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WRECK: Detroit's Mythic Noise & Rhetoric

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: 290: Detroit s Mythic Noise & Rhetoric PTP in the Amsterdam ether:
    Message 1 of 1 , Jun 4, 2005
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      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: 290: Detroit's Mythic Noise & Rhetoric

      PTP in the Amsterdam ether: 88.3FM
      streaming via internet:
      <http://freeteam.nl/patapoe/>
      <http://freeteam.nl:8000/patapoe.m3u>

      30 Mei 2005 / 16.45-19.00

      'We learned new dances like the nuclear bomb"
      * Iggy Pop, "Nightclubbing"

      "We want a free world economy based on the free exchange of energy
      and materials and the end of money / We want free access to all
      information media and all technology for all the people."
      * from the White Panther Party Ten Point Program

      "Among my goals in life are 1) Never handle a firearm 2) Never going
      to any Disney product (other than Fantasia)."
      * DrDr. Jazz

      "The radial equipment no longer coast to coast but century to
      century... receiving stations... the fourteen stations of desire and
      murder... hit me on the radio... i'm drowning... too many centuries
      are calling to me... god i feel like lead.."
      * Patti Smith, liner notes to "Radio Ethiopia"

      ~~~

      Wondering Soul / Twenty Three > Nightcrawlers [1]
      Angel of Nothing / Barry's Dad at a Kid's Party > Nightcrawlers [1]
      The Beast / Behemoth Rag > Nightcrawlers [1]
      Abu Sinun: Father of Teeth [-8 rpm] > DrDr. Jazz [2]
      + The Connecting Links / Black Panthers & White Panthers > John
      Sinclair & Comrades [3]
      + A Lot of Shit is Going Down > John Sinclair & Comrades [3]
      + The Music Scene is Happening > John Sinclair & Comrades [3]
      Calling All Girls > Nightcrawlers [1]
      Radio Ethiopia > Patti Smith Group [4]
      Ganges Dawn > Monster Island & John Sinclair [5]
      Eternal Now > Monster Island & John Sinclair [5]
      + Weather Report > Bernadine Dohrn [3]
      + Letter in Exile > Pun Plamondon & David Sinclair [3]
      Monk in Orbit > Monster Island & John Sinclair [5]
      Off-Ramp > Trout Pomeroy [6]
      Mojo > Nightcrawlers [1]
      Motor City is Burning > MC5 [7]
      My Money or Cromojoc > Nightcrawlers [1]
      High Society > Destroy All Monsters [8]
      I'm Not Iggy Pop > Ray Johnson [1a]
      We Will Fall > Stooges [9]
      Sleeping Bulldozer > Nightcrawlers [1]
      I Am A Cloud > Monster Island [10]
      Staid Too Long > Trout Pomeroy [6]
      I Love Gorillas > Monster Island [10]
      Drop The Bomb > Destroy All Monsters [8]
      It's Getting' Kinda Chilly > Slim Gaillard [11]
      Nightclubbing > Iggy Pop [12]
      Matzoh Balls > Slim Gaillard [11]
      Jail Bait > Andre Williams [13]
      Yo Da Lin in the Valley > Kid Rock [14]
      Big Chief Yodel > Big Chief Redbird [15]
      The Passenger > Iggy Pop [12]
      Kick Out The Jams > MC5 [7]
      Hob Goblin > Monster Island [10]
      8, 9 and 10 / Ferdinand the Bull > Slim Gaillard [11]
      Shampoo Mumble & Saginaw Missing / Take a Toke > Nightcrawlers [1]

      [1] "Third Mind: Nightcrawlers 1981-1990" A basement DIY tape
      manipulation set of secret communiques with parties and forces that
      at that time were still unnamed. Annotated liner notes of these
      charmingly illuminating pedestrian peeks into the lives of ordinary
      explorers of the extraordinary mysteries found in everyday life based
      on Dada leads and the divining walking stick extended by William
      Seward Burroughs. Liner notes: "Poems jaywalk around shopping
      centers, looters race in and out, existence as if it were Paris."

