Teen-Beat – Dischord. Arlington, VA

This is so cool.

Hometown Sounds

This video [Teen-Beat catalog #535] is a little unusual, so let us explain. Record labels are the glue that binds musical creativity together into a product that can stand the test of time. The DC area in general, and Arlington in particular, greatly benefited from two independent labels that did amazing work documenting and organizing their scenes. Teen-Beat is a record label founded by Mark Robinson of the band Unrest in 1984. It has since moved to Cambridge, Massachusetts, but in its DC heyday featured indie rock bands such as Tuscadero, Phil Krauth and Jonny Cohen’s Love Machine. This video was shot and scored by Robinson at Dischord House, the Arlington home of Ian MacKaye and Jeff Nelson’s label documenting the punk, post-hardcore and rock output of DC for decades. It’s a brief and intense glimpse into the creative space that’s shaped our city’s musical legacy, and it moves…

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The Flaming Lips, Mick Cornett, and the Selling of Oklahoma City

[I wrote this a few months ago upon hearing about my former colleague’s passing. Due to travel and teaching commitments, I unfortunately never completed it. In the interest of getting this out of my drafts folder, I’ve decided to publish it and give you all some reading material for this Monday morning. This may become a paper about the US Mayors’ Conference and “the selling of” cities on day. We’ll see. – Tyler]


I received some very sad news recently from some colleagues from my DC life. John, our longtime Managing Director at the PR firm where I worked passed away from cancer at age 70. As tragic as the news was to hear, it was nice for us to share some memories of perhaps the best person I  ever have been so fortunate to work under. I went through old files to see if I had any mementos of John, with no luck. However, it did lead me down a rabbit hole of memories from my twenties, some stories which would find a good home on this site now. I don’t think I’ve shared this story anywhere online, either, so here we go.

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A good way to get a photo op with Mayor Steve Benjamin was to show up in the same suit. I had no idea that Columbia, SC would eventually become one of my favorite southern cities, and this photo would become a running joke between me and friends I would make there. Strange.

The best assignment I had for that job sent me to Oklahoma City in 2010 for the US Conference of Mayors. Twice a year (once in DC and once in a roving location), leaders of towns and cities from across the country meet to trade tips on civic programs, navigating political minefields, image curation, and other tacit knowledge. Despite the number of big-name politicians in attendance (some of whom are currently countenancing Presidential campaign rumors), I don’t remember the meeting getting much national media coverage outside of our radio campaigns. Since few of these mayors are real celebrities, it didn’t get the slathered attention of an election-year Democratic or Republican National Convention. That being said, CNN was on hand, going live with then-LA-mayor Antonio Villaraigosa, who deflected rumors that his city was considering bankruptcy. What was going on in LA in 2010 that would have generated such rumors is beyond my immediate knowledge.

As one might expect, the host mayor is keen to show their city off to visiting dignitaries quite enthusiastically. Oklahoma City Mayor Mick Cornett was that host, and show the city off he did. In 2010, he was in the midst of a banner era in his mayoral tenure. He appeared on Ellen in 2008 on the success of his anti-obesity campaign, giving Ellen Degeneres her own holiday in the city. The next year, the Thunder rocketed into playoff contention, bringing the city and state onto the national basketball stage and facing the Lakers in a contentious playoff series. What Cornett had going for his spectacle, though, was something intangible that his fellow Mayors would have killed for: the cool.

Most Mayors, especially for non-Major cities, are very down to earth. Their governance does not span an insurmountable area, so it’s easier for them to be on the street, interacting with their constituents and actually functioning like the citizens they need to impress. Though there are plenty of opportunities to get involved with corruption, the instances seem fewer and farther between; they are still beholden to their neighbors. It also follows that Mayors are predominantly Democrats, people of color, and in some cases LGBT.

CIMG7463Cornett was none of those things, but coming from within Red-State political hegemony didn’t prevent him from charming everyone by propping up his city’s greatest counter-cultural export: The Flaming Lips. His committee arranged for the band to play a private concert for the conference attendees and their families. All of the conference contractors got passes, too. As a music nerd who came of age when the Lips were at their creative and critical peak (1999’s The Soft Bulletin and 2002’s Yoshimi Battles the Pink Robots mobilize something of a consensus here), imagine my excitement when I read that they were in the program for the third night.

