Even Smaller Crumbs

All I seem to have to do is to save up a few tiny items for one of these collections of trivia and the very next day I find a bunch more. Almost immediately after pushing the “publish” button on the last batch, I was walking around the ‘hood and found a new Nike painting. But that’ll have to wait…

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Meanwhile, it’s that time again, and for the first year in recent memory the Potsdamer Platz public transportation is open for the Berlinale, Berlin’s once-mighty film festival. Two things I never do is go to the Berlinale and read the pitiful excuse for an English-language magazine here, the Ex-Berliner, but I do get a kick out of their sadsack music editor, David Strauss, and he’s gotten the no doubt unpaid job of blogging the Berlinale for them. It could be fun to read, and so if you’re interested, I suggest you click here.

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Last year, out of nowhere, I got a two-Euro coin that looked like this:

The building is the Holstentor in Lübeck, pretty much the symbol of that city, and seeing it on the back of these special coins was, in fact, the only way to see it during much of last year, because the real thing was covered by scaffolding. Just why Germany would choose to change its coinage design only a few years into introducing it I had no idea, but last night I was in some seedy dive or another, and got this in change:

It took me a bit of surfing around to find out that this is Schwerin Castle, representing the state of Mecklenburg-Vorpommern, and to find an explanation, rendered in the stiffest possible English translation. Basically, the various Federal states of Germany take over the annual presidency of the upper house of parliament, the Bundesrat, and get their own coins as a perk. Germany’s the only country doing this, which is further proof that a lot of the Euro system was designed by them. Why else would we have a 20-cent, instead of a 25-cent, coin, not to mention the tiny, confusing 2-centers?

Of course, what they’re really really good for, these special €2 coins, is making cashiers — especially outside of Germany — hand you your change back and tell you it’s not good.

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Has anyone else noticed the proliferation of “French” cafes around town? There must be a dozen of them which’ve sprung up in the past six months, particularly around trendy areas like Weinbergsweg, Kollwitzplatz, and so on. What’s really weird, though, is that there’s nothing particularly French about anything but the wine they offer (and that’s usually not so hot), and the ones that pretend to have a little deli section don’t seem to have a clue what French food is. One I’ve got my eye on, though, is just down the street from me on Torstr. In the former Döner Kebap joint that had the weird poem about children being the future of the world on its wall, someone’s opening something called Bandol, and they’ve been installing vintage meat lockers and a blackboard wall for writing the menu, plus diner-y chrome stools — and two huge TV monitors above the door. Or that’s what it looks like from the street. We’ll see (if “we” can afford it, that is) what it turns out to be. Meanwhile, though, to date it looks like “French” is the new “Mexican.”

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Places We Won’t Be Dining: Spotted on Marienburger Str.: Pizza Pimp.

THE REVILLOS’ “MOTORBIKE BEAT”

(Note: I wrote the following on my old blog AGONY SHORTHAND in April 2003. Had mp3 blogs existed then, I would have uploaded the track for you. Now that they do, I am “repurposingâ€Â this original content):

I was 12 years old in 1980, and had had some limited exposure to what was then known as “new wave”. Punk was still something I wasn’t ready to fully tackle, given that the bands & audience actually spit on each other — or so TIME magazine said — but I was definitely extremely curious. Anything that might sound “punk” or “new wave” sounded it might be really fucking cool, so armed with a rudimentary knowledge of what it actually might sound like (having heard Devo and the B-52s, I was certainly an expert), I would tune in to various FM dinosaur rock stations and see if I could find any. These stations, which at the time normally played a mix of horrible AOR like Journey, Styx and the Eagles, were being forced by program directors to play some of this new shit, because everyone said it was “about to break”. So you’d often hear some crap power pop trotted out as punk/new wave or my favorite, “modern music”. And believe me — and many others who’ve testified to this fact — kids in my suburb, at least, used “punk” and “new wave” interchangeably and almost always as a negative, and the main epithet hurled at kids who dressed like funny new wavers or hardcore punks was ALWAYS “Hey, Devo!!”.

