Who is David Bowie?
A chameleon? Sure. A pop star? Definitely! As much as we may look back on the career of the Thin White Duke and characterize him as a visionary, as a trendsetter, as a trailblazer, as a man creating music ahead of his time? He was a pop star. Still is.
Getting his start in the late 60s, he has a britpop queen (king) who made the older ladies blush and the younger ladies faint. Never much of a team player, he stayed solo for his career with the exception of a few collaborations with notable stars (Mick Jagger and Queen among the most notable). And a short stint with Soupy Sales' sons, Hunt and Tony Sales and Reeves Gabrels in Tin Machine, producing only two studio albums and one live effort. The first studio album is worth your money.
Tonight is about the glamorous life. By the early seventies, Bowie had become fabulous. With albums like Space Oddity, Ziggy Stardust, and Young Americans, Bowie blurred the lines of sexuality and male-appropriate makeup to a magnificent degree.
Ziggy Stardust and the Spiders from Mars is the final show of Bowie's Ziggy persona. Filmed July 3, 1973.
Monday, July 2, 2012
Sunday, July 1, 2012
Good Eats: Festival Express
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| On the menu - Optimus' Pork and Beans, Master of Meat Curtain's pasta and sausage, R'lyeh's tomato smothered stuffed burgers, and host Grand Phantom's Doritos Locos tacos. Not pictured - Rabbi's Cherry Garcia ice cream (bonus points to him for thematic use of food) |
Festival Express
The second MMN of the summer commenced at the Grand Phantom's house on June 12, 2012 for a viewing of Festival Express.
Festival Express offers a look into an ill-fated tour of classic rock artists across Canada in 1970. Notable artists include the Grateful Dead, The Band, Buddy Guy, Janis Joplin and Sha Na Na (Traffic was also included in the tour but was not in the movie due to contractual obligations).
The tour was plagued with bad vibes almost from the beginning, as Canadian youth protested the "outrageous" ticket price of 10-12 dollars. Gatecrashing and empty seats were rampant. Finally, it seemed the artists began having more fun on the train rides between stops than actually performing in the concerts. Some highlights for me included an impromptu jam session between several artists in route to one show, as well as a drunken, improvisational performance between Joplin and the Band's Rick Danko, accompanied by Jerry Garcia on guitar. Also entertaining was the train's emergency stop after running out of booze, the artists consolidating their money and literally buying the place out.
Oddly enough, in this viewer's opinion, the film concentrated more on the concert performances (which, while good, were nothing that haven't been seen before) and less on the party taking place on the train ride. As a group, discussion centered on the merits of sleeping with Janis Joplin, the entitlement of hippies / Canadian youths / Baby boomers, the "good ol days" of festivals free of massive corporate involvement, the coolness of the Dead, and the relative obscurity of this event - all of us music fans had either not heard of this tour or just barely heard of it in passing.
Gentlemen, feel free to add your thoughts in the comments.
Excelsior!
The tour was plagued with bad vibes almost from the beginning, as Canadian youth protested the "outrageous" ticket price of 10-12 dollars. Gatecrashing and empty seats were rampant. Finally, it seemed the artists began having more fun on the train rides between stops than actually performing in the concerts. Some highlights for me included an impromptu jam session between several artists in route to one show, as well as a drunken, improvisational performance between Joplin and the Band's Rick Danko, accompanied by Jerry Garcia on guitar. Also entertaining was the train's emergency stop after running out of booze, the artists consolidating their money and literally buying the place out.
Oddly enough, in this viewer's opinion, the film concentrated more on the concert performances (which, while good, were nothing that haven't been seen before) and less on the party taking place on the train ride. As a group, discussion centered on the merits of sleeping with Janis Joplin, the entitlement of hippies / Canadian youths / Baby boomers, the "good ol days" of festivals free of massive corporate involvement, the coolness of the Dead, and the relative obscurity of this event - all of us music fans had either not heard of this tour or just barely heard of it in passing.
Gentlemen, feel free to add your thoughts in the comments.
Excelsior!
Thursday, June 21, 2012
Good Eats: Awesome! I Fuckin' Shot That!
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Full spread: Optimus' Kentucky Chicken Wings, R'lyeh's brisket wraps, Master at Arm's "Which came first, the chicken or the egg?"s Benedict, The Grand Phantom's "finger lickin' good" chicken and waffles, and The Rabbi's "Stick my dick in the" mashed potatoes. |
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A closer look at the Master at Arms' dish |
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The Rabbi's top secret Brass Monkey construction (note smoke) |
Awesome; I Fuckin Shot That! -- The Beastie Boys
We gathered once again for our first MMN of the Summer Season on the fifth of June at the abode of Master of Arms and Curtains for a bittersweet viewing of the Beastie Boys' Awesome; I Fuckin Shot That!. Bittersweet, of course, because the movie choice was in memory of the late Adam Yauch, aka MCA.
