Zoilus http://www.zoilus.com/ Carl Wilson on music & culture en-us 2007-01-05T17:01:24-05:00 <![CDATA[Help Wanted Ad from Rhys Chatham<br> & Heavy Thinking in Improv]]> http://www.zoilus.com/documents//2007/000951.php A postscript to my earlier Chatham entry: Ron Gaskin seeks additional guitarist(s) for this gig: "The base touring group will be Rhys on guitar and conducting with David Daniell (San Augustin, Rhys Chatham, Jonathan Kane, etc.) also on guitar. Indigenous players will be a part of this performance, so each city will have 4 different guitarists, a bassist and a drummer, with the possibility of other instrumental additions. An intro/instructional form from Rhys will prepare players. The composition is 40-45 minutes long and not overly complicated. The composer requests approx two hours committment before doors for rehearsal/sound check/set up.Robert Longo slide projections will be shown during the concert. Every show will be recorded for a live album on Table of the Elements."

Contact Ron via roughidea AT rogers DOT com.

Also: The improvimentalist contingent of Zoilusians might be interested in some of the material in the new issue of Critical Studies in Improvisation, notably a roundtable discussion among the directors of the Association of Improvising Musicians, Toronto. There's also an interview with Steve Coleman, and a piece based on a too-weird-not-to-be-true anecdote about a failed 1997 collaboration between Ornette Coleman and Jacques Derrida. Plus some truly unreadable academic writing.

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zoilus 2007-01-05T17:01:24-05:00
Here Come (Back) the Cyborgs http://www.zoilus.com/documents//2007/000950.php YouTube provides a window on the first Simply Saucer reunion show for those of us who missed it. Feels a bit bar-band for the first half (Breau's vocals much less demented than in his yout') but then it takes off:

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zoilus 2007-01-05T15:58:31-05:00
Green-Eyed ... http://www.zoilus.com/documents//2007/000949.php newsomnear2.jpg
Joanna Newsom, photo by Paul Jones via Milkymoon.

Not, as sniggering detractors might claim, over the sit-down (though I'd have enjoyed that, too), but due to the space, depth and accomplishment: Erik Davis writes the only article about Joanna Newsom's Ys you ever need to read, in the new issue of Arthur. It's lengthy (12,000 words) but justifies it with thoroughness and helpful demystification for those out there who still find the album difficult to get into. One for the next Da Capo anthology, even if I differ with him on some of the record's strengths (my favourite song, Only Skin, is his least-preferred), and wish Davis offered a bit more contrast to some of Newsom's northern-California-hippy-kid locutions, rather than reinforcing them. Not that she's so bad on that score (she's madly articulate at the same time), and as writers leaning to organics, psychedelics and paganism go, Davis has always been among the sharpest.

(Thanks to Sara at Fig Records for pointing it out.)

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zoilus 2007-01-05T00:51:41-05:00
<![CDATA[An Angel Moves Too Fast to Drool:<br> The Reveries & Rhys Chatham]]> http://www.zoilus.com/documents//2007/000948.php reveriescover.jpg

Congrats to The Reveries (Eric Chenaux, Doug Tielli and Ryan Driver, recently joined by percussionist Jean Martin) for getting their slobbery-pop-standards music to the cover of the first issue of Eye of 2007. I've been touting their music of, as Driver says in Vish Khanna's accompanying story, "vulnerability, mystification and confusion," for several years and it's nice to see other press take notice. The Reveries launch their Live in Bologna disc tonight (Fri) at the Tranzac, but their planned four-disc box covering Prince, Willie Nelson, Sade and Nick Cave promises to be one of the furthest-out highlights of 2007.

Also in the far-out file, I'm excited to announce that January will be capped this year with a concert in Toronto by eccentric minimalist Rhys Chatham, whose "guitar trio" will be on a 12-city tour in which they'll perform with local guests yet to be announced (a la Jandek, Damo Suzuki or Ariel Pink last year). Chatham, who is kind of the experimental-guitar-composition Ramones to Glenn Branca's Sonic Youth, gets fewer props than many of his '70s NYC peers, but I'm confident it'll be a night to remember: Chatham doesn't get to North America that often lately, as he's been living in France for years. Price and venue remain up in the air - it's currently booked for the Arraymusic studio, as the Music Gallery is unavailable on Wednesday nights, but the mighty Ron Gaskin is still searching for a more spacious place. You can sample cuts on Chatham's MySpace (I'm still amused when musicians of his generation show up there - I'll get used to it, I guess) or listen to part of his Greatest Hit, 1989's An Angel Moves Too Fast to See, in RealAudio courtesy of WFMU. Or watch this video from Arte in France (it's in French but Chatham speaks in English about, among other things, listening to his refrigerator and sticking his finger in electric sockets). If you're talking about records to watch for in 2007, Chatham's upcoming 400-guitar-strong Crimson Grail on Table of the Elements is another one for the roster.

