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Wreck = Snake Oil + Death + Web

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: 382 [979*]: Wrecking Assorted Non-Summer Feelings PTP in the ether:
    Message 1 of 1 , Sep 20, 2007
      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: 382 [979*]: Wrecking Assorted
      Non-Summer Feelings
      PTP in the ether: 88.3FM
      Where purity & puerility are synonymous
      streaming via internet:

      "We're ALL involved in the art of sellingŠ The lover sells his love
      to his sweetheartŠ"
      o from Daniel Stephen Crafts Snake Oil Symphony

      30 Juli 2007 // 17.00-19.00

      s/t w/t > Chantal Dumas [1]
      Low Mass > Jozef van Wissem [2]
      Untitled # 188 > Francisco Lopez [1]
      The Essence of Melodrama > Daniel Stephen Crafts [3]
      Aurea Aetas > Maurizio Bianchi [4]
      OnU SoundsWarped > Singers & Players vs Assassin [5]
      The Art of Hearing / Brief Interlude: The Woods > Daniel Stephen Crafts [3]
      Aix Vibration > Curly Top [5]
      Living in Fragments > Daniel Stephen Crafts [3]
      Golden Demons That None Can Stay > Jozef van Wissem vs Tetuzi Akiyama [6]
      The Cry of the Hawk > Jozef van Wissem vs Tetuzi Akiyama [6]
      The Conversation > Daniel Stephen Crafts [3]
      You Can't go Home Again > Jozef van Wissem [2]
      Tic Toc > DJ Ani [7]
      Brief Interlude: The Telephone Call > Daniel Stephen Crafts [3]
      Beyond the Veil > Jozef van Wissem [2]
      The Human Condition > Daniel Stephen Crafts [3]
      Snake Oil Symphony I > Daniel Stephen Crafts [3]
      The Road of Excess Leads to the Palace of Wisdom > Jozef van Wissem
      vs Tetuzi Akiyama [6]
      10 Ton Laboratory > Woob [5]
      Snake Oil Symphony II/III > Daniel Stephen Crafts [3]
      All Day Within the Dreamy House The Doors Upon Their Hinges Creaked >
      Jozef van Wissem [2]
      Passages of his Presence > Jozef van Wissem [2]
      Postcolonial > Scott Marshall [8]
      Snake Oil Symphony IV > Daniel Stephen Crafts [3]
      Southern Cross > Jozef van Wissem vs Tetuzi Akiyama [6]
      The Bed > Lou Reed [9]
      Snake Oil Symphony V > Daniel Stephen Crafts [3]
      A Visit Not Measured with a Return in Kind > Jozef van Wissem [2]
      Without the Rose > Jozef van Wissem [2]
      Calm Within the Electric Storm > Kyron [10]
      Snake Oil Symphony VI > Daniel Stephen Crafts [3]
      Grand Central Confessional > Jozef van Wissem [2]
      Snake Oil Symphony VII > Daniel Stephen Crafts [3]
      Dark is the Sun > Jozef van Wissem vs Tetuzi Akiyama [6]
      Sad Song > Lou Reed [9]
      The Promised Seed > Maurizio Bianchi [4]
      Montreal-Shanghai Bridge > Chantal Dumas [11]

      [1] "Montreal Sound Matter" Pogus <www.pogus.com>.
      [2] "Stations of the Cross" on Incunabulum. The past never seemed so
      contemporary as a future worn inside out.
      [3] "Soap Opera Suite / Snake Oil Symphony" on Lutra, 1982
      <http://www.dscrafts.net/snake1.htm>. [see below]**
      [4] "Das Platinzeitalter" on Incunabulum.
      [5] "More Bass Than Space" on Dubmission.
      [6] "Hymn for a Fallen Angel" on Incunabulum.
      [7] "Hardflip" on Beatsmart vinyl.
      [8] "Black / White" on Paniculture.
      [9] "Berlin" on RCA vinyl, 1974. Was this Reed's attempt to do his
      own version of Gainsbourg's Histoire de Melody Nelson?
      [10] "Dark Goddess" on Black Note Music.
      [11] "MusicWorks 91" on MusicWorks <www.musicworks.ca>.

