Audio/Video

Oh, I know what y’all are going to say. You’re going to say it’s wrong to like R. Kelly because his music is bad. No. Unnnh huuh. “But it’s got T-Pain in it!” You like “I’m on a Boat,” don’t you Sherlock? Further, “I’m a Flirt” is insanely catchy. Now you object that the Venn diagram of insanely catchy and bad has a large overlapping area, because you wrongly hate hillbilly-from-the-future Carly Rae Jepsen’s “Call Me Maybe,” but nonetheless, “I’m a Flirt” is just a good song. No. You know why else? Because I told you so. Also, everything silly you wanted in a video. Expensive cars? Stupid big jewelry? Honeys up in the VIP room? So many honeys. I’m gay for this video.

But it might seem as if it’s wrong to like R. Kelly’s music because he’s committed statutory rape on multiple occasions.
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Zoe picked Comic Sans for her school report on tigers. I explained to her that many people would take issue with the selection of this font for body text in a long document, particularly one of an academic nature. Even as display type it is suspect. I explained about Microsoft Bob and that whole sad history. That said, it’s the best font in the world for someone like her, so she shouldn’t worry about it. Used in moderation.

Oh joy! “Gerald McBoing Boing”! “Rooty Toot Toot”! And thirtyplus other titles, many of which I’ve never seen! All these lovely old UPA cartoons are finally available on DVD – UPA: The Jolly Frolics Collection [amazon]. And, while I wait for my copy to arrive, I am reading When Magoo Flew: The Rise and Fall of Animation Studio UPA, by Adam Abraham. Obviously you’ve got to be a bit of a fanatic to want to read a whole book about UPA (but at least the Kindle edition is inexpensive, I see.)

You can read a short version of the UPA history on Wikipedia. Really short version: UPA was founded by disgruntled former employees of Uncle Walt who pioneered some simplified techniques while working for Uncle Sam, which – admixed with artistic ambition and modernist design sensibilities – led to some great animation. Then there was the Red Scare and they got into the Godzilla business and … well, more of a whimper than a bang. Ah, well. [click to continue…]

Answers to Questions No One Asked Me, Part 1 of n+1 where n > or = 0
Belle, what’s go-go music? Many a time I have heard that question not asked by someone moving to the DC area, or not asked by a person who hasn’t heard about go-go and knows I went to high school in DC. I have failed to be asked this question on literally countless occasions. That’s all over now. Go-go is a distinctive sub-genre of music popular only in the DC metro area (including Baltimore). It has always been dance music (as in “Going to a Go-Go”) and has always relied on this one beat. As far as beats go it sounds a distinctly Latin one, but there’s no Latin influence on any of the rest of the music ever. Wikipedia claims that “unique to Go-Go is an instrumentation with 3 standard Congas and 2 “Junior Congas”, 8″ and 9″ wide and about half as tall as the standard Congas, a size rare outside of Go-Go. They were introduced to Rare Essence by Tyrone Williams aka Jungle Boogie in the early days when they couldn’t afford enough full sized Congas, and are ubiquitous ever since.”

Yeah OK, but Chuck Brown, with or without The Soul Searchers, is considered the “Godfather of Go-Go,” did everybody change their kit later? And do all mostly black musical sub-genres have to have someone named “Brown” be the godfather of them? And “it was because they couldn’t afford bigger congas” has urban legend written all over it. Anyway, yeah, a whole bunch of congas and bells and whatnot. The only time a white DC audience ever heard that many drum solos was when Ozzy Osbourne’s “Crazy Train” concert was in town. (Before Randy Rhoads died in that tragic plane accident at Ozzy’s ranch. Who knows what magic might be flying off the fretboard of his distinctive “Flying V” right now. I’ll tell you all about my deep, deep love of “Tribute” and how I cry when I listen to “Goodbye to Romance” another time.)

Yeah, anyway, why two Rare Essence songs? OK, they’re my fave go-go band. But also I think this shows the evolution of the genre from something like funk to an intriguing version of hip-hop backed with live percussion and horns. It has continued to evolve, and is still popular in the DC metro area despite never making it anywhere else. Well, that’s not quite true, in that the music has been heavily sampled for other hip-hop songs which are then, perforce, go-go.

