Loading ...
Sorry, an error occurred while loading the content.

Re: [fearnwhiskey] Clip: Mayo Thompson interview

Expand Messages
  • Kevin J. Hosey
    Thanks for posting this interview, Carl; very interesting. I just found out that Red Krayola is playing here tomorrow/Sunday night, and I doubt I can make it.
    Message 1 of 2 , Aug 5, 2006
    • 0 Attachment
      Thanks for posting this interview, Carl; very interesting. I just found
      out that Red Krayola is playing here tomorrow/Sunday night, and I doubt
      I can make it.

      NP - Pere Ubu, New Picnic Time

      On Saturday, August 5, 2006, at 07:51 PM, Carl Z. wrote:

      > By way of Kevin's Pere Ubu query, Thompson was in the band at the time
      > they recorded the discs he checked out. I prefer his work with The
      > Red Krayola, and if I had more advance notice of their Friday gig in
      > Pittsburgh I would have gone.
      > <http://www.pittsburghcitypaper.ws/music/
      > story.cfm?type=Featured%20Music%20Preview>
      > 8/3/2006
      > A Conversation with The Red Krayola's Mayo Thompson
      > Writer: ANDREW MCKEON
      > The Red Krayola has managed to color in the gray areas between novelty
      > and obscurity for longer than anyone can remember. Anyone, that is,
      > but founder Mayo Thompson. It all began with a haphazard freak-out in
      > Houston, Texas, during the salad days of psych-rock; 40 shape-shifting
      > years later, Thompson's still charging at windmills to get the closest
      > shave from that cutting edge. "There are some things you don't even
      > know that you don't know," he says. So, for my sake, Thompson
      > elaborated on the distinctive shape of the Lone Star state, the sexual
      > politics of Rock Hudson's performance in Pillow Talk, and why The Red
      > Krayola just released a new album called Introduction.
      > With so many albums already, does The Red Krayola need an Introduction?
      > I think that maybe we started in the middle of something or at the end
      > of something. It might've been a good idea to cultivate a banal
      > relationship to certain ideas, but it hasn't happened that way. We
      > just finally got around to the idea of introducing ourselves, you
      > know. We're working our way back towards the beginning.
      > Some albums, like Coconut Hotel, weren't released until decades after
      > their recording, really obscuring the idea of "target audience." Were
      > these literally ahead of their time?
      > There's no such thing. Being ahead of one's time implies that there's
      > an intellectual environment and some kind of leading edge in thought.
      > I mean, it's a very particular idea — particularly to those who think
      > they're still on the leading edge.
      > With its revolving membership, does The Red Krayola become each
      > successive point of reference that you record and release?
      > We call them records, you know, because when the band got together at
      > a certain time and place, that was its shape. … It's like "What am I
      > going to do today?" Hopefully not something just to be doing it or
      > something I've done before, even though 99 percent of everyday life is
      > repetition. One of my favorite films, philosophically speaking, is
      > Groundhog Day.
      > You produced The Fall's single, "How I Wrote 'Elastic Man,'" a song
      > about a question with no answer, about fans of one song becoming the
      > subject of another. Did Mark E. Smith enjoy making a subject of the
      > audience?
      > Part of Mark Smith's problem, and I don't mean that in a negative
      > light, is that his role is to regulate the people who are listening to
      > him. He has to be careful, so the only way to manage that relationship
      > without making himself and everybody else miserable is to keep the
      > ground moving. You can see that Mark is consistently trying to keep
      > alive the idea that you can express yourself without saying a thing.
      > You can especially hear it in his song, "Repetition." It's such a
      > great send-up, but you may not realize it until you have a
      > Groundhog-type day.
      > How does the term "outsider art" make you feel?
      > Ugh. Weak in the knees. Like when you're talking about a guy like
      > Henry Darger. That guy, everybody looks at him and thinks he's nuts.
      > But, he was an insider. He was right in the middle of the action,
      > right where it was all happening. … And I'm sure he appreciated it
      > because he didn't think of himself as an outsider. He just thought of
      > himself as an artist.
      > The U.S. occupation of Iraq?
      > I wish we had not gone to war there. My impression is that the
      > government is trying to install a new world order and, I mean, I'm
      > going to find a way to talk about it and force the issue with music on
      > every record I make … I was thinking about that last night, about how
      > George Bush and I are from the same generation. We grew up with the
      > "sword of war" hanging over us and I think that this generation of
      > young people is facing it with quite the same sort of vengeance that
      > we had.
      > Your new album closes with the line, "Everything we ever dreamed of is
      > true." Is that why nightmares become daymares?
      > I'm glad you can hear the two faces to that little story in there
      > because there's a whole other meaning. See, the face value of a homily
      > like "home sweet home" forgets about all the possible meanings of
      > "home," "sweet" and "home." But, I like the ambiguities.
      > Ever wanted to be known as someone who "needs no introduction"?
      > [Laughs] No, but I suppose I always wanted to run with those people,
      > in some sense.
      > Yahoo! Groups Links
    Your message has been successfully submitted and would be delivered to recipients shortly.