Posts tagged: egocentric

Ignite Portland 5 (BLBH #18)

El unificationo de ill-peppered Bacon Landscape attending IP5 on February 19, deriving testament amid situation and freedom, it’s a bonus upon us.  Running on fumes, the fetid race snapside etiologies, gratitude torpedoes the wide red distance.  The highest of fives for the highest ip5-1of the Five to the fabulous and Orwellian (not the pejorative) Legion of Tech (“yes, it’s a techie event”) from Splice Finders, the team at Broken Hour d’Ouevres and all our handfuls of followers on Twitter, ExtraTicket, FreshFriend, HungerMeat, OverShoulder, Underarm Laptop and BeerLines.

Whatever did it matter to these long queues tonight? Portland is the strongest gestureau,  “we” love it here,  we “love” here and we’re used to sitting patiently waiting for the file transfer of our affection to proto call.  Dangling our participles out the bus window isn’t our scene but much was learned about fonts, the Universe and everything, and the sustainable memories collide with general ideas up there, down there, it’s sweet and beloved all the same, both ends of the Sterno burning ever brighter, they have to have your name, the ship is waiting to take you away.  Try it some time.  The next Ignite Portland (6) is already scheduled for July 16, 2009, again at the jewel on the jerrrymand, the illustrious Bagdad Theater.  It’s really comfortable after all and no work is involved, everything will be fine.

God Damn You, NaPodPoMo! (BLBH #17)

napodpomo1

annihilator of dreams

What went wrong?  Breakdowns take many forms.  Some are brief and intense.  Others linger like a scratchy throat.  We can say that we can change.  Change is impossible.  Breakdowns and breakups are the blues and browns in the fog-bound mountaintops and silicon pastures of our Broken-hearted Hours, and all that we see or seem is but a podcast within a blog.

We who are about to upload salute you – Shawno and Jen, Dr. Normal and Cami Kaos,  David Grizzly Smith, Rowland Cutter, Jennifer Navarrete, Spanking Bea Arthur, and all the others too numerous to sample, for sticking together through that sullen and desperate NaPodPo Month of November, 2008.  We hope to play with you more in the new year.

“Music” by Broken Hours, with help from Alex H. Williams’ “Hey, Mr. Bankerman” and Phobia via Renegade Recordings.  Specious retrofaction from Shawno and Chloe Randolph, and from the Castrobot, whatever you are tying to accomplish.  Paranoid Russian-American woman, on the streets of downtown Seattle, speculates.

Three Friends Mondays: Caffeinated Art #25

What can one say about 2008?  Well, a lot – more than you or I want to hear.  But one thing worth talking about is the Three Friends seriousness of caffeinarted Mondays.  We began it then, amid the innocent glances and tentative explorations of a late Western Oregon Summer.  We persevered through no-shows, equipment problems, bumps on the head and even power outages.  But we finally met our match with Snowpocalypse Now and what was to have been a lovely performance by Rick J, Fern Capella and  Natasha Terranova on December 22 has been tentatively rescheduled for January 26, 2009.

Dennis McBride and Mike GDennis McBride and Mike G

But the 364th day of this leap year belonged to the obsidian wit of Dennis McBride, who wrangled Portland A-Listers Elizabeth Archers and Mike Ferrell to sound out a full hour of spoken word and understated fury, and neither meteorological nor phrenological phenomena would overcome the attendant gravitational pull.

No wonder that the joint was packed, chairs were  moved and aye the espresso machine was too rode hard,  nae confidence squandered in expectoration realise a rich offering of verse withal, follerin’ which many glasses were raised afterward in the bar next door (it should be mentioned).

And what can one possibly say about the third and most succinct Three Friends Mondays: Caffeinated Art Open Mic to date, except that, 1) it’s starting to get a bit crowded somewhere (else) and, 2) it’s still necessitating a two-part podcast!?  Tally another dry, powdery chalk mark each for usual circumspects Rick J and Melissa Sillitoe, maybe half of one for Luke Lefler – whose “jokes” we hope never to hear again (fat chance) – and of course for the expended closer Mike “the Appo”  G, anyway.

Show and Tell Gallery Productions still insists on inducing the Open Mic event on a weekly basis every Monday following the invited performance.   So, stay ready all you poets, dreamers and warble purveyors – every frothy Monday under the ceiling of Three Friends Coffee House is performance con invitation from 7:00 to 8:00, followed by the Open Mic sign-up from 8:00 to 8:15.  At 8:15 the Open Mic (limited to sixteen slots – every one a cloth-and-spring-snake-loaded peanut tin) will re-shatter your nerves.