The evening began with the construction and consumption of Brass Monkey, provided by the Rabbi. He deftly combined orange juice, Old English 800 and dry ice into a smoking, frothy potion of delirium and deliciousness. As per our suburban street roots, we convened in the front yard for a few words of praise for Mr. Yauch and then poured a little out for our fallen homie. After serving ourselves refreshments (post and pictures to follow)we began the 2006 concert film.
The Boys gave out hundreds of video cameras to audience members during the Madison Square Garden homecoming performance, edited it down, and released it as a movie. Some personal thoughts follow: I find it interesting how the novelty of an audience member filming a show has quickly worn off - go to any show today and what do you see? Hundreds of little blue rectangles staring back at you as members tape the performance. It's refreshing to watch concert footage before the smartphone age, when people seemed to be busy enjoying the show and not tweeting, taping, or facebooking to everyone else that they're enjoying the show (and indeed, I've been guilty of this as well).
In this reviewer's opinion, it was a joy to see more of the audience's reactions to the cameras as they watched the bands' show. You really got a feel for how meaningful the Beastie Boys were to the New York audience, and even got a couple of cameos from DMC and Ben Stiller having a blast, just being a fan. The music was excellent, as usual. Rap shows are not know for their proficiency or stellar performance, but the Beasties easily overcame such issue with their enthusiasm and energy, covering a breath of styles and decades of records. The concert energy dropped a bit when they had an instrumental interlude, but the closing performance of "Intergalactic" was fantastic as the group ran through the catacombs of MSG to suddenly appear amongst the audience and explode with the modern classic.
The night was a fitting memorium for MCA. As a Generation Xer, I feel that his death has brought my generation face-to-face with mortality. Sure, Cobain died at a young age, being our member of the "27 club", but his was a suicide. Yauch was a husband and father (like most of us) who didn't die of his own hand or a tragic accident. He's a man to be admired for his personal growth, his talent, and his intellectual curiosity. "What's running through my mind comes through in my walk True feelings are shown from the way that I talk"
The evening began with the construction and consumption of Brass Monkey, provided by the Rabbi. He deftly combined orange juice, Old English 800 and dry ice into a smoking, frothy potion of delirium and deliciousness. As per our suburban street roots, we convened in the front yard for a few words of praise for Mr. Yauch and then poured a little out for our fallen homie. After serving ourselves refreshments (post and pictures to follow)we began the 2006 concert film.
The Boys gave out hundreds of video cameras to audience members during the Madison Square Garden homecoming performance, edited it down, and released it as a movie. Some personal thoughts follow: I find it interesting how the novelty of an audience member filming a show has quickly worn off - go to any show today and what do you see? Hundreds of little blue rectangles staring back at you as members tape the performance. It's refreshing to watch concert footage before the smartphone age, when people seemed to be busy enjoying the show and not tweeting, taping, or facebooking to everyone else that they're enjoying the show (and indeed, I've been guilty of this as well).
In this reviewer's opinion, it was a joy to see more of the audience's reactions to the cameras as they watched the bands' show. You really got a feel for how meaningful the Beastie Boys were to the New York audience, and even got a couple of cameos from DMC and Ben Stiller having a blast, just being a fan. The music was excellent, as usual. Rap shows are not know for their proficiency or stellar performance, but the Beasties easily overcame such issue with their enthusiasm and energy, covering a breath of styles and decades of records. The concert energy dropped a bit when they had an instrumental interlude, but the closing performance of "Intergalactic" was fantastic as the group ran through the catacombs of MSG to suddenly appear amongst the audience and explode with the modern classic.
The night was a fitting memorium for MCA. As a Generation Xer, I feel that his death has brought my generation face-to-face with mortality. Sure, Cobain died at a young age, being our member of the "27 club", but his was a suicide. Yauch was a husband and father (like most of us) who didn't die of his own hand or a tragic accident. He's a man to be admired for his personal growth, his talent, and his intellectual curiosity. "What's running through my mind comes through in my walk True feelings are shown from the way that I talk"
Sunday, April 22, 2012
Good Eats: Bittersweet Motel
Phreakin Philly Cheesesteaks and Cheesechops, root beer floats, jalepeno cheese bites, a mashed potato bar (with skyline chili, sour cream, bacon, green onions, and cheese), kettle chips, fried peanut butter and banana sandwiches, chocolate brownies, powdered donut holes, glazed donut holes, veggie burritos, chips with guacamole and salsa, and some sort of corn rice thing that I think was supposed to go in the aforementioned veggies burritos.
