4/30/09

Jungle Tech

Bigfoot, a drug-smuggling submarine, is now on display at Truman Annex, Naval Air Station Key West in Florida. By DAVID KUSHNER NY Times Published: April 23, 2009 THE CRAFT FIRST surfaced like something out of a science-fiction movie. It was November 2006, and a Coast Guard cutter spotted a strange blur on the ocean 100 miles off Costa Rica. As the cutter approached, what appeared to be three snorkels poking up out of the water became visible. Then something even more surprising was discovered attached to the air pipes: a homemade submarine carrying four men, an AK-47 and three tons of cocaine. Today, the 49-foot-long vessel bakes on concrete blocks outside the office of Rear Adm. Joseph Nimmich in Key West, Fla. Here, at the Joint Interagency Task Force South, Nimmich commands drug-interdiction efforts in the waters south of the United States. Steely-eyed, gray-haired and dressed in a blue jumpsuit, he showed me the homemade sub one hot February afternoon like a hunter flaunting his catch. “We had rumors and indicators of this for a very long period beforehand,” he told me, which is why they nicknamed it Bigfoot. This kind of vessel — a self-propelled, semisubmersible made by hand in the jungles of Colombia — is no longer quite so mythic: four were intercepted in January alone. But because of their ability to elude radar systems, these subs are almost impossible to detect; only an estimated 14 percent of them are stopped. And perhaps as many as 70 of them will be made this year, up from 45 or so in 2007, according to a task-force spokesman. Made for as little as $500,000 each and assembled in fewer than 90 days, they are now thought to carry nearly 30 percent of Colombia’s total cocaine exports. These subs are the most ingenious innovation in the drug trade. But as Joe Biden told Congress last July, that’s not the only reason they pose “a significant danger to the United States.” In late January, a Sri Lankan Army task force found three semisubs being built by Tamil rebels in the jungles of Mullaitivu. “With this discovery the [Tamil] will go down in history as the first terrorist organization to develop underwater weapons,” the Sri Lankan ministry of defense declared. Nimmich said, “If you can carry 10 tons of cocaine, you can carry 10 tons of anything.” Bigfoot isn’t just a trophy. It’s a reminder of the ever-escalating cat-and-mouse game of drug interdiction. Before the subs, the battle focused on fishing vessels and “go fast” boats. In 2006, improved intelligence and radar detection from helicopters and cutters helped remove a record 256 metric tons of cocaine from what is estimated to have been more than a thousand metric tons that moved through the U.S. and Central and South American transit zones that year. But that led to the next wave of smuggling vessels. “Like any business, if you’re losing more and more of your product, you try to find a different way,” Nimmich said. Early drug-sub experiments date back to the mid-1990s. In 1995, an émigré from the former Soviet Union was arrested in Miami after trying to broker the sale of an old Soviet sub from the Russian mafia to the Colombian cartels. In 2000, the Colombian police found Russian documents scattered in a warehouse in a suburb of Bogotá alongside a half-built, 100-foot-long submarine capable of carrying 200 tons of cocaine. Building a fully submersible submarine is complicated and indiscreet, requiring highly skilled workers and a manufacturing facility that’s too big to be easily hidden. The alternative: semisubmersibles that, though considerably smaller than the sub found in the warehouse, can carry five times as much cocaine as a common fishing vessel. Nimmich said the rise of semisubs has been traced to two unnamed men, a Pakistani and a Sri Lankan, who in early 2006 provided plans to the Colombians for building semisubs quickly, stealthily and out of cheap, commonly available materials. One of the biggest concerns when making a drug sub is that a laborer will reveal its location before the work is done. For this reason, the 15 or 20 people brought in to build a craft remain on site for the duration. They