text:
first: i found the Simpsons movie extremely enjoyable. it wasn't a huge revelation seeing it on the big screen, but there was this great vibe of sort of watching the tube with a roomful of people and just having a fun time laughing at characters that have become like family. some minor characters got short-shrifted (where was Principal Skinner?) and the plot was a little absurd, but i laughed out loud at probably 85% of the jokes, which to me made it totally worthwhile.
now for several important archaeological finds:
Henry Rollins gets hit in the head during a 1983 Black Flag show in Germany and proceeds to have a hissyfit. first he sort of 'roids out and threatens to beat the culprit with the mike stand, but then he gets all whiny and self-righteous, i.e., "We came a long way to play for you guys! Why are you throwing things?!?" my favorite quote is "Don't throw shit at my face so I can sing for you!" (impact at 3:15, tirade continues for several minutes after that.)
for another school of thought on how to take a beer bottle to the head during a show, try this David Yow clip. utter insanity...
(christ, what a scary-good performance on every level.)
a thousand thank yous to Laal for hipping me to this, an appearance by Wu-Tang's the RZA on Fresh Air. at first i was all "ha-ha, the nerdy white lady is interviewing a rapper." but that lasted like ten seconds. pretty soon i was like, "Holy shit, this is an incredibly deep conversation." my favorite part is how RZA goes through his various personae and discusses the significance of each one. he also talks about learning to compose, waxes philosophical on martial arts movies, comes clean about his various excesses and talks about how his childhood was cut really, really short. seriously i don't know if this guy is always this articulate and insightful, but this seems to me like a really special encounter.
i'm obsessed with Rick Astley. there's something about that voice... how do you describe it? it's kind of like some weird head-voice shit a la Michael McDonald. deep, bellowing, almost comically tuneful. i hadn't seen the following video (for "Never Gonna Give You Up") in probably a decade, but i had never been able to shake the notion of the incongruity between voice and singer. what a babyface this guy has! and you gotta love the red hair and double-denim action. and dig the completely stiff dancing; they cut every 1.5 seconds b/c if they stayed still, you'd pick up on it. the dude has exactly one move: the lateral shimmy.
anyway, i love this fucking song too, especially the part about "You wouldn't get this from any other guy," as if Rick's trying to sell his prospective lover a used car. anyway, dig it (watch for the skeptical black bartender who can't resist the Astley onslaught):
and dig this live version, where you get an even better view of the shimmy (admittedly the live vox sound awesome even if NO ONE ELSE IN THE BAND is actually playing). check out the snarl on "...you're too shy to say it!" at 1:10:
and i even found one from 2005 where Rick rocks the first part acoustic and fools with the melody a bit. the dude's aged pretty well, no? nice disco groove from the band as well:
Sunday, July 29, 2007
Friday, July 27, 2007
Brand new BAG
reading books is hard, no? well, more accurately, it's finishing books that's the really hard part. if i'm reading a book, a lot of times, i'll only dip into it on the train, which leads to fitful and extremely protracted reading.
some books, though, just sort of read themselves. when i say "i couldn't put that book down," it tends to be not necessarily b/c it's the greatest book ever written, but simply b/c i am utterly fascinated with the topic.
the latter was very much the case with the book i just finished, "'Point from Which Creation Begins': The Black Artists' Group of St. Louis" by Benjamin Looker. don't know that i've really mentioned the Black Artists' Group (i.e., BAG) on here too much, but it's been a pretty big deal to me in recent months.
more accurately, it's Julius Hemphill, one of the key BAG members, that i've been incessantly obsessed with of late. check out this Destination Out post and this Darcy James Argue post for some helpful background on the 'Hemp. more importantly, track down "Dogon A.D." and "Coon Bid'ness." first one has never been on CD to my knowledge and the second is kinda tough to find (there's an edition under the name "Reflections" floating around), but you'll often see LP editions of them from the Arista Freedom catalog floating around at used-record shops.
anyway, so this book. it's by a pretty young dude, and i guess what i'd say to begin with is that it's a really good read. not revelatory, but i definitely learned a whole lot. one thing that really struck me about the book was that it succeeded in engaging me with the nonmusical portions of BAG, which is kind of a huge deal.
as a fan of jazz and improvised music, i've at times been frustrated by multimedia collaborations (dance, visual art, poetry, film, etc.) that seem superficial, or extramusical additions that detract rather than enhance. i'm not going to name names and i know this is an extremely biased and blanket sort of statement, but it's really just been a taste issue for me. the bottom line is that i haven't seen too many performances of this sort where i've come away thinking "WOW."
anyway, but BAG (active in St. Louis from '68-'72) was an inherently multimedia collective, and Looker makes sure to drive that home. he talks time and time again how BAG's musicians (most visibly, Oliver Lake, Julius Hemphill, Hamiet Bluiett and several others) were really the group's ambassadors to the world, but how the group was much more than a jazz guild. when i first got the book, i cherry-picked it and read only the parts on Hemphill and Co., but this time i went straight through and i was glad i got hipped to poets such as K. Curtis Lyle and Ajule Rutlin, painters such as Emilio Cruz and dancers such as Luisah Teish. it was pretty to awesome to read about how closely BAG's various divisions worked together and how each production incorporated as many of those elements as possible.
the book is pretty open about the fact that BAG was kind of a failed experiment. a lot of it discusses the group's intense struggles to find a niche in St. Louis and how its fortunes were intimately wrapped up with the civil-rights struggles of the day. ultimately it seems like one of the main things that wore BAG down was the fact that members disagreed over how political the organization should be. though there was dispute over this issue, it's pretty amazing how the group was able to integrate itself into the community--it's hard to imagine artists today not only living in impoverished areas but directing their performances toward the residents of those areas. Looker tells of countless BAG shows inside housing projects. as Hemphill said, "This ain't a conservatory. This is out of the neighborhood. That's where my impetus comes from." and crucially, that's where he and the others applied their gifts too.
another cool thing about the book is it gives you an intense feeling for how important Midwestern artists were in general for the development of avant-garde jazz. the AACM--which is the shining example for this sort of collective--and BAG enjoyed a really awesome interchange, which was facilitated by trumpeter Lester Bowie, who went to high school in St. Louis and then later moved to Chicago and joined the AACM. they really opened a lot of doors for BAG; one of the coolest tales in the book is of how the Art Ensemble of Chicago visits Paris, gets a great reception and then returns home to encourage the BAG dudes to get to Europe as quickly as possible (Bowie apparently told them: "Just get there. You'll work."). there's this sense that Chicago and St. Louis only had a finite amount to offer these genius artists and that they had to work together to find out where to go next, namely Paris and on to New York.
the epilogue is the success story of some of the BAG dudes' arrival in New York, where they made a splash on the loft scene with their individual units and with the World Saxophone Quartet. as w/ the Chicagoans, a lot of listeners recognized that BAG had a unique spin on avant-garde jazz--heavily theatrical, eclectic and R&B-influenced--that really stuck out among the post-Coltrane blowouts that were the norm in New York.
the WSQ was really the icing on the cake, in a ton of ways. the BAG dudes (Hemphill, Lake and Bluiett) really got the recognition they deserved out of that endeavor. not to diminish the importance of BAG's nonmusical wings, but it's likely that if it weren't for the WSQ, Looker's book might not have been written. maybe that's a stretch, but they were certainly the crown jewel in the group's extended history.
anyway, the book is highly recommended if you've got an interest in either these musicians in particular or just the struggle of avant-garde arts to flourish outside of major cosmopolitan cities. it's a fascinating process, and Looker does a great job of showing how BAG was both enriched and beaten down by the culture of St. Louis.
one caveat: Looker did a ton of original interviewing for the book, but in my opinion, he does not include even remotely enough quoted material from the participants. time and again, i found myself frustrated my measly quotes of sometimes just a word or a phrase. long stretches feature no quotes at all. this kind of bummed me out, but Looker really makes this into more of an essay than anything. it's *his* account of this scenario, which has both advantages and disadvantages. that said, i learned a lot and i'm thrilled that he undertook a serious history of BAG at all.
now the next step is obviously George Lewis's AACM history. cannot wait for that. anyone have any release date news?
here's a World Saxophone Quartet track to take you out... Julius Hemphill's "My First Winter" from the "Live in Zurich" disc. it's kind of inappropriate as a coda to this entry b/c the main soloist is non-BAGger David Murray, but it's a sick track nonetheless:
My First Winter
by the way, Looker's tome is available here. the book ain't "Forces in Motion" or "Dixonia" (probably my two favorite jazz volumes), but it is a very serious addition to the canon.
