See The Prids, Buy Their Albums

Friday night I saw the band that has now become the band I've seen more times than any other, Portland's The Prids. It was, as usual, an excellent show. If you consider yourself anything of a post punk fan, and you've never seen The Prids perform live, you should be ashamed. They are one of the best live bands around, not because of any spectacular on stage antics, but simply by virtue of musicianship, stage presence, and honest (post) punk energy.

If you've never heard The Prids, their sound is centered around the juxtaposition of angry energy (nearly hardcore drumming, punk guitar and bass lines) with slower, more emotional elements (synth pads, poppier/gothier guitar and bass lines). But I'm not talking emo, screamo, emocore or any of that sort of nonsense. No, The Prids are a real post punk band influenced by real post punk pioneers like The Smiths, Joy Division, The Cure, The Chameleons, etc. This puts them roughly in the same genre as Interpol, She Wants Revenge, The Lovemakers, The Faint, Arcade Fire, and the whole Retro Post Punk scene.

The thing is, The Prids predate the next oldest of this current wave of post post punk / newer wave bands by at least two years -- and they are at least as good as the best of their competitors (and much better than the average of them). This is no weekend garage band. David Frederickson and Mistina Kieth, the songwriting core of the band, have been at this nonstop for over a decade -- since before The Prids were formally a band. The Prids work hard, tour often, and with two albums and three EPs, put out material as fast as the small labels they've so far attracted can afford it. All this comes through in the maturity, consistency, and originality of their work. I befriended The Prids when they were first touring (in support of their Duracraft CD EP), and from an already strong start they've only gotten better.

I can think of no underappreciated band more deserving of widespread attention than The Prids. This band deserves to be big. Their sound and aesthetic meshes perfectly with both generations of post punk, they are relentless hard workers, and their live shows are awesome even on a shoestring budget. If you've never heard The Prids, I recommend checking them out immediately -- and if they're playing in your area, definitely treat yourself to seeing them rock out a smaller local venue while you still can. (Other worthy, but lesser known, bands in this genre are Green Circles, Veil Veil Vanish and Red Voice Choir, all bands that have opened for The Prids).

A Must See Film: Young@Heart

I just saw a preview screening at work of a documentary called "Young @ Heart." Titled after the chorus of the same name, this film perfectly personifies the catchphrase of "Down By Law," the one uttered over and over by Roberto: "It is a sad and beautiful world."

The Young @ Heart chorus is comprised entirely of people over 73 years of age, but focuses on singing contemporary (often quite contemporary) music. Taking a six week rehearsal period as its back drop, the film tells the story of the chorus through the lives of several chorus members and the observations of their Director, Bob Cilman. There is a bit of talk about how music performance is good for keeping people active, challenging their minds and bodies, ad so on -- but this isn't a music therapy promotional piece. This is a beautiful film about wonderful people making inspiring (and yes, amusing) music. You will immediately get drawn into the stories of these extraordinary people, and only the stone hearted can leave the theater not caring about them.




Director Stephen Walker does a great job of keeping things honest, with very little vamping for the camera by the participants, or "knowing" asides by the filmmakers. At first blush, I expected the film to be hip and ironic -- perhaps even sarcastic. After all, what about the elderly singing Sonic Youth and The Ramones isn't some kind of trendy, retro-kitsch parody ripe for a moment of cynical embrace by the legions of cool -- only to be discarded during the next moment's fad? Well, the film gives you that answer in copious quantities. This is a film about people, not pop culture, and it is quite an emotional ride. I don't want to give away too much because you absolutely must see this film. If the story of the Young @ Heart choir doesn't empower you to say, without a hint of irony: "I laughed, I cried, I danced in the aisles" -- well, then, you probably should just adjust your horn-rimmed glasses and calmly, aloofly hurry back to the oxygen bar next door so you won't miss your live-blogging gossip about Project Runway session (soulless freak).



Young @ Heart opens April 9th in limited, phased roll-out release. If it comes to your area, see it. If not, see it on DVD. And if the Young @ Heart choir comes to your area sprint, don't run, to get ticket before they nearly instantly sell out (as they are sure to do).

Something Positive to Contemplate: Philippe Petit

My friend Mark Andrews turned me on to the book To Reach the Clouds: My High Wire Walk Between the Twin Towers by Philippe Petit. It is an amazing adventure tale of a life-loving funambulist who took on the World Trade Center, preparing for years before finally performing a dazzling, illegal high wire dance between the twin towers. His book, like the project it details, is part poetry and part crime caper.

