Above (left): Collage by Aya & Jason (Overture), created live in the radio station during the broadcast of Arthur Radio Voyage #9. Double-click to view fullscreen.
This week we arrived at the Newtown Radio studio to find it transformed beyond recognition… emerald green vines blanketed the walls, and a lush carpet of multi-colored mosses and swamp grass covered the floor. We pushed our way through a thicket of elephant ears into a sun-dappled glade, where our guests Jason & Aya (otherwise known as Overture, the minds behind the cover of the recent Six Organs of Admittance/Azul split LP), were seated on bed of soft purple and magenta leaves. We listened under the shade of a poplar tree as they read tales of fantastical landscapes where landslides, floods and rainfall had created a boggy wonderland full of dancing musical animals, rhubarb babies, and a wise old vegetable lady…
After the storytelling, we ventured into the glade to ask our enchanting guests more about these worlds they had woven before our eyes. The first reading, it turns out, was inspired by a spine-tinglingly beautiful animation that the the super-artist duo made for Múm‘s song “Rhubarbidoo” from their 2007 album Go Go Smear The Poison Ivy.
The second reading was inspired by the following three animations, which the artists made for experimental piano maestro Hauschka‘s 2008 album Ferndorf:
The third reading, a story in which “An old man confronts his fears, traveling across a personal landscape to realize and accept his path,” was based on an animation Overture made for the song “Bless” by Icelandic musician Kira Kira, which is featured on her 2008 album Our Map to the Monster Olympics. This video was just released to the world officially yesterday — Enjoy!!!
From a piece on the forthcoming “Treme” tv series (from David Simon, creator of The Wire) in this coming Sunday’s New York Times Sunday Magazine…
“THERE’S A THING about being capable of a great moment,” Simon told me on a break from shooting. “This city is capable of moments unlike any moments you’ll ever experience in life. To see an Indian come down the street in full regalia on St. Joseph’s Night on an unlit street of messed-up shotgun houses and one burned-out car, and he’s the most beautiful thing on the planet, and everything around him is falling down. It’s a glorious instant of human endeavor. It’s duende from the Spanish, chills on the back of your neck, and then the next minute it’s gone. Lots of American places used to make things. Detroit used to make cars. Baltimore used to make steel and ships. New Orleans still makes something. It makes moments. I don’t mean that to sound flippant, and I don’t mean it to sound more or less than what it is, but they’re artists with a moment, they can take a moment and make it into something so transcendent that you’re not quite sure that it happened or that you were a part of it…”
“Filmed inside Cambridge University’s anechoic chamber (designed to create total silence) and featuring former Guantanamo Bay detainee, Ruhal Ahmed, this short by Adam and Olly is a reflection on Ahmed’s experiences whilst in detention (particularly how he was interrogated using high-volume music) and about the use of human sound on the body.”
The Shaking Ray Levis remain one of America’s unheralded SOUTHERN free-improv treasures. They have been active in performance, teaching, and organizing in the region since 1986. The 1993 Shaking Ray Levis Festival in Chattanooga, Tennessee was one of the most important festivals of the period, featuring sets by Anthony Braxton, “the last working Southern black minstrel” Abner Jay, Caroliner Rainbow and others…far and away beyond the present day Bonnaroos.
Here is a 20-minute mini-documentary about the festival by filmmaker Michael Johnson.
BONUS CLIP: An excerpt from one of Derek Bailey’s final USA performances, at Tonic in NYC with the Shaking Ray Levis in 2003…
Downsizing http://washingtontimes.com/news/2010/mar/09/detroit-looks-at-downsizing-to-save-city/
Detroit wants to save itself by shrinking
“Detroit, the very symbol of American industrial might for most of the 20th century, is drawing up a radical renewal plan that calls for turning large swaths of this now-blighted, rusted-out city back into the fields and farmland that existed before the automobile. Operating on a scale never before attempted in this country, the city would demolish houses in some of the most desolate sections of Detroit and move residents into stronger neighborhoods. Roughly a quarter of the 139-square-mile city could go from urban to semi-rural. Detroit officials first raised the idea in the 1990s, when blight was spreading. Now, with the recession plunging the city deeper into ruin, a decision on how to move forward is approaching. Mayor Dave Bing, who took office last year, is expected to unveil some details in his state-of-the-city address this month. Though the will to downsize has arrived, the way to do it is unclear and fraught with problems. Politically explosive decisions must be made about which neighborhoods should be bulldozed and which improved. Some won’t go willingly. “I like the way things are right here,” said David Hardin, 60, whose bungalow is one of three occupied homes on a block with dozens of empty lots near what is commonly known as City Airport. He has lived there since 1976, when every home on the street was occupied, and said he enjoys the peace and quiet. On some blocks, only one or two occupied houses remain, surrounded by trash-strewn lots and vacant, burned-out homes. Scavengers have stripped anything of value from empty buildings. According to one recent estimate, Detroit has 33,500 empty houses and 91,000 vacant residential lots. The approximately 40 square miles of vacant property in Detroit is larger than the entire city of Youngstown. Faced with a $300 million budget deficit and a dwindling tax base, Bing argues that the city can’t continue to pay for police patrols, fire protection and other services for all areas. The current plan would demolish about 10,000 houses and empty buildings in three years. The city might offer larger tracts for sale or lease, or turn over smaller pieces to community organizations to use.”
