6.29.2004

Tasty Detroit

Wanna see Cake, The Sights, The Detroit City Council, Thunderbirds Are Now!, Carl Craig, Jet, Buddy Guy, The Spinners, The Romantics, a tribute to Django Rheinhardt, The Gore Gore Girls, Shipwreck Union, The Dollfaces, Electric Six, Esquire, The Elevations, Blanche, and John Acquaviva all for free? You can see all of them (and more) and sample some of the best food in Detroit (I highly recommend the fish 'n' chips from Sweetwater Tavern) at this weekend's 2004 Comerica Tastefest in Detroit. Click on the big picture for info.




Irritated, Aggravated, and Irked

(Lately, I've received a lot of forwards from friends. Many of these forwards are hoaxes, whether it's a petition to save NPR or the Bonsai Kittens, I'm getting tired of it. Here's an article from this month's Wired magazine by Jonathon Keats where the author finds the origin of one of the more irritating email hoaxes)

A few months ago, I received an email that promised to make me rich. It came from an acquaintance, Kim Chernin, bearing the suspect subject line "Fwd: quick cash?" Normally I'd send such spam straight to the trash, but Chernin - a psychotherapist and writer - is no fool; so I opened the message and began to scroll.

The email started with a list of recipients that was longer, and arguably more impressive, than the holy lineage at the start of the New Testament: dozens of people from Harvard and HarperCollins and The Wall Street Journal. This was a highbrow crowd. Then it got down to business. I was invited by a lawyer named Pearlas Sanborn to participate in a Microsoft/AOL/Intel email beta test designed to help Internet Explorer maintain its dominance in the marketplace. But first they needed more testers. "When you forward this email to friends, Microsoft can and will track it (if you are a Microsoft Windows user) for a two-week time period. For every person that you forward this email to, Microsoft will pay you $245, for every person that you sent it to that forwards it on, Microsoft will pay you $243, and for every third person that receives it, you will be paid $241."

As a Macintosh user, I was ineligible for this windfall. Still, I couldn't help but be a little curious - and perplexed. Why would AOL help its archrival, and what does Intel have to do with this? The remainder of the message didn't clarify matters. It simply went on to recount tales of fortunes earned ($4,324.44, $24,800), and then reiterated the offer, except that now Microsoft was running the beta test to facilitate an AOL/Intel merger and had decreased the reward to $203.15 for every forward. Why AOL and Intel would join forces with Microsoft was not explained.

During the next few weeks, I mentioned the message to at least 20 friends, each of whom remembered receiving it up to three times. It's a joke, they told me, a hoax, a fraud. It's been circulating for years. It's everywhere. One of them even forwarded a copy she'd just received.

But I wanted to make sure it was a fake. After all, having forwarded the message to 17 people besides me, Chernin should have been at least $3,656.70 wealthier. I emailed her, and, in case Microsoft had overlooked her, I wrote a note to the 344 other people whose addresses were to be found in some 20 generations of forwarding. If someone had struck it rich, I wanted to know about it.

None of the recipients reported earnings. But in the dozens of responses, I received a windfall all my own: I stumbled upon the Internet equivalent of a perpetual motion machine. Here was a hoax that had been in circulation since 1997, laden with factual improbabilities and logical contradictions, widely reviled and frequently debunked yet thriving on a Net strewn with spam and other causes of universal cynicism - a prank lacking in both brains and brawn that nevertheless, cockroach-like, had outlasted the Melissa virus and Saddam Hussein.

The 29 people who replied to me came from across the US - high-school grads and PhDs, builders, dancers, documentary filmmakers. A 55-year-old rabbi from Philadelphia named Mordechai Liebling is typical of those who fell for the hoax. He got the message from an old friend, he said, and he passed it along to a few more acquaintances (promised earnings: $609.45) because there was "nothing to lose." Janet Randall, director of the linguistics program at Northeastern University, received it from a friend and forwarded it to 64 people (promised earnings: $13,001.60) because of the lawyer's assurances. And Greg Lopez, 21, who works in shipping for a South Carolina hydraulics manufacturer, got it from a fellow employee and sent it to 11 more (promised earnings: $2,234.65) because he wanted "to give other people chances to make easy money."

Chernin's note to me echoed all these motivations, but also something more. She wrote that the message "seemed to have a knowledge about Internet technology that was, alas, all too plausible, since it suggested a clear invasion of privacy." (Remember, Microsoft was going to track each email.) "Things that seem preposterous no longer seem so preposterous. One's sense of reality is probably shaken by living in our times."

In fact, successful hoaxes have always preyed on our tendency to imagine the future through the lens of our own hopes and worries. A celebrated 19th-century prank convinced millions that Thomas Edison had invented a machine capable of converting soil into cereal. A "top secret" report that became a best-seller in 1967 concluded that an end to war "would almost certainly not be in the best interest of stable society." Publication of the deadpan parody led Lyndon Johnson to cable every US embassy, insisting the report didn't reflect foreign policy.

The Internet has, of course, been a boon for tricksters, providing a platform for frauds ranging from the announcement that Microsoft had acquired the Catholic Church to advertisements for bonsai kittens. "The decentralized, decontextualized nature of the Internet proves to be the feature most advantageous to hoaxers," notes Alex Boese, curator of the online Museum of Hoaxes. "It strips away contextual information that would allow people to weigh the credibility of sources."

In other words, to track Chernin's email to its origin, I'd need to be systematic. I had a few leads: In addition to the suspicious-sounding name of the lawyer, Pearlas Sanborn, the email was signed by a Charles S. Bailey. But it turned out that the only Pearlas Sanborn living in the US was a physical therapist in Milton, Florida, who didn't return calls. Charles S. Bailey, according to his email signature, was a general manager for field operations. Only one problem: He managed field operations for the freight train company CSX, not Microsoft.

On Bailey's answering machine, I heard a voice with a Southern accent repeating over and over - as if redundancy increased clarity - that the email I'd received was a hoax. I left him a message that was never returned. Following Bailey's directions, I went to truthorfiction.com, which confirmed that the hoax was one of thousands online (including one proclaiming, aptly, Internet Clean-Up Day).

Other hoax sites filled in the picture. On truthminers.com, mathematician Simon Nance calculated that in a mere three months of propagation, the email had put Microsoft, AOL, and Intel, individually or in combination, on the hook to owe 7.91 x 10111 dollars. Hoaxbusters.org had 30 different versions offering cash or merchandise from the likes of IBM, Nokia, Honda, British Airways, Disney, Coca-Cola, the Gap, and Bath & Body Works.

Then there was hoaxinfo.com, which posted iterations of the Microsoft ruse trailing back to 1999. A version that had circulated in May 2000 replaced Charles S. Bailey's signature with the name Aisha Haynes, who was an administrative assistant at the National Policy Association. According to the site, "someone wanted to cause some grief to the NPA so they included a contact number and person from this company at the bottom of the chain letter. [The NPA] had to change their main telephone number." In fact, the NPA no longer exists (perhaps it had to pay its share of that $7.91 x 10111 debt), but Haynes now works at the Association for the Advancement of Medical Instrumentation. She was not pleased to hear from me. "My name got on that by mistake by forwarding that email; I was not the originator," she blurted out. "But I don't know how you got this phone number and please don't call back."

It turns out that the appearance of her name, and of Bailey's, was neither intentionally deceptive nor malevolent. It was simply the result of careless forwarding on systems that automatically append signatures to outgoing messages. Inadvertently lending institutional authority to the message, the signatures stuck - and spread.

