8.3 Hours / 119 Songs / 975.2 MB

In addition to my current house guest, I've been soldiering through a period of insomnia--and depsite a number of attempts, the period between 3:30 AM and 6:00 AM has proven unconducive to the sort of writing that holds up in the literal light of day. I've thus made the best of my sleeplessness by finishing the last of the JG Ballard short stories, performing all manner of usually mind-numbing computer maintenance and tackling odd-ball projects that day-side time demands would otherwise make impossible.

Last night's You-Did-What? endeavor was the chronological assembling of the complete UK Pet Shop Boys singles and their B-sides. And yes, I can feel you judging me from way over here. Although no, we're not going to explore why I had all the required source material at my fingertips at 3:30 in the fucking morning.

While I freely admit that doing this was a tad obsessive, it was inevitable that some other pop collector would eventually get around to researching and assembling the playlist, so I thought it might as well be me--because the bragging rights, although dubious, out-weigh any sidelong and pitying glances regarding the project.

Below is the result of my nocturnal labor--along with the generous inclusion of the source discs--you know, just in case you feel a deep need to replicate this project. Or want to win bar bets with proof that, yes, someone actually was bent enough to lovingly wrangle together this material.

And now if you'll excuse me, I've still got about seven-and-a-half more hours of listening . . .

Original 'Story' cover design by Farrow and PSB / Illustration by Gary Stillwell / Adapted by kulturhack

Reince In Realityland

Chapter 5

Advice From A Caterpillar

 

The Caterpillar and Reince looked at each other for some time in silence: at last the Caterpillar took the hookah out of her mouth, and addressed him in a languid, sleepy voice.

'Who are you?' said the Caterpillar.

This was not an encouraging opening for a conversation. Reince replied, rather shyly, 'I -- I hardly know, just at present -- at least I know what the GOP was when I got up this morning, but I think it must have been changed several times since then.' Sounding slightly desperate, Reince added, 'Will . . . will you be voting for Mitt Romney in November?'

With narrowed eyes, the Caterpillar stared at Reince for such a very long time, he shifted about uncomfortably. And then at last she slowly said, 'Who . . . is . . . Mitt Romney?'

This caused Reince to fidget even more agitatedly because it sounded somehow threatening. Cautiously he asked, 'Well, will you be voting for any Republicans?' and then nervously straightened his tie.

The Caterpillar put the hookah back in her mouth and seemed lost in contemplation. At last she put it aside and fixed Reince with the most forbidding glare he had ever experienced. 'Who . . . are . . . the Republicans?' the Caterpillar asked so harshly that Reince suddenly wanted to cry.

Is It Santorum Or Is It Taliban?

Which are statements by Rick Santorum and which are westernized Taliban proclamations?

1) For the enemies of religion and our country, Christianity is a thorn in their side, and they're trying to destroy it under various pretexts….

2) Satan is attacking . . . our country, using those great vices of pride, vanity, and sensuality.

3) Today the media is spreading secular behavior that is contrary to Christianity.

4) The . . . Left hates Christendom. They hate Western civilization.

Detours: The Curated "Thunder Road"

What can I say--one lunchtime YouTube search led to another . . .

Critically Important: The final song is the Velvet Underground's "Sweet Jane"--the only known antidote for listening to nine consecutive versions of "Thunder Road."

As always, you're very welcome.

Cowboy Junkies

Badly Drawn Boy

Bonnie "Prince" Billy

Frank Turner

Tori Amos

Kevin Rowland

Alice Ripley

Melissa Etheridge, Bruce Springsteen Duet

Bruce Springsteen, Alternate Version

The Velvet Underground, "Sweet Jane"

 

Perkins (2008 Journal Excerpt)

. . . The more successfully diverting parts of my journey mostly had to do with the region’s wildlife. Episodes with bear, mountain lions, elk, and moose were satisfying encounters with the Other Than, and, being on foot, were also dangerous enough to underscore my view of Nature as brutal entropy in glamorous drag; a serial killer with a deceptively charming surface. For me, Nature is Tony Perkins in a lushly Technicolor version of Psycho (to best convey all those sunsets)--really nice right up until you step into the shower. Just like mountain lions are majestically nice right up until you find yourself surrounded by scat embedded with feathers, smell the ammonia waves of cat piss and slowly--very slowly--look up (do not turn your back, do not crouch and do not run).


