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WRECK: Yma Sumac vs Jaap Blonk! [PLAYLIST]

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  • ninplant@xs4all.nl
    wReck thiS meSS ‰ Radio Patapoe 97.2 ‰ Amsterdam Adventures in UNsound: no. 172 Wor[l]ds = Jaap Blonk vs Yma Sumac* Maandag, 25 Februari 2002 (17.10 to
    Message 1 of 1 , Mar 9, 2002
      wReck thiS meSS ‰ Radio Patapoe 97.2 ‰ Amsterdam

      Adventures in UNsound: no. 172 > Wor[l]ds = Jaap Blonk vs Yma Sumac*

      Maandag, 25 Februari 2002 (17.10 to 19.00)

      "Tekretteta faffe te koekela dast. Nokenamuu te rizoo za grunnte.
      Selegtega mache un hoenda rast."
      - Jaap Blonk

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      Erinyes > Robert Normandeau [1]
      Koekla Dast > Jaap Blonk & Braaxtaal [2]
      Jivaro > Yma Sumac [3]
      Zood Voolig > Jaap Blonk & Braaxtaal [2]
      Taita Inty > Yma Sumac [3]
      Glag > Jaap Blonk & Braaxtaal [2]
      Ataypura > Yma Sumac [3]
      Riekeleu Vuisma > Jaap Blonk & Braaxtaal [2]
      Air Male [Tone Deaf Jam] > Yoko Ono [4]
      Jungla > Yma Sumac [3]
      Waves > Yoko Ono [4]
      Sauma > Yma Sumac [3]
      Hoe Tarr > Jaap Blonk & Braaxtaal [2]
      Aullay > Yma Sumac [3]
      Glag 2, 3 > Jaap Blonk & Braaxtaal [2]
      Goomba Boomba > Yma Sumac [3]
      Magic Islands [repeat 12] > Curd Duca [5]
      Thanks > Jackson MacLow [6]
      Merde: Cris-Cris Zone Artaud > Christoph Migone [7]
      Hampi > Yma Sumac [3]
      Channel Surf Morpion: Cris-Cris Zone Artaud > Christoph Migone [7]
      Five Bottles Mambo > Yma Sumac [3]
      Bali Hoo > Septimania [8]
      Xtabay > Yma Sumac [3]
      You Are Now Leaving Septimania > Septimania [8]
      Ode to Natural Things > Lynn Book [9]
      Now I Am Yours 2, 3 > Shelley Hirsch [10]
      Temenos > Shelley Hirsch [10]
      Dworr Buun > Jaap Blonk & Braaxtaal [2]

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉
      [1] "Claire de Terre" on Empreintes Digitales <www.electrocd.com> is
      a fairly new CD from one of the champions of breath-taking
      chance-taking electro-acoustic music. And WHY is it that Canada is
      such a breeding place for incredible e-a music? Is it the wide-open
      spaces, the cold air, its strange relationship to the US? ED records
      all seem to have an incredible sense of acoustical gymnastics; the
      sound is very dynamic and creates a very physical atmosphere for the
      compositions. Liner notes: At the center of this work is the voice.
      The voice, but without words - only onomatopoeias, as recited by the
      actors in Electra by Sophocles Š In Greek mythology, the Erinyes were
      guardians of human life whose duty it was to pursue and punish
      wrongdoers. They were known as 'the keepers of the shadows.' The
      princiipal sound treatment was designed to bring out the primitive
      nature of the voiceŠ"

      [2] "Dworr Buun" on Kontrans <www.jaapblonk.com>, through sheer force
      of diction, pronunciation, neologistic nonsense, Jaap Blonk with help
      from sonic sculptors Braaxtaal manages to create an imaginary
      universe, a terra incognita that would be inhabited by the likes of
      Lewis Carroll, Dr. Seus, Jackson MacLow, every scat singer, Captain
      Beefheart, Meredith Monk, Spike Jones, the full range of idealistic
      neologians known as the Dadaists ... And I chose to juxtapose him
      with Yma Sumac because she also through sheer force of vocals and
      personality has been able to establish a dreamland built on ersatz
      histories, mysteries, myths and nonsense, which makes her state no
      more ridiculous than the average state incorporated on lies, might,
      and the questionable tactics and theories of venture capitalism. The
      interesting thing is how close JB comes to creating a new tongue
      somewhere inbetween Dutch, Frisian, Hi and lo German, Nordic and
      Flemish. Esperanto or the scat singing of Nordic jazzmen or are they
      yodels directed at the consumer as sheep, herding them away from the
      precipice of perpetual shopping and consumptive grazing?