There is something Darwinian about chain letters. If the success of a hoax depends on deliberate manipulation of our hopes and suspicions, these chains thrive on the random mutation and natural selection of living systems. In a hundred years of circulation on paper, the letters have adapted to the times with remarkable precision, fitting their niche as snugly as a Galápagos finch. Originally a means of propagating prayer, chain letters in the secular 20th century have adopted luck and prosperity as their raison d'être.

Nobody masterminds such changes from on high. The adaptations begin as minor accidents of transcription. Daniel VanArsdale, who has compiled an archive of 500 chain letters dating from the turn of the century, has observed that "a single letter bearing some new innovation will propagate so abundantly and rapidly that within just a few years, its descendants replace all similarly motivated letters." For example, the addition of "It works" as a postscript to one from 1979 - several thousand generations old in its own right - had become nearly ubiquitous by 1983 and by the turn of the millennium was copied an estimated 2 billion times.

While my email-tracer hoax lacks that particular coda, it shares a remarkable number of attributes with paper chain letters. In them, we find testimonials from experts and beneficiaries. ("Mr. Frankling D. Roosavelt [sic] was elected for the third term as president of the United States 52 hours after he mailed this letter," claims one piece from 1949. In fact, Roosevelt was elected to a third term in 1940, and by 1949 he was dead.) We find the age-old promise that "this is not a junk letter" and the perennial threat of bad luck for breaking the chain ("If you ignore this, you will repent later"). And then there's the long list of addresses, the last one belonging to a friend: the altruism of the gesture, the expectation of reciprocation.

Even the internal contradictions of the email Chernin sent me - the changing promises, the rotating cast of companies - help ensure its survival, making the come-on so opaque it resists examination (she'd been taken with its "knowledge about Internet technology"). In a paper delivered to the Internet Research and Information for Social Scientists conference, University of Surrey sociologist Edmund Chattoe said urban legends - which he compares to viruses or memes - function on a "strange mixture of detail and vagueness." The contradictions in my email were well adapted yet unintended, the result of a sort of human-assisted technobiology: Two distinct mutations of the same hoax, one concerning Microsoft and AOL, the other concerning AOL and Intel (with fragments of the earlier version), seem to have been carelessly pasted together to sow utter confusion.

How, then, did it begin? I asked Microsoft. A spokesperson told me, "We don't comment on rumors," a remark only slightly less enlightening than Bill Gates' own response, made back in March 1998 - and preserved on Microsoft's Web site - that the email was "hooey." Still, the version of the message that had made Gates so irate bore little in common with the one I received from Chernin, and showed the extent of its evolution. The original read, "My name is Bill Gates. I have just written up an email-tracing program that traces everyone to whom this message is forwarded to. I am experimenting with this and I need your help. Forward this to everyone you know, and if it reaches 1,000 people, everyone on the list will receive $1,000 at my expense. Enjoy. Your friend, Bill Gates."

I found the same text preserved by an amateur Internet archivist named Martin Miller, a University of Houston student who'd saved every copy of the hoax he received over a seven-year period and posted the collection on his Web site (where he was also selling calendars for Lent). He informed me this version was sent to him in late 1997 and that he believes it's the first. When it got to him, there were just 10 names on the recipient list. The first was Bryan Mack at Iowa State.

Bryan Mack was no longer a student by the time I came calling. He'd graduated in 2001 and had taken a job programming databases at the Colorado School of Mines. He's a regular guy. He answers his own phone. "I wasn't trying to trick people," he told me. "It was just a joke between a couple friends." Then he described how the joke got a little out of hand.

It all started on November 18, 1997, when the guy sitting beside him in the computer lab received a get-rich-quick email, one of the first examples of spam that either of them had seen. "I can come up with something better than that," Mack boasted. Three minutes later, Bill Gates' email-tracing program was born. Mack thought it was funny enough to send to a friend at Loras College in Dubuque, with "bill gates here" in the subject line. It made the guy laugh, so he passed it on.

Within days, the message was being read by strangers. A few wrote Mack, asking about their money. Whatever, he thought. Then he went home for Thanksgiving break. "When I got back to school, my account was locked up. There was like a gigabyte of mail, thousands upon thousands of messages." He set up a filter to block the onslaught. But two weeks later, someone forwarded him a new version. His name was no longer in the header. It came from gatesbeta@microsoft.com and offered $1,000 and a complimentary copy of Windows 98. Then he got another, signed by Walt Disney Jr., that promised $5,000 and a free vacation. "I started getting scared," he says. "I thought maybe I was going to get in trouble for fraud." But Bryan Mack had already been forgotten. He went on with his studies in computer science. He occasionally played phone pranks on friends' parents, posing as a manager from Goody Tree Service, saying they'd ordered a spruce.

Years passed. His email-tracing hoax became notorious, one of the top 10 of all time, according to antivirus firm Sophos. Mack remained anonymous. I asked him why he didn't lay claim to his creation. With just a couple sentences, he'd launched one of the greatest social critiques of our age. He'd shown that when it comes to technology, people believe that anything can happen - that invasion of privacy is inevitable - and that even those who don't like it are willing to benefit from it.

"I didn't really think of that," he said. "It's just a hoax. And if I admitted to it, why would anyone believe me?" I didn't have an answer. In a trickster universe, doubt is the only certainty.


there you have it, now please stop forwarding this crap to me!

Free Radicals and the Dangers Within

(reposted from Working For Change)

June 29
Things that happened on this day that you never had to memorize in school:

1620: Tobacco growing banned in England, giving the Virginia Company a monopoly.

1880: France annexes Otaheite.

1881: Russia: Anarchist agitator Johann Most sentenced for libelling the Tsar.

1895: Seven thousand Doukhobors stage mass weapons-burning, Trans-Caucasia, Russian Empire.

1916: Boeing aircraft flies for first time.

1917: W.E.B. DuBois leads silent march by blacks against lynching, New York City.

1925: Sixty thousand Belgian metal workers begin general strike.

1940: Alien Registration (Smith) Act enacted.

1956: The Federal Highway Act authorized the Interstate Highway System, the construction of 42,500 miles of freeways from coast to coast.

1963: Mass "walk-on" (trespass) at chemical and biological warfare facility, Porton Down, Britain.

1966: March to Paris against French nuclear tests leaves London.

1967: Israel removes barricades, re-unifying Jerusalem.

1972: U.S. Supreme Court rules, 5-4, all current state death penalty laws unconstitutional. A later ruling allows states to rewrite laws to reinstitute capital punishment in 1976.

1981: Hu Yaobang succeeds Hua Guofeng as leader of China.

1992: First of ten days of demonstrations demanding the resignation of Pres. Slobodan Milosevic, Belgrade, Yugoslavia. (Milosevic was taken down, and has been involved in War Crimes tribunals for the past five years - the prosecution is having a hard time proving that he's responsible for the genocide)

1993: Space Shuttle carries first carbonated beverages into space. Specifically: a root beer float.



Hell is Where the Party's At*

I was just reading Drudge Report today, and I saw that the US is involuntarily calling up approximately 5,600 more soldiers to "fill specific shortages for specific jobs." Nowhere in the article, located here do they mention why there are shortages. Okay, there is the obvious reason: volunteers who have fulfilled their contracts and are now at home. Right, I don't think that's the only reason, I think part of it may be the 849 brave soldiers who have lost their lives in the Iraqi/Afghani "wars" (figures according to Faces of Valor). For some reason, that little bit of information isn't being noted. It's just like Vietnam all over again...a few hundred die, we just pull a few hundred more out of the draft. No big deal. I don't think so. What if they do institute the draft again? There's talk of it, it's not as far-fetched as it sounds. I know I'll be okay either because of the fifteen-inch titanium rod that runs through my femur from my knee to hip or because I'll be a conscientious objector. I'm willing to risk imprisonment over this one. I read something recently about how "60 Minutes" recently ran pictures of all of the soldiers who have died so far in the conflicts/occupations/wars/whatever, and she was saying that the program should run in the background every time Dubya goes in front of a podium to talk shit about how right the US is in what they're doing in the Middle East. She's totally right. If everyone could see how many people have died for oil, would they really want to send more of their friends and family off to die from helicopter accidents and "friendly" fire?

