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Sunday, December 06, 2009

James Aloysius Joyce, OG Turntablist

I'm up to "Nausicaa" now, but a couple months ago while I was reading "Sirens," I realized that all its playful echoes of lines and phrases from the earlier parts of the novel basically amount to sampling.

Take, for instance, the famous opening sentence of "Calypso": "Mr Leopold Bloom ate with relish the inner organs of beasts and fowls." That's old ha, old high grade ha. In "Sirens," we get that line cut up, reworked, and dropped into a new context: "As said before he ate with relish the inner organs, nutty gizzards, fried cods' roes while Richie Goulding, Collis, Ward ate steak and kidney, steak then kidney, bite by bite of pie he ate Bloom ate they ate." We've gone from Bloom eating breakfast alone in his kitchen to him dining at a restaurant with Richie Goulding after a chance meeting on the street.

Of course, we get a common thread that connects the two episodes: Bloom's correspondence with Martha Clifford. In "Calypso," he's receiving a letter from her; in the latter chapter, he's writing a response. The new context of "Bloom ate with relish" then shows how alienated he's become, as he's gone from domestic comfort to a strained, rather lonely dinner that he spends spying on the action of the scene. The contextual change works both way, though; the mood of "Sirens" is melancholy ("I feel so sad"), and as we learn later, it is during this chapter that Boylan is tipping her tepping her tapping her topping her Molly Bloom; consequently, if we follow the connective thread backward from "Sirens" to that kitchen scene in "Calpyso," we see that Bloom's solitude ("So lonely blooming") is quite profound and acute and existed even back then. The very aroma of the earlier chapter subtly shifts all thanks to DJ Joyce's sampling.

Bloom's relish is not the only the only example, but the first off the top of my head (see also the textual introduction of Mina Kennedy and Lydia Douce, which samples their obfuscated debut in "Wandering Rocks") -- and hell, what is the overture of "Sirens" if not a cut-and-paste, sampled collage? So keeping the musical motif of the chapter in mind, the collagist excursions simply lead me to conclude that Joyce anticipated sampling by 40 years.



Indie rating: DJ Shadow - "Building Steam With A Grain Of Salt"

So You Think You Can Dance - Top 10 (6x19, 6x20)

Lots to talk about.




Monday, November 30, 2009

My Second SYTYCD Wind



For all her fabled intensity, Ms. Headphones' routines have been uniformly inert unless they've featured dancers that are naturally overpowering.




Ryan's styling would've been more appropriate to his solo if he had ditched the vest entirely and put on a collar/bow-tie combination.

Indie rating: Pyramids - "The Echo of Something Lovely (Jesu Remix)"

Sunday, November 29, 2009

So You Think You Can Dance - Top 12 (6x17, 6x18)

It's a good thing that Kathryn and Legacy have made the top 10, because many people, some very distinguished, would've been quite upset.



Monday, November 23, 2009

SYTYCD Miscellany

First, a Youtube of Legacy dancing with ~* sWoOn *~ Rino from the Beat Freaks:



And after the jump, a gif of Cat that disproves her claim that she can't dance.


Sunday, November 22, 2009

So You Think You Can Dance - Top 14 (6x15, 6x16)

Welcome to So Close, Yet So Far!




Sunday, November 15, 2009

So You Think You Can Dance - Top 16 (6x13, 6x14)



Being an unrefined glutton, I really enjoyed this week's performances, even though if I do the math, the parts don't add up to an overwhelming sum:

Hustle - tolerable
Jazz - quite good
Quickstep - fun
Broadway - :D :D :D
Contemporary - yawn
Hip Hop - enjoyable
Salsa - my eyes, the goggles do nothing, etc.
Afro-Jazz - acceptable

I should note, though, that even when a routine was horrible, such as Nathan and Mollee's number, it was entertainingly gruesome, and so the top 16 show still comes out ahead.

Kathryn and Legacy's Broadway, choreographed by Andy "Thank God It Wasn't Tasty Oreo" Blankenbuehler, was fun from beginning to end, and even provided a genuine laugh-out-loud moment when Legacy lunged for his hat on the ground but Kathryn pulled him back. The judges were right that Kathryn wasn't a vivacious, headstrong mama, but that didn't bother me because the spunk she brought was too entertaining to think of such trivial minutiae. Throw in Legacy's awesome tricks, and the Broadway was easily the routine of the night.

In fact, the thing that's probably sustaining my interest so far this season is this duo, who, to my eyes, are the most well-balanced couple on the show and who have for three weeks running surprised and astonished me. The surprise factor directly leads to my fondness for them -- Legacy getting positioned as a limited street dancer, along with all of the internet's pre-Top 20 negativity, set expectations for him at a low level, as was the case with Kathryn, with whom we weren't familiar until she was portrayed as an emotional spoof, a punchline. But then, when they've succeeded as strongly as they have thus far, they bring an exciting sense of wonder and magic, which is hard to capture on this or any show and thus is the vital essence that helps push a reality program above the usual dross.

