Tonight is what a friend of mine would call a 'trimma tree night.' This is in reference to when Holden Caufield got hammered and called old Sally and offered to trim her tree because he was so fucking lonely. Thankfully no calls have been made, no Facebook messages have been sent, and it shall stay that way since the only lady in my life is my script.
I'm nearly done. It will be done before the sun comes up. Wine and the soundtrack albums to Midnight Cowboy and The Harder They Come have been helping. I don't know. I am lonely, granted. Lonely people gravitate towards the internet. Most likely, the only reason you are reading this is because you are lonely and stumbled upon this. I'd like to think that. In that way, we've made a bizarre and intangible connection through this horrible blog post.
Can you tell I'm writing a movie about cults?
Thursday, October 27, 2011
Monday, October 17, 2011
Footlose and Fancy Freud
I've been having a series of dreams where I'm with the Three Stooges. Last night I was on a fishing trip with Moe, Larry, and Curly Joe (Joe Besser, not Joe DeRita. Talk about oddly specific). Joe started having a heart attack and I was holding him in my arms, but he was so big and I was trying to make sure he stayed in the boat and we didn't capsize. In order to make this easy, I willed his head into my backpack and his body disappeared.
When we got to shore, I left the backpack on a table next to a building where there were a lot of fishermen. As I went inside I yelled "Don't sit on that backpack, Joe Besser's head is in it. No seriously, his head is in that bag. He's still conscious."
Dear psychiatrists out there, what's with all my Stooge dreams? And why are they weird? And why haven't I had a MST3K dream even though I've been watching the show since I was 7?
When we got to shore, I left the backpack on a table next to a building where there were a lot of fishermen. As I went inside I yelled "Don't sit on that backpack, Joe Besser's head is in it. No seriously, his head is in that bag. He's still conscious."
Dear psychiatrists out there, what's with all my Stooge dreams? And why are they weird? And why haven't I had a MST3K dream even though I've been watching the show since I was 7?
Friday, October 14, 2011
i want to forgive
Imagine writing a tune like this.
I can. Wake up at noon. Walk out of your hotel to the beach. Fall asleep in the sun. Write a little. Drink a little. Fall asleep again. Write a little. Drink a little. Fall asleep. "And that's the way it goes..."
I believe in mankind and jazz. I don't believe in art. I believe in my art. And I suppose I believe in Frank Zappa too.
For the first time in years, I actually like myself.
I can. Wake up at noon. Walk out of your hotel to the beach. Fall asleep in the sun. Write a little. Drink a little. Fall asleep again. Write a little. Drink a little. Fall asleep. "And that's the way it goes..."
I believe in mankind and jazz. I don't believe in art. I believe in my art. And I suppose I believe in Frank Zappa too.
For the first time in years, I actually like myself.
Tuesday, October 11, 2011
Mrs. Jenkins Turned Him Green
Recently I've been intrigued by one of Zappa's oddest LPs, Francesco Zappa. I actually found it in the MassArt library in the classical LP section and was kinda blown away by that. It is a compilation of two opuses by Italian composer and cellist Francesco Zappa (yes he is real) who flourished around 1763-1788. The music was found by Frank Zappa in the 1980s at UC Berkley and performed by the Barking Pumpkin Digital Gratification Consort (aka Zappa on the Synclavier II).
Zappa's Synclavier work was criticized, both then and now, for being too "cold" and lacking "human touch." This is true to some end since Zappa never really used warm tones with the Synclavier in any of his work- even in the highly advanced Civilization Phase III. The coldness in FZ can be found with the hard-to-identify instrumentation (except the really good harpsichord synth) and the lack of intonation.
However, this detachment works to the album's advantage due to Frank Zappa's distaste for court music (hilariously explained in David Ocker's liner notes). Using his line of thinking, a composer can sadly be removed from his own work if he has to write it to please a hierarchy of society. Francesco Zappa was the court composer for the Duke of York right before Europe was swept with the spirit and terror of the French Revolution so he too must have felt this emotional detachment from his work.
Another note on the digital orchestration- it's fun. It's almost goofy. It sounds like early computer game music. This was most likely an aesthetic choice by Frank Zappa. The two biggest clues to this is the silly (but brilliant) Donald Roller Wilson cover and the collage on the back cover that contains a sign reading "UMRK DIGITAL BAROQUE AMUSEMENT FACTORY." Frank argued through his career that his music was for entertainment and amusement and "should not be confused with any other form of artistic expression." (from the liner notes of The Perfect Stranger) Francesco's music was for the amusement of the European elite. Frank Zappa takes the music, puts it into the musical aesthetic of the 1980s, and makes it for the amusement of everyone. You can say a lot about Frank, but you can't say his stuff isn't amusing.
Zappa's Synclavier work was criticized, both then and now, for being too "cold" and lacking "human touch." This is true to some end since Zappa never really used warm tones with the Synclavier in any of his work- even in the highly advanced Civilization Phase III. The coldness in FZ can be found with the hard-to-identify instrumentation (except the really good harpsichord synth) and the lack of intonation.