So my plan was to write down the names of the performers and songs that sounded new wave or punk, and then I’d go look for the records at the mall. The first thing I heard that was definitely new wave to my 12-year-old ears was LOU REED’s “Vicious”, from the “Transformer” LP, but when I saw the cover at the Wherehouse or the Record Factory or whatever, I decided it probably wouldn’t be any good. The wisdom of youth! It was a blast, though — this was how I discovered ROXY MUSIC (“Virginia Plain” — totally new wave), among others. But the big eye-opener was finding college radio. In the area south of San Francisco was (and still is) a great college station, KFJC. It was there that I heard new wave song after punk song after new wave song, but I’ll definitely remember the first one I ever heard and loved: “Motorbike Beat” by the REVILLOS. Trouble was, I didn’t write it down — but the song stuck with me, and stuck with me, for years.

Once I found out it was the Revillos, sometime in the 1990s, their comedic image as “wacky space people with ray guns” totally turned me off (even though I like the REZILLOS first LP, and it’s essentially the same band), so I never tracked the 45 down. An ill wind of nostalgia swept over me recently, though, and I bid for the 45 on eBay — and won. And you know what? It holds up. It’s a top-flight corker, this song — ultra-frantic, rockabilly-tinged punk with dueling male & female vocals, squealing motorcycle sounds, and just a can’t-beat-it FUN vibe that’s not contrived or too loony to listen to. It was really nice to have it back, 23 years later, since I hadn’t heard it since 1980. The flip “No Such Luck” isn’t half bad, either! What about the rest of their stuff? That goofball space thing still has me pretty wary…..

(Here we are back in 2007 again…) I since learned that most of their stuff was OK, but that this is still their crown jewel. Understand and accept that it’s probably closer to the B-52s themselves than it is to, say, The Cramps, and if you’re cool with that, then here’s the song for your listening pleasure.

Download THE REVILLOS – “Motorbike Beatâ€Â 45

Thorinshield – “S/T” CD (Fallout)

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Steve Douglas produced and Perry Botkin arranged the sole, baroque 1968 album by this obscure L.A. trio whose lush harmonies and folk-rock jangle suggest they were paying close attention to Love and Buffalo Springfield. Too sing-song earnest in spots, on “The Best of It,” Thorinshield come off as clueless dopes in the face of a bad girl’s attitude. But on a spaced-out fantasia like “Prelude to a Postlude,” the romantic observations only get more charming as they’re repeated ad infinitum, while the backwards guitar and glee-club vocals on “One Girl” sound like a cool lost Merry-Go-Round track. Overall, a sweet and summery discovery. Bassist Bobby Ray would go on to record the cult fave “Initiation of a Mystic” in 1970.

Bobbie Gentry – The Delta Sweete/ Local Gentry CD (Raven)

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In compiling Bobbie Gentry’s two hard-to-find 1968 LPs, the Australian Raven label has done a service to the American south and its slim yet significant feminist swamp rock scene. Fresh from the breakout success of the strange, symbolic “Ode to Billy Joe,” Miz Gentry crafted in “The Delta Sweete” a fascinating song cycle about the discordant strands that tied the new south to the old. Although recorded in Hollywood, the mood is pure Delta, with colloquial spoken asides, steamy arrangements and big mama Bobbie’s tough, soulful and sometimes sleepy voice central to the proceedings. But while the disc starts off in a rich and funky groove, it soon veers into a distinctly personal brand of psychedelic pop that’s among the most original and lovely sounds crafted in that fertile year. Several of the originals rely on dream and sleep imagery to conjure an otherworldly, haunting air that’s just unforgettable. As good as “The Delta Sweete” was, it flopped, and the consummate pro rushed back into the studio in London to remake herself anew. The more modest “Local Gentry” unfortunately drops the sexy blues standards for maudlin Beatles covers, a minor misstep along the path to duet success with Glen Campbell. But there are still some great moments, with the gently sociopathic “Recollection” and the dark humored “Casket Vignette” especially effective, so fans won’t mind having it slotted onto the single CD. Also included are covers of “Stormy” and an interesting take on Donovan’s “Skip Along Sam” that riffs off the “Casket Vignette” arrangement.

