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Aug 16, 2023

Secret Agent Super Dragon (MST3K version), dir. Giorgio Ferroni, 1966
The Benny Hill Show, dir. John Robins, 1970
Episodes: “Tommy Tupper in Tupper-Time”
Space Patrol, dir. Frank Goulding, 1963
Episode: “Husky Becomes Invisible”
Red Buddha, Stomu Yamashta, 1971
Saga of the Outlaws, Charles Tyler, 1978

Aug 20, 2023

Kiss the Girls and Make Them Die, dir. Henry Levin, 1966
I’ve really been getting into these late 60s “Eurospy” films, which usually offer a combination of exotic locations, a degree of homoeroticism (the hero seems more in love with his sidekicks than with his girlfriends), jazzy “mod” soundtracks, awful dubbing, and women who either look like Barbie or stereotypically “exotic” femmes fatales. I enjoyed this film thoroughly (wait until you see how the chauffeur hides from the pursuing bad guys), but what really grabbed my attention was the villain’s lair in the last half hour or so. If that was an original set, then it’s outstanding. If that’s location shooting, then I’d sure like to know where it was. The colors, the lighting, and the camera work made it seem like it came from an entirely different movie.
Nice Dreams, Tommy Chong, 1981
Kong Island, Roberto Mauri, 1968

Aug 23, 2023

Gunslinger (MST3K version), dir. Roger Corman, 1956
Nishikigi (Noh drama), dir. unknown, 2020
Dirty Tiger, Crazy Frog, dir. Karl Maka, 1978
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I took my tincture, caught a bus to go to lunch, then decided to catch a shuttle (for the trains were out of service) to hang out at the airport for a while. The ambient sounds of the OHSU Wellness Center made for a great afternoon, so I figured the airport would surely have some interesting sounds, too.

If you’ve ever heard small children try to tell jokes, it’s like they haven’t quite figured out the concept of humor, so their jokes are more non sequitur than humorous. But that was the kind of mood I was in while waiting for the shuttle. I kept coming up with such “jokes”. For example, I had the idea of taking song lyrics or poetry and reversing the second and third lines of every stanza. Armed with this daring, innovative idea, I tried it on the first thing that came to mind:

Mary had a little lamb
And everywhere that Mary went
Its fleece was as white as snow
The lamb was sure to go

This struck me as monumentally funny, but before I could try the trick again, I thought of other “jokes”:

If you want to discourage vandalism in public bathrooms, just build them so that the floor is a grate fifty feet above the ocean. It would be so cold and windy and dank nobody would want to stay in there any longer than they had to because who wants wind blowing up their skirt?

If you like chocolate, date a guy who doesn’t like chocolate. That way you won’t suspect him when your chocolate goes missing.

A woman wants to do some extended travel. She’d like to rent her house to earn a little extra money while she’s gone, but she doesn’t want tenants messing with her stuff, nor does she want to have to put everything in storage. She asks a magician for a spell to make everything in her house both intangible and invisible. He tells her she can have one or the other but not both. If he makes everything invisible, the tenants will bump into the furniture and think the house is haunted. If he makes everything intangible, the tenants will still see the furniture and also think the house is haunted.

Riding the shuttle to the airport was like being on the Concorde. Most bus drivers will say hi or nod their heads as you board, but this driver acted like he was welcoming V.I.P.s on a luxury liner. He also seemed to drive the bus much faster than the speed limit. That might have just been the time dilation I experience while stoned, but I imagined it was because we were on a special bus that was allowed to go faster. And, because it’s a shuttle for the rail line and not an ordinary bus, the stops were very far apart and so it seemed more like an express train.

At most of the airports I’ve been to, the area around them is a sort of futuristic “utopia”. The surrounding land is completely flat out of necessity, of course, and the only things in sight are sometimes futuristic buildings or distant trees. It can look as if the runways stretch on forever. As you get closer to the airport itself, it’s all concrete and steel and glass and ramps and millions of signs about which way to go, like a benevolent Big Brother was helping you get to where you needed to be.

I went to get a coffee and a pastry at a kiosk. There was an unusual looking pastry behind the glass, so I asked the barista what it was. She wasn’t sure, and there was no little placard for it. She reached under the counter and pulled out a deck of placards and began going through them. With the time dilation, this seemed to take forever, and I kept saying, “It’s cool, don’t worry about it,” but she was determined to find it. After she had identified it (it wasn’t anything I wanted), I pointed at yet another unidentified item.

ME:Is that a chocolate chip muffin?
HER:(not being sarcastic) Does it look like a chocolate chip muffin?
ME:Well, it’s either chocolate chip or blueberry, I can’t tell from here.
HER:(peering at it) Hmm ...
ME:Oh, don’t worry about it, I’ll take it, whatever it is.
HER:You’re sure it’s a chocolate chip muffin?
ME:No, but I’ll take it anyway.
HER:Well, if you say it’s a chocolate chip muffin ...

I knew I was stoned, but was she stoned too? Or just new at the job? I couldn’t be sure.

I sat very close to a ticket counter. At first I thought I heard the sounds of construction, but it was the sound of luggage moving on the metal conveyor belts. Grr-rrrrr clunk thunk bonk. Sometimes it sounded like I was in a strange bowling alley. Other times it sounded like the deepest note on a bass harmonica.

A couple of announcements also gave me the giggles from mis-hearing them (passenger names have been changed):

“Would Joan Baker please return to Henry’s cabin for a left-behind item.”

... and ...

“Would passenger Evan Marsan please come to ticket counter 2B, for passenger luggage and suspense.”

The first announcement was actually calling Ms. Baker back to Henry’s Tavern, but the way I heard it, it sounded like she was having an assignation with Henry in his cabin and left her panties or something behind. As for Mr. Marsan, what the heck was the suspense going to be? Would the counter agent say, “Here’s your luggage, Mr. Marsan—GASP! WHAT’S THAT BEHIND YOU?!” I really had no idea what had actually been said.

After a while, I caught the bus home. I was feeling mellow, feeling like the world was at peace. I wondered if I were only capable of good, happy thoughts while stoned, so I dictated this into my phone:

[Riding] the bus home and looking outside and thinking that everybody and everything seems so nice today and I thought, am I even capable of an evil thought while I’m stoned?

KILL EVERYONE! KILL EVERYONE!

Lol

After reaching home and having dinner, I settled in for my usual evening of media:

Battle Beyond the Stars, dir. Jimmy T. Murakami, 1980
Tokyo Pig, dir. Shinichi Watanabe, 1997-1998
Two episodes: “Lookout! It’s a Cookout!” and “Pigs on Ice”
Midnight Parasites, dir. Yōji Kuri, 1972


Evil Under the Sun, dir. Guy Hamilton, 1982
This is my favorite of the big screen Poirot films. An all-star cast camping it up on a beautiful island while murder is afoot. Having seen it quite a few times already, most recently just a couple of months ago, I wondered if I might get a little bored watching it again so soon. Solution? I divided the movie into roughly ten-minute segments, and heavily processed each segment with a variety of effects, including saturation, posterization, temperature change, motion blur, delayed superimposition, and glow for the video, and tremolo, reverb, distortion, and various delays (echo, reverse-echo, bouncing ball delay) for the audio. The result? Something that ranks with my Cozzilla-ized version of Gigantis The Fire Monster (aka Godzilla Raids Again! And while these are all relatively simple effects, watching it while stoned, it was as if a nuclear holocaust had occurred: in some scenes, the sky and sea flashed and flickered as though radioactive, and glowing ghosts walked around and spoke. Posterization made the actors look like they’d been drenched in blood or skinned alive. Here are a few excerpts:


The trippiest audio effect was the bouncing ball delay, which sometimes extended to several seconds. This made the characters, particularly Poirot, sound like they were talking incessantly. Another audio effect made the dialogue unintelligible, and everyone sounded like Daleks trying to cough up furballs.

The Process of Weeding Out, Black Flag, 1985
Live at Jazz Spot Combo 1975, Itaru Oki Quartet, 1975
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Note
This blog entry is one of two parts; this part deals with various media I watched on August 3, 2023; the other part deals with some thoughts (from the same day) about how I hear music the way I do while stoned.
I took my tincture at home, then went out for lunch, then headed to the OHSU Wellness Center. My plan was to ride the tram and shoot some footage for a music video, but the tincture hit me pretty hard and standing in a rocking tram while shoulder to shoulder with others didn’t seem like a very smart idea, so I sat in the Wellness Center lobby (with a coffee and a pastry) to chill for a while. As you may read in the other part, I really tripped on the ambient sounds and dictated many notes into my phone. After a while I was ready to do something else, but still felt too uneven on my feet to jump on the tram. I decided to watch some comedy—something familiar—and chose this:

Are You Being Served?, dir. Gordon Elsbury, 1979
Episode: “Mrs. Slocombe, Senior Person”
As I had neglected to bring my earbuds, I kept the sound very low, not wishing to disturb anyone else. I was only able to catch the occasional bit of dialogue now and then, as if heavy tremolo had been randomly applied. The audience laughter was easier to hear, but it was surreal having the audience laugh at seemingly nothing. I then noticed the ambient noises of the lobby provided some interesting (and often comical) juxtapositions ...

☆ Mrs. Slocombe said something to Mr. Humphries, and when he opened his mouth to reply, there was the sound of a baby crying.
☆ When Mrs. Slocombe began eating the meringues, someone nearby began rustling some paper rather noisily, as if Mrs. Slocombe was really grinding her food.
☆ Mrs. Slocombe opened her mouth to say something, and the baby that had been crying earlier was now babbling, like “Goo goo ... gaa!”
☆ In another scene, when she opened her mouth to speak, a shrill whine (from a cart with squeaky wheels, I believe) came out, like she was some demented bird squawking.