      [2] "Dental Machine Music #7" on Party Beach <drdrjazz@...>.
      This man sees the revolution as something that will occur as a
      consequence of "radical root canal jobs" and that proper dentition
      will no doubt lead to a realignment of the world's power. He is also
      of course the same man who once whistled the oeuvre of Sun Ra in an
      Ann Arbor Ben & Jerry's and performed the entire Lou Reed "Metal
      Machine Music" on a retuned ukulele. The Jandek of Michigan! The
      Shaggs vs Sun Ra in sunny in sunny Hawaii. From a 2004 email: "[Cary]
      loves to talk about Destroy All Monsters. A band I was in (Trainable)
      opened for the Niagara/Ron Ashton version and (if I may say)
      according to all accounts (including some in print) we blew them
      away. They were nice though (much nicer than Jonathan Richman was
      when another band of mine opened for him)."

      [3] "Music is Revolution" on The End is Here <www.thebookbeat.com>. A
      strange blend of hopeless idealism, of macho posturing, of the
      enduring nobleness of struggleŠ strange recordings that recall those
      heady days when the US was about the cringe and crumble in full out
      civil war between the crewcuts and longhairs. From the liner notes:
      "A sound leader's aim is to open people's hearts, fill their
      stomachs, calm their wills, brace their bones, and so to clarify
      their thoughts and cleanse their needsŠ" Lao Tzu / "How to subvert a
      culture: first of all recognize no authority, police, parents,
      teachers, any 'respectable person'. They are all sick and should be
      avoided at all possible costs." Comes to me courtesy of Ben Schot
      back in 2002. Thanks.

      [4] "Radio Ethiopia" on Arista, 1976. For someone so overwhelmed and
      so infatuated with the presence and attitude, and the punk sexiness
      of PS I am amazed at how unlistenable some of the records have
      become. They probably have to do with the transparency of her own
      fanaticisms and affections, her own issues spelled out. I still
      greatly admire her and yet can't bear to put any of the records on
      except this one, which seems to be the closest she ever came to a
      tone poem version of her beloved Rimbaud. There is something dense,
      exploratory, unresolved, decidedly non-pop determined, something
      drug-impressionistic that makes this record hold up. She, of course,
      eventually married Fred 'Sonic' Smith of the MC5, not in an effort to
      save money on her business cards [same last name], not to extend the
      progeny of noise revolution but because [and this is why PS remains
      such a tender soul] she was in love with the guy. She has, of course,
      experienced an inordinate amount of personal loss over the past years
      including the passing of FSS.

      [5] "Peyote Mind" on Monster Island <www.thebookbeat.com>. Reprises
      the eternally interesting drug peyote as a mechanism to transform and
      transgress our current reality. The music is lovely and on some
      tracks are accompanied by the 1960s texts of John Sinclair on the
      subject. Some are Detroit area studio recordings, some are live as
      recorded in Detroit [2001] and Rotterdam [2000]. Good companion to
      similar explorations by Trip Tech.

      [6] "Road Scholar" on TP <trout@...>. TP is that strange
      figure floating in a cloud of weed smoke, emerging from the Detroit
      of the 60s-70s fairly intact of spirit and has written a picaresque
      novella/journal called DAY GONE BILL, which features a lot of musing
      about the mysterious effects and powers of yodeling. It reminds me so
      very much of the most charming of Richard Brautigan books, Trout
      Fishing in America. He accompanied me at my reading at Bookbeat by
      reading a short excerpt from his book. We were serenaded that day by
      the yodeling talents of Michigan-native Donah Hyland [Check out her
      "Yodelin' Country" on Heritage].

      [7] "Kick Out The Jams" on Elektra, 1971. Back when hope could be
      formulated as politics + long hair + mind-bending drugs + noise = the
      instrument for progressive post-hippie utopian change. And, of
      course, Fred "Sonic" Smith was to marry Patti many years later and
      become part of the Smith band.

