Disinformation Gets a Makeover

Disinformation Jack-O-LanternDisinformation, for whom I’ve written and by whom I’ve been supported for over  a decade, has redesigned their website. Managing Editor Ralph Bernardo had this to say about the site’s new look:

As you can see, we’ve moved to a new site platform. From those of you returning from our previous incarnation, all your previous posts are still here. We hope you enjoy the new blogging platform, and if you have questions or concerns with the new site, please feel free to email me directly at feedback@disinfo.com.

The new site is a work in progress but looking forward to hearing your thoughts and ideas on the site.

Looks good from here. Go check it out.

Weekly Good Stuff

Here is some stuff I’m digging for the week of September 26th, 2009:

1. Porcupine Tree The Incident
2. Southern Lord records (more specifically, Sunn O))), Boris [with Merzbow], Oren Ambarchi, Pelican, etc.)
3. This package:
Pretty package

4. A big pile of Daniel Menche CDs from Soleilmoon
5. UT library
6. Rediscovering Sub Rosa’s Subsonic series, including CDs by duos like Justin K. Broadrick and Andy Hawkins, Caspar Brotzmann and Page Hamilton, Bill Laswell and Nick Bullen, Lou Barlow and Rudi Trouve, et al.
7. My thrift-store copy of Dune (the very picture of “classic”):
Dune

8. Naked Raygun What Poor Gods We Do Make DVD
9. Mulholland Dr by David Lynch
10. Fez T-shirt by Polytron Corporation (the wait continues):

Grandmaster Roc Raida R.I.P.

Famous people have been passing with an alarming pace lately. It’s weird. It’s weirder when it’s someone you met or hung out with.

X-MenI’m not going to front: Roc Raida didn’t know me from anyone, but we did sit down and chat a couple of times. The first of those times was on July 27, 1997 at The Crocodile Café in Seattle. Just before the X-Men’s sound check (during which I took the photos here), I sat down in the Crocodile’s back bar with Rob Swift, Total Eclipse, Mista Sinista, and Roc Raida. I was wearing a Deep Concentration tour t-shirt that had a picture of Roc on the front. San Francisco’s Om Records had put out a compilation of Turntablists — including the X-Men — and the subsequent tour (made up of a rotating cast of beat jugglers and scratch masters) had come through Seattle the night before. As we settled in to chat and I turned on my tape recorder, Roc Raida was noticeably distracted. I asked my first question anyway, but he ignored it, saying, “I want that shirt.”

X-Men

Roc Raida worked with everyone from O.C. (on the classic Word…Life LP from 1994), Big Pun (R.I.P.), Big L (R.I.P.), and Immortal Technique to Linkin Park, Mike Patton, The X-Men/X-Ecutioners (of course), and, more recently, Busta Rhymes. He was known for his innovative body tricks and lightning-fast yet super precise scratch moves, and they won him countless DMC and ITF competitions. He was dubbed “Grandmaster” by the O. G. Grandmaster himself, Grandmaster Flash. He was, simply put, one of the best doing it.

My thoughts go out to his family, friends, and all who knew him. Hip-hop and the world have suffered a great loss today.

Rest in peace, Anthony Williams.

———-

Here’s Roc Raida’s winning routine from DMC 1995 [runtime: 6:20]:

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Shane Acker’s 9

Shane Acker’s computer-animated feature 9 (2009) stitches several well-worn themes into a unique commentary on agency and afterlife.

Crispin Glover as 6

9 is set in a post-apocalyptic dystopia where a world war between humans and machines has left the earth decimated and dreary. The “stitchpunks” (1 through 9) and “The Beast” (a dog-like machine-thing) are the only signs of life, until 9 inadvertently awakens a maniacal mechanical monster. Each of the numbers seem to have his or her own way to deal with the dangers of the world they find themselves in, but cooperation seems to be the only way to avert imminent doom. 1 (Christopher Plummer) rules the reluctant with fear and the brute strength of 8 (Fred Tatasciore), 6 (the inimitable Crispin Glover, pictured above) is the “crazy” seer, 2 (Martin Landau) is the industrious explorer, 5 (John C. Reilly) is the fearful follower, 3 and 4 (who are voiceless) are the researching, collecting archivists, 7 (Jennifer Connelly) is the warrior, and 9 (Elijah Wood) is the level-headed logician with a heart to boot.

Without giving anymore away (see below for that), I just wanted to give props to Acker and company for taking what could have been cliché and making it fun and fresh.