This is ye olde skuel, “Body Moves.” It’s special because it includes the DC slang word “sice” in the call and response at the end. “Sice” is more or less entirely equivalent to “psych,” (I’m siced for this party!) but can’t be negative (you can’t “sice someone out.”):

Back in the crack epidemic years go-go clubs were the site of lots of crime and shootings, and since the DC City Council is a bunch of morons, they decided to solve this problem by banning certain clubs from playing go-go. Ha ha pretend. NO RLY! One wonders whether, if such a club were to play, say, Nelly’s “Hot in Herre” (not that it would be a good idea, mind you) whether the club would be in violation, since the main loop is a sample from Chuck Brown’s “Busting Loose.” (Notice Chuck saying “give me the bridge now,” in 1978, that’s the oldest song I know that does that.) “It’s go-go!” “But it’s just a sample. It’s as if there are invisible quotes around the go-go that make it safe!” I could imagine the liquor license board debates getting pretty metaphysical. Next up is Rare Essence’s most popular ever song. It even made it to Yo! MTV Raps, as you can see (video way worth watching).

It is a testament to how not gentrified parts of DC are that I still don’t know where the hell Montana or Minnesota Avenues is. They’re getting the shout-outs, I assume they’re in S.E., but damn, that’s a lot of not knowing shit about your hometown. Go-go’s just weird in that none of its practitioners have ever hit the big time, even though it’s more or less next to New York. Even little old Savannah, GA has had more success in this regard (Outkast). I was originally going to defend disco from its detractors in the Don Cornelius thread who complained there was only one beat and the bass could never stray, and that was bad, by showing a) the bass can walk all over the damn place, and b) no harm in having generic constraints. Do you hate Loleatta Holloway and the SalSoul Orchestra, I intended to ask? Do you hate dancing (N.B. there is a go-go break in that song, “212 North 12th St.”)? Do you hate life itself? Then I got distracted. Squirrel! What? John insisted on the title. Brought to you by Stuff White People Like.

DISTURBING UPDATE: People born on the day Blackstreet’s “No Diggity” was at #1 are old enough to comment on youtube now. I mean, I know stray dogs comment on youtube, but still. Possibly more disturbing: I have a sweet-tooth weakness for this song.

NOT PARTICULARLY DISTURBING AT ALL UPDATE: If you find the openly proffered go-go unpalatable, then listen to the more funk-like Chuck Brown track linked above. You will probably like it more. If you like funk, which you probably do, because it’s funk, and all.

I’m teaching Plato – again! But I like it that way! Also, I don’t see why Belle should be the only one posting YouTube videos. So here’s a really really nice Magnetic Fields song, allowing me to combine my interest in Platonic themes with my interest in linking to YouTube.

Don Cornelius, who had a voice so mellow and soulful you’d come away from an interview with him and Isaac Hayes thinking “that Cornelius guy sounded pretty chilled out,” killed himself yesterday at 75. (Is that sad? I guess it depends why he did it. A long life, well-lived, and then you end it on your own terms–that doesn’t seem like a failure or a tragedy necessarily, though I would extend my condolences to his family.) In any case, he was the originator and host of one of the coolest TV shows of all time: Soul Train. When I was a kid, and wore an onion on my belt, which was the style at the time, there were pretty much no good shows on TV. But as a teen I could watch Moonlighting! Yeah, um. OK, there was Voltron, and The “A” Team etc., don’t hassle me. Anyway, Soul Train had incredible music, incredible dancing, and truly, the pinnacle-of-outrageawsome clothes. That foot-wide bow tie? For real? I found the whole thing mesmerizing but hadn’t thought much about it in a long time until I read the obituaries and saw that iconic Soul Train chugging along the hills. This following video shows you some great dancing and reinforces the point Amanda Marcotte made recently, that Saturday Night Fever was based on made-up nonsense and mostly people danced to disco like they danced to house music or rap or whatever: idiosyncratic moves and general rocking the beat. Now, maybe we would put this particular song in the Rare Groove box instead of the Disco box, but that’s just evidence of the extent to which they blended together, and, in the form of samples, formed the smooth undercurrent of (especially) west-coast hip-hop. All those slinky keyboards and horns? You heard it on the Soul Train before you heard it in The Chronic.

