DOCSLIB.ORG

Trouble Songs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Trouble Songs trouble songs Before you start to read this book, take this moment to think about making a donation to punctum books, an independent non-proft press, @ https://punctumbooks.com/support/ If you’re reading the e-book, you can click on the image below to go directly to our donations site. Any amount, no matter the size, is appreciated and will help us to keep our ship of fools afoat. Contri- butions from dedicated readers will also help us to keep our commons open and to cultivate new work that can’t fnd a welcoming port elsewhere. Our ad- venture is not possible without your support. Vive la open-access. Fig. 1. Hieronymus Bosch, Ship of Fools (1490–1500) trouble songs. Copyright © 2018 by Jef T. Johnson. Tis work carries a Cre- ative Commons BY-NC-SA 4.0 International license, which means that you are free to copy and redistribute the material in any medium or format, and you may also remix, transform and build upon the material, as long as you clearly attribute the work to the authors (but not in a way that suggests the authors or punctum books endorses you and your work), you do not use this work for commercial gain in any form whatsoever, and that for any remixing and trans- formation, you distribute your rebuild under the same license. http://creative- commons.org/licenses/by-nc-sa/4.0/ First published in 2018 by punctum books, Earth, Milky Way. https://punctumbooks.com ISBN-13: 978-1-947447-44-8 (print) ISBN-13: 978-1-947447-45-5 (ePDF) lccn: 2018930421 Library of Congress Cataloging Data is available from the Library of Congress Book design: Vincent W.J. van Gerven Oei Cover image: Philippe de Champaigne, Still-Life With a Skull (ca. 1671). TROUBLE SONGS A Musicological Poetics Jeff T. Johnson for Josephine K. Few Track List Part One I Must Be the Devil’s Daughter 15 “Country Blues,” Dock Boggs 17 Trouble Songs: An Invocation 19 David Lynch, Trouble Man 23 Trouble Forms: Structure & Approach 25 Modes of Trouble — Terms — Elaboration, Embellishment, Embodiment 27 Not Wanting to (Formally) Listen to Trouble Songs 33 History 35 Trouble Song as Speech Act & Magic Language 38 Genre Trouble 42 I’m New Here: Te Trouble With Covers 45 Te Incantation of Trouble 47 Trouble Is a Lonesome Town, Lee Hazlewood 48 History, Continued 49 “Trouble” vs. “Remember” 50 “Troubled Waters,” Cat Power 51 “Paths of Victory,” Cat Power 52 Discomfort & the Cover Condition 53 “Good Intentions Paving Company,” Joanna Newsom 54 Trouble in Dreams, Destroyer 55 *** xi Part Two I Know a Place Where Tere’s Still Something Going On 59 “Trouble” Songs 61 “Summer Days,” Bob Dylan 63 You Know Tat I’m No Good — Amy Winehouse & the Trouble Barrier 64 Trouble With History 66 “You Can’t Put Your Arms Around a Memory” 68 Te Secret Rider 69 Not Wanting to Listen to Trouble Songs, Refrain 71 Te Trouble With Superman 73 Trouble Returns 76 Lost in the Paradise 78 Enter Trouble America 80 Fugue on Anthology Minor 81 Occupied 85 We Who Are [in] Trouble 87 We Recruit(ed), We Reinscribe(d) 88 NYTrouble, World Trouble (Hidden Tracks) 89 *** Part Tree Trouble on the Line 91 Take Apart: Room by Room 93 Annie Clark, Becoming “Kerosene” 94 If I Stay Here, Trouble Will Find Me 96 Trouble Will Find You 100 XXII: Trouble on the Line 102 One Kind Favor (“See Tat My Grave Is Kept Clean”) 107 Down the Line 109 Trouble in Heart 111 Te Circle 112 I’m a Fool to Want You 116 xii Lay It Down 118 Cause You’re Mine 121 *** Part Four Back in Trouble 123 Return to Trouble, Tat Lonesome Town 125 Death’s Head, Proud Flesh 128 Nobody Here but We in Trouble 130 A Whole House 132 Nobody Knows (Great Tings to Small) 133 Catch a Fire: One Ting for Another 140 By Any Other Name (“Trouble, Heartaches & Sadness”) 141 Notes 143 Te Author Role 146 Te Champ 147 Dear Trouble 150 Te End of Trouble 151 Song 152 Last Call 153 *** Appendices 157 Appendix A: Demo 159 Appendix B: Cover 163 Appendix C: Remix 168 Works Cited 179 Index of Names 185 Index of Titles 191 Credits 199 xiii Part One I MUST BE THE DEVIL’S DAUGHTER i must be the devil’s daughter “Country Blues,” Dock Boggs1 Come all you good time people2 is the only way it starts. Te banjo may have been playing forever — waiting for the singer to arrive, or indiferent to his presence — : a stage. Or the singer is the instrument of the (infernal) banjo.3 Still, it is impossible to decide whether the voice or the