Bittersweet Motel, Evening in Review
I, SC of R’lyeh, hereby approve of the Bittersweet Motel MMN. Every MMN location has its own personality. From the Dungeon’s mildewy appeal to Optimus’ blind dog entertainment to Beef’s fireside chats to Phantom’s hipster appeal, every location has a quirk. What does the Rabbi offer? A sense of community. Bittersweet though it may be, the Rabbi insists upon opening up MMN to the general public, constantly pushing the envelope with what MMN means and how the original five should interact with the world at large. Though this may cause strife within the ranks, it is an expectation of the Rabbi’s off-campus fraht-haus.
The food, sublime as always. Enough to feed an army.
Upon arrival, we were greeted by an inflated Hairy Dog in need of a ticket. I am assured this is an inside joke that had I gotten, would have been hilarious. Further into the complex, the soothing sounds of car-radio Phish from a splayed open fuel-friendly hatchback set a festival-like tone that continued throughout the evening. The Phish touring community is one of free love and sharing and acceptance, so were we all welcomed.
The Rabbi’s rabid love of Phish was evident in his introduction to the evening. Hardly able to remain seated in his chair, he effused effusively the history of the band, the history of Bittersweet Motel, and the personal relationship it seems every true fan of Phish has with the band members, often commenting on the moods and personalities of Trey, Jon, Mike, and Page as if they were his best buds. Best buds indeed. This is the loving relationship Phish fans have with the band and with each other.
Food eaten, drinks consumed, and other elements taken care of, the show began. A relatively short presentation, clocking in at a paltry 82 minutes. But in 82 minutes, Phish fans got the fix they needed, missing details filled in by their wandering imaginations and remembrances of concerts past. Any song cut short in a directorial decision played fully in the addled fan’s mind.
And there were naked people. Usually appreciated.
Post-game. Apparently, those who consider themselves a part of the Phish community are vehemently opposed to being accused of being a part of a community. Who knew? There were no immediate converts at this MMN. Former fans still appreciate Phish for what they are and the memories they have fostered. Current fans are still rabid. Casual listeners still listen casually. Hippie hating hippie-haters still practice hippie hating. However, even as I write this as a casual listener, I jam out to the soothing sounds of the Grateful Dead’s “Franklin’s Tower” and “The Music Never Stopped” from One from the Vault. Have I been moved up in the rankings from a casual listener to a former fan?
Saturday, April 21, 2012
Bittersweet Motel: Had to Make a New Post Cause It Was Too Long for the Comments Section and I Still Wanted to Post It
Oddly enough, my experiences with Phish began while Jewberg was still listening to Lou Rawls's Garfield Christmas album. At my suburban high school, Phish was the cool band. The hip-jocks, stoners, and soon to be fratties found common ground with their music and its intoxicating culture. Although I was deeply embroiled in a life of religious study and proliferation, I found a rebellious outlet in Phish. I didn't drink or stay out too late or do drugs. I honestly just liked the music and was attracted to the coolness of the fans.
I had been listening to the Dead, the Allman Bros, Clapton's various projects, Skynyrd, Moby Grape, and the like throughout most of my sophomore and junior years of high school.* I was actually turned off by Phish because they were so popular at my school. Class of 95 song was "Down with Disease." Not listening to them was a way to separate myself from others. It's interesting to hear Marc say their popularity didn't peak until 97/98. I finally started listening because of the one true tie-dye-wearing, long-haired, birkenstock-sporting hippie dude at my high school.
The first albums I remember buying was Picture of Nectar. This is pre-internet days so I just went to the store and bought one of the three or four of their albums the store had. My selection was probably based on PON having more tracks than the other albums, getting the most for my money. I liked it and soon bout Junta, which was what did it for me. I've listened to it the past couple days and still find it really good. It's got great, tight instrumentals and a couple imagery-laden narrative songs that rock. I started getting bootleg tapes from friends and started seeing shows.
Through a two year period, senior/freshman years, I probably saw em 5 or 6 times.** A few at Lakewood, one or two at the Fox, and then once at the Omni. I bought tickets through their mail order for a couple shows in Virginia but didn't go due to my religious fundamentalist obligations. In fact, I remember thinking that if I was to leave the Church I'd probably end up following Phish around-- a repressed young man's fantasy. I did end up leaving the Church, though, in 97, I think. For some reason, at that time I also stopped listening to Phish. I've never really thought about what began to turn me off to it, but I can only assume it's that I became embroiled in the Athens life which frowns upon Phish.***
I've tried since to listen to them again. It's never clicked like it did when I was younger. My last attempt was a couple years ago. In anticipation of Marc's night, I gave it another shot. Again, Junta has remained great. Most of the other stuff, live and studio, is sorta hit or miss. There's a lot of awesome stuff. Great music. Compelling lyrics. Rockin hooks. Even the longer jams can be epic. However, there's also a lot of shit. Annoying, non-sensical, repetitive lyrics. Chaos. Childish shit.
