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SEE YA! / THANK YOU! / CLOSED.

This live version appeared as a b-side to the 1987 single "I Started Something I Couldn't Finish" and was wonderfully remastered from the best/earliest possible source to avoid modern mastering techniques which crush the dynamics.

DAD HAS REQUESTED I TAKE A DAY OFF TO SEE THE NEW MOMA "REMEMBER?" HE ASKED "WE USED TO LOVE GOING." / WE DID, WE STILL DO. LET'S GO.

Art without Trespass is like Sex without Climax

Those “field notes” gathered at the strip clubs and night spots helped inspire a seminal paper of 1953, “Becoming a Marihuana User,” in the American Journal of Sociology. (Asked if he knew so much because he was smoking weed himself, he says, “Yeah. Obviously.” And does he still smoke it? “Yeah. Obviously.”) Becker insists that his accomplishment in the paper was no more than the elimination of a single needless syllable: “Instead of talking about drug abuse, I talked about drug use.” “Deviance” had long been a preoccupation of sociology and its mother field, anthropology. Most “deviance theory” took it for granted that if you did weird things you were a weird person. Normal people made rules—we’ll crap over here, worship over here, have sex like so—which a few deviants in every society couldn’t keep. They clung together in small bands of misbehavior. Becker’s work set out to show that out-groups weren’t made up of people who couldn’t keep the rules; they were made up of people who kept other kinds of rules. Marijuana smoking, too, was a set of crips, a learned activity and a social game. At a time when the general assumption was that drug use was private and compulsive, Becker argued that you had to learn how to get high. Smoking weed, he showed, was most often strange or unpleasant at first. One of his informants (a fellow band member) reported, “I walked around the room, walking around the room trying to get off, you know; it just scared me at first, you know. I wasn’t used to that kind of feeling.” Another musician explained, “You have to just talk them out of being afraid. Keep talking to them, reassuring, telling them it’s all right. And come on with your own story, you know: ‘The same thing happened to me. You’ll get to like that after a while.’ ” In the sociologese that Becker had not yet entirely discarded, he wrote, “Given these typically frightening and unpleasant first experiences, the beginner will not continue use unless he learns to redefine the sensations as pleasurable.” He went on, “This redefinition occurs, typically, in interaction with more experienced users, who, in a number of ways, teach the novice to find pleasure in this experience, which is at first so frightening.” What looked like a deviant act by an escape-seeking individual was simply a communal practice shaped by a common enterprise: it takes a strip club to smoke a reefer.

GOPNIK ON BECKER

http://www.newyorker.com/magazine/2015/01/12/outside-game

best version -- nice guitar jangle, and the voice of god is as crystal clear as it has ever been.

thanks for the memories.

what a nightmare she was, huh?!

DAVIS It’s a story about grief. When I came to try to express this particular grief, a poem was what I wanted. No “story,” no talk, but that distillation. That difficulty speaking, almost. But I don’t consider myself a poet, so it was hard for me to sit down and write a poem. It was very close and very private. It’s funny how now I can talk about it—at the time, even though I wanted to write it and I wanted it to be good, and finished, I did not have any intention of publishing it or letting it go out into the world. I wrote it and finished it and got it right, then I put it aside. It was only years later that I felt enough distance so that I could let something so private become public. It has its roots in Anglo-Saxon literature and in Gerard Manley Hopkins, who was himself very influenced by Anglo-Saxon literature. All the alliteration—“help,” “head,” “heart.” That is from Anglo-Saxon poetry. And then the vocabulary. “Remain” is Latinate, but all the other words are Anglo-Saxon. They’re very simple. Almost all of them are monosyllables. To me the simplicity of the vocabulary, the repetition, the alliteration all get closer to the most basic and most difficult emotions. There’s no fancy language coming on top of them. If you can do that without sounding simpleminded, it’s very powerful. I have an earlier version that was a little more talky, that wasn’t as economical. I think it started with “Heart is disturbed” or “Heart is having some trouble dealing with this.” It was longer and more narrative. Then I got it down to just “Heart weeps.” The last revision was very simple. The last two lines were something like, “Help, head. Help, heart. / You are all heart has.” And I didn’t like it. Didn’t like it, but didn’t know what to do about it. Then I realized I could just reverse the lines, except I’m not addressing head till the last line, so the line before can’t be “You are all heart has.” It has to be in the third person—“Head is all heart has.” Which is better anyway. The narrator doesn’t address head till the very end. Then comes this vital comma. It just shows you how important a little punctuation mark is, how much power it has. Here it signifies the command to head. It’s the imperative form of the verb. And then, without the comma, you still have the imperative but now “heart” is the direct object. That little comma makes such a difference.

