“13” Turns Twenty

13_28blur_album_-_cover_art29Happy Friday, everyone. I recently noticed that Blur’s everything-falls-apart masterpiece “13” came out twenty years ago today (March 30 in the States, to split hairs). I’d be remiss if I let that landmark slip by without mention here, because I completely missed the anniversary of their self-titled album (my entry point as a fan) two years ago.

Blur’s mid-90’s rivalry with Oasis (manufactured as it was to sell copies of NME), formulates one of my favorite lectures I include in my European Geography (GEOG 371) course. Popular culture reinforces geographic assumptions, especially the sense of place that permeates any discussion of “the North” and “the South” in England. Not since The Beatles vs. The Kinks had there been such a raw encapsulation of that dichotomy. For the record, I do prefer The Kinks, too (and not because of any predilection for Southern England; I just enjoy their music more than most bands in the first place).

Anyway, in 1997, Blur were shedding their Britpop skin and embracing Graham Coxon’s love of American indie rock, perhaps best manifested as the wonderful “You’re So Great.” As I said, Blur was my entry point as a fan, so I didn’t fall in love with the band’s foppish (in a self-aware way) era. Like many of my friends who were listening in this era, I remember being less enthused at 13 when it landed in 1999. “Coffee & TV” felt like the only marginally accessible song on the album, which didn’t matter much to critics, but to a teenage American, it felt like a bit of an affront. I recall putting the CD on at some friends’ house in Syracuse while we sat around as a party dwindled; by the time “1992” got to it’s third-level of noise, walked over to the boombox and turned to me and said “I’m, uh, gonna change it.” If you want to get a decent impression, feast your brain on this:

Knowing what we know now, though, makes the accomplishments of 13 all that more remarkable. Namely, the band had long since shed any sonic accouterments of what had ostensibly made them huge, defied every music writer in the UK, and more or less entered into the worst collective period of their lives. Again, I was too young and under-educated in life to recognize half of this album as a heady mix of cries for help and the other half as gleeful conflagration of their rental castle-mansions. I’ll never forget reading a story on Blur in SPIN in the wake of the trans-Atlantic success of “Song 2” that really harped on how much the members hated one another. It seemed pretty sensationalized (because it was), but I can only imagine how much resolve it took the four of them to remain a band. In 1997, Graham Coxon sang that “DT’s [delirium tremens] and coffee helps to start the day,” and in 1999 he sang “sociability is hard enough for me” to chronicle a years-long battle to overcome alcoholism. “Coffee & TV” sounded convincing enough, and one of the all-time great videos to dramatize his ‘coming home’ certainly helped this case. Stateside, it remains in contention against “Girls and Boys” for the vaunted title of ‘Blur’s most successful single that doesn’t go “WOO-HOO.”‘

Anyway, since it’s 2019, there are a multitude of ways to hear 13 in its entirety if you’re interested in doing that today. Twenty years ago, Blur played most of the album live at the Hippodrome Theater in London, and a fan named Claire Welles taped the gig off the radio. A little over a year ago, she digitized it on YouTube. Considering the teeming oceans of Blur material on the site, it’s only accrued 556 views so far. I’ll embed it here if you’d like to add to that count.

One dynamic that I can’t get out of my head while listening to this was how so many of those cheering fans, like so much of Britain on BBC1, were hearing songs like “Trailerpark” and “Battle” for the first time ever. I believe that Napster, Limewire, and Kazaa were all active by this point, which had fundamentally changed the lifespan of anticipated music’s release. Gone were the days of that hot new single arriving at the BBC on a CD encased in some briefcase with a combination lock.

Damon Albarn, right on brand, didn’t sound too enthused to be performing these songs, but again, the fact that the band still existed in 1999 was remarkable. Considering the worldwide success Albarn had waiting in the rafters with James Hewlett at this point, it’s even more understandable that it feels like he’s punching the clock here. Still, you can’t help but imagine he begrudgingly knew how insane and special this new album was. And no matter what your feelings are on Albarn, he headlined Glastonbury two years back-to-back (2009-2010) with two different bands.

Alright, I’ve said enough. Happy 20th anniversary to 13, hope you all have a great weekend, and if you’re anywhere near Oak Ridge tomorrow night (Saturday 3.16) come see me and Nina Fefferman (UTK Evolutionary Biology) talking science with comedians Shane Mauss and Dave Waite at the Grove Theater. It’s close to selling out, but there may be tickets for sale at the door!  More info in my previous entry or at Shane Mauss’ site here.

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RIP Steve Soto

oStopping by to leave a note in remembrance of Steve Soto, the longtime bassist and songwriter for the Adolescents. I don’t remember ever having the pleasure of meeting him, but multiple accounts from friends in and out of the SoCal punk community are unanimous that he was one of the nicest and funniest people in the history of that scene, as well as throughout the American ’80s hardcore underground.