Not that there’s anything wrong with this. Perkins the Mountain Lion is merely doing (or attempting to do) what Perkins does. Perkins has an admirable purity going for him: Birds gotta fly, fish gotta swim, Perkins gotta eat me (though mind the iPhone, Perkins; I waited in line too long for it to end up embedded in tomorrow’s scat). Perkins’ big-cat life is a perfectly straight through-line from his jaws to the pulsing carotid in my neck. He is without nuance--just like the natural world that surrounds him.

And here, at last, is what I like about Nature: Its lack of agendas. Paradoxically, however, this is also why I have no artistic use for it: Going hand-in-hand with my preference for large cities is a fascination with humanity’s bedecked selfishness. Perkins doesn’t have a string of divorces behind him, and to rationalize them, he’s not reading Smart Predators, Stupid Choices; Perkins has no passive carefully wrapped around his tooth-and-claw aggression; Perkins doesn’t network or politick; Perkins doesn’t manipulate, he merely pounces if the opportunity presents itself; and in the twilight of his big-cat years, Perkins will be guiltless about his savage, red-meat life--there will be no mid-life crisis and, thank god, he will not reimagine himself as a vegetarian. All this makes me want to hang-out with Perkins (albeit at a safer distance), but not write about him . . .

The Last Chair I'm Gonna Need

It's just, when you buy furniture, you tell yourself, that's it.That's the last sofa I'm gonna need.  Whatever else happens, I've got that sofa problem handled.

--The Narrator, Fight Club

If there was one thing I learned from my parents, it was not to go in for cheap furniture--even if it meant the much slower assembly of a fully furnished household. To be clear, we're not talking about deeply expensive, limited-edition Italian furnishings, but neither are we referring to the unpronounceable particle board that's found on IKEA shelves. Let's just call it furniture that's not irreplaceable and also not disposable: Stuff that, with proper care, might sturdily and (with a righteous exercise of taste) timelessly last a few decades . . .

I mention this because these past four days have been spent in pursuit of a new chair--my first in slightly more than 20 years (so yes, the parental lesson really did sink in). And by my, I mean the place where only I sit--the place that is never offered to visitors, the place that even the tyrannical cats understand will never be theirs. This, however, is not a quest story because I knew exactly what I wanted. In the end, it was merely about concentrated persistence--the visiting of stores and the terrorizing of sales staff unprepared for a shopper who stopped just short of providing a detailed sketch of what he wanted. And--spoiler alert--after four days, I finally found what I was looking for.

What's been on my mind since this morning is not just this new, on-its-way chair--it's also the old and outgoing one. And almost certainly I'm pondering it because of the intimacy; because it's been my home within my home for more than two decades now.

Over the past 20 years, a great deal has happened in that chair: happiness, insights, sorrow, the climaxes of novels, mourning, planning, notes, innumerable films, uncertainty, resolution, conversation, world-shaking news and of course jazz--so much of it that the chair's atomic structure must certainly vibrate Miles,Coltrane and Bill Evans. My old chair was reupholstered three times and its cushions were restuffed four. But no matter how serially different it looked, like the Time Lord in Doctor Who, it was always still recognizable as mine. And in this there was continuity.

But now that it's going, everything that occurred in it has somehow become more authentically memory--now not only in the past, but also made forever placeless by the irrevocably changed topography. 

Add to this Proustian consideration something else, something bleakly fast-forward: My old chair's length of service suggests that the new one will be similarly long-lived. But this time around I'm an aging hipster, and the prospect of a new 20-year chair unavoidably forces me to consider that it could very well be my last one. And so this morning over coffee, it occurred to me that, like Palahniuk's protagonist, whatever else happens, I've got that chair problem in hand, only this time--gulp--probably forever . . .