Although I had seen this episode many times before, I still wish I could catch some of the dialogue. I turned on auto-captioning, which is not always the most reliable. For example:

☆ Mrs. Slocombe referred to Mr. Grace as “Mr. Grizz” ... that in itself is not particularly funny, but I imagined she suddenly had a strange Southern accent.
☆ She actually said “Oh, how nasty!” but the captioning read, “Oh, I’m nasty!”
☆ She actually said, “Hello, Cosmetics? Miss Comlozi, please.” but the captioning read, “Hello, Cosmetics? Miss Come Loser, please.” What on earth is a come loser? Is that like the opposite of bukkake?
☆ While lying on a stretcher after succumbing to food poisoning, she actually said, “I want to go to the loo!” but the captioning read, “I want to go to the Louvre!”
☆ Half the time she was addressed as Mrs. Slocombe, and the other half as Mr. Slocombe. What made it funny was imagining the staff were not sure what her gender was, and so made guesses, but never did she take offense or correct them, like she was happy to respond to either.
☆ Miss Brahms was referred to as “Miss Brown”, “Miss Bronze”, and the one that made me laugh the hardest, “Miss Burns”, because I pictured her married to Montgomery Burns from The Simpsons.

Why I thought this, I don’t know, but I felt like I was watching the most fucked up French comedy film ever made. And strangest of all, when Mrs. Slocombe finds out the meringues she’s been eating are going to give her food poisoning, she looks at Mr. Humphries and looks quite ill. However, the way I saw it made me imagine she was Greta Garbo! Ages ago, I read a review of a Garbo film where the critic complained that Garbo’s idea of emoting was to look like she had a headache. And for whatever reason, that’s what popped into my head when watching Mrs. Slocombe—it was as if Garbo had gotten older and plumper but had never retired.


The tram and the bus

Eventually, I felt clear-headed enough to ride the tram. I went to the top and walked around a little. While riding the tram down, I was checking out this nurse standing directly in front of me. I didn’t get a good look at his face but he seemed a Mediterranean type, attractive, three day growth of beard, built nicely. But what was hypnotizing me was his hair. Absolute jet black, almost iridescent as it caught the rays of the sun. It was as if his hair had been fashioned from the feathers of a raven.

I reached the bus stop and waited for my bus. Two #17 buses pulled up at same time, one right behind the other. Nearly everyone was getting on the first bus but a few headed for the second one. One woman stopped a few feet from the second bus’s door and looked questioningly at the driver. The driver gave her a cheerful thumbs up. The woman took a step towards the door then reared back, as if she’d seen a snake. She looked again at the bus driver, as if re-confirming permission to board. The driver gave her a more sarcastic, trenchant thumbs up. Finally assured it was safe, the woman got on board.

My bus arrived and we took off. A couple of blocks away there was a man on the sidewalk who looked like the love child of Henry Rollins and Seth MacFarlane. About thirty, on the thin side. He was hunched over almost at a 90° angle, gingerly stepping his way down the street. He was a heron, searching for prey, trying to disturb the water as little as possible.

Evening

Moon Zero Two (MST3K version), dir. Roy Ward Baker, 1969
With music by jazz musician Don Ellis. This was an interesting bit of synchronicity, considering what I wrote in the companion blog about complex time signatures, for Wikipedia had this to say:

Drawing from his compositional and arranging experience, as well as from his studies of Indian music, Ellis began to write jazz-based music with the time signatures he had studied with [Harihar] Rao. These included not only 5/4, 7/8, and 9/4, but also more complex rhythmic cycles like 19/8 and 27/16. In the future, Ellis would use many more complex meters, as well as complex subdivisions of more standard meters.

... and ...

Ellis also had a customized trumpet made for him by the Holton company, which he received in September 1965. Its additional (fourth) valve enabled it to produce quarter tones. Some claim that the inspiration for this may have been due to his studies of Indian music, which includes bent pitches that some ethnomusicologists refer to as “microtones”. However, it was probably more the result of Ellis’s previous involvement with avant-garde classical music, in which many composers were experimenting with Western tonality and intervals ...

This is definitely someone whose music I will have to explore!
Fish Tales, dir. Jack King, 1936
Porky in Wackyland, dir. Robert Clampett, 1938
Gesang der Jünglige, Karlheinz Stockhausen, 1955-1956
A 2001 performance at the Polar Music Prize Ceremony. Besides the really avant-garde music, I was amazed by the staging: a screen showed what looked like animated energy tendrils, which were also superimposed over the video. Spotlights played back and forth over the audience, many of whom sat with their eyes closed, in rapt attention—no selfies, no chatter.


Nu, pogodi! (2 episodes), dir. Vyacheslav Kotyonochkin, 1969-1970
The New Avengers, dir. Sidney Hayers, 1979
Episode: “The Last of the Cybernauts...??” I was a fan of The New Avengers when I lived in England as a kid. This episode was a little surreal, particularly the bad guy’s lair, which had life-size cutouts of the New Avengers, and much larger than life cutouts of their faces. It was like some kind of obsessive art gallery installation.
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Note
This blog entry is one of two parts about my August 3, 2023 experience. This page deals with my perception of sounds after an experience at the OHSU Wellness Center lobby; the other entry deals with various media I watched that day.
As I said in another blog entry about how THC affects me, I feel like I hear everything more deeply when I’m stoned. And while I can point to this article about why music sounds better while stoned, it doesn’t explain why even just ordinary noise sounds like music to me. The following are some thoughts that occurred to me while I was sitting in the lobby. I dictated them into my phone as quickly and as coherently as I could, but even so I could not always keep up with the flow of ideas. Some of what I came up with is just flights of fancy, although there is perhaps value in that as well!

The ambient noises in the lobby—of people talking, of echoing footsteps, of elevator bells ding-ing when the doors opened, of phones ringing, of outside noises when someone entered or exited the building—all sounded like the best soundtrack ever to the “live theater” I was watching. But it wasn’t just about enjoying sounds, like one might enjoy the sound of waves breaking on the beach or the sound of the wind. I didn’t perceive these sounds as sounds but as music. Everyone speaking was a singer, and every noise was made by an instrument, all being played and mixed with each other in real time into an incredibly complex composition.

The trippiest thought of all was the idea I was able to perceive aspects of music like time signatures, tempos, and pitch far beyond what most people, even professional musicians, can perceive. We easily tap our feet to the beat of music if it’s most pop music (a time signature of 4/4) or a waltz (3/4). But listen to the opening of Stravinsky’s The Rite of Spring (1913): the bassoon seems to meander rhythmically, and even with the score in front of me, I have difficulty following the melody, much less tapping my foot to the quarter note counts.

There are probably very few signatures where the note value is higher than a 16th. And while I’ve never seen any score where a note of a shorter duration than a 64th is used, theoretically one could have notes with durations of a 128th, a 256th, a 512th.

Popular song tempos are usually measured in beats per minute (BPM). A lot of upbeat popular music, for example, falls in the 110-130 range. I remember being surprised as a teen that Racey’s “Lay Your Love on Me” (1978) was listed at about 170BPM. Moby released a song called “Thousand” that boasted a BPM of 1015. Again theoretically, it’s possible to have a BPM in the millions, though it would demand a lot of music software to be able to play it.


Finally, music is often expressed in terms of pitch. Middle C on a piano vibrates at approximately 261.63Hz; the note above it, C-sharp (or D-flat) vibrates at approximately 277.18Hz. There is no piano key to play a pitch between those two, but that doesn’t mean such pitches don’t exist. If you subdivide the range between those two notes by 1Hz, you could have about 15 more “notes”. Microtonal musicians love to play with these “extra” notes. And instruments from Asia and the Middle East often have tuning different from Western tuning, creating microtones, which is what gives them that “exotic” sound.


So imagine a song, with a time signature of 263/512, played at 5000BPM, with microtones. It wouldn’t sound like music as we know it. It would be an incomprehensible din of blurred pitches and rhythms.

Or, perhaps ... what real-life ambient noise sounds like.

Perhaps it’s not unlike listening to a foreign language; to most of us, it would sound like gibberish, impossible sometimes just to try to imitate the syllables, but to someone, it’s language, with meaning and context. So why couldn’t what seems like random, arrhythmic noises be music to someone? Maybe this is why I like The Shaggs! I would like to point out, however, I was a fan of The Shaggs looooong before I got into THC.


So ... I was sitting there listening to all these ambient voices and organic noises, imagining them as instruments making very complex sounds, and enjoying this “symphony”. I fantasized I was on an alien planet and this was the aliens’ idea of music, or language, or both. Then, somewhere in the lobby, an electronic alarm sounded, a brief, shrill note. Compared to the symphony, it was jarring, inorganic. I had a thought: what if these aliens thought we humans weren’t sophisticated enough to understand or decode their “language” ... what would they have to do if they wanted to communicate with us? Dumb it down for us by creating the simplest sound possible, like a sine wave. Baby talk!

In any case, these were just the musings of an amateur musician, happily stoned, enjoying the sounds around him, and trying his best to understand the thoughts that came to him. Not the worst way to spend an afternoon ...
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The Million Eyes of Sumuru (MST3K version), dir. Lindsay Shonteff, 1967
This movie was much funnier if I thought of it as an episode of the old Batman TV series, except Bruce Wayne was a womanizing lecher, Dick Grayson was just annoying as hell, and they never got into costume. In this context, the resulting incongruous dialogue between them was pretty funny. The dubbed voice of Inspector Koo sounded like Paul Frees (though he’s not listed at imdb.com), and the voice of the “mind-reader” woman assassin at the harbor sounded like Angela Lansbury trying to imitate the voice of a 20-something slinky femme fatale. I was so intrigued by the strange dialogue, voices, and music I tried to find a non-MST3K version to watch instead, to no avail.
Mario Kart, Nintendo, 2005
Honeycomb Beat, Hudson Soft, 2007

I rarely play my Nintendo DS these days, using it mostly for its music software like the Korg DS-10 (Cavia, 2008) and Jam Sessions (Plato, 2007). Kart and Honeycomb were two games I played endlessly at the height of my DS days. I especially enjoyed playing Kart’s “Shine Runners” again, which made me feel nostalgic. But I had also forgotten how much I loved Honeycomb, which was like a cross between Tetris and Othello. Add a groovin’ soundtrack (esp. songs 2 and 5—unfortunately, I could not find the name of the composer) and some retro and psychedelic graphics and you’ve got a perfect game for playing while stoned.


Filthy Guy, dir. Kuang Hui, 1972
Daijoubu Dames, dir. Joseph L. Thornburg, 2019
Episode 6: “A Night to Remember”: How this episode was not even nominated for an Emmy is beyond me, lol.