Searching for more info about Mr. Petit, I found an interview in Psychology Today which has some good quotes, including this one about the WTC site: "I think they should be rebuilt exactly the same, or maybe even a little bit higher—as a rebellion against doom." This Guardian article is also interesting, but I suggest reading his book, as it is much more detailed. His devotion to art, life, dreams, and a spirited, positive rebellion against conformity really comes through int he book. The style may rankle some readers (at first it bothered me, but I quickly found it rather charming), but even so the story is quite compelling. I found the book well worth the read, especially in a time of much sadness.

More Sad News: Anthony Minghella has also died

Too many interesting folks passing away lately, and I'm starting to suffer from tribute exhaustion. Anthony Minghella, the writer-director responsible for such fine films as "The English Patient" and "The Talented Mr. Ripley" died from surgical complications.

Minghella's work was very poetic, both textually and visually, and yet at the same time accessible to a wider audience. His films were very emotionally engaging, and he was able to coax amazing performances from his actors. I never had an opportunity to meet him, but his reputation as a nice guy is confirmed by folks at work who had. He died much too young, and he will be missed.

Arthur C. Clarke Has Died

Frankly, I'm quite depressed at having to write about the death of yet another childhood hero so soon after the death of Gary Gygax. Arthur C. Clarke, prolific sci-fi author and futurist, passed away today. At 90, this was less of a blow than Gygax's untimely departure, but it is still a tragic loss.

Clarke and Kubrick's film "2001: A Space Odyssey" was a major influence, one that inspired me both in my work in computing and artificial intelligence, and my work in filmmaking. I read a number of Clarke's books in my youth, and works like Childhood's End, Rendezvous With Rama, and The Songs Of Distant Earth influenced me greatly. His idea for geosynchronous satellites, published in a 1945 issue of Wireless World, has influenced all of global society greatly. Clarke's works were integral in helping to form my life as a philosopher, a gamer (and game developer), a writer, and an engineer. With Clarke's passing, an era of Sci-Fi comes a giant step closer to closure. Not many of his generation remain, and with them will pass a less cynical era of Sci-Fi than much of contemporary fare. Sure, I also enjoy cynical cyberpunk material as well, but writers like Clarke had takes on our future -- with an interesting mix of both positive and negative possibilities -- that are still worth contemplating.

Clarke, through 2001 in particular, was hugely influential on Sci-Fi in popular culture. Generations of filmmakers, writers, and video game designers all owe a huge debt of gratitude to Clarke (and Kubrick) for bringing cerebral Sci-Fi to a mass market. Rubber Monsters and Rayguns schlock may be fun, but Clarke and his contemporaries helped open doors for a more intelligent kind of Sci-Fi. Anyone working in AI, telecommunications, general computing, video games, and sci-fi filmmaking, comics or writing should take a moment to give thanks to Arthur C. Clarke for all he has done for the world.

Gogol Bordello World Strike

Gogol Bordello at San Francisco's Warfield last night (03/13/08) was an excellent show, despite the Warfield's bad sound (terrible mixing being a San Francisco live venue staple). My lovely wife and I both enjoyed the show immensely. Unrelenting energy burst forth from this Eugene Hutz fronted, nine piece band for nearly two hours as they played through what seemed like the entire Super Taranta album, and then some. It's not every day that a punk band is anchored by violin and accordion, but violinist Sergey Ryabtsev and accordionist Yury Lemeshev do an amazing job of bringing both punk energy and traditional sounds into the Gogol Bordello Mix (and both have great stage presence, even in the shadow of the unrelentingly frenetic Hutz).

Gogol Bordello

Gogol Bordello are one of my favorite bands, and are the leading ethnic-punk fusion band, thanks to Hutz' stardom from the film Everything Is Illuminated, and the band's subsequent "adoption" by Madonna as her latest pet project. While openers Skindred were decent enough, it would have been much more exciting had a kindred band such as World/Inferno Friendship Society (a long-running accordion-punk act who also deserve recognition), Slavic Soul Party, Leningrad, Yat-Kha, or Balkan Beat Box been along for the tour.

Gogol Bordello lifted from their seats nearly an entire Warfield crowd of punks, hipsters, hippies, goths, ren-faire acolytes, middle aged music nerds, and the occasional actual Roma. There was definitely more dancing (and less stupidity) at this show than at your average Warfield/Fillmore show. Songs like Start Wearing Purple, Supertheory of Supereverything, Zina-Marina, 60 Revolutions, Sally, Not A Crime, I Would Never Want To Be Young Again, and Harem in Tuscany got the crowd hopping. While I wish the show had been an hour longer so they could play more of their older stuff such as Immigrant Punk, Avenue B, Dogs Were Barking, Underdog World Strike, Strange Uncles From Abroad, Voi-La Intruder, Letter To Mother, and Passport, the songs they did play were all excellent and there were enough of my other favorites that I certainly didn't leave feeling disappointed. All in all a great show, and I hope to see Gogol Bordello in San Francisco again some time soon.

