RIP Fred/Freak Smith of Beefeater

fredplaysforloversSad news today. Fred Smith, guitarist of the charismatic DC Revolution Summer group Beefeater and multiple other bands, was found dead in a park in the San Fernando Valley. Thanks to Mark Andersen for sharing this via social media. I imagine other details will emerge soon as his many friends from over the decades come forward. The Los Angeles Daily News reported that he was homeless at the time of his death, but that may have been in error.

Smith had lived and played in bands in Los Angeles since the 1990s, from what I understand. He also showed up on the Tonight Show in 2010, doing his best to make this clip enjoyable against Jay Leno’s humor deficiency. Hopefully more details on Fred/Freak’s life will emerge in tributes soon. Here’s a video of Smith playing with Beefeater in 1985.

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.

RIP Wombleton Records

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via the LA Weekly

In planning my trip out to Los Angeles for EmoGeo (the Emotional Geographies Conference) next month, I stumbled upon some sad news. Wombleton Records, one of the three shops upon which I focused my chapter in The Production and Consumption of Music in the Digital Age (2015; B. Hracs, M. Seman, T. Virani, eds), closed its doors this past February. I somehow missed this news when it first came out in February; their normally fantastic newsletters stopped arriving and I guess I didn’t notice because I haven’t lived in California for a while now.

I’m mostly disappointed on behalf of anyone who stumbles upon my chapter in that book, gets excited to visit the store, looks it up, and realizes they’ll never get to. I hold no grudges over one of my case studies disappearing; it only emphasizes how transient these types of places are and how difficult it is to stay solvent in the modern urban economic landscape. It mainly sucks because it was such a cool little shop; the owners Ian and Jade emphasized design and atmosphere and curated their vinyl collection beautifully. I couldn’t even count the number of UK and European titles I found there that I would be highly unlikely to find anywhere else in the United States. I was already getting excited to flip through their 7″ section in the back trying to find any rogue single by the likes of Blur, Supergrass, or Manic Street Preachers.

At least LA (even the Highland Park area) isn’t particularly starving for good record shops these days. Wombleton was a clear labor of vinyl love, and the LA Weekly published a great retrospective on the storefront’s 7-year history the week it shut down. Best of luck to everybody who was involved!

Have a great weekend, everyone. More info about my California trip soon, as well as (while on the subject of Blur, ‘Grass, Manics, et al) a lengthy diatribe about the value of Britpop in Geography. Also, why Blur are categorically better than Oasis.

Lyrics, Letters and the Forgotten Lives of Ben Irving

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Click to watch at PechaKucha.org

Pecha Kucha Knoxville recently uploaded the PowerPoint and Audio from my November presentation about my great-grandfather. This was a 6 minute, 40 second truncation of archival work I’d been doing about over a thousand postcards he sent from the road in the 1930s and 40s. It is an ongoing project that has been as rewarding as it has been educational and surprising regarding both my family history and a different era in American cultural life.

Here is my respectful sales pitch: If you enjoy what you see above, let me know. I am always happy to bring this lecture (in any reasonable length) to present at your company, school, civic organization, for any interested parties. Feel free to contact me at sonicgeography [at] gmail. I presented an hour-long version of this talk, which included a handful of his original song lyrics, more news clippings, and personal history at the Kimball Farms Lecture series in Lenox, MA in November. I have an audio recording available for anybody interested in the extended version.

Anyway, I’ve hinted at this postcard collection before, but until now I haven’t been completely comfortable with sharing. But now that the cat’s out of the bag and I did this presentation for over a thousand people in Knoxville, I’ll be a bit more forthcoming with Ben Irving’s story.

I assume you’ll watch the video-slideshow at the link above (WordPress doesn’t allow embedding of iframe codes; apologies), but the long and short of it was that my great-grandfather, who went by his stage name Ben Irving in most of his professional life, was a prolific musician on the Hartford jazz circuit of the 1920s. When the Depression hit, he moved his young family (including my grandmother, then a toddler) to Brooklyn and hit the road as a sales representative. In his time, Irving got to see so much more of America than most anybody in his position, including parts of the country that were still mired in dark history and summarily unfriendly to Jews. Assuming that his wife and daughter would probably never see any of these places, he sent home multiple postcards from almost every city he visited.