The Soul Train Youtube channel is generally amazing, and I am so buying a boxset now. The sound quality on this one isn’t as good, but a)it’s Marvin Gaye singing Distant Lover b) the look on the woman’s face at 2.02 when he comes down to sing into the crowd is truly beautiful. I know what you’re saying. “Belle Waring, I am a busy person and even though I am skiving off work I do not have 5 minutes to spare listening to one of the greatest singers of all time singing a beautiful sad song.” Well OK, Ms./Mr. Thing, you can listen to it open in another tab while you read a blog post write your journal article. Or you could watch Marvin Gaye in a knitted hat, charming the pants off of every person so inclined as to have their pants charmed off by a dude, and frankly, probably no small number who didn’t think they were in the “a dude can charm my pants off” crowd. Wishing you peace, love, and soul.

Watching footage of the Occupy protests suddenly reminded me of Pete Seeger’s marvellous song (played at Jerry Cohen’s funeral btw). I thought it would be a nice thing to share.

The Rugby World Cup got under way last weekend, with no big surprises so far—although Wales were very unlucky against South Africa. Ireland sputtered along against the U.S., clearly in need of something to get them focused. So with that in mind—and in the hope that they can do it the next time they face New Zealand—I suggest they adopt this excellent haka. Some rudimentary knowledge of Irish is required for the full effect.

Next week in my Philosophy of Literature module I’ll be talking about pareidolia and theories of how and and why it works. How and why pretty much any closed loop with three dots in it is a face, because it ‘looks like’ one. The occasion for burdening my students with this is discussion of overly-linguistifying (in my view) theories of how literature ‘works’ and, more grandly, linguistifying theories of what Aristotle called mimesis, a.k.a. that whole ‘poetics’ ball of wax. I posted some of my thoughts about pictures and pictoriality before: it’s important to realize that even though a smiley face is an utterly conventional icon, it doesn’t follow that it works by convention.

Anyway, I thought it was a nice coincidence that Andrew Sullivan linked to this today, for his Faces of the Day thing.

Also, I just stumbled on a real sparklepop/powerfolk earworm of a tune by Vetiver, “Wonder Why”, which turns out to have a a pareidolia-based video. Great track. Get it free from Amazon.

The maps and the video are good examples for me because they preemptively emphasize something that is often raised as an objection to efforts to ‘naturalize’ the pictorial function: namely, it’s a learned process. By the end of the map series, and the video, you are more sensitized to faces and figures in maps, mailboxes and trashcans than you were at the start. To that extent your responses are ‘conventional’, in the sense of learned (when you could perfectly well have been learning something else, so the result is somewhat ‘arbitrary’). Fine, fine. But the point still stands. From the fact that a result is path-dependent, it may follow that it is conventional (in a perfectly good sense of that word). But, again, it does not follow from the fact that something is conventional in that sense that it ‘works by’ convention in some other senses that tend to be carelessly bundled in. The mechanism by which we recognize things as faces is cognitively distinct from the mechanism by which we recognize that ‘faces’ denotes faces. My target here is Nelson Goodmanian thinking, which tries to explain pictorial resemblance and representation on the model of linguistic denotation. He doesn’t say it works exactly the same, all the way up and down; that would be pretty obviously crazy. But he pushes the line that, in order to theorize how pictures work, you have to build on a kind of denotational foundation. I think the opposite: theories of linguistic denotation need to rest on a foundational theory of pictoriality. But enough about me. Enjoy the video and the song. Great song, I think.

I’m a fan of the artist and illustrator “Ian Miller”:http://www.ian-miller.org/, much of whose work combines very fine ink drawing with watercolor and collage, and among my most precious possessions are a couple of the illustrations from his graphic novel collaboration with M. John. Harrison, “The Luck in the Head”:http://www.amazon.com/gp/product/1878574469/ref=as_li_ss_tl?ie=UTF8&tag=henryfarrell-20. He’s been working together with a couple of other people on a short animated film, which provides a good sampling of his combination of the sinister and the jolly. Work in progress is “here”:http://www.behance.net/gallery/Jacobs-Lament/1355483 for those who are interested.

Per recent posts, I’m teaching “Philo and Film” this semester, with a focus on sf film. Here’s more of that, if you like that sort of thing. [click to continue…]

Actually they do a pretty good job. I particularly like the kid who not only establishes the function of the record player, but also immediately discovers scratching.

I like the fact that the engraving on Jim Woodring’s Nibbus Maximus is so clearly influenced by my own recent work (via boingboing): [click to continue…]

I always figured that great scene, and great line, from “The Hep Cat” was some sort of early 1940’s pop culture reference. Now I know.