A Sad Day For Nerds The World Over

Gary Gygax, co-creator of Dungeons & Dragons, has died. At only 69, he died too young. It is a sad day indeed (personally, I cried).

For me, Gary's passing is much more personal than the recent passing of William F. Buckley. Though I respected Mr. Buckley's writing abilities, my own personal development has been influenced far more by D&D than by conservativism. Much of my earliest writing came in the form of writing adventures, and creating extensive histories for my characters, for D&D (and then AD&D, and then all manner of non-Gygax games like Twilight 2000, Traveller, GURPS, Cyberpunk, Shadowrun, Paranoia, etc.) Text-based role playing games were the first large computer programs I wrote, on my trusty Commodore 64 (a machine that is as nostalgic to me as a box of dusty AD&D manuals).

Back in those days a role playing campaign could span a year of weekends, all of us hunkered down in one of our parents' living rooms, and it wasn't uncommon to own the same computer for five years. We committed to our gaming for the long term, and as such we evolved rich stories and complex characters. In college, much of my first couple years were spent playtesting the homebrewed gaming system that became a college friend's undergraduate thesis project.

I not only learned a lot about creative thinking, and writing, from role playing games -- but also about data management, the psychology of rule adherence, and negotiation. D&D was full of arcane rules and tables of data (which, honestly, most players learned to ignore after trying them out a couple times). Understanding how and why rules came to be abrogated, annulled, or redefined during innumerable role playing sessions -- and taking part in many negotiations regarding these issues -- has given me a deep, functional understanding of the psychology of rules. This has been very useful both in my management roles, as well as helping me better understand the nuanced pragmatics of politics and the legal system.

Though I haven't played a AD&D (or any other non-computer RPG) in years, role playing games were a huge part of my formative years. I can honestly say I learned far more about creative thinking from playing role playing games than from any class I took in school. Like John August, I have also been unable to separate from my box of D&D books over all these years. Occasionally, in a fit of nostalgia, I buy one of the rare ones I "always wanted" on eBay. I still harbor some notion that I may play again someday, and while I doubt that will ever come to pass, there is as much nostalgia-for-my-youth comfort in knowing that I could if I wanted to as there is in eating New York Pizza, listening to Pink Floyd, or watching A Christmas Story.

Gary Gygax, and the industry he helped create, really did help foster the imaginations, and encourage the development of valuable writing and negotiating skills, of generations of nerds all around the world. I also believe D&D helped pave the way for the success of things like Harry Potter, World of Warcraft, and even the resurgence of The Lord Of The Rings.

But even that's not the whole story, as D&D and things like it have an even greater impact. Fantasy and Science Fiction stories, and games, aren't just an escape from reality but also a clarion call to try to make reality a better place. Not only writers and artists, but also astronauts, scientists, engineers, etc. frequently cite Star Trek, D&D, and similar F&SF fare as inspirations for their quests to make the world a better place.

And Gary Gygax did indeed inspire legions of nerds in their quest to make the world a better place. He will be missed.

The Unbearable Crappiness of Being Trendy

Conveniently located less than a half block from the Bowery Mission, ensuring your entrance and exit takes place on litter-strewn streets where you'll be accosted by one or more of the Bowery's colorfully authentic crazy, drunken vagrants, New York's imaginatively named New Museum is the latest in a series of art venues recently built or refurbished in a desperate attempt by the benefactors of American culture to prove that the American people can still build buildings. With the latest in trendy retro-minimalist design, sporting a "new"-themed coffee shop, and nestled between a pair of fully functional and therefore ironically chic restaurant supply stores, the New Museum is the logical conclusion of the last decade's best funded cultural memes. Somewhere in the mix, there's something about art -- or so I was told.

The New Museum

New Museum's building architecture is engaging when viewed from the outside, but one trend the venue does buck is the recent trend of museums whose interior architecture completely overwhelms the art inside. The lighting could be better, as the flood of over-bright fluorescence is more K-Mart than Guggenheim, but otherwise the interior is relatively art friendly. Inside each gallery, I found myself able to completely focus on the artwork rather than the architectural details. Unfortunately, this situation wasn't permanent.

For the inaugural show, the New Museum decided to curate a four-part extravaganza focused on contemporary object recontextualization art: sculptural collage, two-dimensional montage, sound manipulations, and digital works. This ambitious undertaking is compelling in idea and scope, and based on the crowds, is clearly achieving the goal of drawing visitors to the recently opened venue.

Though it has received accolades from a number of art critics who apparently haven't been in a university dorm room within the last twenty years, Unmonumental would in fact have been better titled Uninspiring. During my grueling two hour attempt to separate the "what?" from the crap, Unbearable is a word that also sprang to mind. As an onslaught of works ranging from the mediocre to the Double-Plus Ungood assaulted my senses, I soon found myself checking out the museum's stylishly cracked coated-concrete floors and exposed ceiling details.