set up a campsite in the dense brush, relying on generators for electricity and make the ships by hand. When I asked Nimmich if he was impressed by their craftsmanship, he arched a brow and said: “You ever try to build something in your backyard? They’re building these in the jungles.” AT THE BEGINNING of last September, a 44-year-old fisherman named Padro Mercedes Arboleda-Palacios left the town of Buenaventura for a two-day trip upriver into the Colombian jungle. After staying in a small hut for several days, he was led by four men with rifles on another boat to a vessel in the woods surrounded by six armed guards. It was el ataúd, the coffin, the nickname Colombians gave to semisubs after a few were rumored to have disappeared at sea. The subs’ dangerous reputation hasn’t stopped crew members — a captain, a navigator and two workers like Arboleda-Palacios — from taking the job. “Generally they don’t have much of a criminal background,” Adam Tanenbaum, an assistant federal public defender who has represented several drug-sub crew members, says. “They don’t do it because they’re in criminal life. They’re doing it to survive.” Arboleda-Palacios hadn’t worked on a drug boat before, but when a friend said he could make $3,000 at it, he accepted. In early September, according to the lawyer who would later represent him and shared his story with me, Arboleda-Palacios squeezed into the cramped boat. He and the three others stood in the middle section, the navigation room — barely 12 feet across by 6 feet wide. There was GPS gear, a couple of mattresses on benches and a splintery wooden steering wheel from a fishing boat. The engine was in the stern. Two hundred and ninety-five bales of cocaine, weighing more than seven tons and with a street value of $196 million, were crammed into the bow. Packages of dry noodles and bottled water were the crew’s only provisions. Two small, go-fast boats guided the semisub downriver and released the ship into the sea. As it crawled at barely seven miles per hour, water splashed over the porthole, making it all but impossible to see outside. The captain called the base with his coordinates twice a day to get directions to the rendezvous point. Miles off the destination coast, a semisub is typically met by go-fast boats, which then take the cocaine to shore. Once their trips are complete, the subs are scuttled and abandoned — the cheapest and least conspicuous way to dispose of them. The crew then get the rest of their pay and are taken back home, if all goes well. Two days after Arboleda-Palacios set out in the sub, his crew lost communication with the base. So they cut their engine and waited for contact as they drifted at sea. IN THE DRUG-SUB hunt, one of Key West’s top figures is a 28-year-old Naval Intelligence officer who spent years in the Navy on nuclear subs and is unabashedly earnest about taking on the cartels. “It sounds corny,” he told me, “but I want to help make a better society.” The officer, whom the government does not want identified because it says doing so might jeopardize future missions, was standing atop the rocking surface of Bigfoot II, the only working semisub that has been captured, which now resides at the Joint Interagency Task Force South. The 59-foot-long ship bobbed off the docks of Key West like something from the world of “Mad Max.” Two fat pipes in the aft twisted up from the flat top. There was a small square section raised in the middle with a thin rectangular window on each of the four sides. A hatch revealed the cramped navigation quarters inside that reeked of diesel — along with a snarl of cables and a faded wooden wheel for steering. As Arboleda-Palacios was drifting elsewhere at sea last September, the U.S.S. McInerney spotted Bigfoot II 350 miles off the Mexico-­Guatemala coast. When the McInerney crew boarded the vessel, the smugglers inside Bigfoot II reversed direction to try to knock them into the sea. But the McInerney crew broke in and found four Colombians and 6.4 tons of cocaine worth $107 million inside. Catching, let alone spotting, the drug subs is difficult. The Naval Intelligence officer compared