(Speaking of which, this week's Now has a fine set of contenders, including 79-year-old country legend Charlie Louvin.)

In case you doubt my description of Rhys as "eccentric," above, here's the kind of thing he's been uploading to YouTube lately. If anyone has a copy of his late-eighties interview with Option magazine they can send me, one of the most marvelously nutters conversations I've ever read (I think it mostly had to do with tantric masturbation and deafness), please get in touch!

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zoilus 2007-01-04T23:51:01-05:00
Extra: 2006, An Assistant-Baker's Dozen http://www.zoilus.com/documents/in_depth/2007/000947.php donutsparkles.jpg

In which Zoilus listings-&-otherwise help-out guy Chris Randle discusses 12 songs that didn't come up in my own year-end roundup of albums and singles... and one that did. - CW


Pet Shop Boys, I'm With Stupid
George is dumb and Tony's his poodle, as the jokes go (often gayed up for extra hyuks). Somehow Neil Tennant can wring emotion out of even these tired jibes, turning their special relationship into the stuff of all his best songs - tortured queer love. His affecting portrait of a self-absorbed man attempting to justify his feelings for a lover everyone deems dumb as a post is that rare thing, a political song both sympathetic and damning. Tennant twists the knife even as he pities: Is his man really stupid, the singer quails as those sirens blare, or just an unthinking user? "Have you made a fool of me? Are you not Mr Right?" Oh, Tony - why couldn't you tell?

Rozasia, Track 3
Whirling flute trills, raw noise, mad little yelps. I first encountered Rozasia at one of those vital shows being organized in the city's dark, abandoned industrial spaces and it couldn't have been more perfect. I'm happy that their soundtrack for insanity will help ring in the new year for a hundred or so lucky people.

Meat Loaf, It's All Coming Back to Me Now
The Eye writer who reviewed this album called Meat Loaf "an eight-year-old's fantasy of what 'rocking out' might sound like when he or she grew up to be a teenager." I can't put it any better than that. Apparently the latest album was mostly a disappointment, but I love this single, reclaimed from Celine Dion (unlike most of her songs, it sounds more uncomfortable than merely terrible) and inflated with all the hot air that Loaf's barrel chest can muster. Bombast seemed to come back in vogue this year, with even mallcore bands embracing operatic openings and gothic excess. There's a kind of naive charm in the likes of My Chemical Romance attempting ludicrous concept albums they can't actually articulate the meaning of (better that than the Decemberists' basing songs on their English-lit classes), but the Wagnerian heavyweight still blew 'em out of the water with this one.

The Bicycles, Two Girls from Montreal
Summer was idle days in parks and snug clubs, listening to songs like this. They admire The Monkees and the drummer girl's voice is deeper than the singer boy's. How could they not be lovable?

Tim Hecker, Blood Rainbow
Music to fall asleep to, music for moving on, as a friend said when I was listening to this record recently. The glitchy soundscapes soothe while hinting at disquieting, thrilling uncertainty.

The Hidden Cameras, Lollipop
Awoo didn't get as much attention as it deserved, most reviewers glossing over a notable shift in the Cameras' subject matter from all dicks, all the time to a subtler, more wide-ranging lyrical approach. It's no classic, but it feels like a maturation. Of course, having said that, I would go and pick the ditty about blowjobs. But I love the sly poetry here, Joel Gibb yelping about "mouths of salivating froth" over bouncy sing-song staccatos that sound like a kids' song. They've broadened a bit, chosen to code and play coy more, but the Cameras are still queer and explicitly sexual in what they address, and when more indie groups seem willing to show that side of themselves than even at the year's beginning they deserve some credit. That Kids on TV album can't arrive soon enough!

Belle & Sebastian, The Blues Are Still Blue
Quite possibly the best song from their best album yet. The twee has been dialed down and augmented with a playful glam swagger. Kind of like a feyer New Pornographers.