I write this with a sandwich by my side, waiting for the delivery service. In a space of probably less than 15 minutes, a new phase of my life will arrive, while an old one will disappear. I'll be asked to sign and then initial--here, here and here. And then the truck will be gone, leaving me to size up where--and more importantly, how--I'll be spending the next 20 years or so.

In all likelihood, I'll wish I had a detailed sketch of what it is I want--but planning only takes you so far. And so, for a while at least, it'll be my turn to be unprepared . . .

Chair1c_2

A Klein Bottle Of Holiday Loathing

See this as a conceptual Craigslist posting: I desperately need access to  a time machine once every year on this, the third Monday of November. I'll only require it for a few moments each time, and hackneyed plot devices like killing Hitler or making a killing in the stock market don't enter into the bargain.

I simply need it to annually whisk me from the third Monday in every November to a mimosa-fortified brunch on January 1st of the next year. The owner is welcome to drive, because I'm strictly in it for the lift. And, of course, I'll pay. A lot. A really huge, embarrassing amount, in fact. Because, as already noted, I am desperate

But let's be clear: appearances to the contrary, I am not insane. So barring the astronomically slim chance of a Time Lord wandering by who wants to make a quick annual buck, Plan B is pretty much this: I'd also seriously consider being put into a medically induced coma that would similarly end at that January 1st brunch. Just not by the former Michael Jackson's former doctor. I have a vision of me awakening in a deeply John-Hurt-at-the-beginning-of-Alien manner. Just not with that whole exploding chest thing somewhere around the second mimosa. And yes, in this scenario there's also a crazy-huge amount of money for your time and medical expertise . . .

Of course, it goes without saying that this generous offer comes with assurances that I'm not fleeing any kind of legal entanglement. I haven't pinched any crown jewels nor have I ever shot a man in Reno just to watch him die. My reasons are so Occam's Razor that you could practically shave with them: Simply put, if there's one thing I fucking hate more than fucking Thanksgiving, it's fucking Christmas--and vice versa. So yeah, it's basically a Klein Bottle of holiday loathing. I genuinely dislike the foods, traditions, commercialism and Christian roots of both days. Not to mention their respective and excruciating run-ups. (Christmas decorations intermingled with Halloween costumes? Really?)

But who am I kidding? Forget about time machines and suspended animation, because this year I'll do what I always do with a house full of invading family and friends: move an impressive supply of scotch into my office and, when my rictus smiles and overly brittle hospitality get to be too much, barricade myself--shoving a bookcase in front of the door, ordering sushi for delivery to the window near my desk and drowning out the holiday hysteria with Miles Davis. And then, after a few days, when the house remains reliably silent, I'll emerge and begin cleaning up the flotsam and jetsam of the departed guests while wondering how much porn will be on my cable bill this time around . . .

(I wish I could write "The End" here--but, of course, that's exactly the whole annual problem, isn't it?)  

A Short Film About Tilda

In retrospect, of course, this was inevitable--I've been on a collision course with this particular project since those first amino acids formed in that far away, prehistoric tidal pool.

It happened this way: This morning I was archiving documents to my server while listening to The Divine Comedy's A Short Album About Love. As I opened the folder containing the source graphics for my Tilda Swinton Moment posts on Twitter, well, the perfect song started playing, and I knew what I had to do . . . 

And so I did. 

Sue me.

Early Memory And Pop Cultural Cross-Pollination: Jimmy Webb's Melting Cake:

Seeing Jimmy Webb perform at the Birchmere this past Monday has had me returning to the eccentric, matched-pair masterpieces he wrote, arranged and produced for Richard Harris in 1968 and 1969. 

A Tramp Shining and the lesser-known, even better The Yard Went On Forever are the grand gestures of a 24-year-old musical genius intent on pushing beyond the mostly small classical ensemble leanings of "She's Leaving Home," "Walk Away Renee"  and "God Only Knows" in a controversial attempt to forge a symphonic pop that sounded as if Stephen Sondheim had collaborated with Brian Wilson. Witness his proto-Steinman-equse "The Yard Went On Forever." And yes, that choir really is singing De profundis clamavi ad te Domine / Donae nobis pacem. (Even though you tried hard, John Lennon, the surrealism of Semolina Pilchard doesn't hold a candle to this for distilled, 100-proof 'Sixties weirdness . . .)