*listen to "It's Choking Me" from Bang Bang

6.26.2004

It's Choking Me*

I'm too hungover to be eloquent or witty right now, sorry. How drunk can you get in 15 minutes? Very. That statement has become the motto of Detroit's best new punk rock 'n' roll band, Bang Bang. It's so obvious that these guys grew up on a steady diet of nothing. Punk rock. Without a doubt. You can tell that now, though, it's all about the rock 'n' roll. So, what kinda sound comes from all that? Sheee-it. They play every show like it's their last, and this show opened with "Bang Bang" from Nancy Sinatra (not a cover, the song was playing while the band came out). Nice. I'd prefer that you just go and see 'em live. Seriously. I can't describe this. Ever heard the Hot Snakes? Misfits? Black Flag? Hot Water Music? How 'bout Drive Like Jehu or Turbonegro? Those would all be good references, but they just can't describe what these five guys from Detroit are doing. They have a CD out. It's called "It's Choking Me." Not sure where you can buy it besides at shows. Their next show is July 3rd at Alvin's in Detroit for the Deviant fest. Maybe you can pick it up there. I highly, highly recommend that you pick up this record if you like any of the bands I just mentioned. Seriously. Do it. By the way, Chicago's The Stare, Amino Acids, and motherfuckin' Man Inc played this show, too. Of course, they're all recommended. I had never heard The Stare before, but they were definitely entertaining, I (unfortunately) missed the Amino Acids, but I'm sure they were tight as always, and Man played a longer set than usual. It was good to see so many different people exposed to what he's doing (see early archives for an article about MAN).

*listen to Bang Bang (Detroit, not Chicago, dammit!)

Meet Me At the Gates, Don't Be Late

Crap, it's been a long weekend already. As you can see below, I saw !!! and Thunderbirds Are Now! on Wednesday. Thursday night was part two, electric boogaloo. Went to St. Andrew's with Chris and Jenna to see The Streets. A brief explanation of this group may be necessary. First of all, on album, they are more or less one man: Mike Skinner. Mike's first album, "Original Pirate Material" came out about a year and a half ago. His sound is difficult to describe, it's hip hop and drum and bass and electronic and dramatic all at once. The hip hop element comes through in the vocals and the beats. However, this is not Eminem type shit. The vocals are almost more spoken word with occasional sung choruses (from background singers). The drum and bass thing isn't what you're thinking. This is not played at 300 BPM. I guess when I say drum and bass, I'm thinking of the bass, mainly. The beats themselves are definitely hip hop, but mostly midtempo and all very electronic. The drama is supplied by solid samples of strings. Lots of 'em. This approach to music has been referred to as garage, but once American type garage music (i.e. White Stripes) started getting popular over there in jolly old England, they had to start calling it UK garage just to differentiate. Oh yeah, by the way, The Streets are British. In fact, Mike Skinner 'raps' in a thick accent at times. His lyrics are mostly fairly banal, but he keeps you interested because it seems like he just can't catch a break - especially from women. His lyrics are mostly not the typical braggadocio that you get with American mainstream hip hop. A few songs here and there might be self-serving, but it's not about his skills. So, I wrote about his latest album, "A Grand Don't Come for Free" awhile ago on this site. Remember? If not, I'll help you out a little. The sound is stripped down compared to OPM. On the first album, most of the songs could hold up on their own without the vocals. This one is not quite like that. In fact, most of the songs would be fairly repetitive and boring without the vocals. "A Grand Don't Come for Free" has a story to be told. It's not the most interesting story, but the way Mike tells it, you're right there with him, pattin' his back, sayin' "it's alright, mate." So, the show was interesting. There was a live drummer, who was playing a real drum set, but I think he was using triggers, because what he was playing sounded very electronic. The bass kick drum just didn't ring the way it should. It seems like whoever was running the soundboard wasn't used to it, either at first. There was a live bass player (who played guitar for "Don't You Just Know It") who seemed a bit bored up there. Then there was also a guy playing the sampler, keyboards, and whatnot. Mike was free to wander back and forth onstage with a wireless mic, plus he had a 'hype-man', who was singing backup vocals and shouting things here and there. The show was a little disappointing because the sound wasn't that great most of the time. But, they played almost everything off both albums, so that was good to hear. He was very polite, too. About halfway through the show, he was pouring himself a cup of vodka, and he offered some to the people up front in the crowd, but he actually asked the bouncers if it was okay. He wasn't portraying the London street urchin that the British press wants to make him out to be. Very polite, but low energy. A little boring, in fact.

I hate going to the entrance, just to get bars on my phone

6.24.2004

Me and Giuliani Down By the Schoolyard*

Last night New York City's !!! played the Magic Stick here in Detroit. This band is so similar to what's going on in Williamsburg (Brooklyn) right now, i.e. the Rapture, DFA, Yeah Yeah Yeahs, yet somehow they're different. Maybe it's a lack of hipster holier-than-thou attitude, I don't know. At some point last night, someone who was seeing them for the first time was talking to me, and I said it's like they're The Rapture without pretense. The lineup of !!! includes a drummer, no I should say percussionist, because this guy was sick, playing the trap and latin percussion and all kinds of stuff I couldn't even see. A lot of similar acts rely on drum machines for most of their beats, not !!!. They also have two guitarists, two singers, and a bassist. Then, there's a guy who plays the keyboard/sampler/sequencer/drum machine and the trumpet! In the last song, someone else was onstage playing a tenor sax, it was crazy. Okay, so if you don't know anything about the band, I'm sure you want to know what they sound like. F-f-f-funky. They look like a bunch of former punk rock kids who just gave in to the beat. Their stuff is endlessly danceable. It's a constant groove that seems like it could go on forever. Yet it doesn't sound trendy, and they don't look like they're striking a pose. Okay, one of the singers seemed to think that he was in a metal band, but he didn't sound like it (thank god). The other singer sang in a falsetto most of the time, which added a touch of late '70s funk like Chic.

Outside of all of that, I just have to say...how bold is it to name your band with puncuation? I mean really, it's difficult to say, you can't pronounce it without saying "exclamation point exclamtion point exclamation point." I'm glad they came up with a way to deal with pronounciation: (chk chk chk).

Opening act Thunderbirds Are Now! couldn't be any more appropriate. Their hyper spaz new wave romanticism just keeps getting better and better. This town needed the Allen brothers to inject a little somethin' somethin' into the scene.


*listen to !!!

Cancellation Vibration

The opening at Pure Detroit Design Labs as noted below has been cancelled. Message from Kari follows:

Hi everyone-

Please ignore the message about the design lab......the opening will not be this friday, the 25th. The retail location isn't quite ready to be open to the public, so they are pushing the opening back until august. I will let you know when the time gets closer! Sorry!

We will still have merchandise for sale at the Taste Fest......