banjo comes frst, though both does not seem to be an option. Te dynamics are too irregular, too separate, for simultaneity. Te third instrument, recording static, holds them together.4 One or the other, the voice or the banjo, might be in a diferent world. Or they are not in the world together, or they are each in a world that is not this one — three worlds. Forty dollars won’t pay my fne. Te song goes around and around, insisting that it play all night (for it is always night in the song, always night when the song plays, though the song is always playing — the song doesn’t stop; we stop listening to it). Money can’t reach it, and we can’t believe the singer can reach heaven, though he sings to us from the aferworld, where corn whiskey and pretty women surround him, sweet heaven when I die. Meanwhile, before or afer, pretty women is a-troublin my mind. He’s in a prison cell, he’s in a hole in the ground, dead drunk and buried by us good people, (he’s) grinning his empty grin at us. It shines through the soil we throw on his face. 1 Tis cover is infuenced by versions and visions of Boggs by Greil Marcus, particularly in Invisible Republic (1997) and his “Old Weird America” course at Te New School. 2 transcription fails delivery: pee-ee-ee-ee-puuuuull… 3 Lee Smith’s The Devil’s Dream presents Satan’s laugher as music, played by and playing the players of the song. 4 See/hear Lou Reed’s version of Blind Lemon Jeferson’s “See Tat My Grave Is Kept Clean,” in which Reed plays (on guitar) the recording static from Jef- ferson’s 1928 record, as collected on volume three of Harry Smith’s Anthol- ogy of American Folk Music (1952). Reed’s revisitation appears on The Harry Smith Project: Anthology of American Folk Music Revisited Vol. 2 (2006). 17 trouble Songs When I’m dead and buried / My pale face turned to the sun… Te singer calls us around while he has plenty of money. As long as his pockets are full, we drink along. When the money’s gone, so are we. He’s gone too, all alone with a woman drinking to his memory: Last time I seen my little woman[,]5 good people, She had a wine glass in her hand, She was drinking down her troubles With a low-down sorry man. Her trouble is a man, and she’s drinking with a trouble man,6 and she’s drinking her troubles, and he watches her as he de-ma- terializes. She joins the invisible chorus of betrayal, along with a woman who promises to bail the singer out of jail, but never gets around to it before she leaves the song. We, good people, join the chorus as we leave, and we can never leave, and our voices dry up in our throats. Boggs too is both here and not here, as we are there and not there. If I don’t quit my rowdy ways / have trouble at my door. Tere it is now, Boggs’s fngernails scratching the banjo’s face, digging at the dirt scattered there. If I’d a-listened to my momma[,] good people / I wouldn’t a-been here today. Wherever he is, we can fnd him in the soil of the song, that too-shallow grave we pass right through if we don’t watch our step. If we do (watch our step), that death’s head keeps nodding away at us. Come all you good time people… 5 the comma makes sense, but Boggs eschews (or transcends) the comma. 6 Got me singing yeah! as Marvin Gaye had it (“Trouble Man”). 18 i must be the devil’s daughter Trouble Songs: An Invocation But before long, the words lost their sense completely, becom- ing little more than a means to regulate breath — which, she soon supposed, was as good a use for them as any. — Ted Mooney, Te Same River Twice Denaturalization of one’s personal and cultural premise. — Caroline Bergvall, “Middling English” Trouble, trouble, I’ve had it all my days / It seems like trouble going to follow me to my grave — Bessie Smith, “Downhearted Blues” Language is not only a means for saying, language is what we are saying. Record, we say, and we mean album, or we mean vinyl, or we mean history. Let the record show.7 Tat we say record and not CD, tape, album or document is integral to what we are saying. We place ourselves in history, and we place history in ourselves when we use particular language.8 History exists as Trouble Song and is troubled by its9 repre- sentation. Distinctions between Trouble Songs collapse into ver- sions, iterations, variations and interpretations.
Load more

Recommended publications
  • Aretha Franklin's Gendered Re-Authoring of Otis Redding's
    Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form.
