans. 09/03 4:54 p.m.

Granted this is the national review, but the fact that this was posted on the 3rd literally a few days after the hurrican....???

Splattter ARt

2005-09-01T11:56:00.000-07:00

Vicora - Hans Dommer b/w Enzelgang

Tired Times

2005-08-24T22:35:00.000-07:00

TT in TINYtown

Well have a couple of gems for you'all this week.

In and with regard to my tamboura with which will post a track of mine own soon, if i can find it.

NOW, with respect to the lysergic mind expansion of that sweet buzz, AND I know, i need to replace a cpl of strings...comes a non-conventional -read- inappropriate usage and well what does that mean anyhow?

What we have here are two completely obscure tracks, of a forgotten group known nothing about...when exactly were these two tracks recorded? in the late 60's one presumes, though no one knows for sure. In fact, of these two tracks, it is my belief that you won't be able to find anything at all on "All Your Ambitions," while "Vision is a Lonely Word" shows up on a couple of discreet compilations I can't recommend because they're shrouded in mystery.

Well, perhaps I've set a proper scene for all of you, so let's imbibe the legend and talk music. Saffron effortlessly navigates that purely coincidental or accidentally intentional meeting of the hybrid sounds of the WEST and the east (emphasis noted), flattering who? diminishing what? "Vision..." is the personal favorite for that scintillating refrain (yes, it is a woman, and presumably there are more than one) those organ sounds and arrhythmical tamboura. Absolutely puts Hall of Fame to shame (ugh...what a name), puts Tara Fursaxa on Atarax (that doesn't quite work does it) but, if those are touchstones for your bulbous head come hither and take these sounds home with you and listen to them in bed. (or as my stepfather says, "Between the sheets"

VISION OF A LONELY WORD

Yes, wishing Saffron had all their ambitions to record something more, and maybe they did, but the mystery persists, the fog does not yet lift. Yes, "All your Ambitions" extends the form and promotes the sitar, and the naif Pendulum Floors vocals, oddly and incredibly prescient (and so much more), so please, if your like me and your psychfolk nice and round, share this music with youre loved ones, your flatmates, and pre-war busconductors. You will never be able to listen to _____ from the revival the same way again, this is music out of time, and out of place, and in fact, test those people, and ask them what era this contemporary archaic is from. I doubt they will place it.

ALL YOUR AMBITIONS

I am tired, am going to sleep, I know I will regret...but only to sleep...

(On a serious note, the mp3 files will only last one week, in this case, they will expire August 32...oh wait, Sept. 1, so please download them beforehand...will repost tracks upon request, such as these, which, in all seriousness, never cease to amaze me...Saffron is truly a bejeweled mystery to even the most avid psych/acid/folk collector.)

Hey Now (eeee eeee eee)

2005-08-15T15:48:00.000-07:00

EEEE EEEEE

continuing found series, next is answer tapes on SENDHELP/HERESEE with quotes too. i stole a casette myself

on mang disc found recordings of a friends brother in pre-highschool days later going on to success in sports (what do theyplay in maine? ice hockey maybe...)

presceince here

i play sports

has to be the winner? actually just pulled this disc out after not listening to it for at least a year, (and then only the first few songs) thinking it was all prebuscent emotional punky stuff (its not all as good as i play sports, though in that musical vein). Turns out last half of the disc is echoed rhythm box with/ improvised lyrics and noodlin the kind of thing i would have done when i was that age if i wasnt retarded. was this kid listeni to suicide? doubtwilly

slash your wrist

eyh and it not even a hoax, this kid sounds like a 5th gradeboy. no fx pedals'll are of the preteen boy voice variety...yeh thats right. unfortunately. along that note sened me suggestions of voice effects youd like to have. ill post them interactivley

well i promised dolphins so here it comes:

http://www.sexwork.com/family/dolphins1.html

heres an excerpt:

"Sex with Dolphins - "How To", and a Personal Viewpoint...

Q5) Is their any way I can invite a dolphin to be masturbated?

A5) Well, yes. If they are hanging around, but not looking particularly excited, but you are, you can invite them with this way...

Male and Female dolphins can be invited by rolling them on their sides, again, but instead of going straight to the genital slit, rub along their bellies, between their pectoral fins, along the navel, and every once in a while, over the genital slit. If they are responsive, they will show the signs of excitement as described earlier, and you can proceed as usual. If, however, they are not responsive, they will swim away, or turn back upright. DO NOT force the issue with a dolphin! Trying to restrain them will only break their trust in you, and could cause you serious injury. Pat them, stroke them and talk to them lovingly, but do not try anything else. It is best, anyway, to let the dolphin tell you when they are ready. It is far more pleasant, and more fulfilling anyway. And more special.

Q6) Where can I find a dolphin to mate with?

A6) Aquariums are a bad choice, for many reasons. Too public, the dolphins are not in their natural habitat, night visits are impossible, etc etc... some may have external enclosures, which may be accesable, but that is no guarantee. Best thing sometimes is to find a beach or a cove that the dolphins frequent. It takes time to develop a relationship with a dolphin to the point where they will let you mate with them (although some have been as quick as 3 days to acclimatize). Gaining their trust takes time, and you need to visit frequently. This is impossible for some people, I understand, but it is the best way. Sometimes you just need to be in the right place at the right time. I have been extremely lucky on two occasions with wild dolphins, and my current mate is a dolphin who lives in the harbour of my resident city.