Posted by Hank at 10:02 AM 2 comments:
Tuesday, July 24, 2007
HuffPo: "Sunday, Nasty Sunday"
have lapsed a bit on "The Huffington Post," but i dreamt up a new post last night, on the concept of nastiness in Flannery O'Connor and Robert Altman.
also, the William T. Vollmann/"Denny Lo Quiche" mystery has been solved... what he said was "Danilo Kis"! check out the Vollmann interview here (scroll to the bottom). thx to Laal for the link and to DFSBP readers Dave and Peter for their efforts in helping me crack the code. (background here for those who have no idea what i'm talking about.)
also, the William T. Vollmann/"Denny Lo Quiche" mystery has been solved... what he said was "Danilo Kis"! check out the Vollmann interview here (scroll to the bottom). thx to Laal for the link and to DFSBP readers Dave and Peter for their efforts in helping me crack the code. (background here for those who have no idea what i'm talking about.)
Posted by Hank at 11:02 AM No comments:
Friday, July 20, 2007
Sui- generis
for the record, Allentown, PA's Pissed Jeans pretty much deserves whatever hype they're getting. they're playing at Southpaw tomorrow night, so go. if you need some incentive, read this thingie that i wrote about them in Time Out. (also there are mp3s here and here (scroll down).) i had an awesome time interviewing the singer, Matt Korvette, a truly hilarious and unassuming dude--until he starts vocalizing at least. then he's depraved and alarmingly unhinged.
anyway, i started thinking about them today b/c of this idea that i touched on in the piece: "Much as the idea of paranoia provided constant creative fuel for Pink Floyd, the emotional muse of Pissed Jeans is the state of *****being massively, almost tragically bummed*****—in the most mundane sense imaginable. Previously, Korvette's lyrics have addressed topics ranging from nasty flu symptoms ("I'm Sick") to postejaculatory depression ("Ashamed of My Cum"); on the band's new Sub Pop debut, Hope for Men, he disdains his yuppie neighbors, finds the anguish in eating too much ice cream and even rails against the weather."
so anyway, that idea (of the massive, tragic bummer) came to mind while i was reading "A Scanner Darkly." i'm totally in love with the book philosophically and emotionally, but the humor is really what's getting me. there's one scene in particular that really encapsulates that idea of the ultimate bummer.
so basically this deadbeat junkie, Charles Freck, is trying to off himself and he takes a whole bunch of pills that he thinks will do the trick. it turns out they're actually hallucinogens though and he just ends up on an awful trip. check it out: (and i quote...)
---> He had to face the fact--considering how many of the capsules he had swallowed--that he was in for some trip.
The next thing he knew, a creature from between dimensions was standing beside his bed looking down at him disapprovingly.
The creature had many eyes, all over it, ultra-modern expensive-looking clothing, and rose up eight feet high. Also, it carried an enormous scroll.
'You're going to read me my sins,' Charles Freck said.
The creature nodded and unsealed the scroll.
Freck said, lying helpless on his bed, 'and it's going to take a hundred thousand hours.'
Fixing its multiple compound eyes on him, the creature from between dimensions said, 'We are no longer in the mundane universe. Lower-plane categories of material existence such as 'space' and 'time' no longer apply to you. You have been elevated to the transcendent realm. Your sins will be read to you ceaselessly, in shifts, throughout eternity. The list will never end.'
Know your dealer, Charles Freck thought, and wished he could take back the last half-hour of his life.
Ten thousand years later they had reached the sixth grade.
The year he had discovered masturbation. <-- (and i end quote)
frickin' cosmic bummer, right? anyway, this book rules. can't wait for movie! (even though everyone says it sux.)
speaking of suicide (yeesh, there's no way to finesse that one...), this is an unbelievable article on the history of Golden Gate Bridge jumpers that Laal found in the New Yorker. basically it's a polemic on the idea that a safety barrier needs to be built on that architectural marvel asap. but the details are what got me--how bout the guy whose note said that he was going to walk to the bridge to jump and he'd turn back if even one person smiled at him (no one did). or the guy who actually survived the jump (whoa) and recalls thinking as he went over the edge, 'I instantly realized that everything in my life that I'd thought was unfixable was totally fixable—except for having just jumped.'
damn, sorry to go so heavy on a Friday, but as discussed last episode (again from P.K. Dick) "Life is only heavy and none else."
(p.s., anyone seen the "Jumpers" doc that was inspired by the aforementioned New Yorker piece? apparently includes much actual jumping footage--don't really know if that's something i'm interested in viewing. extremely curious, though...)
Posted by Hank at 4:39 PM No comments:
Monday, July 16, 2007
k.c. jones // creep show // etc.
and just like that... my longest blogging caesura yet. reasons are myriad, but for one thing, i've just returned from a few days in my hometown of K.C. i'd like to extend warm thanks to my family (mom, dad, Caro and the dogs) and friends (Jeff, Chris, Laura, Laura and Erin) for a wonderful time.
the unlikely theme song for the weekend was "Dance Tonight," the leadoff track on the new Paul McCartney album, "Memory Almost Full." i guess the best way i can describe my reaction to this song is "creeped out." the disc was in my mom's car and i wanted to sample it. as "Dance Tonight" began playing, i was kind of shocked at its blandness, not to mention the fact that the voice is basically unrecognizable as Paul McCartney.
it's like this strummy bouncy repetitive breezy bit: "Everybody gonna dance tonight / Everybody gonna dance tonight / Everybody gonna dance around tonight" and so forth. it's really funny reading along w/ the lyrics. i guess it's infectious in a really basic way, but what really gets to me is the little turnaround where he goes "You can come over to my place if you want to...." it's like he just sorta slips that in there, i.e., "hey, everybody's having a great time; we're all dancing; i'm Sir Paul; isn't this fun and whimsical? ... and by the way, do you want to shag?" ewwww... i'm sure this is not meant as a sexual thing, but by god does it register that way.
combine that line with the intensely aggravating promo pics that Starbucks has plastered everywhere (has anyone noticed that in the shot above, McCartney is essentially sporting his version of Zoolander's Blue Steel face?) and you've got one annoying product. hear the song in question for yourself at this link. maybe it's saying something that i'm claiming to despise this track, but i keep returning to it, but i honestly think the simplicity combined with the innuendo makes for an unintentionally hilarious piece of music. i don't know what it is; it just makes me giggle.
three other things:
--> Laal and i have moved on to Philip K. Dick's "A Scanner Darkly" and i'm totally into it. love the post-Beatnik jive talk especially, e.g., "Life... is only heavy and none else; there is only the one trip, all heavy. Heavy that leads to the grave. For everyone and everything." dig it!
--> i'm the last one to say so, but the Boredoms 77Boadrum thing was pretty excellent. i won't even bother w/ linkage b/c everyone and their mother has weighed in on this thing. a true event indeed.
--> a nice appearance by William T. Vollmann, in conjunction w/ the Whitney's "Summer of Love" exhibit. L and i had just finished "Poor People," and then lo and behold the dude rolls into town as part of a mini panel discussion on photography and violence, also featuring Richard Drew, who took the famous "Falling Man" pics of the guy plummeting from the WTC on 9/11.
a very thought-provoking and successful event, methinks. the main thing that was driven home was the difference in the two men's approaches: Drew, an AP photographer, essentially portrayed himself as an apolitical shutterbug, i.e., he just does the best job he can at capturing the history that's unfolding around him at any time, whether that's a party celebrating the new "Harry Potter" or the assassination of Robert Kennedy. Vollmann on the other hand repeatedly expressed his interest in "helping" via his prose and pictures. he goes places and documents events with the explicit goal of making things better. (he claimed that he probably wouldn't go to Iraq if asked b/c there would be nothing he could do to help, i.e., everyone already knows it's a shit show.)
Drew got into some hobby-horsing at times, complaining about his more controversial pictures not being picked up by certain news outlets and proudly declaiming that he's never turned down an assignment. but Vollmann was remarkably modest and unpretentious.