Kari




6.23.2004

Dancing On a Friday Night

Holy crap, this city will be busy Friday night! It seems like Detroit's got it going on this weekend. First off, the brand spankin' new Pure Detroit Design Lab will have it's grand opening this Friday. Here's the explanation from Kari Buzewski:

The location of the boutique is 156 Congress, just west of Woodward, in the business
district. It's an amazing space and concept for a boutique, and the opening is from 7pm-11pm. There will be drinks and a DJ, and a lot of cool local artist/designer stuff to check out! I will also be the "featured designer" there from Sept. 25-Nov. 5, and I will be making/selling hand painted garments and fashion illustrations. Hopefully you can check it out! The Detroit Design Lab will also be represented at the Taste Fest in
Detroit, which is coming up.


Next up, we have a charity screening at the DFC. Check this link for the address and phone number. Here is the explanation from the director of this week's film, Kristine Trever:

The wait is over! You can now check out all 3 episodes of my hilarious diabolical soap opera parody "As the Lights Dim", screening at the Detroit Film Center, Friday, June 25th, at 7:30 pm!! This is a fundraiser event, all proceeds benefit the DFC, a $5 donation at the door. There will be complimentary Motor City Beer as well! Total running time of the show (all 3 episodes) is only 25 minutes, so we'll be showing them twice in the evening.


Finally, Friday's other big event is the Bang Bang record release show at the Magic Stick. Doors are at 9pm, cost is $5, and the opening acts are Man Inc., Amino Acids, and the Stare. This is top-quality rock 'n' roll, and it's cheap, so get your ass out to the Stick after going to the aforementioned art opening type things. Go and see Bang Bang while it's still easy to catch them locally. They're quickly becoming one of the best punk rock 'n' roll bands in the city. The picture below is of an early free show that was at the Garden Bowl. I know it wasn't their first, but it was one of the first, and I was totally blown away. They've only gotten better since then, so I suggest you do yourself a favor and get out to this show.




6.21.2004

Systems/Layers*

I guess it's about time I wrote about the Rock City Festival from this past weekend. After all, I was there for almost all of it. Crap, it was hot on Saturday. I have to admit, I was bored. A lot. The expectations for this event were so high. The promoters were expecting 20 to 25 thousand people over the course of two days and 30 bands. I don't know the real numbers, but I can tell you they're nowhere near what I just said. At times, it was busy enough to fill the areas in front of the stages, but the rest of the area was just so wide open and empty. As far as the music is concerned, I would've expected that due to the nature of the festival (almost all the bands are Detroit bands or honorary Detroit bands) there would be more collaboration or 'unexpected' guest appearances. Sadly, there was none of that. There were however, some rockin' sets. Unfortunately, due to the many distractions (okay, I was just drunk or working, okay?), I missed the Grande Nationals, The Detroit Cobras, The Dirtbombs, The Elevations, and Saturday Looks Good to Me (absolutely no idea where I was when they were playing). But, I did catch a few of the bands I was hoping to see. Audra Kubat opened the whole thing, and she was folky, but good as always. The Witches' Troy Gregory started off their set with a word-for-word recitation of the emcee's opening to "Doing It To Death" from The JB's. I was talking to someone, and I heard it, and I said, "how do I know that? What is that? Who is that? What's going on?" Then I realized what he was quoting. Sadly, they didn't kick into an actual JB's cover, but they did put on a rockin' set nonetheless. Southpaw are a newer act from John Linardos, owner of the Motor City Brewing Works. I only caught a few songs, but it was quite bluesy. Ex-Clone Defect Tim Lampinen's Human Eye was probably the most unusual act all weekend. Most of the songs had Tim singing with effects on his vocals, and I'm not just talkin' about reverb, I'm sayin' he sounded like some sort of robot banshee from hell (in a good way). Musically, their sound is rooted in tribute to art-damaged punks like Chrome, the Weirdos, and the Urinals. And this...is a good sound. I like it. After Human Eye, Easy Action came on. I've probably seen Easy Action play about twenty shows in the past five years or so that they've been around. This was without a doubt, one of the best. The singer, Jon Brannon, is a veteran of the Detroit punk scene. When he was a teenager, he was playing hardcore punk that was still just a dream for Ian Mackaye. At some point, during a mid-tempo song, he kept hitting the mic up against his lips to sing. By the time the song was done, his lips were bleeding. This isn't self-mutilation for the sake of punk rock, this is just fucking punk rock. Hell, it's pure rock fury, to be precise. It was a rockin' set, let's just leave it at that. One of their best, and the new drummer, Matt, is a great addition (although the last drummer was good, too). After that, I skipped a few acts that I didn't care to see...from afar, I could hear The Go covering "Hey Ya" from Outkast. I wish they hadn't. Awhile later, I stumbled back outside into the heat to see the Greenhornes. Those guys always put on a good show. No matter what. Even when everyone else starts talkin' shit about them droppin' down to just a trio, I don't fuckin' care. There is so much care for the music welled up inside of Craig, Jack, and Patrick, you would be crazy not to hunt down all of their records. And you know what? They were great when they had two guitars and an organ, too, but that was then, get over it. Their sound is great garage rock that doesn't make you think of garage rock, in fact, it makes you think of The Animals, and that ain't a bad thing. The Sights came on after the Greenhornes, and I'm always happy to see these guys and their Sloan meets Supergrass meets Traffic meets Blind Faith vibe. From the first time I saw them play, and Eddie and Mark were only 17, and they were covering songs from Creation and the Jam to right here and now, I will always support what they do. Now, they're back with original drummer Mike Trombley, and all seems to be right with their world. They'll be rock stars one day, I just know it. The Dirtbombs played after the Sights, but I had to go inside to DJ. So, I missed that, but they put on a good set from what I heard. I guess they opened with an intro that was basically a cover of Warpigs from Black Sabbath (or was it The Wizard? I don't know, I wasn't there). Either way, I wish I could've seen it. That was the end of Saturday. Unfortunately, not for me, I got to DJ all night. I apologize to anyone who was there and may have felt cheated when I kept playing two or three or in one case five songs in a row from an album. I was tired as shit that night. Round two on Sunday was a bit better as far as the weather is concerned. The sun was still out, but it wasn't as hot. The Tiny Steps' power pop was as sugary as always (but always with a bite). The Avatars are a newer band that I don't know much about, but they were good. A little garagey, a little soulful, a little pop, and maybe even a little bit of dirty rock 'n' roll. I liked it, I can see what the buzz is all about. That, and the band consists of three hot women. That always helps. I missed most of Gold Cash Gold, but the little bit I saw was interesting. I don't know why, but I wasn't expecting what I saw. They seemed like a bit of a jam-band with keyboards and spacey guitars. I'd like to see it again, I'm curious. Ex Clone Defects and ex Murder City Wrecks (mostly) make up the Valentinos, who played next. When they started out almost two years ago, they were poppy. Very poppy, almost cold and stiff. But, over time, their mutual interests have finally gelled. Eric, the lead guitarist is starting to look like Bob Quine (Robert Quine died last week, he was in the pioneering art-damage punk band Television, involved in the Voidoids, and played with Matthew Sweet for the past ten years or so), and it's truly ironic, considering how much he's playing like our dear departed guitar genius. They've also added more keyboards. Before, Eddie (the drummer) was playing the keyboards on occasion, but now they have George (courtesy of Bisou Bisou) playing keyboards full time, and occasionally filling in on guitar when they all change positions from time to time. They were all wearing dark suits, and just sounded slick. Not boring over-produced slick, but Roxy Music casanova don't trust these guys slick. Maybe sick is a better word. Oh, and Eric had his three little boys dressed up in grey suits and hanging out at the back of the stage. Cute. Back in Spades came up next, and I think if you've been reading my site for awhile now, you have an idea of their sound. This show wasn't especially exceptional, but it wasn't bad, either. Definte up-and-comers. Former Dirtbomb Tom Potter's new revue, the Detroit City Council came up next with their Meters/early Funkadelic funk. Their new bassist, Spoon really adds a lot to the mix. I have no idea who the previous bassist was (it seemed to change a lot for awhile there), but this one is hott. Yes, that's hot with two 'Ts'. This man knows his shit. He sounds like all he's ever heard is the Meters. I was lovin' it. The drums were tight (current drummer was the previous one in Easy Actions - see above), the guitar was light like early JBs, Potter's occasional vocals weren't too much or too little, just right. Plus, Blackman from Soul Clique provides vocal support - occasionally lead, occasionally backup, and occasionally just there to have a good time. Unfortunately, their set was a little overshadowed by bad sound. I know most people don't notice these things, but I do, so it bothered me. Oh well, the set was tight. For the next hour or so, I disappeared. Oh, I was hanging out by the dunk tank. It seemed like it was just an endless line of "the men of the Majestic" getting up there. They offered me money to do it, and I refused. I think the next band I saw was PAS/CAL. I was doing something else, but I was able to hear them and they sounded good. Poppy, but good. I think the last time they were playing somewhere, and it coincided with me being in the same room, I stuck around for about one minute, then turned around and walked out. It just sounded so boring, but they really sounded good on Sunday. Maybe I just walked in on a particularly slow song that time. Whatever. The Hentchmen were tight as always, but they've been slowly pulling their old shit out of their setlists. The new stuff is good, but they have something like five or six albums out. They really need to represent a little more. After the Hentchmen, I disappeared again - I think I went inside. Somehow I ended up with a half-slab of barbecue ribs that I don't recall paying for. I honestly wasn't that drunk...as I was finishing the ribs, I could hear Wendy Case singing "Real Black Girl," so I got off my ass and went back to the Festival. If you're unaware, the Paybacks sound like this: imagine what would happen if Joan Jett had Janis Joplin's voice. Then, imagine that she grew up listening to Cheap Trick. Then, think about what would happen if this woman fronted AC/DC. Is there a smile on your face? There should be. I think I have to agree with my friend Andy, The Paybacks are the best rock 'n' roll band in Detroit. Hands down. It's also no coincidence that the Paybacks' set was the loudest of the ENTIRE Festival. Seriously. Even if you're just the guy who runs the soundboard, you can't help wanting to turn it up to '11' when they come on. You have to, it's required by law. This is Detroit, is it not? Brendan Benson played after the Paybacks, and he's good, he's talented, he sings/writes incredible pop music, but I thought it was a very poor choice for a closing act. The Paybacks should've played last in my opinion. Oh, well, hopefully, they do this next year, and there are twice as many people, and the bands get more into it, and maybe we'll see some special guest appearances.