Well, I hope this is of use to whoever is interested. One final note. You should love a dolphin, not because of the sexual relief they can provide, but because they are a unique animal, one of the few wild animals that seek the company of man by their own initiative. This is special. Do not abuse it.

About the Author

I first realized I was a Delphinic Zoophile when I was 12 years old, which is when I had my first sexual encounter with a dolphin. This is not that particular occasion, since my first lover was brutally killed in an act of sensless violence that I will never forgive, or forget. She continues to live in my memories, though...

I volunteer with dolphins whenever I get the opportunity. They are special to me, highly intelligent, empathic creatures that are dear to my heart, and are a healing aspect in my life. So it was that I met this particular dolphin, a female bottle nose dolphin, 7 years old, who is residing at my home cities coastal harbour/aquarium.

She is a beautiful dolphin, inquisitive and playful, and more used to human contact than her other, older pod mates. I answer any questions the general public have about dolphins, and spend most of my free time with them, studying and talking with them. I learned through continued contact that each dolphin has a very particular personality and habits, traits useful for differentiating between the fins who are sometimes hard to distinguish on visual markings alone.

In order to avoid the bustle tourists, I usually visit the dolphins at night, illegally I must add, since I am considered to be trespassing. But it is the only time I do not have to be distracted by tourists or the staff. I do not expect to have sex with the dolphins every time I visit them; I am not that sort of person. I spend time with them because they are a relaxing and stabilizing source of peace in an otherwise hectic and unbalanced lifestyle. So it came as a pleasant surprise when this 7-year-old dolphin began to engage in sex-play with me.

I was quite happily swimming around with the dolphins when she suddenly decided to grab my foot with her genital slit. Dolphins have very muscular vaginal orifices, and can use these muscles to manipulate objects and carry them. I stayed still for a while, to see if she was just playing, but she continued to masturbate against my foot, and in the light of the torch I sometimes carry, I could see that her slit had become very pink and had swelled as well. She was aroused!

So, I started to back-paddle with my hands towards a small beached area, partially submerged in the water. A couple of times she pulled me forward into the deeper water, but eventually I got my self to the shallows. I dislodged my foot (Being careful not to pull too hard), and took her gently by a pectoral fin and rubbed her belly just to aclimatize her, I guess. She immediately rolled belly up and started doing pelvic thrusts against the palm of my hand. It was unmistakebly erotic, and by now I was fully aroused.

I stripped off my shorts, and gently pulled her into the shallows until she was lying on her side, her belly facing towards me, half submerged in the water. I nestled myself belly to belly against her, and pressed my member against her genital slit. She immediately arched her body against mine, and took me inside her body, initiating a quick series of muscular contractions with her vaginal muscles. I wrapped my left arm around her body and just held her close while she manipulated me inside her body, until I climaxed barely 2 minutes later. Surprisingly, her body also shuddered against mine, and we spent the next 5 or so minutes just lying together in the shallows, holding each other, enjoying our company and revelling in the fact that we had shared something special together, something very few people can claim to have done.

I do not brag about this though. It is not something you can brag about, since it not only is demeaning to the act, but it destroys the purpose of the act as well; to express affection, and trust. I only consent to those dolphins who ask. As a result, I have mated only three times. Each time was memorable and special, because each time it was something we both wanted to share with each other. Sex, for me, is just another, albeit powerful, expression of affection and trust. I wouldn't engage any other animal, though; it is not my attraction. But there is little I wouldn't do for a dolphin."

In the meantime, please read the rest of the site (at least) www.sexwork.com/family with rampant incest, craziness, graphic 'instructional' pictures, all under shroud of liberated christian sexperts no, no, no, we dont believe in birth control...

and what about that man who had his colon punctured by a horse...yeh...

WiNTerHAwK

2005-08-09T20:21:00.000-07:00

Quick note on future postings:
Much more frequent, and shorter posts, with images/mp3s for music related posts/also other mediums and obscurities...so, check back a few times (a couple?) a week! Also please let me know if you have any difficulties with downloading the files.

Custer's Dyin'

Custer's dyin, his woahman's a-cryin 2X

This came to my attention along with another group of 'trainable' discs (the ABC of sex ed for trainables was filmed/produced by planned parenthood of Philadelphia! my oled homeytown...)

One look at the picture. Didn't know what to expect really, certainly was hoping for a series of exploitive self-aggrandizing/promoting in their collective images. (I believe them-speaking of which, overheard someone babbling on about his dissapointment in his role as a colonizer...referring to the plight of the native americans...please! America never colonized the Native Americans, just got rid of em altogether, it wasnt even an issue of marginalization.)

Unfortunately, despite such gems from Nik (Alexander) leader of the group "the war-drum beat is the rock n roll sound" or something to that effect, the music is mostly dumbheaded hardrock riffing---with amusingly unpoetic/simple lyrics 'i would like to meet you, i would like to greet you, my reservation lady.'!!!!

I like it though...the CD combines Electric Warriors, their first lp from 1979, which has some elements of what I was hoping for (most noticeably on Selfish Man), and their second lp, from a year later, called Dog Soldier, which lessens the individualistic sounds of the oddly militant? hippy native american posturing (without lessening that same visual 'image') to the degree of absolute anonymity (with the exception of the last song of Dog Soldier, which is explicitly indicative of image quota...so funny...a song (chant) called I Will Remember, which, of course is dedicated to Nik's ancestors and family.