Audition, (King) Jogo, 1994
I probably haven’t listened to this album of experimental music—originally intended for a piece I was choreographing—since I recorded it, and barely remembered what any of it sounded like. Having listened to it again after all these years, I must say, I am pretty proud of it. It’s mostly built from samples, heavily processed, with some synths and vocals. Some tracks play with my interest in announcements: “Radiation” has a sample of a voice simply repeating the word, almost like an alarm. “Action Declined” is accompanied by what sounds like a Middle Eastern call to prayers. But despite the fact I was able to record something like this nearly 30 years ago, I did wonder—would I still be able to do something similar or better today?
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July 22, 2023

I had been invited to an RPG party hosted by $6M-Man. There were six of us. The game involved an intelligent porpoise acting as “Charlie” to we six “Angels”—in 1920!! “Charlie” gave us supposedly beneficial missions, but we began to suspect he was perhaps not as benevolent or as humanitarian as he seemed. Needless to say, with all of us in various states of stoned-ness—stone-acity? stone-ation? stone-hood? stone-ment?—things got pretty wild, and a good time was had by all. I marveled at some of the dialogues the other participants improvised. One in particular really missed his calling as an actor, methinks. Ultimately, we decided yes, the porpoise was a bad guy, and two of the “Angels” murdered him.

Riding home, I dictated this into my phone:

i'm on the bus at night
a red interior light barely lights the inside
it seems like a refuge for the hopeless
a homeless man
a woman with all her possessions in a shopping cart
an old couple in front of me, sleeping or praying

July 23, 2023

The Benny Hill Show, dir. John Robins, 1970
Episode: “The Sound of Frankenstein”. I marveled at the segment where The Ladybirds sang “This Girl’s in Love With You”. The segment was shot in a somewhat disheveled studio: the band and conductor, several monitors, the studio lights, random pieces of furniture, and what appears to be a sound engineer, are all visible as the camera tracks around the singers. An interesting bit of breaking the fourth wall.
Matthew Shipp / William Parker ​Duo at 24th Vision Festival, Roulette Intermedium, Brooklyn; June 14th, 2019


Vegetables, Zone IV, 1989
I was completely surprised when listening to this second Zone IV album, not having heard it probably since it was initially recorded. It was one of the best recordings, period, that any of us, in any combination, had done. My guitarist brother Kain (with whom I recorded several albums as The Weird Brothers) replaced Duane's brother in the line-up. It was more like Dynamicaracket featuring Kain than Weird Brothers featuring Duane. The album begins with “Orange Velvet”, a tongue-in-cheek pop parody. Side 1 ends with “Horror Garden”, which I think is the epitome of all the music that Dynamicaracket, the Weird Brothers, or Zone IV ever did. Finally, the album ends with “Where’s the Fuckin’ Aspirin”, where drums, guitar, keyboards, and vocals were all fed through distortion and overdriven. So much so that, after the first lyric, the song turned into a speed/death/thrash metal squall of rhythmic white noise. Elsewhere on the album, Kain’s free jazz guitar noodlings were a perfect counterpoint to Dynamicaracket’s moody atmospheres. Wow.
Peter Brötzmann Quartet, Jazz Jamboree October 1974, Warsaw
I know I keep describing jazz performances in superlatives, but this was the most amazing thing I’d seen since The Sea Trio performance. Much of the credit goes to bassist Peter Kowald, who all but steals the show from Peter Brötzmann. Besides looking like a hunky but sexually pent-up fireman with massive arms, he plays the bass with the same mojo that Otomo Yoshihide plays guitar. With his right hand holding the bow, he'd edge the strings to the brink of orgasm then back off, never letting the strings cum. His left hand would climb up and down, sometimes with startling speed, like a spider pouncing on its prey. Brötzmann had a clarinet which he later disassembled and played the individual components. Drummer Paul Lovens littered his drum kit with random objects which he struck and made bounce around, and Alexander von Schlippenbach's frenzied piano playing surely equals that of Yōsuke Yamashita.


Yōsuke Yamashita and Bennie Wallace in concert, 1989
Watch on YouTube; opens in new window.
Catalina Capers (MST3K version), dir. Lee Sholem, 1967
Naked Lunch, William S. Burroughs, 1959
This was an audio book, read by Burroughs himself. I had already listened to a good chunk of it, then decided to listen to the rest (beginning with “Interzone”) while stoned. It must've been a real challenge to record this. Burroughs sounded quite drunk in some passages, more coherent in others. I'm sure a lot of editing went on, but I don't recall one sentence where he stumbled or hesitated partway through. I find Burroughs’ voice just fascinating to listen to. They must've mic'ed him very closely, for you can hear each breath, sigh, swallow, and the syrupy sound of spit dancing between his tongue and the roof of his mouth. It was as if he were whispering right into my ear. Between that and Kowald's performance earlier, it made the evening an almost erotic experience. Listen to Naked Lunch here.
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July 15, 2023

Culture Shock, Zone IV, 1989
Zone IV was a “supergroup” of sorts, featuring Duane and myself (Dynamicaracket), plus Duane’s brother and Duane’s fiancée. The first and last songs on the album were decent-ish, but mostly the album sounded like watered-down Dynamicaracket. However, that would change on our follow-up album ...
Jungle Goddess (MST3K version), dir. Lewis D. Collins, 1948
Ghosts at No. 9, dirs. Antony Balch and Genesis P-Orridge, 2005
Narashitabaai in concert, 2021, at the Blue Moon jazz club in Yokohama, Japan


Inflatable Sex Doll of the Wastelands, dir. Atsushi Yamatoya, 1967
With music by Yōsuke Yamashita!

July 19, 2023

After my experience of May 25, 2023 and being disappointed that the trains leave their inside lights on, making it nearly impossible to see the city lights, I decided to try a bus instead. The plan was to ride a bus to a restaurant, take my tincture, have dinner, then hop on bus 9 to the Gresham Transit Center, then the FX2 back home. I brought along some music to listen to as well.

Bus 9 - Powell
Civil twilight would occur around 9:30pm, so I timed my trip to arrive at the Gresham Transit Center around that time. I listened to Gras (appropriate name, eh? lol) along the way, but it was so ambient and subtle that it blended with the noises of the bus engine, the automatic announcements (more on that below), and the conversations of the passengers, creating a sort of “remix”. I even got my little shakes. I wondered if anyone could tell I was stoned. Probably not, but if they did, I hoped they were thinking, “That’s one chillin’ guy enjoying the ride!”

FX2 - Division
I arrived at the GTC and walked to the FX2 station. It had been pretty warm that day but by now it was mild and breezy and wonderful. And, as I noticed on 4/20, there was that odd mix of feeling vulnerable yet also safe in public, though I do keep on my guard. Someday I must get stoned in public when I have a (not stoned) chaperone to keep an eye on me.

When the bus came around the corner, it looked like a giant caterpillar. Alas, the FX2 also keeps its interior lights on. I was able to move to a seat where it wasn’t quite so bright, but I was still a little disappointed. Despite this, the lights are not nearly as bright as the ones in the streetcars, so I was able to see some of the passing city landscape, which seemed a little unreal. I think this was because, due to the dark of the night and the difficulty in seeing much beyond the buildings closest to the road, everything behind the buildings was practically invisible, like there was a black void behind them, as if the buildings were near the edge of an Alderson disc.

I chose not to listen to music on the way home; the ambient sounds on the bus were music enough.

I’m not a fan of the FX2 as an idea—it just seems to be an expensive solution to a problem that didn’t exist. I recall reading an editorial that said something like, "some politician wanted his fancy bus to drive across the fancy bridge” (i.e., the Tilikum Crossing). But in itself, the FX2 is pretty cool (and the stations look very futuristic at night). I understand FX2 buses have some kind of transmitter that changes the traffic lights ahead so they can stay on schedule. It made me think of the Catbus from My Neighbor Totoro (dir. Hayao Miyazaki, 1988), able to go wherever and whenever it wanted. That, combined with the way the FX2 races and creaks and moans as it hurtles down the road, also made it feel like the Mammoth Car from Speed Racer.

I got the biggest laugh from one of the announcements. It actually said something like, “Please look both ways when exiting the bus,” but to me it sounded more like “Please look both ways when Gasoline Gus.” Who the heck was Gasoline Gus, I thought. And, “look both ways when Gasoline Gus” ... when he does what? As I usually do when I find some incongruity funny, I wanted to howl with laughter, but was reluctant to draw attention, so I kept my mouth shut and tried to stifle myself. But every time we approached a station, the announcement would play, and I’d want to start laughing again.

There were two passengers that caught my eye. One was a bald man in a muscle shirt and a military beanie. He was standing at a station as the bus pulled up. He had his hands on his hips and his chest puffed out, the way Superman used to pose in the really old comics. Hooray, thought I—a superhero to protect we passengers!

The other was a man in an orange construction vest, khakis, maroon sneakers, and very long hair but bald on top (not unlike a tonsure), and small deep set eyes (what my dad used to call “pig eyes”). His head was tilted up towards the 100 zillion candlepower light coming from the FX2 station sign. He stood with one leg behind him, which was turned out and balanced on one toe. He looked like a supermodel posing on the catwalk. I wish I’d been fast enough to snap a picture.

Alas, with fewer stops for passengers at night and the magic traffic light changer at work, the ride home was much shorter than anticipated. I was tempted to stay on the bus until downtown, then come back, but it was getting late, so I came home. I turned in and watched Johnny Corncob (Hungarian: János vitéz, dir. Marcell Jankovics, 1973). I had previously watched Jankovics’ equally amazing Son of the White Mare.
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A collection of random thoughts I had while stoned, from March 26-June 17, 2023.
Aren’t Cassettes Wonderful? (March 26, 2023)
The following was written on paper, then transcribed literatim, aside from some bracketed clarifications.

Aren’t cassettes wonderful? Most people probably could afford a portable recorder. You could record audio and play it back. For the adventurous, you can physically cut the tape and rearrange [the pieces]. You could also apply effects like delay, phase, etc. to create new "impossible" sounds.

And you could hold magnetic data in your hand, like jillions of little bumps that could even be altered by creasing the tape, erasing it here and there. Physical (avec des mains) data editing.