    [Show full text]
  • Aretha Franklin (Sweet Sweet Baby) Since You've Been Gone / Ain't No Way Mp3, Flac, Wma
    Aretha Franklin (Sweet Sweet Baby) Since You've Been Gone / Ain't No Way mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: (Sweet Sweet Baby) Since You've Been Gone / Ain't No Way Country: US Released: 1968 Style: Soul MP3 version RAR size: 1994 mb FLAC version RAR size: 1927 mb WMA version RAR size: 1129 mb Rating: 4.9 Votes: 309 Other Formats: ASF VQF MP4 MP1 AHX MP3 DMF Tracklist Hide Credits (Sweet Sweet Baby) Since You've Been Gone A 2:18 Written-By – Aretha Franklin, Ted White Ain't No Way B 4:12 Written-By – Carolyn Franklin Companies, etc. Distributed By – Atlantic Record Sales Published By – 14th Hour Music Published By – Cotillion Music Pressed By – Plastic Products Notes From Atlantic LP 8176. Barcode and Other Identifiers Matrix / Runout (Side A Label): A-13635-PL Matrix / Runout (Side B Label): A-13657-PL Rights Society: BMI Other versions Category Artist Title (Format) Label Category Country Year Aretha (Sweet Sweet Baby) Since You've 45-2486 Atlantic 45-2486 US 1968 Franklin Been Gone (7", Single, Pla) Aretha (Sweet Sweet Baby) Since You've OS 13058 Atlantic OS 13058 US Unknown Franklin Been Gone / Ain't No Way (7", RE) Aretha (Sweet Sweet Baby) Since You've 45-2486 Atlantic 45-2486 US 1968 Franklin Been Gone (7", Single) Aretha (Sweet Sweet Baby) Since You've AT 2486X Atlantic AT 2486X Canada 1968 Franklin Been Gone (7", Single) Aretha (Sweet Sweet Baby) Since You've 584172 Atlantic 584172 UK 1968 Franklin Been Gone (7", Single, Sol) Related Music albums to (Sweet Sweet Baby) Since You've Been Gone / Ain't No Way by Aretha Franklin 1.
    [Show full text]
  • Taking Intellectual Property Into Their Own Hands
    Taking Intellectual Property into Their Own Hands Amy Adler* & Jeanne C. Fromer** When we think about people seeking relief for infringement of their intellectual property rights under copyright and trademark laws, we typically assume they will operate within an overtly legal scheme. By contrast, creators of works that lie outside the subject matter, or at least outside the heartland, of intellectual property law often remedy copying of their works by asserting extralegal norms within their own tight-knit communities. In recent years, however, there has been a growing third category of relief-seekers: those taking intellectual property into their own hands, seeking relief outside the legal system for copying of works that fall well within the heartland of copyright or trademark laws, such as visual art, music, and fashion. They exercise intellectual property self-help in a constellation of ways. Most frequently, they use shaming, principally through social media or a similar platform, to call out perceived misappropriations. Other times, they reappropriate perceived misappropriations, therein generating new creative works. This Article identifies, illustrates, and analyzes this phenomenon using a diverse array of recent examples. Aggrieved creators can use self-help of the sorts we describe to accomplish much of what they hope to derive from successful infringement litigation: collect monetary damages, stop the appropriation, insist on attribution of their work, and correct potential misattributions of a misappropriation. We evaluate the benefits and demerits of intellectual property self-help as compared with more traditional intellectual property enforcement. DOI: https://doi.org/10.15779/Z38KP7TR8W Copyright © 2019 California Law Review, Inc. California Law Review, Inc.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • LEE-DISSERTATION-2018.Pdf
    Copyright by Kyung Sun Lee 2018 The Dissertation Committee for Kyung Sun Lee Certifies that this is the approved version of the following Dissertation: Doing Good or Looking Good? Communicating Development, Branding Nation in South Korea Committee: Karin G. Wilkins, Supervisor Joseph Straubhaar Sharon Strover Robert Oppenheim James Pamment Doing Good or Looking Good? Communicating Development, Branding Nation in South Korea by Kyung Sun Lee Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2018 Dedication To my dad, who inspired me to pursue the life of a scholar. Our time together was far too short, but you live on in my heart. Acknowledgements In the course of my dissertation journey, I have benefitted from many people and institutions to whom I would like to express my sincere gratitude. My utmost gratitude goes to my supervisor, Dr. Karin Wilkins. I came to the Department of Radio-Television-Film nearly ten years ago to explore the intersections of critical studies, communications, and development. Since then, she has helped me to mature as a scholar, encouraging me to ask incisive questions, to confront them methodically, and articulate evidence systematically. Her enthusiastic support for my dissertation project gave me the courage to challenge myself and persevere through difficult circumstances. Oftentimes, my project was sustained by her unrelenting passion and confidence in my work. It is not only her intellectual influence, but her kindness and genuine concern for her students to which I am most indebted.