it to patrolling the entire country as a sheriff with three cars. “So if there’s someone in Texas holding up a 7-Eleven, and somebody’s in Baltimore mugging somebody,” he said, “you have to move.” The cocaine packed inside provides a built-in ballast, giving the boats, which are painted the color of the ocean, about a foot of freeboard above the surface. With little or no steel, the fiberglass-and-wood boats have a low radar signature. Some semisubs use lead pads to shield the hot engines from the military’s infrared sensors. Bigfoot II is among the newer models that have piping along the bottom to allow the water to cool the exhaust as the ship moves, making it even less susceptible to infrared detection. “It’s amazing what they can build in the mangrove swamps,” the officer said, as he walked across the ship. “They take basic ingenuity and engineering and sculpt it to meet their needs.” He went on to say, “To underestimate their intelligence is a mistake.” Indeed, military and civilian researchers are racing to improve detection capabilities. In February, the officer spent a week driving Bigfoot II through the waters around Key West to test sensors used to identify the vehicles. Daniel Stilwell, an engineer at the Autonomous Systems and Controls Laboratory at Virginia Tech, told me he is doing work for the Office of Naval Research on a small robotic boat that may one day be able “to operate 1,000 miles upriver and find the drug subs before they’re ever deployed.” But the Navy declined to reveal more. “Providing clues about new capabilities would encourage the traffickers to make tailored improvements that oppose these efforts,” Peter Vietti, a spokesman, said. THREE DAYS AFTER Bigfoot II was seized, another semisub was detected at sea, and the Coast Guard cutter Midgett was sent to intercept it. “It was like ‘20,000 Leagues Under the Sea,’ ” said the boarding officer of the Midgett. The Midgett crew seized Arboleda-Palacios and the other smugglers, along with the cocaine, though the sub sank as they did so. Frequently, drug subs are scuttled by crews facing capture, taking the legal evidence down with the ship. But confiscating the drugs is no longer as crucial as it once was. The Drug Trafficking Vessel Interdiction Assistance Act, which became law in October, now allows the United States to prosecute someone for merely being on board a semisub. Earlier this month, the first semisub crew members were convicted under this law (Arboleda-­Palacios was sentenced under older drug laws to 108 months). Such a law does not exist in Colombia. But Colombia’s defense minister, Juan Manuel Santos, told me that one is in the works and could be enacted as early as June. He said the country is also looking to ban certain plastics used in semisub production. “We’re trying to detect small factories of these semisubmersibles,” he said. “We have to be also as audacious in terms of inventing a way to detect them.” Legal and technical audacity may be required. As John Pike, a defense expert and the director of GlobalSecurity.org, told me, “If Al Qaeda decided they wanted to attack the homeland, or Iran decided they can attack the American homeland, this might be the way of getting in.” Then he added, “This is the 21st-century equivalent of German U-boats.” How semisubs will evolve is difficult to predict, Nimmich said as we walked outside his office. Nearby, workers were putting up American flags and bleachers to celebrate an anniversary: the task force had been fighting the drug wars for 20 years. At some upcoming anniversary, it may be fighting fully submersible subs far underwater. Nimmich wouldn’t put it past the cartels. “If I was in their business,” he said, “it would be a technology I would be exploring.” The crew quarters of Bigfoot II, which was captured last September, had a repurposed wooden steering wheel from a fishing boat, above. Cocaine was stored in the bow, opposite page. David Kushner is the author of “Levittown: Two Families, One Tycoon and the Fight for Civil Rights in America’s Legendary Suburb.” He is a contributing editor at Rolling Stone and Wired. via; http://www.southwillard.com/