I'm soryr.

i love this though! the "holy grail of native american rock"!!! sometimes.

Judy Danger

2005-07-14T10:52:00.000-07:00

Mark Stewart’s Learning to Cope With Cowardice is ON-U 24, not quite like his New
Age Steppers’ hit High Ideals and crazy dreams, nothing like pop group, and nothing like
roots. Total party record, first side is like one long spaced out break-fest like patella
party. Bee’s KNEES. On-U is like anglo experimental dub (mostly) for british
postpunkers who’re maybe fans of reggae or not at all, and just follow these figures. Like
Judy Nylon; crucial judy…my pal. Half bad half good, but in the good parts realllay
good.
Speaking of Judy, she had a group with patti palladin (2’l’s’ patti) who’s flinging lizards patti , I think, and their group was called ‘Snatch’. They had a record on Pandemonium, and a split with Eno. I wish I was Judy, in anotherlife-wowowow, deadfaced stick in your gut expression, with those man rays strativeriuses. Beno probably kissing judy’s boots, can I please be on your side of the split, and patti feeling good about the whole thing. But its all there, judy comments she listened to german wave, which is what it was I feel, not NeuDeutschWelle, or german new wave. Judy isthe original Dangerous Woman as opposed to Danger woman.

Spearking of german wave and brian eno, my buddo nate unchained (uh, what’s that album title of the psych-hard rock group elias… who’s album is ‘unchained’ and has an crude painting of the hulk on the sleeve…yeah unchained) allowd me some zickzack, and die atlantikschwimmer is like but better than joy division, with german lyrics and everything, great sounds, wish I knew about them early, which leads me to believe joy disivion is for dworks. Not like Red Zebra (the Belgian joy division) whore paltry copyists of jd’s, so theyre 25% of dieatlantikschwimmer, though nate was “I don’t remember them’ but you know what, don’t buy youre comsat angels, your magazines, your cures, buy obscure non English versions of those gropus, then your connection is not emotional and dworky but youll like the vibeys and not understand the overwrought lyricy don’t buy the factory label minnypops record, or the names records, in fact stay away from most of LTM (sorry fella, I’ve felt different about you of late) buy originals. Okay you can buy some. Like the Stockholm monsters who(were) the best band in the world. Oh yeah, and brian eno, he got his new record like within the last year new, no having followed his work lately or ever really, well id ont know what it was, butwas played for me, and it sounded bad bad bad. Not really pathetically boobad, just bad salt of the earth.

Let’s put a snatch reissue together it couldnot be more timely. And when I conatacted ROIR several years ago about when theyre getting around to reissued my pal judy (sorry folks, they don’t have the cassette hanging around anymore) they say’we’re getting around to all old ROIR releases’, but you know what, I don’t think they are, and besides they probably don’t have the rights anyway, (probably U-sound still got it)…I referred earlier to New Age Steppers, and in any case, Usound had reissued their first two records on disc a few years ago, reall cheap (you could find them in retail stores for less than 10$ new) and then they became unavailable again…buy their second, action battlefield, first.! Better than Rip Rig and Panic, Neneh Cherry’s other group at/around that time.

Does anyone know judy, ? get in touch… need ot hear about getting the work out there.

Anyhow: g(listening
Hartmut geerk – kein roter fa
Verplanken – autopsy of a dream
Bold saber s/t
Conrad and gregor schnitzler – konrad und sohn
Taminushaum
Iancu dumitrescu
Fashion flesh
Fall of Saigon
Saffron
No strange
Albergo intergalattico spaziale
Murha murha itsemurha
Asperandoagogo
MACAW/GRACE’S AMAZING KITTY BAND
Oh! And e pak sa (gonna get me some crazy Korean dvds tomorrow-ill keep you posted)
I wanna write more on verplanken next post…one of my all-timers (alsowrite on the first three one the list, maybe the first 5) I looove weird music and verplanken’s well hes reealy weird. The Conrad schnitzler-keith Whitman-the electroacoustician,put out a reissue available through his disribution mimaroglu music-it is really weird too, not familiar with schnitzler’s music, but I can tell you that this is probably the exception (at least the first side of the record, imagine german wave with helium pitch incantational vocals from gregor repeating incomprehensible (English?) monosyllabic words over overbearing repetitiveness and doomy fairground synth melodies. The original issue is so rare (500 private press –which doenst seem that rare, but we’re talking about Conrad schnitzler here…its like the aaliyah RIP record lathe cut) but so strange to schniztler fans (im assuming) that im not sure whether it fetches $20 or 2000. Its like gregor was like yyou near to hear these german wave sounds dad, or Conrad was going to parties with gregor, and people were speaking about Conrad behind his back, and then gregor told Conrad, you need to hear what these people are saying about you. And then Conrad was alright ill establish myself with the german wave scenesters, you can be on my record, son, but in case it doesn’t work out ill press it myself in an edition of 500 so it doesn’t ruin me. And then when he made the record everybody thought it was really weird, because at that time people were listening to palais Schaumburg, and other ”bands.”