Vollmann gave real insight into his character when he talked about how when two of his colleagues were shot through the head while sitting in a car w/ him in Sarajevo, his immediate reaction was to photograph them and then begin taking notes on the experience. craziness.
what a humble guy though. he's just sort of the quintessential subjective journalist; recording experiences we hope we'll never have but are intensely curious about. apparently the next book he's readying is one about riding the rails; he also mentioned another one about Japanese Noh theater. can't wait for either.
some really pretentious questions were lobbed up, but one response Vollmann gave during Q&A is worth repeating. asked who his literary influences are, he said (i'm paraphrasing): "i've been inspired over the years by great stylists such as Lautreamont, Denny Lo Quiche [note: that's my transcription of what i think i heard. i have no idea who this author is. anyone know a writer with a name that sounds vaguely like that?] and Hawthorne." even without that Denny fellow, you've still gotta love the juxtaposition of the French Surrealist Lautreamont (among other things, he wrote about a dude that copulates w/ a shark) and the dude who wrote "The Scarlet Letter." anyway, awesome to see Bill in the flesh, sporting a shirt that said "TALK IS CHEAP" in big letters, no less...
the unlikely theme song for the weekend was "Dance Tonight," the leadoff track on the new Paul McCartney album, "Memory Almost Full." i guess the best way i can describe my reaction to this song is "creeped out." the disc was in my mom's car and i wanted to sample it. as "Dance Tonight" began playing, i was kind of shocked at its blandness, not to mention the fact that the voice is basically unrecognizable as Paul McCartney.
it's like this strummy bouncy repetitive breezy bit: "Everybody gonna dance tonight / Everybody gonna dance tonight / Everybody gonna dance around tonight" and so forth. it's really funny reading along w/ the lyrics. i guess it's infectious in a really basic way, but what really gets to me is the little turnaround where he goes "You can come over to my place if you want to...." it's like he just sorta slips that in there, i.e., "hey, everybody's having a great time; we're all dancing; i'm Sir Paul; isn't this fun and whimsical? ... and by the way, do you want to shag?" ewwww... i'm sure this is not meant as a sexual thing, but by god does it register that way.
combine that line with the intensely aggravating promo pics that Starbucks has plastered everywhere (has anyone noticed that in the shot above, McCartney is essentially sporting his version of Zoolander's Blue Steel face?) and you've got one annoying product. hear the song in question for yourself at this link. maybe it's saying something that i'm claiming to despise this track, but i keep returning to it, but i honestly think the simplicity combined with the innuendo makes for an unintentionally hilarious piece of music. i don't know what it is; it just makes me giggle.
three other things:
--> Laal and i have moved on to Philip K. Dick's "A Scanner Darkly" and i'm totally into it. love the post-Beatnik jive talk especially, e.g., "Life... is only heavy and none else; there is only the one trip, all heavy. Heavy that leads to the grave. For everyone and everything." dig it!
--> i'm the last one to say so, but the Boredoms 77Boadrum thing was pretty excellent. i won't even bother w/ linkage b/c everyone and their mother has weighed in on this thing. a true event indeed.
--> a nice appearance by William T. Vollmann, in conjunction w/ the Whitney's "Summer of Love" exhibit. L and i had just finished "Poor People," and then lo and behold the dude rolls into town as part of a mini panel discussion on photography and violence, also featuring Richard Drew, who took the famous "Falling Man" pics of the guy plummeting from the WTC on 9/11.
a very thought-provoking and successful event, methinks. the main thing that was driven home was the difference in the two men's approaches: Drew, an AP photographer, essentially portrayed himself as an apolitical shutterbug, i.e., he just does the best job he can at capturing the history that's unfolding around him at any time, whether that's a party celebrating the new "Harry Potter" or the assassination of Robert Kennedy. Vollmann on the other hand repeatedly expressed his interest in "helping" via his prose and pictures. he goes places and documents events with the explicit goal of making things better. (he claimed that he probably wouldn't go to Iraq if asked b/c there would be nothing he could do to help, i.e., everyone already knows it's a shit show.)
Drew got into some hobby-horsing at times, complaining about his more controversial pictures not being picked up by certain news outlets and proudly declaiming that he's never turned down an assignment. but Vollmann was remarkably modest and unpretentious.
Vollmann gave real insight into his character when he talked about how when two of his colleagues were shot through the head while sitting in a car w/ him in Sarajevo, his immediate reaction was to photograph them and then begin taking notes on the experience. craziness.
what a humble guy though. he's just sort of the quintessential subjective journalist; recording experiences we hope we'll never have but are intensely curious about. apparently the next book he's readying is one about riding the rails; he also mentioned another one about Japanese Noh theater. can't wait for either.
some really pretentious questions were lobbed up, but one response Vollmann gave during Q&A is worth repeating. asked who his literary influences are, he said (i'm paraphrasing): "i've been inspired over the years by great stylists such as Lautreamont, Denny Lo Quiche [note: that's my transcription of what i think i heard. i have no idea who this author is. anyone know a writer with a name that sounds vaguely like that?] and Hawthorne." even without that Denny fellow, you've still gotta love the juxtaposition of the French Surrealist Lautreamont (among other things, he wrote about a dude that copulates w/ a shark) and the dude who wrote "The Scarlet Letter." anyway, awesome to see Bill in the flesh, sporting a shirt that said "TALK IS CHEAP" in big letters, no less...
Posted by Hank at 10:43 PM 2 comments:
Monday, July 02, 2007
In Full # 1, part two: Walt Dickerson (w/ an Abdul Wadud appetizer)
before we get to the continuation of the Dickerson interview, make sure you get over to Jazz e Arredores--one of a seemingly infinite amount of incredible Euro free-jazz blogs--and download "By Myself," a 1977 solo cello album by Abdul Wadud. if you don't know Wadud, he did his most prominent work w/ Julius Hemphill, laying down some serious funk on records like "Dogon A.D." and "Coon Bid'ness."
"By Myself" is a masterpiece, and impossible to find at that. some very out sawing-style frenzy on here for the skronk lovers, but also some seriously folksy, lyrical and steady-grooving stuff. the beauty and range of the instrument really come out, i.e. it's like the best parts of solo double bass and solo acoustic guitar wrapped into one. some of this stuff, esp. the first track, reminds me of Robbie Basho in its raga-like churn. read Wadud's awesome liner notes here.
does anyone know of Wadud's current whereabouts? i had assumed he'd passed away b/c i haven't heard of him playing in quite a while, but i have no real evidence to support that.
without further ado, i present to you part two of the Walt Dickerson interview from 6/29/03. first part is here in case you missed it, and a Dickerson mp3 is here if you're curious.
[some quotes depend heavily on inflection, so if you have trouble deciphering what he's getting at in any particular passage, drop a line and i'll try to paraphrase.]
HS: It seems that your music requires a lot of dexterity. Having never seen you live, I'm curious: Do you move around when you play?
WD: I used to - used to - move. That's they way- That's what I felt, and my feelings would cause me to move, and I would move according to my feelings. What I was playing at the time, and- So they would be varied, my physical movements would be varied according to what I was playing at the time. Over a period of time, the movements became less, less pronounced, and now my movements are usually to get over the instruments; sometimes, some passages cause me to move in a very accelerated fashion to get what I'm reaching for. But my movements are less, and I think that's due to being able to reach or access what it is I hear more easily. As the development of the technique increases or increased, the movement became less; the physical movement became less. Yeah, that's how that whole movement thing was.
HS: You played with a lot of people that are not well known, such as the drummer Jimmi Johnsun and the bassist Andy McKee.
WD: Andy McKee is a fine bassist, and he's around New York now to my knowledge; yeah, he's around New York now, and he came to- The last time I saw Andy was when I performed at the Vanguard in New York, and he came down, and we had a nice time together. As a matter of fact, he brought his bass down; he wanted to play in the worst way, but at the time it wasn't possible. But he was in several of the big bands around New York.
Jimmi Johnsun was a musical drummer, a very musical drummer; he played piano also- very tasty. And he played with several of the New York musicians. Their names escape me now, but at the time, they were among the ones doing it on the scene, and Jimmi Johnsun was a part of that group of very good musicians. [He was] out of Baltimore. I know Jimmi from when I was in school at Morgan State University and Peabody Conservatory, and he had a strong desire to go to Europe, and I fulfilled his burning desire to visit Europe, and he performed excellently.
But then, there was Abdul-Malik who was well known, the bassist who was a cornerstone of Monk's quartet for a good while; we had some interesting excursions. Malik, I enjoyed playing with.
I played with all the musicians that- Benny Golson, out of Philly; I played with them. So, along the way, I played with many of them, but I chose certain individuals when I was in New York for the recordings, individuals that appealed to me at the time; I didn't go according to, you know, who they had played with; it didn't matter to me, no. Their talents, their taste was what persuaded me to choose them; all of them that I chose for my recordings, that's what it was based on. There were those that were with the individuals that one would say- front-line individuals that asked, but I didn't care to have them record with me, yeah. Choice, choices was the reason that I chose them, the individuals that did perform with me. Based on musicality, compatibility, and I liked them as human beings; that has a lot to do with it too.
HS: Henry Grimes has resurfaced recently.
WD: Yes, I heard, I heard. Isn't that wonderful?
HS: Have you been in touch with him?
WD: No, I have not. No, I got the wire [Note: Though Grimes's story was reported in the music magazine the Wire, this is actually a reference to Dickerson's personal network of musician friends. It's explained just below.]—of course I always get the information... by way of the wire, I have connections; I'm well-informed of what's going on just about everywhere because people are in constant contact with me, letting me know what's going on. So, I'm not in a void.