4/29/09

Jim Cain

Bill Callahan live at Used Kids Records 4/13/09 Watch/Listen HERE...... from the new LP. great version solo.

4/28/09

Some Quotes from the Man vs Manatee Incident

"yeee haw...i'm a serfin" there was more, but this was all i got at the time. my apologies.

I Still Miss Someone

Bob Dylan and Johnny Cash.... there is nothing like witnessing these moments between artists in studio. especially when it's the heavyweights. Watch/Listen Here....

4/26/09

Hype and Consequence

Due to a hyped swell, ignorance of many, a lack of etiquette and just plain stupidity, a very nice person had a serious close call with drowning. Her will to live, it sounds like, is what saved her as well as fast acting friends nearby. I just want to say, glad you are O.K. and we wish you back for the good off days which always seem to be the most fun anyway. We are thinking of you!

The Outer Banks

"The Outer Banks" by the Album Leaf @ Monks (5/3/07) in Abilene, Texas Listen/ Watch Here...

4/25/09

Beauty and the Beastie

wish it were true but as you see...... reality, can be as heavy as.... a Manatee!

Home Is Where The Hatred Is

Gil Scott Heron listen watch here.... Such a fitting title for today!

4/24/09

Flow

Season Of The Witch

The album Super Session grew out of a single nine hour jam in 1968 by guitarist Mike Bloomfield and multi-instrumentalist Al Kooper and Stephen Stills of CSNY fame. Kooper and Bloomfield had both previously worked in support of Bob Dylan, in concert and appearing on his ground-breaking classic, Highway 61 Revisited. Kooper, fresh from having assembled and recorded the inaugural incarnation of Blood, Sweat & Tears, booked two days of studio time with Bloomfield in May 1968 in Los Angeles. They recruited keyboardist Barry Goldberg and bassist Harvey Brooks, both members of the band that Bloomfield was in the process of leaving, Electric Flag, and well-known session drummer "Fast" Eddie Hoh. On the first day the quintet recorded the first side of the album, tracks one through five of the CD version; the next day, Bloomfield, who was a heroin addict, abruptly disappeared after suffering an attack of what was euphemistically referred to as "chronic insomnia." Kooper hastily called on Stephen Stills to sit in for Bloomfield on what would become the second side of the album, tracks six through nine, including a lengthy cover version of Donovan's "Season of the Witch." text; Wiki.... LISTEN/WATCH..HERE.. Hard to beat Donovan's version...but it does rock nicely!

4/23/09

Post Edward

Sofie Sarlo inside bar.

Holy Thursday

David Axelrod - From off his 1968's "Songs of Innocence" lp here's David Axelrod with "Holy Thursday". a MUST! LISTEN/ GROOVE..HERE!

4/22/09

Patient Piggle

4/19/09

A Worthy Re-Post


Here's something YOU can do to help out in some way or at least SAVE GAS. Please forward this link to people that care and collectively maybe we can make a dent?

TIPS ON PUMPING GAS AND WHERE TO BUY.....
I don't know what you guys are paying for gasoline.... but here in
> California we are also paying higher, up to $3.50 per gallon. But my
> line of work is in petroleum for about 31 years now, so here are some
> tricks to get more of your money's worth for every gallon..
>
> Here at the Kinder Morgan Pipeline where I work in San Jose , CA we
> deliver about 4 million gallons in a 24-hour period thru the pipeline.
> One day is diesel the next day is jet fuel, and gasoline, regular and
> premium grades. We have 34-storage tanks here with a total capacity
> of 16,800,000 gallons.
>
> Only buy or fill up your car or truck in the early morning when the
> ground temperature is still cold. Remember that all service stations
> have their storage tanks buried below ground. The colder the ground
> the more dense the gasoline, when it gets warmer gasoline expands, so
> buying in the afternoon or in the evening....your gallon is not
> exactly a gallon
. In the petroleum business, the specific gravity and
> the temperature of the gasoline, diesel and jet fuel, ethanol and
> other petroleum products plays an important role.
>
> When you're filling up do not squeeze the trigger of the nozzle to a
> fast mode. If you look you will see that the trigger has three
> (3)stages: low, middle, and high. In slow mode you should be pumping
> on low speed, thereby minimizing the vapors that are created while
> you are pumping. All hoses at the pump have a vapor return. If you
> are pumping on the fast rate, some other liquid that goes to your
> tank becomes vapor. Those vapors are being sucked up and back into the
> underground storage tank so you're getting less worth for your
> money.
>
> One of the most important tips is to fill up when your gas tank is
> HALF FULL or HALF EMPTY. The reason for this is, the more gas you have
> in your tank the less air occupying its empty space. Gasoline
> evaporates faster than you can imagine. Gasoline storage tanks have an
> internal floating roof. This roof serves as zero clearance between the
> gas and the atmosphere, so it minimizes the evaporation. Unlike
> service stations, here where I work, every truck that we load is
> temperature compensated so that every gallon is actually the exact
> amount.
>
> Another reminder, if there is a gasoline truck pumping into the
> storage tanks when you stop to buy gas, DO NOT fill up--most likely
> the gasoline is being stirred up as the gas is being delivered, and
> you might pick up some f the dirt that normally settles on the bottom.
> Hope this will help you get the most value for your money.
>
> DO SHARE THESE TIPS WITH OTHERS!
> WHERE TO BUY USA GAS, THIS IS VERY IMPORTANT TO KNOW. READ ON...
>

> Gas rationing in the 80's worked even though we grumbled about it. It
> might even be good for us! The Saudis are boycotting American goods.
> We should return the favor.
>
> An interesting thought is to boycott their GAS.
>
> Every time you fill up the car, you can avoid putting more money into
> the coffers of Saudi Arabia. Just buy from gas companies that don't
> import their oil from the Saudis.
> I thought it might be interesting for you to know which oil companies
> are the best to buy gas from and which major companies import Middle
> Eastern oil.