KNUD

2005-07-04T19:59:00.000-07:00

further music explorations:
lionel marchetti's knud un nom de serpent
let's put aside first, any notions of problems arising out of possible exotic appropriations (we'll return to this later)...with this 'third world' frantic collage, which compositionally reminds quite a bit of Bladder Flask's "One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling." An amazing piece in its own right, with a fantastic title! A definite old favorite and classic, it'll open many doors, and in my mind is far more interesting than the Mixed Band Philanthropist, also by R. Rupenus (yes, of TNBlockaders).

Compositionally, these records are ecstatic and always moving collages of many disparate sources; the 'samples' are not linked in a coherent, but in an abrupt/jarring fashion, and last at the longest, a few seconds before shifting (not allowing for an imprint of the individual sources, but of the movement from one to the other, this is a way, of displacing the genuity of the 'source' in sampling, of displacing the elements of appropriation for the benefit of the ecstasy and purity of sounds.)

Well, it seems that for Marchetti, this ecstasy has a double meaning, as implied with his quote:

"For a while, I have been very interested in Shamanism. When I began ‘Knud’, I had been reading ‘Shamanism and Archaic States of Exctasy’, by Mircea Eliade, in which I found descriptions of rituals, symbolism of objects such as the tambour, wings, animals and strange singing. These were not far from a place of spirit that I have wanted to share. The composition is able to make the listener live with my mythology, more aware of the world’s potential forces".

Interestingly, the sources are not only consistent of appropriated musical sources of clearly exoticized and 3rd world references, but also of spoken word (passages consisting mainly of mainland francophone...with some feedback, maybe added), as well as naturalistic sounds, which in a way are reminiscent of walter marchetti's (not comparing due to the namesake, no relation) fluxus cum natural representations of the active and pastoral (non industrial) world (stones dropping in water, processed blowing wind, and so on). Marchetti's (Walter) Natura Morta is a possible indication, and forefather of this voice of naturalistic representation.

One the one hand, looking at Lionel Marchetti's background (formally educated, as it seems all French electro-acousticians are), as well as his usage of the term shamanism, and possible outmoded principles of the 'dark continent'(not my words)-as in the preservation of misrepresentative authenticity; preservation of a singular identity held in (non)existance by the past of the cultural signifiers of said continent. As well, the Asian influence (mostly in Indian references) are heavily used, in fact more so than the African content.

One important choice of words used by Marchetti, however, is imparting the listener with a view,or insight of 'his (Marchetti's) mythology.' What this means to me is a personal interaction with the sounds, which fortunately appear to be taken mostly from prerecorded sources (not anthropologically retrieved by the composer himself, in all likelihood, but taken from records (there is at points an insistent wash of surface noise from records), radio, tapes.) This is not, then, a disregard, nor authentication of esteemed use of anthropological sources, but a perspective of the composer, the author of the composition, one who does not hold the language, or the words, and is a mediator based on the ecstasy of the sounds at its disposal; contextually the lingual uses of the sounds are nothing more or less (non-political or identity-hegemony oppositional based, in other words). The frequency and counterdirections of the textual passages mirror my prior assertion in reference to Bladder Flask, as a displacement of any 'loaded' context of the original sound-source. The importance in defining this as Marchetti's sound-world is in detailing a personal response and interaction with the gallery and esotericism of an independent listener or reader, and taking those elements in, recycling them in endless psychoactive regurgitations of the listening experience-not-the experiential or theoretical.

Again, my assertion here is also based in the knowledge that Marchetti's other works are primarily examples of terminally sterile 'classical' european electro-acoustic music; both long and inconsequential. This is the exception to Marchetti's discography, and as stated before removes the 'compositional' element of the music (one doesn't quite know how randomly these pieces were selected and arranged, but clearly, less so than the standard pursuance of an extended compositional form). The composer in the case of Knud... is more or less without the language (the personal instrumentation of the composer/musician/artist), and is merely an expressive arranger, if that...

On a base level, this disc is complete immersive and immediate entertainment, and ecstatic exporation of sounds-Marchetti has succeeded. For his perspective, one can simply excerpt a portion of a passage arbitrarly, and in some way, make that passage a synechdoche, representative of the whole. That is how, although a French academic using, so freely these sources may seem problematic, there is no independent vision on Marchetti's part that seeks to refer to a single node of cultural implication in a political way; it does not authenticate or exoticize or preserve a cultural identity, quite probably because of the acompositional element of the piece.

(the following is an addendum to this post)

Some reviews tear apart Knud for the same reasons which I implied were the strengths of this piece, I wrote the initial criticism not in relation to any of the following reviews, but would like to provide a response to them.

"Lionel Marchetti's Knud un Nom de Serpent, a ragbag collage of shamanistic and other ecstatic rites, interjected to no discernible purpose with "citations" from 20th century experimental music, is tedious in the extreme. If Marchetti's intention was to produce an ecstatic document for domestic consumption, he failed; if his intention was to deal with ecstatic rites forensically, he failed; if collaged snippets of pop song, reggae and hip-hop are supposed to hint at barely submerged ecstatic rituals operating within a rational, essentially Western context, he failed. What's most worrying is that Marchetti seems to have no feeling for his material, and the compositions demonstrate only a meagre musical intelligence. His editing is so crude it has to be heard to be believed. Knud un Nom de Serpent works intermittently as a pile-up of instruments and voices that represent diverse ritual traditions with certain (rather tenuous) factors in common, but nothing much is made of this - or anything else, for that matter. A reviewer in The Wire (issue 209) described it as "An astonishing work". Execrable, more like."-Brian Marley

