compare & contrast

look at this, then go and look at this, noting, as you do, what's been happening here.
rotflmao, etc (i genuinely lol-ed at the uncyclopedia entry).
it's the wtfibc ritual again, and as nancy baym argues in this book:
“These codes can serve the role that artifacts can serve face-to-face, providing central objects around which the group can define itself” (Baym 2000: 116).

she goes on to suggest that:
“when an audience becomes collaborative, it changes what it means to be a fan” (ibid.: 117).

if i'd seen the book before, i'd have used it in the thesis. the ref is:

Baym, Nancy. 2000. Tune in, Log on: Soaps, Fandom and Online Community. London: Sage.

the following also seemed pertinent:

“Variability in usage … partly reflects synchronic dialect differences among groups that are extremely identity conscious to the point of exclusiveness. Each group will have its favourite jargon, its ritualized utterances … The use or non-use of emotes is one major dialect boundary – what I suppose we could call an isocybe … linguisitic metadiscussion seems to be commonplace in computer-mediated chat situations. It is in fact a perfectly normal manouvre, especially when real content is lacking, for a group to look in on itself, and start talking about how it talks” (Crystal 2001: 189).
the quote's from this:

Crystal, David. 2001. Language and the Internet. Cambridge: Cambridge University Press.

in other news: thesis got 795 downloads (and 0 reviews, at least not here). i couldn't help but notice, however, that tykal had posted this (i noticed you noticing, and so on). also, david silver says here that these guys are gonna review Cybersounds soon: cool.


however, i'll be here all weekend.


iaspm 'pod sound' tunage

i got to do a pod sounds for the iaspm uk & ireland newsletter, which should be out round about now. it went like this:

killjoy: britney stole my crackpipe
my favourite britney breakcore mash-up by a long shot, killjoy, hailing from somewhere in australia, pits britney’s "outrageous" against rough and dirty sounding amen breaks and a rather ridiculously heavy synth/bass line, producing something which is both exciting, funny, frantic and cool. like most successful plunderphonic material i come across, it has significantly increased my respect for the 'original'. the track is on last year’s kamikaze club 5, one of a series being released by rotator’s peace off label in france. this stuff is the staple of my musical diet.

the church universal and triumphant inc. feat. elizabeth clare prophet: dedication to the tackling of the beast and the dragon – the momentum of rock-n-roll
always a great ice-breaker, this track is on sounds of american doomsday cults vol. 14, and is basically a pretty bizarre chant by the eminently google-able elizabeth clare prophet. she throws around the names of all sorts of supernatural and religious entities, and, like the rest of the pieces on the album, all with the aim of destroying something called rock’n’roll, which she here describes as ‘the great anti-freedom force of the planet’. i haven’t been able to source any of the other albums in the series.

plastic little: holla plastique
from their debut album, she’s mature, this hilarious hip-hop act is raunchy lyrical genius. cites the smiths (among many other things). this oddly moving track is my favourite on the album, even though elsewhere they sample pj harvey, and name-drop the four houses of hogwarts. anyone who carries on like that is always gonna be fine by me.

louvin brothers: i wish it had been a dream
this beautiful piece of heartfelt country/bluegrass from the tennessee duo never ceases to startle me. someone told me recently that these guys were a big influence on the everly brothers. they’re all about cheatin', drinkin', and baptist fundamentalism. ira apparently got shot 7 times by his wife and survived, only to die in a car crash shortly thereafter. perhaps the quintessential hillbilly ballad.

cephalic carnage: rehab
not a version of the amy winehouse track, but complex, fast, dark, and very heavy stoner grind from colorado – or 'rocky mountain hydro-grind' as they call it themselves. 'spewage' grunting and squealing, meticulous blast beats, and lots of odd time signatures and tempo changes all contribute to the flawlessly executed mayhem. relapse records put out quite a lot of this kind of stuff, which is smarter and more 'intellectual' than most of the sludgy, deliberately awful grind and death metal i also happen to like. there are lyrics to this track, which came out on exploiting dysfunction back in 2000, but they’re thankfully largely unintelligible. i liked it so much, i bought the t-shirt.

slits: ping-pong affair
dub-punk blues from 1979, when the average age of this legendary band seems to have been 17. the entire sound of this tune just blows me away, the spaciousness of it, the drums, the vocal harmonics, the poignancy of the bass, the nuance of the lyrics and how they hit home, ari up’s brilliant delivery. enough said really.
pzg: lazy rasta-raver emulator
prime polish breakcore, with an emphasis on the chip tune/8-bit side of things. tons of sampled video game melodies, gabber kicks and heavy breaks. simon reynolds has recently suggested that burial, and the dubstep movement in general, imply that rave is dead. if this is the case, people like pzg are either laughing at its corpse, or performing necromancy (maybe both). this track is on pzg’s ep, i’m not stoned. i don’t know quite why it should be that poland (kielce specifically, i think) produces so much great breakcore, but they’ve got pzg, strog, i:gor, tunefreak, ciastcore … if i could only have one polish breakcore tune, it’d be a toss-up between this and strog’s apocalyptic "paranoid mash-up".