>
> These companies import Middle Eastern oil:
>
> Shell........................... 205,742,000 barrels
>
> Chevron/Texaco......... 144,332,000 barrels
>
> Exxon /Mobil............... 130,082,000 barrels
>
> Marathon/Speedway... 117,740,000 barrels
>
> Amoco.............................62,231,000 barrels
>
> Citgo gas is from South America.
> If you do the math at $30/barrel, these imports amount to over $18
> BILLION! (oil is now $90 - $100 a barrel
>
> Here are some large companies that do not import Middle Eastern oil:
>
> Sunoco..................0 barrels
>
> Conoco............... ....0 barrels
>

> Sinclair.................0 barrels
>
> B P/Phillips............0 barrels
> Hess.......................0 barrels
>
> ARC0.....................0 barrels
> All of this information is available from the Department of Energy
> and each is required to state where they get their oil and how much
> they are importing.
Note: Personally I recommend Arco. Ther's an abundance of locations and the fuel has been rated very clean by a reliable source. Also for my Hybrid this tends to get me the best mileage. (Dunno why)
Having this station info. handy in car has been helpful to myself as my memory is not near "Hummer" status.

Charlie Don't Surf

...and he don't like piers.

4/16/09

April

PJ Harvey & John Parish review by; Jacob Campbell...watch/listen via Transafixion... The two have an exceptional new release out called A Woman A Man Walked By. It’s their first collaborative album together since their equally strong Dance Hall at Louse Point from 1996. This clip, performed in Austin during SXSW last month, really got the hairs on the arm standing. From a directing standpoint, the camera movement is so perfectly and devastatingly simple I’d almost call it art with the moment it catches. Then you have miss Harvey, a confident enough singer to revel in the poorness, the awkwardness of one’s voice. When the clouds momentarily part and she lets out… well, you get the impression a part of her has left the building.

In C Remixed

Terry Riley • CD Trailer watch/listen... Video trailer for the GVSU New Music Ensemble upcoming CD release. We passed out our raw recording to remixers across the country so they could spin this classic tune on its head. The video combines footage from rehearsals and the recording session with a remix by Michael Lowenstern. For more details on this project and others visit newmusicensemble.org Note; Glen Kotche (Wilco) has recorded and performed many Reich pieces and is included in this line-up. (see his LP's 'Mobile' and 'Introducing')

4/15/09

The Life and Films of Alby Falzon

Alby Falzon is a filmmaker, photographer, publisher and surfer who lives on the mid-north coast of NSW. His inaugural feature film, Morning of the Earth, went through the roof when it was released in 1972, crossing over to mainstream audiences who had never even surfed. Thirty-three years later, this film came in at No.2 in Tracks Magazine’s Top 100 surf films of all time. The new documentary, The Life and Films of Alby Falzon, reveals the story behind the making of Morning of the Earth, Crystal Voyager and other documentaries he made on cultures and festivals around the world. A film by FiL Baker watch trailer...HERE.. buy ...HERE note: one reviewer so far told me....,"You've got to see this film. I just watched it for the 2nd time. Alby's life and vision is so beautiful it almost drove me to tears of joy." thanks tim

4/14/09

Bu In Green

I set my face to the hillside

Tortoise...live ..great Quality. Listen/Watch Here.

4/13/09

Wall Hanger

from the family wall of shame comes another old pic of which I was always told was dad. At this point, I have no way of telling. great shot though.