      [8] "The Detroit Oratorio" on Compound Annex, 2003
      <bookbeat@...>. This record seems to do battle with an inordinate
      amount of post-historical consciousness. Something they seemed
      refreshingly free of in their early years. Although despite the artsy
      contextuality, some real gristle still comes out of the meatgrinder.
      DAM [named after a horribly-delirious horror movie. DAM started in
      Detroit in 1977, eventually adding Ron Asheton [the Stooges] and
      Michael Davis [MC5 bassist]. They were made combustible by Larry
      Miller's unflappable experimental saxophones & Ben Miller's guitar to
      become the template upon which Sonic Youth have in their own ways
      laid their bodies and souls across to imitate and be inspired by.

      My earliest experiences with things Michiganian was getting my first
      stereo at the age of 15[?] - a thing that acted and vaguely looked
      like a stereo system but was really Montgomery Wards version of
      something one step above a toy. It played records and with this X-mas
      gift I got my first - the wrong one! - record, an LP by Grand Funk
      Railroad. Who would have predicted that we would end up in Burton, a
      spillover of Flint, just beyond the Eastland Mall, where Mark Farner
      grew up. My brother having the same teachers as Farner had had some
      years earlier. I listened to GFR incessantly - their I Am Your
      Captain being pure poetry of the wandering spirit and drugs and
      hippiedom. The double live album catching the raw inarticulate energy
      of youth that did not know precisely which way to turn. It is records
      like this that I wish I still had. Many of these albums of
      questionable taste were purged [sold at places like Schoolkids]
      during the early punk days, which were really the West's version of
      the Chinese Cultural Revolution. Long-hair and sensitive anything
      went the way of the pyre, the garbage or the used record store. One
      had to suddenly locate oneself in the growing dissatisfaction with
      commercially-sold-out hippiedom for some newer idealism [which was
      punk nihilism, its affectations really being VERY similar to the
      details of hippie trappings - looks as badge and membership - and the
      punk cynicism was really just like dewy-eyed hippie idealism turned
      inside out.]

      I also turned to Iggy and the Stooges, although they and the MC5
      would become later [intellectual rather than instinctual] interests
      just as Patti Smith emerged into my life. I wrote a novel with a
      character that greatly resembled her. I dedicated a
      poetry-cum-fan-zine called Darkroom Techniques to her, met her in
      Chances Are [Second Chance] in Ann Arbor, had a sexual liaison with
      an incredibly sexy coed at one of her concerts during a 4-night gig
      there, as we were stimulated by our mutual infatuation with Ms.
      Patti. This was an honestly strange turn into sexual licentiousness,
      which was a fine response to the prim and proper and careerist side
      of life that was my academic side. Yikes! A Career! I mean I was
      majoring in words, in poetry, in love letters, in vague dreams of
      novelistic roman a clefs - living Kerouacian-style and then putting
      it down for the illumination and entertainment of those with larger
      vicarious streaksŠ That is how I portrayed myself - a sexual
      adventurer. Actually I was one VERY shy guy who REALLY appreciated
      the affections and FELT the emotional intensity of women too much to
      be a Casanova. Oh to have been capable of cavalierness.

      It is thoughts and memories like this that were jostled loose by my
      recent book tour through there [with appearances at Bookbeat [thanx
      go out also w. kim heron for publishing a piece on my book and
      upcoming appearances in the Detroit Metro Times], WUOM, and Herb
      David Guitar], making my experience both richer, more clausterphobic,
      and bittersweet than my other destinations on this trip. It is a time
      of social oppression and abuse by blue collar whites, the emergence
      of profligate love life [that was dictated to an astonished me by a
      baffling set of enjoyable circumstances], the notion that i was
      really a writer [to the bane of any notion of fat wallet]. I have
      many friends from the Detroit area, most of them upper middle class
      who may have gone to some concerts in Detroit during their formative
      years but it has remained a fascinating phenom -- that so many of
      them claim to be 'from Detroit' when in fact they actually grew up
      many miles and many rungs of the ladder away. There is a deep-seated
      caché to having grown up in a turbulent poeticized ghetto which will
      make your current level of success seem all the more glorious...