      [3] "Shou Condor" on Entertainers. For a website devoted to YS:
      <http://www.sunvirgin.com/>. One of the biggest mysteries and
      anomalies in music history is that of Yma Sumac. A true famous singer
      but eternal connundrum. Legendary octave range, amazing looks,
      amazing prescient sound [ahead of her time and many others' times as
      well] AND a staple in the record collections of many 1950-60s
      parents. Were boring, straight, 9-5 suburban parents onto something?
      Have I not done my homework or has the true identity of Yma Sumac
      just eluded me all these years? Was it mere cynical propagation of
      what became an urban legend of believable proportions when I first
      heard that she was not some Inca princess but a personality makeover
      of incredibly amazing proportions because she was merely Amy Camus of
      Brooklyn -- who or which one is the urban legend? Yma Sumac or Amy
      Camus from Brooklyn? YS has become something beyond herself like no
      one before her save Dietrich and Garbo. She seemes to actually LIVE
      in the virtual paradises sonically manufactured by the likes of
      resurrected genius composers Les Baxter and Martin Denny. But there
      has never been any denying her vocal prowess, her octave range of 5
      or so and her ability to basically be the human embodiment of the
      virtual exotic other, human exotica, the female counterpart to say
      Sun Ra.

      From <http://www.sunvirgin.com/>: After Yma Sumac's very early
      recordings from Argentina in 1943 which were Indian folk music, some
      of which were rewritten for her later albums, often under different
      titles, she recorded through the '50s here in the U.S. with albums
      from 1950 to 1959. There was a live album recorded and released in
      Bucharest, Romania in 1961 and in late 1970 she recorded Miracles
      (released in 1971 in the U.K. and in 1972 in five other countries)
      where she was backed by a four-piece rock band. She cut one song in
      1988 for a Hal Willner-produced Disney compilation, Stay Awake, then
      produced a "remix" CD single herself in 1991, which used some of her
      Mambo! material in the backgroundŠ

      Yma Sumac is a Peruvian singer with one of the most spectacular
      octave ranges and styles ever heard. Her given name is Zoila Augusta
      Emperatriz Chavarri del Castillo; Ima Sumack (or Imma Sumack in other
      parts of South America) is her stage name, based on her mother's
      name. She is from Ichocàn, Peru, a town high in the Andes. She came
      to the United States in the Forties performing with a small group of
      musicians and dancers and was finally contracted by Capitol Records
      in 1950. She made a series of records on the Capitol mostly singing
      exotic Hollywood versions of Incan and South American folk songs

      In 1961, she toured the Soviet Union for six months singing to
      sell-out crowds and an album, called Recital was produced in Romania
      of the show in Bucharest. She also did a number of shows later in
      the '60s in the U.S., most notably at New York's Chäteau Madrid in

      Miracles, a Rock "tour de force", was recorded in late 1970 and
      released in the U.S. in 1972 on London Records. After that, she
      spent many years living in Peru and composing songs she now sings in
      concert. She performed in concert from time to time during the '70s
      in Peru and later in New York. In the 80's, she had a number of
      concerts both in the U.S. and abroad including at New York's The
      Ballroom in 1987. In 1989, she sang once again at The Ballroom in
      New York. March of 1990 found her playing the role of Heidi in
      Stephen Sondheim's "Follies"Š

      [4] "Fly" on Apple vinyl, 1972. As much heat and flak as she takes,
      this early stuff beats the hell out of most of what the ex-Beatles
      were doing then and after. Funny, pretentious, and sonically complex.
      As avant annoying, cloying, and pretentious document this holds
      together as a pretty out-there piece of work. Drugs, ego, creativity,
      love - these elements certainly helped stretch the sound here. And I
      know I'll hear back from a few Beatle vigilantes claiming her as the
      cause of all problems inc. George Harrison's recent passing. From my
      novel-to-be Paris Sex Tete: "Out of the cab emerged Yoko Ono - the
      personification of a Black Hole at this point in her life, into which
      all matter, adulation, intelligence, photo flash, and fans seemed to
      collapse. Yoko jogged toward us just ahead of the swarm.

      The two besmocked girls leaped up and down yelling "Yoko! Yoko! You
      must sign our canvas!" The French girl grabbed my marker, handed it
      to Yoko.

      So suddenly there we were: me, Yoko and the two besmocked girls
      surrounded by the swarm of paparazzi and cogniscenti. Then it was
      just me and Yoko. She added a swirling flourish that could have been
      anything - and art too as long as we all agreed. "PEACE YOKO
      FOREVER." We all knew it was art. I stood stock still, straight as a
      signpost offering directions to nowhere. Just me and Yoko surrounded
      by some 300 fame groupies and photogs. I faced the swarm, nodded my
      head at Yoko. She was regal. I was paralyzed.