———

Here’s Shane Acker’s original short film, 9 (2005) [runtime: 10:38]:

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The Lies Are All True: Alien Workshop’s Mind Field

In the late 80s and early 90s, skateboarding started a transition from a five-company economy to an independently-owned, skateboarder-run, hundred-company industry. All of the sudden everyone had a company, a brand, a team, a video. Most of them are long-gone, but for a few years there, it was difficult to keep up (Foundation’s Tod Swank tells the story best).

Alien Workshop was one of the original skateboard companies to emerge from the cacophony of skateboarding’s new-found independence, and for twenty years hence they’ve maintained a uniqueness that sets them apart from the changing trends of the SoCalcentric skateboard industry at large. This uniqueness manifests itself in all aspects of their existence. Their team and their videos are no exception.

Mind FieldMind Field (2009) is a reminder of everything Alien Workshop stands for, a reminder less like a post-it note and more like an atomic bomb. While one might describe Alien Workshop films as “artsy,” it never gets in the way of the skateboarding. Besides, artful clips of J. Mascis noodling around at home on his guitar, writhing plastic robot bugs, twisting weathervanes, high roaming clouds, interesting buildings, and flocking birds all ultimately coalesce into what Alien Workshop — and indeed skateboarding — is all about: individual artistic expression.

And what about the skateboarding? Well, Omar Salazar’s part, which emerges seamlessly from the clips of him strumming along with Mascis, is pure four-wheel fun. Whether it’s the over-vert full-pipe 50-50 or his huge hippie leaps, Omar just looks like he’s completely enjoying himself the whole damn time. It’s infectious.

Arto Saari’s part (my favorite here — embedded below) proves he can combine tech with gnar like no one else this side of Chris Cole. He peppers his part with subtle flips and shoves here and there without a single slippage in style or steez — and most of his tricks are big-man burly. Do not sleep on the boy.

Self-styled enigma Jason Dill keeps skateboarding weird and wild at the same time. His parts in Feedback (1999) and Photosynthesis (2000) are two of my most-watched, and his part here is hereby added to the pre-session playlist.

One can’t help but think of the mighty Jason Jessee when watching Anthony Van Engelen’s part, but he also channels some old John Lucero (the tailslide to noseslide ledge switchers). He skates mean like the both of them used to, but his update is all AVE. Where others hesitate, Anthony just monster-trucks it.

All of the rumours
Keeping me grounded
I never said, I never said that they were
Completely unfounded
— Morrissey

Heath Kirchart’s closing clip doesn’t just make me want to skateboard, it makes me want to put my head down and go hard for everything I’ve ever dreamt of doing. It takes more than talent to make top-notch street skating look this clean. From the opening BS 360 and FS allie-oop lien boosters (ten feet up?) to the motorcycle tow-in street-gap BS flip, Heath just slays everything in sight, and he does it all with style and smoothness not seen since Ethan Fowler’s heyday. Determination is evident, and his thanks list in the credits says it all (“Nobody.”).

Heath Kirchart in Mind Field

I don’t want to geek and gush much more, but let’s not forget the rest of the team. Grant Taylor kills is with big tricks and stamina to match. Steve Berra and Rob Dyrdek turn in short but impressive parts. Kalis keeps it gangster as usual. Dylan Rieder’s opening montage ollie impossible is the cleanest execution of that trick ever committed to video. His part — as well as those of Tyler Bledsoe, Jake Johnson, and Mikey Taylor — illustrate why The Workshop has one of the best teams out right now.

There’s plenty more to say — especially about the parts I just yadda-yadda’d — but the last thing I want to mention is the soundtrack. It’s mostly a solid mix of current Pitchfork-rock (Animal Collective, Battles, Elliott Smith, etc.) and individual style (Dyrdek’s Traffic, AVE’s Adolescents, Heath’s creepy Morrissey song, and you know Kalis skates to the Boom-Bap: “Boom Box” by Bullymouth). Aforementioned Workshop friend J. Mascis and his skate-video stalwarts Dinosaur Jr. contribute several songs (“A Little Ethnic Song” and “Creepies,” and “Almost Ready,” “Grab It,” and “Crumble,” respectively), and original Workshop pro Duane Pitre contributes two pieces (“Music For Microtonal Guitar And Mallets” and “Study For ‘Sun AM'”). The Workshop is a family.

Skateboarding is about pushing yourself and having fun with your friends. Mind Field may lean a little more on the former, but it’s still fun. If nothing else, it proves that Alien Workshop and solid skateboarding are here to stay.

———–

Here’s Arto Saari’s part in Mind Field [runtime: 3:57]. The hyped kinked rails are only a fraction of the story.

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Follow for Now Review on 410 Media

David Baker over at 410 Media just posted a nice review of Follow for Now.