A tour through Unmonumental is like a tour through a college dormitory. Far too many of the works seem taken straight from the aftermath of a marathon session of dropping acid and listening to Rage Against The Machine. Some works resemble the cut-up porno and Tiger Beat magazine collages, dripped-wax constructs, and Pop Tarts box "sculpture" such collegiate inspiration produces, while others merely resemble the floors and walls of the dorm after the participants have passed-out.



"Huffy Howler" by Rachel Harrison, coming soon to a dorm near you


Given the size of the show, it was inevitable that even with what seems like a curatorial mandate of "bore and/or irritate the patrons," a few genuinely compelling, professional grade works could be found hiding in the psychic shadows cast by the literal piles of rubbish surrounding them. Works such as Marc Andre Robinson's "Myth Monolith," John Stezaker's headshot cut-ups, and Kim Jones' ink drawings on photos all starkly set themselves apart from the bulk of the show by betraying the fact that those artists actually have skills. The stand out works in the show looked well thought out, planned, and (gasp) finished, unlike far too many of the surrounding works.


"Myth Monolith" by Marc Andre Robinson, flaunting its coherence

Found objects and imagery, even trash, are used in assemblage and collage work as a matter of course. The material is not the issue with this show. Rather, the problem with many of the pieces in the show is that they come off as not only Unmonumental, but also uninspired, unskilled, and undeserving of the laurels accompanying their inclusion in the first show of a new major museum. The actual piles of trash on the street in front of the museum were more thoughtfully and thought provokingly arranged than some of the work inside.

"Naive" work by "hip" artists is a trying proposition at best, but this show is not even the best of that dubious style, rather it's an insultingly "hipper than thou" collection of utterly hackneyed attempts. While some may revel in the "refreshingly unsophisticated" lack of cohesive thought reflected in many of these works, I found it frustrating that such predominantly thoughtless work is being held up as the pinnacle of contemporary assemblage work when there is so much better work out there.

Missing from the show are (as the NY Times also noticed) many of the usual suspects, including Bill Viola, Jeff Koons, and Matthew Barney. The bigger name draw is instead provided by lesser works from Thomas Hirschhorn and Martha Rosler, both of whose works in Unmonumental fall squarely into the "not bad, but they could do better" category. But never mind the usual suspects, if it's fresh talent the art world is hungry for there are a number of less well known artists whose superior works could have been included, such as: Winston Smith, Ala Ebtekar, Hank Willis Thomas, Chris Kuksi, Elizabeth McGrath, Jill Miller, Saira Wasim, Banker White (whose garbage sculpture at the Headlands Center for the Arts "Close Calls" show blows away any pile of trash in Unmonumental), James Gouldthorpe, and a host of others.

The audio portion of the show seemed tacked-on. Presented as ambient sound in the galleries, it reduced the contributions of the sound works to a background role at best. Like the rest of the show, most of the works were forgettable, and I have no idea who composed the ones I liked (they didn't make it very easy to find out). Noticably absent was Christian Marclay, and, less surprisingly but still ridiculous to me was the lack of any work by: The Evolution Control Committee, Masami Akita (Merzbow), G.X. Jupitter-Larsen (The Haters), Ryoji Ikeda, Zbigniew Karkowski, R/Y/B/N, Andrew McKenzie (The Hafler Trio), or any one of a number of contemporary composers working with found and manipulated sound.

There is also an Internet Art component to the show, shown on computers in the gallery and also hosted online by Rhizome. All of the digital work, except for Kenneth Tin-Kin Hung's amusing political mash-up, ran the gamut from irrelevant to annoying. Admittedly, there is very little good Internet Art to choose from, but in that case why not open it up to all digital, media, and machine art works and be able to include very good works from the likes of Jim Campbell, Gary Hill, Ken Goldberg, Mark Hansen and Ben Rubin, Alan Rath, Mark Pauline, Matt Heckert, Chico MacMurtrie, John Maeda, Paul DeMarinis, Jordan Crandall, Raqs Media Collective, Futurefarmers, eToy, Builders' Association, and so on?

Young-Hae Chang Heavy Industries, "Black on White, Gray Ascending"

On the digital art front, Young-Hae Chang Heavy Industries has a work being shown on the ground floor. This piece, called "Black on White, Gray Ascending," is not technically part of Unmonumental. But, despite being nothing but text and sound, it is a great piece, substantially better than ninety-five percent of the work in the main show -- digital or otherwise. Even if there weren't other pieces in Unmonumental that deserve to be seen, and there are, it would still be worth going down to the Bowery just to experience the Young-Hae Chang piece.

All in all, the best way to describe Unmonumental is to say it lives up to its name, and then some.