I never played in a hardcore band, but I can’t overstate the importance of the Adolescents (especially their canon 1981 self-titled record) to me when I was getting into hardcore. They also played a role in unlocking my curiosity about the contrasts between Orange County and LA, a schism I would later dig into as a novice geographer sitting on the border of the two in Long Beach. Outside of my buddy Carlos’ mom’s amazing restaurant in Santa Ana, downtown Fullerton (one of the band’s home bases) would become, and remain, my favorite thing about the OC. A growing, collective interest in OC punk would also lead my Berlin colleagues Lucas Elsner and Lauri Turpeinin to present research on Californian suburbia at the 2016 AAG Meeting, where we met and have been friends ever since.

I had the opportunity to see the Adolescents play in 2006, when they toured through the Black Cat in DC. At the time, the original members were all in their forties, but the teenage son of one of the Agnew brothers was playing guitar in Rikk’s place, so the band’s name hadn’t lapsed into irony. When I heard that Soto had passed this morning, I thought back to that show, and I remembered how clearly Steve was doting on the young kid between songs, patting him on the back, smiling and shouting words of encouragement. The underground scene was lucky to have people like him.

Rest in power, Steve.

 

Thanks for reading! If you don’t own Adolescents, correct that immediately. I’ll be back soon with more geo-updates; I appreciate your collective patience. The summer has been much busier than I’d anticipated.

New Article Published in ‘Arts and the Market’ Journal

Aside

aamcoverJust a quick announcement that I have a new article out this week! I wrote a piece about the idea of the vinyl record as a souvenir for the Emerald Publishing journal Arts and the Market. Thanks to the editorial staff for helping me sculpt this one, which originated as a research paper for a seminar on tourism. I drew equally on some older MA thesis research on the marketplace around vinyl as well as some PhD research on the seismic legend around harDCore.

Sonnichsen, T. (2017). Vinyl tourism: records as souvenirs of underground musical landscapes. Arts and the Market 7 (2), 235-248.

You can check out this issue as well as prior issues of Arts and the Market on the Emerald Insight page here. Depending on your institutional access, you may be able to find the HTML or PDF version of the article directly from there. If not, then don’t hesitate to contact me and I can help get you a copy.

Iain Chambers on Music, Literature, and Nostalgia

Quote

Music as a language (like all language) maintains this tension through its communal use and individuation. Its ready accessibility compared to other, more formally institutionalised [sic], languages such as literature, historiography and the visual arts, permits a ubiquitous and unexpected punctuation of the scripts we are expected to follow. Music, in its anonymous consumption and innumerable moments of articulation – from the desert ceremony and forest clearing to the bar, street corner, subway exit, and modern consecration in the recording studio – perhaps provides an altogether more extensive and irrepressible configuration of a language that sings time and being while recording memory. If music provides a home for nostalgia, it also offers a point of return for what becomes a new point of departure.

– Iain Chambers, in The Cinematic City (edited by David B. Clarke), p. 237.

Dr. Chambers, I don’t always understand what you write, but when it hits, it HITS.

Michael Seman on Music Geography

From UNT website.

I felt a good return to music on this blog was in order, mainly because I’ve got some more antique postcard news in the works. I was very fortunate to meet and work with Michael Seman, a musical geographer based in Denton, TX (we did talk briefly about the Mountain Goats song and the Marked Men, don’t worry), at the AAG Meeting in Los Angeles last year. This morning, I got an email from a collaborator saying that Mike had been interviewed for the Washington Post! Not a bad spot to land.

You can read the whole interview here, or check in on writer Danielle Paquette‘s story about Omaha’s use of indie rock to revitalize it’s urban neighborhoods right here, but here are a couple of Seman’s quotes that I thought were pretty to-the-point about what Music Geography does, and why it’s important.

[Music Geography is] the examination of music and how it interacts with the people, economy, built environment, and technology that comprises a certain space or place.

Music, like food, offers a lot of insight into how landscapes develop and how they might continue to do so in the future… Music scenes can act as branding agents, spur urban redevelopment and emerge as industries in their own right. I’ve also found that music scene participants are civic-minded and often become involved in philanthropic pursuits, run for political office, and seek employment in city departments.

More updates coming soon. Check out Michael’s work for more background on the interaction between music and public places. I’m no doubt going to be citing a lot of them in the future.

For now, time to dive back into teaching and formulating my own papers to present this year. It’s been so busy that I feel like first I have to…. well, The Marked Men can probably say it better than I could.