However, this detachment works to the album's advantage due to Frank Zappa's distaste for court music (hilariously explained in David Ocker's liner notes). Using his line of thinking, a composer can sadly be removed from his own work if he has to write it to please a hierarchy of society. Francesco Zappa was the court composer for the Duke of York right before Europe was swept with the spirit and terror of the French Revolution so he too must have felt this emotional detachment from his work.
Another note on the digital orchestration- it's fun. It's almost goofy. It sounds like early computer game music. This was most likely an aesthetic choice by Frank Zappa. The two biggest clues to this is the silly (but brilliant) Donald Roller Wilson cover and the collage on the back cover that contains a sign reading "UMRK DIGITAL BAROQUE AMUSEMENT FACTORY." Frank argued through his career that his music was for entertainment and amusement and "should not be confused with any other form of artistic expression." (from the liner notes of The Perfect Stranger) Francesco's music was for the amusement of the European elite. Frank Zappa takes the music, puts it into the musical aesthetic of the 1980s, and makes it for the amusement of everyone. You can say a lot about Frank, but you can't say his stuff isn't amusing.
Saturday, October 8, 2011
Why I Love Hockey
But first, a TV mini-rant. I've made it abundantly clear that I'm not the biggest fan of episodic television. I've liked some shows like Six Feet Under and The Sopranos, but after two seasons I usually get bored or annoyed. I'm a movie guy. I like resolution. But I did get sucked into a show called The Playboy Club on NBC. It just got cancelled after three episodes. Sure it wasn't the best show, but the writing was decent. There was a good flow, especially with the club manager's character. Anyway, just surprised, that's all. Especially since Pan Am is a horrible show and just got a huge article on it in the Globe.
Ok I just talked way too much about TV. Fuck TV. Reasons why hockey is the best-
1) It's on ice. Without a doubt the most unforgiving surface in every way.
2) They wear SWEATERS, not jerseys. I've always hated the word "jersey" and have always adored sweaters.
3) It's an international sport, but with interesting countries that you can't pronounce and are cold as fuck. As a New Englander, I appreciate this.
4) Beards
5) Goalies in full pads look like bears or monsters from Where the Wild Things Are
6) Punching.
7) Expansion teams are slowly being moved to places where people actually give a fuck about the sport.
8) Hockey gave us the greatest photograph ever captured-
Ok I just talked way too much about TV. Fuck TV. Reasons why hockey is the best-
1) It's on ice. Without a doubt the most unforgiving surface in every way.
2) They wear SWEATERS, not jerseys. I've always hated the word "jersey" and have always adored sweaters.
3) It's an international sport, but with interesting countries that you can't pronounce and are cold as fuck. As a New Englander, I appreciate this.
4) Beards
7) Expansion teams are slowly being moved to places where people actually give a fuck about the sport.
8) Hockey gave us the greatest photograph ever captured-
Thursday, October 6, 2011
Evidence I Was Destined For Art School #027
From February 10, 2007-
My first wide-released movie will be called "The Amazing World of Stamp Collecting" regardless of the subject matter.
***
Today I entered another dimension with Mr. Luther Price. That was pretty neat. Between him, Kuchar films, Oh Dem Watermelon and my first attempts at performance art, it is all too clear my thesis cannot remain a simple narrative. Like at all. I have way more to offer. If I REALLY wanted to make normal movies, I would have stayed on the Emerson wait-list.
In my best high school movie, The Boys of Eden, I had the narrator actually interact with the characters. I'm gonna bring that back. Also my last film before going to college, Break Out, was COMPLETELY improvised. I told my actors the scenes and they just made it up. Shit, Christopher Guest's films are all improv so I'm gonna bring that into it too. Tomorrow is gonna be a big writing day.
Also working on a big project for Zappa's birthday this year. Tentative title 63 Video Tapes for Frank.
This studio space is already paying off big time. I've already taped two performance pieces. So many to go.
My first wide-released movie will be called "The Amazing World of Stamp Collecting" regardless of the subject matter.
***
Today I entered another dimension with Mr. Luther Price. That was pretty neat. Between him, Kuchar films, Oh Dem Watermelon and my first attempts at performance art, it is all too clear my thesis cannot remain a simple narrative. Like at all. I have way more to offer. If I REALLY wanted to make normal movies, I would have stayed on the Emerson wait-list.
In my best high school movie, The Boys of Eden, I had the narrator actually interact with the characters. I'm gonna bring that back. Also my last film before going to college, Break Out, was COMPLETELY improvised. I told my actors the scenes and they just made it up. Shit, Christopher Guest's films are all improv so I'm gonna bring that into it too. Tomorrow is gonna be a big writing day.
Also working on a big project for Zappa's birthday this year. Tentative title 63 Video Tapes for Frank.
This studio space is already paying off big time. I've already taped two performance pieces. So many to go.
100611
When I got home there was shepherd's pie on the counter.
What you eating?
Shepherd's pie.
What's that?
Oh, mashed potatoes, meat, corn...
Is it lamb meat?
No. I suppose it could be, though.
Are you a shepherd?
No.
That's a very strange name then. Why not call it meat and mashed potatoes?
