Also the first caller refered to ‘Moon Crickets’ and ‘Swoogie’. These are both racial slurs against black people.

as for the press report, it DID NOT END after the guy shouted about vaginas. They messed up the sound. Turn the sound volume really loud and you will notice the press conference is still going on… but you can barely hear it.

Amen to that!

His translations of his French answers are quite skillfully done, and it doesn’t seem like much thought is lost in the midst of denouncing ‘duality.’ It seemed like a good image that he used, but maybe I’ve just had too much Philosophy of Language/Mind/Symbolic Logic. Despite all the thought they put into music that takes advantage of stereo-split accidents, it’s simultaneously refreshing to see that they got excited on a really straightforward level over some of the initially noticed (at least to them) characteristics of the “O” name, along with his appreciation of the utilization of clichés.

Also, ¿which photobooth was that, again?

In a world where large numbers of people use things like Digg, del.icio.us, and Stumbleupon (I can’t claim that I don’t from time to time), randomly generated link predictions seem to be quite the amusement in tooling around the web when productivity simply won’t do.

http://www.youtube.com/watch?v=l0Owk52cpGw

[youtube=http://www.youtube.com/watch?v=l0Owk52cpGw&hl=en]

“’Trane was the Father…Pharoah was the son…I am the Holy Ghost.” -Albert Ayler

(just so we have some context to connect Albert to your reference, among other bits of history that I will spare everyone from.)

There’s a difference between Coltrane’s Ascension and some 21+ year old intoxicated to the point where it’s no longer him playing the music, so much as foreign substances playing half-blues solos and convincing himself that he’s adding to the other musicians.

Rhys Chatham’s Guitar Trio is a jam, but people are paying more attention to each other (or at least Rhys), maximizing the effect of the minimalism. It’s not a wanker piece, to dumb the gist of the above far, far down. I could mention a number of other works, but this is getting long.

On a random note, I’ve been celebrating “Sun Ra Sundays” for a while now (more and more as I have finally obtained personal copies at audio qualities I can tolerate).

Finally, I find it quite interesting that a certain chip on the shoulder has come with James’ reading, so that he omits various words that would contradict.

Let’s consider where I mentioned the word “Jam,” since the context of a word is of significant importance.

Jazz: McKain has blatantly ignored my mention of this in relation to St. Louis and Chicago. Obviously I was just saying this idly, and have not delved into the fertile scenes of either, if we are to believe James.

Dave X clearly noted the noise and experimental scene, and was asking about some tendencies. I noted “jamming” in relation noise musicians, not free-jazzers. I mentioned “jam” in relation to “kegger,” i.e. a situation with a mostly (key word) indifferent, blitzed, likely hostile audience making it particularly difficult from our plucky adventurers to feel out each other’s space.

Coltrane knew what the hell the traditions were, the majority of the individuals I have mentioned do not. I was disparaging people who have no (key word that I suppose can be randomly deleted) idea what sounds their “instrument” (quotes to allow for the cable-connected assemblage of boxes to become an instrument can make before engaging someone else.

I referred to “jamming” in relation to people who didn’t want to be on the same page as me, despite all the openings I gave for such matters at significant stretches in the midst of an overall composed work.

Of course, if you want to single out that sentence and not regard any of the contextual statements before that burst of bitterness in relation to musicians that I played with (the question was about MY music, after I spent significant time talking about other people’s music), you’re going to be offended. Perhaps that fits perfectly in line with many people encountering experimental music with a set of stringent guidelines, though, which has been one of many reasons why I will not take offense to your misreading of a burst of rash grammar in the midst of a longer, unedited (sans one word insertion to make a sentence make sense to maybe three other people) interview response: People will find something to be offended if that’s what they prefer (as opposed to meeting the speaker halfway in the underlying implication woven by the overall body of assertions), whether the communication is with an instrument or conversation.

thanks for keeping the airwaves subverted.
here’s to your next 30…

g.