Monday, January 2, 2012

Religious Texts in Hinduism and Judaism

Central to the religions of Hinduism and Judaism are texts that have become sacred within the confines of each religious practice. The Rig-Vedas and the Upanishads are regarded as two of the most important documents in Hinduism. Similarly, the Tanakh in Judaism is a compilation of texts that provide a fundamental basis for the Jewish religion. The importance of the written word in these three texts to their respective religions and the culture of their adherents, is paramount to the history, perseverance, and future of both religions.

The importance of the Rig-Vedas in Hinduism which literally means “the Veda of verse and praise” is significant in that the hymns and poems contained within are one of the first examples of a culture that preserved its accumulated knowledge by recording it in words. These texts in the form of written words were first recorded from about 1500 B.C.E. to 400 C.E. and are still recited by Hindu priests and worshippers in the present age. As one text out of a four part collection of works called the Vedas, the Rig-Vedas as an ancient document have come to function as a fundamental grounding in the spiritual nature of the Hindu concept of Brahman. Through history and repetition of the written words within, these hymns and poems to various Hindu gods symbolize the all encompassing nature of Brahman in that the materialism of the world is an illusion (maya) and the spiritual reality of Brahman is everything and the only truth that exists.

The Upanishads furthers the interpretation of Brahman by documenting the concept of a supreme reality from which all other reality exists, and that Brahman is totality, eternal, infinite, and unknowable to the human mind. The work details the structure of Brahman by establishing that ananda (utter bliss), sat (reality itself), and chit (pure consciousness) are pieces of the whole nature of reality. Literally translated as, “to sit near by” the phrase is meant to allude to a spiritual teacher instructing a pupil on the floor. The Upanishads function as a philosophical volume that relies upon written text to store and teach knowledge in Hinduism.

In Judaism, the Tanakh or Hebrew Bible is a historical text that documents the history and plight of the Jewish people. Also recorded within are covenants or contracts that serve as a pact with God that as William Young states, “sometimes the covenant is a promise made by God; on other occasions the covenant includes specific stipulations for the people of Israel to follow”. Time in the written works of Judaism and all Abrahamic religions, is linear and firmly established in a rational way that puts special importance on humanity’s role as a force to shape and create history. The Tanakh is a foundation that has been written down over time to preserve the ideas, philosophies, covenants, and history of Judaism for future study and reference.

The overall belief structure of Hinduism and Judaism contrast sharply when looked at on a large scale. The polytheistic nature of Hinduism compared with a monotheistic Judaism. Beyond the obvious differences in religious practice and philosophy, the two belief systems share a commonality when the written word is taken into account as a means to store information. Both religions have used the medium of writing to document the history and structure of religious practices throughout the ages. However, the Rig-Vedas, Upanishads, and Tanakh contrast in regard to their respective contents and views of reality. In the Hindu texts, the focus is on a spiritual reality that is all encompassing and unknowable to human capacity. As the one and only truth that exists, Brahman is everything as well as a spiritual reality that functions as an impersonal force that unifies everything known and unknown. It is human attachment and ignorance to the spiritual that causes a perceived separation in reality and perpetual illusions that are interpreted through the filter of a human mind. Of course, this warped human sense of reality is contained inside the spiritual reality of everything as well. Ultimately the spiritual nature of the content of these Hindu concepts are recorded in written form for reference and study. In the Jewish view of reality, the Tanakh and the contracts contained within are a more physical and material way of experiencing human reality. When contrasted with the texts of Hinduism, the Jewish reality is one of history, time scales (as in beginnings and endings) and the Hebrew God (Yahweh) existing beyond and outside human reality. Jews adhere to their traditions through the fundamental interpretation of the Tanakh in a material and literal sense of histories and covenants. Potentially enlightened Hindus eventually come to know reality in a spiritual sense that has no boundaries or separation in human existence with multiple gods. Everything is Brahman; gods and humans exist within Brahman through a spiritual perspective. The commonality in the two religions is the written word as documentation, but each faith uses their recorded writings in starkly different ways of interpretation and execution.

Possible problems to these contrasts, could include the notion of the written word as being essentially the same in both religions in its function as language that is used to communicate the philosophies of each practice. While this is most certainly true, language in the form of writing in this sense, is a means or way of communicating vastly different concepts. This is secondary to the information contained within the structure of human communication through the knowledge that is imbued in these diverse religious texts.

The Rig-Vedas and Upanishads offer religious knowledge in the form of poems, hymns, and detailed explanations of the spiritual reality of Brahman. All are important facets to the Hindu religion, and all exist in knowledge as language in written communication. The Tanakh is similar in its use of writing to establish and explain concepts within the religion. It differs from its Hindu counterpart, in its establishment of a material rather than spiritual reality. That is to say that, the Jewish God lies outside of human reality and historical events in Jewish history are of special importance to the human role in shaping the religion. All three religious texts are essential and influential to the establishment and continuing faith of their parent religions.

Sunday, December 18, 2011

Purgatory - A Short Story


“Diane, all I’m saying is, I need you to be a little more likable.”

“Wait, what?”

“Likeable. You know what I mean. Everyone knows what I mean. I don’t know how many times today I’ve heard you talking to clients with that attitude of yours. That curt, robotic attitude talk. It’s getting a little old around here and I just–”

“Ya know, I don’t know what you mean! I do my job well and treat people with respect. And if you want me to start acting like a bubbly air headed–”

“That is not what I’m saying. You know–”

“It’s called professionalism Don! And I–”

“Okay, okay. Diane, please. Just calm down and listen for a second. Okay?”

She turned her head the other way, huffed, clicked her tongue and screwed her face into a middle aged vice grip that was becoming a familiar feeling. She knew it. She knew if she could see herself now from a distance of 25 years ago, she would be repulsed.

Diane turned back, crossed her arms and waited.

“Alright, all I’m asking is for you to be a little more friendly with people. Okay? I’m not trying to attack your professionalism or anything, I just need you to make an extra effort here.”

A few seconds of tense quiet. They were locked in a stare. One of pitying aggressiveness and the other of contempt. She barely heard him speak.

“Look, no one is doubting the job you do. You’re the best office manager we’ve had in years, but with that comes a degree of affability with people. Okay? And instead of barking platitudes to not only our clients, but to your own coworkers – can you just add a little human touch to things? Hmm? It’s a big part of being professional. In this day and age people don’t want to walk into an office that’s run by a drill sergeant, they want a comforting experience, especially our clients. People have enough negativity in their lives, alright? They don’t need more of it in the workplace, they don’t need it period. And I’m not asking you to baby people, I’m just asking you to be, well, nicer. That’s it. Okay? Can you just put a little more feeling in your work, a little more smile? Life’s too short, ya know. It’s too short to be, uh, angry or whatever have you. I’m not saying you’re angry, I’m just saying even if you are, you could, uh well, benefit from a lighter approach that, well, I think you know what I’m saying.”

He left while she was in the ladies room. At the sink she heard his cell ring and keys jangling as he walked down the hallway passing. In the mirror she smirked and frowned; typical corporate cocksucker. He saw the exit opportunity and acted.

Back at the reception desk she rolled the phones to the night assistant and started to organize client payment plans that had been filled out over the last week or so. Afternoon sun was blazing through the window. The time change felt odd, like she was late for something. She worked faster. She wanted to be away from this place. Roger would probably be home before her and start dinner. Potatoes and chicken, or tuna salad sandwiches with corn or something. Can’t cook for shit. Didn’t matter, his kid would eat anything just like any 16 year-old boy should. She knew he was a mostly decent father if nothing else. He tried to have somewhat of a relationship with the kid no matter what would be spit back in his face – resilience, he did have. Diane loved him for this. For the energy he brought to the household, the attitude of impervious will when things weren’t right, the bullet riddled sheen of his demeanor that he wore with hard earned wisdom. In ways she was envious.