      * Thanx, first of all, for all of the comments and condolences from
      listener/readers regarding my show last week [September 10] to honor
      the passing of dear friend poet-performer Lydia Tomkiw.

      * There was no summer. They say global warming is a misnomer, that a
      more dramatic effect might better be called global intensification,
      meaning that weather we already have will just become more intensely
      and dramatically so. suffer from lots of rain then you will get more
      [we did and the UK certainly did], suffer from dry hot summers, well,
      expect even drier and hotter. We had a summer where there was not
      one two-day period where you would say i trust the blue skies and
      warm weather and i am going to the beach. there was never that
      carefree feeling of not owrrying about taking 3 kinds of clothes just
      in case...

      * This big total is the TOTAL number of ca. Shows I have done since
      the beginning of time or 20 years ago at WFMU [NY], Radio Libertaire
      [Paris], and Radio 100 & Radio Patapoe [Amsterdam].

      ** "Soap Opera Suite / Snake Oil Symphony" I don't remember any more
      the circumstances surrounding the acquisition of this LP. I do know
      that I have inserted it with an incredible regularity into my radio
      mixes since 1986. But its departure from my possession is very clear.
      I have seldom regretted giving away something more than this LP,
      which I donated to the WFMU library as a fitting going away gift. All
      the more regrettable when I came to hear from DJ Dave that someone
      had absconded with it over the years since my departure. This never
      made sense to me - stealing from the WFMU [or any station] music
      library. You can always make your own copy. AnywayŠ This record has
      been one of the most essential aspects of my mixes over time until
      this very day. It is a clever combination of sample splicing that
      begins to resemble composition - remember this is 25 years ago!! -
      and a socio-political commentary of a post-situationist influence
      about society and the role of the spectacle, where all reality is a
      replication of something we have already purchased or heard [and
      experienced?] on TV. Listening to old radio show tapes made me lament
      its departure. I emailed DJ Dave and he put me in touch with
      musicological DJ Tony at WFMU who pretty promptly made a CDR of it
      and sent it to me and this show is the joyous outburst of sonic
      serenity at having it again.

      This recording remains available in LP form only and can be ordered
      directly by sending check or money order for $12 (postpaid) to:
      D. S. Crafts / 7285 Spruce Mt. Lp. / Rio Rancho, N.M. 87144 / USA

      The Two Tape Compositions revisit the crazed hyper-reality
      illusionary world of the soap opera and how the cliches they mirror
      in our society become actually magnified by their propagation. It was
      the first sustained "Found sound" or tape composition I knew of other
      than some musique concrete stuff and Cage and of course another fave
      early Robert Ashley.

      This is an essay I found at the DSC website
      <http://www.dscrafts.net/snake1.htm>: Found sound" or tape
      composition is an increasingly popular technique among avant-garde
      composers as well as "New Wave" musicians. As a rule, however, such
      sound elements recorded off the radio or in the street are used
      primarily for their tonal or rhythmic values. Their original
      significance tends to be suppressed in the process, especially after
      the sound elements have been run through the elaborate array of
      technical processes available in the modern recording studio. In the
      two works presented here, Daniel Steven Crafts has proceeded in an
      almost diametrically opposed direction. While making often ingenious
      use of the musical qualities in the sounds and speech he takes as his
      raw material, he concentrates primarily on their meaning, so that
      each fragment of spoken or musical "discourse" is made to comment on
      the others, and vice versa. In doing this, moreover, he relies on
      only the simplest of recording techniques.