Well, the non-intention of Knud... in listenting is apparent, when working with an accrual of so many sources, you're dealing with densities and not personal attention/intention with the individual sources (for example, several years ago I was influenced by the Bladder Flask record so much that I had tried for some time to make compositions in the simplest meaning of putting elements together; not actual composing, by using quite literally hundreds of sources from my own backlog of recordings, processing them (crudely), and adding them together in condensations which were nonthematic, anti-musical. I really had no time to seriously consider what I was placing next to another sound, and this is the charm of this kind of collage; there is no time for ponderance both in composing it and in listening to it...it assumes an expressive state of ecstasy of sound(s). Given even that it was a short piece (5 minutes?) it took an entire day to put together, even without the responsibility of subtraction and/or intended organizations; the quantity and condensations, while individual are short, when compiled, assume an even greater involvement in time and effort than actual compositions of a few elements, planned in a particular way.

Another review expounds negatively on all the elements that would have me really excited to hear the subject of the review! I'd want to get this immediately based on the following:

Music concrete that ruins your nerves. There is almost nothing else to say about this CD. This album by Lionel Marchetti features 7 long tracks that seem more or less improvised and which are definitely made of the most unnerving samples you can find (at least if you speak french, since most of the samples are in French). The press release says that this musician wanted to do a CD dealing with shamanism and magic, and it is true that there are a lot of ritualistic chants and music, being all mixed together with excerpts from TV series and movies. But you just can not take this shamanistic approach seriously. The most beautiful arabic or oriental choirs are mixed with looped and treated screams from some soap opera. All the elements are colliding together, mix with screams, noises, hissing, clicks and silence.

It's difficult to describe what you hear on this CD, but imagine, for example, a girl screaming "kill me!" histerically for ten minutes, while a contact mic is rubbed on every single thing in a room, or a man trying to dub a TV documentary about shamanism and bursting in laughter every other minute. More or less, this is a bad TV sound team being thrown into a rooms where Lars Von Trier's Idiots are covering Dead Can Dance. It sure is original and strange, but I bet that nobody can listen to this CD twice in a row without skipping some tracks.

Totally ruining your nerve and your concentration, this CD just sounds plain weird. I can not believe Lionel Marchetti took it seriously, as this is just a chaos of stupid samples and shamanistic music. If he wanted to focus really on this element, he failed. But if he wanted to make fun of it, this is for sure a success. But can you pass me the aspirin now?

Just a fantastically appealing review that seriously...when the reviewer dismisses something due to it's 'weirdness', and then goes on to address all of those elements in the most extreme way, through comparisons between unlikely references...I'm ALWAYS interested in the item being reviewed, and I think that's generally a good rule of thumb, by which I'm rarely disappointed if acquiring something because of a review (don't think i do that anymore, though). Still.

Danger Woman

2005-06-18T00:59:00.000-07:00

This post is two weeks old, sorry, i'm only posting it now...

Well, pulled out the recently issued 2 lp set on the eccentric and mostly charming Old Gold records called OGX, a celebration of the first 10 years of Old Gold. I think (Marshall) Avett emailed me a list of all Old Gold releases, as well as kindly sending me a free cd (1, 2, 3, 4). Was eating a horrible spinach and cheese calzone from one of the many local pizzerias-Romeo Pizza-whose calzones are usually dependable, if not tasty. You know, though when the spinach is soggy (and salty and old tasting) and the ricotta and mozzerella is not only not fresh, but absorbs the acidic tastes of old spinach...well, I should complain, I really should). Actually heard somewhere that there's this acid (that's especially high in spinach) called oxalic acid which inhibits calcium intake...thereby contributing to osteoporosis. Coffee has a similar effect; if you're an older woman reading this blog (I know you're out there, somewhere) and your family has a history of osteoporosis, dont eat asmuch of the spinach and the coffee.

Anyhow, Old Gold first came to my attention a few years ago, when they put out the Yximalloo lp, Fangs of Lucifer, Yximalloo's only vinyl release! (to my knowledge, it is possible that his collaborations have been pressed on vinyl). Yximalloo was originally one of those finds I associated at first with a kind of mythic post-industrial opacity. Yximalloo's music is very different; it has a future-primitive quality, (apparently Naofumi Ishimaru's musical agenda is to create an shamanistic island where the indigenous instruments are old and fallible instruments). Anyhow, they're mostly all good, lonely whistle has a number of casettes, of which, you should definitely include the endless summer cassette...keep in mind that these cassettes are compiled by Nao from his many releases and archives, so there may be some overlap with other releases on other formats. There isn't enough, though, that each release isn't worth hearing. My first Yximalloo purchase was the compilation on Ceramic Hobs' Stan Batcow's label Pumf-this is not one of my favorite Yximalloos, and since the material is also on the hard to find sakura wrechords cds (i have techno shrine choir and kitsch shaman) i recommend finding these, if you can.

Danger Woman is another part of Old Gold history, though of a completely different color. She is based in Atlanta, and a recent correspondence with her, requesting other recordings elicited this response:

Dear Jacob:
I am very happy that you loved my rendition of The Axel F Walk.
If you want to order my songs on CD and cassette, go to these internet coodinates:
http://order.kagi.com/cgi-bin/store.cgi?storeID=7IS&&

And look for me at Dragon Con, September 2nd-5th, 2005.
http://www.dragoncon.org

I hope that you will come and see me perform LIVE and buy my CDS.
Well, I must go now.
Superstellar, Leader Of The Justice Force, needs me to do monitor duty.