Finished, checked her email a last time and proceeded to shut down the computer. Grabbed her purse and took out her cell, checked for messages and turned the ringer back on. Diane cleaned off her desk, got up and made sure the filing cabinets were locked. She was pretty sure she was the last one there but wanted to check the office anyway. She started walking down the main hallway while reading a text from Roger, “be home late tonite luv u.” As she turned a corner her arm caught the edge of a framed picture knocking it off the wall. “Shit.” The glass shattered when it hit the floor. For a few seconds she just stared at it and wondered what to do. The thing definitely didn’t warrant saving. The sort of exceptionally generalized scene of tranquility that populates office-scapes across America. Country hills with birds and trees, in soft and light pastels with a gold lined border, a brass frame, and semi-opaque frosted glass. It’s purpose was to take up wall space and not to be looked at for more than a few passing seconds, in fact, this was the longest time she had ever looked at it. She took her blazer off, threw it on a chair and pulled her hair back while she walked toward the bathroom for some paper towels. Rolling up her sleeves, she started picking the large chunks of glass out of the carpet and what was left of the frame. It had to be fixed she thought. She would pay for it and have it back here by Monday. It had to be done and she would take care of it.


Regular customers called him Khan and he hated it. A joke, a compliment, a pejorative, didn’t matter because his broad smile and business sense said it was okay. Sometimes he played along telling people that he used to be a wrestler in Ulaanbaatar and “could fuck many people’s shit up.” This would always make ‘em laugh or smile or want to start another conversation about how they too wrestled back in the service or high school, and he would usually nod and pray for it to end with another customer coming up to the counter. They had no idea.

The electronic door chime rang, he turned away from the game on TV and said, “hello” to the newbies walking in. Saying nothing they walked past him and looked. Back to the game, the announcer’s voices mixed with the chatter of the boys in the isle. On a chair, arms crossed he looked from the corner of his eyes. He could tell they were making fun of him and his accent. Dumb-asses. Moronic dumb-asses. He thought, Speak three and a half languages, can write in three entirely different alphabets, and they make fun of my accent. No idea. Everything given to them. Watched and listened. Eyes shifting back and forth from the game to the dumb-asses to the camera monitor above the cigarette racks to the convex mirror in the corner by the coolers. Door chime, the front door; Hector came up to the counter.

“Que pasa amigo?”

“Ah you know. Tired.”

“Ah yes, but Friday it is my friend.”

Kahn reached up and grabbed a pack of Camels, turned and took a pint of Ancient Age off the shelf.

“Nothing but shit.” Hector shook his head while fishing money from his pocket. “Gotta work tomorrow and Sunday. Never, never ends.”

“Pinche vatos.” He collected the bills and change. Put everything in a bag, smiled and said, “you have your Friday night at least amigo. They have not yet taken this away.”

“They try. So far I’ve been able to say no, but with things as they are, who knows how long I ought to keep that up. Oh, and it’s better to say ‘gabacho’ my friend, Mr. Khan.”

He laughed hard. Little closer to three and a half and another half of a language. “Gracias! And take care buddy.”

Hector waved. “Yep.”

He was suspicious. The dumb-asses were standing a little too close together in an isle that he couldn’t quite see. Whispers, laughs, frequently punctuated by “dude” and “fuck,” they looked intently between the shelves and him. He thought of the baseball bat and unregistered pistol under the counter. He thought of hurting them if they tried to steal or hold the store up. It’d happened before and he knew what to do. He watched.

“Help you two find anything?”

They both looked up. Looked at him for a few long seconds and one of them said, “nah, we good.”

Dip-shits. Get the fuck outta my store. Go back to your silver spoon fed lives. He sighed, crossed his arms and turned his eyes back to the game and began to think of his lawn. It had come close to 90 today and he knew his yard had been taking a beating all day. Ever since Vince quit three and a half weeks ago, Khan had been pulling double shifts, and not surprisingly the long monotonous hours had led his mind into places well worn and places that were just about off the map. He knew that even though he’d watered in the morning, he’d have to water tonight as well when he got home around one o’clock. It’d be hard because he was already tired enough to sleep for a few days, but his lawn depended on it, not to mention his reputation on the block as some kind of Asian yard master of feng shui that his liked and not so liked neighbors had bestowed upon him. He dreamed of a sprinkler system. He began to think ‘if only’ thoughts of programmable stations, vari-speed heads, underground soaker hoses; all presumably visiting his synapses from his lawnmaintence.com wish list. All this while basketball was being played and kids were stealing from him.

Khan took out a pair of glasses and a cigarette from his shirt pocket and began to stare. He lit it and slammed the lighter onto the counter in a way that shouted clearly and aggressively that he was not to be fucked with. The two looked up and saw a middle aged, pudgy Mongolian with a round sweat shined head glaring at them through a fog of smoke emanating from wide nostrils. Confusion for a few seconds turned to giggles and smirks. White boys. Without interrupting his stare he stood up from the bar stool and fumbled his right hand underneath the counter for the pistol. Take something! Give me a reason. He wouldn’t kill because he knew there were the so called, “fates worse than death. A bullet shattered kneecap, paralysis, the blasting of genitals off, and maybe while they suffered on the floor he would lock and bar the front door, run to the back, get the gas can on top of the emergency generator and the fire extinguisher next to it, run back, douse ‘em and flick his cigarette into the puddle of gasoline and blood. Just like the Hollywood movies. And then of course he’d spray the fire retardant so they wouldn’t die and wait for the cops to take him downtown where he’d gleefully confess. Try me. Do it. He clicked off the safety and felt for the trigger. Do it.


She had cut her hand pretty good. Right in the center of the palm and by the time it was noticed Diane was already on the road. Blood on the steering wheel, keys, stick shift, blouse. So wrapped up in everything, she hadn’t felt a pain until she saw her face with a few strands of hair caked into a mix of blood and makeup on her forehead and right temple. She reached for some kleenexes to wipe her face and eventually found the source. She wadded up the tissues into the core of a tight fist.

She drove erratic, like she had almost nothing to lose. Now the pain was intense. She breathed like she couldn’t get enough air, she was sweating, losing blood, and felt like it. She rummaged through her bloodied purse for cigarettes and a lighter while halfway navigating the road. The late afternoon sun was at a position of maximum intensity and annoyance that obscured the view through a pitted and dirty windshield. Inhaling the smoke calmed and satisfied her in the same way that eating after a prolonged hunger feels. Her hand didn’t throb as hard and she stopped caring about the bleeding. Driving down the road in an old rundown part of town, she passed liquor stores, pawn shops, ethnic restaurants, and read signs advertising programs for inner city youth at risk, lawyers with corny nicknames in parentheses, and property hocking realtors that dangled dreamy promises to the gullible impoverished masses below. The sun had finally set and city lights were sporadically turning on. Diane rolled down her window and felt the evening air. She came to a red light where there was a man holding a cardboard sign that read, “Spaceship broken. Need money for parts. Anything helps. God Bless.” She smirked and marveled at the homeless man’s joke. They made eye contact. She turned away and felt for some change in her purse. Found a quarter and turned back to the bum and saw that he was still staring at her. She flipped the coin in his direction and it hit the sidewalk in front of him. He nodded his thanks and slowly bent down to pick it up. Light turned green, she put it in first, and flicked her cigarette out the window.