If you wipe the sweat from your hairline and trim those eyebrows you will find the podcast on the Three Friends Mondays: Caffeinated Series page at brokenhours.net until it, too, wears out its audience.  If you haven’t tried, then be advised that it’s way easy to access the Three Friends Mondays: Caffeinated Series podcast via iTunes using this link:

http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=295435461

Three Friends Mondays: Caffeinated Art #24

Jeffrey Gardner

Jeffrey Gardner, aka Popeye

It began with an abbreviated and marvelous invited program on December 15, 2008, featuring the already singular Jeffrey Gardner, aka “Popeye,” sharing a variety of writings from his notebooks.  A lengthy, awkward pause ensued, resulting in a two-part podcast, while the small and approving crowd metamorphosed into the second, momentum-building Three Friends Mondays: Caffeinated Art Open Mic, or whatever hostess and Show And Tell Gallery producer Melissa Sillitoe eventually decides to call it.  Playfully, Melissa and Eric McEuen start up the rodeo with a dramatic collaboration, followed by Ray and Lela, Rick J, Mike G, Luke L. and Nathan R., giving us words and more words.

Based, it seems, on pressure from some unknown quarter, but in all likelihood for the love, Show and Tell Gallery Productions has decided to make the Open Mic a weekly event every Monday following the invited performance.  So, get ready poets, warblers, dream purveyors, all you perchancers: every caffeinated Monday at the big, sighing Three Friends Coffee House,  there’ll be the invited performance from 7:00 to 8:00 as usual, followed by the Open Mic sign-up from 8:00 to 8:15.  At 8:15 the Open mic (limited to sixteen slots – every one a potential diamond mine) will promptly begin.

(This podcast is currently unavailable.)

Ignite Portland 4 (BLBH #11)

Amber Hockley

Amber Case - Photo by Aaron Hockley (Creative Commons Attribution-Noncommercial-No Derivative Works 2.0 Generic)

The accidental meeting of The Princess Bride and an industrial shredder at the warm and inclusive Bagdad Theater on November 13, 2008.  Broken cyborgian moments from the excursion to the alternate planet Portland, scouted and chaperoned by the handsome and modern Legion of Tech for lovers everywhere.

This is the canary in the cold cuts, the broken pix elation of the Baron’s de-tuned avatar, a soundflake like no other.  Throw your gang signals elsewhere, jockoes, how does one spells “re-tweet,” and remind me again what the name of that piece of skin between the nose and upper lip is called.  My digital watch is still in the box, in fact I don’t know where it is, and it’s hard enough trying to dance, much less to text, perchance to power dream.  If batteries were horses then beggars would podcast.

(This podcast is not currently available)

The Princely Wit Semi-Dry Oodsday of the Baron’s Broken Disgrace (BLBH #4)

Free 8% by volume beer for the kids who can say, “expand the playground, going to all eastbound destinations.”  Hundreds of seismic alien sounds in the heart of this nations’ great cities in the making.   The Baron, facing none of the problems of the magitude of those which his forefathers faced, renders no decisions, thank God, although he is anxious, journeys he to the Temple of Power, all afraid so glistening dear hearts bristle.  Pestilence and putrefaction shadow his very scent, suspicious eyes all around.  The Princely Wit Semi-Dry Oodsday originating in a deja long-since vued, coming online in the present infinite obtained, Baron Landscape’s Broken Disgrace as death-defying, mutilated armies scatter the earth, crawling out of dirty holes, jealous, ready to knock down all obstacles.

You Are Listening (BLBH #2)

Designed for love, built for sex.  Which means “trouble” and which means “amusement?”  It’s a paradox, or an irony, or whatever it’s called, “it’s a tragedy.” Music by Broken Hours, based on an idea by “One Hundred and One Hours We Contributed Good Money for This; What Were You Thinking? WERE You Thinking?”  Additional music by Ol’ Fuddyduddy.  Guest battle tractor vocal by Crystal Leighty.

A Prickly Dream Forsaken (BLBH #1)

A precursor to “The Broken Will of the People 2008 – Off The Hook” (BLBH #3), In which Baron Landscape tries to remember what time it is. A meditation on Anita Bryant is offered. The audience bleats supportively. Many opportunities are squandered.

(This podcast is not currently available)

Ohm NaPodPoMo

I asked for it, and you get it!  Here’s my insane schedule for National Podcast Post Month:

Saturday, November 1  Baron Landscape's Broken Hours #1
  A Prickly Dream Forsaken.  In which Baron Landscape tries to
  remember what time it is.  A meditation on Anita Bryant is offered.
  The audience bleats supportively.  Many opportunities are squandered.
Sunday, November 2  Baron Landscape's Broken Hours #2
  You Are Listening - Which means "trouble," and "amusement."
Monday, November 3  Baron Landscape's Broken Hours #3
  The Broken Will of the People 2008 - "Off The Hook"
  Many old tapes are reviewed in search of the lost aircheck
  that reminds Baron Landscab and the Broken Festerlings how
  little has changed.  Multiple roles are considered, and
  some are rejected.
Tuesday, November 4  Three Friends: Caffeinated Art #19
  Lineup: Rick J and Garret Potter performing spoken word
  and backed by Eric McEuen improvising on acoustic guitar.
Wednesday, November 5  Baron Landscape's Broken Hours #4
Thursday, November 6  Baron Landscape's Broken Hours #5
Friday, November 7  Show and Tell Gallery Podcast #6
  with James Honzik and Heather Browne
Saturday, November 8  Baron Landscape's Broken Hours #6
Sunday, November 9  Baron Landscape's Broken Hours #7
Monday, November 10  Baron Landscape's Broken Hours #8
Tuesday, November 11  Three Friends: Caffeinated Art #20
  David Matthews joins poet of radical amazement
  Judith Fay Pulman and Heather Browne, conjurer of ocean bones
  and moon poofs, congealed jazz lights and pillowed
  wicker tumbleweeds, for a reading of poems.
Wednesday, November 12  Baron Landscape's Broken Hours #9
  Morgan Grace & Sam Henry at Slim’s (BLBH #9)
Thursday, November 13  Baron Landscape's Broken Hours #10
Friday, November 14  Baron Landscape's Broken Hours #11
Saturday, November 15  Baron Landscape's Broken Hours #12
Sunday, November 16  Baron Landscape's Broken Hours #13
Monday, November 17  Baron Landscape's Broken Hours #14
Tuesday, November 18  Three Friends: Caffeinated Arts #21
  Ross and the Hellpets - Garage indie-pop with leftist political
  themes. Based out of Portland, Oregon, the band includes former
  members of Neutral Milk Hotel, The Gerbils, Orange Pop Chicken
  and the Lean-tos, and hail from diverse locales such as
  Baton Rouge, San Diego and Syracuse, NY.
Wednesday, November 19  Baron Landscape's Broken Hours #15
Thursday, November 20  Baron Landscape's Broken Hours #16
Friday, November 21  Baron Landscape's Broken Hours #17
Saturday, November 22  Baron Landscape's Broken Hours #18
Sunday, November 23  Baron Landscape's Broken Hours #19
Monday, November 24  Baron Landscape's Broken Hours #20
Tuesday, November 25  Three Friends: Caffeinated Arts #22
  Arsalan Darbandi, Chris Haberman, Heidi Shu, and Becca Yenser
Wednesday, November 26  Baron Landscape's Broken Hours #21
Thursday, November 27  Baron Landscape's Broken Hours #22
Friday, November 28  Baron Landscape's Broken Hours #23
Saturday, November 29  Baron Landscape's Broken Hours #24
Sunday, November 30  Baron Landscape's Broken Hours #25

Baron Landscape’s Broken Hours – A History (Part One)

It began with Beethoven, Tchiakovsky, The Beatles and The Monkees, and using my grandfather’s multi-speed reel-to-reel to alter my voice.  I considered this a better use of the technology than my grandparents‘ recording their seemingly generic hick spiritual duets.  Likewise did my parents‘ folk and easy listening records generally bore me, their only child.  A notable exception was the loco 2:18 a-side by The Texans called “Green Grass of Texas” (Infinity [INX-001]).

With very good humor, Mom and Dad exposed me to the masters of popular song and unconditionally indulged my music appreciation.  Being undisciplined, however, I neglected to practice and thus could not sustain an interest in piano or drum lessons.   But I was always interested in those paper sleeves and their contents, vinyl discs that made music when you spun them and put an amplified needle in their grooves.

I came of age musically listening to top-40 radio from the late 60s through the early 70s.  Thinking that I was being a dutiful citizen of Radioland, I transcribed playlists and enclosed them in fan letters to the DJs.  Ultimately I would be found toiling in my room for hours recording my own air-checks to cassette tape with a condenser microphone and a turntable.

I really liked songs that had melodic, chiming codas with long fade-outs: “Atlantis,” “Isn’t It A Pity,” “Ride, Captain, Ride,” “Rocket Man,” and Keith Barbour‘s “Echo Park,” to name a few.  Drawn to complex arrangements with classical references and sparkling production, I preferred Simon and Garfunkel and Mason Williams, to The Stones and Creedence.  In these pre-experienced days of mine, the psychedelic, blues-based jams of Iron Butterfly or the Dead did little for me.  They still don’t.  Give me five spins of Badfinger‘s “Day After Day” over a side of Led Zeppelin any time.  Not to say that I never found my way to the land of over-driven metal — I just didn’t stay very long.  No sense of humor there, and little humility.

By the mid-70s I was firmly in a British progressive mode.  I will always have a great fondness for albums of that era by Yes, Genesis, King Crimson and The Moody Blues, as well as solo projects by various members of those bands.  I believe that 1974 in particular was a pinnacle year for albums, including Visions of the Emerald Beyond by Mahavishnu Orchestra, Rock Bottom by Robert Wyatt, and Supertramp‘s Crime of the Century, in addition to King Crimson’s Red and The Lamb Lies Down On Broadway from Genesis.