Until we meet on the net and at Dragon Con............

Yours In The Fight For Justice,
DANGER WOMAN
The Songbird of Justice Force

Well, the fortunate part is one would think she would travel to other science fiction conventions; i have no intention of going to Atlanta anytime soon (i believe this convention is in the fall), perhaps the local science fiction conventioneers would like to sponsor a 'tour' for her presence. Unfortunately, the coordinates provided by MS. Woman no longer offered any of her material.
So, based on only having heard one song of hers i'm smitten, and definitely need to hear more.

Up next, lots of amazing psych records including COB's Moyshe McStiff, some ethereal counterbalance and rarities: also arts and crafts, le dernier cri and others. Also, current issues in philadelphia referring to the misguided festivities here in Philadelphia! relevance...

You know those fake but cushion pants (strangely, these worn mostly by young skinny girls) and duck buses? been seeing a lot of each this weekend.

Patron Saints and Fax Fire!

2005-06-15T11:05:00.000-07:00

(Above is a picture of the original pressing of Fohhoh Bohob by the Patron Saints)

Patron Saints, whose 1969 private press album "fohhoh bohob" is something that I've been listening to a lot lately, after having luckily stumbled across a cheap used copy, not knowing anything about this item, I picked it up by chance.

Apparently only 100 copies were pressed originally, 60 of which were made public, the rest going to friends, family, and promotional interests. Comes as no surprise, then, that the original copies went for well over a thousand dollars (on the new Patron Saints site, i think it is referenced that a copy was for sale for $2,500)

The surprising part about this record, however, is that it doesn't sound like a period piece-maybe it has something to do with this band being from Chappaqua, New York (I remember reading that they were Long Island based...but anyhow)-an interesting place where there are clear mainstream connections to NYC, but also outsider's charm (it seems like most music with 'strange' flourishes from past eras are from suburbs of the metropolitan areas, as opposed to the country, or the metropolitan areas themselves).

In fact, in many ways it reminds me of the 90's psychpop stuff I used to listen to in highschool (elephant 6, early tower recordings), but with a more melodic/spiritual and earnest edge, and completely bereft of irony (unlike those recent groups). There are a few missteps, however, songs like nostalgia trip (especially), and my lonely friend, the goodbye song, and a few others (including the bonus track, 'shine on heart') are examples of crystalline fragile off-key psych-pop genius, incredibly wispy, bare and at the same time heavy and pastoral.
The production, too helps this, and it is a fairly unconventional mix...there is literally an absence of any constant signatured drum beat...and barely any bass drums. Instead, percussion is limited to cymbal washes, and muffled tinny percussion that starts and stops almost unexpectedly. It appears that either the drummer was not proficient technically (which I prefer to a 'skilled' drummer) or was going for a textural percussion sound, clearly benefitting the emotions of the record.

Some of the lyrics exhibit what I perceived to be influenced by Western Christian faith, and needless to say, I find any proselytizing to be troublesome. However, Eric, one of the two original songwriters (unfortunately, the other songwriter, Jon Tuttle, whose songs I enjoyed most-he's responsible for Nostalgia Trip, My Lonely Friend, Goodbye Song...passed away in 1994) explained to me that there was no Christian influence, and the lyrics are expressive of general spirituality and questioning of 'something greater'. This puts my mind at ease! (Makes it acceptable to enjoy Fohhoh Bohob the way it should be enjoyed...)

In any case, Eric is reforming most of the remaining band members, and apparently is mixing a reunion Patron Saints record; he's a nice guy, who likes to talk to people who enjoy his music, (I haven't heard anything else involving him, however). He can be reached at his maxmulti.com website. Haven't heard any other Patron Saints, either, though I'm curious about Latimer Sessions. For some reason, his discs, although pressed in relatively small editions -500 each, to my knowledge(small pressings for professional cds), are only available through amazon; i found mine used. Time Lag Distribution had carried the vinyl reissue of fohhoh bohob (also pressed in an edition of 500 copies), although Nemo tells me they are out of stock.

So, this comes highly recommended, it is neither as stoned, or 'out there' as some snippets on the web indicate (I also only caught one drug reference), nor is it by any means a straight late 60's psych record. As it's reissued in a paltry edition, and the vinyl reissue is hard to find (which leads me to believe the initial copies have been sold), I recommend picking it up...otherwise, you'll be paying a lot for it (or downloading it from a file-sharing service...) Though, for some reason, I think the Patron Saints have eluded mass collector recognition, are still pretty much only esteemed within the really obscure-pricey collector's markets, those in the know, and people like me who've come across it by accident, and have been unexpectedly delighted with the listening experience (by the end of Nostalgia Trip-second song on the album, I knew I was listening to the kind of record that immediately distinguishes itself from others).

If anyone expresses interest, I will post an mp3 of one of my favorite songs from Fohhoh Bohob.

Fire FAX fax fiRE

Cats use fax as toilet, spark house fire
Fri June 10, 2005 10:04 AM ET

TOKYO (Reuters) - Two kittens picked the wrong place to relieve themselves when they urinated on a fax machine, sparking a fire that extensively damaged their Japanese owner's house.
Investigators in the western city of Kobe have concluded that the fire in January was caused by a spark generated when the urine soaked the machine's electrical printing mechanism.