Her car felt like a purgatory. The necessary middle ground between destinations that was completely neutral. It was her sanctuary of reflection and pause. Within her protected vehicle of neutrality, she embraced the dirty and eclectic city around her. Pushing through it all like a cultural drill bit. A parade going by in all directions. She was not at ease. She needed a drink. Rather, she wanted a drink but knew that she shouldn’t tempt her desire. The struggles of yesteryear came to a head. She was born with it. It was part of her. Knew it well, and knew that her younger naïve self was genuinely happier when the longing desire was satisfied. It made her smile. She would dance in sweaty morasses of sensuality and light to pulsing rhythms until dawn. Drink herself into a painless body that the endless ecstasy and sex couldn’t hurt anymore. In corners of doorways with the shaft of a pen and a broken light bulb. A bump in the bathroom stall. Stamps and pills on her tongue. All of it a lifetime ago. The hard truth that she had been happier navigating the ride into mysterious territory and letting the reigns go. The manic flights of energy and bliss shot so high that she wouldn’t feel the eventual gravity of Earth and body pulling her back. Down and past the point of origin until she found herself docile, yet angry with a glass of mid-grade cabernet and a television. Once she admitted that her unbreakable vessel was far from the stronghold she’d always imagined, Diane handed over the keys to empirical wisdom and sitting groups of weary types in circles.

She saw the illuminated red sign that said, Liquor. Pulled into the rutted out parking lot and turned off the car. She sat in the muffled noise of the city and waited. Not in thought, but in a catatonic state of worn out monotony and disgust.


The Russians had always been the lesser of two evils. They had imposed their language and political ideologies into the general zeitgeist of a soft, post-war generation. And this was just the way things were to the young. Long enough to seem natural, yet to the elders, it was recent enough to remember the uncertain joys of independence from China while simultaneously retreating to the refuge of the Soviet bloc. Once older, he remembered feeling small. A small human insect wedged between two bloated giants. When the Sino-Soviet split climaxed, Khan in secondary school, became one of the many young nationalists that exploited and used the opportunity between their quarrelsome gatekeepers to further a renewed Mongolian national character. They were The Young Turks of their sparsely populated land. He pushed the notion of political independence and cultural identity as far as his comrades would let a spry young man attain. He remembered feeling a certain winner’s pride from witnessing a turnaround in people to genuine hope. It was fleeting, but good. Something that could never be taken away. Then Nixon started grooming Mao, and he and his formerly strong countrymen felt betrayed by the West. Like a discarded item in a pawn shop selling far below any kind of value, it all decayed into whimsical hubris. The California of his Hollywood dreams had exchanged him for new photo ops and a posturing political dog show. Even worse, when the 1980s became the newest theatre of Cold War tension, the West never even acknowledged Mongolia as part of the oppressed bloc. It was all Eastern Europe and the plights of Slavs, Hungarians, Romanians. In fact, Khan came to believe that America’s view of the “East” abruptly stopped somewhere in the longitudes of the Ukrainian wheat fields. His homeland of nomadic warriors of the Asian Steppe and former global empire, became circus style wrestling matches and weekend horse archer’s tournaments. He was angry. And his anger carried him through his young adulthood as he continued to fight the good fight as a defiant and then ostracized police officer, to later finishing his academic studies to practice law. Gradually the weathering of age, family, and wisdom dulled his vitality and found himself settling for a variety of acceptance. With the collapse of the Soviet Union and the lawlessness that ensued, he cashed in and bought his way to the West. Yet, the America of his adolescence did not exist. He thought that, it too had become worn with age and abuse. A crabby king that wielded intense power, and grand illusions. No longer a lawyer, Khan became a cab driver, a dry cleaning technician, an Asian and Mexican line cook, and finally a liquor store owner. He now lived in the middle latitudes, middle age, and middle ground. A veteran of experience; he had adjusted accordingly.


She thought of the broken picture, the glass, then Roger and decided she didn’t care. He’d be worried later. Worried that something might’ve happened to her. He would ponder things and wait. Make her dinner and wait. Watch the game, read the paper, check his email, and wait. Eventually he might call the police. He was efficient like that. Responsible. An operator might tell him that he had to wait 48 hours in order to file a missing person report and he would dutifully raise hell. An abduction, a suicide made to look like an accident, a tragic murder, a disappearance. She sat in the middle of her thinking. She knew something. She was scared. It swept over her entire body. Fear of nothing – no thing, non thing. Without. None. Non-. Nowhere in empty space. Nonexistence. Nothing.

The boys had pocketed one 750ml bottle of Vodka each into their enormous baggy trousers. This is what he saw. He felt his jaw tighten. His thoughts, his life; all racing to somewhere. They were re-stoned after having just woken from a long afternoon’s couch coma with what remained of the half empty bags of Cheetos on their chests and diverse gamer apparatus strewn about. Black hoodies, bloodshot eyes, and fluorescent crumbs on their exterior, he saw them as perfect representatives of a certain kind of stereotypical American teenager. Normally he would silently laugh and admire the vapid stupidity and arrogance of these kids. But now they were stealing things that belonged to him. Taking things that weren’t given to them. They had been born with everything and raised in utter banality, and now they sought relief in petty crime. He knew this as he watched them in his store. Sweat was running down into his eyes while he exhaled miniature clouds of tobacco smoke that rose to the ceiling. He slowly pulled the gun out from under the counter and waited with an intensity. The sounds of the air conditioner and television commercials. Heart was hitting hard, while his hands and arms met to aim the pistol. He focused through one eye and lined up the sight – right in the middle. One boy looked up in the direction of the gun pointing liquor store clerk. His mouth opened. He went pale and now truly looked like a child. Then the other. And dumbfounded by fear, the first kid started to say something when the door chime rang, cutting him off.


End



Shameless Plug: If you liked this story, you might also like an earlier one I did found here. If not, you'd probably hate it more, and then wonder why you're reading this shit.

Thursday, February 10, 2011

KWA

Like the brave Dadaists of yesteryear, KWA sculpts and experiments with modern media to express his artistic and political philosophies. In fact, KWA’s commonality with Dada is, art as a kind of anti-art. In more words, a defiant affirmation of originality often posed as a question, in so being that the artistic tools used for creation are traditional, but the context in which the work is placed gives the idea of the art in question a new and sometimes unique meaning. In this way, the art of KWA resembles the visual work of Marcel Duchamp and Andy Warhol. In the case of Duchamp, works were created with found objects like a urinal or bicycle wheel. Likewise, KWA employs the mediums of modern media to communicate his critiques of certain media and philosophies. Both in his samples of orations by speakers and the ambient soundscapes that were created with everyday vehicles of transmission i.e. frequencies used in satellite, radio, and television communications. In the case of Warhol, the means and idea of the artwork are the art, not the work itself. In the way that Warhol evoked the commodification of art by commodifying his art, KWA communicates his work through the same vessels that the propagandists he opposes are communicated through i.e. the internet, CDs, Mp3s, speakers, stereos. All this of course, lends itself to be simultaneously analyzed, experienced, and judged by the listener in which the work is presented.

“Neurillogikal” serves as a general introduction to what the next 55 minutes will sonically contain. Droning low frequencies mixed with higher band sounds that swirl and oscillate within the stereo spectrum. The combined effect is like that of a Rothko painting, where shapes and colors, blend and fade into a cohesive and unified whole. Here, the blurry drone rotates, while crisp higher pitched sounds move in outer revolutions about a listener’s center. This track is a sound collage that has a sinister yet meditative effect, that perhaps alludes to the passivity needed on the part of the television viewer to effectively be communicated to. As a title, “Neurillogikal” is a curious portmanteau that implies divergent meanings within itself; neuro, as in relation to the brain, logic, illogic, illness, and a protrusive “k” used in the same hardline Germanic way that Kafka applied it.