Because it's called shepherd's pie.
That makes no sense. Meat and mashed potatoes makes sense.
Who knew she would soon call me her little shepherd, falling asleep in her arms?
That sounds very condescending to me.
It wasn't though, really.
Little? You're like 6' 2"!
I know but it was fine.
As I ate it, my tongue told me it had gone cold. Then why did I feel so warm?
"Of COURSE you're hungry! I'M hungry! WE'RE ALL HUNGRY! So let's EAT!"
What you eating?
Shepherd's pie.
What's that?
Oh, mashed potatoes, meat, corn...
Is it lamb meat?
No. I suppose it could be, though.
Are you a shepherd?
No.
That's a very strange name then. Why not call it meat and mashed potatoes?
Because it's called shepherd's pie.
That makes no sense. Meat and mashed potatoes makes sense.
Who knew she would soon call me her little shepherd, falling asleep in her arms?
That sounds very condescending to me.
It wasn't though, really.
Little? You're like 6' 2"!
I know but it was fine.
As I ate it, my tongue told me it had gone cold. Then why did I feel so warm?
"Of COURSE you're hungry! I'M hungry! WE'RE ALL HUNGRY! So let's EAT!"
Monday, October 3, 2011
Y is Not a Dirty Word
Lennon/Ono's Unfinished Music #2: Life with the Lions is a great avant-garde album. Too bad it's nearly impossible to listen to.
1) It's impossible to listen to because it's impossible to find. It was released in 1969 on the experimental and very short lived Zapple subsidiary of Apple and never saw a re-issue until 1997 with the rest of Yoko Ono's catalog on RykoDisc. That is to say, it never saw a re-issue (zing!) I only have my copy thanks to pure luck. My friend found it without a jacket in the bowls of a record bin at some now-closed record store. Thank God it was in spectacular condition. Here's my make-shift cover:
2) It's impossible to listen to because Side A is a 27 min improv consisting of mainly Ono's unique vocal style (screaming) and Lennon's guitar feedback (noise). It's tough. Believe me. I like this and it's tough. It's interesting to me because after a while, the feedback and screaming feed off each other just like in jazz improv...really, really fucking weird jazz improv. John Stevens and John Tchicai join in later on percussion and sax but they're almost too late. If they came in once the guitar and vocal started meshing, it would have been more successful.
3) It's impossible to listen to because Side B is a Fluxus audio-documentary about Ono's first of three miscarriages with Lennon. Track two is the baby's last heartbeats followed by a Cage-ian "Two Minutes Silence." Yeah. Need I say more?
4) It's impossible to listen to because "Yoko Ono" has a horrible connotation in International Pop Culture. So horrible in fact that at this point, "Yoko Ono" is purely the subject of the sentence that ends with "broke up the Beatles." That's why all three of her experimental albums with Lennon are seen as obscene, not a continuation of her own artwork. They are not seen as Fluxus work finding its way into the mainstream. They are seen as John Lennon "going too far." The art world doesn't accept them either. Historians try desperately to separate Ono from Lennon, thinking that these records diminish her as an artist.
It's a good work. Not as great as their avant-garde peers, but worth it. It's hard to ignore all the pop culture shenanigans behind it, I grant you. That's defiantly the subject for a whole different argument.
1) It's impossible to listen to because it's impossible to find. It was released in 1969 on the experimental and very short lived Zapple subsidiary of Apple and never saw a re-issue until 1997 with the rest of Yoko Ono's catalog on RykoDisc. That is to say, it never saw a re-issue (zing!) I only have my copy thanks to pure luck. My friend found it without a jacket in the bowls of a record bin at some now-closed record store. Thank God it was in spectacular condition. Here's my make-shift cover:
2) It's impossible to listen to because Side A is a 27 min improv consisting of mainly Ono's unique vocal style (screaming) and Lennon's guitar feedback (noise). It's tough. Believe me. I like this and it's tough. It's interesting to me because after a while, the feedback and screaming feed off each other just like in jazz improv...really, really fucking weird jazz improv. John Stevens and John Tchicai join in later on percussion and sax but they're almost too late. If they came in once the guitar and vocal started meshing, it would have been more successful.
3) It's impossible to listen to because Side B is a Fluxus audio-documentary about Ono's first of three miscarriages with Lennon. Track two is the baby's last heartbeats followed by a Cage-ian "Two Minutes Silence." Yeah. Need I say more?
4) It's impossible to listen to because "Yoko Ono" has a horrible connotation in International Pop Culture. So horrible in fact that at this point, "Yoko Ono" is purely the subject of the sentence that ends with "broke up the Beatles." That's why all three of her experimental albums with Lennon are seen as obscene, not a continuation of her own artwork. They are not seen as Fluxus work finding its way into the mainstream. They are seen as John Lennon "going too far." The art world doesn't accept them either. Historians try desperately to separate Ono from Lennon, thinking that these records diminish her as an artist.
It's a good work. Not as great as their avant-garde peers, but worth it. It's hard to ignore all the pop culture shenanigans behind it, I grant you. That's defiantly the subject for a whole different argument.
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