More Modest View http://www.detroitmi.gov/DepartmentsandAgencies/MayorsOffice/ContacttheMayor/tabid/1238/Default.aspx http://online.wsj.com/article/SB10001424052748703503804575083781073108438.html
Mayor Plans to Use Census Tally Showing Decline as Benchmark in Overhaul
“This city is shrinking, and Mayor Dave Bing can live with that. The nation’s once-a-decade census, which gets under way next month, usually prompts expensive tally-building efforts by cities eager to maximize federal funding tied to the count. But this time, Mr. Bing is pushing the city to embrace the bad news. The mayor is looking to the diminished tally, down from 951,270 in 2000, as a benchmark in his bid to reshape Detroit’s government, finances and perhaps even its geography to reflect its smaller population and tax base. That means, in part, cutting city services and laying off workers. His approach to the census is a product of not only budget constraints but also a new, more modest view of the city’s prospects. “We’ve got to pick those core communities, those core neighborhoods” to sustain and preserve, he said at a recent public appearance, adding: “That’s something that’s possible here in Detroit.” Unlike his predecessors, Mr. Bing, a Democrat first elected last year to finish the term of disgraced former Mayor Kwame Kilpatrick, hasn’t touted big development plans or talked of a “renaissance.” Instead, he is trying to prepare residents for a new reality: that Detroit—like the auto industry that propelled it for a century—will have to get smaller before it gets bigger again. With no high-profile census push, the city risks an undercount that would mean forgoing millions of dollars in federal funding. Nationwide, each person counted translates into about $1,000 to $1,200 in federal funding to municipal governments. But some community leaders see the hands-off approach as a sign the city’s leadership under Mr. Bing, a 66-year-old businessman and former basketball star, is prepared to face up to the depopulation problem and rethink Detroit’s future. “This is going to be hard to wrestle to the ground,” said Rip Rapson, president of the Kresge Foundation of Troy, Mich., a national philanthropy that has invested heavily in development projects aimed at salvaging the nicest remnants of the city. “He deserves enormous credit for leading the community into this.”
Economies of Scale http://hantzfarmsdetroit.com/press.html http://money.cnn.com/2009/12/29/news/economy/farming_detroit.fortune/index.htm
Can farming save Detroit?
“John Hantz is a wealthy money manager who lives in an older enclave of Detroit where all the houses are grand and not all of them are falling apart. With a net worth of more than $100 million, he’s one of the richest men left in Detroit. Not long ago, while commuting, he stumbled on a big idea that might help save his dying city. In some stretches he sees more pheasants than people. “We need scarcity,” he thought to himself as he drove past block after unoccupied block. “We can’t create opportunities, but we can create scarcity.” Yes, a farm. A large-scale, for-profit agricultural enterprise, wholly contained within the city limits of Detroit. Hantz is willing to commit $30 million to the project. He’ll start with a pilot program this spring involving up to 50 acres on Detroit’s east side. “Out of the gates,” he says, “it’ll be the largest urban farm in the world.” If you let it revert to nature, you abandon all hope of productive use. If you turn it over to parks and recreation, you add costs to an overburdened city government that can’t afford to teach its children, police its streets, or maintain the infrastructure it already has. Houses in Detroit are selling for an average of $15,000. That sounds like a buying opportunity, and in fact Detroit looks pretty good right now to a young artist or entrepreneur who can’t afford anyplace else — but not yet to an investor. The smart money sees no point in buying as long as fresh inventory keeps flooding the market. As Hantz began thinking about ways to absorb some of that inventory, what he imagined, he says, was a glacier: one broad, continuous swath of farmland, growing acre by acre, year by year, until it had overrun enough territory to raise the scarcity alarm and impel other investors to act. Rick Foster, an executive at the Kellogg Foundation whom Hantz sought out for advice, nudged him gently in a different direction. “I think you should make pods,” Foster said, meaning not one farm but many. Hantz was taken right away with the concept of creating several pods — or lakes, as he came to think of them — each as large as 300 acres, and each surrounded by its own valuable frontage. “What if we had seven lakes in the city?” he wondered. “Would people develop around those lakes?”