    [Show full text]
  • Partyman by Title
    Partyman by Title #1 Crush (SCK) (Musical) Sound Of Music - Garbage - (Musical) Sound Of Music (SF) (I Called Her) Tennessee (PH) (Parody) Unknown (Doo Wop) - Tim Dugger - That Thing (UKN) 007 (Shanty Town) (MRE) Alan Jackson (Who Says) You - Can't Have It All (CB) Desmond Decker & The Aces - Blue Oyster Cult (Don't Fear) The - '03 Bonnie & Clyde (MM) Reaper (DK) Jay-Z & Beyonce - Bon Jovi (You Want To) Make A - '03 Bonnie And Clyde (THM) Memory (THM) Jay-Z Ft. Beyonce Knowles - Bryan Adams (Everything I Do) I - 1 2 3 (TZ) Do It For You (SCK) (Spanish) El Simbolo - Carpenters (They Long To Be) - 1 Thing (THM) Close To You (DK) Amerie - Celine Dion (If There Was) Any - Other Way (SCK) 1, 2 Step (SCK) Cher (This Is) A Song For The - Ciara & Missy Elliott - Lonely (THM) 1, 2, 3, 4 (I Love You) (CB) Clarence 'Frogman' Henry (I - Plain White T's - Don't Know Why) But I Do (MM) 1, 2, 3, 4, Sumpin' New (SF) Cutting Crew (I Just) Died In - Coolio - Your Arms (SCK) 1,000 Faces (CB) Dierks Bentley -I Hold On (Ask) - Randy Montana - Dolly Parton- Together You And I - (CB) 1+1 (CB) Elvis Presley (Now & Then) - Beyonce' - There's A Fool Such As I (SF) 10 Days Late (SCK) Elvis Presley (You're So Square) - Third Eye Blind - Baby I Don't Care (SCK) 100 Kilos De Barro (TZ) Gloriana (Kissed You) Good - (Spanish) Enrique Guzman - Night (PH) 100 Years (THM) Human League (Keep Feeling) - Five For Fighting - Fascination (SCK) 100% Pure Love (NT) Johnny Cash (Ghost) Riders In - The Sky (SCK) Crystal Waters - K.D.
    [Show full text]
  • Aretha Franklin Discography Torrent Download Aretha Franklin Discography Torrent Download
    aretha franklin discography torrent download Aretha franklin discography torrent download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67d32277da864db8 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Aretha franklin discography torrent download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67d322789d5f4e08 • Your IP : 188.246.226.140 • Performance & security by Cloudflare.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • A Computational Analysis of Information Structure Using Parallel Expository Texts in English and Japanese
    University of Pennsylvania ScholarlyCommons IRCS Technical Reports Series Institute for Research in Cognitive Science January 1999 A Computational Analysis of Information Structure Using Parallel Expository Texts in English and Japanese Nobo N. Komagata University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/ircs_reports Komagata, Nobo N., "A Computational Analysis of Information Structure Using Parallel Expository Texts in English and Japanese" (1999). IRCS Technical Reports Series. 46. https://repository.upenn.edu/ircs_reports/46 University of Pennsylvania Institute for Research in Cognitive Science Technical Report No. IRCS-99-07. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/ircs_reports/46 For more information, please contact [email protected]. A Computational Analysis of Information Structure Using Parallel Expository Texts in English and Japanese Abstract This thesis concerns the notion of 'information structure': informally, organization of information in an utterance with respect to the context. Information structure has been recognized as a critical element in a number of computer applications: e.g., selection of contextually appropriate forms in machine translation and speech generation, and analysis of text readability in computer-assisted writing systems. One of the problems involved in these applications is how to identify information structure in extended texts. This problem is often ignored, assumed to be trivial, or reduced to a sub-problem that does not correspond to the complexity of realistic texts. A handful of computational proposals face the problem directly, but they are generally limited in coverage and all suffer from lack of evaluation. To fully demonstrate the usefulness of information structure, it is essential to apply a theory of information structure to the identification problem and to provide an evaluation method.