I found the documentary to be interesting as some one who was into this band before YouTube as I'd never seen them interviewed before. In the Phish community, like that of the Dead, the audience feels like their friends with these guys**** But the film shed some light on the individuals. Again, it focused too much on Trey. The super close-ups of his face were annoying. The other guys only spoke a few times with the exception of Fishman, who the audience still didn't get a good picture of. I'd have preferred just watching a good video of one of their shows.***** I think it'd have been a better representation of what they are capable of. You did get an idea of what amazing musicians they are, especially Trey, who is an incredible guitarist. I wish it'd shown more of what Page does, cause I've always loved his jazzy playing.
I'd like to say the evening was a success. Despite issues surrounding attendance and ill girlfriends, the Rabbi pulled it off. I hope he understands how much we appreciate him sharing his knowledge, love, appreciation and this movie with us. It is a very special feeling to be able to share with your friends something which has been so much a part of your life. Good job.
*My 88 Ford Ranger was decked out with a Steal Your Face, Mean People Suck (I'm very embarrassed to admit this one), Ice Cream dude (from Europe 72), a Calvin with his finger in his nose, and a "You Don't Need Dope to Dance" sticker (again, embarrassing). I didn't add a Phish sticker until I moved to Athens.
**I agree with Brent's comment about some of the more special elements of their live shows being left out of the documentary. The trampolines and Fishman on the vacuum.
***In one Athens kitchen in which I worked, the tapedeck was marked "Phish Phucking Phorbidden."
****I've heard of people having photographs of the band in picture frames on their desks as if they are family.
*****As I write this, I'm watching one on YouTube. My BluRay player let's me watch it in HD. It's professionally filmed, multiple cameras, good stuff. There's a good number of em on there.
I had been listening to the Dead, the Allman Bros, Clapton's various projects, Skynyrd, Moby Grape, and the like throughout most of my sophomore and junior years of high school.* I was actually turned off by Phish because they were so popular at my school. Class of 95 song was "Down with Disease." Not listening to them was a way to separate myself from others. It's interesting to hear Marc say their popularity didn't peak until 97/98. I finally started listening because of the one true tie-dye-wearing, long-haired, birkenstock-sporting hippie dude at my high school.
The first albums I remember buying was Picture of Nectar. This is pre-internet days so I just went to the store and bought one of the three or four of their albums the store had. My selection was probably based on PON having more tracks than the other albums, getting the most for my money. I liked it and soon bout Junta, which was what did it for me. I've listened to it the past couple days and still find it really good. It's got great, tight instrumentals and a couple imagery-laden narrative songs that rock. I started getting bootleg tapes from friends and started seeing shows.
Through a two year period, senior/freshman years, I probably saw em 5 or 6 times.** A few at Lakewood, one or two at the Fox, and then once at the Omni. I bought tickets through their mail order for a couple shows in Virginia but didn't go due to my religious fundamentalist obligations. In fact, I remember thinking that if I was to leave the Church I'd probably end up following Phish around-- a repressed young man's fantasy. I did end up leaving the Church, though, in 97, I think. For some reason, at that time I also stopped listening to Phish. I've never really thought about what began to turn me off to it, but I can only assume it's that I became embroiled in the Athens life which frowns upon Phish.***
I've tried since to listen to them again. It's never clicked like it did when I was younger. My last attempt was a couple years ago. In anticipation of Marc's night, I gave it another shot. Again, Junta has remained great. Most of the other stuff, live and studio, is sorta hit or miss. There's a lot of awesome stuff. Great music. Compelling lyrics. Rockin hooks. Even the longer jams can be epic. However, there's also a lot of shit. Annoying, non-sensical, repetitive lyrics. Chaos. Childish shit.
I found the documentary to be interesting as some one who was into this band before YouTube as I'd never seen them interviewed before. In the Phish community, like that of the Dead, the audience feels like their friends with these guys**** But the film shed some light on the individuals. Again, it focused too much on Trey. The super close-ups of his face were annoying. The other guys only spoke a few times with the exception of Fishman, who the audience still didn't get a good picture of. I'd have preferred just watching a good video of one of their shows.***** I think it'd have been a better representation of what they are capable of. You did get an idea of what amazing musicians they are, especially Trey, who is an incredible guitarist. I wish it'd shown more of what Page does, cause I've always loved his jazzy playing.
