Amoeblog

The Second Weekend in August, 1969 ... Part One

Posted by Whitmore, August 10, 2009 11:38am | Post a Comment
I wonder if anything significant about this past weekend will be remembered in 40 years time, other then Sonia Sotomayor being sworn in as a U.S. Supreme Court Justice and maybe Tiger Woods’ unbelievable play at the WGC-Bridgestone Invitational. This weekend back in 1969 is definitely remembered for a variety of odd and groovy and trivial and horrifying reasons.
zager and evans 
In the summer of 1969 I was living carefree at 4200 Franklin Avenue in Los Angeles near Griffith Park, with my parents, grandmother, two sisters, and of course our Siamese cat Pandora and a Great Dane named Dijo who would eventually, later in the year, attack me without provocation. She was a nutty and twisted beast. And typical of August in LA, it was annoyingly hot and smoggy. If you didn’t live here back then you just don’t know smog-- lung scorching air under a sky colored golden toasty brown to the apex. Now that’s pollution! This was also the first summer I really started noticing music. I culled some change from my mom’s purse to buy my first single, which also happened to be #1 on the Billboard charts this weekend in 1969, and would be for six consecutive weeks -- "In the Year 2525 (Exordium and Terminus)" by Zager and Evans. In the UK the #1 song was "Honky Tonk Women" by the Rolling Stones, which has noticeably survived the tastes of time better then “2525.” The #1 album in the US was the self-titled second album by Blood, Sweat & Tears. Earlier in the year in March it was briefly at the top of the charts, but with three successive Top 5 singles, it returned once again to the number one position. In 1970 it would win the Grammy Award for Album of the Year.  
 
Also this weekend 40 years ago, the Beatles posed for one of their most iconic images-- the Abbey Road album cover shot of the George, Paul, Ringo and John at the zebra crossing on Abbey Road. They were mostly done working on their newest album and, having applied the last overdubs that morning to the longest track, "I Want You (She's So Heavy)," photographer Iain Macmillan was given ten minutes to get the cover photo done. At 11:35 am on Friday, August 8, 1969, the image was shot. Of course, when the album was released in September, the cover art only fueled the rumors and speculation that Paul McCartney had indeed died in a car crash in 1966 and all the symbolic references only confirmed the sad fact.

Novelty rap and the harsh realities of adolescence -- Freddy Rap and other strange happenings of 1987

Posted by Eric Brightwell, August 10, 2009 10:44am | Post a Comment
Back in 1987 and '88, before Chucky and the Leprechaun came along and divided the loyalties of urban cineastes along racial lines, Freddy and the hip-hop community were hand in metal-clawed glove. It was the year Nightmare on Elm Street 3 was released. Why did Freddy rap occur then and not sooner? There had been a building sense of unease for several years, as evinced in Rockwell's 1984 hit "Somebody's Watching Me" and Dana Dane's 1985 hit "Nightmares." It was the climax of the Cold War, after all. Nightmare on Elm Street 3 was widely viewed as the best entry in the series and was the most successful until FVJ in 2003. It may've just been me, but I also think 1987 was just a weird, wonderful year.

nightmare on elm street

For me, it was full of confusion and mystery. I'd grown somewhat comfortable with my classmates over the seven years of elementary school, but in 1987, I was off to junior high. The air on the school bus was a gaseous psychotropic cocktail of aquanet and Jheri Curl. When the smoke cleared, I found myself at Jefferson Jr High, in the middle of town. The formerly all-white school, my black Social Studies teacher informed us, had been the domain of the devil and his wife (a witch) when he was growing up during segregation. I later figured out her reasons for creating that myth, but it might as well have been true to me at the time. Junior High, in contrast to the relative peace of elementary school, was a trial by fire where violence could and frequently did break out as the pecking order got sorted out. I quickly learned to never use the restrooms. There was tremendous pressure to adopt a sort of uniform with classmates scrutinizing and passing judgment on hair, jackets, shirts, pants, shoes, musical tastes, &c. Brands and styles of (generally tightrolled) jeans (something I'd honestly never thought about) were cyphers that revealed more about their wearer's personality and background than their cracking voices ever could.

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Gomez & Mari G At Travel Tips For Aztlan

Posted by Gomez Comes Alive!, August 10, 2009 12:44am | Post a Comment

On Saturday, August 8th, I had the pleasure of guest deejaying on Travel Tips For Aztlan on KPFK 90.7 FM in Los Angeles. Travel Tips is one of L.A.'s longest running Latin Alternative radio programs. My co-host, Mari G., and I filled in for regular hosts Mark Torres and Mariluz Gonzalez, who took a much-needed Saturday night off. Hopefully we will do more fill-in spots for Mark and Mariluz in the future, as Mari G. and I have plenty of music to share. So, what did we play? We played lots of Cumbia, both traditional and remixes. We played a boat load of Toy Selectah remixes and Bersa Discos tracks. We played music from Mexico that is sadly not out in the U.S.

Below is our set list from that night. I marked certain releases that Amoeba Hollywood currently has in stock, just in case you would like to pick up a copy for yourself.