As “Neurillogikal” tempers the listener’s senses, “AldouHux” rides within the same auditory channels as its predecessor, albeit with some added samples of humans speaking. In fact, the two pieces work in the same fashion that the latter’s namesake wrote of in Brave New World. Recall that, Aldous Huxley portrayed a utopian society that existed in passive happiness. The indoctrinated (Huxley termed it, hypnopaedically conditioned) population sought the dumbed-down passivity required to live, because life without passivity was no life to live. This, and Walter Lippmann’s phrase, “the manufacture of consent” come to mind when listening to this piece.

On “The 300”, KWA expounds on the notions of world government and generalized paranoia. This track is also an example of the way in which KWA evokes his message. Judiciously, as a cooperation between himself and the sampled speakers featured on the CD. KWA provides the backdrop and mood, and the speakers provide the content. He nobly credits all of them in the liner notes with additional sources cited for more information. The intended cumulative effect is to better communicate the topics in the sampled oratories with the aid of audio scores, in the same fashion that movie soundtracks enhance emotional responses from an audience.

By the time the listener finds their way to the beginning of the last track, “Venetian Casino”, they will have a general idea as to what they’ll experience. The track is essentially a continuation of the previous two. A sampled speaker talks of discontenting situations that are interposed and supported with musical renderings. “Venetian Casino” is the point in which the art either sells itself, or fails completely. If the audience is open minded to the kind of artistic expression KWA practices, then the polarizing nature of the work will either inspire or annoy. This is the bottom line when any kind of experimental art is put forth to be experienced.

KWA makes music in a world that will not recognize it as that. However, the discerning audience member and possible fan will understand that such an indictment of music is ridiculous, and hitherto realize the constrained notions of what music is. With all the sounds available to humanity, only a few small specialized groups of timbres are used to make, and in turn, experience musical expression. A shame for sure, but artists like KWA will always exist beyond the outskirts of orthodoxy, offering a welcome alternative to the accepted paradigms of thought and expression. This is music that will have to be doggedly pursued by avid connoisseurs of experimentation and will only succeed if the listener wants it to.

Friday, December 31, 2010

Just You And Me



We walked and walked
So far, for so long

In the early sunrise

You took care of me

In the sunset, in love
I took care of you
Nothing will ever be the same


And now

You rest your little legs
Soothe our hearts
Breathe for sleep

Lay your head down

One last time

Now you will see

All that you have made me
You and me
As I watch life leave you
And you fade into something else

My tears will not be the last thing you see


Just you and me


What will I ever do without you






Monday, November 22, 2010

Music Reviewing

If anyone wants to experience an obscene amount of adjectives, synonyms, and metaphors from yours truly, well then look no further than my page at Ariel Publicity's music reviewing site. Yes, I got a job writing reviews due largely in part to this blog (wow, people actually read this shit!?) for clients of Ariel and CD Baby. I elected not to post any of 'em here because the writing style is more professional and polished, and less of the kind of personable vernacular found on here. The long version is, I didn't think my reviews would mesh well with all the individualistic windbag banter of this blog. But nonetheless, it's fun and challenging to write and critique fellow musicians, and in the process maybe elucidate alternative meanings from the music and hence make the whole listening experience richer for the music lover.

Tuesday, September 21, 2010

My Favorite Guitarists

A while back, I put together a list of my favorite singers. So now I thought it’d make sense to stick to the list idea to talk about some of my favorite guitar players, as well as adding youtube links to serve as samples of their individual styles. Like the singers, they’re diverse, but not incredibly diverse. Basically, they’ve been ingrained in my mind as the definition of good musicians. All the guitarists are fairly well known and have been at it for years. Most likely, the list will surely disappoint a few musicological snobby nerds out there because there’s no obscure gems here. And while I like plenty of lesser known players, they simply haven’t had the kind of impact on me (yet) that these guys have. One common defining feature of the people on this list is that through time and repetition, they’ve been able to hone their craft and sculpt their styles into that most elusive, most sought after holy grail of the arts – originality.

Richard Thompson
The music and imagery of Richard Thompson’s music embody the sea and lands of times past in a way that is strikingly familiar but distant. After getting his start in the U.K. with Fairport Convention in the late ‘60s, he embarked on a solo career with his wife Linda until the marriage dissolved in 1982. Ultimately this put Thompson in a position to do what he does best – the solitary singer and songwriter. His complex finger-picking and knack for picking just the right sounding chords often through alternate guitar tunings, propel the music as a subtle undercurrent while he sings songs that I would call ‘modern folklore’. He avoids string bending and blues phrases, which through limitation and isolation from his contemporaries has forced him to come up with new ways of making traditional music sound brand new.

1952 Vincent Black Lighting
http://www.youtube.com/watch?v=AxKTzwaEa2o&a=GxdCwVVULXdEB6qKUkZRqQgndZRJytiR&list=ML&playnext=1
Persuasion
http://www.youtube.com/watch?v=TBKobc6cfzA

Dickey Betts
Unfortunately Dickey Betts has had to live most of his artistic life in the shadow of Duane Allman. It’s hard to compete when your fellow guitarist and bandmate was instantly lionized upon his tragic death at 24. Yet, since 1971 and until 2000, Betts has asserted himself as a unique guitarist and masterful songwriter in the Allman Brothers Band. Growing up in Florida and Georgia, he came to love country, blues, and had a particular affection for the Gypsy Jazz of Django Reinhardt. So much so, that his song ‘Jessica’ is in part tribute to Reinhardt as it’s played with just the index and middle fingers (Reinhardt’s left hand was crippled, and he only had access to these two fingers for his fretwork) and in part to his newborn daughter Jessica in 1973. Betts’ solos and trademark harmonies have a happy sounding quality to them that blended perfectly with Duane Allman’s bluesy slide guitar. To my ears, Betts has surpassed his old friend, and over the years his originality in playing and deft song architecture have always made me smile.

Blue Sky
http://www.youtube.com/watch?v=G1jpQu6qR1E

Eddie Van Halen
If there’s one towering figure on this list, it’s EVH. Why? Because nothing’s been the same since Van Halen’s debut in 1978 when he was 22. Such was his impact on music, guitar playing, and guitar building, that the terms ‘pre and post Van Halen’ have sometimes been used to categorize guitarists since. Born in the Netherlands and then quickly transplanted to Southern California, Ed grew up in an open-minded musical environment that fostered his creativity and exploration into music’s uncharted territory. A DIY aesthetic led him to tear apart and refashion guitars and amps in pursuit of the perfect tools that would allow him to achieve his vision of sound. Along the way he adopted two handed tapping and made it his own, he was the first to use a Floyd Rose tremolo system in a radical way, and he fundamentally changed the way guitars are designed and played. Not since Hendrix has a musician so changed the shape of popular music as Eddie has. In my mind, he’s not just a guitarist but a musician and songwriter that’s monumentally raised the bar for creativity.

Live guitar solo spot
http://www.youtube.com/watch?v=OUrwa3TMSwE&feature=related

Ry Cooder
To me, Ry Cooder and his music embody the American spirit. It is one of diversity, struggle, ingenuity, and exploration that begins with his guitar. Coming to prominence in the mid ‘60s as in demand session guitarist, Cooder eventually started to make albums of his own in the decades to follow. He became the de-facto keeper and preserver of American music through his renditions of classics and the traditional instruments he played them on. Throughout a long career he has touched and enhanced every form of indigenous music to America and more recently ventured into Indian, Cuban, African, and Tejano music. Regardless of the style he’s playing, Ry Cooder’s pristine timbre and slide work have continually resonated over the years.