I’ll get to the concert shortly. On the first night, the coordinating committee set up a private tent near the Sonic headquarters in Bricktown, the finely redeveloped, expertly walk-able downtown area. The party’s location came at the hands of some meticulous planning. It gave them an excuse to show off the relatively flashy downtown district (which, according to members of Red City Radio, the city paid for with a 1-cent sales tax hike).

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On the river-walk next to the Sonic headquarters. I don’t remember what this band sounded like, but judging by the cargo shorts, I’d say Jimmy Buffett got covered at some point.

On the second night, the conference piled everyone onto chartered buses and, with an roving wall of police escorts, led us out to a big warehouse in the city’s hinterland. Before we got a taste of Cool Oklahoma, we were to indulge in every Cowboy stereotype imaginable. A country string band played on a stage built on the opposite end from the entrance. A electronic Buckin’ Bronco ride sat immediately to the right, and a set of lanes for tossing Horseshoes sat between bales of imported hay to our left. In all fairness, “played Horseshoe against my boss in Oklahoma” is a claim few DC yuppies ever got to make. The well-orchestrated hoedown was fun, between the two-stepping lessons, barbecue, and open bars that surrounded us. I vaguely remember having a wonderful conversation with Mitch Ward, a retired actor and then the mayor of Manhattan Beach, CA, while standing in line at one of them.

 

On the third night, everyone headed over to the Ford Center (then in its final year with that name; it’s now named Chesapeake Energy Arena). We waited in the concourse, where they set up snack and drink tables, along with (from what I recall) showcases of local students’ artwork. I snapped a photo of a big mural they had painted that said, in airbrush-novelty font, “Rock and Roll with the Flaming Lips.” At the time, it seemed somewhat tacky and off-putting, but in retrospect they probably employed a local artist and some printers for a few days in order to make it, so who was I to hurl judgment? It was eye-catching.

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After an incongruously formal dinner program, a succession of mayors took the stage to make a succession of presentations. By this point, many of us were excited for the musical program to begin, so it started to feel as if it was dragging. Granted, it was entertaining to see public officials let loose and make speeches at varying levels of intoxication. Once the dinner program ended and the staff cleared the tables up front, Cornett got back onstage to introduce the band. The Oklahoma City Philharmonic filed into their seats. My coworkers and I migrated towards the stage, hearing a commotion coming from the bleachers a couple stories above our heads. We looked up to our left to see the 300 level filling up with hundreds of people who had just been unleashed from the concourse.

It had somehow eluded me that so many of the volunteers we had met in the course of the three activity-filled days, the local welcoming committee and the cogs who made it possible for Cornett’s machine to operate through the conference, were paid with free passes to this show. “Huh,” I thought, “That’s actually kind of brilliant.” I felt guilty being on the floor while the volunteers were sequestered up in the nosebleeds, but at least they all had a clear sight line down to the stage for what would be a 20-minute set. Also, the band (Coyne and Drozd, at least) came down to hang out and take photos with conference attendees for a long while after their set, so it would have been chaos if they’d allowed all of the volunteers onto the floor, too.  There were already enough indie dorks telling Wayne Coyne about how long they had been fans, how cool it was that the band did this gig, and other niceties. The best part was that Coyne and a couple of his band mates were so nice to everyone, no matter how monopolizing particular fans attempted to be.

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Just a couple of similarly dressed guys with ambiguously pronounced last names.

My boss and I got to chat with Steve Drozd, and we both took photos with him and his baton. He had just conducted an orchestra for the first time, and the excitement that he radiated was hilarious. My favorite moment of that whole week came when he looked at my name tag and asked me how to pronounce my last name. “Sonic-sun,” I replied, “How do you pronounce your last name?” “Draw-zid” he replied, answering a question I’d had wandering in my head ever since I first read his name in the pages of SPIN a decade earlier. Drozd’s prior decade, given his recovery from a somewhat well-documented heroin addiction, represents one of indie rock’s great redemption stories.

