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zero

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  3. top 10-- come together review...

    in Soundboard

    Posted

    Not to dredge up an old wound but I wanted to say something else here. Look if I can't moderate pretty much anything that's on me, and if that gets in the way of having a good time rather than complimenting it that really is a problem. At the same time it's pretty damn difficult to moderate in a culture that has it's own funny names for drugs, an entire language around giviner, and is basically hell bent on getting mashed. This causes further problems in trying to gauge whether you have real friendships or relationships or just co-dependancies. Even with everything we have in common musically it's pretty hard to have a real relationship with people when substances are almost always involved.

    All of that said in hindsight we do have a good thing going here we just can't afford to turn a blind eye to this element.

  6. Los Lobos tickets

    in Soundboard

    Posted

    So it's actually free? For real? Also that Q & A with Steve Berlin at noon the same day sounds really interesting. I bet he has some amazing stories to tell, whether Dead stuff, or one-off stories about artist dirt, even stuff about the Hip (he produced Phantom Power if I'm not wrong).

  10. Free "Manitoba" show Friday at Harborfront

    in Soundboard

    Posted

    Manitoba is just one guy Dan Snaith but he does play with a few percussionists. I totally disagree with Canned Beats that the old material (more Boards of Canada sounding) is better than the new album Up In Flames (which incidentally kicks off with an unbelievable track I've Lived On A Dirt Road All My Life). He is a PhD math student and goes to Oxford now, this album he sings on- it's dreamy pyschedelic big beat electronica sounding. There are some really amazing caliope flourishes that make this sound like the bastard child of Sgt. Peppers and Fatboy Slim. This is really uplifting really inspiring music that puts the humanity back into electronic music.

  15. The Langley Schools Music Project

    in Soundboard

    Posted

    I can't believe I haven't heard this before. Basically it's Western Canadian rural schoolchildren singing pop songs in a choir context but it's all really quite striking. Here's some more info on the Langley Schools Music Project. It's really quite achingly beautiful and almost the predecessor of the Polyphonic Spree.

    Space Oddity

    In My Room

    You're So Good To Me

    "The backing arrangement is astounding. Coupled with the earnest if lugubrious vocal performance you have a piece of art that I couldn't have conceived of, even with half of Colombia's finest export products in.me." --David.Bowie (on the Langley students' rendition of "Space.Oddity")

  17. Sweet Old Ween Review

    in Soundboard

    Posted

    An altogether typical review, but old. Hope you enjoy.

    GEEKFEST

    Ween

    Monday, 3/4/91, 7th St. Entry

    I have seen the future of rock&roll and they are brain dead. As Ween's opening set for Babes In Toyland at the Cabooze drew to a close Saturday night, one barfly who was obviously fed up with the Philly duo's public crucifiction of the sacred cow Rock shrieked, in an almost protective tone, "Get off the stage, you fu©king asshoes!"

    Clearly, Ween isn't for everyone.

    That fact was made even more evident Monday night at the Entry, which had been packed to the gills for an impressive opening set by awesome local newcomers God's Favorite Band, but thinned out as Ween took the stage to do their thing. Midway through the 50 minute set, several in the crowd decided they didn't get it and split. And hey, I understand that. But you should have stayed. Really, you should have. Because if you did get it- the razor sharp parody, the irrepressible personalities, the freaky world view- Monday night was one of those gigs you'll tell your grandchildren about as you sit around the old rockers' home inhaling nitrous oxide out of balloons.

    Which is what Ween did Saturday at the Cabooze. Periodically, a roadie would saunter up on stage with big red balloons full of laughing gas, which the twosome sucked down like mother's milk. It was wierd. Almost as if they needed it. You know- Kieth and smack, Rod and Jack, Ween and N2O. There was no laughing gas in sight Monday night, but it was apparent that over the years, the damage has been done. Electric guitarist/tape deck operator Dean and singer/acoustic guitarist Gene moseyed up onto the Entry stage in their socks and announced "We're Ween and we're in Minneapolis." Gene proceeded to repeat the line several times throughout the night, to remind himself. Other times, their minds wandered and just never came back.

    Backed by a cheap tape deck that filled in bass, drums, and keyboards, the Weenies mixed bad '60s folk with bad '70s disco and bad '80s thrash. Spazzy dancer Gene's vocals alternately aped Robert Plant, Freddie Mercury, Pee Wee Herman, Terence Trent D'arby and Digital Underground. They dedicated the set to their savior the BOOGNISH and did all the hits from their Twin/Tone LP GodWeenSatan- The Oneness: "You Fucked Up"; "Tick"; "Papa Zit"; "El Camino"; and "Puffy Cloud", which offers valuable insight into Ween's World: Float away on a cotton ball/ We write songs about the clouds/ My brain is dead from too much pot/ 'Cause Gene and I smoke too much pot.

    They introduced "Weed Whore" by saying "This is about the woman upstairs- she sucks." The lights came down low for the eminently romantic "Let Me Lick Your Pussy," which cops a line from Prince's "Lovesexy" and takes the little guy's "Head" to its natural conclusion. (Truth be told, sexuality never looked so docile.) They did "Purple Rain" sorta straight, sorta respectful. And the between song banter was at least as priceless as the music itself. At one point, Gene stopped, collected himself, and said, "So... how are you guys?" like he was genuinely concerned. At another, he proclaimed, "Okay, we're Ween. Remenber the good things that you love. That is my message." About now, I was ready to mount a campaign to get Dean and Gene spots on Mount Rushmore.