Paris Texas
http://www.youtube.com/watch?v=2TCRe3tkYe8

Pat Metheny
One of the most diverse and original musicians I can think of; Pat Metheny has been at the vanguard of contemporary music since the mid ‘70s. He was a prodigy from Missouri that had played with Gary Burton, Jaco Pastorious, and taught at the Berklee College of Music in Boston, all while he was still a teenager. Although he’s been known to cross vast lines between genres and adapt well to just about anything, his most lasting legacy will be for his unique approach to jazz. To me, Metheny’s music sounds like a cross between jazz, folk-country, and new age. In words this of course seems like a horrendous amalgamation of unlike territories, but he makes it sound and work very very well. And this sound along with the tone of his guitar have become staples of modern jazz.

Bright Size Life
http://www.youtube.com/watch?v=ZG8IE14hi8M


David Gilmour
As a member of Pink Floyd, David Gilmour has melded some of the most dissimilar styles of music into one. Born and bred in England, Gilmour grew up listening to American blues and pop music. By the time he joined Pink Floyd in 1968, blues influenced rock had become the norm. However, Gilmour’s contribution was to open everything up by employing a very minimal and simple blues technique and mixing it with the psychedelic and later heady approach of Pink Floyd. He pays equal attention to space and silence as much as he does to his meticulously chosen notes; which give his solos an enormous breadth of tonality and auditory expanse. The summation of all this was an original sound that’s become the trademark of one of the most successful bands ever.

Sorrow
http://www.youtube.com/watch?v=Y5EDqQtnRrc&feature=related

Zakk Wylde
In my mind there’s never been a finer heavy metal guitarist than Zakk Wylde. In fact everything about him including the way he looks and acts exudes the metal ethos. He grew up in New Jersey and was drafted to be Ozzy Osbourne’s new guitar player in 1987 when he was just 20. Since then he’s mostly stayed with Ozzy in addition to starting up his own projects like Black Label Society along the way. Wylde has always been very disciplined and dedicated to his craft, and has maintained a hard working ‘meat and potatoes’ ethic that’s produced a lot of material over the years. His style is aggressive, meticulous, energetic, and really the best way I can describe his sound is that he just fucking rips!

I Don't Know
http://www.youtube.com/watch?v=t5DLyVOH9-8

Bill Frisell
The music and approach of Bill Frisell are a positive anomaly. Hailing from Denver, Frisell was always an ardent student of the guitar, eventually going on to study at a University level. Since the early ‘80s he’s been active in multiple styles but is most often categorized as Americana or Jazz. What sets him apart is his open mindedness and his full embrace of technology. In fact I would call Frisell’s music, ‘Neo-Americana’ with a jazz/folk approach because through the use of effects he builds multi textured layers of sound that are humbling to listen to in the same way a sunset looks on an open plain. He’s played Nashville country, New York hardcore, Appalachian folk, but is most at home and original when he’s on his own with just a guitar and a few processors.

Shenandoah
http://www.youtube.com/watch?v=Svzv-YkUzdk


The Edge
As U2’s main musical driving force, The Edge has stubbornly carved his own niche over the past 30 years. Since the Dublin based band of teenagers’ debut in 1980, he’s resisted the trends of all musical fads and pursued his own artistic course. While rock guitar took on a virtuosic and at times ridiculous approach to technique and soloing in the ‘80s, The Edge focused on the textures of his band’s music, and by decade’s end had established a signature rhythmic, chiming guitar sound. Likewise, the ‘90s brought experimentation with effects processors that changed the notion of his role as the guitarist in U2 to more of a chief sound manipulator. One constant that’s remained throughout is that no matter what everyone else is doing, The Edge will be doing something different to equal or greater affect.

On recording With Or Without You
http://www.youtube.com/watch?v=GkgvIPpdboA&feature=related

Mark Knopfler
When it comes to Mark Knopfler’s music and guitar playing, less has always been more. This economical approach was intact from the beginning when his old band Dire Straits began playing their brand of quiet rock in the punk infused London club circuit of the late ‘70s. By the ‘80s the band had ascended to a world wide popularity built on simplicity, due in part to Knopfler’s trademark finger picking that, unlike the music, is not simple. Weaved throughout his more recent solo outings and Dire Straits' entire catalog are his soft plucked melodic lead guitar lines that always complement the song with a detailed beauty. The grounding in minimalism has served him well, as he’s established a unique territory on the guitar.

Romeo And Juliet
http://www.youtube.com/watch?v=f-G-GHTFoX4&feature=related

Mix of Knopfler riffs
http://www.youtube.com/watch?v=CdyC_2Mb4n4&feature=related

Monday, June 21, 2010

Make Like A Leaf

video

Today while working at home, I noticed the wind rustled shadows of leaves projecting onto the surface of my desk. This isn't the first time I've noticed this phenomena as I've accumulated a lot of pictures over the years that I've taken of these two dimensional representations. But today, I thought to make a video of the event to, I guess, preserve the experience in some way. So I did and here it is with no sound. It may look like a black and white video but in fact it was shot in color with a blank piece of white paper as a backdrop. After watching it a few times I began to think of aesthetics and what this little video meant to me.

I thought of the idea of representation. Of course this is a video which is a representation of what I saw with my eyes, yet it doesn't do the job completely well because cameras see differently than humans. For instance; the video quality is a lot poorer than my eyes. I don't see in pixels like this (at least not this defined) and it's an extremely trunciated view of the experience as it happened because even though I was focused on this event, my entire vision encompassed all the other things in my immediate area that the video does not (not to mention my four other senses), but this later quality is what makes it special. This is the quality that Immanuel Kant called, "Presentation". Kant considered works of art presentations of representative objects that are imprinted on our imaginations. This is what I think has to do with why we, as in humanity, consider some things to be evocative. This is one of the qualities of art, and an example of why art is so wonderful and complex at the same time. One of the other beauties of art, is that it's extremely different for every individual - and that, to me, is extraordinary because you can't nail it down to one thing like a science or logical equation. The old cliche, "One man's junk is another man's treasure" fits well here.

Another representative aspect to this is the fact that I did not invent or make in an original way the leaves, wind, sheet of paper, or light that makes the shadows. All I did was hit record. But I'm presenting it in a way that could be original (it's most definitely not, but this is just for the purpose of an explanation) in the sense that objects which I didn't create are "remade" into objects that I've manipulated into being something that they are not normally thought to be. They're remade in the viewers imagination as something else by the medium of the video. In this way the video can be more interesting than the actual occurrence I saw playing out on my desk. I don't personally think it is, but I do think the video gives it a different quality that equals the original.

So is this video art? Well, kinda; if only because I think it's neat and beautiful in itself. Surely others will disagree and I wouldn't fight 'em because I don't have a lot at stake here - after all it's just a short little video that I thought of on the fly. One of the interesting things about aesthetics is that a philosophic analysis can either enhance or denigrate the art in question. In the case of this, I think it takes away from the experience of watching it as a stand alone piece. I've always liked critical perspectives but the catch is that somehow through the process of trying to understand something, a certain magical luster is seemingly etched away from the end result that would otherwise be evocative. A similar thing used to happen to me when I was first learning guitar. I would anxiously do my best to learn a song I liked, but once I had learned it to a degree of reasonable ability, hearing the song on its own again didn't mean as much to me. It was as if all the specialness and magic had been taken from it through my breaking it down and putting it back together again to understand it. Same goes for certain aesthetic analysis of works of art. If this video was just that and nothing else, there would be a certain mystery to it. It's not altogether obvious at first that the moving objects are projections of leaves in the wind. What would the viewer think before that conclusion is reached? That's the part that makes it viable art to some people's eyes. It's that curiosity that gives it weight and ultimate meaning. And this is one of the many reasons why people are drawn to art.

