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Tag: Bach

Sunday, 4/29/12

Let’s go to church.

“Until I Die,” Pilgrim Rest Baptist Church, Winston-Salem, N.C., 2001

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lagniappe

reading table

On the Death of Friends in Childhood

We shall not ever meet them bearded in heaven,
Nor sunning themselves among the bald of hell;
If anywhere, in the deserted schoolyard at twilight,
Forming a ring, perhaps, or joining hands
In games whose very names we have forgotten.
Come, memory, let us seek them there in the shadows.

—Donald Justice (Collected Poems, 2004)

***

“[We find] it impossible, when we have to analyze death, to imagine it in terms other than those of life.”

—Marcel Proust, The Fugitive (translated from French by Peter Collier)

*****

listening room: (some of) what’s playing

• The Dirtbombs, Ultraglide In Black (In the Red Records)

Wild Flag (Merge Records)

• That’s What They Want: The Best of Jerry McCain (Excello)

The Best of Slim Harpo (Hip-O)

• Ambrose Akinmusire, When the Heart Emerges Glistening (Blue Note)

• Lester Bowie’s Brass Fantasy, I Only Have Eyes For You (ECM)

• Anthony Braxton, 9 Compositions (Iridium)

• Chicago Tentet, American Landscapes 1 & 2 (Okka)

• Steve Lehman Octet, Travail, Transformation, and Flow (Pi Recordings)

• Joe McPhee, Nation Time (Unheard Music Series)

• Weasel Walter, Mary Halvorson, Peter Evans, Electric Fruit (Thirsty Ear)

• J. Berg’s Royal Rarities Vols. 2-3; A Cappella Archives, Vol. 3; Gospel Goldies, Vol. 2 (Rare Gospel)

• The Fisk Jubilee Quartet, There Breathes A Hope (Archeophone)

This May Be My Last Time Singing: Raw African-American Gospel On 45 RPM 1957-1982 (Tompkins Square)

• Bach, Suites for Unaccompanied Cello, Pierre Fournier, (Archiv Production/DG)

• Mozart, Piano Sonatas Nos. 16 and 17, Peter Serkin, piano (Pro Arte)

• Arnold Schoenberg, Das Klavierwerk, Peter Serkin, piano (Arcana)

The Art of Joseph Szigeti (Biddulph Recordings)

• Anton Webern, Five Movements For String Quartet, Op. 5; Six Bagatelles For String Quartet, Op. 9; String Quartet, Op. 28; Quartetto Italiano (Philips)

• Anton Webern, Complete Works for String Quartet and String Trio, Artis Quartet Wien (Nimbus)

Music of Stefan Wolpe, Vol. 6, David Holzman, piano (Bridge)

• WKCR-FM (broadcasting from Columbia University)

Bird Flight (Phil Schaap, jazz [Charlie Parker])
Traditions in Swing (Phil Schaap, jazz)
Eastern Standard Time (Carter Van Pelt, Jamaican music)
Rag Aur Taal (various, Indian)

• WFMU-FM

Mudd Up! (DJ/Rupture“new bass and beats”)
Sinner’s Crossroads 
(Kevin Nutt, gospel)
Cherry Blossom Clinic (Terre T, rock, etc.)
Fool’s Paradise (Rex; “Vintage rockabilly, R & B, blues, vocal groups, garage, instrumentals, hillbilly, soul and surf”)

• WHPK-FM (broadcasting from University of Chicago)

The Blues Excursion (Arkansas Red)

*****

radio

Happy Birthday, Duke!

All Ellington, all day: WKCR-FM.

Tuesday, 10/11/11

Great music, unlike great food, doesn’t fill you up.

It leaves you wanting more.

Bach, Partita No. 2 in C minor, BWV 826
Martha Argerich, piano, live, Switzerland (Verbier Festival), 2008

Part 1

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***

Part 2

Vodpod videos no longer available.

More Bach? Here. And here. And here. And here. And here. And here. And here. And here. And here. And here. And here.

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reading table

Last night, opening a book at random, I came upon this—another reminder that Emily Dickinson, surely one of my desert-island writers, takes a backseat to no one when it comes to strangeness.