[Vinyl] Records also let you hold data in your hand, but records make sounds by physical shapes in the vinyl, but cassettes is (sic) pure electronics. MAGNETIC!

You also can reshape records a little by melting or warping them but you can’t cut them up and rearrange the pieces to make a new record. CDs hold data, but scratching a CD probably makes it unplayable, or at best, skip. You can’t alter pitch by scratching a CD. And unless a record or cassette is so physically distorted as to be unplayable, a record player or cassette player will still play them. A CD often just gets ejected if the reader can’t read it.
The Ultimate Bottom (April 20, 2023)
These notes were dictated into my phone while I was on my 4/20 Adventure. Copied and pasted here, with one bracketed clarification.

I like the feeling of vulnerability in the big outside world.

It’s like you’re so stoned you wouldn’t realize if somebody was angrily threatening you

It’s a very strange feeling. Stumbling around disoriented, not recognizing threats, it’s scary and exciting at the same time

It’s like I’ve become the ultimate bottom. I submit to everything! Many!

Getting back to stumbling around in public, maybe it’s not that I’ve become the ultimate bottom but because I’m completely invulnerable. Or just beyond physical sensation?

More than just being indifferent to physical sensation, but maybe the feeling that you’re in a state of non-existence. May look like you’re in the real world but you are not interacting with it

I wonder if some [mentally ill] people are like that. They lost all higher functions in their brain. They instinctively look for shelter or food

They are disassociated from their social state. They do not perceive other people at all except as objects that are notfood and notshelter (sic).
Butch + Femmy (April 21, 2023)
These were dictated into my phone. Copied and pasted here, with bracketed clarifications.

usual odd random thoughts, but i felt very peaceful

after [$6M-Man and I] parted, i went to catch the [bus]

so i’m in my tough guy leather jacket and my furry barbarian boots, and feeling like Wolverine from the movies, and I wore a scowl, not a defiant self-confidence compensation kinda scowl, it just seemed to fit

at the same time i’m walking in a scissor pattern, holding my backpack by the strap like it’s a handbag and my sparkly space nails. i walked like i owned the place. again, it wasn’t a compensation kind of thing, i felt quite imperious

i felt simultaneously butch and femmy at the same time. I looked tough and menacing. i loved it.

i also didn’t have my usual afternoon blues. could be because i was stoned and with company and enjoying doing some art in a nice setting. or did being stoned actually “flatten out” that blues feeling i get in the afternoons? would micro-dosing help?
Feeling like a Beat (May 25, 2023)
After my 4/20 Adventure I wanted to try going out stoned in public again, this time at night, riding the buses and streetcars around Portland, then finally walking east across the Tilikum Crossing bridge. The first was a mini-poem I made up when I saw a boat in the river, without lights, not moving, utterly silent like a ghost ship.

On a black boat
on a black night
in the black river
the waves sound like distant cars on the freeway

I was trying to use an ironic metaphor there; yes, there were waves but too silent to hear over the sound of distant cars on the freeway.

I’m at the point in my life where I’m sometimes self-conscious about aging, and I notice every new wrinkle or line. I know at this point I’ll never be as fit and toned as I was as a younger man (short of going to Marine boot camp or similar). But now and then, I embrace this body of mine! It was a warm but pleasant evening. I had been wearing a hoodie but took it off while crossing the bridge to enjoy the breeze. And recently I’ve been learning about the Beat Generation. If only I’d worn jeans and boots that night! But I still felt like a Beat, walking around the river at night in an American city.


I don’t look like Ginsburg, Rechy, or Kerouac but I sure feel like them. Every once in awhile I like looking old and [weathered] because [of] my age

Shouting at an Audition (June 17, 2023)
At one point during that evening’s tincture, I either fell asleep briefly and had a short dream or I was just daydreaming, but in either case, this is what I wrote down (transcribed literatim):

I was at an audition, playing piano & singing. The director told his engineer to cut all the power, to see how I’d handle it. I told the audience just to be very quiet and listen as best they could. One guy began [illegible, possibly “chortling”] and shouting, and getting others to join in. I screamed, “Shout at me all you want, I CAN OUT SHOUT ALL OF YOU!”
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Introduction
Little did I know when I began this blog that I would be writing so much about my cannabis/THC experiences—originally the blog was just going to be thoughts about the music I write and produce. The only reason I’ve posted my cannabis experiences here is because they have had a profound effect on how I hear music and sound, and thus on my songwriting.

I didn’t really begin exploring cannabis until I moved to Portland in 2020, so all of this is relatively new territory for me. Synchronicitously or perhaps serendipitously (or both), during my tincture evenings I’ve also discovered free jazz and the Beat Generation, particularly the works and lives of Allen Ginsberg and William S. Burroughs, and those have also opened up new avenues for perception and expression. I have had thoughts or visions of some strange concepts, like being a universal receptor of ideas in an infinite geometric wonderland ...


Click image for larger view; opens in new window.

... or of various “gods and entities” (see below). And recently, I find I have a renewed sense of self-confidence in myself as a musician and artist.

It’s a long story I might tell another time, but the first time I ingested cannabis, it was so intense I actually ended up calling 911. What really puzzled me was the effect seemed more like what I would expect from LSD: my head felt like it was about ten feet above my body, and my eyes felt like they were about ten feet in front of my head. And then I began having “the little shakes” (see below) and that’s when I called 911.

When I take my tincture (I use Siskiyou Sungrown product, by the way), I use the eyedropper and place the dose on a cookie or donut. I don’t like putting the tincture directly from the eyedropper under my tongue, and the few times I’ve done it that way the effect seems much less intense than when ingested with food. I have read that THC metabolizes (or something like that) in fat, so perhaps the cookie or the donut “activates” it. The effect usually last about five hours, peaking after about two. Taking a higher than usual dose creates a more intense effect, but the timeframe seems to remain the same. However, for the last few weeks I’ve been ingesting it with a tablespoon of coconut oil, and the effects seem to last much longer, about eight hours.

Generally, I experience the following, most of which seem common for most users of cannabis:

☆ I get a little dizzy. Not so dizzy I can’t stand, walk, go up and down stairs, or ride a bus, but I definitely would not try to drive in this condition. But unlike drinking alcohol, which can also make me feel dizzy, I don’t feel sleepy.

☆ Sometimes I feel “heavy” ... not sluggish, like I can’t get out of bed, but sort of like I’m “falling in place”. It’s difficult to explain.

☆ Time seems to slow down. For example, watching a half hour sitcom episode, even one I’m familiar with, seems to take two or three times as long to watch! Brushing my teeth seems to take forever. Taking a leak seems to take forever.

However, I don’t get the munchies, ever. My usual routine is to do as described above with the cookie or donut, then I have dinner about 15 minutes later. It’s not a huge dinner, just an average-sized one for me, and not once have I ever gotten the munchies. I do, however, get very cottonmouthed. I drink both water and coconut water throughout the evening, though neither seems to alleviate that sensation.

I also haven’t experienced paranoia or anxiety at all. The only unpleasantness I’ve had, besides the aforementioned cottonmouth, is an occasional very slight, momentary nausea, but that’s it.

Drugs: do you do them? What do you think of them? – Tom C. (Nottingham, UK)

Kind of what I think of cars. Cars can be incredibly useful, fun, and life-changing if you understand how cars work and know how to drive safely. If you don’t know anything about driving or you tend to drive recklessly, you’re probably not ready to use cars.

—blogger Tim Urban, of WaitButWhy.com (source)

The following seem less typical for most cannabis users. For example ...

☆ My focus seems much sharper, but also much narrower. If I’m watching a movie and start thinking about what I’m going to have for breakfast the next day, it’s as if the movie doesn’t exist, even though it’s still visible to my eyes and audible to my ears. This may explain the next item ...

☆ There is a feeling of “disassociation”, which I usually notice when watching a movie, particularly one that has been dubbed. If I concentrate on the dialogue, pretty soon it “separates” from the action on the screen. I can easily imagine the dubbers in a studio recording the dialogue, but with the screen action “disassociated”, it seems more like I’m listening to a very strange, out-of-context radio play. This creates a sense of incongruity, which often leads to giggles—see next item.

☆ I get the giggles, but not like in the movies, where everything is just automatically funny. I’ve watched some of my favorite comedies while stoned, anticipating some really good giggle fits, but no, that doesn’t happen consistently. Nor does being stoned make everything seem better: I watched one of my favorite films (Black Lizard, dir. Kinji Fukasaku, 1968) while stoned, and found myself disappointed in it.

Often when I get the giggles, it’s due to some incongruity rather than something being ha-ha funny—The Benny Hill Show, The Carol Burnett Show, and Mystery Science Theater 3000 were particularly good at this kind of humor. For example: my best friend in high school and I recorded a dozen albums of music over thirty years ago. Listening to those tapes now, some of the songs remind me of the B-52s. I then easily picture the real B-52s singing our songs, but with our words and our voices coming out of the mouths of Fred, Cindy, and Kate. Yet it seems perfectly natural, creating a sort of paradoxical incongruity. I felt if the real B-52s ever performed these songs, the audience wouldn’t think, “Hey, this sounds like some dumb kids wrote this!” but “Wow, are they on a bad acid trip or what?”

The longest laugh I ever got out of a paradoxical incongruity was when I listened to a musical version of The Blob that my friend and I mostly improvised. At one point a character excuses herself to go to the bathroom (where the Blob will come up through the toilet to devour her) and she sings about having to take a dump ...


It wasn’t just the ridiculous nature of the lyrics I found so hilarious, but the thought, “Imagine if someone paid big bucks for tickets to a Broadway show starring Patti Lupone, and this was the song she sang, and in that voice!” That kept me laughing for about a week! Not constantly, but all I had to do was think of that song and I’d get the giggles. For a while I thought I had broken my brain, lol. And see also “Dogs on Ice”, from our Blackjack album.

☆ I get the occasional muscle tremors or spasms, what I like to call “the little shakes”, especially if what I’m watching or listening to has an abrupt change in brightness, volume, or intensity. I did a little research and things like anxiety, low room temperature, or being over-caffeinated seem to be the common causes, but none of these apply in my situations. My guess is “the little shakes” are just a more intense kinesthetic response. You hear a loud noise, you jump. You’re watching a night scene in a movie and it suddenly goes to bright daylight, you squint. Anyway, they don’t seem to be causing me any harm and I kinda like when it happens. They’re not constant or so intense it interferes with any physical activity or movement.