*listen to Rachel's

6.20.2004

An Open Letter to NYC

Everyone wants to talk shit about this record. They have their reasons. It's been six years since the Beastie Boys released a record of new material. When I heard they had a new album coming out, even I said that they have to do something big if they want to stay relevant, hip, and not get laughed at. At first listen, it's decent, but after listening to "To the Five Boroughs" several times in it's entirety, I have to say I think they've done what I said they had to do. This isn't the best B-Boys album ever. But, it may be their most interesting album since "Paul's Boutique."

When Def Jam records released "Licensed to Ill" in 1986, hip hop critics had a lot to say about it. All negative. They accused the Boys of pirating rap culture and mocking it. I think in their eyes, their joking attitude was just in line with that of De La Soul or the rest of the Native Tongues crew. However, unlike their influences, there was no politics. They were three white kids from wealthy Jewish families. Their lyrics were about what they knew. Black politics weren't all that relevant to them. So they went the other direction. The New York City rap scene in 1986 was busy: EPMD, Gang Starr, Boogie Down Productions, Run DMC, the entire Native Tongues crew, Afrika Bambaataa. There was a lot going on. But, "Licensed to Ill" sounded like none of that. Even the music was nothing like what was going on with the rest of New York hip hop.

Now, in 2004, the Beastie Boys have come full circle. The jokes are light, but they've gone political. I've read a few other reviews in other publications, and it sounds like some people are upset that they've chosen to inject politics into their music. How could you not look around and want to talk about it? No one complained when Adam Yauch (MCA) started rallying to free Tibet. That situation is all politics, but I think the majority of Beastie Boys fans have no idea why Tibet is under the tyrannical rule of China, and don't care. These people hear about Dubya every day on the news, and don't want to hear about him from their favorite rap group. Fuck them. This shit is relevant. Using music as a political platform is rooted deep in the origins of hip hop. Especially New York in the '80s. This record is about them paying tribute to the city that made them. The music, the lyrics, the references are all New York.

This brings me to another point, the music. I've also read some reviews where people are complaining about the music. They're upset because the Boys aren't playing real instruments this time around. They're upset because DJ Hurricane isn't involved, and Mario Caldato Jr.? They've moved on, people. Deal with it. This record's beats are all about Mix Master Mike, who comes to us from Invisbl Skratch Picklz, who practically invented the word 'turntablism'. Oh, wait, no, they were the first ones to say it and define it at the same time. This is a man who knows his shit. He's possibly the only DJ who could sample "Sonic Reducer" from the Dead Boys ('70s punk band from Cleveland who re-located to NYC and made it their home) and make it the basis for a hip hop track (An Open Letter to NYC)that doesn't actually sound like any kind of punk/rap hybrid. Most of the samples on "To the 5 Boroughs" are used sparingly, most are fairly obscure, or at least they're tweaked so much that you can't tell where they're from. Either way, this doesn't sound like a sample-heavy record. Nothing like "Paul's Boutique," which was almost entirely samples.

This may not be the best album from the Beastie Boys, but it is damned impressive. In an attempt to pay tribute to the city that made them, they've made a record that sounds like NYC in 1986. They chose innovation over the status quo in 1986, and now in 2004, they acknowledge the influence of that 1986 hip hop mindset. Buy this record. Seriously. Unless you're really closed-minded and can't accept change, then don't bother.


6.17.2004

Arts In the City

(from Kerri)



DETROIT ARTISTS MARKET JOINS DETROIT SYNERGY
TO PRESENT THIRD ANNUAL“ARTS IN THE CITY”




DETROIT, (June 5, 2004) – The Detroit Artists Market joins Detroit Synergy to present “Arts in the City,” an event designed to showcases emerging and well-established artists who use a wide variety of mediums including dance, fashion design, film, painting, music, photography, poetry and sculpture to express their ideas and visions. It will take place Saturday, June 19 at the Detroit Club, 712 Cass Avenue in downtown Detroit.

“This is the third time in as many years we have presented ‘Arts in the City’,” said Peter Marsh, Detroit Synergy Project Coordinator. “We were honored when the Detroit Artists Market agreed to be the event’s co-presenter. We believe this will be the best Arts in the City yet.”

“Arts in the City” will begin with a Patrons Preview from 6:30-8:00 p.m. Tickets to the Preview cost $50 and include complimentary valet, chef’s signature dish, and an opportunity to meet the artists and performers. Doors open to the general public beginning at 8:00 p.m. Tickets cost $15 and include light hors d’oeuvres. All tickets can be purchased in advance at Detroit Synergy, or they can be purchased at the door the night of the event. Proceeds from ticket sales benefit both the Detroit Artists Market and Detroit Synergy.

“We have put together a very talented lineup of more than 60 artists and exciting performers to keep our guests entertained well into the early morning,” said Aaron Timlin, Executive Director of the Detroit Artists Market.