I see thee better — in the Dark —
I do not need a Light —
The Love of Thee — a Prism be —
Excelling Violet —

I see thee better for the Years
That hunch themselves between —
The Miner’s Lamp — sufficient be —
To nullify the Mine —

And in the Grave — I see Thee best —
Its little Panels be
Aglow — All ruddy — with the Light
I held so high, for Thee —

What need of Day —
To those whose Dark — hath so — surpassing Sun —
It deem it be — Continually —
At the Meridian?

—Emily Dickinson

Sunday, 9/4/11

The Dixie Hummingbirds (with Ira Tucker, lead vocals), “If You See My Savior” (T. Dorsey), live (TV broadcast), early 1960s

With a voice like this, who needs words?

(Listen, for instance, at :55 and 1:50.)

More? Here.

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lagniappe

listening room: (some of) what’s playing

Theo Parrish, Sound Sculptures Vol. 1 (Sound Signature)

• Various artists, Goodbye Babylon (Dust-to-Digital)

Sun Ra, Jazz in Silhouette (Evidence)

Anthony Braxton, For Alto (Delmark)

Fred Anderson, Timeless (Delmark)

• Bach, Suites for Unaccompanied Cello/Steven Isserlis (Hyperion UK [import])

• Alfred Schnittke, Piano Quintet, String Trio, etc. (Naxos)

• Morton Feldman, For Bunita Marcus, Stephane Ginsburgh, piano (Sub Rosa) (available as a download from Amazon for 89¢)

• WKCR-FM (broadcasting from Columbia University)
—Lester Young/Charlie Parker birthday marathon
Bird Flight (Phil Schaap, jazz [Charlie Parker])
Eastern Standard Time (Carter Van Pelt, Jamaican music)

• WFMU-FM
Mudd Up! (DJ/Rupture“new bass and beats”)
Sinner’s Crossroads 
(Kevin Nutt, gospel)


Sunday, 8/21/11

Ever feel like, each day, you understand less and less?

Davis Sisters (with Jackie Verdell), “We’ll Understand It Better By and By,” live (TV broadcast), early 1960s

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lagniappe

reading table

So long as that woman from the Rijksmuseum
in painted quiet and concentration
keeps pouring milk day after day
from the pitcher to the bowl
the World hasn’t earned
the world’s end.

—Wislawa Szymborska, “Vermeer”  (trans. Clare Cavanagh & Stanislaw Baranczak, Here [2010])

***

Johannes Vermeer, The Milkmaid (c. 1658)

*****

Speaking of Szymborska, a charter member, like Von Freeman, of the recently announced MCOTD Hall of Fame (coincidentally, they were both born in 1923), here’s something I just came across:

I am a big admirer of her [Szymborska’s] work. I have read everything she has written, and I keep coming back to it. She is a very witty poet and she has greatly helped me to enjoy life. She exactly fits my definition of an artist. Who shouldn’t only have profound insight and a sharp mind but also remember that his obligation is to entertain the reader. And this is exactly what she does.

—Woody Allen, in the documentary Sometimes Life Is Bearable (2010)

*****

listening room: (some of) what’s playing

Paul Simon, So Beautiful or So What (Hear Music)

Shane MacGowan and the Popes, The Snake (ZTT [import])

Captain Beefheart & His Magic BandTrout Mask Replica (Reprise/Ada)

• The Best of Charlie Patton (Yazoo)

Charley PattonThe Voice of the Delta (Indigo)

• The Detroiters/The Golden Echoes, Old Time Religion (Specialty)

• The Spiritualaires of Hurtsboro, Alabama, Singing Songs of Praise (CaseQuarter)

Archie Shepp/Kahil El’Zabar’s Ritual Trio, Conversations (Delmark)

• Benny Goodman, The Complete Trios (Capitol)

Charlie Parker, The Complete Royal Roost Live Recordings on Savoy, Vol. 3 (Savoy/Columbia [import])

Charles Gayle, Repent (Knitting Factory)

Steve Lacy-Roswell Rudd Quartet, School Days (hat Art)

• Wadada Leo Smith & Jack DeJohnette, America (Tzadik)

Kenny Werner, No Beginning, No End (Half Note)

Bach, Suites for Unaccompanied Cello/Jean-Guihen Queyras (Harmonia Mundi [import])