☆ My sense of hearing, or at least the way I interpret what I hear, is now forever changed, even when I’m not stoned. It’s like I hear everything more deeply, like I went from watching a movie on an old VHS tape to watching it on Blu-ray. If I’m listening to music, it’s as if I’m in the middle of the band, hearing each instrument crystal clear. I do think sometimes I hear things that aren’t there. I don’t mean, for example, that I suddenly hear a glockenspiel while listening to a clarinet. My guess, and I’m not an acoustical engineer or psychoacoustician, is because I’m hearing more “deeply”, everyday or familiar sounds are “blended” differently and my brain interprets these sounds as best it can, almost like a audio Rorschach test.

There was one time when I was listening to a mallsoft song, and would’ve sworn I heard someone counting to four repeatedly in Spanish, deep in the background. What a cool idea, thought I! But it didn’t seem to be there when I’ve listened on subsequent occasions. However, I thought the idea was so cool I used it in one of my songs. Unfortunately, after attending a particularly loud rock concert, I now have moderate tinnitus.

☆ I don’t get perplexed by “typical stoner thoughts”, like “if oranges are called oranges, why aren’t apples called reds?” I don’t marvel at how my bedsheets feel, how blank the ceiling is, etc. I do, however, get some really mind-blowing thoughts, like the “meta-pine tree” I saw while watching Noh theater, or how Nomad (from the original Star Trek series episode “The Changeling”) kills security guards with an energy beam. I struggle to understand why those thoughts are so powerful and significant, but also with how to express them in writing (for example, this paragraph is taking forever to write). I’m not freaked out or disturbed by such thoughts; quite the opposite. I know there are no such things as meta-pine trees or an all-powerful Godcat entity who merely contemplates us but otherwise takes no part in human affairs, yet the fact I imagine such things makes me feel as if my perception or interpretation of things has changed. For that reason, I always keep paper and pencil by my bed while I’m stoned, to jot down such thoughts and ideas. Perhaps it’s more important right now that I simply record these thoughts and acknowledge them, rather than trying to understand them.

This is music played at such a pitch of impatience and self-criticism that every note bursts with expression, a bustle of question-marks, a hive of conflicting vectors. If it’s all too much, it’s because you’re frightened to be alive.

—writer Ben Watson, in 2010, reviewing Nipples, a 1969 album by the late Peter Brötzmann

I have made a few guesses why my reactions seem atypical:

☆ As an artist and musician, I already look at and listen to the world in different ways than the average person.

☆ Long, long before I began experimenting, I typically had surreal and elaborate dreams, and not of the “I dreamt I saw a purple dog, the end” variety. My dreams frequently take place in improbably large shopping malls or office buildings, or in vast landscapes, though not always. Here’s a random sampling of some of those dreams, and these occurred when I was not stoned!

I found myself in China trying to get home à la The Wizard of Oz with several strange companions.

I participated in Olympic dodgeball (without actually playing), which was held in a castle. I took first place on a technicality and the prize was all of Scotland.

I worked in a warehouse building the size of several city blocks, and several hundred feet tall.

I went to a Mexican border town, which was entirely inside a cave, and beyond which lay a frozen wasteland.

I tied for first place in Eurovision (and like the Olympic dream, I did so without competing).

I went to a bar that had a “samba machine” into which you strapped people and it would manipulate their bodies rhythmically to teach them how to samba.

And so, I already have had some pretty trippy visions and imaginings.

☆ I don’t smoke cannabis, I take a tincture. It’s my understanding that ingesting it provides a more psychedelic, trippier experience than smoking it. I’ve tried smoking it in the past but it never seemed to do much (if anything) for me.

☆ I was a pretty precocious kid, reading science books and such (written for much older readers) in elementary school. I supposedly tested at a 12th grade reading level in 6th grade. As a teen, I “got” films like Zardoz, Dark Star, and THX-1138. And in high school I really grooved on Marvel’s What If? #32, “What if the Avengers had Become the Pawns of Korvac?” (April 1982), which introduced me to cosmic entities like Master Order and Lord Chaos (who are not unlike Hinduism’s Vishnu the Preserver and Shiva the Destroyer).

Afternote
I’m currently reading a book called “Your Psilocybin Mushroom Guide” by Michelle Janikian (Ulysses Press, 2019). I’ve never done LSD or mushrooms or other psychedelics, but I’ve long been curious after reading the profound experiences of people like Steve Jobs, Harry Nilsson, Carl Sagan, Gerald Heard, etc., even after just a one-time experience. Heck, actor Jack Nicholson said he had seen the face of God, which is exactly how I felt while watching Noh actors or Nomad. Janikian’s descriptions of how psilocybin feels sounds very much like my experience with THC. It just makes me wonder; if I trip out this much on THC, what will happen when I try mushrooms?
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Introduction
You may have noticed my Tincture Night Diary blog entries have gotten noticeably shorter starting with last week’s entry, which I’ve done for two reasons:

1. As much as I enjoy writing them, it takes longer than one might expect to look up pertinent information then write a review or an analysis. As a result, my music projects were beginning to suffer from lack of attention.
2. I’m running out of ways to describe movies and music beyond mind-blowing and amazing and other superlative terms. Nearly every Noh play I see or all the jazz I’ve been discovering lately has been mind-blowing and amazing. Nearly every kung fu movie or episode of MST3K I watch has been hysterically funny. You get the idea.

So, for now anyway, I’m just going to list what I’ve watched/listened to each week unless something really merits discussion.
Gumbasia, dir. Art Clokey, 1953
The Benny Hill Show, dir. David Bell, 1971
Episode: “News at Ten”
Summertime, live performance by Akira Sakata, year unknown
The performance begins with a little free jazz then segues into the number itself.


Miwa (Noh play), 2022
Swamp Diamonds (MST3K version), dir. Roger Corman, 1956
The Belladonna of Sadness, dir. Eiichi Yamamoto, 1973
Nipples (the piece, not the album), Peter Brötzmann, 1969
As a relative newcomer to free jazz, I had not heard of Peter Brötzmann until he died at the end of June 2023. The reviews I read were (dare I say it?) amazing so I checked out some of his works, and was not disappointed! In fact, it was this review that grabbed my attention:

This is music played at such a pitch of impatience and self-criticism that every note bursts with expression, a bustle of question-marks, a hive of conflicting vectors. If it’s all too much, it’s because you’re frightened to be alive.

—writer Ben Watson, in 2010, reviewing the Nipples album


Machine Gun, Peter Brötzmann, 1968
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Yōsuke Yamashita New York Trio
live performance, 1999, at Quest in Harajuku, Tokyo
The Sea Trio
live performance, 2023, at Dialograum Kreuzung an St. Helena in Bonn, Germany

I was expecting another frenetic performance like the Masahiko Satoh video I watched only a week earlier but man, was I in for a surprise. The Sea Trio featured Satoh on piano, Roger Turner on drums, and Otomo Yoshihide on guitar.


Yoshihide played in ways I'd never seen before. He inserted a sheet of tinfoil between the strings and the frets and rubbed the strings with a rod. He lodged a wand under the strings and plucked it. He fed feedback noise through various filters. He rubbed the strings with a horseshoe magnet, though I have no idea if the magnetism itself affected the signal. He used what appeared to be a violin bow and sawed so savagely it was like he was trying to cut off the strings and the neck of his guitar. He was able to conjure various un-guitar-like sounds, like that of howling dogs, or of a man trying to imitate a cat.

Yoshihide completely stole the show, or at least he did in the first number, which ran about 25 minutes. As fascinating as it was to watch him play, I eventually had to shut my eyes and just listen. The clarity of the video, the bright stage lighting, and some very close up shots of the performers almost made me feel as if I were trespassing. But after that first number, I had to turn it off. I couldn't bear to hear any more. It was almost unbearably transcendent. This was Nomad/Godcat-level music, and yet I found it strangely “relaxing”; perhaps because it was so unearthly, it was easy to imagine myself floating in some great void, staring into the face of the infinite.
Hercules Unchained (MST3K version), dir. Pietro Francisci, 1959
Free Jazz: A Collective Improvisation, The Ornette Coleman Double Quartet, 1961
The Pumaman (MST3K version), dir. Alberto de Martino, 1980
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Introduction
Whatever misgivings I had last week about perhaps becoming bored with my tincture evenings didn’t seem to be an issue this week. I had a pretty good time, to say the least.

The Castle of Fu Manchu (MST3K version), dir. Mark Stuart, 1975
Great fun: hokey, campy, hilariously bad dubbing, a lack of establishing shots adding to the already confusing plot, the unabashed use of footage from A Night to Remember (dir. Roy Ward Baker, 1958), and weird lighting changes, sometimes within a scene. But the location scenery (in Spain and Turkey) was interesting to see, and some of the score (by Charles Camilleri) was pretty groovy.
Gutai Art Association (a collection of filmed performances; director and year released, unknown)
The original footage, about sixty minutes in length, had no soundtrack, so I added Japanese Electronic Music, a 1971 release of electronic and avant-garde music by Toshiroh Mayuzumi, Maki Ishii, Minao Shibata, and Makoto Moroi, as well as a dub techno piece called “Hyper-Nova” by Phoobooz (year unknown).

Now, we’ve all heard the urban legend that if you play Pink Floyd’s The Dark Side of the Moon (1973) at just the right time while watching The Wizard of Oz (dir. Victor Fleming, 1939), the music seems to sync up with the action on the screen. The story is thoroughly debunked, but a similar thing happened while watching this vid: more than a few bits of music sync’ed up perfectly with the film! My favorite part was the nighttime performance at Expo 70. The grainy film quality and the harsh lighting, as well as the low resolution of my headset viewer, made the “The Spangle Men” segment look not like people in shimmering metallic costumes, but like weird digital glitches. The segment with the mechanical dogs was particularly surreal, as if they had taken over the earth and humanity existed merely to keep them upright. All of these aspects made watching the video a particularly trippy experience. I would upload my version*, but I’m afraid I’d get ding’ed by YouTube for using copyrighted music.