Here’s an excerpt:

The interviews are as far ranging as they sound. They range from Mark C. Taylor discussing The Philosophy of Culture, to media guru Douglas Rushkoff to Al Burian and the rest of Milemarker and the author Philip Dick. The cool thing is most of these interviews are by Roy Christopher so you follow along as he explores the intricacies of his own interest and in doing so makes them interesting to you. As you read these seemingly unconnected interviews you start to piece together parts of Roy Christopher’s personality as much as you find out about the subject being discussed. What do I think I have found out about Roy Christopher? I think he is all about new ideas and trying to figure things out. I think he is about trying to make connections between things that no one else has connected. At least to me, after reading a few of these interviews you start to see the connections between people like Douglas Rushkoff and Al Burian.

Read the full review here.

Many thanks to David and 410 Media for the attention.

410 Media

Russian Circles in DIG BMX

DIG 072My recent feature on Russian Circles for DIG BMX Magazine has hit the stands. It’s in issue #72, if you’re interested. Also be on the lookout for their new record, Geneva (Suicide Squeaze), which hits the stores and sites on October 20th.

The full text from DIG is as follows:

The subgenre of instrumental post-rock has grown into its own over the last several years, and many of the bands emerging to represent the subgenre sound remarkably similar. The inherent irony of classification is that even as the category grows (i.e., the more bands there are that sound enough alike to lump together), the harder it gets to stand out (i.e., to be considered a part of the group, but to distinguish your work from the rest of that group). As My friend Max Bristol might say, Explosions in the Sky is a band — not a genre.

“I suppose it means there are quite a few more reference points,” says Brian Cook, who’s also done time in Botch and These Arms Are Snakes, “both for us as artists and for our audience. It means that we’re somewhat self-aware of what we do, and for the audience it may be tempting to weigh the merits of what we do against other bands and artists instead of judging it on its own terms.” Russian Circles stand out from the crowding in with sheer brut force. They are a power trio with the emphasis on power. Where other groups’ slow builds often leave one dissatisfied with the release, these guys drop it like it’s too heavy. They can simmer with the slowest of boilers and riff it up with the most metalest. It’s a difference difficult to describe but easy to hear, leaving many writers — myself included — sounding stupid.

At the time of this writing, Mike Sullivan (guitar), Brian Cook (bass), and Dave Turncrantz (drums) were just finishing up in the studio with Brandon Curtis (of Secret Machines) behind the boards, working on a follow-up to last year’s massive and majestic Station (Suicide Squeeze). “We were less concerned with perfect takes and more concerned with perfect tones,” Cook says of their studio time. “We switched up a lot of ideas as we were recording and we were less concerned with making sure we could replicate the material live as we were with making a compelling album. both Enter (Flameshovel, 2006) and Station were pretty faithful to how we play live, so we felt we could get away with doing an album where we elaborate on the material a bit more.” Apparently, the new album will incorporate strings and brass, as well as a howling dog — none of which they’re planning to take on tour.

“The new album is a bit longer than we had planned,” Cook continues, “but all the material made sense together. We don’t want to overstay our welcome, so we feel that six or seven songs is about the extent of material people can put up with in one sitting.” Of course, six or seven songs, an EP for most bands, for Russian Circles is an epic, album-length amount of time. Knowingly, Cook adds, “We’ll take our chances that our ADD-afflicted culture can put up with our self-indulgence.”

Upon seeing me ride my bike one day, jumping curbs and such, a friend of mine commented that while I was out learning to ride BMX, he must’ve been in his room learning to play his guitar. The same might be said of Cook. “Once upon a time,” he says, “my friend was packing me on the handlebars of his BMX. He went off a really big curb and my foot slid in between the spokes of the wheel. I was barefoot. I broke eight of the spokes with my foot and flew headfirst into the asphalt. Remarkably, I didn’t break anything, but that was the last time I’ve been on a BMX.”

So, no more bikes for Russian Circles, but they are planning to thin out the instrumental post-rock competition. “On a side note,” Cook concludes, “I am starting a ballot initiative that would require people to apply for a license before they can buy a delay pedal. That should help stymie the popularity of this brand of music.”

Russian Circles in DIG BMX

They Deleted My Wikipedia Page

Wikipedia…And the one for Follow for Now. They (the deleting moderator-editor-wikiwhatevers) claim it was “just” self-promotion and that my book and I were not “notable.” Obviously, I beg to differ, but I can’t fix it myself.

If anyone else, especially the Wiki-inclined, wants to help me get back onto Wikipedia, the URLs are below. Thank you.

http://en.wikipedia.org/wiki/Roy_Christopher

http://en.wikipedia.org/wiki/Follow_for_Now_(book)