Alfred Schnittke, String Quartet No. 3, Piano Quintet, Piano Quartet/
Borodin String Quartet with Ludmilla Berlinsky (Virgin Classics)

Morton Feldman, Piano and String Quartet/Kronos Quartet with Aki Takahashi (Nonesuch)

• Morton Feldman, For Bunita Marcus, Stephane Ginsburgh, piano (Sub Rosa) (available as a download from Amazon for 89¢)

• WKCR-FM (broadcasting from Columbia University)
Bird Flight (Phil Schaap, jazz [Charlie Parker])
Traditions in Swing (Phil Schaap, jazz)
Eastern Standard Time (Carter Van Pelt, Jamaican music)
Raag Aur Taal (Various, Indian music)

• WFMU-FM
Mudd Up! (DJ/Rupture“new bass and beats”)
Sinner’s Crossroads 
(Kevin Nutt, gospel)

Sunday, 7/24/11

Last Sunday they sounded so good—let’s hear some more.

The Staple Singers, “On My Way To Heaven,” “Going Away,” “I’m Leaning,”
“I Know I Got Religion”; Uncloudy Day (Vee-Jay), 1959

Vodpod videos no longer available.

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lagniappe

listening room: (some of) what’s playing

• Muhal Richard Abrams (with Malachi Favors), Sightsong (Black Saint)

• King Oliver, Off the Record: The Complete 1923 Jazz Band Recordings (Off the Record/Archeophone)

• Beethoven, Symphonies Nos. 1 & 3 (“Eroica”)/ Arturo Toscanini, conductor, NBC Symphony Orchestra (RCA)

• Bach, Cello Suites, Steven Isserlis (Hyperion UK)

Morton Feldman, For Bunita Marcus, Stephane Ginsburgh, piano (Sub Rosa) (available as a download from Amazon for 89¢)

WKCR-FM (broadcasting from Columbia University)
Bird Flight (Phil Schaap, jazz [Charlie Parker])
Traditions in Swing (Phil Schaap, jazz)
Afternoon New Music (Various, classical and hard-to-peg)
Eastern Standard Time (Carter Van Pelt, Jamaican music)
Raag Aur Taal (Various, Indian music)

WFMU-FM
Mudd Up! (DJ/Rupture, “new bass and beats”)
Sinner’s Crossroads
(Kevin Nutt, gospel)

*****

reading table

Here are a couple cheery things (ha, ha) from a favorite poet.

John Berryman, Two Dream Songs

More? Here. And here.

Sunday, 6/5/11

Some folks sing when they speak.

Bishop Robert Manley, Jr., Bethesda Temple Church of the Living God, Frankfort, Kentucky, 2008

Part 1

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Part 2

Vodpod videos no longer available.

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lagniappe

musical thoughts

I think there are certain aspects of music which do not have any equivalent in speech, in particular the pulse of music, the steady rhythm, and its synchronization with movement.

Oliver Sacks, M.D.

With all due respect to Dr. Sacks (whom I admire greatly), I think maybe he should get out more often—to, for instance, churches in Harlem.

*****

listening room: what’s playing

Professor Longhair, Crawfish Fiesta (Alligator); House Party New Orleans Style (Rounder); No Buts, No Maybes: The 1949-1957 Recordings (Hoodoo Records)

Arthur Russell, Calling Out Of Context (Audika)

Theo Parrish, Sound Sculptures Volume 1 (Sound Signature)

Eddie Jefferson at Ali’s Alley with Rashied Ali Quintet (Blue Music Group)

• Wadada Leo Smith’s Golden Quartet, Tabligh (Cuneiform)

• Henry Grimes & Rashied Ali, Going To The Ritual (Porter Records)

Paul Motian, Lost In A Dream (ECM) (with Chris Potter, Jason Moran); Rarum (ECM); Garden of Eden (ECM); Time and Time Again (ECM) (with Joe Lovano, Bill Frisell)

Jason Moran, Ten (Blue Note)

• Various Artists, Gospel Music (Hyena Records)

The Five Blind Boys of Mississippi: 1947-1954 (Acrobat)

Brother Claude Ely, Ain’t No Grave (Dust-to-Digital)

The Skatalites, Ball of Fire (Island)

Tinariwen: Imidiwan: Companions (World Village)