The program’s entertainers, performers and artists include: Audra Kubat, Joiya, the Bluelake Singers, Tina Tomicic, The Hardcore Detroit Breakin’ Crew, and other Detroit artists, dancers, filmmakers, fashion designers, musicians, and poets.

Compuware sponsors the evening of Arts in the City.

The Detroit Artists Market is located in the Detroit Cultural Center at 4719 Woodward Avenue, Detroit MI 48201, three blocks south of The Detroit Institute of Arts, and one block east of Wayne State University. You may contact the Detroit Artists Market by phone at 313.832.8540 or via electronic mail at info@detroitartistsmarket.org. Exhibitions are free and open to the public. Free on-the-street parking is available. Visit online at: DAM.

Detroit Synergy is a grassroots non-profit organization dedicated to injecting positive energy into the city and creating a stronger community through volunteer-driven projects. For more information visit online at Detroit Synergy or e-mail info@detroitsynergy.org.

Click here for participating artists!

Get involved!

6.16.2004

Just Flesh*

October of this year will be my ten-year high school reunion. First of all, I want to say, yes, holy shit, I can't believe it's been ten years since I graduated from high school. Second, I want to say that I honestly believe that the only people I actually want to see will not go to the reunion. Hell, I may not go. The woman who was supposed to organize it, our Class President, isn't even involved. She's just too busy. She was also too busy for the five-year reunion she promised. Plus, this class reunion is being held nowhere near our hometown of Marysville, MI (near Port Huron). It's at some restaurant in Clinton Township, fifty miles from our high school. On one hand, I'm happy that it's somewhere around the Detroit area, because I hate Marysville, but on the other, I have to wonder what the fuck they're thinking. My friend Lori (who's very excited about this event) pointed out to me recently that our graduating class had 200 people in it. I know I don't know even half of those people. With my luck, they will be the ones who show up. Them and the popular kids and the jocks and the cheerleaders. I guess I just have to hope that the people I went to high school with have evolved like I have and maybe they aren't a bunch of superficial idiots anymore. Maybe they've learned to see the forest for the trees and the book for what's between the covers. Right. I just keep seein scenes from the film "Grosse Pointe Blank" in my head. I think I'm probably the Jeremy Piven character, except I got out, I didn't stay. "Ten years! Ten! Ten ye-ars!


*listen to Turbonegro

To Susan On the West Coast Waiting*

I figured it out. You know why the questions below bother me so much? Because I haven't been completely convinced of why I should feel patriotism for this country. Don't get me wrong, I love living in Detroit, but I also hate it. This place is a shithole, but I've had some of the best times of my life here, and I'll stand by this city 'til the day I die. On the other hand, I've seen a lot of this country, at least 3/4 of the states. I love Central Park in New York City and the Art Institute of Chicago and the subway in DC. I love the Sunshine Causeway in Tampa, and the fields of wind-energy propellers in the Palm Desert (CA). But, I hated our neighbors when I was five years old and lived in Banning, CA. I hate the extreme and seemingly self-proliferating racial polarization in the neighborhoods of Detroit. I hate that I'm assumed to be a racist simply because I'm caucasian. I hate the gunshots I'm hearing right now in my neighborhood (from the city-wide celebration of the Pistons winning the Championship). I hate that the popular vote doesn't truly elect our 'leader'. I hate that I live in a country whose government is currently saying "fuck the world" just to win a war started under false pretenses so they can win back the popular vote (which is a misnomer anyway). I don't care how hippy it makes me sound, I hate war and the fact that almost every war or international conflict that the US has been involved in since WWII has been a creation of the government - created with the intention of stirring up a recessed economy and gaining the popular vote in the (usually) upcoming elections. I know I won't get caught up in any jingoist emotion when the time comes to place my vote (using a machine created by a man who contributed to Dubya's campaign, by the way).

*listen to Donovan

6.14.2004

I, Fuzzbot*

All is not right with the world. It never will be. I don't know why I'm so obsessed with all of this news about how fucked up our government is. I'm usually not one to get so vocal about these kinds of things. Do I want to know that our Vice President (Tricky Dick part II, electric boogaloo) lied about being involved in the decision to choose Halliburton Inc, the company he ran for five years before being veep to rebuild Iraq? It was a no-bid contract! No one else was able to try to get the contract. What do you think he's gonna do when he's not vice president? He's going to go back to running Halli-fucking-burton, that's what! He just made himself 8,000,000,000 dollars! Okay, so I'm sure that even if he did go back to the company, he wouldn't personally make all that money. But...it's just too much. Do I need to know that we live in a country that's saying "up yours" to the UN? Do I need to know that freedom of speech in this country doesn't apply to speaking against the gubbamint? Why is there a movement of shit-ass conservatives fighting to stop the release of Michael Moore's film "Fahrenheit 9/11" from being shown? And, while I'm on the subject, why, oh, why would some Young Republican idiot think that a website about being a "Conservative Punk" is a good idea? Oh, right, 'we're here to educate young punks to make their own decisions and not be biased by the majority of punk sites which are almost always liberal or leftist leaning'. Uh huh. I don't know, maybe it's just me, but I would think that if your goal is to encourage young people to educate themselves and learn more about politics and to make decisions for themselves, then presenting yourself as conservative right up front just seems like a bad idea. By calling your site "Conservative Punk," you're not encouraging people to think for themselves, you're letting them know that you're a Republican and all of your articles and ideas are going to be skewed that way (whether they are or not). Matt Drudge, creator of The Drudge Report is an outspoken and well-known conservative, but you would only know it by reading the articles he writes himself. I'd say maybe 99% of the articles he links to every day are not written by him, they're a balanced view of what's going on. Why do politics bother me? I have bills and a messy room and dinner and my job and women and my music to worry about. I ain't got no time to be worried 'bout all this shit. It's consuming me too much. If I had the time, this site would probably be almost entirely political. Instead, I post articles after I get out of work, and I'm not so riled up anymore. Lucky you.

*listen to Brainiac

The Aristocratic Swells*

Found something else interesting today. This is a sight that lists info, pics, and a general listing of every soldier who has died in Operation Iraqi Freedom. It's really kinda disturbing. The site is a news outlet for the US military, although not an official one. Faces of Valor is a section of MilitaryCity.com.

*listen to Beulah

Theme for an American TV Show*

So, today I was bored at work, something that happens all too often, and I was reading an article on CNN. It was something about the International Council of the Red Cross demanding that the US either charge Saddam, or let him go by June 30th. They said that under international law, a prisoner of war cannot be held once an occupation is ended, unless the prisoner has been charged with a crime. By the way, that date, June 30th is the day that the US is supposed to hand over control of Iraq to their 'new democracy', but I'll only believe that when I see it (the man who was supposed to take over, Chilabi, has been accused of spying for Iran, so who knows what'll happen now). Anyway, I started thinking about international law, and how I've always wondered about the Geneva Convention and the World Court and all that. The idea of 'war crimes' and 'laws of war' has always sounded odd to me. It's always made me think of how there used to be so much etiquette to war, like the way they would line up across from each other in a field. It just seems weird. So, I looked up international law on Google, and of course, the first link that came up was from the United Nations website. I didn't have to search very far to find some interesting items. There's one in particular that really kept my interest. It's the Universal Declaration of Human Rights. Drafted in 1948, this declaration has been in place for well over 50 years. If you click on that link and check it out, you'll start to wonder if the US bothers to acknowledge the United Nations anymore. It's fucking ridiculous. I think the Patriot Act, in it's entirety is a violation of international law. There are so many rights that we're supposed to be afforded by the UN that we may lose if the Patriot Act becomes permanent. Most of the Declaration is very similar to the US Constitution and Declaration of Independence, but it's on a much bigger scale. We're talking about the entire world. The Declaration basically makes fascism illegal. It also makes the holding of prisoners at Guantanamo illegal (because they're being held in limbo with many Geneva Convention violations stacking up). There are 30 articles to the Declaration, and I could go through every fucking one and find an example of a well-known violation in this world, many of them American.