I'd like to say the evening was a success. Despite issues surrounding attendance and ill girlfriends, the Rabbi pulled it off. I hope he understands how much we appreciate him sharing his knowledge, love, appreciation and this movie with us. It is a very special feeling to be able to share with your friends something which has been so much a part of your life. Good job.
*My 88 Ford Ranger was decked out with a Steal Your Face, Mean People Suck (I'm very embarrassed to admit this one), Ice Cream dude (from Europe 72), a Calvin with his finger in his nose, and a "You Don't Need Dope to Dance" sticker (again, embarrassing). I didn't add a Phish sticker until I moved to Athens.
**I agree with Brent's comment about some of the more special elements of their live shows being left out of the documentary. The trampolines and Fishman on the vacuum.
***In one Athens kitchen in which I worked, the tapedeck was marked "Phish Phucking Phorbidden."
****I've heard of people having photographs of the band in picture frames on their desks as if they are family.
*****As I write this, I'm watching one on YouTube. My BluRay player let's me watch it in HD. It's professionally filmed, multiple cameras, good stuff. There's a good number of em on there.
Sunday, April 15, 2012
Phish - Bittersweet Motel
For such a group of seemingly casual guys, there's nothing casual about Phish. Even people who dislike them hate them with a passion arguably as intense as those who drop off the grid to follow America's greatest party from city to city. I try to gauge my love or disdain of bands based on their live act, and for the uninitiated, Todd Phillips' Bittersweet Motel (2000) offers a look at everything that makes Phish one of rock's greatest cultural artifacts: unique songs, masterful improv, humor, and the scene, man ...
Commissioned by the band, the film overly features Trey Anastasio, the creative, virtuosic force without whom there could be no band. At times, Trey comes off as a down-to-earth character who lives for music, but at other times, he's a total prick with an ego the size of a festival audience of 70,000 adoring fans. He's probably no different than any other lead figure in a larger-than-life rock band, but since he's a nerdy Vermonter, it's easy to see how his dexterity with the guitar inflates his sense of self. Thankfully, Phillips presents him -- and the rest of the band -- in both shades, and the viewer is free to decide if each clip is authentic or not.
Phillips follows Gamehendge's troubadors throughout a legendary Winter 1997 tour that culminated a year where the band grew into a funkier, more relaxed sound and improv style that defined them until their hiatus in Fall 2000. The band's earlier material obviously contained extended improv, too, but jams in the early 90s featured more tension-and-release buildups where Trey's solos were more intricate, fast, and prominent. As the band kept trying to make somewhat coherent studio albums in the early and mid 90s, arena rock anthems like "Down with Disease", "Free", and "Character Zero" laid a more traditional foundation (though the band still jammed, obviously).
After a spacy cover of Talking Heads Remain in Light for their 1996 Halloween show, Phish's jamming grew into even more esoteric space where bassist Mike Gordon and keyboarist Page McConnell began to find more territory to explore as Trey played more with loops and textures. These differences probably aren't apparent to a casual listener, but hardcore fans can often pinpoint specific recordings to years, tours, or even specific shows just by listening to the quality of the recording, Trey's tone, Mike's prominence in the mix, and the flow of the setlist.
Memorable moments from Winter '97 clips include a sick "Down with Disease" jam from Rochester, NY on 12-11-97 (the first Phish bootleg I ever had after a friend acquired it in high school, coincidentally) and moments from Phish's biggest night every year: New Year's Eve. Phillips also followed Phish through a tour of Europe and finally ends with 1997s summer festival The Great Went. While I advise anyone that you can't understand Phish without seeing a live show, you really can't understand them until you dedicate an entire vacation toward traveling to one of their elaborately planned festivals. The Great Went was the band's second large festival taking place in the middle of nowhere at Loring Air Force base in Limestone, Maine. The band would later return to Limestone in 1998 for Lemonwheel and again in 2003 for the IT festival. The film's greatest moments from the Went include a photograph of over 1,100 nude fans, a band/fan art installation and subsequent bonfire, and the beautiful "Simple" jam, not to mention some hilarious fan interviews.
It's hard for me to write about Phish and avoid getting overly personal, praising, or critical, but like Trey points out in the film, the band opens itself up to that kind of love and scrutiny. Every show is taped by legions of tapers who dedicate all of their recreational time to recording and distributing the band's music - for free. Now, every show is available for soundboard-quality download within minutes upon the show's conclusion - every single night of every tour. Tickets come with a free download code for the show, and the band webcasts high-demand shows (and fans then pirate the streams on sites like Ustream). With yesterday's lot kids growing into professionals and parents, couch tour has become a viable business venture for a band that once thrived on the personal connection of witnessing something original LIVE and in person. Just as culture continues to evolve, so will Phish.