Ali Akbar Khan, Peerless (Navras)

Bach: Cello Suites, Nos. 1-3, Jean-Guinen Queyras (Harmonia Mundi)

Dmitri Shostakovich: String Quartet No. 15, Borodin Quartet (BMG Classics/Melodiya)

Music of Stefan Wolpe: Volume Six, David Holzman (Bridge Records)

Gyorgy Ligeti: String Quartets and Duets, Arditti String Quartet (Sony)

Morton Feldman: For Bunita Marcus, Stephane Ginsburgh (Sub Rosa); John TilburyMorton Feldman, All Piano (London HALL)

WKCR-FM (broadcasting from Columbia University)
Bird Flight (Phil Schaap, jazz [Charlie Parker])
Out to Lunch (Various, jazz)
Afternoon New Music (Various, classical and hard-to-peg)
Eastern Standard Time (Carter Van Pelt, Jamaican music)

WFMU-FM
Mudd Up! (DJ/Rupture, “new bass and beats”)
Sinner’s Crossroads
(Kevin Nutt, gospel)
—Give The Drummer Some
(Doug Schulkind, sui generis)
—Reggae Schoolhouse
(Jeff Sarge)
Transpacific Sound Paradise (Rob Weisberg, “popular and unpopular music from around the world”)
Daniel Blumin (sui generis)
—Primavera Sound Festival, Barcelona (live sets)

*****

mail

Richard:

Thanks and despite its brevity it is quite touching.

David [Holzman, in response to an email letting him know that he was featured here yesterday]

Saturday, 5/21/11

Music isn’t an escape from the real world.

It is the real world.

Bach, Keyboard Concerto No. 7 in G minor (excerpt)
Glenn Gould, Toronto Symphony Orchestra

*****

Want to hear the whole thing?

Sviatoslav Richter, Padova and Veneto Orchestra

#1

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***

#2

*****

More Gould? Here.

More Richter? Here. And here. And here.

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lagniappe

musical thoughts

There is no greater community of spirit than that between the artist and the listener at home, communing with the music.

***

The mental imagery involved with pianistic tactilia is not related to the striking of individual keys but rather to the rites of passage between notes.

***

I believe that the justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenalin but is, rather, the gradual, lifelong construction of a state of wonder and serenity.

—Glenn Gould

Sunday, 3/20/11

Sherman Washington Jr. (Zion Harmonizers)
December 13, 1925-March 14, 2011

Zion Harmonizers with Aaron Neville, “Wonderful,” live, New Orleans (Gospel Tent, New Orleans Jazz & Heritage Festival), 1991

Vodpod videos no longer available.

*****

lagniappe

Sherman Washington Jr., the leader of the Zion Harmonizers and the godfather of the New Orleans Jazz and Heritage Festival’s Gospel Tent, died early Monday at his home in Boutte after a long illness. He was 85.

sherman washington 2002 fest.jpg

What Ellis Marsalis is to jazz, Mr. Washington was to gospel. For three decades, he hosted a Sunday morning gospel show on WYLD-AM that served as the gospel community’s town hall. He led the Zion Harmonizers, New Orleans’ longest-running gospel vocal group, since the 1940s. The Harmonizers appeared at the very first Jazz Fest, staged in 1970 in what is now Armstrong Park.

After the festival moved to the Fair Grounds in 1972, he oversaw the growth of the Gospel Tent, building it into a cornerstone of the festival’s roots-music presentation. The tent introduced a music largely unknown outside the African-American churches where it was born to a much broader audience.

Until deteriorating health finally slowed him down in recent years, he administered the Gospel Tent with a steadfast integrity and intimate knowledge of the music, musicians and singers. Given that many acts consist of large choirs, the tent features more performers than any other stage at the festival.

“Gospel, even after jazz and blues came down to the front of the bus, was still in the back of the bus,” said Jazz Fest producer/director Quint Davis. “To a large extent, Sherman’s work through the Gospel Tent has helped bring gospel music to the front of the bus. An enormous debt is owed to him by the festival, and the whole gospel world.”

Davis expects the upcoming Jazz Fest to feature a tribute to Mr. Washington.

“You can talk about soul with either a lower-case ‘s’ or an upper-case ‘S,'” Davis said. “Sherman had soul with a capital S.”