*As of this writing, the video seems to have been taken down from YouTube.
The Hallowe’en Show of 1989, various artists, 1989
An audio recording of a live performance at a Hallowe’en party. I performed two songs, my brother played a guitar instrumental (“Midnight” by Joe Satriani, from his 1987 album Surfing with the Alien), we did a song together, and Duane did a medley of his songs.
Anatomy, Stan Ridgway, 1999
Lost interest, gave up after a few songs.
Kung Fu VS Acrobatic, dir. Taylor Wong, 1990
It looked like fun in the preview, but in reality, it was just hopelessly dated 1970s sitcom humor that wasn’t even funny back then. I tried to enjoy it for what it was, but I gave up after thirty minutes. This wasn’t looking good, having to abandon two items in a row on that night’s schedule!
Assorted cartoons:
01. The Milky Way, 1940, dir. Rudolf Ising (Oscar winner, Best Animated Short Film)
02. Wackiki Wabbit, 1943, dir. Chuck Jones
03. Duck Dodgers in the 24½ Century, 1953, dir. Chuck Jones
04. Hare-Way to the Stars, 1958, dir. Chuck Jones
Two jazz performances:
“Yosuke Yamashita” by Dairo Suga Trio
Performed live Aug 20, 2010 at Inage Candy, Chiba, Japan
Now this looks like the kind of jazz club I’d love to go to: very small (sounds like about ten people in the audience), intimate, no amplification necessary. Alas, I looked it up; Inage Candy is closed. :-( However, there are quite a few live performances from there on the ’net, so I’ve got a whole new vein of jazz music to explore.


“Escape Velocity” by Masahiko Satoh
Performed live at The Bottom Line, New York City


Mighty Peking Man, dir. Antony Balch, 1972
I knew this movie was going to be bad, but it’s so amazingly bad, I had a hard time believing it wasn’t made that way intentionally. In either case, it was fun, and the perfect bookend companion to The Castle of Fu Manchu.
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Introduction
Despite enjoying most of the entertainment (particularly the Burroughs album and the Noh performance), I found myself a little ... bored. Had I over-anticipated the evening? Was the usual fare beginning to get a little humdrum? I don’t know.
The Benny Hill Show, dir. Mark Stuart, 1975
Episode: “Great Mysteries with Orson Buggy”. In the skit about the horse race swindlers, Henry McGee all but steals the scene with his first line (“Why do I have to think of everything? It’s always me!”).
Music from the Sixth Annual Honorary Home Movie Awards Show, various artists, 1989
Not the last recording chronologically to feature Dynamicaracket, but I have now finished listening to all the recordings we did. This was a live show.
Chikubushima, Yarai Noh Theater, 2021
Break Through in the Grey Room, William S. Burroughs, 2001
Bill and Tony, dir. Antony Balch, 1972
A collection of filmed performances by the Gutai Art Association. Director and year released, unknown.
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Introduction
This won’t be too long an entry. My entertainment was good but nothing terribly break-my-brain funny, terribly profound, or terribly trippy.

As I discussed in last week’s entry, despite taking a higher-than-usual dose and washing it down with a bacon cheeseburger and donut, the tincture had a delayed and less intense than usual effect. I did a bit more homework on the whole “THC works better when mixed with fat” thing, but didn’t find anything different than what I had tried. I did buy a jar of coconut oil, since that is particularly high in saturated fats. For dinner I ate a TV dinner pot pie (15gr saturated fat, or 75% of one’s Daily Value (DV) allowance) plus a donut with a tablespoon of melted coconut oil poured on it, and my usual dose. The tablespoon of oil was 12gr of saturated fat, or 59% of the DV. In other words, I hit 134% of my DV of saturated fat, and that’s not even counting the donut plus whatever I had for breakfast and lunch! Holy schmokes! Anyway, the tincture hit me at the usual intensity, though the effect seemed to last much longer (maybe 7 hours instead of the usual 4-5). Did I need both the fatty meal and the coconut oil? No idea, though the coconut oil sure tasted good on top of the donut.
Daddy O (MST3K version), dir. Lou Place, 1958
Not for the first time while watching MST3K, I noticed during the door sequence, when Door 3 opens or closes, along with the sound effects there is what sounds like a woman quietly saying “Aesop”.
Kommissar X: Drei goldene Schlangen, dir. Roberto Mauri, 1969
What a strange film, almost like a Bud Spencer / Terence Hill flick, only less comedic and with gratuitous female nudity. The poor dubbing and strange action scenes (like the gun that can shoot missiles!) were worth a few laughs. Some of the music (by Francesco De Masi) reminded me of Dynamicaracket’s, particularly at 38:40 when Petra tries to escape, and at 53:04 when Madame Soh sets the room on fire.
Man Alive!, King Krule, 2020
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Introduction 1
I want to begin this entry with some news. It seems I have moderate tinnitus. I haven’t been to the doctor to have it officially diagnosed, but come on, what else can a constant high pitched ringing in my ears mean, especially since I know how it happened.

I went to a Deerhoof concert a month ago. And yeah, I totally get it, rock concerts are meant to be loud. But this one was beyond loud—much of the music was highly distorted. I spent half of the time plugging my ears (didn’t think to bring ear plugs), and I was in the nosebleed seats, about as far away from the stage as anyone could be. Afterwards, my ears were ringing, but that came as no surprise. When I went to see Perfume in concert in Los Angeles, that too was quite loud (though not nearly as loud as Deerhoof) and my ears rang after that, but the ringing stopped the next day. I figured I’d wake up the next morning and the ringing would be gone.

But no. Okay, maybe it’ll take a little longer, and I wasn’t going to worry about it.

But a few nights ago I got up to use the john, then went back to bed. I was restless and tried reading for a while. That’s when I first really noticed the ringing was still there, and quite pronounced.

The unfortunate thing about tinnitus is ... it’s forever. And there’s no cure. And there’s no real way to manage it (that I know of) other than trying to get used to it. I notice it more at some times than others, but it’s always there, like someone’s shining a very flashlight right in my eyes. I can shut my eyes, but the light still pierces my eyelids.

It’s ironic that until a few nights ago, I really wasn’t noticing it, but now that I’m aware I have tinnitus, I notice it almost all the time (especially when I’m trying to go to sleep).

What does it sound like, you may be asking? Like this.

I mention this here because the tincture evening I’m going to talk about below was the first one I had while being aware I had tinnitus.

Introduction 2
Usually with the tincture doses, the effects are predictable and consistent. But now and then, they aren’t. I once took 1/3 of my usual dose and ended up loopier than usual. And as for the night of this entry, feeling like I wanted to really blow my mind that night, I took a slightly higher dose. Also, I’d been reading lately that THC metabolizes or activates better when ingested with fat. On my last tincture evening I tried my usual dose with some Japanese curry with a glob of peanut butter (to make it faux-Thai style) and BANG! ZOOM! I was having a good time.

So this time I ate a bacon cheeseburger from a food truck and chased it down with a donut (healthy eating, eh?) ... what a disappointment. I did feel it, but barely, and it took longer than usual to hit me. Maybe the burger wasn’t nearly as fatty as I thought it would be—oh, come on! A bacon cheeseburger? Off a food truck? With grilled onions and pineapple? And a donut? Sigh, whatever. That doesn’t mean I didn’t have an enjoyable evening, but it looks like I’m going to have to research this fat business a little more deeply.
Pull My Daisy, dirs. Robert Frank and Alfred Leslie, 1959

The Cut Ups, dir. Antony Balch, 1966
I bet this film annoyed a whole lot of people, but I found it enthralling, almost hypnotic! (and the homoerotic imagery didn’t hurt) Since it was made well before modern-day samplers, when editing had to be done by cutting film and tape and splicing them together, I can only imagine how difficult it must have been just to edit the sound clips, which consist of a few words or short phrases repeated ad infinitum. Over time, however, both the sound and film clips “evolve”; it wasn’t not just the same ol’ thing for twenty minutes. I was startled when I first heard William S. Burroughs’ voice; I had forgotten I had heard it forever ago on Laurie Anderson’s Mister Heartbreak album.

The Cut Ups also made me think of a song Dynamicaracket recorded called “Pioneer / Blue Sky / Silicon / Pepsi”, where Duane and I chanted those words simultaneously (with the help of multi-track recording). Nothing nearly as sophisticated or artful as The Cut Ups but gosh darn it, we were thinking along the same lines! Little geniuses, indeed.
All Saint’s Eve, Dynamicaracket, 1988
This was not one of our better works; there was nothing wrong with it, it’s just not remarkable. Side 1 contains three “pop” songs as well as a sound collage. I recall we had purchased a Disney record of scary noises for an upcoming Hallowe’en party but found it rather disappointing, so we decided to make our own. Unfortunately, it too was rather underwhelming.

Side 2 is a recording of the Hallowe’en party. Duane and I took turns performing either individually or together. Clearly I was going through a Siouxsie & The Banshees phase; not only had I dressed up like Siouxsie, but my two solo songs were influenced by their music. My first song, “The House on Sycamore Road”, was a slinky slightly jazzy number (perhaps like S&TB’s Cocoon) about a party, and the second, “Walk on Glass”, was a thundering punk riot with lots of screaming. :-) Some left over Nina Hagen influence, maybe!

But it was the final song on the tape that caught my attention. I believe my brother Kain had to work that evening but said he’d join us later. When he did, he and I performed a cover of S&TB’s Israel (which, unfortunately, did not get recorded). After that, the show was over, and the guests were mingling and chatting. But then Kain (on guitar), Duane (on keyboards), and I (drum machine and vocals) improvised a song called “Sunrise for All Saint’s Day”. Nothing extraordinary, just two chords. But this was the only time we three little geniuses collaborated on a song (though we would eventually perform in a short-lived group called Zone IV with a fourth member). During “Sunrise” you can hear Duane and me "conducting" by giving verbal directions. After I listened to the tape, I wrote this in my little notebook by the bed:

It was in Duane’s dad’s garage, which had a rug, some stuff against [one] wall, and many bookshelves. We used it for our parties, as sets for our films and vids.