Yeah, I was glad to hear that Henry was back- a very fine bassist. I recall, he was on the West Coast- the information I received was that he was on the West Coast and that he's now back. And I think Reggie [Workman]'s doing his best to assist him on his return. That's what I've heard so far, and I'm glad to hear it; I look forward to hearing some things from Henry, yeah, yeah.
He had a brother that was a tremendous tenor saxophonist, tremendous tenor saxophonist. I recall the Grimes brothers... Oh yeah, he's from Philly... Oh yeah, I chose him [for the Jazz Impressions of Lawrence of Arabia session]; he came right in and did a fantastic job.
HS: Who are the other musicians, besides Andrew Cyrille, who make up "the wire"?
WD: Strangely enough, they're- most of them are PhD's at various universities; constant contact. During the summer, they'll be through; they'll call me, and we'll spend time together- come down, come up, come down, come from the West, come from wherever they are. We'll spend a couple of days going over things. A couple musicians- I won't name them, I won't give up my sources, except for the one that you mentioned.
Yeah, having to do with the educational process they find me aggravating at times, but interesting, is the reason why I guess we're still in contact, [why I've] developed a friendship with them. But there's always a heated debate when they come around, and I find it enjoyable, and they find it enjoyable- refreshing. They need that; they need it; I understand that they need it, so I give it to them! They need it in the worst way, and they love me for giving it to them, getting them out of the doldrums of academia.
I understand it's a job, a job, as most of these institutional things are, but don't become enamored with it, you know, like, it is what it isn't. See it for what it is, and do your job. Some find it increasingly difficult; they become rather rebellious as far as the curriculum is concerned, and I've been accused of that- through conversation with some of them, and them becoming rather rebellious and wanting to institute certain things in the curriculum that kind of rub the hierarchy the wrong way. And I've been guilty of that, and happily so; it means I'm doing my job. So musically and verbally, which are the same - One and the same; always remember they're one and the same; what one espouses verbally is what you'll hear musically; they're one and the same; but of course that isn't taught in academia, that they're one and the same; they're separate; those two areas are separated. "Now let's talk about the man. We've discussed his music; now let's talk about the man." is the way it goes. Well, don't you know, when you discuss his music, you discuss what he's about; you're discussing what the man stands for; they're one and the same. Then the person gets a better glimpse of what the person is really about when you put the two together as it should be. He's not a separate entity from his projections; they're one and the same. Treat them as such; view them as such, and then you get the complete picture. Isolate them, and you'll get a distorted picture, not complete, subject to your assumptions, which are ninety percent of the time erroneous. Put them together; like in life, you put them together, and you bypass the automatic bicameral processes, and that's the objective: to become conscious to the state whereby you can pass those bicameral processes. That's evolving because they're automatic bicameral processes; that's an automatic process; those are the automatic processes that occur, no thought involved, subject to hallucinatory events; by way of the automatic bicameral process one is subject to that hallucinatory phenomenon, listening to.
Hence, mysticism; hence the formation of institutions to control and dominate the mass by way of various figures put before them.
HS: Are you talking about religion?
WD: [sarcastically] How keen you must be. Of course. Also astro-quantum-particle physics are involved in that, one of the culprits, dealing in cold fusion, low-energy nano-nanotechnology in the search for the fictional, wishful birthplace of our forever-evolving plasmatic universe by way of the Big Bang. Remember what I told you earlier, and you put the pieces together: Starting here, starting here, starting here - that which forever has been. Fact! Honesty. It's a joy. And as you do that, Hank, some interesting facts come up from your storehouse of facts which are already there. As you meditate, focus on these profound things, things that come to you as some would say out of the blue. No, nothing is by chance; everything can be determined [???]. It appears a bit cloudy at first, but then one focuses; the clouding dissipates, and another fact appears on the photoscreen of your mind, an undeniable fact accompanied by honesty; already there, already there waiting for you to access it.
Some revelations appear so clear, I've had occasions, and my wife also, to just embrace each other with joy, sometimes with tears of joy as to how it occurs, how the process works. They ask me, and they'll ask my wife- she usually passes it on to me- "How long have you been married?" they'll ask my wife. She'll say, "Ask Walt." Well, they're usually kind of reluctant if they've ever said anything to me; they usually have their reservations about asking me things, people in general; I don't know why, but I do know why, because my reply is "Forever." "No, no, no" is what they'll say, "I don't mean that." [laughter] And my reply is, "But I do mean that, but you don't understand what my forever encompasses, and simply, it encompasses forever! Now one day when you have time and I have equal time, I'll be glad to sit down with you and share some things with you so as to bring about some clarity in your mind regarding what I meant by the statement 'forever.'" And that's always an amusing point to make, pursuing that question; it always has been very amusing to me, but it is congruent with being ageless, "Oh, but that's right, we haven't talked, or you would begin to put the pieces together." When we can communicate- I mean communicate - we are of the same age; yesterday, today, and tomorrow are today, thus the sameness on the scale of infinity.
HS: I'm curious about other members of your family. One of your compositions is dedicated to a brother who died, right?
WD: [hesitantly, gravely] Yes, yes, we were very close. Service-related; at sea. Hmmm... a smaller craft capsized and went down. We were very close; we had many moments of joy together early on... [He was] older...
As a matter of fact I had two brothers that passed by way of the service, armed forces. There were four of us; two went that route. So when I speak about wars- totally unnecessary. Initiatory force is only valid in self-defense; other than that, it's destructive and value-less. There is no need for that kind of activity; it does not occur in the civilization of the universe- civilizations of the universes; it does not occur. Again, a fact that we are in the anti-civilization. And I hear them speak; I hear the verbiage: what we must do to them, what we must do to them- I hear it. You can't help but hear it; it's so pervasive; we're being inundated by it. And I did my time in that part of the system, the armed forces, strangely enough; so it's not like I'm speaking as an outsider. I went through that, but even then what did I do? I looked at the gun as if it was my enemy. I looked at the rifle that was given to me to do what, to do what? To commit murder to another mother's son and I knew that wasn't right; I knew that wasn't right.
So then, the forces that I later became aware of told me what to do. I did that. So I was assigned to the Seventh Army Symphony- again, playing music – which is located in Stuttgart, Germany. I also toured with my own quartet while in the service, playing music. I discarded the uniform while I was in the service; I wore civilian clothes while performing in the army; I toured extensively; I enjoyed playing music while in the army.
My eldest brother wasn't as fortunate. When he went in, he was shot unfortunately; he lost his little finger on his left hand. He was a fantastic concert violinist; of course that ended his career as a violinist, as you very well know how important that little finger is.
So, that was my excursion through the service and the realization that there had to be a better way for man to deal with man than warfare. No, that's not civil at all; that's not humane at all. Therefore, the music indicates that. It's there; it happens when performing, various thoughts come across one's mind. Sometimes, it happens before you commence to perform; something will be on your mind of that ilk, and whereas I used to try to shake it from my mind, I learned to embrace it and let the thoughts and creative projections coexist which is what's supposed to happen: one answers the other; therefore it's there in the music.
Oh, what a sea of sound [responding to birds chirping?].
HS: Is there a possibility or a desire for collaboration with other musicians in the future?
WD: There's always been requests; I'm always being requested. Requests are always being made: "Let's do; let's do." And I'm not saying that I won't at some point in time; I probably will at some point. I might just do a duo performance with someone, a concert duo performance. I haven't ruled anything out; nothing is etched in stone, so that remains to be seen.
HS: Your duets have been very artful, sparse and meditative. I think you really pioneered something in your duets with Richard Davis and Pierre Dorge that hasn't been pursued by anyone else.
WD: Yes, you're right; I don't know of it having been pursued by anyone else, but there again, that's the beauty in the art form: there's a niche there, a niche there, so many niches to be filled. That's the nature of what we're dealing with. It isn't necessary. If you want that, there it is; if you enjoy that, there it is; if you enjoy that, there it is. So many areas to be filled; we're dealing with an art of creativity at its highest level. When you're dealing with creativity at its highest level, all of the niches can never be filled; there's a niche for everyone, every artist, and it behooves the artist to seek his or her niche, and, as it has been written, that that is the area of greatness. Be that as it may, it's just something that I'm a part of, and it's a part of me; we are the same, one and the same. So, it is with great honor and distinction that I accept that and cherish that uniqueness. Hopefully, it will allow others - and this has happened to hear that, pinch from it, and try to find their own niche; that has happened: many pinches from it, hopefully in route to finding their own niche. Yes; yes; yes.
HS: You seem to want to record and perform.
WD: Oh yeah! Hank, that's my job; that's what I'm here for; that's my love!
HS: Actually I'm here for the same thing. My band played last night in Philadelphia.
WD: Why didn't you tell me? Yeah, why didn't to tell me! Awww, don't do that!