I witnessed an even greater fan-moment nearby a minute later. My friend/coworker Rebecca got Coyne to pose for a picture where they were both running a hand through their big, curly manes. There was nothing of deeper significance to this, but it was satisfying how Rebecca saved the rock star from a trio of bro’s who were monopolizing his time, prattling on about their cultural capital as Lips fans.

Whenever I’ve recounted this weekend to friends, I often pinpoint a few specific moments of epiphany, and Mick Cornett featured in all of them. After the concert ended, they arranged for a private after-party on the roof of a highly-regarded Italian restaurant in Bricktown whose roof patio overlooked Flaming Lips Alley. Later in the night, I wound up chatting with Cornett’s son (around my age), and Mick came over to join us. Within a few minutes, Cornett was proudly telling me how he pushed to help both name that alley after the Flaming Lips as well as help name “Do You Realize!?” Oklahoma’s State Rock song, both in the face of adversity from some real squares.

This made perfect sense. I wouldn’t be surprised if his kids left for college in the late 90’s and reported back to him about this band from OKC that everyone loved.  Additionally, The Flaming Lips are nothing if not prolific collaborators. Wayne Coyne has been vocal about his dedication to Oklahoma City, too, fighting to make the it less of a flyover and more of a destination. Conference attendees walked away with a free copy of Yoshimi Battles the Pink Robots on CD, left in our hotel rooms by the local welcoming committee. The committee also left us limited edition copies of No Fences. I never imagined that I would own a Garth Brooks CD, but here we are. It’s good; I understand why it sold over 10 million copies.

Anyway, here is the video I discovered in the course of my archival search that sent me down this detour of memory lane. Wayne Coyne thanks Mayor Cornett, has the crowd congratulate Steven Drozd on his orchestra conducting debut, and introduces the Yo La Tengo cover. Enjoy everything coming together in a strange way.

NEW ARTICLE OUT. ‘Tout Faux’: Parisian landscape and hardcore punk, 1983–87

20441983Happy 2018! I’m excited to announce I’ve just published a new article in the UK journal Punk and Post-Punk. Read the abstract, order it, or find citation info here. It overviews the geographic history of Paris hardcore, focusing on the three or four years of the mid-1980s when the underground style first attempted circulation in the Ile-de-France region. I based this off of a range of accounts I gathered during my fieldwork in France in 2015 and through follow-up correspondence since then.

As far as I know, this story has never been told formally before,  and I’m grateful for this opportunity to give progenitors like Heimat-Los and Kromozom 4 their rightful place in the greater global post-punk timeline. Hopefully somebody who was there at the time can take the baton and publish a more authoritative and comprehensive history of that era someday. In the meantime, there is plenty of great material archived and linked via Euthanasie Records.

Thank you to Russ Bestley and all of his colleagues at this fantastic journal. You can look into the index of Punk & Post-Punk back issues and learn how to submit on the Intellect Ltd. page here.

Exploring Europe: Fall 2017 Mixtape

1208426974_fNow that we’re finally wrapping that big fancy bow around the Fall 2017 semester and placing it under the tree, I’m glad to sit down and put this list together. I would like to do this for every semester I teach The Geography of Europe, Exploring Europe, or however my current department may name a course over-viewing European geography.

I could easily re-use many of these songs and videos to show off their respective countries and nations, but I’ll try to challenge myself and repeat as few of them as possible (Track 1 notwithstanding, for reasons you may understand).