But we three, that night
→ KEROUAC GINSBERG BURROUGHS.

At that moment we were just the background musicians—nobody was really paying much attention; we were performing for our edification. And I didn’t mean each of us represented one of those three Beat authors, only that they were three giants who associated with each other and we were three little giants associating with each other. I miss having creative types like Duane and Kain around—it’s not that I don’t meet other creative types, but not since Duane and Kain have I met others who really clicked with me so well. I haven’t been in touch with Duane in twenty years* and Kain currently lives in Alabama.

*A month or so ago I sent Duane a snail-mail, in care of his dad, as I only had the latter’s address. I never got a response. Now maybe it got lost in the mail, or his dad just decided to toss it, or he forwarded it to Duane and Duane never got it, or Duane tried to email me but mistyped my address, or ... naaah. More than likely Duane simply chose not to respond.
Guild for Human Music, Masahiko Togashi, 1976
Holy shit, what an amazing performance. Nice to hear some free jazz music that doesn’t always include a piano or a sax (nothing wrong with those instruments, of course), and the exotic percussion added a nice flavor. But it was the final piece that really blew me away. The pianist (Masahiko Togashi) played like he was possessed. He pounded those keys so rapidly, so aggressively, I felt as if I were lying on the ground, being beaten by several aggressors (fancifully armed with a grand piano). At one point, I began punching the air, shouting, “Fuck! Fuck!” like I was fighting back with all my might, even against impossible odds. It felt good!
Interlude
I took a break from the entertainment as the THC was peaking. The whole evening I was aware of the tinnitus. I realized I would never “hear silence” again. I lay back and wondered, what if I gave in to it? How would that feel, how would that sound? The sound seemed to increase until it blocked out everything else (not that there was a lot of other background sound happening). Maybe I was waiting for a message? I imagined I had thousands (if not millions) of nanochips (that looked like green printed circuit boards) coursing through my veins. I imagined I had become sort kind of cyborg, with a constant electronic whine playing in my ears. It was like the sound of millions of crickets, only more shrill and piercing. Or it sounded like I had a tiny tea kettle whistling in each ear. But there was no message, no wisdom or answers, no philosophy, and no respite ... just this never-ending sound.
Son of the White Mare, dir. Marcell Jankovics, 1981
There’s only so much a thesaurus can do ... how many other ways are there to say amazing, mind-blowing, incredible, wonderful? It’s not my fault I keep finding amazing, mind-blowing, incredible, wonderful movies and music. But that’s just what Son of the White Mare is. Think Yellow Submarine as if it had been animated by indigenous peoples, with some Steven Universe rolled in. Mare has definitely joined the ranks of my all-time favorite animated features.
In a Silent Way, Miles Davis, 1969
Not wishing to write another paragraph full of superlatives, all I will say is this album was spooky. Not in a ghost kind of way, but after being beaten by a gang armed with a piano, the gentle simplicity of Davis’ (and his band’s) playing was sublimely haunting.
Epilogue, kinda
No conclusions about tinnitus or maximizing the effects of THC here, but as I was turning in, I realized ... I had the hots for Lieutenant Arex from the animated Star Trek series. No joke here, like fantasizing that an alien with three arms and three legs might have multiple penises or some such nonsense. Arex looked more alien than many of the aliens from the series (which was easier on an animated show), but he also had thoughtful eyes, a handsome face looking like it was carved from rock, a clipped but lilting tenor voice, and he seemed to be intelligent, capable, and gentle. "Ah, Joe, you were just stoned when you thought that." Yes, I was, but I’m not stoned now, and I’d still go for a roll in the hay with Arex. I bet he’s a sensual and considerate lover.
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I did something spectacularly dumb on a music project which, when completed, I’ll blog all about. For now, let’s just say I irrevocably lost about 30 hours’ worth of work on an audio file and will have to start again from scratch. Needless to say, I was very upset afterwards. I tried to be philosophical about it, but I could also tell I was ready to ugly-cry or start throwing breakables or both. Not wishing to subject my partner to this, and since we hadn’t made plans yet for the evening, I explained what happened, the state I was in, and asked if he’d mind if:

1. I either got tipsy or stoned, and that he was welcome to join me (though he doesn’t usually partake).
2. We watch an episode of Mystery Science Theater. He’s not a fan of the series, but it usually guarantees me some good laughs.

He said yes, though remarked that getting tipsy might unleash the tears and the throwing of breakables, and I agreed it would be better to get stoned. He also asked if we could also watch an episode of The Benny Hill Show, which didn’t require any arm-twisting for me to agree. He also offered to walk to the local Plaid Pantry and pick up a Hostess treat of my choice. (what a sweetheart!)

Recently, I’d been puzzling over how sometimes my regular dose will make me extra loopy, and other times the same dose seems to have little effect at all. I’d read that ingesting a tincture with some fat will cause it to metabolize better or some such. So, while my partner was at the Plaid Pantry, I took my usual dose and chased it down with some of his pecan sandies. Dinner was leftover Japanese curry (from a boxed roux) which was probably on the fatty side, but I added some peanut butter and peanuts to make it faux-Thai, and served it over noodles. Well! The tincture certainly had a potent effect on me! For our viewing pleasure I chose:

Attack of the Giant Leeches (MST3K version), dir. Bernard L. Kowalski, 1959
Since the whole point was to relax and just have fun, I didn’t keep notes like I usually do, but I kept thinking Leeches—between the hero’s deadpan droning dialogue, the static scenes and endless exposition, the growls and grunts the MST3K gang made whenever the sheriff was musing, and the sometimes odd music—felt almost like a Japanese Noh drama. I will also say Joel never looked cuter than while he was singing “A Danger to Myself and Others”.
The Benny Hill Show, dir. Mark Stuart, 1975
Episode: “Jack and Jill”
Afterwards, my partner and I chatted for a while. I asked, “How do I sound when I talk while stoned? Normal? Faster, slower? Sluggish, hyper?” He said I sounded normal—meaning if I hadn’t been stoned he wouldn’t have noticed a difference—except my speech sounded more “musical”. I said it could be because I was very relaxed, or that I was very cottonmouthed and had to enunciate more clearly to be understood, or both.
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The Killer Shrews (MST3K version), dir. Ray Kellogg, 1959
Jade Dagger Ninja, dir. Roc Tien, 1982
Having seen dozens of kung fu films, I don’t understand why the directors listed in the credits often don’t match the directors listed at imdb.com. This is another example, but in these little reviews I write, I usually favor what’s listed in the film. Jade was a lot of fun. The version I saw had hyper-saturated colors and high black point/low white point levels, giving the film an almost cartoon-like appearance. Night scenes were purely abstract: brightly colored highlights floating on a black background. At the beginning of Jade, a character appears wearing some kind of woven hat, but depending on the angle, it looked like a cheese pizza, a piece of flatbread, a cheese wheel, or a tiny flying saucer (with the alien pilot’s head and shoulders sticking out of the top). It was impossible anyone seriously when he’s wearing a pizza on his head, and I think I broke my brain laughing. It was the best laughing fit I’ve had since I listened to a musical version of The Blob by Dynamicaracket a few months ago, when I imagined Patti Lupone singing a song about taking a dump.
Trout Mask Replica, Captain Beefheart and his Magic Band, 1969
Finally, I got around to listening to the last of the five albums described by dangerousminds.net as "the most ground-breaking and far-out things ever recorded", which includes The Dreaming (1982) by Kate Bush (my favorite album of all time), Nunsexmonkrock (1982) by Nina Hagen (another major favorite), My Life in the Bush of Ghosts (1981) by Brian Eno and David Byrne, and Metal Box (1979) by Public Image Ltd. I’d actually heard Trout once many years ago, and while I didn’t dislike it, it didn’t make much impression on me, either. Well, talk about a 180! Rather than describe it in superlatives, I’ll just say that it sounds like something my brother and I would’ve recorded (as The Weird Brothers) if we had been more influenced by jazz than rock or punk.
You’ll Find Out, dir. David Butler, 1940
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The Benny Hill Show, dir. John Robins, 1974
Episode: “Film Time at the National Film Theater”. I’ve already made some comments complimenting Hill as a performer and a writer. This episode also gave me a greater appreciation of Bob Todd and especially Henry McGee; McGee has a great speaking voice and does well being the straight man, quite able to hold his own against Hill. A vocal group called Design appears on the show in what could be a proto-music video: their song begins with closeups of the singers, but later, it’s obvious several sequences were shot with the group in different poses and configurations. It’s crude by today’s music video standards, but definitely not just a filmed performance.

And while this is a perfectly obvious thought, just because The Benny Hill Show was a variety show with low-brow comedy doesn’t mean the actors didn’t have to memorize all those lines and rehearse, and I was impressed with some of the longer single-take scenes. I also once read somewhere Hill discouraged ad-libbing and preferred everyone kept to the script.

A skit called “The Minstrel Boy” takes place in medieval times, but Hill and Todd are speaking in coarse modern accents. When I closed my eyes and just listened, it sounded like dialogue from a Guy Ritchie film.

Finally, at about 40:40 when Hill, auditioning in character for a talent scout, goes through a brief but rapid patter of different accents and characterizations, which made me think of some of Robin Williams’ manic routines.
Tel Aviv Tears b/w The Hand, Dynamicaracket, 1988
Tears was a recording of a live performance. I announced to the audience that we had written the song only an hour earlier, and unfortunately that was patently obvious. Not one of our better moments! However, The Hand was written for a horror movie Duane made and, similar to The 12th Sign, it sounded like something from a 1980s Italian horror or sci-fi movie, or perhaps a modern soundtrack for The Cabinet of Dr. Caligari (dir. Robert Wiene, 1920).