The fire damaged the kitchen and living room before it was put out by the house's owner, who was treated for mild smoke inhalation, said Masahito Oyabu, a fireman at the Nagata fire station in central Kobe.

The kittens quickly ran to safety, he added.

"If you have a cat, or a dog for that matter, be careful where they urinate," Oyabu said. "Especially keep them away from electrical appliances and wires."

twimmin nd kids

2005-06-08T23:19:00.000-07:00

what is this about?
Making space for antiracist feminism in Northern Italy / Heather Merrill -- Resisting domestic violence and caste inequality : all-women courts in India / Veronica Magar -- Exotic dancing and unionizing : the challenges of feminist and antiracist organizing at the Lusty Lady Theater / Siobhan Brooks -- Women, healthcare, and social reform in Yemen / Delores M. Walters -- Danger talk : race and feminist empowerment in the new South Africa / Michelle Rosenthal -- From race cognizance to racism cognizance : dilemmas in antiracist activism in California / Ellen Kaye Scott -- Between the covers : feminist, antiracist, and queer performance art in Australia / Andrea Breen -- Feminism, Nationalism, and the Japanese Textbook Controversy over "comfort women" / Yoshiko Nozaki -- Coalition politics in organizing for Mumia Abu-Jamal / Sohera Syeda and Becky Thompson -- Extraordinary alliances in crisis situations : women against Hindu nationalism in India / Paola Bacchetta -- Working with feminists in Zimbabwe : a black American's experience of transnational alliances / Carolyn Martin Shaw -- Building connections between antiracism and feminism : antiracist women and profeminist men / Eileen O'Brien and Michael Armato -- "L'affaire des foulards'" : problems of defining a feminist antiracist strategy in French schools / Jane Freedman -- Memorializing racist massacres : faith versus feminism in Florida / Cathleen L. Armstead -- Casting off servitude : assessing caste and gender inequality in India / Ashwini Deshpande -- Mapping the meanings of "racism" and "feminism" among women television broadcast journalists in Canada / Minelle Mahtani.

katholik trip in south phiilly today,. wwalked by a mexican grocery around mountain? st. lots of churches and picturers of cardinals and fictitious religious figures posted on residential windows.

REmember "Born in Flames"? movie dir. by Lizzie Borden...? i rememeber my friend in boston telling me he was excited to gon a lizzie borden trip., so , not that lizzie.
anyhow "Born in Flames" was one of those films that couldnt have happened at any other time other than the early 8-0's without being self debilitating. in fact, it still pretty much was...difficult to view it without assuming a certain level of uncriticalism (from an elemental point of view.)anywho heres an excerpt from a paper written on it? i remmeber this. (i havent editied it -it's fun to read essays written 4-5 years ago. but- the thing about this is how is apoliticez by makeing the issues grossly political, about gender politics. there is a transference to a fictional setting based in transparent unreality, what is the method here?? to be viewed as a text maybe, rather than a representation. it obviously makes no claims otherwise in its blind assertion of inclusivity.

its funny though that i was so critical ov isabel even though i originilaly rented it for the sounds (lora logic of the same song of the name of the movie, but esp. the bloods, who're the same icons that this movie glorifies-well, of course, isabel is held in higher esteem... (?) of course, blacks and hispanics are removed, transplanted from concretion, and if i recall the movie still marginalized asians by removing them from the discussion, well, that's what multiculturalism does...plays the oppositional elements (white and non-white) off each other..one cna't ignore that grups like like those featured here were born in multicultural england! of the 80's.
(this is only available here in phiiladelphia at the tla video on spring garden-had to go on a hunt.)
anyhow, if you happen to seeit, its amusingly of its time and takes its ppolitics so far as to not have another 'perspective' or irony of anything less than full conviction and assertions, kind of like these made in essay!