I was profoundly influenced by my high-school friend, the late Steve Abrams.  He was an “audiophile” with a component stereo.  He actually worked in radio, played guitar, collected records and hung out at Everybody’s Music in Bellevue, WA, subscribed to Rolling Stone and smoked marijuana.  Soon I wanted to do and be all of that, and he took me to the FM stations where he’d gotten his foot in the prosaic soundproofed door, turned me on to Dr. Demento, The Firesign Theater, Pink Floyd and The Who, and had a hand on my first joint, which was at a Supertramp concert for which Heart was the opening act.  Bless you, Steve.

Already halfway through college in Bellingham, Washington, I joined the radio station KUGS-FM and rolled out my manifesto on the air, consisting mostly of my own burgeoning collection augmented by whatever the record elves would send us and a few Revox tape effects.  Because the airtime was available and the livin’ was easy I split up my sensibilities into two on-air personalities: Lou Crimson, who would indulge the darker more progressive tastes with a loose and fractured playlist on his program Broken Hours, and Baron Landscape, whose mission was to rifle off the tighter and brighter new sounds on New Precision (named after the Bill Nelson’s Red Noise song).

A circle of friends at KUGS became big fans of the first Killing Joke and Heaven 17 albums and Iggy Pop‘s New Values.  And, as Joy Division and Gang of Four were bringing us the bad news about ourselves, Lou Crimson was laid to rest as the megalomaniac Baron Landscape covetously co-opted the “Broken Hours” name along with its notions existential.  The previous three years had seen more dramatic change in music than anything yet to come (in my opinion) and in far-flung Bellingham from 1980-1982 we were bleating at 100 watts trying to capture one mind at a time with our edgy, new records.

Every great party gradually becomes just another affair, however I stuck around long enough for one particular colleague, Lyle Pearson, to profoundly affect me with his use of multiple studio sources in the creation of imaginary on-air soundtracks — on one occasion it was E. Power Biggs playing a Bach cantata over which he layered some Miriam Makeba vocals and a recording of a Buckminster Fuller lecture, resulting in something otherworldly — something which completely changed my attitude towards radio.

It had become something personal again.

Upon leaving Bellingham I relocated in Portland, Oregon, curled up with my Associates and Marc and the Mambas albums, and began writing and recording my own songs.

I still had the non-commercial radio bug, and in 1983 I re-seeded my non-commercial sensibilities in the Sunday at midnight slot on KBOO-FM in Portland.  Baron Landscape’s Broken Hours enjoyed a run of ten years during which house, industrial, ambient, grunge, shoegaze, alt.country and post-rock all faded in and out of the sludgy fin de analogue mix.

At first it was only me, with my records and usually some production tapes that I’d made at home using a couple of two-track recorders, doing pretty much the same type of program I had done in the last year at KUGS.  It wasn’t too long before I began to spread continuing themes across multiple programs, such as Baron Landscape’s Dry Summer and The Broken Will of The People.  Along the way I drew upon the listening audience for collaborators, which is how I met and hosted Scott (0f The Antarctic) Cameron, Kirill Galetski, Billy Miles, Dan Grasvik, Larisa Zimmerman, Laurie Ballantine and many others.  The Miracle Workers and Rozz Rezabek-Wright from the Portland music scene were both guests .

Although the history and progression of Baron Landscape’s Broken Hours can be taken as a whole, I tend to view it in two distinct eras.  The first came to an end September of 1988, after nearly five years during which many of the basic premises and elements of the program were established.

I cannot fail to mention the contributions of my long-time partner Trish, as well as the sole applicant for the position of Air Assistant, Evan “The Subject (010x)” Morris.  Ultmately the three of us fleshed out some of my most ambitious ideas for radio: The Broken Cruise of The Landscape Liner, full of intrigue and adventure on an impromptu ocean liner voyage; Johnny Lansky and his Broken Youths, in which the troubled title teen fulfills his community service obligation as volunteer programmer (oh, the fan mail Johnny received!); and The Broken Continuum of Space, wherein KBOO’s signal is mis-directed into a time warp.  After a second, poorly-planned Broken Cruise ran on the rocks of apathy, I penned and produced an 80-page pledge drive script inspired by the Iran-Contra affair: The Landscape Liner Hearings.

Towards the end of this period I was drinking pretty heavily.  There were brownout and blackout shows and long drunken call-in segments.  There were bleary-eyed mornings-after when I’d listen to air checks of me singing to easy listening versions of Elton John songs – I would soon destroy those tapes.  In September of 1988 I took what would be my longest break in the ten years of BLBH, a one-month leave of drying-out.

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