The Blow, Parentheses
Paper Television seems to have been underappreciated, judging from all those year-end lists. True, it lacked an unflinchingly honest and heart-flaying vocal performance on the level of Come On Petunia or Hey Boy, but it's still solid, with this song being a particular standout, as the captivating Khaela Maricich gently tells her lover that it's cool to be sensitive and a punctuation mark: "You're not a baby if you feel the world/All of the babies can feel the world, that's why they cry."

Yelle , Short Dick Cuizi (Tepr Remix)
Some kind of French dance thing? Apparently remixed by a Gallic rapper? I could barely find this track online after hearing it at a dance party, with my limited capacity for the language, let alone uncover much information about it, but I love this, even if mocking a guy over his small penis seems like a failing of that famous French wit.

James Kochalka Superstar, Superfuckers Theme
I wanted to include a song taken directly from a video game for this, in recognition of the medium's increasing convergence with mainstream art and music and my own interests, but nothing was weird and compelling as 2004-05's Katamari soundtracks. My nerd substitute is the theme song for indie-comics-weirdo James Kochalka's demented, hilarious and sneakingly affectionate parody Superfuckers, performed by his side project band (which has gotten a distinctly higher profile in the past year - they did the theme for a failed sitcom!): "Always in our clubhouse getting high/ Everybody wishes we would die."

Plastic Little, Rap O'Clock
Ghostface frankly kicked their asses on his guest spot, but Plastic Little aren't really concerned with refining technical skill or the best production; they're practically outside the game, some goofy guys from Philly simply having a good time. The rap equivalent of a Toronto bad band? I'm just happy there's a crew with "being funny" as its main goal that isn't soul-destroying nerdcore. Plus I'll always like any group who came up with this rhyme: "I like indie girls who say they like electro/ Clash, crash, that's cool, I like Fischerspooner too/ But nah, bitch, I don't bitch/ I like some Ice Cube."

DAT Politics, Turn My Brain Off
I took some speed for money recently (long story) and the first thing I did under the influence was play video games. It still paled a little in comparison to these guys. Sounds like Sega Genesis on crack. God willing, the inevitable 90s revivalists will take their influence from 16-bit and not Pearl Jam's Ten.

Final Fantasy, He Poos Clouds
Not the best song from my favourite album of the year; my head would go with the anguished vaudeville lament This Lamb Sells Condos or the quavering percussion that forms Song Song Song. But He Poos Clouds is my favourite, having become more personal than that tale of condo developer/wizard as an impotent, hubristic despoiler. It was, I think, during a late-night discussion of the song-in-progress that I actually met Carl for the first time, almost exactly a year ago. I heard this song at the first local show I ever went to. I was a nerdy kid, pretty solitary for much of my childhood and into the beginning of adolescence, and a young Owen Pallett taking skirt-wearing elf Link from the Legend of Zelda games to be his alternative gay icon makes perfect sense to me, just as the Final Fantasy series' fey, operatic melodrama lends itself beautifully to the name for all his work. 2006 was also the year Grant Morrison completed his brilliant, affecting forgotten-superhero epic Seven Soldiers (itself often concerned, like He Poos Clouds, with malevolent father figures and confronting mortality); the year in which the most universally-acclaimed film appears to be a fairy tale (the old kind, bloody and frightening) created by the director of Blade 2 and Hellboy. Gutter culture or folk culture, both ostracized in their own way, imbued with a modern sophistication and vital relevance to the present. So why not a meditation on loss, on the atheist dealing with death, that quotes Zelda and Narnia and Dungeons & Dragons in the musical language of a band geek? Inside so many nerds beats the bleeding heart of an emotional basket case.

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In Depth zoilus 2007-01-03T19:04:31-05:00
<![CDATA[Double-0 What? Baltar Budd, Beyonce<br> and Other New-Year Babies]]> http://www.zoilus.com/documents//2007/000946.php baltar6hera.jpg

Hi, and welcome to 2007, a year that I currently can't help regarding as a work of science fiction. This perception may be disproportionately affected by having spent too much of the turn of the calendar watching almost the entire series run of Battlestar Galactica, which feels in my current dvd-marathon haze like the best serialized novel since Dickens - a claim that might more plausibly be made about The Wire, but the latter is too indebted to documentary film and too polyphonic really to stand compare with any pre-21st-century model. But Battlestar Galactica, while it partakes sparingly of some of the same techniques, is at heart a seafaring epic, albeit one with political, moral and mythological layering that I don't think any naval saga ever essayed, though I'm far from fluent in that genre. I mean, are there any seafaring novels that take place after the annihilation of the home country in a genocidal attack? It changes up the game. (Not to underestimate novels of the sea - you could bring up Moby Dick, but Galactica, despite its play with scrolls and prophesy, is much more worldly in its concerns, not remotely transcendental; Billy Budd might be closer, with its mix of sex, tyranny, betrayal and could-be saviours.)