      Both pieces on this album rely heavily on "found" sound. The Snake
      Oil Symphony includes everything from a salesman's instructional
      record, by way of old science fiction movie soundtracks, to fragments
      of rock music; where the Soap Opera Suite, as its name implies,
      consists mostly of snippets of speech from Daytime TV.¬Ý But instead
      of flattening these elements into a typical minimalist mush, Crafts
      has painstakingly organized and overlaid them in a way that exploits
      their semantic as well as their rhythmic value, their meaning as well
      as their sound.

      Crafts casts a cold ear, as it were, on the banalities of the mass
      media, takes them apart and reorganizes them so as to
      ''defamiliarize" them and thereby reveal their essential content. In
      this he picks up the trail of the avant-garde of the nineteen teens
      and twenties - the Dadas, the Futurists, and other radical
      Modernists. Like them, Crafts is "experimental" in technique but does
      not limit himself to doggedly running one or two technical
      innovations through every possible permutation without regard for
      content. Again, Daniel Steven Crafts, like the early Modernists,
      actively engages with contemporary mass culture. But he does not
      simply contemplate this mass culture; instead, he sets out to subvert
      it. Devo once billed their music as "the sound of things falling
      apart." Crafts is not content to listen to "things" ("a mighty
      symphony of prosperity") fall apart. He wants to help them along,
      (with a view to making room for something better).

      SNAKE OIL SYMPHONY: The first three "movements" of the Symphony
      establish the basic themes, along with an underlying rhythmic
      structure that crops up again and again throughout, as the tempo and
      pitch of phrases are used to create a sort of melody. Part One
      presents the surface reality of society as an endless movement of
      buying and selling, through the use of clips from a sales instruction
      talk, ads and so on. Woven through this is an ironic verbal-musical
      motif: "Now you can have this amazing new symphony, right in your own
      home," (which parodies cheap TV commercials), with piano notes
      underscoring the spoken pitches. The word "symphony" refers not only
      to a single work of art, but in the greater sense to "a mighty
      symphony of prosperity" (i.e. present social and cultural
      institutions). With the same phrase the composer is also letting the
      listener know that he knows his own work, too, is a commodity on the
      culture market.

      Part Two is built around a multiple pun on the words "alien" and
      "alienation." "Alienation" originally meant "sale." Marx used the
      terms to describe the way people give up control over their own lives
      in working for wages to create a society that "stands over and
      against them as an alien and hostile power." Crafts shows capitalism
      up for what it really is’Äë-a B’Äëgrade horror flick. In Part Three,
      irony is piled on irony in a kind of "allegro of cynicism." Voices of
      hysterical angst and ominous, barely’Äëcontrolled fury, both provide
      a counterpoint to the "sales" motif and show how such "negative"
      emotions are now successfully merchandised along with everything
      else. The "symphony of prosperity" has begun to falter.

      Parts Four and Five further develop and elaborate these themes. Part
      Four with its monster obbligato, concludes with a codetta which might
      be called a duet for baritone and psychobabbler. Part Five steps up
      the level of anxiety with a dreamlike, echoey mosaic of "emergency"
      sounds and paranoid whispers. But even the crisis is turned, in the
      absence of genuine radical opposition, into fuel for the system,
      driving it forward. Part Six picks up the music and rhythmic motifs
      from the early segments and elaborates them through a mixture of
      pre-recorded, direct’ electronic and "live" sound (chiefly solo
      piano). The piano part is constructed entirely from fragments of the
      main theme ("Now you can have..."). This is perhaps the most
      traditionally musical section. Part Seven, the finale, reintroduces
      the main verbal themes and summarizes them, accelerating out of a 6/8
      rhythm into a powerful ostinato in which a rapid repetition of the
      upbeat "Now you can have" is slammed into counterpoint with the
      staccato roar of "You cannot." [That's Jim Morrison I believe - my
      addition] Without false optimism, Crafts delineates the cracks
      running through the edifice of modern society, just in case a
      listener or two might happen along with some dynamite.