SHIT-FI DOT COM

I’ve only had a second or two to look over this new website called SHIT-FI.COM, but they’ve captured a slice of the microscenia zeitgeist that warms the cockles of my heart. That is – off-putting, poorly-recorded accidents of history that in themselves became influential musical masterpieces. Think MIKE REP & THE QUOTAS, the ELECTRIC EELS, the first GERMS single. I think it’s important to read both their manifesto and their shit list of worthy recordings, many of which I’d count among the greatest sounds of all time. And as you can see on their home page, they have a very classy logo. Hear hear!

February Crumbs

First off, the reaction to my last post was very interesting: I got an e-mail from David Kamp, the author of The United States of Arugula, thanking me for the “review,” and noting that, as he mentions in the book’s introduction, there were threads of the story which he just couldn’t wedge in to the narrative as he was telling it. As an example — also mentioned in the introduction — he cites the history of Chinese cooking in America, which isn’t mentioned at all.

He’s right: once you start a story, it goes where it wants to go, and if it’s going to be readable, you have to make sure there aren’t too many digressions. And, as Kamp said in his note, both Edna Lewis and John Thorne lie outside the narrative he was writing. (He also noted that he’d eaten at Gage & Tollner under Lewis’ regime, but, unlike me, his table had gotten a visit from the grand lady herself, checking up on things. I am officially jealous.) As for Raymond Sokolov, he tried to get an interview with him, but they kept missing each other. This kind of thing happens, too.

As for me, I told him that this piece, like pretty much every post on this blog, was written and edited in an hour or less, which is a discipline I maintain in case I ever wind up with a serious writing career again. And in my case, I left out one of the threads of my argument, which was why I’d mentioned Bill Bruford’s book Heat at the top of the post: that besides the Food Network honky-tonk I mentioned, the other current trend seems to be towards a kind of connoisseurship that takes the ability to make good food out of the hands of ordinary people, be it through the kind of perfectionism Mario Battali practices, or the sous-vide fad or the weirdo-cuisine trend of El Bulli and so on.

Finally, Kamp mentioned that he was familiar with my writing, because of what he called “a morbid affliction of mine”.

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Not as morbid, of course, as this news about a German Chinese restaurant. It’s pretty obvious — well, pretty obvious to those of us who grew up around organized crime, anyway — that some of the “Asia” restaurant phenomenon here is about more than the bad food they serve. One guy I knew said it was an immigration scam: since Germans can’t tell one Asian from another, successive waves of workers pass through the restaurants using the same set of ID cards.

It’s obvious that something’s going on a lot of the time: people who remember the original White Trash Fast Food club on the corner by my house probably wondered why the Chinese motif, but that was because it was the Kaiser des Chinas restaurant before that, ornately decorated, with room after empty room. You never saw anyone in there, and the one person I knew who’d eaten there asked me if I had. When I told him no, he just said “Don’t.” (And he was German).

And then, one day, it just closed. It sat there, empty, for over a year. When Wally and his crew took it over, he showed me the kitchen. “These people left so quickly that they left the spices still measured out,” he said, pointing at a row of porcelain bowls with various powders and shriveled remnants in them. That was when I remembered having found a bunch of waiter’s wallets in the trash outside my house and wondering how in the world they’d gotten there. Still, nothing like this has happened here yet.

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Following up on the last set of crumbs, it should be noted that the good voters of Berlin actually went for the renaming of a stretch of Kochstr. as Rudi-Dutschke-Str. a couple of weeks ago. Sometimes the good guys do win, even if it’s just a bit of harmless symbolism.