  1. Der Tourist (feat. Friedrich Leichtenstein) – “Supergeil” VIDEO
    I already wrote extensively about this song’s viral, every-man-has-his-price adaptation for Edeka Supermarkets, but here is the original work. Since I don’t speak German or know much about Der Tourist, I can’t tell if it’s tongue-in-cheek level is quite as high as it’s advert counterpart, but it’s still quite catchy and Friedrich is a charisma machine.
  2. Can – “Vitamin C” VIDEO
    Jaki Leibezeit and Holger Czukay both passed away this year, which made this snippet of Can playing what may be my favorite song of theirs especially timely. I believe I read a blurb on Pitchfork once that called this “the funkiest thing to ever come out of Europe.” I don’t know about that, but you’d be hard pressed to find a catchier bass line than certain ones that Czukay spent decades churning out. True genius. Wait until I make the students sit through “Cool in the Pool” this Spring!
  3. Blind Cinema – “Objetos Ennegrecidos” VIDEO
    The worst thunderstorm that hit campus this fall (during daylight, at least) passed by around 10:30 – 11:30 am on a Tuesday or Thursday in early September. During that span, I had to run over 100 yards between buildings with no raincoat or umbrella to get from my prior class to this one in time. As I took off my shoes and dried off my socks, I put this song on for the half-soaked class to absorb, and lo and behold this may be my new favorite rainy-day music. Catalán jazz for the people.
  4. Cornershop – “Brimful of Asha” VIDEO
    Twenty years ago, SPIN magazine named When I was Born for the 7th Time their #1 album of the year, which played well with impressionable teenage me. The longtime collaboration between Tjinder Singh and Ben Ayres had finally broken through in the states, which in retrospect was kind of surprising, even on the heels of Britpop madness (more on that in five tracks). To me, Cornershop were (and still are) one of the most quintessentially British bands of their era: multicultural, dance-worthy, and reeeaaaaally into drugs. As great as “Good Shit” and their cover of “Norwegian Wood” were (bonus points to the latter for being in Punjabi and infuriating future ‘Leave’ voters), “Brimful of Asha” was always my favorite track on this album. The video edit takes out Singh’s punjabi spiel that opens the album version, but otherwise it’s a classic video. Also,  I said it in class and I’ll write it here: the Norman Cook remix that ravaged the charts? Like 99% of remixes, garbage.
  5. Refused – “New Noise” VIDEO
    I’m losing track on which number cycle of love/backlash Refused’s The Shape of Punk to Come is on currently, but I loved the record when I was 15, and I still love it today. This is hardly the best song from that record, but it was the closest thing they had to a “hit,” and through use on shows like Friday Night Lights, it probably still pays some of their bills. One of  my students remembered them fondly as ‘that band playing in the octagon.’   I mentioned that Refused originated in Umeå, which opened up a brief discussion about the prodigious output of metal from Northern Sweden and created a good talking point to revisit later (five tracks down).
  6. LiLiPUT – “Hitchhiking” VIDEO
    Like the crossroads that Switzerland occupies atop its Alpine perch between Italy, Germany, France, and Austria, it also sits in a weird position in pop music history. During the post-punk era, Kleenex/LiLiPUT (their recorded output, repackaged retrospectively, permanently straddles the two names) seemed to be everyone’s favorite Swiss band, kind of how their fellow countrymen Coroner would become within the metal universe a decade later. At any rate, this is my favorite song from the Kleenex/LiLiPUT catalog, and the video here is culled from a 1960’s Italian ‘shockumentary’ La Donna Nel Mondo.
  7. Bérurier Noir – “Vivre Libre ou Mourir” VIDEO
    The day after the French election this year, I posted a video on social media of Bérurier Noir playing “La Jeunesse Emmerde le Front National” in honor of the time-honored tradition the French have of pushing back against far-right intolerance. A friend from Paris commented with cautious optimism, saying that they’re happy that Le Pen lost, but that Macron is still an asshole. Then, he signed off with “PORCHERIE!” – a reference to the BN song that critically calls France a pigsty.  Anyway, BN is the punkest band ever to emerge from France and maybe the punkest band of all time, vying for that arbitrary title with The Bananas (Sacramento) and Chumbawamba (UK). Few bands of their stature have garnered such universal respect from French punks (at least, the ones I connected with for my fieldwork in 2015), and “Live Free or Die” may be one of the catchiest political punk songs ever written – and with a click track, at that!
  8. Yr Anhrefn – “Rhedeg i Paris” VIDEO
    I wanted to a music video that showed off Welsh language and culture, so I searched my memory banks for a Super Furry Animals track from their all-Welsh record, but instead came up with this. I had never heard of Yr Anhrefn, but the song is incredibly catchy and even features footage of the band playing in the Basque Country, thanking the crowd (in Basque) after wrapping their set. According to the translation offered by a Google User on the video, the title translates to “Running to Paris,” and the lyrics are about the desire to get out of Wales and see the world, but being unable to resist being drawn back to your homeland. It’s pretty powerful and somewhat universal stuff.
  9. Blur – “Coffee & TV” VIDEO
    Of all of these artists, Blur probably have the deepest catalog through which I could dig to find a video to start off my Britpop lecture. I just couldn’t resist using this one, because it may be the best music video ever made. It didn’t break in America quite as profoundly as “Song 2” had in 1997, but it was good enough for a follow-up semi-hit in the states, in spite of Graham Coxon’s dour vocals and melancholy subject matter. If you have a chance, check out the No Distance Left to Run documentary for an intimate look at a brutal time in the band’s history. Then, go out and buy everything the band ever released.