      When I first heard DAM it was like a sonic joke that you immediately
      had to start taking seriously or vice versa. I saw them in Ann Arbor
      [or not? Maybe I was just so happy to get their first single that I
      experienced it as a live gig!] at some point and Niagara [front-femme
      vocalist] was a siren from just the right dank basement, a waify,
      fragile, yet jackknife-like hazardous quantity of beauty-as-weapon.
      It was avant garde punk at its smirkingest and dadaistic-tomfoolery.
      It basically wreaked havoc with the entire relation of
      club-goer-consumer and musician as entrepreneur selling product.
      First of all, all expectation and presumption was trampled upon
      instantly. They were loud, snotty, beyond Patti Smith in that they
      had no problem mashing song frameworks, they built upon the
      Futurist/Dada notion that noise was a necessary antidote to
      slumberiferous and clogged synapses. Here is a manifesto [edited]
      written by cary loren, DAM band member [and owner of the fantastic
      Bookbeat bookstore <bookbeat@...>: "a manifesto of ignorance;
      destroy all monsters (1996) - destroy all monsters began as an
      anti-rock band. our menagerie of words, images and sounds were an
      attempt to thumb our noses at the pretentious circus of rock-star
      bullshit and musical emptiness that filled the air-waves during the
      early to mid-1970's. the images that moved us then were a strange
      combination of film-noir, monster movies, psychedelia, thrift-shop
      values and the relentless drone of a crazed popular culture. our
      influences were a combination of audiovisual stimuli such as man ray,
      the velvet underground and NICO, the hairy who, silver apples,
      captain beefheart, stanley mouse, SUN RA, comix, stooges, beardsley,
      and the mc5. we were midwest art student loners flying through time
      in a blur of art and noise. It's predictable that it would take
      twenty years to gain some perspective. our music sometimes contained
      a narrative or storytelling direction that was never well explored. a
      sense of gloom, disaster and apocalypse mixed with doses of anarchy,
      comedy and absurdity kept us together and were some of the major
      themes which colored our small scene. our alienation and heightened
      anxiety was a PSYCHOTRONIC view of life we each shared to various
      degrees. i felt we were creating sounds we wanted to exist but
      weren"t to be found in the slick desolate landscape around us. with
      virtually no audience and little support, we continued expressing our
      end-of-times messages and outsider beliefs; a sort of
      paranoiac-critical garage band. emerging from the detroit rust-belt
      stained our activities with an industrial psychedelic patinaŠ"

      ****

      Johnny Forgotten of trakMARX - How active were DAM 1 & who played
      alongside Niagara & Cary Loren in this line up?

      Ben Miller - As far as I know, like any art band of those days,
      Destroy All Monsters played "in the basement" and an occasional
      party. Along with Cary and Niagara, Mike Kelly played drums and Jim
      Shaw played guitar. I saw them once at a party. It was very sparse.
      An odd mix of noise and songs. Occasionally Niagra would play some
      violin or say a few words and then leave the stage. Mike would dabble
      on the drums while Jim played guitar through an Echoplex. From time
      to time Cary seemed to try and get the set off the ground.

      trakMARX - DAM 2 was basically an amalgamation of EMPOOL & DAM 1. How
      did this come about?

      Ben - Destroy All Monsters was going through a transition late 1976
      into early 1977. Of the original band only Cary and Niagara remained
      in Ann Arbor. At this time, Lar had a band called EMPOOL which was
      mostly psychedelic free improvisation (guitars, electronics, tapes,
      saxophone, occasionally drums) along with a number of other musicians
      including myself and brother Roger (the original version of Empool
      was just Lar and Andre Cynkin on guitars and electronics). Empool
      played a couple parties, but otherwise stayed ëin the basementí much
      like Destroy All Monsters. As far as I know, these two bands were the
      only weird things happening in Ann Arbor at that time. Compared to
      where Destroy All Monsters were coming from, though, EMPOOL was more
      music-related. Some of our improvisations were structured around
      notated compositions. Cary and Niagara would drop in unannounced at
      our jam sessions and request we do their stuff; two and three chord
      songs with lyrics -- the exact opposite of what we were doing.
      Perhaps by default from the fact that we were all outcasts of the
      music scene, the two groups eventually fused together into the second
      incarnation of Destroy All Monsters; a plodding garage punk sound
      with a lot of psychedelia hanging on the outer fringe. This was the
      fun version of the band where artistic intention was high. Band
      members were interchangeable and "songs" were not nailed down.