[Hour 1]

1. Das Pop - "Underground" (Busy P Remix)
2. Quantic & his Combo Barbaro - "Un Canto a Mi Tierra" (from the Traditions in Transition CD/LP)
3. Banda de Turistas - "Un Verdadero Cajon de Madera"
4. Quiero Club - "Minutos de Aire"
5. Tontelas - "En Do" (from The Greatest Hits Of G.A.M.M. vol II)
6. Sabo & S.O.S. – "Colegiala Dub" (from the Sol Selectas #7 12”)
7. Los Angeles Azules vs. Sonidero Nacional - "Como Te Voy A Olvidar"
8. Grupo Mojado - "Tonta" (Mexican Dubwiser Remix) btw..."Mexican Dubweiser" -- Mix CD coming soon to Amoeba Hollywood!!!
9. Tzochitl Soundsystem vs. Toy Selectah - "Ay Guey" (from The Bersa Discos #5 12") (background music: Sonido Principe – "Cartagena")
10. Dj Lengua - "Cumbia Squares" (from his self-titled 12”)
11. Henry Castro - "Cumbia Colombiana"
12. Rodger Mas - "Cumbia Bonita" (from his 7” on Club Unicornio Records)
13. Devandra Banhart – "Carmensita" (Toy Selectah Raverton Remix) (background music: Poncho Kingz - "Space Cumbia" (Sonidero Nacional Remix)

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A Few More Thoughts on Technology and Realism: Pac-Man and Surrogates Trailer

Posted by Charles Reece, August 9, 2009 10:16pm | Post a Comment
pac-man game  pac-man skeleton death

I gave up playing video games when I encountered the second button. I was alright with jumping, but combination moves and shit like that tended to take me out of the formal (as in Platonic) perfection of a Pac-Man or Space Invaders. If I want gritty (as in non-Platonic) realism, I'll read Bukowski, or watch a Cassavetes film. I've since played a few of these realistic "moving" games where one drives through a simulated real city, running into other cars or over innocent bystanders (other variations of this game type have the player as a superhero, vigilante, soldier, or cute creature on some ostensible quest -- e.g., killing zombies -- but they're more about just moving through a virtual environment). The only thing they add to the endless struggle (at least, ideally) of a little round guy eating dots is more detail -- the ontology remains unchanged. Pac Man already had the truth of its and the player's existence written into its elegant design. That is, it said everything that needed to be said: keep playing, desire can now be quantified by the score; the goal never changes, nor will you ever get closer to it, no matter how fast things start moving.

Speaking of existence being reduced to the score, the reknowned junkie William S. Burroughs once narrated a video game based on the writings of Edgar Allen Poe called The Dark Eye. Looks interesting, although I hear it bombed:


But back to the yellow fellow: Speed, color scheme and fruit are pretty much the only differences in its levels. The game's "progression" is a matter of pseudoindividuation: slight variation to keep the player committed to/distracted from/entertained by the standardization. The techno-realism of a Grand Theft Auto only adds more complex layers of novelty to Pac-Man, bogging the player down with data (more places to visit, more visual detail, more complex controls), keeping him or her lost in the details. If Pac Man was sortcronenberg existenz poster of an existential map, the purpose of which was to lead us temporarily away from life's troubles, the more realistic derivations seem to be moving us in the direction of cyberpunk dystopias, where the map (virtual reality) is just as convoluted as the mapped (old-fashioned reality), eventually rendering any distinction seemingly useless, like in David Cronenberg's eXistenZ. Most games now have to supply the player with a map, so can the possibility of getting lost "in there" be that far off? And isn't that the fantasy behind realism, to get lost within the simulated reality, to not be able to distinguish the depiction from the depicted? If reality can't be controlled, substitute its image, which (supposedly) can, or, to appropriate Theodor Adorno once again:

Reality becomes its own ideology through the spell cast by its faithful duplication. -- "The Schema of Mass Culture"

I remember a bunch of criticism directed towards the blandness of Cronenberg's design for the gaming environment in his film, that it looked too plain. However, I took his point to be Adorno's: that no matter how much a game (or movie, or any other art) allows us to fantasize about being in control over our surroundings, someone else is doing the programming that sets the rules. The technologically enhanced realism furthers the fantasy, while ultimately decreasing our (the players') control on reality. The endgame of this fantasy -- where reality itself becomes its own simulation for our avatars to play in -- is the conceit of the new Bruce Willis vehicle, Surrogates (adaped from a comic book):


An intriguing idea, even if the execution looks like standard Hollywood sci-fi cheese. I guess what I've been angling for is this: If one of our primary fantasies is being in control, then it would seem that its logical, utlimate, fantastic realm would not look like some weird alien world, or an abstract dimension of colors and shapes (such as Pac-Man or TRON), but exactly like the one we know, only without any of the risks and vicissitudes of the real deal. That's why with all the technological innovations in film production, with a near boundless samuel r delanypotential to create increasingly bizarre (ir)realities, the fantasy genre (in which I'd put science fiction, cartoons and whatever else I've been talking about lately) has been getting more realistic. Barring the occasional fetishist, I suspect most people would have sex with a simulated human on Star Trek's holodeck, not some sentient squid creature. Rather than expanding, or questioning, the predisposed ideas wrapped up in our common conception of reality as a good fantastic yarn can do (e.g., pick one of Samuel R. Delany's books), the realistic capabilities of technology are limiting the possibilities of imagination, of counterfactual situations, to think outside the box, when it makes the fantasy look like reality.

August 9, 2009

Posted by phil blankenship, August 9, 2009 09:01pm | Post a Comment
Funny People movie ticket stub






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