*listen to the Residents

South of Heaven

NOTE TO SELF: Drinking six Über-margaritas (half pint of tequila per drink), three or so beers, and not really eating much of anything besides an omelet, then some hot wings is not a good idea. I don't care what anyone says. The hot wings were good, though. So were the margaritas...and the omelet (loaded with alouette and Black Forest ham)...and the beer, that was good, too. It's getting harder and harder to party like a rock-star, I guess. Maybe that's why I never do it anymore.

still hungover...

6.12.2004

6.11.2004

Exhibit A

Right here, right now is the debut of a new feature of rock|n|roll|scientist: weekly record reviews. Okay, so it may be more often than weekly, but fuck it, it's something interesting. These will not necessarily be new records, just whatever I feel other people should give a chance. This week's record is "Edutainment," from Boogie Down Productions.

In 1990, Boogie Down Productions was merely KRS-One (Chris Parker) and Kenny Parker. KRS-One's original DJ, Scott La Rock was shot dead while trying to break up a fight at a party in the Bronx. BDP were always based in the Bronx, lending a very 'east-coast' sound to their music. Keep in mind that this was before the differences between west coast and east coast hip hop had been played up. They were gangsta but intelligent (conscious), and paved the way for the Native Tongues crew in the early '90s (Tribe Called Quest, De La Soul, Jungle Brothers, Afrika Bambaata, Black Sheep, Queen Latifah, Common, Leaders of the New School, and even Black Star). No other rap act can hold that claim.

I was 14 in 1990. I subscribed to Rolling Stone and SPIN magazine, back when both were actually still interesting. They were my only pipeline to the outside world, outside of the cultural vacuum in Port Huron, MI. I read all the music reviews and articles, and here and there a name stuck out because it kept being referenced. One of those names was Boogie Down Productions. My only source of income at the time was a paper route. Unfortunately, I didn't get an allowance, so that tiny bit of money had to be saved for weeks so I could afford to actually buy something. One day, I was at the local Wal-Mart (shiver of disgust)with my mom, and I was wandering around looking for something to do while waiting for her to find whatever she was looking for. The music section at Wal-Mart was always a big let-down, but I checked it out anyway. There it was: the new album from BDP, "Edutainment." I went to see where my mom was at, and luckily in the 'big box' stores someone can easily be ten minutes away if you take into account walking time, and browsing. So, I took a quick look around the corner, and went to the cashier to buy the tape. I asked for it in a small bag, and shoved it in my coat. My mom would've killed me if she knew I had bought a rap tape. Before this, I had never heard any rap or hip-hop beyond what was on the radio. What was on the radio was crap, with the exception of an occasional Tribe Called Quest or Public Enemy track.

KRS-One is nicknamed "the Teacher" for a reason. Holy crap, I had never heard anything like it. I had never been challenged to question how and why people were racist. I had never heard much of anything about Islam or Buddhism or vegetarianism. Tales of African-American history, smuggling guns, tales of the streets, and a seemingly out of place, but good track about the dangers of eating beef. "Edutainment" was the key, the beats were tight (not just tight as in slang, but tight as in solid, simple and good), the samples were rare but appropriate, and the rhymes just blew me away. I got served, and I got served good.

Ya Strugglin'

6.09.2004

My Baby Shot Me Down

Tonight. Lager House. Detroit. Cheap show, only $5. The Holy Fire and Bang! Bang!. See how drunk Bang! Bang! can get in 15 minutes onstage...


El Scorcho

I know I keep talking about it, but you're gonna hear about it again anyway. Last night was the second show for local band The Whiskey Diaries. The show was free, you shoulda been there, it was solid. Very solid. Broken beer bottles, wobbly bar furniture being used as a stage, and one helluva rockin' show. On the surface, these guys could sound like your garden-variety punk rock 'n' roll band, but then you hear the vocals, and whatever you thought is turned on it's head. Then you see them live, and you start to struggle to pigeonhole them, but you just can't do it. Obviously, that's a good thing. They think that what they're doing isn't being done in Detroit, and they're right. The range of influences between these five guys is staggering, but it all gels in the end: the '70s rock that comes through in the occasional short guitar solo, the pop angst crossed with "Rise Above" era Black Flag vocals, and the metal. Yes, the metal. I'm not talking about these newer crappy pop bands that people call metal. Nothing like Staind, or any of that crap. The bass brings to mind AC/DC, and that's no accident. All the important facets of punk rock and rock 'n' roll are well-represented here, and the band-members' thorough appreciation of the music is coming through in their own music. Oh, and they finished with a smokin' cover of "Search & Destroy" from the Stooges. Jason, the singer didn't have to do much to try and imitate Iggy, in fact, I'm starting to think that if you really feel it, you're not trying to imitate him, it just happens.

I'm a streetwalkin' cheetah with a heart fulla napalm...

Detroit Rock City

Just a reminder: June 19th and 20th, the Majestic Theater Center (Magic Stick, Garden Bowl, Majestic Cafe, Majestic Theater) will be hosting the first annual Rock City Festival. This is big, kiddies. Bigger than most of the other local summer festivals, because this one is almost exclusively about the music, and it's completely free! There are over 30 bands on 2 stages and over 7 artist booths. All of the artists are Detroit-based or Detroit-related. You can see hard-working locals like the Dirtbombs and the Hentchmen and the Sights, pop geniuses like Brendan Benson and Saturday Looks Good to Me, up-and-comers like PAS/CAL and the Avatars and Back in Spades. There's just so much. The artist booths will feature local "rock 'n' roll" artists as Glenn Barr and Mark Arminski. The Dirty Show will be featuring artwork. There'll be drinks and food available at a cost. All of this will be in the back lot of the Majestic. That night, all of the Majestic will be open for business as normal, and you can come and see yours truly DJ inside in the Garden Bowl from 9pm to 2am. The Festival runs from 2pm to 11pm on Saturday and Sunday. The organizers are expecting 15 to 20,000 people to attend this first-ever event. Each and every Detroiter who knows what rock and roll is all about should be there.