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And following up on another crumb, I want to report that the Yum Mee bánh mi sandwich joint up at the top of Friedrichstr. is doing a pretty good job. I think the baguettes could be crisper, and they use some kind of margarine instead of the homemade mayo the place I was introduced to them in Honolulu used, and of course they don’t use shredded green chiles because they’re scared of frightening the Germans. Turned out the guy who actually puts your sandwich together speaks pretty accent-less American English, although he’s apparently never been there, and he interrogated me pretty thoroughly last time I was in there about my opinions on his product and my experiences with bánh mi in America. I told him he should add Vietnamese paté to the menu, but he wasn’t sure Germans would go for it — and he may be right. He is, however, about to add tiger prawns to the bánh mi side of the menu, which should be good. And, as lagniappe, as they say in Louisiana, his co-worker taught me how to say pho correctly. I’d been saying something like “phaw,” but it turns out to be more like “pheu.” Now if someone here would learn how to make that right…

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I recently discovered that there are so many refugees from Brooklyn’s hipster enclave, Williamsburg, here in Friedrichshain that they’re calling it Friedrichsburg, but that is not why Deutsche Post issued this stamp this year. Really.

THE TIME FLYS : “REBELS OF BABYLON” CD

I wussed out on the record release party last Friday but rest assured this thing’s brand new – the second full-length from 21st Century punk rock’s primary exponents. These guys somehow just make it all sound so easy, no straining to be heard, no over-the-top stupidity, just a totally hotwired, glamarama middle point between “The New York Dolls In Too Much Too Soon” and THE INFANTS‘ “Giant Girl In The 5th Grade” (hey, you know, that’s a song we should post here soon...). The TIME FLYS, when they’re on, can make the tired garage punk subgenre seem ballsy & fucking alive again – witness this one’s “This Is Stoner Rock” (wha…?) and “Romance + Violence”, two songs as good as any you’re going to hear this year. Part of the reason I like them so much is they’ve still retained this can’t-barely-play sound that threatens to send each song sputtering into pure noise (“Romance + Violence” almost falls apart at least twice), and yet their chops are loud & fast & wild, just like they are live – and I’ve seen them a good half a dozen times and hope to at least double that amount in 2007. This one’s even better than “Fly”, so take it from a brother and get that wallet in your back pocket now — and see these fellass + gal if they ever come to your town.

Steve Noonan – S/T CD (Collectors Choice)

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On his 1968 Elektra debut, Noonan comes off like a chilly Apollonian antidote to Tim Buckley’s gathering Dionysian storms. Both singers have precise tenor voices they apply to ambitious folk-influenced art songs and a sort of sadly regal air, though Buckley had significantly greater control over the recording process when he was at Elektra, and generated more of a funk. On “Back Alley Dream Street Song,” you can almost hear producer Paul Rothchild (who took his name off the finished work) goading the artist into a Buckley impression, but maybe this was just the local folk-rock style for Orange County kids in the late sixties. Noonan was a high school pal and songwriting partner of Jackson Browne, then in his Nico-backing phase. The album features several solo Browne compositions alongside Noonan’s collaborations with Greg Copeland, including his minor hit for the Nitty Gritty Dirt Band, “Buy For Me The Rain.” Though a slight effort, there are some very pretty moments.

HATS OFF TO THE TWISTED ARTPUNK OF FINLAND

My three personal connections to the nation of Finland are my former Nokia cell phone; my favorite of the San Jose Sharks’ two goalies, Vesa Toskala; and the sprinkling of wacked-out avant-punk I have from Finland in my record collection. To me, a trip to Helsinki or Oulu would be to visit the furthest stretches of imagination, even more so than my visits to the faraway land of Sweden in 2002. Finland to me is cold, distant, dark, scary and full of hard Baltic liquor, but then again, I’ve never been there. It might be a total upscale, yuppified place. I do know that some of the wildest & weirdest records I’ve ever heard come from there. Take “Ma Vihaan” by RUTTO, for instance. Rutto are this total off-the-rails hardcore band from 1983, with this shrieking, instantly-falling-apart shitstorm of a sound that is just candyfloss to my ears. Their “Ei Paluuta” 7″EP is a ballistic, Black Flag-ish classic, and their “Ilmastoitu Painajainen” single from 1984 only slightly less so.

