Disqus - Latest Comments for Frank Weaver

Re: A Reason to Go On Living: That Chord

Frank Weaver — Wed, 16 May 2007 16:38:17 -0000

Type your comment here.

Wait. THE CHORD for a Rickenbacker 12 string...and it isn't the sequence of "Turn, Turn, Turn" or anything of the Byrds? Not possible. Iconic? Please, Harrison isn't associated with a 12 string in general, nor could anyone hear that chord and think 12 string, rather than just sonic.
The reference you put up isn't plausible and has been contested, the reference to the Byrds is THE 60s introduction of that instrument as a distinct sonic and visual icon, that got so many teenagers off to buy one and believe for at least a few months they would master it. Otherwise, sure, the rest is clear, there is nothing stopping me from salivating all over the Beatles legacy of chords and songs, but... the wiki page is a bit off-putting.

Re: Columnated Ruins Domino

Frank Weaver — Thu, 07 Jun 2007 03:46:21 -0000

Once the lads started getting interested on the recording side of things, each Beatles albums began to have a definable sonic template, as well as certain influences. For example, I will always remember hearing the songs off of Revolver with the early head-numbing, cleanly split-stereo of Rubber Soul (some of Revolver too) in one ear a guitar, in other a voice.
In this respect, what Sgt. Pepper's brought to the table was the feeling this music had evolved to another kind of studio and another kind of headspace, an atmosphere. Somewhere other than the recording studio, yet precisely only possible in the recording studio. That sense of discovery, which the best music-culture artifact brings with it, I still get when hearing some of those tracks today, especially in sequence. But now it's part of my own recollection as well.
The outstanding sonic-fingerprint is crucial to the albums that stand out in your list - "Never mind the..." was argued about when it was released, specifically due to the fact it was such a production quality, not "punk" at all. But even though, sonically it precisely encapsulated the moment being expressed through the stance, the atitude. It's also hard to listen to the Pistols and Lydon's voice though, let's face it, unless you were "there".
As for "Smile" - yes, yes, but ... except for two songs, you can't even manage to sing any along with him! And that remains a VERY important psychological character for an iconic work. Brian Wilson is so divided and that album reflects it, it isn't inviting but more an empty smile like that on Wilson's face and the expression of his condition at that time.
He was an iconoclasts who wants mainstream affirmation but yet did not then. His "Smile" is never going to be a rewarding listen as "pop" culture, but as one you have to "listen" to, to think about. That's just another kind of category. Wilson recalls that, left to their own devices, certain performers are happy to convert the subtle complexities of their compositions to overly-complicated.

Re: Navigating the Retrospective

Frank Weaver — Sun, 10 Jun 2007 06:06:28 -0000

You wrote "ItÃ¢â‚¬â„¢s too much of a good thing. I began to think that CornellÃ¢â‚¬â„¢s work would be far, far better served if a few of his pieces were included in a group show or thematic overview. I think IÃ¢â‚¬â„¢d enjoy the work more coming across it as one might find treasure in a junk shop."

Yes, of course, that is the usual role of any museum collection on display.
Within, there should be discovery, like a selection of Cornell's work, within a larger context, that in turn allows to contrast, compare, get some semblance of an era or zeitgeist in which his work - apparently - stands strong within. But that's not a retrospective form, that's the normal museum at work.

I think Cornell is a tough case, because of an overwhelming claustrophobic sense to his "boxes", and his life in turn. That would be better off accented by the curator than just treated like a row of commodities. There are always ways to engage with the historical "modern" work of art.

But also, there are rules for institutional loans of Cornell works, and so on.

DVDs are not the solution either, but should remain an assist. Although Museums already do this, the arts shouldn't be reduced to visuals-first kind of mentality. I was lucky enough to have seen Cornell's film in cinema, not in a gallery, and it was important, the atmosphere he speaks of in his films, belongs to the cinema, the darkened rooms and projective fantasy. Not just an object in a room project.

Also, there is nothing odder than having seen something on a DVD then going to see it in the museum and finding the materiality and scale completely at odds with what was presented on DVD.

It should remain part of the museological and research side, and not a replacement.

The conclusion - curators have to decide what it is they want to convey with such exhibitions, and the better exhibitions will convince, the more unimaginative...well, you will feel repetition rather than discovery.

Re: Columnated Ruins Domino

Frank Weaver — Sun, 10 Jun 2007 06:13:18 -0000

Neddie Jingo - getting Mono / Soul ....hm... Thanks - but I don't dare. All my recollections are based on that sensation, the first time I heard such a divisively clean split, and turning the stereo to the left and right to listen to some instrument at work, or just their harmony lines. You know, it's the Beatles I grew up with. I still haven't gone for the de-Spectorized LetitBe, probably should try that first!

Re: Sopranos Watch: This Thing of Ours

Frank Weaver — Wed, 13 Jun 2007 04:46:27 -0000

I am one of those viewers who felt it was an amazing episode, and the ending is carefully constructed to offer a summation of where the characters are at this point, and where they have been, and what tendency lies ahead. As for the onion rings scene, I feel it was very clear, this was their "church", the non-descript yet familiar, everyday, local establishment, and the onion ring the equivalent of the communion wafer, as the camera lingers on each one of them, in sequence one after the other, taking and recieving it as one whole, placed within the open mouth on tongue, no biting etc.. it wasn't carniverous - there are scenes showing them chowing down, that looks different - it was sensitive, a ritual being confirmed.

My one real complaint if any is the ending I have read about with the Tivo reference. I say "read about" because in Europe as I am, I downloaded the show, as did thousands of other viewers. I didn't see anything but black screen before the credits. Secondly, if there was some sense of a TiVo reference, I feel that is a pity because in a decade that will be some archaic visual, dating the series, like seeing an old computer screen in a movie that is supposed to represent hi-tech and so on. Big mistake to suddenly date the series -or its initial audience.

Also, for god's sake, Meadow, just park the car already...that was one scene too many..

Re: Bada Bye

Frank Weaver — Wed, 13 Jun 2007 05:31:04 -0000

I always appreciate your blog Dennis, so great to read you here now. As I'm already commenting on Soprano finales posts in this blog, I just wanted to add that in keeping with the techno-reality-ending factor, your youtube post of the ending was terminated as well. Fitting.

Re: Deconstructing the Hipster

Frank Weaver — Fri, 15 Jun 2007 07:50:22 -0000

Well, as one who was living in the East Village at the time of its 80s incarnation, I recall very well the articles about the galleries being part of the gentrification process starting up, and the overall loss of innocence, like a paradise lost scenario occured at the same moment constructing paradise did. But it has always been a very fleeting instance that the cultural movements and scenes are an actual scene, and not transitioning from something to something else. Your Beat analogy for example, the issue wasn't Burroughs money, his cool factor came by a kind of analogy to his own class refusal, as a kind of self-search in the form of Junky and so on. But not to get writing here on all that. Kerouac was doing Steve Allen shows as well, and trying his best to explain this new American voice...
I always think there is a moment you are part of something and a moment you aren't. It's like looking at photos documenting super cool vintage punk bands, only from a few months earlier than their classic shots, and there, the same very cool punk bands had metal shags, and certainly other values than that "punk". And so on. I think what you refer to is the artworld, and then all other scenes. And NYC.
What would be of value, if one does need to ask why social relations and the arts gets so packaged and tagged, is a more precise syntax. A "hipster" vs a "scenester", and so on. Warhol knew what to do with the differences, as few did since, except maybe in the music world.