Commissioned by the band, the film overly features Trey Anastasio, the creative, virtuosic force without whom there could be no band. At times, Trey comes off as a down-to-earth character who lives for music, but at other times, he's a total prick with an ego the size of a festival audience of 70,000 adoring fans. He's probably no different than any other lead figure in a larger-than-life rock band, but since he's a nerdy Vermonter, it's easy to see how his dexterity with the guitar inflates his sense of self. Thankfully, Phillips presents him -- and the rest of the band -- in both shades, and the viewer is free to decide if each clip is authentic or not.
Phillips follows Gamehendge's troubadors throughout a legendary Winter 1997 tour that culminated a year where the band grew into a funkier, more relaxed sound and improv style that defined them until their hiatus in Fall 2000. The band's earlier material obviously contained extended improv, too, but jams in the early 90s featured more tension-and-release buildups where Trey's solos were more intricate, fast, and prominent. As the band kept trying to make somewhat coherent studio albums in the early and mid 90s, arena rock anthems like "Down with Disease", "Free", and "Character Zero" laid a more traditional foundation (though the band still jammed, obviously).
After a spacy cover of Talking Heads Remain in Light for their 1996 Halloween show, Phish's jamming grew into even more esoteric space where bassist Mike Gordon and keyboarist Page McConnell began to find more territory to explore as Trey played more with loops and textures. These differences probably aren't apparent to a casual listener, but hardcore fans can often pinpoint specific recordings to years, tours, or even specific shows just by listening to the quality of the recording, Trey's tone, Mike's prominence in the mix, and the flow of the setlist.
Memorable moments from Winter '97 clips include a sick "Down with Disease" jam from Rochester, NY on 12-11-97 (the first Phish bootleg I ever had after a friend acquired it in high school, coincidentally) and moments from Phish's biggest night every year: New Year's Eve. Phillips also followed Phish through a tour of Europe and finally ends with 1997s summer festival The Great Went. While I advise anyone that you can't understand Phish without seeing a live show, you really can't understand them until you dedicate an entire vacation toward traveling to one of their elaborately planned festivals. The Great Went was the band's second large festival taking place in the middle of nowhere at Loring Air Force base in Limestone, Maine. The band would later return to Limestone in 1998 for Lemonwheel and again in 2003 for the IT festival. The film's greatest moments from the Went include a photograph of over 1,100 nude fans, a band/fan art installation and subsequent bonfire, and the beautiful "Simple" jam, not to mention some hilarious fan interviews.
It's hard for me to write about Phish and avoid getting overly personal, praising, or critical, but like Trey points out in the film, the band opens itself up to that kind of love and scrutiny. Every show is taped by legions of tapers who dedicate all of their recreational time to recording and distributing the band's music - for free. Now, every show is available for soundboard-quality download within minutes upon the show's conclusion - every single night of every tour. Tickets come with a free download code for the show, and the band webcasts high-demand shows (and fans then pirate the streams on sites like Ustream). With yesterday's lot kids growing into professionals and parents, couch tour has become a viable business venture for a band that once thrived on the personal connection of witnessing something original LIVE and in person. Just as culture continues to evolve, so will Phish.
Monday, April 2, 2012
Good Eats: "Get Thrashed" edition
Here we have Master of Arms' loaded chicken nachos, The Rabbi's jalapeno and pineapple pizza from Little Italy, Optimus' buffalo chicken dip, R'lyeh's two pounds of bacon, and Grand Phantom Wizard's McDonald's cheeseburgers and apple pies.
Tuesday, March 27, 2012
Get Thrashed
I grew up in the 80s. In the suburbs. Middle class. So I am thrash.
Yeah, I was a little young, but I caught up fast. In 1984, I bought 1984 on vinyl (still have it). In 1989 I bought ...And Justice for All on cassette (it died in the 90s). From 1989 until today, I have spent a great deal of money and time filling in the gaps between 1984 and 1989. That's roughly where thrash comes in. The purpose of Music Movie Night is to expose ourselves to musical artifacts we may not otherwise experience. We enter the evening with receptive ears and an open mind. This is the expectation. From the mellow Pink Floyd to the somber Neil Young to the quirky Talking Heads.
Throughout each individual experience, we follow strict, but understandable rules, most of which have been stated in the introduction to this blog. Unwritten rules also exist. One such rule is resisting the temptation to cross-compare artists and genres. No one spends time criticizing one selection in comparison to another. Regardless of how sublime The Band's performance was, it is not a point of comparison to The Song Remains the Same, except perhaps on a techincal level.
So let it be with Thrash.
http://www.youtube.com/watch?v=Yuj8ABLTZi0
Though I grew on the east coast, I identify most with the musical movement started in California in both the Sunset Strip and San Francisco areas. Bands such as Metallica, Slayer, Testament, DRI, SOD, and Suicidal Tendencies are the standards by which I judge all modern metal.