Wild Combination

Arthur Russell, New York, ca. 1985. Rhys Chatham and Chistian Wolff on Arthur Russell APRIL 2009 ARTFORUM and..via SouthWillard I FIRST MET ARTHUR RUSSELL in New York in 1973, after a concert of Jackson Mac Low’s sound poetry at the WBAI Free Music Store. As Arthur was studying uptown at the Manhattan School of Music (MSM), and I had recently founded the music program at the Kitchen (still at its original Mercer Street address in SoHo), our conversation soon turned to the contemporary music then emerging from classical traditions. I immediately noticed that Arthur’s interest included not only the highly cerebral and atonal postserialist composers of MSM, such as Charles Wuorinen and Milton Babbitt, but also the new tonality that was being explored downtown by La Monte Young, Terry Riley, Tony Conrad, Philip Glass, and Steve Reich. Like many of us making music in the early 1970s, Arthur and I felt that “art” music had become something that only other composers could appreciate, and we were therefore interested in moving away from serialism and toward tonality. It can’t be emphasized enough what an important issue this was at the time, and establishing a music program at the Kitchen in 1971 had everything to do with giving these younger composers a place to play. After I had served as the Kitchen’s music director for its first two years, a composer named Jim Burton took over, followed by Arthur in 1974. Arthur’s programming resonated with that of the previous years, but occasionally rock appeared in the mix—notably with Jonathan Richman and the Modern Lovers. Perhaps the roots of this endeavor lay in the European groups of the late ’60s such as Musica Elettronica Viva (MEV) in Italy, which included a number of expatriate Americans living in Europe—Alvin Curran, Frederic Rzewski, Richard Teitelbaum—and AMM in London, which counted among its members Cornelius Cardew and Keith Rowe, as well as Christian Wolff. After John Cage’s use of indeterminacy and Karlheinz Stockhausen’s early attempts at introducing random elements into his scores, this seemed like the next logical step. The musicians of MEV and AMM thus began working within very loose structures, or no structure at all, to produce a free, immediate music made on the spot. Taking note of America’s own great tradition of improvisation—namely, African-American composers coming out of the jazz tradition, such as Ornette Coleman and Don Cherry—Rzewski returned to the States and started the markedly influential New York version of MEV. The city’s free jazz loft scene was at its height then, and people such as Rzewski, Anthony Braxton, Garrett List, Muhal Richard Abrams, and Karl Berger were breaking down the hierarchical barriers between jazz and the Western European classical mode. In 1975, a number of musicians in their early twenties, such as Peter Gordon, Jill Kroesen, Ned Sublette, and Peter Zummo, arrived in New York from the West Coast and elsewhere. Gordon, in particular, was doing something that I had never heard before: making compositions that worked perfectly well in an avant-garde context, yet using a vocabulary overtly drawn from rock. Shocked, I was hesitant to support this mix. But before long, I ended up playing in Gordon’s Love of Life Orchestra, which consisted of his friends drawing variously on rock, dance, Minimalist, experimental, and even disco music. That year, List took over from Arthur as music director of the Kitchen, giving more than a quarter of his program over to improvisation, a clear influence of MEV and AMM. In addition to booking downtowners such as Arthur and Gordon, List also invited jazz musicians/composers to the venue—and not just a few. (Many in the community couldn’t understand his reasoning for this, feeling that jazz composers already had places to play.) In the meantime, Arthur was living on East Twelfth Street between Avenues A and B; he had an extra room and needed someone to help pay his rent. As it happened, I was looking for a place, so we became roommates for about a year. Allen Ginsberg and Richard Hell lived there as well. I’d get up in the morning to go out for coffee and sometimes see these weird guys all dressed in black with shades—they turned out to be members of Television. Around the corner on Houston Street, Arthur had a rehearsal studio that we shared with Gordon. It was there that Arthur developed his composition Instrumentals (1974). Maybe I only noticed because I was studying jazz and tenor saxophone at the time, but the piece made heavy use of the chord progression ii⁷-V⁷–I (two minor seven, dominant seven, one) found in many jazz standards. The way Arthur put these chords together was highly idiosyncratic and produced a sound not normally associated with the genre. This approach to composition—the mixing of varying separate traditions—felt transgressive and fresh to us, yet occasionally may have been too much for a regular concert audience. In those days, I was bartending in the East Village and couldn’t resist asking my friends to play. I invited Jill Kroesen to perform and gave Arthur a regular gig, but I was used to thinking of Arthur as a classical composer, and here he was, singing what sounded suspiciously like folk music. He played there every week and definitely raised some eyebrows. Watching