***

In the late 1960s, the Harmonizers roster included a Mississippi-born bass singer named John Hawkins. In early 1970, Hawkins met Quint Davis at Mason’s Hotel on Claiborne Avenue and came back to Mr. Washington with news of this young music fan who was organizing a music and heritage festival.

Mr. Washington went to meet Davis and partner Allison Miner, and the Zion Harmonizers were booked for the first Jazz Fest at Congo Square. The forerunner of today’s Gospel Tent was a 15-by-20-foot open-sided tent with an upright piano and no floor, stage or sound system.

When Jazz Fest moved to the Fair Grounds in 1972, Davis approached Mr. Washington with an idea.

“Quint said, ‘I had a dream,’” Mr. Washington recalled. “And I thought, ‘This isn’t Dr. King, is it?’ He said, ‘I had a dream that I’m going to build a Gospel Tent, and I want you to run it.’ ”

Mr. Washington’s diplomatic skills came in handy. In the early 1970s, gospel choirs rarely performed outside of churches or church functions. They certainly didn’t perform at “hippie” events where beer was served. Pastors resisted the idea of choirs performing at Jazz Fest.

“The preachers were against me,” Mr. Washington said, “because people would drink beer in the Gospel Tent. I would ask the choir’s president or manager, and he’d tell me yeah. Then he’d come back and say, ‘Our pastor doesn’t want us to sing in the Gospel Tent.’ ”

So instead of church choirs, Mr. Washington booked vocal quartets that weren’t affiliated with churches.

“Those are the ones I had to depend on,” he said. “They would tear the place up, pack it out. We didn’t pay those preachers no mind. We kept going.”

Opinions eventually changed and choirs lobbied Mr. Washington to be included. “I think the choir members got on the pastors about it. Because if a person drinks a beer or something, that’s their soul, not yours. If you’re singing, you’re doing what God wants you to do.”

Eventually, a small staff was assigned to assist Mr. Washington, but he still screened most acts in person. He attended rehearsals and private auditions, offering advice along the way.

“He had never been in a role like this,” Davis said. “He was a true man of God who was not in it to advance himself or build an empire. He worked through his community and spiritual connections to put it all together. He knew who was the real deal, who needed to play.”

Mr. Washington insisted on a high level of professionalism and skill, as he knew any group could well be some Jazz Fest’s attendee’s first exposure to gospel. He wanted the music to make a good first impression.

“This Gospel Tent has brought more white people to gospel than anybody had ever seen, ” Mr. Washington said in 2002. “Now, it’s more white people than black people. And they get into it. It brings the white and black together. People get together and stand up, you don’t know who is who.”

—Keith Spera, The Times-Picayune (New Orleans), 3/14/11

On March 14, 2011 at 2:36 AM, the music stopped and his lyrics became a reality.

Obituary (The Times-Picayune)

*****

listening room: what’s playing

• Bach, Cello Suites, Steven Isserlis, Jean-Guihen Queyras

• Von Freeman, Walkin’ Tuff, Vonski Speaks, Young & Foolish

• Milton Babbitt, Piano Works, Robert Taub

• Buddy & Julie Miller, Written in Chalk

Nneka, Concrete Jungle

Jason Moran, Ten

Steve Lehman, Travail, Transformation, and Flow

Friedrich Gulda, Piano Recital 1959 (Bach, Haydn, Beethoven)

• Theo Parrish, First Floor

• Theo Parrish, Sound Sculptures, Vol. 1

• Roger Sessions, Works for Violin, Cello, Piano; Curtis Macomber (violin), Joel Krosnick (cello), Barry David Salwen (piano)

• Roger Sessions, Sonatas Nos. 1 & 3; Ralph Shapey, Mutations and Mutations II, 21 Variations, David Holzman (piano)

• Yascha Heifetz (violin), Chamber Music Collection, Vol. 1 (Mozart, et al.)