Thursday, June 3, 2010

2010: The Year Something Weird Happened On Jupiter

A few weeks ago I had heard that something strange was going on with Jupiter. Specifically something in its atmosphere. And ya know the first few things that entered my mind were not good. Inside my paranoid head the dialogue with myself went something like this:

“Holy shit! Jupiter’s atmosphere’s changing!? Wow. Can’t wait to see it through the scope!”
“Wait a minute, isn’t that what happened in that one movie? What was is it called… Hmm… Oh yeah, 2010.”
“2010!”
“And it’s 2010 now.”
“2010: The Year We Make Contact”
“Roy Scheider and Soviets.”
“And uh well, it’s really 2010 now.”
“Yeah, that was the movie where, besides being a less than spectacular follow-up to 2001: A Space Odyessy but a decent flick nonetheless, Jupiter turned itself inside out
and became a second sun in our solar system with its own brand of life living on Europa.”
“That’s the one.”
“And it’s 2010 right now…”
“Damn, I really need to find out when Jupiter’s out tonight.”

And so I did find out. It wasn’t that night, but at about 3:00 AM the next morning. The alarm was set and soon enough I was out there with my telescope and a precautionary flashlight just in case any of those pesky back monoliths decided to show up in the dark – nothing good happens when those things rear their not so ugly but mysteriously scary rectangular bodies! Once I trained the scope on Jupiter, I did see what all the fuss was about. It was missing one of its dark bands of clouds that encircle the planet. In all honestly I saw pictures on the internet before hand, but seeing it with my own eyes was pretty neat and reminded me why I like this stuff in the first place. But I have to say, that I like Jupiter better the old way – more dynamical and interesting looking. Anyway, turns out that according to astronomers, this phenomena is not that uncommon and tends to happen in roughly 15 year cycles specifically with this part of the planet, which is officially called, the South Equatorial Belt or SEB. Seems like a pretty big deal to me though, since I’ve known for a long time that 2.5 Earths could fit into The Great Red Spot which is itself surrounded by this cloud band that is now gone. Seems like I should’ve heard about this in the major world news and not some backwater astronomy website. And then I remembered – it’s not of this world, so that’s why, duh!

Photos by: Anthony Wesley

Since that first night, I’ve gone out a few other times just to make sure I don’t see any atmospheric implosions and weird star children-fetuses like in the movie. And plus it’s nice to have the early morning silence not interrupted by that iconic part from Also Sprach Zarathustra and friggin’ black monoliths, but by birds happily singing as the first light of the sun comes up.

Saturday, May 1, 2010

The I/O\I Sampler Plate

So I think an explanation here is in order. This bizarre little oddity came about while working on a bunch of new material. And well, I guess I got bored or hungry because I started thinking about food; namely the kinds of appetizers restaurants serve that give a little sampling of all their different kinds of food. So naturally I thought to combine the sampler platter with music to make a kind of I/O\I appetizer. This track is 11.5 minutes of chopped, sliced, diced, fried, and pureed music from all 26 songs on the first CD. Weird yes, but nonetheless a fun experiment while working away on new stuff.


video

Saturday, April 10, 2010

Geraldo Made Me Watch TV And Listen To Mercyful Fate - Parts I, II, & III


Part: I

Geraldo

Monkey see, monkey do.
~ American proverb

Like many adolescent kids, I was introduced to Satanism through Geraldo Rivera. At the time, I had never seen his now infamous TV special on the outcast religion, and, um ratings snatcher. In fact I had never seen enough of his show to garner any kind of lasting attention. To me, it was just more of that melodramatic adult-type stuff like soap operas and local news shows that I avoided in my daily TV playground. So when I saw his ad on the front page of the TV Guide, I thought it looked about as interesting as the dash of cookie crumbs and their corresponding grease moats that were slowly soaking into the newsprint and spotting his pictoral pitch. It was something along the lines of; “Exclusive, Special Edition of The Geraldo Rivera Show. Tuesday night on ABC, Geraldo investigates Satanism. Check your local listings.”

A necessary digression:

I’ve always had problems spelling. During elementary school, I was placed in the next to lowest spelling group by my teachers. It was great because I didn’t have to work as hard as the kids in the highest group. They had to wrestle with things like, contagion and pernicious, while I lackadaisically rolled around with the likes of, cat and happy. So when I saw ‘Satanism’ next to Geraldo’s mustache, my mind read it as ‘Satinism’. I thought it was a special on fabrics like satin and silk and stuff. With the colorful newsprint cover of Geraldo standing in what looked like a cave next to a bunch of candles, I assumed he was giving his, “Special Investigative Report” from India or Thailand in some kind of dilapidated 3rd world ‘Satin’ factory. Looked boring as hell.

Farther down the path of digression:

My friend Tyler had told me that a bunch of bands we both liked were involved with, ‘colts’. Still, my mind did not process this word and meaning correctly. He said his friend Richard told him that his pastor had given him a list of musical artists that were involved in devil worshiping ‘coltish’ activities, including; Def Leppard, Motley Crue, Cinderella, Pink Floyd, Ratt, Cyndi Lauper (huh?), Guns N Roses, Kiss, Poison, Led Zeppelin, Sheena Easton (yup, that’s right), Iron Maiden, Great White, AC/DC (he told me that this acronym stood for; After Christ / Devil Comes), Judas Priest, Bon Jovi, W.A.S.P. (again the real meaning; We. Are. Satanic. Perverts… This is so funny because, now I picture a bunch of hooded Satanic monks chanting, holding candles, and aimlessly walking around a fire in their black robs with protruding boners), and of course, Mr. Ozzy Osbourne. So it was these bands that were part of the colts as well as, I guess, some kinds of horses (we had been studying ancient mythology that dealt with minotaurs and centaurs and ladies with snakes for hair; all kinds of cool shit!) and back then, the horrendously bad Indianapolis Colts. The message was telling us to stay away from it all. I listened good and hard because the mystique of it was the most fascinating part and I wanted to know more. Like an authoritative figure telling a kid, “whatever you do; never, ever, go down those stairs to the basement and look behind that curtain. Never, ever, never do that!” Just like Dorothy with The Wizard of Oz, any kid or adult will admit that the looking is the funnest part! Hence the Geraldo special airing during prime time.

Once I found out that Satan was not a type of fabric, and that Cults were not horses, I relentlessly searched the TV Guide for the next re-run. And Bingo! I found one airing on Thanksgiving Day. And now you say, ”What?!” Geraldo prefaced the rerun by saying the decision was made to air the popular segment during the day on a holiday so that teenagers and adults that might not have seen the original would get to see it on their day off – I’m not kidding here, he really did do that. So I watched with glee, until I was genuinely scared. Tales of torture, obsessed teenage killers, sexual rituals, children born into Satanic cults that are afraid to leave when older, Charles Manson, drugs, the Son of Sam serial killer David Berkowitz, screaming preachers holding crucifixes to exorcise the possessed, and plenty of references to Heavy Metal music. The interviews with convicted satanic murders, ‘special occult division’ law enforcement officers, rockers Ozzy and King Diamond, various religious experts from the Christian church to the daughter of the Church of Satan founder Anton LaVey. As an 11 year-old kid, it was at a minimum, terrifying and disturbing, yet I was charged with an inquisitive eagerness to know more. I remember wanting to change it to the Disney Channel a few times but my curiosity had other plans.