Alex James on Music (or, why it doesn’t hurt to judge people based on their avocations)

Quote

   The earliest tonal instruments were made from reindeer toe bones. They’re closer to a whistle than a flute to look at, but they are technically flutes because you blow across the hole, rather than down it… It didn’t look like much, I must be honest. It didn’t sound great either but those crusty little bones were where it all started. A primitive musical instrument made by a primitive scientist.
Twenty thousand years later, anyone sitting down at a piano is sitting on top of a huge mountain of accumulated knowledge. When you hold even the cheapest guitar, you’re wielding a very sophisticated tool. The twelve-tone scale is a triumph of scientific understanding. It’s such a perfect structure that it’s rarely questioned or even understood by the people who use it. All musicians know how to tune up their instruments, but very few have any idea what they are actually doing as they tune. Musicians rarely have any more of an inkling of what music is than an electrician knows what electricity is.
All the really tricky business of the evolution of music has taken place, and it’s not important to know everything. It’s just important to know what sounds good. All anyone needs is one little idea. It can even be someone else’s idea. All you’ve got to be able to do is pick the good ones. There are no rules that can’t be broken in music-making. Confidence is all-important. Things that are completely wrong can sound new and interesting if they are done with conviction.

via the artist’s twitter

– Alex James, pp. 158-9 in his autobiography bit of a blur (London: Abacus, 2008). I’ve always been interested in the non-musical passions of musicians, and James is perhaps one of the prime examples of proof that a truly brilliant brain cannot be shut down by mountains of cocaine, booze, and women. Over the course of his towering rock stardom, he became a Visiting Scientist at one of England’s top research facilities, a recreational pilot (following drummer Dave Rowntree down that path and terrifying Damon Albarn in the process), documentary (about cocaine) host, and a devoted maker of fine cheeses. And somehow (probably by not being English), I missed out on this football anthem he ground out in 1998 with comedian Keith Allen (Lily’s dad) and everything-person Damien Hirst. Also, I just did some light googling to find that image, and I discovered via his twitter that he and Jamie Oliver are throwing a three-day food festival at his farm in the Cotswolds. Bizarre.

via the anti-emo empire

It’s no coincidence that the rock stars that history remembers the most kindly are the ones who were never content to be doing solely what their “role” in the public eye commanded. I recently went internet-rolling on the late Dead Milkmen bassist Dave “Blood” Schulthise as this past March 10 was the tenth anniversary of his suicide and my friends/colleagues Scott, Jose and I had a rare opportunity to catch The Dead Milkmen right after the AAG Conference in Tampa. Some say he was the band’s controlling force and secret weapon. I wouldn’t disagree, but either way he was definitely one hell of a bass player. The Dead Milkmen were (and still are) some of the finest satirists of the past three decades, and the more I read about Dave Blood, the more I understand how his way of looking at the world influenced their art. If you have a few minutes, check out this wonderful interview that Mark Prindle did with Blood the year before he died. He finally had the opportunity to explain the deep love he developed for Serbia relatively late in his life, and how it gave his life new meaning after the Dead Milkmen broke up, he had to stop playing, and he no longer had music.

These are the things I think about while I should be focusing on getting all my end-of-semester work off of my plate. That being said, I do apologize for the recent lack of updates. I’ll be back soon to talk about some projects I have coming up for the summer. It’s going to be a busy one.

A Call for Papers, and Happy Thanksgiving

I apologize for the late notice on this, but in case you have not received this CFP from Johnny Finn yet, I’ve decided to post it here, and encourage you to send him an abstract by this weekend. Finn has established himself over the past decade as one of the top music geographers, and I’m sure there will be much more from/about him on my site in the future. At any rate, I’m looking forward to working with him at the AAG Conference in Tampa this coming April, where I’ll be presenting some of my research on music and urban landscapes of public memory.

CALL FOR PAPERS
Geographies of Sound & Music

Association of American Geographers Annual Meeting
2014 AAG Annual Meeting, Tampa, April 8-12, 2014

Sponsored by:
Communication Geography Specialty Group
Aether: The Journal of Media Geography

In recent years sound, rhythm, and music have commanded increasing attention from geographers. Geographical engagements with the aural have come in a variety of forms: from quantitative studies of music scenes to theoretical considerations of sound and music in non-representational theory; from research focusing on the role of music in constructing and maintaining regional identity to new methodological approaches and techniques for the sound world.

This session aims to gather researchers from a wide range of theoretical, practical, and topical areas to push the boundaries of geographical research that engages the spatialities of sound, rhythm, and music. Potential topics of interest include (but are in no way limited to):

  • Music and national/regional/local identity
  • Sound/music in creating filmic space
  • The political economic of the music industry
  • Sound and urban space
  • Aural methodologies
  • Mapping sound and music
  • GIS & music
  • Music & geographical pedagogy
  • Music & non-representational theory

If interested in participating in this session, please email Presenter Identification Number (PIN) and abstract to Johnny Finn (john.finn@cnu.edu) by Dec 1, 2013.

There you are. Good luck. And everyone, have a wonderful Thanksgiving, wherever you are.

In this case, I’m thankful for artchive.com.