HS: You would have been into checking it out?
WD: Of course I would have. Wow, wow.
HS: Well, it's sort of a heavy rock band...
WD: It's funny, one time I was performing someplace, and there was a very strong rhythm and blues element at the club, and they were used to some very hard – you know what I'm talking about – the backbeat and so forth; that's what they were used to. So, I started to play in that area just for the hell of it and the fact that I can, and Andrew [Cyrille] was the drummer, and Andrew picked it up and began to apply the backbeat, and we got into a thing there [laughs]- I never will forget it; we brought the house down with this backbeat, blues excursion, and after it was over, Andrew ran up to me and said, "Damn, Walt, I never knew you could play that shit!" [laughs] It was one of the funniest experiences. I said, "Man, please, don't you know that's how you come up, playin' everything?" You come up playin' everything… I forget who the other ones [on the gig] were; it was really just Andrew and myself who got what was going on because I think the other two were just shocked; they weren't even present really; there was just the two of us, you know, into the thing… I was playing the things that I was playing in the Prestige days… It was back then, but I never forgot it. Oh, you never forget that; oh no; never forget it.
Like I said, we came up playing everything; that's how we came up. We played everything coming through. You name it: singers, the rest of it. Yeah… It brought me to where I am; it was a part of the growth cycle; sure. It's enriching, and everybody has their own way of coming through; I don't say, "You should do this, or you should do that;" no, no, no; it's not for me to say how you should come through; that's you; you're building your uniqueness. How you come through? No, I don't give advice on that; no. "You should do this; you should do that." No. I can appreciate you for where you are. I don't care where you are in your growth cycle; I can see where you are, and I can appreciate where you are. See that's the difference, knowing that that's a period in time; that's where he is or she is at this period in time. "Now let me hear; let me hear." Then you listen to things; you listen to things; you hear things; beautiful, beautiful. And it doesn't matter where you are on that scale; you would get nothing but encouragement from me. You see, that's being who we really are. If I can be an inspiration to a person, if I can uplift their spirits, that's what I'm about. [We] don't have to be about the same thing, ok? We can go into a blues house and enjoy it, and enjoy them for where they are.
I'm not to say [whether or not rock is valid]; I'm not to say that. I know they've attributed some things about it that they used to attribute to the music that I play. Quote: "Awww, what could be any worse than the devil's music?" And I'm going to turn around and join that mentality by saying derogatory things about what they say is that music? No, you don't get that from me; please, please. I'm not there; I'm not there at all; I will not join you as you go about abrogating this music or that music; no, I won't join you there; no. The same thing has been done to me; should I repeat it? Then I haven't learned. No, no. I want to hear what you have to say. I don't care where you are. If I happen to be there, or you happen to be in my presence, I want to hear what you have to say, musically and verbally, and then I'm going to pick out nothing but the delightful aspects of what you said or what you played; those are the only things that are going to come from my lips. You see because if that's all I look for, that's what I'll hear, that's what I'll see, that's what I'll receive, and that's what I'll become. Only the beautiful aspects.
[I tell Walt about the rock bands that I'm in.]
… So many ways to get what you want done from that person; they do things that you enjoy, so we just bridge the gap and go over here and sit down and talk and, "You know what? I like your strength. We were playing that song and your strength…, and if you were ever in control of your nuances, that would be awesome, baby; that would be awesome." "What did you say, Walt? 'If I was in control of my nuances?' Well, hell, I can work on that." I said, "I know damn well you can work on that." It's done… They love you; they love you because you're giving it to them with love. Remember what you throw out; throw out what you want to come back; throw out the love. I love the love coming back- Oh yes, yes, yes! … Sure, but that's why we're alive; we love love comin' back at us, just being inundated by love comin' back at us- the greatest feeling there is.
Dudes on the street: "Man, I love you Mr. Dickerson; man, you a cool dude [laughs]. Everywhere, I mean wherever I go. They could be hoods, what some people would call hoods, gangsters- I talk to 'em; they don't even know who I am, but I talk to 'em man-to-man about an issue one of 'em had.
[His grandmother said,] "Mr. Dickerson, would you talk to 'em? There's three of 'em over there, and I'm tryin' to tell 'em they don't have to do the things they do; life's not about bein' a gangster; you've got the wrong slant on life."
"Sure, sure, sure. They your boys? Sure I'll talk to 'em."
"You gonna come down and talk to 'em? It's kinda rough down there; it's kinda rough."
I said, "How rough is it?"
"Well, you know, shootings go on."
I said, "The place ever blow up?"
"No, the place never blew up." [laughs]
I said, "Ok, that's cool then." [laughs]
And I go there; I go there, drive down, and usually- I remember three of 'em in particular - they were considered very hard-core, ok? – and one of 'em's grandmother asked me to talk to 'em – she's a fan of mine… I'm a father; they're young men, ok? See, it encompasses all areas of one's life, ok? The music. I remember this particular incident: the fellow to the right of me was sitting there with the other three, and I walked in; he introduced himself; the other three introduced themselves; a couple of 'em reluctantly did so. I gave them their handshake. "Oh man!" one of 'em said. I wasn't supposed to know their handshake, you understand? I wasn't one of them. I said, "I don't have much time, fellas; I don't have much time, but the time we spend is going to be quality time, ok?" "Yeah, that's cool."
Because they were about to do something, ok? I said, "You hope to have kids someday, right?"
"Yeah, I'm gonna have kids; sure, yeah, I'm gonna have kids."
"You don't want any harm comin' to those kids, right? To your kids? You don't any harm comin' to 'em? You have a beautiful little daughter, you don't want anyone harmin' her? You have a nice handsome son, you don't want anybody slidin' up to him, blowin' him away, do you? You wouldn't like that, would you? They'd better not." I said, "Ok, let's start now by preventing that from happening."
"How you gonna do that, man?"
"By you not doing it; by you not doing it; that's the first thing. There's gotta be another way, man. I tell you what, I'm gonna invite all of you over to my crib, and then we're going to talk further."
"You gonna invite us up to your room?"
"I said up to my crib man? You know where I'm comin' from; I hope you know where I'm comin' from."
"Damn, man, you real. Man, where you get him from, man?" they said to the one who invited me.
"I told you, man," he said. "I know some down old dudes."
Posted by Hank at 11:53 PM 3 comments:
Labels: Walt Dickerson, walt dickerson albums, Walt Dickerson interview, walt dickerson to my queen, walt dickerson vibes
Sunday, July 01, 2007
Got the 'Guts?
you know how in "Dr. Strangelove," so much of the absurdity comes from arms-race paranoia? i.e., George C. Scott's "We cannot allow a mine-shaft gap!" proclamation. anyway, technical death metal is sort of like that, in that no one can ever really win the sweepstakes, i.e., each time a record drops that seems like the new benchmark of complexity and aggression, another one tops it by a mile.
anyway, i'm not up enough on this genre to tell you who's currently got the edge, but i will say that Germany's Necrophagist is the state-of-the-art as far as i'm concerned. (though they've been touring their 2004 disc, "Epitaph," for a mite too long. they'd best drop another disc soon...)
wanted to throw up a little mention here of a classic of the genre for the curious: "Obscura" by Gorguts, circa 1998. quick history of this Canadian band is that they did some fairly run-of-the-mill death metal in the early '90s, then disappeared for five years, only to resurface in '98 with a whole new sound, a whole new lineup (guitarist-vocalist Luc Lemay was the only one who stayed) and this monster of a disc.
"Obscura" is sort of like the "Trout Mask Replica" of contemporary metal. no one who's heard it can believe how fucking weird it is. i first heard of it via Colin Marston of Behold... the Arctopus, a serious fucking tech-metal authority if there ever was one, and his recommendation was backed up by Tim Byrnes of Friendly Bears and Chuck Stern of Time of Orchids, two other serious tech/prog aficionados. all spoke of the disc with "whoa, dude" reverence.
so here's the leadoff title track
Gorguts - Obscura
a few things i'd point out about this one... note the insane stop-startness of the rhythms. this is some seriously precarious shit. it's hard enough to play the blast beat (that superfast tata-tata-tata-tata thingie that's the hallmark of death-metal drumming) without essentially rebooting every few beats like this dude, Patrick Robert, does. these drum parts are seriously chopped and screwed in real time (or whatever the antithesis of chopped and screwed would be, i.e., if the basic beats were made infinitely faster and more disjointed).
but the best thing about "Obscura" is the completely loony guitar work from Lemay and Steeve Hurdle. during that first break you can hear the crazy snarling squelching tone they favor. and the riffs are incalculably difficult, but the snazzy chords somehow make them really catchy.
my favorite part of this track is the breakdown at about 1:25. the guitar in the left channel sounds like it's being played by a goddamn hi-powered sewing machine, just peppered with notes, and the one in the left is heaving and snarling and lurching.
then there's that spiraling, hard-grooving math-metal crunch around 2:30. sick, vertiginous riff, that one. the song never lets you breathe. it's like this swirling pit of grossness and jaggedness. and the album pretty much follows suit. pick that shit up used via Amazon, yo.