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A few years ago, when I inherited the postcards, I began bringing selections with me whenever I traveled to particular cities in North America. I began to re-pose and re-create the shots, better terms as ‘rephotography’ (see Kalin 2013 for a great overview of this). I cataloged these attempts in a handful of entries (including in FloridaNew Orleans, Mobile, and Chattanooga) all of which are tagged with ‘Re-Photography’ and I included in my PechaKucha talk. I recently created a new tag (‘Ben Irving’) for the posts I make about my ongoing work focused on (or directly inspired by) my great-grandfather. Stay tuned for a pair of new entries that follow his postcards (including an overdue AAG 2017 retrospective), coming very soon.

 

The Wooltown Jazz Band (Netherlands) and New Orleans

It’s been almost six weeks since I’ve posted anything here, which I can fairly blame on dissertation revisions and my teaching schedule. Also, to be fair, I have been accumulating posts in my drafts folder that I haven’t had any time to complete. This is/was one of them, which in the interest of getting some new material out there, I’ll post in it’s relatively raw form.

photoEveryone has their favorite mechanism of procrastination, and here’s mine. My colleague’s husband, who happens to be a prominent local techno DJ and producer, clued me in to a phone app that helps catalog your record collection. How I hadn’t foraged for an app like that already after over a decade of accumulating records is beyond me. So, in between stretches of writing, editing, and self-doubting, I’ve taken to updating my collection on Discogs. In the process I’ve rediscovered a few great pieces that I’d either forgotten I had or just hadn’t listened to in a while.

One such 7″ was a single called ‘New Orleans (USA)‘ by the Wool Town Jazz Band (site in Dutch/auto-plays music).  I think I may have actually bought the record in New Orleans in a dollar bin somewhere. It looked interesting. The band pictured on the back were clearly not from New Orleans (or, for that matter, the United States), but they obviously wanted to give the impression that their sound and style were authentic. I found this odd, since New Orleans is the city classically associated with jazz, but traditional jazz has somewhat gotten away from the city. In the century-plus since the genre’s big bang, jazz has quantum-leaped to other urban bases like Chicago and Paris (1920’s), Tokyo and Jakarta (1950’s) and over the past few decades, the farthest reaches of Scandinavia and more.

When I rediscovered this record, I decided to do some light research to see if they were still around. Impressively, they still are! They originated in Tilburg, the 6th largest city in the Netherlands and named after the city’s historic claim to fame, wool (hence the nickname Wooltown). I found their website (linked above), and sent an email to their general contact inquiring about the band’s status and if they remember how the ‘New Orleans (USA)’ record got made. It bounced back. Undeterred, I quickly found an email listed for Annet Verkuil, their vocalist. She forwarded my message along to Frans van de Camp, the band’s original drummer (who recently rejoined after a decades-long absence!). Frans wrote me back with a fairly extensive state-of-the-union on the Wool Town Jazz Band, which I thought I would share here. His message is slightly edited.

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Thanks for your interest in our band and music.

I received your email through our singer Annet. I was part of the Wooltown Jazz Band in earlier times, from 1971 till 1976 and rejoined The Wooltown Jazz Band 2 years ago, I play the drums.

The Wooltown Jazz Band celebrated its 60 years jubilee a year ago. The band has a strong local following but the number of gigs has decreased, and, unfortunately, so has the interest of the public in jazz in general. In the Netherlands the focus of the public has shifted towards more popular music such as pop music. Apart from modern jazz, which is also only played by very few bands but has its own niche in the market, New Orleans Jazz is no longer in the limelight to the extend that it used to which is regrettable.