      And - whoosh, like that - she was whisked away again through the
      buzzing swarm of wellwishers, people who reached out to touch her
      clothes, like the faithful line the parade route of the Pope.

      In the aftermath, I asked the French girl for my marker back. She
      handed it to me without looking. And in the presence of a drunk, a
      tourist snapping shots, and Suki, I finished my impromptu work with
      "... ART'S NOTHIN BUT A SPIRITUAL F/ART" and signed my name as the
      besmocked French gal next to me began pogoing and yelling in a French
      accent: "Fucking people! Fuck you! I Love You Yoko. You Are A Genius!
      Long Live Lennon!"

      [5] "Easy Listening" on Normal Records, 1997. Now on Mille Plateaux
      ["Elevator 1-3"] <www.force-inc.com> with a devastating series of sly
      petrie dish cool exotica. I have played CD since the beginning. I
      have written several reviews of his material which is best described
      as existential exotica, meaning that as soon as you find yourself
      being led somewhere he cuts you off. short trax, no chances to wallow
      in one's regrets, misbegotten thoughts...Attention deficit ambient?
      Urban exotica for coffee drinkers? CD is currently searching,
      traveling and no doubt reorienting the audio trax of his life stored
      up in his Vienniese hard drive. read my interview with CD in Angbase,
      an excellent e-journal devoted to interesting music.

      [6] "Open Secrets" on XI Records <www.xirecords.org>, 1993. I had the
      strange opportunity to take part in an experimental word festival in
      Heidelberg some [many] years ago now. One of the participants was
      Jackson MacLow and ___. Another participant was "Iron John" poet,
      Robert Bly, who up until that psycho-mumbldey-gook new age macho book
      was regarded as one of America's premier poets and almost as
      well-known as Ginsberg. Bly sat next to me and for some reason had
      taken me under the shadow of his large wingspan. He joked and was
      doing the guy thing with me and fellow word collaborator Mark B. [8mm
      film noir malfeasance]. When JM began performing, Bly could not hide
      his distaste for rareified and clinical analyses of the voice, of the
      word. Hokum, nonsense, pseudo-research is what he thought of it all.
      Well, on some level I have to agree but then as soon as I come down
      one way, some neologian comes along to delight or surprise [Blonk]
      and actually reinvest our own language with new vigor... This MacLow
      does at times but I have to say that the professional avant gardists
      often DO leave me cold as if all entertainment is anethema to their
      self-esteem and audience a mere marketplace irritant... in other
      words, the piece i played defies that but then this is only one
      section of a long CD.

      [7] "Vex" Christoph Migone on Ohm/Avatar <www.meduse.org/avatar/>
      This is a massively ambitious, dense, allusive, elusive,
      frustratingly satisfying or vice versa disc that proposes a sonic
      journey into the grey matter of Artaud, Deleuze, Satie. He was also
      the co-editor of the excellent WRITING ALOUD, an anthology + CD about
      the full extension of language by the agitating and avantly impetuous
      nature of the tongue. It inc. Vito Acconci, Achim Wollscheid, Robert
      Ashley, Alvin Lucier, Amirkhanian, gregory WhiteheadŠ and even myself
      [which amazingly does NOT diminish the book's value in the least!]

      [8] "Welcome to Septimania" Septimania is Jonathan Thomas and friends
      <angeldean@...> and comes to me indirectly via JD King,
      leader of the fledgling ark of post-hyper-decompositional atonal
      beat-free white noise jazz called the Coachmen, itself a kind of
      Flying Dutchman band of virtual multi-personality musicianship.
      Septimania is a precise and accurate foray into post-rock.
      Intelligence beyond good and evil and humor that dwarfs what passes
      for cynical humor in the indie pop market. this is really eccentric
      stuff sounding like mid-80s indie pop with a ph.d in the history of
      the Middle Ages or the Middle Earth. Liner notes: "Septimania is a
      corruption of the latin 'septum provincae' [Seven Provinces]. When
      Emperor Diocletian [reigned 284-305 AD] reorganized the oman Empire
      into dioceses, that of the 7 Provinces constituted the southern half
      of Gaul [France]. After the fall of Rome in 476 AD Septimania
      referred to the coastal fringe extending from Marseille to
      Barcelona." What happens here is we hear the Raymond Scott-meets Jad
      Fair like soundtrack to a documentary of a world founded on pixilated
      characters, cartoonish affections and a nerdy [apologetic]
      fascination with history, the history of under-documented terra
      incognitas, allowing the slender threads of a cloudy history of a
      mysterious [virtual] state to weave a more imaginal temporary
      autonomous zone of resistance to might and realpolitiek hegemony.