crass: bata motel
i used to own penis envy, and a fair amount of other crass, on vinyl; i don’t know where any of that stuff has gotten to now. crass made a huge and lasting impression on me in my early teens, and are one of the few bands from those days that i still return to (along with, sometimes, black flag and the butthole surfers). "bata motel" was the first track to ever really tune me into feminism, in an embodied way i find now i can’t quite describe. what is there to say about the martial percussion, the melancholic synth, the thin and strident guitar, the lyrics? some people suspect that crass are boring, humourless, repetitive, ideological dogmatists (they’re peculiarly like whitehouse in this regard), but i’m all for that sort of thing, and this remains a beautiful, desperate and impassioned album, and probably their most sophisticated work musically and politically.

toxic lipstick: mr. mcgrottm
two young women from sydney, who i think have now moved to osaka. i have one of their albums (when the doves cry), but this is the first track of theirs i heard, on the midi_sai hit parade compilation. among the distorted drums and vocals and drastic bleepy melodies, the brilliantly obscene and surreal wit of this tune continues to reward, and the rhyming scheme alone warrants repeated listening. i wish i knew of more raw, lo-fi, electronic riot grrrl of this kind (they would probably shudder at such a label).

king geedorah: the fine print
the prolific mf doom under one of his numerous aliases, for me this is the stand out track on 2003’s take me to your leader. characteristically crunchy beats (treated human beat box in this instance) a triumphant horn sample, and an incredibly funky flute riff are what really make it (it took me a while to recognise that the atmospheric drone in this tune was actually a looped symphonic drum roll), but then there’s doom’s usual laconic delivery and amazing rhymes. doom used to be in kmd, who got dropped from their label for controversial content around the same time his brother – who was in the band – was killed in a car accident (in another rhyme doom refers to him as 'the hendrix of hip-hop'). doom went incommunicado for a few years, and was then reborn as the brilliant, bragging, drawling, mask-wearing, drink-you-under-the-table wordsmith and poet we know today.


did you notice how i slyed the strog in there? right-click and 'save target as' eh. although, firefox doesn't seem particularly into that i just noticed.


no/yes/no/yes/no/yes/no/yes etc.

this incredible video was pointed out to me a week or so ago - kingscourt is the next town out from me as you move away from dublin, and is literally the first town 'beyond the pale'. the guards got in trouble for the way they dealt with the guy on the phone, and for the fact that this film was made and distributed (the latter is perhaps a feature of the former). in dramaturgical terms, the backstage 'leaked' into the frontstage, and this is not quite how the guards would like themselves to be seen - the irish police are however famous for this discrepancy. what struck me about it, though, was the caller's rather unusual intonation (leaving aside, for the time being, his interactional idiosyncrasies). conversation analysts like to point out that where a repetition is produced in interaction, it often features prosodic variation, as when a caller not sure whether a connection has been made goes 'hello? ... hello ...' altering the intonation slightly each time. that is not the case with this caller. its hard to tell who gets the last laugh in this dialogue.



views from the steps of the capitolio building:

this is the ballet school:

the capitolio itself:

spiderman 3 was on:

santería initiates dress all in white:

disintegrating habana vieja and centro habana:

outside the university library:

hardcore socialist breakfast at the hotel lido:

you can have anything you want, so long as you want dry toast and egg with processed cheese and ham. the food was not great.

on the other hand, they don't have any advertising (they do have cable though). the billboards only feature patriotic revolutionary messages. they don't really have people from the u.s. either, even though americans are allegedly all into 'freedom' and all that, they're not allowed go to cuba - one of many of the bizarre anachronisms which make cuba so remarkable. for the average cuban, though, i expect the relative scarcity of u.s. citizens is the least of their worries: the real upshot of the embargo is of course a longstanding and extremely destructive absence of pesos.
in front of the soviet tank castro used to personally kick imperialist ass at the bay of pigs:

there is also a cult of personality around che, who is on the currency, the ministry of the interior building, etc..
before carnival started along the malecón, lead by the coco-taxis and then the colectivos:

floating in the florida straits:

there's also some audio from carnival. these aren't great quality, and don't really tell you much about how crazy carnival is, but you can hear it alright:
carnival bands 2
it was mostly like that, say 20 drummers and a couple of horns, and then between 30 and 40 dancers immediately in front of them, moving slowly up the malecón. there were also a few floats with amplified bands on them, like these:
carnival band w soundsystem
carnival soundsystem
this is my favourite recording though, an hour or two before carnival started, we walked past these kids on the street with a load of homemade percussion instruments, mostly old pots and pans nailed to blocks of wood and the like. we couldn't work out whose shoes it is that make that clipping sound you can hear towards the end of the recording. but will anyone care? probably not. yack yack yack.



just back from cuba. i'll get to that shortly. in the meantime here's some fuchs, i was looking for these while updating my zombie myspace account.

both of these have, at one time or another, been my desktops.