Then there’s THE SILVER. A late 70s lost pajama party stab in the dark, so retarded and fried it makes 1/2 Japanese from the same era sound totally sane & with-it. Yes, “Do You Wanna Dance” is the Beach Boys/Ramones classic. You’ll never hear it the same way again. Finally, the first Finnish band to win my heart – of course I’m talking about LIIMANARINA. Bizarre, low-fidelity, glue-sniffing “snot folk” played at top volume, with the de rigeur Finnish stream of vowels slurred & screamed over the top. This one (“Turistit”) is from their first 7″EP which I believe came out in 1989 or 1990. Amazing, destroying, a burnout classic, and all that. Ignore that Drag City record they did and find their singles – they’re great!!!

Download RUTTO – “Ma Vihaan”
Download THE SILVER – “Do Ya Wanna Dance”
Download LIIMANARINA – “Turistit”

(click on these links above, then download from the page the links take you to – or just play the songs there first)

There’s not enough gloom in the world to convey wh…

There’s not enough gloom in the world to convey what the loss of Molly Ivins means to this state and this country. She was a gadfly in the best sense of the world, a truly witty person who could lay bare political childishness and hypocrisy with a couple of well-placed words, all delivered with so much warmth and humor that only a withered fig would could refrain from laughing. I don’t know whether she loved or hated her clear predecessor H.L. Mencken, who had a similar way with words but fell on the other end of the political scales, but I hope she loved him. I know she loved Ann Richards, another witty Texas woman with a Texas-sized personality. Here’s what she wrote in her obituary for Governor Richards:

She was so generous with her responses to other people. If you told Ann Richards something really funny, she wouldn’t just smile or laugh, she would stop and break up completely. She taught us all so much — she was a great campfire cook. Her wit was a constant delight. One night on the river on a canoe trip, while we all listened to the next rapid, which sounded like certain death, Ann drawled, “It sounds like every whore in El Paso just flushed her john.”

From every story I’ve heard and from the meager two times I got to meet her, all of this could apply to Molly Ivins, too.

Salon has been kind enough to compile a few choice quotes, including:

On the recent campaign: “It’s like having Ted Baxter of the old ‘Mary Tyler Moore’ show running for president: Gore has Ted’s manner, and Bush has his brain.” (Fort Worth Star-Telegram, 10/25/2000)

On George Bush Sr.: “Calling George Bush shallow is like calling a dwarf short.” (Mother Jones, February 1990)

“The next person who refers to David Duke as a populist ought to be Bushururued, as they now say in Japan, meaning to have someone puke in your lap.” (Mother Jones, May/June 1992)

On Ronald Reagan: “You have to ignore a lot of stuff in order to laugh about Reagan – dead babies and such — but years of practice with the Texas Lege is just what a body needs to get in shape for the concept of Edwin Meese as attorney general. Beer also helps.” (Progressive, March 1986)

(Responding to the Reagan warning that “The Red Tide will lap at our very borders.”) “These sneaky bastards from Nicaragua — there’s 3 million of ’em down there, there’s only 16 million Texans, and they’ve got us cornered between the Rio Grande and the North Pole.” (Progressive, May 1986)

“I have been collecting euphemisms used on television to suggest that our only president is so dumb that if you put his brains in a bee, it would fly backwards.” (Progressive, August 1987)

On Texas: “I dearly love the state of Texas, but I consider that a harmless perversion on my part, and discuss it only with consenting adults.” (Fort Worth Star-Telegram column, March 1, 1992)

On H. Ross Perot: “It’s hard to envision a seriously short guy who sounds like a Chihuahua as a charismatic threat to democracy, but it is delicious to watch the thrills of horror running through the Establishment at the mere thought.” (Time, June 1992)

Here’s a lovely obituary in the NY Times, full of bon mots that you, dear reader, should steal and use often. The Nation, sadly but predictably, is a bit drier, but gives you a scope of the struggles that defined her life. And last, but certainly not least, The Texas Observer, the famous lighthouse in the fog of Texas politics that Ivins edited for 6 years back in the 70s, is chock full of information, with articles, some wonderful tributes, and pictures of Ivins at work and play. She asked that people not waste their money on flowers for her, but donate to the Observer instead. This is the woman who dubbed our President “Shrub” and said of his father that “real Texans do not use ‘summer’ as a verb.” That’s worth at least $10, right?