      SOAP OPERA SUITE: The opening movement of the Suite, "The Essence of
      Melodrama," is just that. Beginning with an hysterical, threatening
      voice, it takes the listener on a high-speed tour through all the
      major themes of daytime TV serials’ marital and sexual strife,
      alcoholism and drugs, career problems, crime, neurosis, unwanted
      pregnancy, deception, disease and death.

      Part Two, "The Art of Listening," starts off sounding like a
      conversation but quickly dissolves into a hilarious, jump’ and’ jolt
      firecracker string of non sequiturs out of which gradually emerge
      three interwoven themes’ sex, selling and religion. The religion of
      sex, the sex of selling, the selling of religion... "Living in
      Fragments," the third section, is the most emphatically rhythmic
      section of the Suite-patterns of quick flashes from ads and programs
      segueing into a brisk "allegro for cliche and orchestra." The section
      ends with a series of cheerful double entendres revealing the current
      of prurient excitement that flows just beneath the surface of even
      the "straightest" soaps. Listeners who have been baffled up to now
      can relax with Part Four, "The Conversation." Here the composer has
      synthesized the entire history of a typical soap’ opera relationship
      out of snippets of phrases from dozens of shows, assembling them into
      one continuous man/woman dialogue which takes us through the phases
      of flirtation, exploration, consummation, misunderstanding, argument,
      flight, incipient breakup, breakup, nostalgia, attempted
      reconciliation and (literally) "starting over."

      If anyone believes at this point that Crafts has gone sentimental on
      us, the following "Brief Interlude’" with its bizarre and alarming
      telephone conversation, should correct them. In the fifth and
      concluding segment, entitled, "The Human Condition," Crafts once
      again recapitulates themes from the rest of the Suite while revealing
      his hidden critical agenda. "Work" (or rather, the idea of work,
      since except for the activities of doctors and nurses, work is almost
      never shown in soap operas) is juxtaposed to the fantasy’ life of the
      serials. The composer organizes his material to show that vicarious
      identification and role’ playing are not limited to the soap opera
      life, as "everything that was once lived has moved away into its
      representation." I guarantee that after listening to this record,
      you'll never be able to watch TV again in quite the same way. You may
      also have trouble listening to yourself using the habitual phrases to
      talk about your feelings, especially "love." So much the better. As
      one of the rebels of May '68 put it: "The blue of the sky will remain
      grey as long as¬Ýit is not reinvented."

      And this from Lukas at the WFMU bog siteŠ
      "In 1982, self-taught composer Daniel Steven Crafts released an album
      with two tape compositions, Soap Opera Suite and Snake Oil Symphony,
      on the Berkeley-based Lutra label. It is a pioneering work of found
      sound, and it perfectly captures the essence of TV in purely aural
      form. Or so I am told. I found a thoroughly used (and abused) copy on
      the shelves of WCBN one day, and it became one of my favorite secret
      weapons for weird audio collage shows and general freeform madness.
      However, my time at WCBN eventually ended when I moved away from
      Michigan, and I had no physical or digital copy of this LP anymore.
      After a few months I really missed it, and a Google search revealed
      the amazing fact that Daniel himself is still selling this album."

      * From Scotvoid via Black Sifichi
      1.Only in America......can a pizza get to your house faster than an ambulance.
      2. Only in America......are there handicap parking places in front of
      a skating rink.
      3. Only in America......do drugstores make the sick walk all the way
      to the back of the store to get their prescriptions while healthy
      people can buy cigarettes at the front.
      4. Only in America......do people order double cheeseburgers, large
      fries, and a diet coke.
      5. Only in America......do banks leave both doors open and then chain
      the pens to the counters.
      6. Only in America......do we leave cars worth thousands of dollars
      in the driveway and put our useless junk in the garage.
      7. Only in America......do we use answering machines to screen calls
      and then have call waiting so we won't miss a call from someone we
      didn't want to talk to in the first place.
      8. Only in America......do we buy hot dogs in packages of ten and
      buns in packages of eight.
      9. Only in America......do we use the word 'politics' to describe the
      process so well: 'Poli' in Latin meaning 'many' and 'tics' meaning
      'bloodsucking creatures'.
      10. Only in America......do they have drive-up ATM's with Braille lettering.