MARRY ME, LYDIA

HEAD, HEART Heart weeps. Head tries to help heart. Head tells heart how it is, again: You will lose the ones you love. They will all go. But even the earth will go, someday. Heart feels better, then. But the words of head do not remain long in the ears of heart. Heart is so new to this. I want them back, says heart. Head is all heart has. Help, head. Help heart. LYDIA DAVIS

interesting insertion of the word STUPID into the Hatful of Hollow version of Pretty Girls Make Graves, which I have not yet noticed until this listening: "A smile lights up her stupid face (and well, it would) I lost my faith in Womanhood I lost my faith in Womanhood I lost my faith... Oh...

I keep mine hidden But it's so easy for you Because you let yours flail Into public view, oh, oh Ooh, I keep mine hidden The lies are so easy for you Because you let yours slide Into public view, oh, oh

A barber reached out for some photo help -- wanted to update his profile photo. insane work!

close but not quite lol! tho all parties concerned played they shit at a glacial-ass pace, codeine placed a far greater emphasis on abrasiveness & distortion than either low or bluetile lounge. codeines chief technique was they minimal use traditional melody in favor of heavyass, mad sharp/powerful (& sumtimes quite dissonant!) chords & severe drum sounds mixed w/ dat nigga immerwahrs terse, distinctly semi-spoken word, slint-esque vocal delivery. by contrast, bluetile lounge is much more open, meandering, traditionally melodic, & also typically more dynamic! this ain to say dat codeine wasn/couldn be dynamic, its jus dat oftentimes they only used dynamics in very limited, purposeful amounts, instead usually employing a somewat static degree of volume or intensity, whereas virtually ery bluetile lounge song utilizes extreme, albeit gradual, dynamic progression/crescendo & decrescendo to a greater or lesser degree. furthermore, bluetile lounge don put anywere nearly as much importance on either a. distortion/abrasiveness, b. they drums (not een remotely as hard or prominent as codeines), or c. they vocals; lol tbh u cant even fuckin undastand like 90% of wat this nigga sangin & shit, but it sound aigh cuz he keep it melodious, so een if it unintelligible it still adds alot to each song namsayin? now, beside tha whole slow/sadcore label, low might as well be a completely fuckin different universe from either codeine or bluetile lounge lmao; unlike both, they fundamental hook/asset/technique or watev u wanna call it is tha relationship between alan sparhawk & mimi parker, specifically how its xpressed via a. they use of xtremely prominent vocal harmonies & b. his guitar melodies & her minimalist drumming. like yo dat shit, they marriage or relationship or watev fuckin IS low lol u know? additionally, they shit differs dramatically from codeine in dat 1. they employ a significantly different type of drumming, closer to hiphop drumming if anything, in dat it relies on a steady stream of 16th note hihat hits pretending to be 8th notes & regular doubletime snare drum beats, both of which are almost always performed wit wire brushes, infusing they percussion wit like this almost jazzy aesthetic, & 2. heavy dissonance & abrasiveness are two of tha least used techniques in they whole catalog lmao. likewise, low mad different from bluetile lounge in dat by & large they songs is far more restricted/bound & less.. idk, freeform maybe? ery bluetile lounge song is like ravel's bolero lmao, they jus keep adding shit on top of an unchanging, basic melody & makin minor variations, whereas low is far more pop-oriented, in dat they dominant song form is often a loose, primitive/rudimentary sorta verse-chorus-verse-chorus type structure u know? u ought to learn how to dissect dis shit, it git alot more fun that way xD

YOUTUBE COMMETER BREAKING DOWN SLOWCORE SHOEGAZE

This is a gem from the Neutral Milk Hotel bootleg collection. Considered to be their "last show," until their recent reunion. After Jeff Mangum's nervous bre...

Lex - where you at? heard this one?

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