I won't go on, except to make a musical observation: While the score for the show is nice, with its Asian-overtoned ancient-future styling, I can't help wishing for music that would be more forward-looking in the same posthuman-humanist way that all the human-cylon sexuality of the series is. (Speaking of which, is there any precedent for a long-format narrative in which one of the primary romances takes place mostly by having each of the lovers hallucinate the other? There's a bit of Laura in it, as well as a dash of Antony & Cleopatra... mainly the Gaius-Caprica relationship is everything that the Buffy-Spike relationship never was, though the short-lived "chip in the brain" theory probably was meant to acknowledge a debt.) So it'd be nice to hear the voice of artificial intelligence dueting with the poundy drums and Celtic choruses in the music; it would run the risk of being too obtrusive, dooming the series to an even smaller audience, and dating in syndication (though that'll happen anyway), but I'd love it if there were a bit more, say, dancehall riddim in the Galactica soundscape - or to be patently obvious, just a dash of Timbaland.

Well, that was the tangent that ate the entry. Coming up, some belated songs-of-'06 ruminations from Zoilus aide-de-camp Chris Randle, some belated rumination from me on Canadian lefty-nostalgia flick Monkey Warfare, which I saw over the holidays, and a return to yer regularly scheduled bloggery. Meanwhile, I recommend above all other year-end music surveys I've seen so far Jane Dark's thoughts on singles and albums and the ought-six pop zeitgeist. His mini-monograph "On Melodic Range in Popular Music" nails a theme I'd been half-thinking about myself:

"One might argue that the structures of tune in American pop float between forms where affect is largely conveyed by speech, and where it's indexed to variations of melody keyed to the Western scale. .... Shifts, of course, never happen all at once: uneven development, three-steps-forward and two-steps-back, little gestures here and there, these turn out to have been key junctures in a story that the market is trying to tell. And this is the story that Irreplaceable begins to narrate. It's a good song, not a great one; nobody thinks its within seven rungs of Crazy in Love on the ladder of the Ideal Pop Song. That song had decent range as well, but it also had other things on its mind, and returned relentlessly to the three-note theme. Irreplaceable seems to have as its main purpose the restoration of melodic range to pop."

Which is exactly why that single has been running through my head for the past six weeks, the way Ne-Yo's So Sick did early in the year, while other songs I admire as much or more don't take up residence that way. Joshua didn't go on to interrelate that to the "generationality" theme, but surely he could - melodic preference is, I think, one of the matrices of taste that get fixed early, and so it makes a difference whether your peak taste-forming years coincide with a more range-oriented period or a more speech-emulating period in pop melody. One of the few points in his two posts with which I disagree is his dismissal of the notion that anything was happening in teenmo (my new coinage for what's been misleadingly called emo for the past five years but is really a branch of teen pop) in 2006: My Chemical Romance's pompera has much more melodic range than you'd hear in its teenmo predecessors, which is part of why all the 30-something crrritics glommed onto MCR while continuing to ignore other bands listened to by MCR fans. (And yes, I know it's not a new band, but this was its breakthrough year). Not that MCR pulls any of the deft generational distancing moves Joshua was pointing out in country and rap artists, but this melodic difference does seem like a marker - in particular, MCR has no discernible tie to hardcore, a genre as extreme as hip-hop in its disavowal of melodic range, and one whose echo was distantly audible in the genetics of most chart teen punk in the double-0's until MCR decided to replace it with Bowie and Queen.

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zoilus 2007-01-02T15:39:41-05:00
Tall Ships Made of Snow, Invading the Sun http://www.zoilus.com/documents//2006/000945.php iceboats.jpg
"Ice sailing, Toronto Harbour, 1912," by John Boyd, Archives of Ontario.

