Mr. Furious Records

The other day Cory and I had an email discussion about Vampire Weekend, and one friend’s (KM) criticism of the band. Cory insisted that I buy the record a few weeks ago, promising to reimburse me if I didn’t end up liking it. He wins.

To: Cory2008@kiblerfamilybeekeepers.uk
From: Howie@supernerdy.informationsuperhighway/AOL
Subject: Why would you lie about anything at all?

I’m internalizing Vampire Weekend, and liking it. I love that they start changing it up after the first four tunes; I like tracks 5-9 way better! “M79,” “Bryn,” and “I Stand Corrected” are my favs. -h

To: Howie@supernerdy.informationsuperhighway/AOL
From: Cory2008@kiblerfamilybeekeepers.uk
Subject: RE: Why would you lie about anything at all?

Howie!

I just think that every single song on “Vampire Weekend” is just so solid of a pop song. My initial favorites were the first 4 or 5 songs on the CD, because that’s what I’d hear first when I listened to it… “Mansard Roof” and “Oxford Comma” are SUCH GOOD ways to start off a record. “A-Punk” and “Cape Cod Kwassa Kwassa” just continue the pop-assault. But then I started loving the sweet baby bejesus out of “I Stand Corrected” and “M79.” Every song is different enough to make the record varied and interesting, but similar enough to make it a cohesive, complete thought of a record.

(Side note: I hung out with my friend KM recently, and she said she hated the record, and she had two reasons for hating it. I think her reasons are bad reasons, but I didn’t tell her so. I’m not going to get into that discussion unless you want me to, but I’d love to hear what you think.)

LOVE!
Cory

To: Cory2008@kiblerfamilybeekeepers.uk
From: Howie@supernerdy.informationsuperhighway/AOL
Subject: Why would you lie about anything at all?

My feelings on Vampire Weekend are pretty solid, so I think I can discuss KM’s criticisms without it ruining the record for me! :-)

To: Howie@supernerdy.informationsuperhighway/AOL
From: Cory2008@kiblerfamilybeekeepers.uk
Subject: RE: Why would you lie about anything at all?

Okay: KM had two criticisms. The first was that Vampire Weekend is completely ripping off Paul Simon. The second is that they are a bunch of privileged trust-fund kids from Brooklyn who are presumptuously appropriating African pop-music for their own purpose, and bastardizing it in the process. I think these criticisms actually help negate each other, but anyway, here’s what I think:

Having heard “Graceland” as well as other Paul Simon stuff, I don’t think VW sound enough like Simon to call “BS.” I can see some similarities, but not enough to take any issue whatsoever. But, let’s say that one thought that VW was ripping off Simon. My response is: who cares? They’re clearly not taking chord progressions/lyrical ideas from him, so it’s not outright plagiarism. And, if you want to hate on every band that sounds really similar to another band, well, you’ll have to hate on every single band in the world (except for maybe Buckethead or someone). Every band I’ve been in or liked or seen live or whatever has sounded similar to some other band that came before it. That’s just how music works.

As for the second criticism about them being white kids from Brooklyn who’ve appropriated Afro-pop: well, it’d be one thing if they were mocking it, or trying to pass their music off as *authentic” Afro-pop. But I don’t think they are, and I think it would be just about impossible to prove that they were. Also, Paul Simon is a white kid from Brooklyn; what made it okay for HIM to do it? The fact that he did it first? I don’t think so. If VW is guilty of it, so is Simon. So I don’t think you’re allowed to call out VW on it without calling out Simon on the same thing. But as it stands, I don’t think it’s an issue that they’re influenced by Afro-pop. If it is an issue, there are some cruddy consequences: if one did think it was uncool for one culture to appropriate and interpret another culture’s music, you and I aren’t morally allowed to play rock/blues music any more, and KM’s not allowed to play tuba for a hip-hop group.

Thoughts? -Cory

To: Cory2008@kiblerfamilybeekeepers.uk
From: Howie@supernerdy.informationsuperhighway/AOL
Subject: Why would you lie about anything at all?

I agree with your arguments. Specifically,

1) Ripping someone off is not *in itself* a reason to discredit an aesthetic work. As you point out, if it were, all art ever would be discredited (reduction to absurdity). There may be a legitimate criticism of a work as *merely* derivative, but I agree that Vampire Weekend avoids this.