      trakMARX - How did Cary Loren talk Ron Asheton into joining DAM 2 (spring 77?)

      Ben - I don't know. Cary can be inspiring, though I think Niagara was
      the lure. This was early Spring, 77. Ron had recently come back from
      LA. His band, The New Order, hadn't done as well as he'd of liked and
      I think Ron was just ready to dive into it again. The definite
      prospect of doing a single prompted him I'm sure.

      trakMARX - How long did DAM 2 function as a 2 guitar unit?

      Ben - Well, with Cary it was a 3 guitar unit. Sometimes Cary just
      sang and played the tambourine, but usually Cary thumped out the
      basic chord progressions, Ron beefed it up and added his "rock" lead
      solos while Lar played a more texturous and melodic effects-driven
      background to it all. My alto saxophone also ran through various
      electronics and so this initial DAM reincarnation was quite the mess.

      trakMARX - Why was Cary Loren voted out of DAM?

      Ben - Niagara, Cary's long-time girl friend, hooked up with Ron.
      Shortly after that Cary went to New York for a short spell. When he
      returned he wasn't quite the same. He was having some drug-related
      issues and communication had disintegrated. When the band voted him
      out, it was very difficult for Lar and I to agree to it. We felt that
      Cary had a big part in the creative element of Destroy All Monsters.

      ****

      long gone john xx: "What is neither unusual nor remarkable is that
      she [Niagara / nee Lynn Rovner] was given a nickname by her older
      sister, who discovered the little girl would cry prodigious amounts
      when locked in a dark closet. Flash forward to Ann Arbor, Mich. -
      circa 1973. Hanging out at "Gods Oasis" was a group of future museum
      artists... Niagara just returning from art school in Banff, took up
      residence with Mike Kelley, Jim Shaw, Cary Loren and a revolving
      group of hangers-on that would form the art-noise group DESTROY ALL
      MONSTERS. Š This group practiced in the basement with either homemade
      instruments or ones they found in the trash. They also made art
      films. Their single live "performance" was at a Halloween party where
      DAMÝ unwisely set up and began "to jam" for all of ten minutes before
      they were quickly dispatched by a group of jocks.Ý No one would know
      of this embarrassing episode had Thurston Moore, of Sonic Youth fame,
      not dug up those practice tapes and declare them the "world's first
      noise band" deadpans Niagara. Says Mike Kelley of the same era, "We
      knew how to look like a band, we just couldn't play music, and we
      certainly didn't have any 'fansí." Niagara adds, "the band would play
      along with the record, but when the record came off the turntable,
      the music would veer into a strange place. That became our 'signature
      sound'. Š Niagara became Punk Magazine's first centerfold. "The Band
      toured England and the states for about a decade, have about four
      'hit singles' ... and it's what people think of when, in the rare
      event, the subject Destroy All Monsters comes up." Niagara quipsŠ. I
      discovered her in an article in Punk Magazine about her band of
      Detroit art/music terrorists, Destroy All Monsters and black and
      white photos had never ever been as seductive before. She was
      everything that I liked about Bridgit Bardot but was of course much
      more menacing and therefore appealing. She was catlike, mysterious
      and deliberately dangerous: equal parts Ronnie Spector and Lizzie
      Borden with a Barbarella twistŠ"

      [9] "The Stooges" on Elektra. The snotty, nihilistic and
      post-Catholic scarification and shambolic side of noise abuse. Still
      sounds relevant although not as Š great or glorious [as in the sound
      will set you free] as I remember.