(if you're wondering what the vocalist--i'm not sure if it's Lemay or Hurdle--is growling about, it has something to do w/ nostalgia and emotional reverie, no joke: "Clouded by the bliss obscura / Covered by the frame of drama")
other resources:
amazing interviews/demos of some "Obscura" songs courtesy of Lemay and bassist Steve Cloutier. i love the dorky intros: "This is Luc." "And this is Steve from Gorguts," and just the sort of scholarly-dude/dudely-scholar vibe these two emanate. Lemay talks about Gorguts attempting to "invent its own dialect," and listening to "Obscura," you can see how completely they accomplished that. and they even demo that insane sewing machine shit i mentioned above. i also gotta give props to the Marston/Byrnes/Stern triumvirate for hipping me to this goldmine. check it...
there's a part two to this which is easily findable on YewTewb if you're interested.
post-"Obscura," the band again kind of imploded. Steeve Hurdle, a key writing force in the band, left, as did the drummer, Patrick Robert, whose replacement ended up committing suicide. before that, a follow-up, "From Wisdom to Hate," was recorded. i'm not as familiar w/ that one, but i've been told it's inferior to "Obscura." afterward, Lemay turned his attention to wood-carving--how metal is that?!?
fortunately, Lemay and Hurdle are back together in Negativa, and the demos on their MySpace page sound fierce as shit. very much in the "Obscura" lineage of asymmetry, atomization and filigree.
forget the tech-metal arms race and dig into this north-of-the-border wonderland of metallic fucked-up-ed-ness. Gorguts is just another in a long line of Canadian musical icons: Rush, the Band, Neil Young, etc. etc.
Posted by Hank at 10:08 PM 1 comment:
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Archive of 13 December 2011
Cabinet confronts coalition's EU divisions
Warring Conservative and Liberal Democrat ministers are seeking to patch over their differences as the row over David Cameron's European Union veto continues.
Commons could 'fire' misbehaving MPs
MPs are to be given the power to effectively fire misbehaving colleagues under coalition plans out today.
Saving the high street: Portas unveils defence plan
The official report into saving the British high street is published today, with plans to rescue town centres from trade slumps and out-of-town developments.
'Geographic variables of integrity': Action urged over police corruption
Police forces across England and Wales must do more to strengthen themselves against corruption, the police watchdog has said.
Support for Ukip falls following Cameron's EU veto
The United Kingdom Independence party (Ukip) has lost support following David Cameron's decision to shoot down a European fiscal consolidation plan, according to polls.

subset: commoncrawl


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Zoe Gillings, the British No 1 and World ranked No 5 Olympic Snowboard athlete today clinched the silver medal in the opening Parallel Giant Slalom (PGS) South American Cup of the 2009/10 Winter Olympic season in Chapelco, Argentina.
Despite heavy snow fall and low visibility, Gillings started the competition as she meant to go on by qualifying in second place with a time of 48.72 seconds out of a total of 18 women which included both international and World Cup athletes. Gillings then continued into the heats where she went head to head against her fellow finalists where she dominated the field qualifying convincingly into the final. Gillings had a great start in the final taking the lead into the first three gates but then lost her balance, swung out of control and just before regaining her composure was overtaken by her fellow World Cup athlete Alexandra Jekova (BUL). Zoe chased Jekova down towards the finish line but Jekova just clinched the gold medal ahead of Gillings who took silver. This result is even more remarkable today as Gillings's main discipline is Snowboard cross, not PGS.
Zoe commented after the race, "I'm really happy with my performance today, considering the serious lack of training over the summer, I've now got a little more confidence going into this Olympic season." Due to serious funding problems in this Olympic season, Zoe has only managed to train on snow for 4 days this summer instead of the 7 weeks she had planned and has only just managed to secure the services of a coach within the last two weeks. "The British Olympic Association and UK Sport have helped tremendously since the funding problems began but I couldn't have even competed in this competition if it were not for my personal sponsors, they continue to allow me to train and compete at the highest level in my sport which I couldn't do otherwise," continued Zoe.
For more information, images, results and video of Zoe competing in Argentina, please visit zoegillings.com.


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My new Think Again column is called "When Books Disappear" and it's here.
And I appear to be in the news: (From the NY Daily News, at a luncheon for The Giants on Wednesday):
While the luncheon brought out a bipartisan crowd, there was a little Republican-Democrat friction when the Nation columnist Eric Alterman approached Bill O'Reilly to thank him for apologizing on-air in 2004 for calling Alterman a "Fidel Castro confidant." (On a later show, O'Reilly sarcastically claimed he was "foolin' around.") Alterman says "O'Reilly responded by twice saying, "Get away from me," and eventually summoning a handler to intervene. O'Reilly told us there was "no run-in," but Alterman said, "I'm beginning to think that maybe he wasn't all that sorry."
And while this was not in the news, this really did happen Wednesday night:
There was a reception in Soho for Steve VZ's new Netflix series. I had a close friend in town, who happened to have been my volunteer intern for the Bruce book, but is now a macher in the TV biz and he took me out to dinner. Since it was his business to develop such shows, he did not want to "work" and so we did not make the screening but as I thought it would be interesting to see who was at the party, I said let's eat down there.
So we did and when we were done, we walked by the hotel and the screening wasn't over, so I asked the girl at the door if I could see the list of who had come to it so I could decide whether to wait the ten minutes until the reception started. I couldn't believe it when I saw the name "Bruce Springsteen" with a check next to it.
So we went downstairs and Steve was waiting for it to end and we waited with him and then everyone came out and Bruce and Steve took photos with Tony Bennett (and David Chase and other Soprano types) and then I waited and introduced myself and thanked him for the lyric permissions I had gotten from him for my new book, (of which I'm pretty sure he had no idea) and he said "Hey, thanks for all your terrific writing in The Nation all these years" (or something like that) and then we talked for about 10-12 minutes, about lots of stuff, including our daughter's respective tastes in music—I told him she was much bigger on Kanye and Jay Z than on him–and happily, I refrained from gushing but did find a way to congratulate him on being the only goy who had made it into my kid's Bat Mitzvah service.
It was the second time I've met him but the first time we spoke and it couldn't have gone better. I broke off the conversation after telling him I didn't want to talk to him too long lest he say something that might screw up my relationship to the music. He liked that too, I think.
That's all. Great guy, Bruce…. He's playing the Apollo for Sirius Radio on March 9 if anyone has tickets and wants to take me. If not maybe you should buy the book.
Jaimo's Jasssz Band and Joe Henry:
I also saw two shows this week. The first was the new Jaimoe's Jasssz Band at the Gramercy Theater and it was a lot of fun. Did you know that Jaimoe toured with Otis Redding before he became the original drummer for the Allman Brothers Band. We'll be seeing them a couple of times in March, but in the meantime, this Jasssz Band is a really fine blues band with a heavy jazz flavor. To be honest, it is dominated by the great Junior Mack, who is lead singer, songwriter and a great lead guitarist. The song selection was first rate, leaning on the same stuff that's on their new album, "Renaissance Man" and including especially "Melissa," "Rainy Night In Georgia" and "Leaving Trunk." It is, by my count, the fifth fine band to come out of the current Allman lineup and further makes my case that they are the single most virtuosic group of musicians playing anything, anywhere right now, (especially if you include Greg's amazing voice). Read about the Jaimo record here.
Then Tuesday night I went to City Winery to catch a show by Joe Henry (with Marc Ribot joining on guitar). The entire show, or at least Joe's part was dedicated to Joe 's new record, Reverie, an all acoustic album recorded in Joe's basement with sounds like birds chirping through the windows to the ticking and stuff like that. It's intelligent, moving and challenging in equal measure, as all Henry's music is, but it's also ironic since he is best known as a producer for people ranging from (my buddy) Ornette Coleman, Elvis Costello, Ani DiFranco, the forthcoming Bonnie Raitt cd and his close relation and occasional meal-ticket, Madonna. Ribot is all over the record and Tom Waits does a turn too. What's not to like? More about Joe here.
