so a friend and i went to see the john scheinfeld coltrane doc at the the ica a couple of weeks back: that’s one JC-stan and one JC-sceptic…
… and we both agreed it’s bad and here’s why
it does the usual documentary thing, of hunting out a bunch of talking heads — family, professional, the commentatative pundit — and then merely stitching them together with stills and live footage into the same version of the story we always already know… anything odd or interesting that pops out of someone’s mouth is not returned to or dwelt on or even apparently noticed Continue reading “free-form thoughts on john coltrane and how NOT to remember or talk about him next time, maybe”
“It was the devious-cruising Rachel, that in her retracing search after her missing children, only found another orphan.”
Quite apart from anything else, the past — even the very recent past, maybe especially the very recent present — is a mass of detail that’s hard to take in and process (not least because you have to push away the immediate present to do so). My conference produced a little over 12 hours of conversation in one large (often quite hot, by the end quite airless) room, and the discussion has continued elsewhere, in nearby pubs or bars after the two days of debates; also here at ilm, here at Freaky Trigger, and here and here on tumblr. Resonance 104.4FM broadcast it nearly in full on 25 May and have put the eight extracts up on their mixcloud site here (I don’t know how long for). Continue reading “whalers on the moon: curious despatches from an old dream”
Notes on Adam Ant (the “paper” I gave at EMP in Seattle this year) and the Spice Wars (feat.Russ Meyer and Buffy and the Powerpuff girls and early ilx); a long note on Lady Di and the old weird England in the Popular thread on Elton John and Candle in the Wind ’97 — and the beginnings of a response to the various questions Frank Kogan asked in comments on the Oasis post, a response which is VERY LONG (9000+ words) and RUMINATIVE and SEMI-THOUGHT-THROUGH, and covers Burke, Keats, Wallace Stevens, the internalised bureaucracies of the institutionalised intellect (and where music fits into them); and what we mean by the words “thinking” and “clarity”.
or, Maybe this is the best place for my mean little joke about why they called their fanzine “monitor” hoho
Little essay for FT on art, class and autodidacts: featuring Oasis, Joseph Beuys, Arthur Scargill and Richard Jobson, among others. Tom Ewing and Frank Kogan are already arrived in the comments on excellent form: my fantasy thread would eventually also include Mark E. Smith, Robin Carmody and Robert Christgau duking it out with Liam and Noel Gallagher and maybe even one of the Appleton sisters…
more rough thoughts on william mayne
(which i will probably return to shortly and rewrite somewhat — i just wanted to set them down and get them out of my head)
… or what happens when you cross the streams? My good friend Julio emailed me this: I’d come across Richard Taruskin before, many years ago, and been very taken with his work (via an essay on Stravinsky, neo-classicism, recording technology, the idea of authenticity and the Early Music movement, if I’m remembering correctly across nearly 30 years) — and more recently Seth had piqued my interest all over again, from a very different direction. Late on New Year’s Eve, in a pub in King’s Cross, Julio mentioned to me that this 2007 piece discussed Richard Meltzer, and was visibly entertained by how confused and over-excited I got.
Adding: I say the piece discusses Meltzer, but (I’m a bit disappointed to have to note) really all it does is mention him. He’s introduced as a symptom of the failure of the critical conversation round classical music and the compositional avant-garde to interest or excite the best minds of the 60s generation. But Taruskin doesn’t give much sense of what might be interesting about Meltzer as a writer or thinker, which is a pity — or (which is surely relevant) that he was clearly in the process of wriggling out from under Hegel and Quine (both mentioned at best fleetingly in book-version of The Aesthetics of Rock; Quine just once, in the same sentence as one of the Hegels). Over to Frank Kogan for an all-too-brief primer.
“… our expectation that avant-garde art must puzzle, shock, and, above all, resist immediate understanding”: pianist-critic Charles Rosen on Elliott Carter (1908-2012) back in 1973
I’m writing about Adam and the Ants all week, at Hendrik’s excellent One Week One Band tumblr — a pleasure and an honour. I won’t quite say this is really actually what I became a music-writer to undertake, delayed by 30 years, except surely this is what I became a music-writer to undertake, and I only had to wait 30 years to find a way.