    [Show full text]
  • Song List 2012
    SONG LIST 2012 www.ultimamusic.com.au [email protected] (03) 9942 8391 / 1800 985 892 Ultima Music SONG LIST Contents Genre | Page 2012…………3-7 2011…………8-15 2010…………16-25 2000’s…………26-94 1990’s…………95-114 1980’s…………115-132 1970’s…………133-149 1960’s…………150-160 1950’s…………161-163 House, Dance & Electro…………164-172 Background Music…………173 2 Ultima Music Song List – 2012 Artist Title 360 ft. Gossling Boys Like You □ Adele Rolling In The Deep (Avicii Remix) □ Adele Rolling In The Deep (Dan Clare Club Mix) □ Afrojack Lionheart (Delicious Layzas Moombahton) □ Akon Angel □ Alyssa Reid ft. Jump Smokers Alone Again □ Avicii Levels (Skrillex Remix) □ Azealia Banks 212 □ Bassnectar Timestretch □ Beatgrinder feat. Udachi & Short Stories Stumble □ Benny Benassi & Pitbull ft. Alex Saidac Put It On Me (Original mix) □ Big Chocolate American Head □ Big Chocolate B--ches On My Money □ Big Chocolate Eye This Way (Electro) □ Big Chocolate Next Level Sh-- □ Big Chocolate Praise 2011 □ Big Chocolate Stuck Up F--k Up □ Big Chocolate This Is Friday □ Big Sean ft. Nicki Minaj Dance Ass (Remix) □ Bob Sinclair ft. Pitbull, Dragonfly & Fatman Scoop Rock the Boat □ Bruno Mars Count On Me □ Bruno Mars Our First Time □ Bruno Mars ft. Cee Lo Green & B.O.B The Other Side □ Bruno Mars Turn Around □ Calvin Harris ft. Ne-Yo Let's Go □ Carly Rae Jepsen Call Me Maybe □ Chasing Shadows Ill □ Chris Brown Turn Up The Music □ Clinton Sparks Sucks To Be You (Disco Fries Remix Dirty) □ Cody Simpson ft. Flo Rida iYiYi □ Cover Drive Twilight □ Datsik & Kill The Noise Lightspeed □ Datsik Feat.
    [Show full text]
  • It Might Just Be Ravens Writing in Mid-Air
    FEATURE ARTICLE It Might Just Be Ravens Writing in Mid-Air DAVID W. JARDINE University of Calgary A Small Start And the children in the apple-tree Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. T. S. Eliot, from Quartet No. 4, Section 5 of “Four Quartets” (lines 36–39) But then something about the sentence that followed stuck out. As a kid, I was just a kid. It sounds like a line from a Bill Callahan song. Is he saying, “Let’s leave that alone,” because there is something deeper he doesn’t want to discuss, or is it that there is really nothing there? Does it matter? Mark Richardson (2013, n.p.) from “A Window That Isn’t There: The Elusive Art of Bill Callahan” T MATTERS, but just how it matters and how much and to whom and to what end is not just a I tough call but a call that needs to be considered again and again, at every turn of circumstance. This is part of the sweet frustration of the interpretive life, that there is no single declaration. Stories get retold in the bury of the circumstances that call for them. And the pedagogical art of sensing that call is itself a practice, part of whose efficacy and worth is linked intimately to the very tale it considers. Thus, the places, the locales of consideration—with all their convoluted stories and memory and fantasy and desire and inhabitants—have something to say, here, too.
    [Show full text]
  • Warner/Reprise Loss Leaders Booklet
    THE WARNER BROS. LOSS LEADERS SERIES (1969-1980) Depending On How You Count Them, 34 Essential Various Artist Collections From Another Time We figured it was about time to pull together all of the incredible Warner Bros. Loss Leaders releases dating back to 1969 (and even a little earlier). For those who lived through the era, Warner Bros. Records was winning the sales of an entire generation by signing and supporting some of music’s most uniquely groundbreaking recording artists… during music’s most uniquely groundbreak- ing time. With an appealingly irreverent style (“targeted youth marketing,” it would be called today), WB was making lifelong fans of the kids who entered into the label’s vast catalog of art- ists via the Loss Leaders series—advertised on inner sleeves & brochures, and offering generous selections priced at $1 per LP, $2 for doubles and $3 for their sole 3-LP release, Looney Tunes And Merrie Melodies. And that was including postage. Yes… those were the days, but back then there were very few ways, outside of cut-out bins or a five-finger discount, to score bulk music as cheaply. Warners unashamedly admitted that their inten- tions were to sell more records, by introducing listeners to music they weren’t hearing on their radios, or finding in many of their (still weakly distributed) record stores. And it seemed to work… because the series continued until 1980, and the program issued approximately 34 titles, by our questionable count (detailed in later posts). But, the oldsters among us all fondly remember the multi-paged, gatefold sleeves and inviting artwork/packaging that beckoned from the inner sleeves of our favorite albums, not to mention the assorted rarities, b-sides and oddities that dotted many of the releases.
    [Show full text]