  10. Jens Lekman – “I Know What Love Isn’t” VIDEO
    Like Blur’s catalog, Sweden’s selection of indie pop videos is ostensibly a bottomless pit. I had a great time presenting a unit on Sweden’s pop music industry, drawing heavily from my friend Ola Johannsen’s work on ‘The Swedish Music Miracle.’ Other than Sondre Lerche (who is Norwegian), I can’t think of a more charming chanson singer that isn’t French or Belgian.
  11. Chisu – “Kohtalon Oma” VIDEO
    I discovered Chisu thanks to a special series that One Week // One Band ran a couple years ago called ‘Stop Making Sense,’ where contributors submitted an essay about a song in a language they didn’t understand. One writer included this painfully catchy jam from Finland, which hooked me in with not only a language I’d never heard in a pop song before, but also a captivating video. From what I can tell, Chisu is like Finland’s answer to Katy Perry or Carly Rae Jepsen: harmless pop songstresses carrying more of their respective country’s national identity than they seem to acknowledge.
  12. Pinkshinyultrablast – “Umi” VIDEO
    Shoegaze and dream pop are genres that are very easy to create but very challenging to do well. Pinkshinyultrablast, the lone Russian group featured here, have managed to become the forerunners of Eastern European noise pop. I remember when their first EP appeared seemingly out of nowhere in 2009; I think I found it on a Brazilian shoegazing blog that kept on getting shut down. Anyway, from what I’ve read, the band has had a rotating cast of members, led by singer Lyubov, who like so many artistically inclined Russians, lives in L.A. now.
  13. Frustration – “Assassination” VIDEO
    For a city I do love, I spend a lot of time discussing the dark underbelly of Paris in my coursework. This video is a fantastic, noirish slice of life where everyone’s a killer. Because I’m not French, I have difficulty explaining just what position Frustration occupies within Parisian culture (see Track 7). What I can tell you is that they are a hard ticket to get whenever they play a mid-size hometown show. Their drummer, Mark Adolf, runs the successful punk record shop and label Born Bad, a concern responsible for some of the most irresistible compilations of French underground music ever pressed.
  14. Los Nikis – “El Imperio Contraataca” VIDEO
    Until I saw their video for this song, which I think first broadcast in 1986, Los Nikis seemed like one of the many Spanish Ramones-worshippers on whom I had missed the boat. I saw that they opened for Airbag’s 15th anniversary gig in Madrid (more on that, two tracks down), but I haven’t really sat down and watched their set, which was very courteously included as a bonus feature on a DVD I had to go to Madrid to get. Now, I’m paying more attention and beginning the slow burn of obtaining all of Los Nikis’ releases, because this song simply kicks ass. Reflective of my focus lecture on Spain’s identity crisis, they even laugh at their country’s colonial mythology in the video. How perfect.
  15. Radio Futura – “Enamorado de la Moda Juvenil” VIDEO
    I saw a poorly transferred version of a video this group shot for this song sometime at the beginning of the 1980’s, then promptly forgot the band’s name. One day a few months ago, I spent nearly an hour trying to find the song, even messaging a friend in Spain who loves power-pop. Eventually, this ultra-catchy single found its way back to my brain via YouTube auto-play suggestions. So, I guess it’s not a completely bad thing. Anyway, as far as I can tell, there were a few Radio Futura bands (or, one core group with a couple of dramatic lineup and sound alterations over the course of the 1980s). This era, in which they appeared to be Spain’s answer to Blondie, The Knack, The Jags, and other skinny tie/skinnier microphone groups of the time. I can’t stop thinking of Alex Winter in character as Bill Preston, Esq. whenever I see that blonde vocalist here.
  16. Airbag – “Trailer” VIDEO
    From what I remember, I discovered Airbag off an Italian pop-punk blog called Ramone to the Bone sometime during my DC days and was hooked immediately. They’re an Andalucian trio who record catchy songs about science fiction, comic books, record collecting, and heartbreak. They’ve been a band for two decades and, despite a growing international fan base, they’ve only recorded a small handful of songs in English. From what I’m told, they’re the only group in Southern Spain playing music in this style. That’s surprising,that they haven’t spawned legions of imitators after being around and keeping their music quintessentially Spanish for so long. It’s not their fault it isn’t 1994 anymore.
  17. Stereolab – “Lo Boob Oscillator” VIDEO
    What could be more European than a British band with a French singer (singing in French) while trying to sound German? I’ll leave it at that.
  18. Manic Street Preachers – “A Design for Life”
    I understand that “Hen Wlad Fy Naudau” probably isn’t going anywhere, but I can’t imagine a better unofficial national anthem (for any country) than this song would be for Wales^. Not only did the Manics elevate Wales in the international pop music discourse at the end of the 1980’s, but they did it by essentially weaponizing art.  One of the most challenging books I read this past year was Simon Price’s tome Everything about the band, written at the end of their 90s supremacy. It may be the longest book I’ve read in some time, because not enough can be written about all that this band meant to their fans and to British pop music. Around that time, the group recorded their triumphant show at the Manchester NYNEX arena, and the video of them closing their set with this signature song made a perfect coda for the class on our last day. It makes you want to go and conquer the world, really, and isn’t that the message every professor wants to leave his students with? No? That’s fair.