photo by James Griffioen
To increase the odds that they will, Hantz plans on making his farms both visually stunning and technologically cutting edge. Mike Score, who recently left Michigan State’s agricultural extension program to join Hantz Farms as president, has written a business plan that calls for the deployment of the latest in farm technology, from compost-heated greenhouses to hydroponic (water only, no soil) and aeroponic (air only) growing systems designed to maximize productivity in cramped settings. Some of Hantz’s biggest skeptics, ironically, are the same people who’ve been working to transform Detroit into a laboratory for urban farming for years, albeit on a much smaller scale. The nonprofit Detroit Agriculture Network counts nearly 900 urban gardens within the city limits. That’s a twofold increase in two years, and it places Detroit at the forefront of a vibrant national movement to grow more food locally and lessen the nation’s dependence on Big Ag. None of those gardens is very big (average size: 0.25 acre), and they don’t generate a lot of cash (most don’t even try), but otherwise they’re great: as antidotes to urban blight; sources of healthy, affordable food in a city that, incredibly, has no chain supermarkets; providers of meaningful, if generally unpaid, work to the chronically unemployed; and beacons around which disintegrating communities can begin to regather themselves. That actually sounds a lot like what Hantz envisions his farms to be in the for-profit arena. But he doesn’t have many fans among the community gardeners, who feel that Hantz is using his money and connections to capitalize on their pioneering work. “I’m concerned about the corporate takeover of the urban agriculture movement in Detroit,” says Malik Yakini, a charter school principal and founder of the Detroit Black Community Food Security Network, which operates D-Town Farm on Detroit’s west side. “At this point the key players with him seem to be all white men in a city that’s at least 82% black.””
Pathways Of Desire http://www.jamesgriffioen.net/trailmode.png http://www.sweet-juniper.com/2009/06/streets-with-no-name.html
Streets With No Name / by James Griffioen / June 23, 2009
“This past winter, the snow stayed so long we almost forgot what the ground looked like. In Detroit, there is little money for plowing; after a big storm, the streets and sidewalks disappear for days. Soon new pathways emerge, side streets get dug out one car-width wide. Bootprints through parks veer far from the buried sidewalks. Without the city to tell him where to walk, the pilgrim who first sets out in fresh snowfall creates his own path. Others will likely follow, or forge their own paths as needed. In the heart of summer, too, it becomes clear that the grid laid down by the ancient planners is now irrelevant. In vacant lots between neighborhoods and the attractions of thoroughfares, bus stops and liquor stores, well-worn paths stretch across hundreds of vacant lots. Gaston Bachelard called these les chemins du désir: pathways of desire. Paths that weren’t designed but eroded casually away by individuals finding the shortest distance between where they are coming from and where they intend to go. Desire lines are considered by many landscape architects to be proof of a flaw in the design of a physical space, or more gently, a sign that concrete cannot always impose its will on the human mind. But what about a physical space that no longer resembles its intended design, a city where tens of thousands of homes have been abandoned, burned, and buried in their own basements? While actual roads and sidewalks crumble with each season of freezing and thawing, Detroiters have taken it upon themselves to create new paths, in their own small way working to create a city that better suits their needs.”
Born in Peru, avant-turntablist Maria Chavez currently resides in Brooklyn, New York. With a collection of new and broken needles that she calls “pencils of sound” and a selection of records, she creates electro-acoustic sound pieces. Chavez made her New York City debut in a duet with Thurston Moore, collaborated with Otomo Yoshihide as part of the 2007 Wien Modern Festival, and recently shared a stage with Pauline Oliveros and Lydia Lunch during Vienna’s Phonofemme Festival 2009.
Saturday, March 13th @ Roulette, 8:30PM
20 Greene Street (between Canal and Grand Streets)
New York, NY 10013 (See map).
Reservations/Tickets: 212.219.8242
$15: General Admission
$10: Students, Under 30s & Seniors