In today's final episode of the Slate Music Club, I go ultrapatriotic and try to introduce U.S. readers to Destroyer, Final Fantasy, Laura Barrett and Blocks Recording Club, while also making encomiums to Matmos and Howe Gelb, and sniping a bit at Nickleback, Dylan and Girl Talk. (Main regret: How did I get through that whole series without ever mocking the Decemberists?) I know it's the start of the holiday weekend, but keep an eye peeled for Ann Powers' final installment later today, in which she tries to respond to some of the rockist hateration we've received from Slate readers in "The Fray" - relevant for anyone who's been following this thread in the Zoilus comments.

Aside from that, later I'll post use the player below to hear the 1998 Giant Sand Xmas song that Gelb played at the show here last week, Christmas Everyday (Maybe It'll Help), and I'm on my way out to make sure my family doesn't get stuck with, like, nectarines for Xmas. Have a happy one if you're celebrating it (and if you're not too), and we'll catch you back here after Boxing Day.

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zoilus 2006-12-22T12:31:35-05:00
Year-End Clearance: Top 20 Albums + Singles http://www.zoilus.com/documents/in_depth/2006/000944.php Okay, it's official: The music blog world's year-end rituals have burst the bounds of rational exchange and have become a full-on listmaking orgy. For that reason, I am going to do this with minimal fuss & exchew illustration and justification.

Zolius: Top 20 Albums of 2006

Not likely to surprise regular readers very much (with a few exceptions), what follows are the albums that captured my attention most strongly or longest in 2006. How they overlap with what is according to some cosmic metric "best" or "most important" is a matter of conjecture. Dozens of others bubble beneath the no. 20 mark (from Howe Gelb to Kode9 & the SpaceApe to Agalloch to Eric Chenaux to Bob Dylan to Charlotte Gainsbourg to Vijay Iyer & Rudresh Mahanthappa's Raw Materials) and thousands of others I never got to hear.

1. Joanna Newsom, Ys
2. Matmos, The Rose Has Teeth in the Mouth of a Beast
3. Destroyer, Destroyer's Rubies
4. Ornette Coleman, Sound Grammar
5. Neko Case, Fox Confessor Brings the Flood
6. The Clipse, Hell Hath No Fury
7. Xiu Xiu, The Air Force
8. Final Fantasy, He Poos Clouds
9. Ghostface Killah, Fishscale
10. Anthony Braxton/Wolf Eyes, Black Vomit
11. Junior Boys, So This is Goodbye
12. The Mountain Goats, Get Lonely
13. Richard Buckner, Meadow
14. Scott Walker, The Drift
15. Matthew Shipp, One
16. Lupe Fiasco, Food & Liquor
17. Beyonce, B'Day
18. Lily Allen, Alright, Still
19. Rosanne Cash, Black Cadillac
20. Tom Ze, Estudando o Pagode

Zoilus: Singles of '06

Using the old-fashioned definition of "single," plus a few allowances for MySpace, iTunes and YouTube, here in no strict order are some of the tracks that I bobbed, strolled, danced, shouted, laughed, sighed and (in the case of the first, my genuine no. 1) cried to in 2006. As for favourites songs? That's just beyond my ability to calibrate at this point. They shuffled a lot in this most changeable of changeable years.

The Mountain Goats, Woke Up New; Beyonce, Irreplaceable; Lupe Fiasco, Kick, Push; Prince, Black Sweat; Willie Nelson, Cowboys Are Secretly, Frequently (Fond of Each Other); Ne-Yo, So Sick; Clipse, Ride Around Shining; Lily Allen, Alfie; Simon Bookish, Terry Riley Disco; La Plage, Coupe de Boule (Zidane); Justin Timberlake feat. T.I., My Love; Lil Wayne, Georgia ... Bush; Cansei de Ser Sexy, Let's Make Love and Listen to Death from Above; Christina Aguilera, Ain't No Other Man; Cham, Ghetto Story; Ghostface Killah, Shakey Dog; Gary Allen, Life Ain't Always Beautiful; The Raconteurs, Steady as She Goes; Nelly Furtado feat Timbaland, Promiscuous; Neil Young, Let's Impeach the President.

Elsewhere, some online 2006 mixes you should hear: Sean's always-indispensable best-songs list; Marathonpacks' four-volume year-ender; and Paper Thin Walls' collective mixes, which notably includes T-dotopian songstress Laura Barrett's Robot Ponies (and a little interview between her & Douglas Wolk about the song). I feel like I have to count Laura's EP as a 2005 release, but if I hadn't, it would be on my list too. As it is, her 2007 release on Ta-Da! is atop my roster of anticipated records for 2007.