Now here's Reed:
Mitt Romney's Sorry Foreign Policy
by Reed Richardson
That Mitt Romney, the current GOP presidential frontrunner, called his thinly veiled 2010 campaign treatise "No Apology" should come as no surprise. Though it was no doubt written before Obama's first year in office had yet to conclude, the book and its title—which not so subtly draws upon a stubborn conservative myth about this President's foreign policy—perfectly captures the rabidly reflexive nature of the modern Republican Party.Of course, with the economy still struggling to dig its way out of a massive hole and unemployment and jobs foremost on voter's minds, the Republican primaries have spent little time debating foreign policy. (Some debates have skipped the topic altogether.) In many ways, though, what effort they do expend on foreign policy is ripped right from the same Obama-can't-do-anything-right playbook. And Mitt Romney is, by no means, an exception, as his latest stump speech now includes a throwaway line that the president's foreign policy amounts to little more than "pretty please."
But the real conundrum facing Romney and the other GOP pretenders to the throne isn't that Obama's foreign policy has some notable successes. Or that the current administration's actions, whether withdrawing from Iraq or fighting terrorism and scaling down the war in Afghanistan enjoy popular support from the public. It's that their campaign trail criticisms have, as their foundation, little actual policy differences behind them.
Case in point, the killing of Osama Bin Laden. It should come as no surprise that the latest version of Candidate Romney offers up to Obama faint praise for taking out the mastermind of the 9/11 attacks. While he did offer begrudging approval last May—he couldn't bring himself to mention Obama's name—this past December Romney was blithely telling MSNBC: "I think other presidents and other candidates like myself would do exactly the same thing." Setting aside the often-overlooked fact that Obama had to lay the groundwork for that moment two years earlier, by restarting a covert program aimed at finding Bin Laden that George W. Bush had abandoned, it's worth pointing out that the 2008 release of Candidate Romney was singing a different tune. For, back then, when Obama was pledging to unilaterally enter Pakistan to kill Bin Laden if such a chance arose—which it did and he did—it was Romney who was all about asking for permission: "I do not concur in the words of Barack Obama in a plan to enter an ally of ours… I don't think those kinds of comments help in this effort to draw more friends to our effort."
Good luck hearing someone from the traditional media confront Romney on this raging hypocrisy, however, because this notion among conservatives that the whole Bin Laden raid was some kind of happy coincidence is now slowly but surely being embedded into the Beltway media's consciousness. For example, it's no coincidence that, as part of her criticism of Obama's recent State of the Union address, Washington Post columnist and Romney consigliere Jennifer Rubin had the gall to write: "After an easy applause line for killing Osama bin Laden, Obama then plunged into his economic defense."
See what she did there? When I first read that sentence, I immediately had flashbacks to this old Saturday Night Live bit, and wondered if Rubin hadn't initially practiced the above sentence by mumbling the words "applause line for" under her breath. By the time Romney debates Obama next fall, others in the media might be going so far as to suggest that Bin Laden somehow accidentally left his address on Leon Panetta's voicemail and then willingly threw himself in front of Seal Team Six's gunfire, all in an effort to avoid his later, inevitable assassination under a new Romney administration.
Indeed, on issue after issue, Romney's shameless proclivity for trying to have his foreign policy cake and eat it too manifests itself time and again.
-He blasts Obama's full withdrawal from Iraq as "sheer ineptitude" yet calls it "fortunate" the troops are now home and conveniently lacks the courage of his convictions to send them back if he were to become President.
-He repeatedly criticizes White House policy toward Iran while calling for "crippling sanctions," kind of like the policies Obama and our European allies put in place this past week, which just so happened to have spurred Ahmadinejad back to thenegotiating table and which went unmentioned by the Romney campaign.
-He bemoaned that Obama was "leading from behind" and "following the French into Libya." Yet when the regime of longtime dictator Qaddhafi finally crumbled under the dual pressures of a committed ground rebellion and a U.S./European air coalition, the Romney campaign's first instinct was to bash the president and absolve him of any credit.
-Romney willingly joins in the GOP chorus in an attempt to out-butch Obama and position him as soft on terror. In fact, this administration has decimated Al Qaeda, thanks in part to a ramped-up policy of CIA drone strikes that—far from being "judicious" or asking "pretty please"—routinely tramples upon the sovereignty of foreign nations and has resulted in hundreds of civilian casualties.
-He dismisses as "hiding from reality" Obama's 2013 Pentagon budget, which, absent a war in Iraq and with a dwindling role in Afghanistan, would trim 100,000 active-duty personnel from the military. Seemingly out of little more than spite, Romney instead calls for an increase of 100,000 personnel instead.
-In his campaign literature and debate rhetoric, Romney often dismisses Obama's foreign policy decisions as predicated on an idea that "America is in decline." But the president very publicly believes and espouses the reverse to be true.
-And just this week, he labels as "misguided" and "naïve" the Obama administration's new deadline for exiting the wildly unpopular war in Afghanistan, yet when Obama's predecessor proposed a similar timeline for leaving Iraq, Romney contorted himself into supporting timetables based on caveat that the White House and Iraqis keep it a secret from the public.
As one might expect of this generation's political Zelig, a list of Mitt Romney's hypocritical foreign policy positions runs much longer than the few I have documented above. Now, I would love for Romney to have to fully answer for any one of his aforementioned bouts of shameless anti-Obama grandstanding. But I'd settle for the press just laying bare his campaign's single greatest foreign policy paradox—that his primary critique of Obama's domestic policy and prescription for reinvigorating our nation's economy both rest upon on a fundamental misreading of the state of the world.
Romney continually pillories Obama in his stump speech by saying: "I want you to remember when our White House reflected the best of who we are, not the worst of what Europe has become." Europe, in this case, being Romney's not so subtle stand-in for notions like "elite" and "foreigner," both of which bring with them well-known responses among a public that has endured years of Birther conspiracies and numerous storylines about the president's so-called arrogance.
What's most striking, however, is that, once again, Romney has it completely, utterly backwards. It's his own misguided economic package that takes the "worst of what Europe has become" and tries to apply it here. His plan for massive tax cuts for the rich and deep cuts to the federal budget would not only balloon the deficit and shred the social safety net, it would embrace the exact kind of austerity measures that have sent European economies tumbling back into recession.
Obama's stimulative economic policies, though tepid, have at least enabled the country to reverse course and fashion together an unmistakable, though weak, recovery. For a Romney administration to come in next year and impose even more draconian spending cuts would be to risk plunging our still vulnerable nation back into fiscal crisis. That Romney would so misread the lessons of the rest of the world in order to advance a political agenda that only benefits the 1 percent speaks to how far the modern Republican Party has sunk. That he would undertake such reckless policies, both here and abroad, unapologetically, doesn't make them any less perilous. In the end, it will be the American people who will be sorry.
Contact me directly at reedfrichardson (at) gmail dot com.
The Mail:
Ben Willis
Dear Alterman,
Over the years I have had my issues with some of your opinions (most notably Ralph Nader, and your unwavering support for the Democratic party), but now I understand why you write the things you do. Mozart over Beethoven?!?!?!? Are you serious? Mozart was a lyrical genius. Every musical idea he wrote was melody and no doubt his appeal is universal, yet his compositions never reached the transcendence of those by Ludwig van Beethoven. I challenge you to compare any of Mozart's works for string quartets or chamber ensembles with Beethoven's late quartets. Ops. 127, 130, 131, 132, 135 and the glorious Grosse Fuge revolutionized music and can be heard not only as romantic works but as precursors to the modern age where the sound of the notes/chords themselves are as important as to how those musical ideas fit within the hierarchy of the key or the rigidity of phrase forms that mark Mozart's oeuvre. There is also the slight issue of the position of Beethoven's symphonies within the pantheon of great repertoire of the "classical" music. Not even Mozart's "Jupiter" can compare with any one of LVB's more well known symphonies such as; the "Eroica" (3rd), the iconic 5th, the Pastoral (6th), the Tanze (7th), and the glorious Ninth. (Not to mention the underrated 8th and the almost unknown Missa Solemnis which is considered Beethoven's Tenth). Ok, Mozart has his operas and Beethoven only has one. Mozart has his twenty-something piano concerts. But Beethoven's five are outstanding and the sonatas for Hammerklavier are light years ahead of anything Mozart wrote for the soloist. I thank you for the review of the Afro Latin Jazz Orchestra. Some of my friends, including Claudia, were there playing that night. I also know Scott Ligon of NRBQ from way back in his Peoria days. I'm glad you're covering these events. But please save the missive about Mozart over Beethoven for some other forum.
Eric replies:
Dear Ben,
I'm sorry. I should have pointed out that I'm a complete philistine when it comes to such things. I'm sure you're right (and I'm not being sarcastic) but to be fair to me, I mentioned only as way of mentioning the Shaw/Shakespeare thing.