      [10] "Dream Tiger" on The End Is Here <www.thebookbeat.com>. Post DAM
      music composed by Loren and sounding like a cross between Seeger
      children's songs and lullabies and the Swans during a tender moment.
      Quite moving, even though the songs deal with their fascination for
      monsters and goblinsŠ

      [11] "Laughing in Rhythm" on Proper <www.propermusic.com>. That
      Detroit-native SG was a yodeler and the inventor of the hipster's
      esperanto and that he did it with a kind of jovial bon vivant-ness
      makes him a guru of jazz surrealism and scat as mantra that unlocks
      the basic simple pleasures of life. Although cited and sighted by
      Kerouac ["One night we went to see Slim Gaillard in a little Frisco
      nightclub. In Frisco great eager crowds of semi-intellectuals sat at
      his feet and listened to him on the piano, guitar and bongo drums.
      ... Now Dean approached him, he approached his God; he thought Slim
      Gaillard was God." On the Road], he has remained under-regarded,
      although this 4-CD set goes some way toward settings things right. In
      Detroit's airport waiting a loooong time for a flight on May 9 I saw
      a poster that touted Detroit's musical legacy as Motown. All the
      names were up there except Slim Gaillard's. The more I listen the
      more I sense he had a far greater influence than has been thus far
      admitted. When listening to Dylan during the Big Pink
      amphetamine-driven poetry era especially "The Basement Tapes" I hear
      Gaillard's Dada-esque scat and inspiired nonsense and vocable
      trickery.

      [12] "The Best of Iggy Pop" on Virgin. It's not really the best of
      the best but it does mark off significant bandmarks and sound stages.

      [13] One of the great bawdy songs of all time by this great soulful
      singer. Also often not mentioned among Detroit musicians. Must have
      something to do with the Detroit urban renewal projects where all
      questionable [dirty] refs. and performers are erased. In Russian
      Soviet [not ever REAL communism] times it was called historical
      revisionism. In the US it is called reassessment... Anyway, here's
      some of the Detroit associated musicians i did not play: Eminem,
      Madonna, Alice Cooper, The White Stripes, Bob Seger [owned the one
      with that Ann Arbor song, "Main Street"], Ted Nugent, Stevie Wonder,
      Aretha Franklin, George Clinton/P-Funk, Diana Ross and The Supremes,
      Jackson 5, Smokey Robinson, Temptations, Marvin Gaye, John Lee Hooker
      [?!?], Funk Brothers, Four Tops, James Jamerson, Alberta Adams,
      Martha Reeves and the Vandellas, Marvelettes, Slum Village, The
      Knack, Sponge, Aaliyah, Insane Clown Posse, Uncle Kracker, Mitch
      Ryder, The Romantics, Grand Funk Railroad [Flint is a city and some
      40 miles away!], Marshall Crenshaw, Juan Atkins, Carl Craig, Derrick
      May, Kevin Saunderson, Von Bondies, The Dirt Bombs, The Detroit
      Cobras, Richie Hawkin, Stacey Pullen, Eddie Fowlkes, The Demolition
      Dollrods, The Gories, Anita Baker, Wilson Pickett, Nolan Strong,
      Sippie Wallace, Joe Weaver, Was (Not Was), Hush, Johnnie Bassett...

      [14] Kid Rock is NOT Iggy Pop but can be mildly entertaining in a
      post-punk manner. He does some rude yodeling. As we have learned
      "yodelin' in the valley" is a euphemism for cunnilingus. A college
      radio station was fined some $30,000 or something for playing that
      song. Welcome to the US's cultural revolution! Bringing back the pure
      to puritanism...

      [15] Big Chief Redbird is also associated with Detroit. There isn't
      much out there on this obscure garage rockabilly 'indian'. Was/is he
      a real 'indian'? Is there a reference to him in the fact that some of
      John Sinclair's writings appear under Big Chief productions? Anyone
      know anything more. He is an interesting oddity plus he yodels!