Isabel continues to implore that her message does not need to be involved with actual instances of oppression, and that music is her only message, a sort of pleasure-based inarticulacy, detached and uninvolved with the sentient world. All of this changes, of course, and her problematic position is at least in part rectified when she becomes directly involved with the Women’s Army, though only after a direct assault (when her pirate radio station is destroyed by violent, radical anti-feminist groups). Contrast this with Honey, who becomes involved with the Women’s Army voluntarily, and long before Phoenix Radio is destroyed by the same groups that destroyed Radio Regazza. This is primarily because Isabel is not influenced by labor movements, at least as they pertain to African-American women (because of her own lack or personal experience). Again, Borden dictates the situation that negotiates the women’s labor movements, and perhaps wrongly feels she has to posit such a ‘far-fetched’ occurrence that pushes women laborers to protest in not only a fictitious story, but in a fictitious environment. Putting the post-revolutionary socialist society in place appears only to point out the problems with socialist as it marginalizes women, however, from a gender related discussion, it is unnecessary.
Several syncretic ideas are drawn together in "Born in Flames,” directed by Lizzie Borden in 1983. Borden’s scope is perhaps far-reaching and fairly neglectful of ethnic/class concerns, though she studies various reductive modes of explicit/implicit subversion; detailing them individually, and grouping them based on shared political concerns and sensibilities. The setting for “Born in Flames” in a futuristic post-revolutionary socialist world (as we are told to believe, though the world is very much of its time) is somewhat unnecessary, although as a setting, it is more or less beneficial for Borden to cogently state her thesis. Socialism is still an economic exchange, one that precludes the involvement of women; and though the living conditions aren’t greatly magnified in the systematic oppression of women, the incitement to take up arms is enacted in part due to the lack of a work force involvement for equal rights for women within a labor or industrial centered economy. (This economy is in opposition to an economy based in technology and educational attainment, as this is not apparent in Borden’s post-revolutionary socialist urban environment). “Born in Flames” provides different (ranked) levels of activism, processed by each of the individuals concerns, and focuses on various results and methods of dissemination, without becoming too involved with the reasons for each of the groups’ individual concerns.
There are four primary sub-groups that “Born in Flames” represents, exclusive of women only (though all are not necessarily funded or formed by women), all eventually becoming involved in the Women’s Army, the fictitious radical women’s liberation group, by the end. They are: the white, European female journalists for the Socialist Youth Review, associated with the Socialist Party, (patriarchal) based and funded periodical, Regazza Radio, the pirate radio station run by ‘Isabel,’ a white lesbian artist primarily concerned with broadcasting white punk/rock and roll/art music only as an expressionist, rebellious (though apoliticized) message, Honey, the voice behind Phoenix Radio, an African-American originally associated with the socialists, who plays black reggae/roots/soul music and is an interested and partial conspirator with the Women’s Army (and broadcasts her support accordingly). Lastly, the Women’s Army, founded and co-headed by Adelaide Norris, a black lesbian militant, who is perceived as the least ‘theoretical,’ and most activist (as well as the greatest terroristic threat by the government). She is eventually captured and murdered, and this acts as a catalyst for the involvement of all the disparate groups in becoming conspirators with the Women’s Army, as well as becoming more outspokenly involved in an aggressive, unified women’s liberation movement.
All of these groups are in some way a reductive analysis of various ethnic groups and their individual concerns without getting at the crux of why these groups may be involved in women’s liberation, or how each of the groups is actually being oppressed. Such delineations are neglected and the groups are solidified under a general, universal feminist radical front, after the capture of Adelaide Norris. For example, one of the issues with this portrayal is the fact that as white, upper-class women, the Socialist Youth Review editors are in a position that is an unattainable standard of living for the black women laborers who’re involved with the Women’s Army, (as illustrated by Adelaide Norris herself losing her government appointed laborer job, expressing the problematic of a socialist government as an economic institution; less than ideal). Because of their status, the Socialist Youth Review editors are less activist, radical and anti-political because their troubles are not as experiential or immediate as the impoverished minority groups with whom they do not share anything in common with (except for the collective oppression of women under the socialist institution). Also, their views on sexual abuse, and rape in particular are expressed in a television broadcasted forum, and is juxtaposed with a woman being accosted on the streets of New York by two men, (who are driven away by a group belonging to the Women’s Army). The medium itself for the Socialist Youth Review editors is considerably ‘higher,’ as they work in largely distributed media, such as the Review, or television, their approach is innocuous and is not activist, but theoretically based.Isabel, the white radio host of Regazza Radio also exhibits a problematic, apolitical stance, perhaps more so than the Socialist Youth Review editors, as her message does not embody any sort of experiential or actual reaction to a particular oppression, but an opaque and indefinite entity, and does so with inapplicable sloganeering, such as “ram the darkness with your rhyme.” Her attention to a particular kind of music exposes her apolitical and (somewhat) naïve bias; esoteric white (and British, for that matter) punk and rock and roll, involving women, but often times formed by, and benefiting men. Performative music as a means of feminist expression is may be a valid point, as Suzanne G. Cusick claims, in that “we stand to know music more ultimately if we know it is a complex conversation of (situated) minds and (situated) bodies. And since gender is the system of power relationships among bodies, we cannot possibly know in the gender content there might be in a given work without understanding how our music’s complex conversations require actual bodies to behave.” (Cusick. 51).
According to Cusick, music may be an effective means of positing a female identity when discussing the mind/body opposition (where mind is often associated with male, and privileged in music, and body is associated with the performative-the female singer for instance, and as a sensation is considered primitive). The negotiation of mind and body in music may be a subversive disjunction that Isabel purports to explore. (I believe that Lizzie Borden does this as well, in her choice of musical accompaniment for the film; her choices of white avant-garde punk-rock groups to express political subversion reflect the same interests of Isabel). One of the positive messages that Isabel puts out there, however, is that women can be producers of a new kind of music, in a counter popular-culture methodology, and though “Women’s Music as a particular counterhegemonic cultural movement of resitance (may) never reach a mass audience, through the proliferation of new women in the popular music market…suggests that is is quite possible for women artist to sell their products through the male-dominated system, whatever their political stance.”(Pratt.160). While Isabel never intends to reach a mass, popular culture audience through a male-dominated system (mainstream radio, media, music), her feminist invectives would incite some kind of change among those disenfranchised people of mainstream (whether male or female, white or non-white), though perhaps only within an abstract, expressionistic, (non-immediate) realm. For someone who espouses supposedly revolutionary ideals, her complacency in dealing with political events reveals a level of disaffected apathy common to those who might share her interests; at first, Isabel is no more than a figurehead for a movement that is consistent of those not looking for radical change.

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2005-06-07T21:51:00.000-07:00

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