Geraldo crew taping a King Diamond concert


Ozzy talks to Geraldo

According to Geraldo’s special investigative report, Devil Worship; Exposing Satan’s Underground, some of the “warning signs of a child’s drift toward Satanism include:”


• Abrupt emotional changes
• Changes in school habits
• Rejection of parental values
• Obsession with rock music groups using Satanic symbols or references
• Rejection of friends
• Preference for being alone

So we can deduce that most of us are, or have been Satanists at some point. I’m guessing that the source of Geraldo’s empirical data was found in fortune cookies, and journalistic integrity was not in his astrology chart that day. This list was made by, and for people that are possessed with malleable, dusty brains. The only useful information to be found here is that human emotion and thought can be hijacked. It’s proof of something larger at work.

With Geraldo playing the passionately poetic narrator, Thanksgiving daytime TV watchers were exposed to all of this mayhem mixed with the very clever editing of images and interviews that, in the end, produced a kind of happy ending. All together now; “What?!!” That’s right, “happy ending” because we watched 40 minutes of tabloid ‘trash’ TV with 20 minutes of wholesome commercials. And, in the end, that’s the point of TV – the greatest vehicle for advertisement in history.




Part: II

TV

“Once you start down the dark path, forever will it dominate your destiny.”
~ Yoda

There’s a common misconception about the Devil living in the center of the Earth. This is far from the truth because the truth is closer to us than we think.
Warning: This Might Sting a Little
He lives in the center of our living rooms, inside our TV sets. Television is clearly evil in the sense that, as an abstraction, it preys on our emotions and deprives us of judgment and critical thought. It has become so ubiquitous and transparent that we no longer notice it as a spectacle or neat appliance, but rather as an invisible part of us that plays into all aspects of our lives. We become what we see, without knowing it. It’s a modern marvel built by Satanic geniuses.

But?

• “But TV is a valid and useful news outlet.”

The News
Okay, I’ll admit that I can see the usefulness of a communication tool in times of severe weather – I do live in tornado alley. But it’s extremely half-assed because with the internet, one can get that information faster and from the same source (National Weather Service) that the talking heads get it from and without the mock dramatizations. Local and national news programs have always been a funny enigma to me. In the span of half an hour to an hour, we receive an extremely truncated version of news worthy material. Serious expressions from well dressed and good looking hosts give way to light hearted banter as we watch the reading of a story from a teleprompter to a segueway into the next segment. In my view these people are not journalists but instead actors or performers whose main job is to look good and act as professional and inoffensive as possible. Seriously; why would anyone watch this diluted crap when a good ole’ fashioned newspaper or an online news site is within reach? Both of these formats are far more efficient in that it takes less time to absorb more information, and unlike broadcast news, one has a choice on what news to read. My only guess about this topic is laziness. Instead of reading the news in an engaging fashion, TV watchers are simply and generally told the news in a passive state – it’s easier.

• “But TV is a form of entertainment.”

Sporting Events
Hey, I like football as much as anyone, but when I sit on my ass and watch a 3 hour NFL game that has an average of 10 minutes of actual play time, I can’t help but think that I’ve been ‘sold on the cheap.’ The other 2 hours and 50 minutes were spent watching players mill around and line up, coaches mouthing plays and getting pissed, injuries, half-time shows, replays in slo-mo, listening to useless commentary, and of course the commercials; which tend to be of the manly variety – beer, trucks, Viagra, etc. The infamous Joe Six-Pack plays into the hands of advertisers as his belly grows and his bank account gets punished.

What!?

TV Stoners & Teleholics
Television is psychologically addictive. Like other addicts ranging from the closet variety to the full blown “I need a fix!” type; TV watchers will never admit to watching too much television. According to a 2008 study by Nielsen Media Research, the average American household watches an average of 8 hours and 18 minutes per day, while the average daily TV time for an individual is 4 hours and 45 minutes. And everyone’s familiar with that glazed over stare that accompanies the couch potato; directly attributed to rapid editing, visual and auditory effects, and of course the emotional pull, whether it be suspense, comedy, action, sorrow, or joy. Television is a visual medium specifically designed by and for visual creatures. Is it any wonder that the communication of messages through the tube to the watcher closely resembles the way humans learn? We’ve become so accustomed to its existence that we unknowingly depend on it. And that’s the point. To create isolated voyeuristic creatures that openly receive information laced with neat rewards that ultimately damage them, but fulfill another. It’s a legitimate business strategy that has worked for all human history; TV is just the newest incarnation.


The Commercials

The genius of TV and its parent, the advertising industry, is the clandestine creation of needs. The physical TV is the delivery truck, and the medium is the shipment of goods right to our eyes and ears. There’s a catchphrase called, Content & Fill that’s used in the advertising industry to describe the ratio of Content; being the commercials, to the Fill; being the vehicle or show to deliver the message. I’m gonna hand it over to my good buddy Noam Chomsky for this one. In this answer to an interviewer’s question he clarifies and takes the point farther:
The content is the advertising. The fill is the car chase or the sex scene or something, that's supposed to keep you going between ads. If you look at a television program; the creativity and the imagination and the expenses and so on are for the ads; the car chase you can pull off the shelf. And in fact this has led to a serious deterioration of the political system… (and now a necessary digression-ed.) Take a look at the last campaign (presidential ’04). The campaigns are run by the same people who sell toothpaste, exactly the same PR agencies. And when they sell a candidate they do it the exact same way they sell a lifestyle drug. You don't put up information about the candidate, what you do is create delusional images that delude and deceive. The population knows it. A very small number of the population, about 10% of the voters, literally, knew the stands of the candidates on the issues. And it's not because they are stupid or uninterested. It's just like you don't know the characteristics of toothpaste.
Chomsky kinda goes off on a political tangent here, but what he’s alluding to is that, the medium of television has the ability to be anti-democratic and controlling.
==>One way is through the ownership of broadcasting companies that consist of large conglomerates with multiple business interests. To function efficiently as companies, they would not communicate media or news that conflicts with their business interests, thus presenting a biased view. However, it’s important that they present their view as fair, balanced, and complete to the public in order to engage the maximum amount of viewers.
==>The second way is that through the distractive nature of TV; audiences are made to be fearfully apathetic. It has been said that a population is easier to control if they are distracted from things that matter. If people are obsessed with consumerism and superficialities, they will be less likely to care about important issues. If people are afraid and uneasy, their anxiety can be used to sell anything from bug spray and fuel injection cleaner, to guns and war. The bottom line here is to keep people from thinking by dumbing them down and distracting them.

Brave New World & 1984
Aldous Huxley published Brave New World in 1932; and we have been feeling the aftershock ever since. Not because of the book, but because of its story and irony becoming truer everyday. It's about a country that's very happy and somewhat utopian. The government of the fictional country achieved this by drugging the populace into passivity with commodities and drugs that everyone wants and needs. Sounds scary and familiar to me. 1984 was published in 1949 by George Orwell. This book paints a similar portrait, but instead of mindless passivity, the population of Orwell's country are controlled strictly and brutally via an invisible totalitarian dictator and regime. Both books use the sci-fi platform to tell about humanity's path. 1984 is reminscent of the U.S.S.R. and Brave New World is reminscent of families watching 8 hours plus of TV per day...



Where’s The Funny Part?


Have you ever encountered:

• Oppositional Defiant Disorder (ODD)
• Attention Deficit Hyperactivity Disorder (ADHD)
• Seasonal Affect Disorder (SAD)
• Dysphoric Social Attention Consumption Deficit Anxiety Disorder (DSACDAD)

I’m guessing a few have heard of these disorders. But not from their doctors. That’s because they were made up by advertising agencies – and one comedian.