A dog that knows no boundaries vs. my can of PBR

Last night, I was at a barbecue at my friends Janna and Laura's house. I was drinking a can of PBR, and standing on the grass next to the deck. Other friends, Cheryl and Brett were there with their dog Loki, a 7-month old Great Dane puppy. If you're familiar with Great Danes, then you'll know that even at 7-months, he's the size of a small car. This is a very large dog. So, I'm standing there talking to the dog like he's a regular person, it's a weird habit from when I was little. I have my face right up to his, and I was talking to him about the weather. I backed up for a minute, and he swatted my beer right out of my hand. I guess he felt that if he couldn't have a beer, I couldn't either. Keep in mind that he was named after the Norse god Loki, who stood for a world without boundaries. Yeah, exactly.

dogs have feelings, too

6.08.2004

Oh! Sweet Nothing

(I first encountered Robert Quine when I first bought a Matthew Sweet CD in the early '90s. I soon found out his importance in the New York art damage/punk scene of the late '70s/early '80s. Then I got into Television, and the Patti Smith Group, and everything relevant that followed. He will be missed. RIP)

Guitarist Robert Quine, one of punk rock's most daring soloists, was found dead Saturday (June 5) in his New York apartment. He was 61. According to close friend and guitar maker Rick Kelly, who discovered Quine's body, the musician died of a heroin overdose Memorial Day weekend. He had been despondent over the recent death of his wife. Born in Akron, Ohio, Quine was heavily influenced by the Velvet Underground, whose music he recorded obsessively while living in San Francisco. He moved to New York in 1971 and became the lead guitarist for bassist Richard Hell's important group the Voidoids, with whom he recorded two albums. His skittering, unpredictable work with Hell defined the possibilities of punk guitar. During the '80s, he recorded and toured frequently with Lou Reed and played on saxophonist/composer John Zorn's best-known albums. Quine made key guest appearances on Tom Waits' "Rain Dogs" (1985) and Marianne Faithfull's "Strange Weather" (1987). In 1989, he began a long association with Matthew Sweet; he also worked regularly with Lloyd Cole. In 2001, Universal released a three-CD box of Quine's live 1969 recordings of the Velvet Underground, "The Bootleg Series Volume 1: The Quine Tapes." "He was a marvelous guitarist, a soulful music lover with high standards and had an eviscerating wit," Patti Smith Band drummer Jay Dee Daugherty said. "He did not suffer fools gladly, but made up for it with a thinly disguised generosity of spirit."

RIP

She Said She'd Never Loved Me

You're hungry, aren't you? You need more. I want to give you more, but I just don't have it in me right now. Maybe tomorrow, I'll be able to write something more when I'm on my lunch break at work. I don't want to work tomorrow. Underpaid, overworked.

Bourbon is good for you

Tuesday, June 8th will be the second ever show for Detroit's very own Whiskey Diaries. The band includes a former member of the Gutterpunx, who is currently also i Back in Spades, a former member of Confiskated and Fourth Ward, and a few others. I can't fully explain their sound beyond it being good punk rock 'n' roll. Think MC5 meets Murder City Devils. That comes a little close, but not quite. They're playing a free show at the Garden Bowl (in lovely downtown Detroit) with two other bands. The WD will be playing third around 11pm. Did I say it was free?

6.04.2004

Liberte

Tonight. Friday night. Detroit. The Magic Stick. Free show. Auf Der Maur. Melissa Auf Der Maur is a former member of Hole and the Smashing Pumpkins. Her new rock and/or roll band is playing a free show at the Magic Stick tonight. Doors are early at 7pm, and your humble narrator (aka DJ Gutterball) will be DJing all night after the show.

I wanna rock like it's 1995

6.01.2004

Grand Theft Autumn

Also this weekend, Braid played at St. Andrew's on Sunday evening. Okay, it was more like Sunday afternoon, doors were at 4:30pm. Got there just in time to miss the opening bands, because we weren't going to sit on the floor in front of the stage and cry with all the emo kids. Andy and I both really wanted to see this show, even though all we have are their two compilations of singles. They were probably halfway into their set before I heard a song I knew, but it was still all good nonetheless. People say these guys are an emo band, but I don't know. I heard time signatures that reminded me of early Sonic Youth, and shout-along choruses that sounded as anthemic as Pegboy. Hardly emo. I'm sure there are a million bands out there who try to sound like Braid, and they might sound whiny and annoying, but that's not what I heard on Sunday. Also, I don't know if Andy and I influenced it, but at some point, they asked the crowd what song they should play next. When most bands do that, they have no intention of taking a cue from the kids in the audience, they already know what they're going to play (you can see the setlist if you can get close enough). Both of us wanted to hear "Roses in the Car," and they actually played it. Couldn't see the setlist, don't know if they planned on playing it, but we were happy.

Clark Kent is Superman

Beeps and Boops

The Movement Festival is definitely something I have no room to talk about. I was only there for maybe an hour on Monday and it blew. I know, a lot of you out there hate electronic music anyway, but I do like it, so bite me. It's not the band I hate, it's their fans. We walked around a bit, and I didn't see anyone performing whom I particularly wanted to see. Unfortunately, I was a hungover mess from Friday night (see below), so I didn't get to catch my friend Greg at noon on Saturday (it takes an awful lot to get me going by noon on a Saturday on a holiday weekend, lemme tell ya), so I didn't get to see that. I also missed the Translocation show at Submerge, but I've seen some of the work elsewhere, and I have to say, I wish I hadn't missed it. I think the festival itself just wasn't as big as I've seen it in the past. It's been maybe two years since I've gone, but it just seemed...lame. I know, all of you out there who hate this stuff are thinking, "well, yeah, of course it was lame, it's techno!" Whatever, the festival itself isn't even about the music anymore, it's about all the people who come out for it. Even that facet was boring on Monday. There were people there, but it wasn't so crowded that you couldn't move (like it's been in the past). It seemed like there were less stages, too. I also noticed that less local labels were represented by vendor booths. In fact, the whole thing felt like a circus, complete with idiots wearing Dr. Seuss hats and suckin' on pacifiers. They even had those little trailers with all the lights that sell funnel cakes and elephant ears! It's Detrot's amazing techno circus! Come one, come all, give us your money, suckers! By the way, I spelled Detroit incorrectly on purpose because that's the way it was spelled on the marquee at Hart Plaza. And ya know what, it was noticed on Friday (I know because I saw it on Detroit Luv), yet it still wasn't fixed through the entire event. Nice. They didn't even have a complete schedule available until days before the event, and if you wanted to buy a program complete with a schedule, it cost $5. Totally ridiculous. I think next year, I'm just going to avoid this thing altogether.

my glowsticks aren't glowing anymore

Fulfilling the Prophecy

As previously promised, the rock 'n' roll show this past Friday was truly rockin'. Would I ever lie to you? I admit, I didn't see all of the bands, and I took the road less taken earlier in the evening, so I wasn't right as rain for most of the night. This just means that I went on a brief detour before the show, and said detour involved a very large double shot of ridiculously overpriced bourbon, as well as another double shot that was Dewar's, and people wearing suits and ties and a piano bar. I, however, was not wearing a suit or a tie, and in fact enjoyed being at this upscale restaurant without looking upscale. It's fun, you all should try it sometime. It's called The Whitney, and it's located on Woodward at Canfield in Detroit. The bar upstairs has no dress code, and it's fun freakin' out the bourgeoisie once in awhile. Anyway, back to the show. I did manage to catch The Sights, The Hentchmen, and a too-short duet between Eugene Strobel and Marty (the musician who was being benefitted by the show). Unfortunately, I didn't catch their whole set, but I think they only played a handful of songs, and they were all covers. What I did hear was the last song, and I think it was a Simon and Garfunkel cover. It's good to see that just because you're used to seeing these people rock out, they actually can play softly and sing well and play in a different context than normal. The Hentchmen put on a stand-up show as always. I didn't hear many of the 'hits', but hey, what can ya do? Any time the Sights play, they're almost always my favorite band in the lineup, and Friday night was no exception. They opened with their cover of gospel singer Mahalia Jackson's "Every Day I Live the Life I Sing About in My Song," and closed with Ray Charles' "Sticks and Stones." Both songs seem to have become a regular part of their setlist. It also sounds like they've been re-working some of their older stuff. Those songs sounded good, too. Impressive, in fact. Some of 'em sounded like totally new and different songs. Also good to see is their original drummer Mike Trombley back in the fold. I don't know the particulars of why they've been through more drummers than Spinal Tap (they've all been good), but it is good to see Mike back up there.

I've been abused...right from the start