Rick Earnst's documentary, Get Thrashed, is a hodgepodge of interviews, some seeminly done for the documentary itself, others archival. Interspersed between these snippets of interviews there is enough loud live music to make you all wet and gushy inside. As several us have complained in the past, Get Thrashed often does not include enough music--no full songs, in fact, rarely more than a minute or two of any particular track.
I'm okay with this.
At no point in time does Get Thrashed present itself as an aural history, but rather as an oral history with musical accompan . . . acumpani . . . guitarists.
What's missing? Why did thrash music start? We begin with a tired story of how Metallica started it all. You can't argue with it. They did. But why? What were they revolting against? Unfortunately, not much at all. Thrashers are typically middle-class suburbanites. Not too many devil worshippers, killers, or puppy-kickers. Just kids who have long hair, wear jeans and leather, and want music that is louder, faster, and ruder. We want to hear Megadeth with a better lead singer. We want to find vintage t-shirts from tours we were too young to attend.
We want someone to remaster Metal on Metal, Haunting the Chapel, Show no Mercy, and Killing is My Business (I think someone did that last one, but I heard it was not worth it).
We want new metal but not nu metal. We want Anthrax to rap like dorks, but not Biohazard doing it all serious-like.
We want bands who thrived in the 80s to survive in the 10s.
http://www.youtube.com/watch?v=-_VfDAFS5n4
We wonder what Metallica would've become if Cliff had not died.
Yeah, I was a little young, but I caught up fast. In 1984, I bought 1984 on vinyl (still have it). In 1989 I bought ...And Justice for All on cassette (it died in the 90s). From 1989 until today, I have spent a great deal of money and time filling in the gaps between 1984 and 1989. That's roughly where thrash comes in. The purpose of Music Movie Night is to expose ourselves to musical artifacts we may not otherwise experience. We enter the evening with receptive ears and an open mind. This is the expectation. From the mellow Pink Floyd to the somber Neil Young to the quirky Talking Heads.
Throughout each individual experience, we follow strict, but understandable rules, most of which have been stated in the introduction to this blog. Unwritten rules also exist. One such rule is resisting the temptation to cross-compare artists and genres. No one spends time criticizing one selection in comparison to another. Regardless of how sublime The Band's performance was, it is not a point of comparison to The Song Remains the Same, except perhaps on a techincal level.
So let it be with Thrash.
http://www.youtube.com/watch?v=Yuj8ABLTZi0
Though I grew on the east coast, I identify most with the musical movement started in California in both the Sunset Strip and San Francisco areas. Bands such as Metallica, Slayer, Testament, DRI, SOD, and Suicidal Tendencies are the standards by which I judge all modern metal.
Rick Earnst's documentary, Get Thrashed, is a hodgepodge of interviews, some seeminly done for the documentary itself, others archival. Interspersed between these snippets of interviews there is enough loud live music to make you all wet and gushy inside. As several us have complained in the past, Get Thrashed often does not include enough music--no full songs, in fact, rarely more than a minute or two of any particular track.
I'm okay with this.
At no point in time does Get Thrashed present itself as an aural history, but rather as an oral history with musical accompan . . . acumpani . . . guitarists.
What's missing? Why did thrash music start? We begin with a tired story of how Metallica started it all. You can't argue with it. They did. But why? What were they revolting against? Unfortunately, not much at all. Thrashers are typically middle-class suburbanites. Not too many devil worshippers, killers, or puppy-kickers. Just kids who have long hair, wear jeans and leather, and want music that is louder, faster, and ruder. We want to hear Megadeth with a better lead singer. We want to find vintage t-shirts from tours we were too young to attend.
We want someone to remaster Metal on Metal, Haunting the Chapel, Show no Mercy, and Killing is My Business (I think someone did that last one, but I heard it was not worth it).
We want new metal but not nu metal. We want Anthrax to rap like dorks, but not Biohazard doing it all serious-like.
We want bands who thrived in the 80s to survive in the 10s.
http://www.youtube.com/watch?v=-_VfDAFS5n4
We wonder what Metallica would've become if Cliff had not died.