      [9] "Strange Familiar" on SF <www.voicelabnyc.com> Lynn Book is
      firmly in control of a voice that has trolled the sonic strata and
      absorbed the sounds of inner and outer space, sounding at times like
      Diamanda Galas being tossed out of a disco, Yma Sumac as a
      submissive, Danielle Dax entering a Swiss tunnel doing 160km,
      Meredith Monk working the thighmaster, Yoko Ono on the right drugs...
      anyway, ululations [even some yodels!] that traverse universe from
      the macro to the micro...

      [10] "States" on Harvestworks <www.harvestworks.org>
      <harvestw@...> Hirsch's work is just bursting with reference,
      source, the need to make hilarious and inspiring pastiches, collage
      operas of everyday existence which combines the concrete, the vivid
      with the expressionistic and the abstract. She is like this human
      tower of Babel, someone who can switch voices, shift continents,
      leapfrog into different eras at the drop of a glottal click. She can
      play breath [breathing patterns] like a Coltrane on windpipe. Humor
      though, is what saves SH from the vast realm of pretentious or at
      least too-self-serious vocal explorers. She has a knack for combining
      homespun memories, fantasy and abstract vocal adventures that create
      a vast and myriad portrait of human foible-rich life. Her slender
      blade-like presence [often performing solo] is able to transform
      itself into something operatic, something that fills rooms, halls,
      spaces with volume with a vast array of singing styles and techniques
      cribbing from yodelers, opera, cabaret, stand-up, pop, jazz, rock,
      musical, and avant expeeriments with sound and vocals. Thematically
      Shelley Hirsch often orients herself on biographical events:
      childhood memories, dreams, déja vu experiences.
      From an as-yet unpublished interview about yodeling with SH:
      SH: But yodeling, I remember one of the first, it was way before '82Š
      In '82 I went to Italy and I was with a friend of mineŠit was just
      the most insane story but we wound up in some tiny little Austrian
      town where everybody was yodeling and he gave me, he didn't want me
      to buy, I got a lot of yodeling things, but I know thatŠ

      WTM: You mean just local discs, records from local shopsŠ?

      SH: Yea, cuz there were all these yodelers out there and all kinds of
      souvenir stuff. But know I also heard a lotta yodeling before thatŠ I
      remember one of the most inspiring records was either on the Folkways
      series or this French NATO series of herders actually in the
      mountains calling and yodeling.

      WTM: That makes sense because your yodeling sounds more like the
      mellifluous higher end Swiss-style yodelingŠ It's not just some
      cornball attention-getter..

      SH: My yodeling plays off, you know, I always like to look at
      different sides of things. There might be that cornball thing and
      also when you listen that folkways record of people just, it's the
      reflection in the mountains, cuz that's what a yodel is and why all
      people living in high places have a similar kind of vocal technique.
      Whether it's people up in the Himalayas. Tibet, I mean, all those
      kinds of people doing that certain kind of throat-singing with that
      glottal stop, and needing to reflect off, and then hearing it

      WTM: And that micro-second of glottal stop is the time it takes for
      it to reflect back off the mountain sideŠ

      SH: Exactly, I wanna do a study how music from different altitudes
      sounds different. Because frogs sing differently when they're at
      different altitudes, yuh know, their pitch rises

      WTM: Because of the altitude and the thinner airŠ

      SH: Right, but the higher they are the higher their voices. The pitch
      is affected by the actual altitudeŠ But when you think of people in
      very high mountainous areas, also the jobs they had and they needed
      to communicate and they heard these reflections and then they
      incorporated these reflectionsŠ

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      RECORDS feature, New DUB & more... all new

      * "plus another few hundred when it hits the BSI list!" Ezra

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      My playlists appear regularly in 3am Magazine
      <http://www.3ammagazine.com> as a kind of meta-lit under the title
      "Radiophotogram: Visual Radio". Also check out my fascinating
      interview with the eternally fascinating Judy Nylon.

      "For a more international, commercial feel, try 3am Magazine. . . .
      The cosmopolitan, rive gauche quality of the site is wonderfully
      obvious. From 'cutting edge short fiction' to political satire and
      music reviews, 3am is a dream publication for the young, literary and
      clued-up, and it counter-balances nicely the London/New York
      publishing behemoth." o Bill Broun, The Times (Monday April 30 2001).

      "Cool ezine 3am is worth taking a look at for a dip into the edgier
      waters of literature on the net." o Michelle Pauli, The Guardian

      ؉؉ ؉؉ ؉؉ ؉؉ ؉؉

      CONTACT ninplant@... FOR REMOVAL

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