^ Though I realize we can’t do much about “The Star Spangled Banner,” I do believe that “96 Tears” by ? and the Mysterians would be a much better, and more fitting, national anthem for the United States. Without giving too much away, I’m looking forward to premiering my ‘National Anthem’ project in GEOG/AMST 423: American Popular Culture this Spring…

I’ll see about putting a Spotify playlist together. First, I have to get on Spotify.

A Brief Look Back at the Oral History Association Weekend in the Twin Cities

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As predicted, I had a fantastic time in Minneapolis/St. Paul. Thanks to my friend and former colleague Liz for being a great host and accompanying me on a tour of Paisley Park, thanks to the Oral History Association for putting on a great little conference and bringing Staunton and Alice Lynd to speak, and thanks to the Twin Cities for just being so cool. I know I should have expected as much from the metropolis that somehow produced (among many, many others) Prince, Dillinger Fourand Mitch Hedberg.

It’s going to take me some time to go through all the photos, sift through all of the links to other great oral history projects in the pipeline, and write anything substantive about the conference and my time up there. But, I’m grateful I decided to go and present this year.  I learned valuable new interviewing techniques, as well as a diverse set of recently uncovered histories including that of the Anoka State Hospital, the cultural landscape of 20th Street in Saskatoon (short documentary here), Denver’s legendary Band Box Record label, the NoDak* press (documentary here), and an enticing program to help keep everything in order, the Oral History Metadata Synchronizer (OHMS).

The best decision I made all weekend, however, was joining a guided tour of the American Indian cultural corridor on Franklin Avenue. Just in time for Indigenous People’s Day on October 9th, we walked through North America’s strongest urban concentration of native american (in this case, Ojibwe and Dakota/Lakota) life. Our guides, Alan Gross and Tom LaBlanc, did not mince words when it came to the States’ and cops’ perpetually horrid treatment of indigenous Americans, which was as refreshingly honest as it was cringe-inducing.