This is manipulation in its finest sense, and the key is our participation. If we didn’t buy the products featured on TV, the television medium would not exist. Geraldo had a hit with his Satanism special and subsequent re-runs because there was a demand for it. His staff and ABC knew this; that’s the reason they produced it. Fear is the fuel that makes the machine go and the public’s best interest is not to be informed and educated in a critical way, but to be manipulated through entertainment into mindsets of paranoia and anxiety that produce diluted thinking and soft conclusions.

• I remember my giddy pleasure when the Kibbles ‘n Bits commercial came on. “ I want my Kibbles ‘n Bits ‘n Bits ‘n Bits…” It’s almost like proto hip-hop!
• My mother always got a little teary-eyed at the end of the American Express commercials. Shit, I just found one on youtube with Jerry Seinfeld as a fish out of water in Britain promoting the card that had me smirking.
• And the ‘Bud Light; Real Men of Genius’ series. Funny, funny stuff!
• Who can forget the crying Indian commercials from the 1970s as part of the, ‘Keep America Beautiful’ campaign.

The point being, is that this stuff is powerful and works marvelously. There’s absolutely nothing wrong with laughing and crying. But when our emotions are hijacked for the purposes of marketing a product to us, it just feels sinister even though we’re all laughing.

And Then What?

The Off Button

Saturation, submersion; the idea is not to notice it. But when the TV is figured out and turned off… well, it’s like we’re being turned on! It’s like a cold beer on a Friday afternoon; it’s like taking ski boots off; it’s like an amazing bowel movement; it’s like an orgasm; it’s like listening to your first Mercyful Fate album!




Part: III

Mercyful Fate

"Ah, ah, We come from the land of the ice and snow, From the midnight sun where the hot springs blow. How soft your fields so green, Can whisper tales of gore, Of how we calmed the tides of war. We are your overlords."
~ Robert Plant

When is it known that something is a classic? Everyone’s answer would be different of course, but for me, it’s when that something resonates for ages in life. Music, art, books, movies. Anything that’s left a mark; a perfect scar that’s brushed over from time to time, reminding its way back from distant memories into the present.

In the early ‘80s, Denmark produced one of its finest exports in the form of a Heavy Metal band called, Mercyful Fate. Although I wouldn’t discover them until long after their demise; I feel that I carry the torch in a sense for this band, because I’ve been a fan for more than half my life, and most importantly, I still enjoy their music.

The first time I heard about them was on some of Geraldo Rivera’s Satanism specials. On the very first episode Geraldo showed some footage of a King Diamond concert with overdubbed commentary by the singer and then a solid debunking by Geraldo claiming that Diamond was full of “bull.” Then on a subsequent episode, Geraldo had a panel of formerly troubled adolescents, that when questioned about their old music habits, one of them said he had listened to King Diamond when he used to be in Mercyful Fate. And that was all I needed to connect the dots. While I’d heard King Diamond on his own and thought that the stuff was okay; the Geraldo show made Mercyful Fate out to be a far more intense and dangerous band. This of course piqued my curiosity and drove me to find out more about this relatively obscure band.

So I went out and bought their first album on tape; 1983’s Melissa, and I remember being simultaneously disappointed and intrigued. Disappointed because the audio was so bad – it sounded like it was recorded in a basement with a cheap ghetto blaster. Yet it was intriguing for the same reason. Melissa is so low-budget sounding that it adds to the already dark demeanor of the band and subject matter. It’s as if they recorded it in a secret dungeon while satanic rituals were taking place. The band sounded fresh, raw, intense; all the characteristics of a young group that’s hungry for success. Often this is the best a band will ever be because their passion is firmly organic. There are no other factors to corrupt the group’s vision like contracts, money, fame; the trappings that dog established acts and sometimes cripple them permanently. Yet band members unanimously support and push each other in the face of poverty, ill relationships, jobs; anything would be sacrificed for the benefit of the band. It’s a rare instance when one can hear the force that drives the collective spirit of individuals in their pursuit of a common goal.


Some Historical Background


Mercyful Fate came together in Copenhagen, Denmark in 1980. They comprised of; King Diamond(Kim Bendix Petersen) on vocals, Michael Denner on guitar, Hank Sherman(Rene Krolmark) on guitar, Timi 'Grabber' Hansen on bass, and Kim Ruzz on drums. Their most distinguishing factor is Diamond’s appearance and vocals. Obviously influenced by Alice Copper and Kiss, Diamond donned black and white face paint in various guises that usually included an inverted crucifix on his forehead. Known as ‘Ghoul Paint’ the style would later be adopted by a new generation of Scandinavian Black Metal bands. Diamond possesses a unique voice in that his vocal range spans from a low growling type of sound, to a mid tenor and most unusually, a high falsetto that’s mostly associated with R&B and Disco – think Barry Gibb from the Bee Gees getting into a brawl with Freddy Kruger.
"Evil" from Melissa
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After Melissa they released, Don’t Break the Oath, in 1984 which had a much needed and improved production quality. 1985 brought the band worldwide attention when they were included in Tipper Gore’s PMRC campaign and subsequent list of “the filthy fifteen” artists with songs that the campaign found especially insidious. Their song, Into The Coven was included for references to the occult and Satanism. Also in that year, internal tensions in the band drove them to break up, with Diamond, Hansen, and Denner going on to play in the King Diamond solo act. Hank Sherman started a pop-rock band called Fate and Kim Ruzz retired from music and became a postal worker. Two really good posthumous releases came in later years; The Beginning in ’87 and Return Of The Vampire in ’92. These albums contain odd rarities like demos, bootlegs, and b-sides from ’80 to ’82; and like Melissa they have that horrendous audio quality that adds to the mystique of the band. In 1993 the band decided to try it again and reformed with everyone except Kim Ruzz. Since then they’ve released five albums; In The Shadows in ’93, Time in ’94, Into The Unknown in ’96, Dead Again in ’98, and 9 in ’99. Along the way Hansen and Denner left, leaving Diamond and Sherman as the only original members. Since 2000 Mercyful Fate has been on an indefinite hiatus because strangely, they have no financial backing to record or tour.

A recent TV spot with former guitarist, Michael Denner


The Lawnmower Boy

A Mercyful Fate tape was never far from my walkman. As a teenager, I mowed lawns for cash like many do, and always had a clunky cassette player strapped to my hip. I was a confirmed teenage Heavy Metal Warrior, and I definitely fought the good fight for the cause. A fan of what’s called the Golden Age of Metal, I gravitated toward Metal that someone 10 years older than I would like. I virtually listened to no contemporary music in the early ‘90s and would cringe or step up to the soapbox and preach about today’s music when some poor soul would mention or even allude to Grunge or Alternative. While my friends were listening to Pantera and Metallica, I was happily at home listening to my Iron Maiden and Judas Priest. And even today, if it’s going to be Metal, for me it’s going to be Metal that was produced or made by a band that’s been firmly established before 1985. Nowadays I’ve long since retired my Metal armor – as it’s definitely a genre that caters to the minds and hearts of adolescent males – although every now and then, I’ll don the battle gear and reminisce about the times of yore while I mow my own lawn even though no one pays me.

Song & Dance Men

From my point of view, Mercyful Fate is not an evil entity. They’re musical performers that earn their dinner with song and dance. Listening to them is like watching an old black and white horror movie on Halloween; harmless and fun. It makes me chuckle when people take it seriously because they and Geraldo are entertainers in every sense, capitalizing on their niche. And the fad of Satanism in the ‘80s was good for many, whether it be bands singing about the depths of Hell or mock investigative reporters doing specials on the topic. Everyone was out to make a profit and business was good.

"A Dangerous Meeting" from Don't Break The Oath
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