Sing, Sweet Sister, Dynamicaracket, 1987
This was another “soundtrack” for a film we made, except none of the music actually appeared in the film. Rather, it was a series of pieces inspired by the film and expanded upon. One piece, “Bobby’s Death”, sounds like Stanley Kubrick had asked Lene Lovich to score the stargate sequence for 2001: A Space Odyssey. SSS was definitely one of our better works, and while my singing ability varied from one album to another, I definitely knew how to generate original vocal samples and play them. Unfortunately, the sound quality on SSS is terrible. Most of the other tapes are in good condition, so I don’t know why this one sounds like we recorded it with the mic under a pillow.
Old Cartoons, 1934-1962
Watching randomly chosen cartoons had worked so well before, I thought I would try it again. And again, aside from the occasional racial stereotypes, I found the majority of them charming and beautifully rendered. The three “musicals”—The Penguin Parade, Katnip Kollege, and Rhapsody in Rivets—were by far the best. Wikipedia says the professor in Katnip is a parody of bandleader Kay Kyser. I hadn’t heard of him before, so I looked him up, and found what looks to be a fun Kyser film, You’ll Find Out (dir. David Butler, 1940), that includes Bela Lugosi, Peter Lorre, and Boris Karloff! I was also intrigued by the voice of the hapless nerd cat “Johnny”, portrayed by singer Johnnie “Scat” Davis, as well as some of the male close harmony singing in both Penguin and Katnip. The lion conductor in Rhapsody is wonderfully expressive. Watching these old cartoons and films certainly is an education.

01. Jolly Little Elves, 1934, dir. Manuel Moreno and Bill Nolan
02. The Penguin Parade, 1938, dir. Tex Avery
03. Katnip Kollege, 1938, dir. Cal Howard and Cal Dalton
04. Thugs with Dirty Mugs, 1939, dir. Tex Avery
05. The Haunted Mouse, 1941, dir. Fred Avery
06. Rhapsody in Rivets, 1941, dir. Friz Freleng
07. What’s Buzzin’ Buzzard?, 1943, dir. Tex Avery
08. Northwest Hounded Police, 1946, dir. Tex Avery
09. The Cat That Hated People, 1948, dir. Tex Avery
10. Lucky Ducky, 1948, dir. Tex Avery
11. Calypso Cat, 1962, dir. Gene Deitch
12. Landing Stripling, 1962, dir. Gene Deitch

Bish Bosch, Scott Walker, 2012
Scorpio Rising, dir. Kenneth Anger, 1963
As I’m writing this, I learned Anger died just yesterday at 96 (May 24, 2023)! Note: I later discovered he actually died May 11, but the news was delayed until the 24th while his estate was being settled.
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The Beatniks (MST3K version), dir. Paul Frees, 1960
Recently I had watched the MST3K versions of The Rebel Set (dir. Gene Fowler Jr., 1959) and Tormented (dir. Bert I. Gordon, 1960). The Rebel Set was about three beatniks (a culture about which I’m learning more recently), whereas Tormented featured an uncredited dubbing by Paul Frees. So what could be a better choice for the next film than The Beatniks, written and directed by Frees? Alas, the film had absolutely nothing to do with beatniks, but rather a gang of juvenile delinquents. Still, it was good for some laughs, and I really admired the sequence (all in one take!) where Joel & Gang dramatizes Servo's life as a singing sensation.
Blackjack, Dynamicaracket, 1994
This was our last “official” recording*, though I still have one more tape with a performance we did at a party. Blackjack was a radio play of sorts, about a nameless man (played by Duane) making a road trip while having a quasi-existential crisis. He stops in Barstow, California for lunch, then checks into a hotel in Vegas. He goes to see a magic show, then wins $10 at a casino, then goes to see a strip show. The dialogue is accompanied by music and sound effects. Blackjack also gave me the biggest laugh of the evening: the man calls one hotel to hear a recording of the entertainment that night; I was the recorded voice. The first item was a show called “Dogs on Ice with special guest Nell Carter”. Even back then I could not keep a straight face while reading my lines and could barely contain my laughter. I kept picturing someone grabbing some hapless dogs in glittery costumes and sliding them on the ice like curling stones.

Later, the man meets a ticket scalper (played by me) who offers him tickets to “Dogs on Ice”, and again I fought to keep my composure. As with “After much, Effort?”, I had to pause the tape until I could stop laughing.

*After Blackjack, we recorded two new songs to multitrack cassette, but never mixed them down. I still have the master tape, but not the recorder.
Toko (at Nemu Jazz), Motohiko Hino Quartet, 1975
Great music; Mikio Masuda plays the keyboard like an electric guitar, riffing through a variety of effects.
Jazz 625 performance, Bill Evans Trio, 1965
I always think of bass players as plucking their instruments, which of course they do, but I really marvelled at Chuck Israels' playing as he also caressed, tapped, and massaged the bass. There were some moments so intimate I nearly felt I should look the other way.

There is some remarkable camera work. Often there would be closeups of the performers' faces rather than their hands, showing their solemn concentration as they played. During their rendition of “Summertime”, the camera began by showing the band from the audience's POV, then circled around and up until it was looking at the audience over drummer Larry Bunker's shoulder. Watch the performance here.

As much as I enjoy the barely controlled chaos of free jazz, I also like this genre. There was once a radio show in Los Angeles on KPFK called Smoke Rings that played this kind of jazz: quiet and subtle, yet incredibly enthralling. I'm not sure what it's called. I am loathe to say “smooth jazz” (though that may be the correct name), which conjures sounds of Kenny G piped into a dentist's office.
CT: The Dance Project, Cecil Taylor, 1990
Bonus: Henrietta Savernake is stoned!
My hubby printed a passage from The Hollow by Agatha Christie that he thought was beautifully written and showed it to me. I read it aloud but as you will see, I had to riff on it ...

When she finally came to the long ridge of Shovel Down it was half past twelve. Henrietta had always loved the view from that particular place. She paused now just at the point where the road began to descend. All around and below her were trees, trees whose leaves were turning from gold to brown. It was a world incredibly golden and splendid in the strong Autumn sunlight ... she's stoned.

Henrietta thought, I love Autumn. It's so much richer than Spring.

And suddenly one of those moments of intense happiness came to her ... because she's stoned!—a sense of the loveliness of the world—of her own intense enjoyment of that world ... so stoned!

She thought, I shall never be as happy again as I am now ... never .... stooooooned!

She stayed there a minute, gazing out over that golden world that seemed to swim and dissolve into itself, hazy and blurred with its own beauty ... mega-stoned!
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The 12th Sign, Dynamicaracket, 1989
Our penultimate album. My memory (for I hadn’t listened to any of these albums in years) was that Sign was a soundtrack album, and I was kinda right. Side 1 is a long uninterrupted track with five sections, beginning with “Theme Song from Morpheus”. I seem to recall Duane had made a film about a serial killer named Morpheus, but the other four tracks here seem unrelated to the movie. This “suite” of synthesizers, samples, and vocals is atmospheric and moody, perfect for a low-budget 1980s horror or sci-fi film, and I say that without irony.

Side 2 begins with two “pop songs” and finishes with the soundtrack, including dialogue and sound effects, to Sing Sweet Sister II. Sing II was the sequel to a film we made which was inspired by Whatever Happened to Baby Jane? Here the music is not unlike the suite on Side 1.

Whatever our musical ability was, we were absolutely fearless in what we did. :-)
Shaolin Red Master, dir. Ting-Mei Sung, 1979
Shaolin Red Master had long been in my movie queue, so I thought it was about time I watched it. I hadn’t watched a kung fu flick in over a month. I was actually beginning to get a little bored with them. They were fun, but the weird, incongruous surrealism of some of my favorites just didn’t seem to be there any more.

Wow, what a pleasant surprise, a complete return to that surrealism! And as it’s from the 1970s, the familiar dubbing voices were also there. The film opens with a narrative about the history of Shaolin, which seemed to have nothing to do with the rest of the film! I found the narrator’s voice rather captivating. Then there’s the title sequence, followed by a long fighting sequence, and all this before anything resembling the plot even appears, if there was a plot at all! Yeah, I know I was stoned, but I hadn’t the slightest idea what was happening. That didn’t affect my enjoyment, however! The director seemed to favor extreme facial closeups; I felt like I was suddenly in Land of the Giants. I closed my eyes throughout the film, just listening to the voices of the dubbers, which without the visuals often removed any context and made the scenes sound like surreal radio plays. But there were also several really strange scenes visually, such as:

1. At 29:30, one of the characters is in shock after thinking he saw a ghost. He lies in bed, gasping like a goldfish out of water.
2. At 48:50, there’s a nighttime ceremony of sorts for sending the spirits of the recently deceased to the afterlife. The hero gets into a fight with several priests, who hop around like bunnies. The music in this scene is not unlike Dynamicaracket’s, particularly with the voice of the wailing woman (yours truly tended to emulate Kate Bush back then).
3. At 69:28, our hero receives a letter which seems to be in code. He tries to decipher it by using Chinese hànzì radicals. When taken out of context with the rest of the film (not difficult to do when the plot is so confusing), and with some stirring orchestral music, it makes for an almost sublime scene.

Interlude
Halfway through the film there was a line of dialogue that began “After much effort ...” The dubber phrased it strangely, and it sounded more like “After much, Effort?”, like it was some hip new greeting to a guy named Effort. For some reason, this struck me as monumentally funny, and I had to pause the film until I could collect myself. But as the hysterical laughter subsided, a tremendous wave of dizziness washed over me. Rather than returning to the film, I decided to yield to the dizziness. When it finally ended (seemingly a half hour later, but probably only ten minutes or so), I wrote the following, transcribed literatim:

I saw a scene. It depicted a light bulb illuminating a patch of perfectly manicured lawn. This “grey glow” light bulb is the only source of light. It’s fierce but can only light a small patch of earth. The world has become a perfect sphere, and every square foot is covered in perfectly manicured lawn.

I felt like Alice falling down the rabbit hole in an infinite white universe, passing through patches of geometrical greyscale figures and grids.



Click image for larger view; opens in new window.

Thoughts and ideas came to me rapidly ... for ways to say things, songs, art ideas, etc. I thought I should start taking notes but didn’t want to interrupt the “trip” and I couldn’t possibly write them all down, there were so many. So again I surrendered, this time to a tidal wave of ideas. I let them rush through me. I wasn’t able to remember them, but I will remember the sensation of having had an infinite number of ideas in my head, like I’d become some cosmic switchboard operator.

Planeta Bur, dir. Pavel Klushantsev, 1962
Three chiptune eps.

Open Air, Animal Style, 2008
Lander, Linde, 2010
Derecha, Minusbaby, 2010
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