There are still many old style jazz bands in our country but they all have only very few gigs a year. Moreover the average age of the players gets higher every year and the youth associates jazz with old people, which doesn’t do much to raise interest in this music as well. There are very few younger players that take an interest in jazz, although jazz is taught at the music schools and conservatories. Unfortunately jazz isn’t hot anymore.

the-wooltown-jazz-band-wat-zegt-orgajan-dr-van-artone-special-productsThe great European Jazz Bands have a hard time to get by. Mister Acker Bilk’s jazz band has stopped after his death, the famous band of Kenny Ball continues with his son, but they don’t play in the big concert halls anymore. There are only very few really famous jazz bands in Europe still around, one of them is the British Big Chris Barber Band. I’ve been a keen follower of this band since the early 70’s and attended nearly 100 concerts. Chris has been a great example to me and with the great musicians in his band he shows how this music was meant to be played. It sounds awesome but Chris Barber will turn 87 next april so how long will he continue? There is no follow-up. In our country we still have the Dutch Swing Collage Band which started in the last year of the second world war. I think it might be the oldest jazz band in the world still playing. Of course the personnel has changed during the years but this band, too, consists mostly of elderly players. They play very well of course, but they don’t appeal to the younger generation as they used to and, unfortunately, our band is in the same boat.

But we try to keep this old style jazz music alive as much as we can and still have a lot of fun playing it.

I know the Wooltown Jazz Band played in New Orleans some years ago. How has New Orleans recovered since this terrible storm Katrina and has the city been able to revive its musical tradition? We saw the heart braking images of the devastating effects of the catastrophe on TV. In Europe New Orleans has long been considered the place to be if you are a jazz musician but since Katrina you don’t hear that a lot. I think that’s because New Orleans has been associated with old style jazz.

I know Chris Barber played there and devoted an LP to it which sounds nice. He also toured with Wendell Brunius, a famous trumpeter from New Orleans.

I’m sorry I can’t give you any more positive news but that’s how it is at the moment.

I think the Wooltown Jazz Band would like to play in New Orleans but it would take some organizing as many of the band’s players play in other bands as well.

It was not as enthusiastic as I’d been expecting (if I’d been expecting a reply at all; I had no idea if the email addresses I’d found were up-to-date). That being said, from my own conversations with music fans in Paris and elsewhere abroad, it doesn’t seem that jazz is really going anywhere. It may be true that traditional/dixieland-style jazz is in a lull right now in the Low Countries, though. It’s always sad when talented musicians need to slow down, but it’s a welcome change when somebody like Frans is able to pick his sticks back up after so many years away from the group. Even if they need to retire the band soon, they’ll be able to look back on their incredibly long run with quite a sense of accomplishment.

Also, on a more personal note, seeing Wendell Brunious’ name brought back some great memories from around the first time I visited New Orleans in 1998. An old friend of mine, who went all-state with trumpet, got to meet and perform with Brunious. From what I remember, he had a private meeting/lesson with him on a Youth Jazz trip, but my memory could be faulty there. It was how I first discovered Wendell, who is still based in New Orleans and still the real deal.

Thanks again to Frans and the rest of the Wool Town Jazz Band, and congrats on still being around after 62 (62!!) years. For anyone who understands Dutch (or has a lot of patience and is decent with translation bots), here is a comprehensive-looking history.

Okay, back to the grindstone; talk to you all soon.

Will Straw’s “The Urban Night” and 2016’s Fight for the Right to the City

Will Straw – Cities of the Night, Cultures of the Night from Winnipeg Arts Council on Vimeo.

Sorry the video doesn’t allow embedding; I’ve done similarly with a few videos I’ve posted over the years, so I’m not complaining. Go ahead and watch it on Vimeo.

Over the course of my dissertation research, I’ve realized that the day/night binary in the city is largely overlooked in urban geography. Particularly in cities like DC, the population balloons during the day, though the census reflects overnight residents who may or may not take part in much of the city’s nightlife. The “day” population and the “night” population, especially as they increasingly overlap in the age of revanchist urbanism, engage in a tacit conflict over “whose city” it is. This becomes increasingly complicated when quintessentially “night” activity occurs during the daytime. As Straw mentions in this 2010 talk, cities like Winnipeg and others in their corner are embracing traditionally nighttime activities (raves, dance parties, punk shows) and reorienting them to happen during the day, thereby supporting the arts while lightening nighttime disruptions. Punk scenes like that of Washington, DC have been doing this with little to no involvement from the city government for decades.