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In Depth zoilus 2006-12-20T19:54:15-05:00
Champagne for my Real Friends, Real Pain for My Sham Friends http://www.zoilus.com/documents//2006/000943.php My latest post in the Slate end-of-2006 Music Club is up now. Amusingly, in the selfsame moment that the group of critics is all raising a glass of bubbly and singing, "ding-dong, rockism's dead," the posters in Slate's "The Fray" reader's forum are doing their damndest to prove us wrong by attacking us for discussing pop: "This is the place where the reviewer tries to compensate for his lack of taste and failure to keep up with music culture by waxing poetic about the merits of Timberlake and Nelly, not where we talk about actual music (as in art rather than manufactured entertainment) or artists who write their own songs."

For those whose poptimistic patience is limited, though, my post today actually does talk a lot about non-pop - it gets into country, metal, the Mountain Goats, jazz, breakcore and noise. And my final post, out tomorrow or Friday, will probably talk mostly about Canada.

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zoilus 2006-12-20T13:49:58-05:00
I Ain't Got 'Snobody http://www.zoilus.com/documents//2006/000942.php Today in The Globe and Mail, I have a review of Sunday night's show by Howe Gelb (Giant Sand) and his Ottawa-based 'Sno Angel project, which features the Voices of Praise gospel choir. Here's a video of the group performing in Manchester earlier this year:

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zoilus 2006-12-19T16:59:28-05:00
Wiping the (Floor with My Adversaries at) Slate! http://www.zoilus.com/documents//2006/000941.php clipse1.jpg
The Clipse: Consensus picks of the Slate '06 crew.

As forecast, the Slate Music Club - feat. Jody Rosen, Jon Caramanica, Ann Powers and me - begins its annual general meeting today. So far Jody's discussed the "slow-motion collapse of the record business" in 2006, as well as country music and "Morrissey-goes-mall-rat" bands like Panic! at the Disco, while Jon's lauded the Clipse and My Chemical Romance. We've all tacitly agreed not to discuss Gnarls Barkley (will our defences hold?). My first post is up next.

(4 pm: Ah. There it is.)

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zoilus 2006-12-18T12:40:44-05:00
Masters of their Domains http://www.zoilus.com/documents//2006/000940.php There's a nice piece in The Globe today about my friends Emily Schultz and Brian Joseph Davis's apartment gallery (where I gave my "Make Your Own Bad Band" talk-shop) and other examples of in-home art spaces created in Toronto, private spaces turned into hybrid public ones. I like the way that Brian and Emily talk about their year-long experiment - that it's not as much for its own sake as to help provide a model that other people might take up.

As a toast to them, I offer the following celebration of domesticity, a 1960s Scopitone of an answer song to Roger Miller's hit King of the Road, by Jody Miller (no relation so far as I know). I've been in a video-posting mood lately (is it the holidays?) and this is, as my friend Matt said when he pointed it out, the best video ever.

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zoilus 2006-12-16T18:52:34-05:00
T-Dot Thrillz: Make Out With Tomboyfriend Tonight http://www.zoilus.com/documents//2006/000939.php A quick but fervent reminder that tonight is the one-and-only performance of The December Show: Big in Afghanistan, the sequel to 2004's fondly recollected The November Show choreographed by Margaux Williamson with music by Ryan Kamstra, now reincarnated by Margaux Williamson with Ryan Kamstra's band Tomboyfriend, whose Wavelength debut last month was much discussed on this here blog. It's described as "a fun, poetic, ghoulish, plotless little rock show that flies like the Bob Hope Show in reverse."

A rough video preview of one of the numbers, in unplugged form, below. (Patience - it takes 30 seconds or so to get going.) It's at Buddies in Bad Times at 9 pm, $8; Ulysses Castellanos, whom you might know from his heavy-metal "ghost of Yorkville" street performance during Nuit Blanche, opens.

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zoilus 2006-12-14T15:21:19-05:00
We Apologize for Any Inconvenience http://www.zoilus.com/documents//2006/000938.php I realized just today that some of you might have been checking Slate all week for that end-of-year roundtable I mentioned. It's actually been bumped to next week - sorry for the late notice.

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zoilus 2006-12-14T02:46:03-05:00
'Dark Things Will Happen to Them Anyway' http://www.zoilus.com/documents//2006/000937.php Stephen Merritt on an Atlanta morning show last month, promoting the Lemony Snicket tie-in album, and not exactly happy to be there:

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zoilus 2006-12-12T17:10:17-05:00