Good Eats - Here are some old MMN spreads - prepared with love
From "Heart of Gold" viewing at Master of Arms' home
From "Stop Making Sense" viewing at the Honorable Rabbi's Bungalow
From "This is Spinal Tap" viewing at R'lyeah's Dungeon
From "Beyond the Lighted Stage" viewing at Optimus Manor
From "Flight 666" viewing at Optimus Manor
From "Stop Making Sense" viewing at the Honorable Rabbi's Bungalow
From "This is Spinal Tap" viewing at R'lyeah's Dungeon
From "Beyond the Lighted Stage" viewing at Optimus Manor
From "Flight 666" viewing at Optimus Manor
Sunday, March 25, 2012
Introduction
Music Movie Night (MMN) originated in the smokey, drunken back corners of The Grand Phantom Wizard's mind. As he watched Pink Floyd Live at Pompeii alone one night, he thought about how great it'd be to share this experience with others. He knew many people had probably never seen this era of Pink Floyd, his favorite. Neurons began firing, a little tingle in the balls, and guidelines were established (see below). On May 23, 2011, the Founding Five (The Grand Phantom Wizard, Master of Arms and Beef Curtains, Optimus Patriarch, The Supreme Commander of R’lyeh, and The Most Honorable Rabbi) gathered at The Grand Phantom Wizard's house for the inaugural Movie Music Night.
Since that initial meeting, there have been a total of 12 MMNs (see below). Although various guests have joined the Founding Five, this group of men remain the core of the hosts and audience. MMNs are respected times in the lives of these men. Each meeting marks a time to get away from family and adult responsibilities, an opportunity to drink, relax, and engage with music. It is a middle-class, former hipster's moment of bros before hoes. It is poker night, a trip to the neighborhood bar, a night out to see a band.
This blog is intended to further the conversations which surround MMN. Each host will post an overview of the evening including personal responses, images, synopses of pre/post game discussions, and relevant links. The audience and others introduced to the site and MMN will be invited to comment. Let's see how well we can make this work.
The Guidelines
1. The host sends out an invitation which includes the title of his selected film and the evening's agenda with approximate times.
2. Audience members bring quality, dude dishes and beer.
3. The host introduces the film with background and contextual information.
4. The film will not be stopped or paused after it has begun.
5. Talking during the movie is prohibited.
6. The host will guide a round-table discussion after the movie.
7. Amendment 1: Women are prohibited from attending MMN. The only exception to this rule are the women over the age of 21 who reside within the host's domicile. (adopted: 9.28.11)
Past MMNs
May 23, 2011
Pink Floyd: Live at Pompeii
June 7, 2011
The Last Waltz (The Band and guests)
June 14, 2011
It Might Get Loud (Jimmy Page, The Edge, Jack White)
June 30, 2011
Iron Maiden: Flight 666
July 7, 2011
Neil Young: Heart of Gold
July 11, 2011
The Song Remains the Same (Led Zeppelin)
July 27, 2011
We Jam Econo (The Minutemen)
September 27, 2011
Stop Making Sense (Talking Heads)
November 11, 2011
This is Spinal Tap
January 7, 2012
Beyond the Lighted Stage (Rush)
February 4, 2012
Year of the Horse (Neil Young and Crazy Horse)
March 24, 2012
Get Thrashed! (thrash metal documentary)
Since that initial meeting, there have been a total of 12 MMNs (see below). Although various guests have joined the Founding Five, this group of men remain the core of the hosts and audience. MMNs are respected times in the lives of these men. Each meeting marks a time to get away from family and adult responsibilities, an opportunity to drink, relax, and engage with music. It is a middle-class, former hipster's moment of bros before hoes. It is poker night, a trip to the neighborhood bar, a night out to see a band.
This blog is intended to further the conversations which surround MMN. Each host will post an overview of the evening including personal responses, images, synopses of pre/post game discussions, and relevant links. The audience and others introduced to the site and MMN will be invited to comment. Let's see how well we can make this work.
The Guidelines
1. The host sends out an invitation which includes the title of his selected film and the evening's agenda with approximate times.
2. Audience members bring quality, dude dishes and beer.
3. The host introduces the film with background and contextual information.
4. The film will not be stopped or paused after it has begun.
5. Talking during the movie is prohibited.
6. The host will guide a round-table discussion after the movie.
7. Amendment 1: Women are prohibited from attending MMN. The only exception to this rule are the women over the age of 21 who reside within the host's domicile. (adopted: 9.28.11)
Past MMNs
May 23, 2011
Pink Floyd: Live at Pompeii
June 7, 2011
The Last Waltz (The Band and guests)
June 14, 2011
It Might Get Loud (Jimmy Page, The Edge, Jack White)
June 30, 2011
Iron Maiden: Flight 666
July 7, 2011
Neil Young: Heart of Gold
July 11, 2011
The Song Remains the Same (Led Zeppelin)
July 27, 2011
We Jam Econo (The Minutemen)
September 27, 2011
Stop Making Sense (Talking Heads)
November 11, 2011
This is Spinal Tap
January 7, 2012
Beyond the Lighted Stage (Rush)
February 4, 2012
Year of the Horse (Neil Young and Crazy Horse)
March 24, 2012
Get Thrashed! (thrash metal documentary)
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