2) KM’s criticism here is actually a special case of #1; a ripping-off with colonialist undertones. In general, the same counter-argument applies. Specifically to the colonialism, I think the burden of proof is on her to show that Vampire Weekend has actually done concrete harm to the African musicians/music they’re ripping off, and I doubt she’ll be able to make a convincing case. For example if Vampire Weekend’s success totally destroyed sales of West African music, or if they plagarized stuff, or sampled indigenous music without giving credit/royalties. I don’t think they’ve done any of those things.

No harm, no foul. -h

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PROJECT UPDATE

“There is Something and not nothing” - Matt and I are listening to a new disc that includes six of his actual drum tracks, and they sound pretty great.  Lots of tweaking to do, but still, it’s fun to hear the songs so close to completion - several of them have graduated to the “mixing” stage.  We’re trying to find a time for him to come over and record the remaining four songs.

Fifty Bears in a Fight - Tim is coming down from Lincoln for three days of practice next weekend.  We hope the outcome is that we’ll feel confident playing an eight-song set, and can start scheduling SHOWS!!!!!!!!!!!!!!!!111111111111111
Five Star Crush - A practice session geared toward new songs is scheduled for Monday night.  We have three shows coming up in July/August.

“Ventura” - I didn’t tell you guys, but several weeks ago I wrote the last song to the long-anticipated (by me, at least) Sally Ride “Ventura” album, called “Green Christine.”  It was pretty weird to write the last song to a record two years after the other nine, but there you have it.  It has a pseudo-Latin vibe, and tells the story of a crazy date I had in high school.

Wilco drummer Glenn Kotche gave me an idea to re-vamp my drum set using an upright floor tom as a kick drum (with a reversed kick pedal), which I’m excited about using for “Ventura.”  I fully expect to start recording the album…  after “not nothing,” “You Have To Wear The Boots,” and anything Cory comes up with ;-) between now and then.

Ramblerambleramble…  I know, less talk, more new music.  OK, you convinced me; I’m headed upstairs to work on “not nothing” mixes.  LOVE! -h

Hat tip to Mom for sending me this short article. My comments below.

TUNES IN OUR HEAD: Oliver Sacks on the power of music to heal us and transform our lives (From AARP Magazine Jan-Feb, 2008)

“I’d always suspected we were a musical species,” says Oliver Sacks, 74, the famed neurologist and author of Awakenings, explaining how he decided to delve deeply into understanding the role of music in the brain. But his research turned up more than he’d anticipated. “I’m actually amazed at how much of the brain is recruited for musical experience,” he says. The ability to appreciate music, he believes, is a defining quality of our humanity. In his new book, Musicophilia: Tales of Music and the Brain (Knopf), he shares his discoveries. He talked to us about music’s astounding potential.

*Music as medicine– “In music therapy for Parkinson’s disease, where my interest got kindled, the rhythm of the music is crucially important. People with Parkinson’s misjudge time grossly and have difficulty coordinating speech with their movements, so they tend to stutter or stumble, or just come to a stop. While the music lasts, it gives them precisely what they lack, which tempo and rhythm and organized time. The music doesn’t have to be familiar or particularly emotionally evocative for them. For people with alzheimer’s, it’s a different story. For these patients, the evocativeness of music is primary-the music has to recall emotions and scenes and memories they seem to have lost. Even for those with advanced Alzheimer’s who have lost language, music can grab them and calm or stimulate them. It’s enormously powerful.”

*Compensating– “Blindness seems to enhance many people’s appreciation of music. And many deaf people are able to analyze very complex experiences in the peripheral visual field, which sighted people can’t do. I think whatever sense one loses, there’s a sort of compensation. You can see in scans how, when one part of the brain isn’t getting its normal input, it won’t be wasted. It will be pressed to another use.”

*Musical hallucinations– “Imagining music can activate parts of the brain almost as vividly as listening to music. But our enormous sensitivity to music also has certain dangers, including those catchy tunes that infuriatingly repeat in our heads. These musical hallucinations evaporate eventually, but probably the best relief is listening to other music.”

*Music haters– “An emotional response to music is very strong and almost universal, yet there are a few baffling exceptions. Sigmund Freud, for example, lacked appreciation for music altogether. I actually think something was missing in Freud’s life, and perhaps his analytical communications would have been richer with music. But he’s a puzzle because, at least from the few things he says, one wonders if in fact he was suppressing an emotional response because it mystified or angered him.