The Janette and Brandon juggernaut didn't spark this sort of magic last season, but that's because you could see them as contenders from miles away, notwithstanding certain anomalous voting patterns that shall go unmentioned. Instead, I'd have to go back to Katee and Joshua to find the same kind of wide-eyed astonishment that Legacy and Kathryn have thus far provided, though I remain a little wary of proclaiming Team Cries-A-Lot this year's power couple (especially since I condemned premature proclamations as recently as last week), but the parallels are seductive (if simplistic and kind of inaccurate): hip-hop guys known to shed tears, a contemporary girl who alienated viewers with her actions/personality during the Top 20 reveal, debuting with a highlight hip-hop number in the first week of competition, and a highly potent, inarguable squee!!! shippiness factor ("Joshua is my boo"/Legacy pointing to Kathryn when he was being praised for his growth (it's a blink-and-you'll-miss-it moment)).


Monday, November 09, 2009

No!elle Made Saving Throw Against Good Taste

An interesting tidbit from E!, where Jennifer Godwin talks with the three judges after the last elimination. Quoth Nigel: "I didn't want to lose two tappers tonight, but we decided it was Phillip [...] early on." Shankers says that Noelle was similarly on the chopping block beforehand but that her solo constituted a last-second save.

Indie rating: Julien Neto – "Questionable Things"

Forty-Eight For Work

Ever since my said we couldn't bring mp3 players to work (regardless of the security issue, I'm still horribly unhappy with this decision), I've been lugging my 48-CD Case Logic with me every day. Well, it's not hard to carry it with me, since 48 isn't a lot, but that was sort of the issue, I felt, that I can only bring less than 10% of my CD collection. Of course, the last few years, I've tended to listen to a small handful of albums at any given time over and over again, so at least theoretically, I'm able to bring what I want to listen to. The stickiest issue is that last part: what I want to listen to.

I have a hard time anticipating what I'd be in the mood for, so I ended up going with a fairly safe if not exactly wide range of my albums. I don't want anything particularly difficult or something that absorbs or envelopes my attention to the point I can't work, and, through my listening neuroses (alas, I haven't brought my Neurosis), hardly anything I'd consider an all-time favorite (which I tend to "retire" from my personal rotation -- that's another topic altogether). For instance, no Cocteau Twins, because their music is to me intensely intimate and personal; same with Mogwai and Labradford. Similarly, I don't bring my metal or punk, because at work, I rarely want to rock out, much less with my cock out, meaning barely any Boris (certainly not Pink) and barely any Sleater-Kinney. Strangely enough, though, I've brought my Fennesz, whose dissonance hardly qualifies him for easy-listening but is sufficiently ambient to maybe get by. But then, I've included a number of CD-Rs that breach the above rules -- they are utterly beautiful (Colleen!) or are face-melting skronk (Bardo Pond) -- simply because I have no other place to put them.

  1. Ellen Allien, Berlinette
  2. Aphex Twin, Selected Ambient Works, Vol. 2 CD2
  3. Aphex Twin, Selected Ambient Works, Vol. 2 CD1
  4. Bardo Pond, Volume I
  5. Bardo Pond, Live 2003/07/12
  6. Bardo Pond, Terrastock 6
  7. Vapour Theories/Prairie Dog Theories, Live
  8. Lightning Bolt, Wonderful Rainbow
  9. Colleen, Mort Aux Vaches
  10. Mirah Yom Tov Zeitlyn and Ginger Brooks Takahashi, Songs from the Black Mountain Music Project
  11. Nelly Furtado, Loose
  12. Fennesz, Venice
  13. Electrelane, Axes
  14. Sneaker Pimps, Becoming X
  15. Boris, Akuma No Uta
  16. Paula Frazer, A Place Where I Know: 4-Track Songs 1992-2002
  17. The Knife, Silent Shout
  18. Yann Tiersen, Amélie Original Soundtrack
  19. The Silver Mt. Zion Memorial Orchestra & Tra-La-La Band with Choir, "This Is Our Punk-Rock," Thee Rusted Satellites Gather + Sing
  20. Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La Band, Horses In The Sky
  21. The Mountain Goats, The Sunset Tree
  22. Fuck Buttons, Street Horrrsing
  23. The Raveonettes, Lust Lust Lust
  24. The Raveonettes, Pretty In Black
  25. Sleater-Kinney, The Woods
  26. Stereolab, Transient Random-Noise Bursts With Announcements
  27. Stereolab, Mars Audiac Quintet
  28. Stereolab, Emperor Tomato Ketchup
  29. Stereolab, ABC Music CD1
  30. Stereolab, ABC Music CD2
  31. Gescom, Keynell
  32. Cat Power, You Are Free
  33. Yann Tiersen, Les Retrouvailles
  34. Camera Obscura, Let's Get Out Of This Country
  35. Slowdive, Just For A Day
  36. Can, Tago Mago
  37. Ladytron, Witching Hour
  38. Ladytron, Velocifero
  39. Can, Soundtracks
  40. Can, Monster Movie
  41. Sleater-Kinney, Commodore Ballroom, Vancouver, BC, 2000/09/02
  42. Yann Tiersen, La Valse Des Monstres
  43. Flying Saucer Attack, Further
  44. The Ronettes, Greatest Hits
  45. Massive Attack, Collected CD2
  46. Fennesz, Plus Forty Seven Degrees 56' 37" Minus Sixteen Degrees 51' 08"
  47. Dusty Springfield, Dusty In Memphis
  48. Various Artists, Best of Irish Folk Music

Seems that lush noise and work is a good mix, actually. And Can is great coding music, too. Viva le krautrock, or something!

Indie rating: Flying Saucer Attack - "Here Am I"