      * Announcing the arrival of the <http//:www.bartplantenga.com> juggernaut.

      Includes my fiction and nonfiction, excerpts, playlists & music
      writings, liner notes, questionable observations, misrememberings,
      links to artists, friends, organizations, writers, musicians,
      interviews and broadcasts. There are elegies & homages & plenty of
      exalted gibberish in the name of cultural fermentation. Also sound
      samples & many vintage photos. You just have to browse like you would
      in curiosity shop.

      Also includes links to more recent writings regarding the passing of
      Lydia Tomkiw, liner notes for the latest CD by SF-Swiss
      singer-yodeler, Erika Stucky, called SUICIDAL YODELS, links to recent
      fiction at Parisiana, and my askew memories of Allen Ginsberg at
      About.com [censored!].

      This website building experience has helped put many houses in order
      and has given me a new perspective on having perspectives. The idea
      for a website began over 6 years ago when the madcapped Pole, Pawel,
      suggested then insisted he build me a website Free for me as a
      friend. Well, this never happened because the dangers details of
      living got in his/the way and he, last I heard from him, was about to
      be deported, kicked out of the US for a crime he did not commit.

      I thank Roma Napoli [check out HER website] and Marie for setting me
      upright and letting me wobble my way through actually learning some
      of my own HTML. It is not quite completed but I now realize that it
      will never be finished like a book. Electronic media allows [the
      sometime anxiety-inducing] feature of flow, of open-ended, endless
      amendment and hyper-meandering, thus finality, completion are, alas,
      somewhat outmoded concepts/feelings.

      o Jonges v/d Vlakte [Boys from the Plains]: "De cottonpickin' Jongens
      van de cottonpickin' Vlakte" play a piquant, illuminating, and
      playfully irritating mix of faulty music, of near-misses, of obscure
      failures, of world music that is not from this world 19.00-20.30
      [Dutch time, subtract 1 hr for UK, subtract 6 hrs for US East Coast]
      Mondays @ PTP

      o Dr. Doo Wop is one of the most eccentric and stimulating radio
      shows anywhere. Sartre, DeSade, Doo Wop and music from the gonads.
      Now on Radio Patapoe on Sunday 17.00-18.00 Amsterdam time

      o Solus: Minimal electro techno acid french hiphop / Thursdays 22.00
      o Super Nova is a big potpourri of sounds influences and information
      both local and elsewhere. Can you picture a sound? On Sundays

      o Wildcat Radio: Anarchist organization presents radio as it should
      be - in your ear. Saturdays 18.00-20.00.

      o De Oktoskoop: Kinderen /kid /children /rugrats and other
      visionaries. Sat. 11.30-13.30

      o POLYPHAKE PLAPPERLAPAPP: "polyphone audioerosion featuring
      occasional beatweirdniks in an plaperlappap assemblage hosted by
      F.Fiasko 22:30-?? Wednesdays

      o Radio Worm: Rotterdam-based radio collective presents inventive
      programming to baffle all preconceptions. Midnight Sundays and in
      autopilot rotation.

      o HET PROGRAMMA: industrial lounge for collapsing people. Tuesdays 21:00


      * Wreck This Mess-Paris @ Radio Libertaire, Paris 89.4 hosted by
      Laurent Diouf 1/2 PanouPanou on Tuesdays 12:30-14:30 check
      * Black Sifichi / Audiometric radio check <http://www.blacksifichi.com>

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio Patapoe
      bart plantenga
      Dina Appeldoornstraat 11-3
      1076 AX Amsterdam
      the Netherlands

      o Check out NEW excerpts from my erotic-dérive novel: Paris Sex Tete
      on Parisiana <http://www.parisiana.com/>


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