• Morton Feldman, For Bunita Marcus, Stephane Ginsburgh (piano)

Sinner’s Crossroads, Kevin Nutt, WFMU-FM (Thursday, 8-9 p.m. [EST])

Gospel Memories, Bob Marovich, WLUW-FM (Saturday 10-11 a.m. [CST])

Give the Drummer Some, Doug Schulkind, WFMU-FM (Friday, 9 a.m.-noon [EST]; web stream only)

Bird Flight, Phil Schaap, WKCR-FM (M-F, 8:20-9:30 a.m. [EST])

• WFMU-FM, Annual Fundraising Marathon

Saturday, 1/1/11

Happy New Year!

Hearing her talk about music, as I discovered yesterday during WKCR-FM’s Bach Festival (where she played deejay for a couple hours), is nearly as enthralling as hearing her play.

Bach, Goldberg Variations (excerpt)/Simone Dinnerstein, piano (Bach & Friends, 2010)

Vodpod videos no longer available.

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lagniappe

new year’s resolution

To try to bring the excitement that Roscoe, my son Luke’s dog (who’s staying with us over Christmas break), brings to opening the front door and walking outside—as if, each time, it’s a new world (which, of course, it is).


Friday, 12/31/10

Tonight, at a club on Chicago’s west side (The Empty Bottle, 1035 N. Western), New Orleans dance music reigns.

Big Freedia & The Queen Divas

“Double It” (with Galactic), live, San Francisco, 2010

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“Azz Everywhere,” live, Portland (Oregon), 2010

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TV show (Last Call with Carson Daly), 9/28/10

Vodpod videos no longer available.

(Yo, Rachael—thanks for the tip!)

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lagniappe

[I]nside New Orleans, the genius of sissy bounce is how perfectly mainstream it is; in the world beyond, the genius of sissy bounce is how incredibly alternative it is.

***

The first of Freedia’s three successive New York gigs in May began with a preshow bounce dance class, which should give you some idea of how far from home Freedia and [Freedia’s D.J. and de facto manager Rusty] Lazer were. But “every night it got better,” Freedia said. “They was all on the Internet, posting up the pictures, like ‘If you missed last night, OMG, you missed a party.’ Each night it built, and the last night” — at a traveling dusk-to-dawn festival known as Hoodstock, held on this occasion in a raw space in the Bed-Stuy neighborhood of Brooklyn — “it was just unbelievable. Five hundred people in there. Everybody was dripping wet. The walls was dripping wet.”

Any doubt that that space, like any space in which Freedia performs, quickly belonged to the women in the crowd may be dispelled by a story Lazer laughingly told about a blog post he’d seen the day after their Hoodstock set. It consisted of two photos taken at the show, and their captions: in the first, a group of women were horizontally p-popping in what amounted to a flesh pile. “To the men,” the caption beneath it read, “we don’t need you.” The second photo depicted a woman at the same show sitting on the floor while a man prone in front of her performed a sexual act that might traditionally be described as submissive. “But we like having you around,” the caption beneath that one read.

What strikes Lazer most about the dynamic at these shows, though, is not how unexpected it is but how familiar. Long before he started D.J.-ing, he was a drummer in a series of rock bands; he is old enough to have come of age in the latter days of punk. And when he started playing shows with Freedia almost two years ago — when he started witnessing, over and over again, a same-sex group taking over the dance floor in order to perform an ecstatic act of physical aggression that is both exceptionally demanding and socially unacceptable in other contexts, at the behest of music that’s ritualized and played at seemingly impossible tempos — it all began to remind him of something.

“It’s as if punk had been reinvented for women,” he said, smiling. “I remember going to punk shows when I was 13, slam-dancing, stage-diving. It was a kind of reckless abandon, something you really couldn’t stop yourself from doing. If the girls weren’t just outright afraid of being in there, there was somebody literally shoving them out of the way. Now it’s exactly what was happening when I was young, but in reverse: the girls literally push the dudes right out of the middle. It’s just pure empowerment, physical aggression that’s not spiteful or vicious. I think it’s no accident that the slang term for a gay kid in New Orleans is ‘punk.’ It’s pretty rewarding.”

—Jonathan Dee, “Sissy Bounce, New Orleans’s Gender-Bending Rap,” New York Times Magazine, 7/22/10

*****

reading table

even the stone-hard camphor tree
devoured
by insects

—Kobayashi Issa, 1822 (trans. David G. Lanoue)

*****

radio: last call

Ten straight days of Bach, on WKCR-FM, conclude tonight at midnight.

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