So wonderfully odd is the follow-up to A Tramp Shining, that you'd be forgiven for thinking that the public might have been been sent sprawling by this sudden juxtaposition of the 130rd Psalm with the assembled housewives of Pompeii and Nagasaki. But as it turns out, they tripped over something far more banal--that damn waterlogged cake in the first album's "MacArthur Park." Yes . . . that one:

MacArthur's Park is melting in the dark
All the sweet, green icing flowing down...
Someone left the cake out in the rain
I don't think that I can take it
'cause it took so long to bake it
And I'll never have that recipe again
Oh, no!

For me, the problem of the cake has always been twofold. First is the listening public's sad inability to register and parse a not very complex metaphor--something wonderful (a loving relationship) in which a lot of time has been invested is destroyed through a combination of carelessness and disaster. Duh! The sort of of literal listeners to whom the "mystery" of the cake remains somehow impenetrable are undoubtedly the same ones who think "Oh, that this too solid flesh would melt" means that Hamlet has a superpower that allows him to liquify at will . . .

But secondly, I've always been fascinated with the choice of the metaphor--the sheer, gold-star oddity of a pop-song pastry.

And then I came across a fan comment on the Internet that was made in 2004, and which has patiently waited for me ever since. Enter chimera68, who quietly observed:

"...There is a Disney movie called 'So Dear To My Heart' which was kind of a period-piece of the early 1900's and was about a little boy and his pet, a black lamb who always gets into trouble. In the opening musical montage for this film, animated scenes are shown of old-timey things from that era, and a picnic scene is shown, with no people around, because it has started to rain. The cake that is set out with the picnic food has begun to melt in the rain…"

Well, whoa, whoa, whoa. A Disney film?

So Dear To My Heart was released in 1948, and Jimmy Webb was born in 1946--which means it could conceivably have been one of the first children's movies he saw. Had the image, seen at such a young age, become a kind of archetype for him? Long story short, I was, of course, compelled to find the film's credit sequence and, lo, it did feature a chocolate cake melting in the rain--a good time interrupted and ruined:

Meltingcake

Well, fuck me hard, as they say in my impolitic circles.

So here's to you, chimera68--you're all the proof I'll ever need about the value of crowd-sourcing. If we ever meet, I'll gladly buy you a drink and toast your invaluable diagonal thinking.

And yes, I know: Webb transformed that chocolate icing--he made it green. My plan is to leave this wonderment to someone else's lunch-time post. So have at it . . .

A Collective Dream Of Lou: Curated Reed Covers

Anyone who's ever had a heart
Wouldn't turn around and break it
And anyone who's ever played a part
Wouldn't turn around and hate it

Up on YouTube the other day, I accidentally discovered a bookish woman of a certain age singing Lou Reed's "Turn To Me." What was fascinating was the profound way she connected with the heart of song--something I found, well, moving. And so I started to wonder how many other raw-but-connected Lou Reed covers were floating around in YouTube's digital aether.

As it turns out, there are many.

It occurred to me that it might be interesting to compile some of those singers in an emotional map of Reed's work. My criteria wasn't vocal chops or musicianship or presentation or any glimmer that they might professionally move beyond their video postings. Rather, I chose the singers who fully occupied Reed's songs, whether humorous, warm, lonely or harrowing. The short-listed videos were those where the singers were in the emotional moment with Lou.

And taken as a group, something further is suggested--that these performers didn't so much choose their Reed songs as the songs chose them. And in this, the project becomes the precise philosophic opposite of, say, American Idol: there's no sense of watching careerist strategies here--instead, there's a kind of benign, heartfelt compulsion at work.

Early on, Lou Reed was an obscure artist, then a dangerous one and then mistakenly seen as a sensationalist. These performers, most of them everyday sort of people, aren't having any of that lazy-pundit rock criticism. They've all looked beyond his transgressive themes, beautiful losers and hard drugs. They've instinctively reached inside Reed's dark hipsters and tragic demimondes and with touching humanity have teased-out surprisingly universal truths . . .