Also, bonus respect is due to Adrienne Cain’s meticulous use of Prince GIFs in the OHA twitter account and inspiring me to do the same above (but I’ll probably tone it down in the coming entries, though…maybe).

I hope you’ve enjoyed reading this somewhat brief update, and if you’re from the OHA, feel free to pass this along via email, social media, or even word of mouth. Here are some extra pictures from around Minneapolis, St. Paul, and their outskirts this weekend. I can’t wait for my next excuse to go back. Next time, I’ll actually remember to bring some of the Ben Irving postcards, too.

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* I’ve never been to North Dakota (outside of passing through it on a train trip in 2013), but I picked up this shortened term for it in 2011 from a MPLS friend who grew up there, and it stuck with me. NoDak/SoDak. You’re welcome.

Sidetrack: Pavement and California Anti-Geography

As a thirty-something white person who wears glasses and has been to grad school, I love the band Pavement. I’m taking a quick break from my California Excursion updates (I have a massive entry coming soon for Part III) to bring back up one of my favorite Geography 101 assignments. I had the opportunity last night to see Spiral Stairs (aka Scott Kannberg) play a great set of songs with his current band that mixed Pavement classics on which he sang lead like “Date with Ikea,” “Two States,” and “Kennel District” with songs off his two solo albums. It had been a little while since I’d properly geeked out over Pavement, and last night’s show gave me a perfect excuse to, so thanks to Jason Boardman and the Pilot Light crew for that.

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As I alluded to in my entry two years ago, Pavement were hard to pin down geographically. The two founding members of the band, Kannberg and Stephen Malkmus, grew up together in Stockton, a Central Valley city that has become infamous over the past few decades for blight and poor urban planning around its social issues.  The other three members who rounded out the classic lineup of the band came from scattered points on the East Coast, which ultimately spelled the end of the band in 1999 when distance between them all made it unsustainable to keep going.

I just found this relatively new lyric video somebody made for their song “Unfair,” an album track on Crooked Rain, Crooked Rain (Matador, 1994) which runs through points on the California map similar to how Damon Albarn sang Blur’s way around England on “This is a Low.” I’ll embed it here for your enjoyment.

As I was telling my friend last night, one thing I really have grown to appreciate about Pavement over the years is just how overwhelmingly ordinary the five of them are. None of them really look like you’d expect them to be in a band, much less one of the most genre-defining of their era. To this day, I still get skeptical when I see a band who look like a band; take that for what it’s worth. Either way, my friend asked me which album to start out with, so I had to be honest and just rank their five studio albums for him rather than single one out in particular…

  1. Crooked Rain, Crooked Rain (1994)
  2. Brighten the Corners (1997)
  3. Slanted & Enchanted (1992)
  4. Wowee Zowee (1995)
  5. Terror Twilight (1999)

Outside of Terror Twilight (which is still very good, don’t get me wrong) being last, I feel like a lot of indie rock fans would disagree with me on that order, which is encouraged here. Also, some of the band’s non-album tracks like “Frontwards” and “Debris Slide!” (which may be directly inspired by CA… hard to know) are essential as well. And though it isn’t one of my favorites, Pavement also contributed a single “Painted Soldiers” to the Kids in the Hall movie ‘Brain Candy,’ which leads me to end this entry and tease my upcoming one on the California trip: Scott Thompson will make an appearance.

GEOG 320 Visit to the East TN History Center ‘Come to Make Records’

My Cultural Geography class paid a visit to the Come to Make Records Exhibit at the East Tennessee History Center this Tuesday as part of our unit on musical geography. Photographic evidence below. We got there a few minutes late because we relied on the Vol Trolley (now the Orange Line) for transport from campus and had to navigate around more than one construction pit downtown, but otherwise the excursion was a complete success and the students enjoyed it. Special thanks to Eric Dawson of the Tennessee Archive of Moving Image and Sound (TAMIS) for giving us a great tour, talking about how important the site and situation of Knoxville were in the St. James Hotel recording sessions of 1929 and 1930.

The exhibit runs through the end of October (last day on Sunday, October 30th), so you still have one week to go and see it if you haven’t yet. Admission is only $5 for non-members, and free on Sundays.