Arthur, Peter, and Jill mixing all of these elements in their music, I finally went to see the Ramones in 1976 at CBGB’s, the month after they released their first album. I was twenty-four at the time and had never been to a rock concert. Until then, I had considered myself a hard-core Minimalist, having studied with La Monte Young in the early ’70s, tuning his piano in just intonation in exchange for lessons and playing in his group, as well as performing with Tony Conrad’s Dream Syndicate. Hearing the Ramones changed my life. I thought, Wow, I may be playing only one chord in my music, and these guys may be playing three, but I can really relate to this stuff. I reasoned that if Glass could use jazz instrumentation in Music in 12 Parts (1971–74), and Reich could use elements of Ghanaian music in Drumming (1970–71), why couldn’t I use rock instrumentation for my work? What came about was a piece I composed in 1977 called Guitar Trio (G3), for three electric guitars, electric bass, and drums. While its melodic content used the musical vocabulary of New York’s downtown avant-garde scene—consisting entirely of the overtone series generated by the E string of the electric guitar—its rhythmic thrust and the way the musicians played together came out of rock. In 1979, we included the visual artist Robert Longo as one of the guitarists, and he created a set of handsome slides to be projected during the performance, titling them Pictures for Music, 1979. Just as Longo used preexisting images as the subject matter of his visual work, it felt perfectly natural for me to use sounds commonly found in electronic media as subject matter for musical compositions. Though I began to think of G3 more as a representation of rock than actually rock itself, I went on to play the piece in places like CBGB’s, Max’s Kansas City, the Mudd Club, Danceteria, and Tier 3. But where was Arthur? One evening in the late ’70s, we ran into each other at the Kitchen. It was then that he told me about his interest in disco; about the huge subwoofer speakers they had in these clubs, and how the disco composers were making compositions especially for these frequencies. He encouraged me to check this out, saying, “They’re like temples for music, Rhys!” Though I didn’t tell Arthur at the time, I remember thinking, I’ve heard of composers coming out of a classical tradition being influenced by jazz or rock as a primary compositional direction, but disco? To this day I’ve never understood why Arthur took up disco the way a number of us had taken on rock and punk. However I once asked Peter Gordon and he suggested, Disco was joyous, fun, and social. Arthur never embraced the nihilism and negativity of punk rock. He never felt comfortable with the darkness and angry dissonance of (what was later called) “No Wave.” Note that when Arthur brought rock to the Kitchen, it was with the Modern Lovers, and with Jonathan Richman’s unabashed positivism and innocence. Arthur was drawn to the bacchanalian aspect of the dance clubs—initially at the Loft and later at Paradise Garage. He was also beginning to openly embrace his gay identity and there was a feeling of communality on the dance floor. In contrast to the punk/rock scene (typically angry, white, and heterosexual), disco was a culturally diverse party. With the generation immediately preceding ours, the various camps of composers—whether conservatory, jazz, or rock—kept to themselves, maintaining barriers between forms. By the ’70s there were many people attempting to dissolve these lines, yet it is the sheer number of areas in which Arthur did significant work during that era that remains amazing. Rhys Chatham is a musician and composer from Manhattan residing in Paris since 1987. listen to four musical tracks selected from Audika Records’s library of Arthur Russell recordings:D Watch video; Arthur Russell documentary teaser; HERE http://www.arthurrussellmovie.com/ Note; If there was a time and place to transport my molecules, it would either be Hell's Kitchen in/around '76... the other would be in the mid-1950s NY musicians Miles Davis and John Coltrane among others began to explore directions beyond the standard bebop vocabulary. Well, maybe a couple of other places too.

4/12/09

House by the Sea

Iron and Wine live...Berlin (from The Shepard's Dog) Listen/Watch.....HERE

4/11/09

Chumash Influence

via Kelly Breslin

4/10/09

Sophmore Score

The 2nd Lp by Free is a great and underrated gem. I'll Be Creepin live Mouthful of Grass B-side of the hit All Right Now.

4/9/09

Untitled Post #1

The Lost Files found

Bill Hadley(or as i called him.... Dad....sometimes) trimming his plank. Dates unknown. He grew up in PV and was best friends with Ricky Grigg. At the same time he was part of the Sano Surf Club. (i still have his 'uke') Grigg split to the Islands while pops was forced to joined the Navy by his pops.

4/8/09

Something Better...and better

Marianne Faithfull, from The Rolling Stones Rock n Roll Circus, 1968! Smiley Charlie introduces her. All's I can say is....WOW! Those eyes! Great song as well. Listen/Watch....HERE Further note..... Rt over at Warbles has made this a much richer post by the addition of more Faithful sex appeal with Jack Cardiff's 1968 film The Girl on a Motorcycle.

4/7/09

Lady Grace

Kirsten....7'10 Liddle.