      [**] Forgot to bring "John Sinclair and the Culture of the Sixties"
      edited by Karen Jania for the Bentley Historical Library at U-M, Ann
      Arbor. Includes readings by Creeley, Sinclair, Hank Malone, and
      others...

      [***] Archived yodel interview in Michigan: Stateside with Charity
      Nebbe is a regional show on WUOM <http://michiganradio.org>, Michigan
      Public Radio. I was their guest on April 25 along with my yodeling
      companions Joyce "Michigan's Yodeling Sweetheart" and Phil Leonard,
      who consistently demonstrate why yodeling is not only fun but
      soulful, expressive and thriving as well. The show was pre-recorded
      in the Ann Arbor studios and will be broadcast Friday May 20, 1 PM
      and will then be presumably archived at WUOM - it can also be heard
      on WVGR 104.1 [Grand Rapids], WFUM 91.1 [Flint], and WUOM 91.7 in Ann
      Arbor/Detroit.

      The show discusses YODEL-AY-EE-OOOO: THE SECRET HISTORY OF YODELING
      AROUND THE WORLD as well as the origins of yodeling and some strange
      and surprising samples of yodeling from areas of the world where you
      would not expect to hear yodeling. The show also features Joyce
      Leonard [and Phil]. she discusses yodeling from a practitioner's
      point of view. You will also hear some in-studio yodeling from Joyce.

      ---
      +++
      Announcement
      From: erika stucky <bubbles@...>
      Subject: coming to Bimhuis in Amsterdam friday, june 10th

      doing the 'princess-tour': songs from prince, the king, the king of
      pop, nat king cole...

      www.bimhuis.nl

      Erika Stucky: vocals /song/yodels [sometimes], accordion
      Bertl Mütter-trombone
      Jon Sass-tuba

      This is an incredible trio because it makes you relisten to the
      entire history of pop in a new way with the [to me] fairly unsexy
      brass serving as the rhythm equivalent of the bass in dub music - yes
      big brass as rhythm section. And suddenly I begin to rethink my
      anti-brass attitudesŠ

      Stucky's "Lovebites" on Traumton <www.traumton.de>
      <www.erikastucky.com>. Imagine the ribald humor and cultural
      omniverousness of Anne Magnuson and the bawdy sensual presence of Mae
      West or Marlene Dietrich, combined with the inspired and
      choreographed chaos of Carmen Miranda.

      "Mrs. Bubble & Bones combineert een waar stemwonder met trombone en
      tuba. De Zwitsers/Amerikaanse Erika Stucky geldt als een van de
      origineelste stemmen in de internationale jazzscene. 'Een theatrale
      zangeres maar met zo'n ontspannen en schijnbaar achteloze manier van
      doen dat het nergens te veel wordt. Soms komisch, maar even vaak
      ontroerend mooi. Het Bimhuis werd er muisstil en piepklein van,
      alvorens in een ovatie los te barsten" (De Volkskrant over Stucky's
      Bimhuis debuut in 2004).


      ---


      ---> * new home of Amsterdam's Radio Vrije Keyser: 89.6 FM
      ---> * Radio Tonka, The Hague's 10-year-old free radio station
      <www.radiotonka.nl/>
      ---> * Radio Wanklank 90.9 FM, free radio in Wageningen <www.wanklank.nl>

      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

      WTM PLAYLISTS
      o 2000± READERS-EYEBALL "LISTENERS" per WEEK*
      o "plus another few hundred when it hits the BSI list!" Ezra
      <info@...
      o Old playlists archived at <http://www.wfmu.org/~bart/
      o Selected Playlists at http://www.romanapoli.com/black/wreckthismess.html
      o Someday: <http://wreckthismess.com/>
      o new excerpts from my erotic-dérive novel: Paris Sex Tete on
      Parisiana <http://www.parisiana.com/>

      __________________

      SDI SELF DESTRUCTION INSURED
      CONTACT ninplant@... FOR REMOVAL



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