300px-st_stephens_church_exterior_1932DCist recently posted a 2016 retrospective blog, which included a heated debate between punks and irate young professionals.  The blog PoPville, started by Dan Silverman (aka the “Prince of Petworth”), a legendary neighborhood blogger/flâneur and the veritable face of gentrification in DC, posted an anonymous letter from an irate resident of the Mt. Pleasant neighborhood who was more than slightly annoyed at the noisy music coming from St. Stephen’s. Unsurprisingly, Silverman’s responsible decision to post the email resulted in a firestorm of animated responses. The perpetual verbal tug-o-war between “new” residents and historic participants in underground culture makes for a fascinating read, and I’d love to use this comment chain as an introductory anecdote in a class on Urban Geography of the 21st Century. As obnoxious as the debate gets at times (it is the internet, after all), I’ve seen few better encapsulations of where David Harvey’s “right to the city” sits in the public discourse in 2016.

In the interest of being a professional reporter of this cultural geography, I’ll withhold my own opinions (though you are free to guess based on who I am and what I research, and you can always ask). One comment from a user labeled “harDCore” posted this some ways along in the comment chain:

This may come as a surprise to the NIMBYs on here but DIY music festivals like this are actually a good thing for the community. The church doesn’t do it to make money, they aren’t a for profit company, they do it to help support and be a part of their community. Events based around music like this keep kids off the streets and has them doing something constructive and positive instead of just doing drugs and becoming criminals. The church isn’t selling booze so people aren’t drunkenly disorderly around the event either. There’s less as less places for youth to play music in this city as the property costs keep going up and developers take over (the Union Arts building being turned into a luxury hotel is a good recent example of this). We need local and community art and music in DC, don’t try to push it out. I suggest Googling things like Positive Force DC and getting a better understanding of what a punk concert or festival really means to the community.

And I suppose the armchair lawyers commenting here didn’t realize that the festival had permits for the event, which the police know about, and why they weren’t doing anything if the permits weren’t being violated.

In the end if you want to live in a sterile, art free environment maybe the suburbs are for you.

The attitudes of the so-called NIMBYs continue a long tradition of city property owners who celebrate the arts until said arts create a disruption. Straw’s talk touches upon this, citing the late-19th-century sentiment that lighting up the urban night would eliminate “iniquity,” but instead created new shades (literally) of it. Perhaps some believe that moneyed development is to the late 20th century what artificial light was to the late 19th? Money has unquestionably shifted the “undesirable” elements, but it has not eliminated them, and in some ways, drawn even more attention to them. I find it hard to believe that the irony of the DC Public Library’s well-publicized punk archive would be lost on people committed to their city’s growth but not its history. This also belies Mt. Pleasant’s recent history as a predominantly underclass (and radical) Latin-American enclave, which is an entire other history that could easily compose its own post.

Anyway, I wish I didn’t have to say that there are no correct answers… but there are no correct answers; only correct attitudes. I look forward to following this issue as it continues to unfold, and maybe make it back to DC for Damaged City one of these years. For those of you who can make it (April 6-9…sadly overlapping with AAG in Boston), 2017’s event is going to be a doozy. They’ve got Marked Men!! And Siamese Twins (who I haven’t written about on this site, but every person needs to hear “Don’t Forgive Lightly” before they die).

While on the subject of gentrification, if you have access (or can obtain it) check out the lead article in the new edition of Southeastern Geographer. It’s an outstanding analysis of Knoxville’s place in that conversation, by my colleagues Scott Markley and Dr. Madhuri Sharma. Considering how much I’ve been picking through the complex geographic discussion of 21st century urbanism, this article is already proving inspirational for me. Congrats and great work to Scott and Madhuri.

Ben Irving Lecture in Lenox, MA Today at 4pm

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Sorry for the last-minute announcement, but if anyone is interested and in Western Massachusetts (should you be so lucky), I’ll be presenting an hour long lecture on “Lyrics, Letters, and the Forgotten Lives of Ben Irving” today at 4pm at the Kimball Farms auditorium in Lenox. This is a special presentation of the work I’ve been doing to archive my great-grandfather’s musical and sales career(s) that sent him across all 48 American states and several Mexican ones (plus a few Canadian provinces) during the Jazz Age and Great Depression. I presented a truncated version of it at Pecha Kucha Night Knoxville last week. Hopefully I’ll get a chance to present this extended version in the Knoxville area sometime soon, but for now, I’m very excited to present this long version for the first time with the special bonus of having Irving’s daughter (my grandmother) in the audience.

I hope everyone had a great Thanksgiving and are looking forward to the end of the semester!