    It'd be easy to call Ween's short legacy something cute like "Revenge of the Nerds," but that implies too much covert anger. There's nothing forced or calculating about their buffoonery; it's very sweet actually, and they're bona fide Grade A goofballs. They spawn from the same obnoxious bad seed that gave us the Beastie Boys circa Licensed to Ill, the Replacements circa Hootenanny, and Spalding the bratty nephew circa the original Caddyshack. They come off like a couple of spoiled kids who have way too much time and drugs on their hands, and some will undoubtedly write them off as a gimmick. Serious musicians and PMRC-ers will despise them. Serious rock critics, too. But behind all the shtick, Ween are too sharp, too dumb, too fresh, and too damn good to be denied. If you can make that long leap of faith into their world, yours will never be the same. -Jim Walsh

  22. ...bored....

    in Soundboard

    Posted

    Okay here's your bored day hook up:

    Colin Powell does the YMCA

    Orgy on Cruise Ship

    Terrorist vs. Terrorist

    Here's a good Mike Moore op ed:

    July 2, 2004

    OP-ED COLUMNIST NYTIMES

    Moore's Public Service

    By PAUL KRUGMAN

    Since it opened, "Fahrenheit 9/11" has been a hit in both blue and red America, even at theaters close to military bases. Last Saturday, Dale Earnhardt Jr. took his Nascar crew to see it. The film's appeal to working-class Americans, who are the true victims of George Bush's policies, should give pause to its critics, especially the nervous liberals rushing to disassociate themselves from Michael Moore.

    There has been much tut-tutting by pundits who complain that the movie, though it has yet to be caught in any major factual errors, uses association and innuendo to create false impressions. Many of these same pundits consider it bad form to make a big fuss about the Bush administration's use of association and innuendo to link the Iraq war to 9/11. Why hold a self-proclaimed polemicist to a higher standard than you hold the president of the United States?

    And for all its flaws, "Fahrenheit 9/11" performs an essential service. It would be a better movie if it didn't promote a few unproven conspiracy theories, but those theories aren't the reason why millions of people who aren't die-hard Bush-haters are flocking to see it. These people see the film to learn true stories they should have heard elsewhere, but didn't. Mr. Moore may not be considered respectable, but his film is a hit because the respectable media haven't been doing their job.

    For example, audiences are shocked by the now-famous seven minutes, when George Bush knew the nation was under attack but continued reading "My Pet Goat" with a group of children. Nobody had told them that the tales of Mr. Bush's decisiveness and bravery on that day were pure fiction.

    Or consider the Bush family's ties to the Saudis. The film suggests that Mr. Bush and his good friend Prince Bandar bin Sultan, the ambassador known to the family as Bandar Bush, have tried to cover up the extent of Saudi involvement in terrorism. This may or may not be true. But what shocks people, I think, is the fact that nobody told them about this side of Mr. Bush's life.

    Mr. Bush's carefully constructed persona is that of an all-American regular guy — not like his suspiciously cosmopolitan opponent, with his patrician air. The news media have cheerfully gone along with the pretense. How many stories have you seen contrasting John Kerry's upper-crusty vacation on Nantucket with Mr. Bush's down-home time at the ranch?

    But the reality, revealed by Mr. Moore, is that Mr. Bush has always lived in a bubble of privilege. And his family, far from consisting of regular folks with deep roots in the heartland, is deeply enmeshed, financially and personally, with foreign elites — with the Saudis in particular.

    Mr. Moore's greatest strength is a real empathy with working-class Americans that most journalists lack. Having stripped away Mr. Bush's common-man mask, he uses his film to make the case, in a way statistics never could, that Mr. Bush's policies favor a narrow elite at the expense of less fortunate Americans — sometimes, indeed, at the cost of their lives.

    In a nation where the affluent rarely serve in the military, Mr. Moore follows Marine recruiters as they trawl the malls of depressed communities, where enlistment is the only way for young men and women to escape poverty. He shows corporate executives at a lavish conference on Iraq, nibbling on canapés and exulting over the profit opportunities, then shows the terrible price paid by the soldiers creating those opportunities.

    The movie's moral core is a harrowing portrait of a grieving mother who encouraged her children to join the military because it was the only way they could pay for their education, and who lost her son in a war whose justification she no longer understands.

    Viewers may come away from Mr. Moore's movie believing some things that probably aren't true. For example, the film talks a lot about Unocal's plans for a pipeline across Afghanistan, which I doubt had much impact on the course of the Afghan war. Someday, when the crisis of American democracy is over, I'll probably find myself berating Mr. Moore, who supported Ralph Nader in 2000, for his simplistic antiglobalization views.

    But not now. "Fahrenheit 9/11" is a tendentious, flawed movie, but it tells essential truths about leaders who exploited a national tragedy for political gain, and the ordinary Americans who paid the price.

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