*Beatlemania?– “I didn’t respond to the Beatles, probably because I was 30 when they appeared. But I think if I’d been 15, it would have been very different. It’s such a passionate and impressionable time in life. And I don’t think it’s just music. It’s the poetry, the landscapes, the paintings. I can recall novels I read at 15 or 20 in boring detail. But I don’t remember what I read at 60 nearly as well.”

*Transcendence– “I surround myself with music-Chopin, Bach-and it takes me places I can’t take myself. The last concert I went to, I watched the most amazing conductor, David Randall, who is in his 90s but as agile and energetic as someone in his 20s. He leapt up onto the podium and conducted a wonderful Mendelssohn’s Walpurgisnacht. I see a lot of sad, sick, aging people, but I also see people like Randall. He gave an amazing impromptu talk. Resilient, witty. There was just no age there.”

I’ve always remembered my high school band director Mr. Palensky wistfully reminding us that playing music requires us to use 90% of our brain, compared with about 10% for most other activities.

Sacks’ research with Parkinson’s patients is especially interesting; it points toward the idea that humans have a deep inner pulse, a beat that helps us organize time, and that Parkinson’s involves the loss of that pulse but it can be externalized and regained through music.  I like that the pulse seems to be something innate within us; we don’t have to learn it, it is already there, we just discover what’s inside.

Musical hallucinations - This reminds me of something kind of weird I’ve been experiencing lately.  When I’m listening to “…not nothing” in the car, I can often feel my throat moving.   I’m subconsciously subvocalizing to my own music!  It can be uncomfortable, especially for the parts where I sing loud, because my throat really tightens up as if I were belting out a pure tone.  (Bad technique, I’m sure…)

The Beatlemania thing seems to have less to do with music than with memory, though they’re related (as the Alzheimer’s research shows).

Transcendence.  Yes.  Ego-less-ness.  Magic.  These are The Reason I make music. -h

• 2 bananas. (They can be pretty ripe!)
• A pour of milk. I eyeball it; 1 cups or so? Probably.
• A squeeze of honey. 2 T. About.
• A shot of vanilla! 1 T. Or thereabouts.
• 1/2 lb. frozen fruit (such as mixed berries, strawberries or mango)
• A little cinnamon, ginger, or pumpkin pie spice can add a twist

Put everything  in a blender, and blend on “pulse.”  Perfect.

I have this Ultimate Smoothie recipe as a meal, or it could be a cool snack for two people.

It took me a while to get the texture right, but with practice they’re stellar every time and you don’t even need to measure!

Late-breaking news, guys; Five Star Crush will be opening for The Bravery this Wednesday night in Kansas City at the Power & Light District - a FREE SHOW, and we’ll probably play our set around 8 pm.
In other news we heard from Nate (Bike) this week.  A Bike song is featured in the film “Out On The Dance Floor,” which was edited by our friend Mike Laan.  Congratulations, Nate!  He also mentioned he’s working on music again, and I’m mega-looking-forward to hearing it.
Projects:

I played drums with The Sleepover last weekend at the Slowdown in Omaha, and we had a riot.  I hope it’s not the last time I get to rock with Cory, Jamie, and Sarah.   We’re talking about how to get their record made, and what role I might be able to play in that.
“There is Something and not nothing” - No news.  Matt and I need to track the remaining drums (4 songs, I think) and then I need to edit drums and mix/master.  Artwork for the CafePress version is almost done and looking great.

“Songs of -h” - Thanks to everyone who gave a gift to St. Peter’s 2008 house-building mission trip and received “Songs of -h.”  I still have about 25 copies available; feel free to contact me in the comments.  I will send all future gifts to our partner organization in Tijuana, AMOR, to help them continue serving local families.  Photos of the trip are here.

Fifty Bears in a Fight continues steadily, but slower than we’d like.  Tim is in Lincoln working on recording the second draft of vocals for the first batch of eight songs.  In KC Matt, Drew, and I have four new jams ready to demo and two or three more that just need a bit of polishing, plus a ton of ideas.  We practiced together for the first time in nearly a month this week, and it was hard to believe how easily we found our groove and started tearing stuff up.  When we get this Fight off the ground, we’re going to melt faces.