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Wednesday, January 29, 2003
Liz Belmont sends this link to Rich Black's article on Uncle in the current Long Island Press.
http://www.longislandpress.com/current/music_feature_01.asp
Much obliged, Liz!
Thanks, Rich, and hail to thee!
Jim Santo is now on board to get the website up and running, so soon we'll have that to while away our hours. I envision entire full-length downloadable feature films, soft-screen blowjobtronic apps, and time travel hyperlinks. Watch this space for updates.
Personal aside to Jaime Klein: For some reason, most of the emails I send to you bounce back "undeliverable." Some get through though. What's with that?
Remind me to tell you all about the Outsider Music Show at Fez last Friday, hosted by impresario / gadfly Irwin Chusid. Mostly a wonderful evening, especially seeing the greatest performer on Earth, B.J. Snowden, and the justly legendary, unjustly neglected R. Stevie Moore. Mr. Moore and I are keen to collaborate, which would be a glorious thing for me, as his 1970s self-releases Phonography, Stance, and Delicate Tension changed my life. As gifted as any songwriter / performer who ever plugged in an amp, RSM said "eh" to an industry that ignored his magnificent songs; he rigged up a home studio, played everything himself and just put 'em out anyway. He did this LONG before it was commonplace or convenient to do, and the results were (and continue to be... he's never let up) equal to or greater than the work of every pop wunderkind who's received the acclaim and do-re-mi RSM's been denied.
His participation in the "Outsider" fest is apropos, since he's been locked "outside" for longer than I've even written songs or thought of doing so. It also demonstrates the elasticity of the concept of "outsider music." Chr*stgau has had the audacity to publicly characterize Irwin Chusid as a "tedious ideologue with a hustle," but he is more like the Alan Lomax, John Hammond and Broadway Danny Rose of the uncool, the unsung and yeah, sometimes the unhinged. Chusid celebrates artists too "out there" to fit standard definitions of "artistry," irking standard definers whose entire theology is thereby blasphemed. R. Stevie Moore, though, has produced shelves full of work even THEY would consider valid if only he'd had the courtesy to either succeed in the biz or fail in a way they could regard as noble.
He just keeps rolling along, though, outside the radar, outside the gravy train, outside the ordinary and outside categories. Out here, he's the Beatles.
http://www.longislandpress.com/current/music_feature_01.asp
Much obliged, Liz!
Thanks, Rich, and hail to thee!
Jim Santo is now on board to get the website up and running, so soon we'll have that to while away our hours. I envision entire full-length downloadable feature films, soft-screen blowjobtronic apps, and time travel hyperlinks. Watch this space for updates.
Personal aside to Jaime Klein: For some reason, most of the emails I send to you bounce back "undeliverable." Some get through though. What's with that?
Remind me to tell you all about the Outsider Music Show at Fez last Friday, hosted by impresario / gadfly Irwin Chusid. Mostly a wonderful evening, especially seeing the greatest performer on Earth, B.J. Snowden, and the justly legendary, unjustly neglected R. Stevie Moore. Mr. Moore and I are keen to collaborate, which would be a glorious thing for me, as his 1970s self-releases Phonography, Stance, and Delicate Tension changed my life. As gifted as any songwriter / performer who ever plugged in an amp, RSM said "eh" to an industry that ignored his magnificent songs; he rigged up a home studio, played everything himself and just put 'em out anyway. He did this LONG before it was commonplace or convenient to do, and the results were (and continue to be... he's never let up) equal to or greater than the work of every pop wunderkind who's received the acclaim and do-re-mi RSM's been denied.
His participation in the "Outsider" fest is apropos, since he's been locked "outside" for longer than I've even written songs or thought of doing so. It also demonstrates the elasticity of the concept of "outsider music." Chr*stgau has had the audacity to publicly characterize Irwin Chusid as a "tedious ideologue with a hustle," but he is more like the Alan Lomax, John Hammond and Broadway Danny Rose of the uncool, the unsung and yeah, sometimes the unhinged. Chusid celebrates artists too "out there" to fit standard definitions of "artistry," irking standard definers whose entire theology is thereby blasphemed. R. Stevie Moore, though, has produced shelves full of work even THEY would consider valid if only he'd had the courtesy to either succeed in the biz or fail in a way they could regard as noble.
He just keeps rolling along, though, outside the radar, outside the gravy train, outside the ordinary and outside categories. Out here, he's the Beatles.
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