Asher Fried
Reed: I don't think Obama is so naïve. I think he's decided that he'll be Mr. Conciliatory Compromiser and let the GOP look like the hardliners. He really doesn't believe he'll achieve his goals by compromise; it's just a posture that suits him. When he states he is for certain goals: public option, or the government's right to negotiate drug prices or re-importation of drugs, he is telegraphing what he is willing to cave in on. He never expected to achieve those goals so he'd rather look like he is compromising by giving up items he deems important [knowing they were unachievable because of the GOP hardliners] to get agreement on anything. Thus when the GOP threatened the government shut down, Obama caved on renewing the high-end Bush tax cuts, but he did get things he wanted.
It's a tactic; it works to the extent that the President can get some things accomplished. The problem is that after a while unless he is willing to draw an absolute line in the sand somewhere the GOP push back will eventually get him nothing.
Editor's Note: To contact Eric Alterman, use this form.


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I referred to as the school and of course NOBODY KNEW ANYTHING by this time its 8:30am so once more I call NCCT I spoke to Crystal there who the truth is told me the check was changed by the college on February 19th and so they told NCCT that they might personally name the scholars and inform of latest again and again the college failed.


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We're a dependable team of scrap car breakers working out of Hempstead, Kent. Scrap cars can cause you severe problems, if you have an old car that you are not using you will still be expected to keep the car taxed. You don't have to pay to get your old vehicle taken away. We are proud to offer a free collection service in Hempstead!
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Why a home energy score policy?
Scores, labels and ratings are a regular part of how we communicate information. We consult miles-per-gallon ratings on cars, nutrition labels on food, and Energy Guide labels on appliances to make informed consumer decisions. However, consumer labeling for homes is inconsistent and unavailable in most real estate markets.
Of Portland's 160,000 single-family homes, less than two percent have an energy score.
The commercial buildings market has been quicker to adopt benchmarking practices. In 2015, Portland City Council adopted mandatory energy benchmarking and disclosure for large commercial buildings. By April 2017, 80 percent of Portland's commercial building square footage will be reporting energy performance. The proposed Home Energy Score Ordinance is a companion to the commercial policy.
In 2009, the Oregon Legislature established a voluntary framework for home energy scoring. In 2013, additional legislation created licensing and training for certified professionals who can assess homes and produce scores. In 2015, these contractors delivered about 600 home energy scores to homeowners in Portland, mostly through programs offered by Energy Trust of Oregon and Enhabit (formerly Clean Energy Works). The average cost of a home energy score is $150 to $250.
Reaching Climate Action Goals
Voluntary efforts to date are a step in the right direction; however, we cannot achieve the 2015 Climate Action Plan goal to reduce carbon emissions 80 percent by 2050 unless we significantly accelerate energy efficiency and renewable energy activities in the residential sector. Residential buildings contribute nearly half of the emissions from buildings.
Local government plays a critical role in making it easier for people to save energy, protect against rising energy prices in the future and reduce carbon pollution. Requiring home energy scores is one of the policy tools the City has available to catalyze change in the residential sector.
Home energy scores are a market-based solution for conveying previously unknown but critical information to both buyers and sellers of homes. When homeowners invest in improving the energy efficiency of their homes, those costs may be recouped as scores translate into a value that can be recognized by the market. A recent analysis that included over 20 studies worldwide of homes with green certifications demonstrated that green-certified homes sell for up to four percent higher than a comparable home.
Beyond lower energy bills and greater housing affordability, energy-efficient homes are more comfortable and livable. The indoor air quality of these homes is better, leading to healthier lives. Home energy scores afford consumers a measure of protection when making one of the biggest financial investments most people ever make.
Benefits for Owners
- Information on money-saving home improvements.
Benefits for Buyers
- Better insight into the full costs of owning or renting a home.
- Ability to compare energy costs and performance between homes.
- Knowledge of potential home improvements in advance of purchase.
- Access to additional mortgage products.
Benefits for Sellers
- Recoup investments in energy efficiency upgrades at time of sale.


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What does a proper muscle building regimen look like? Sometimes, it's hard to tell. Like many others, you may wish to build more muscle but find yourself frustrated with how to continue. Read these tips to build muscle and you may find some new techniques you can use.
Make sure you understand the best exercises to increase muscle mass. Different exercises work on different muscle groups and also on muscle development or toning. Don't forget to use a variety of different methods so that each muscle group is worked.
Avoid Injuries
It is important to warm up your muscles with stretching exercises to avoid injuries. As your muscles are getting worked out more, there is a higher chance that they will get injured. If you warm up, you avoid injuries like these. Warm-ups consist of light exercise followed by warm-up sets of exercise. Don't lift weights until you've completed your warm-up routine.
Eating meat can help with muscle-building. A good daily goal is to eat a gram of meat for each pound you weigh. When you properly fuel your body with the amount of protein it needs, you help your muscles grow. This can give you the strength and appearance you're looking for.
The "big three" should form the core of your exercise routine. These are large muscle group exercises like dead lifts, squats and presses. Correctly completing these exercises on a regular basis will add muscle mass, help to make you stronger, and generally condition your body. Use these exercise as the cornerstone of your exercise regimen.
If you are attempting to build muscle, you need to have a sufficient amount of carbs. Carbs are absolutely critical to provide you the energy you require for working out, and if you are short on them, you will waste your protein on energy instead of building muscle. Consume enough carbs so that your body is able to function, and you find that you will have an easier time completing your workouts.
Though creatine is safe for use when trying to build muscle mass, there are precautions you must be aware of. People with kidney problems are generally advised to refrain from creatine use. They can also cause cramping, heart problems, and even something called muscle compartment syndrome. Teenagers could be at even more risk than adults. Try to ensure that you use the supplements safely if you decide you are going to integrate them into your workouts.
60 Minutes
Do not extend your workouts to more than 60 minutes. When exceeding 60 minutes, your body will begin to increase its amount of cortisol, which is a stress hormone. Cortisol has been shown to block testosterone, reducing the results you achieve. Keeping your workouts under an hour will allow you to gain the most from your fitness routine.
To successfully build muscle, you need to know which techniques are most effective. Take note of the advice availed to you here, and see if any of it can assist your bodybuilding plans. With the proper advice, you can reach any bodybuilding goal you may have.
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DUBLIN, May 4 (Reuters) - Smurfit Kappa's first quarter earnings soared 22 percent which the Irish packaging group said on Friday should translate into a "materially better" full year outcome as it fights off interest from U.S. rival International Paper.
Smurfit Kappa frustrated a bid to combine the largest listed U.S. paper packaging firm with Europe's biggest when it rejected a raised takeover offer in March, arguing it was better served pursuing its future as an independent company.
Before its annual shareholder meeting later on Friday, Smurfit said its first quarter core earnings rose to 340 million euros as a result of increased capital investment, higher prices and strong demand that saw revenue improve by 7 percent.
"Trading in the second quarter remains very encouraging with good demand across most regions, continued corrugated price recovery and lower sequential recovered fibre costs," Chief Executive Tony Smurfit said in a statement.
"We have momentum in price recovery in our corrugated business, demand remains robust and paper markets remain tight."
Smurfit's earnings slipped this time last year before especially strong demand in Europe helped it finish 2017 slightly ahead of the year before, and it said on Friday that it expected 2018 to be materially better.
Smurfit, which designs and manufactures packaging for the likes of Unilever, Nestle and Procter & Gamble, said in February that it would increase investment by 1.6 billion euros over the next four years. Some 230 million euros has been invested to date.
Smurfit disclosed a month later that it had rejected an initial approach from International Paper and spurned a second offer three weeks later that valued the Irish group at 8.9 billion euros at the time.
International Paper said last week that it was disappointed it has not been able to engage with Smurfit since it rejected the raised bid. (Reporting by Padraic Halpin; Editing by Adrian Croft)


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Dutch captain Mark van Bommel launched a broadside at the side's critics on Saturday saying that their criticism was not justified even after losing both their Group B matches at Euro 2012.
Euro 2012 | Statistics | Photos | Fixtures
The 35-year-old veteran defensive midfielder - who was part of the side that reached the 2010 World Cup final - said the criticism of him was emblematic of the slamming the side have received after losing 1-0 to Denmark and 2-1 to Germany.
It leaves them needing to beat Portugal on Sunday by a two goal margin to have any chance of progressing to the last eight, though should Denmark draw with table-toppers Germany it would make their victory redundant.
"Before I was a hero, now I am nothing more than the son-in-law of (Bert) Van Marwijk," said van Bommel, referring to the fact he is married to the Dutch coach's daughter.
"I read the criticism, and I understand it. But I do not find it justified.
"These past four years, we were kings, and I didn't hear anything (criticism).
"Now we have no value."
Van Bommel in particular has come under fire from several observers, including their Euro 1988 winning captain Ruud Gullit, questioning whether he really still had the physical stamina and attributes for this level.
Van Marwijk has pointed the finger after the two defeats at the gaps between the attack and defence which have been left by van Bommel and Nigel de Jong.
"Age has nothing to do with it. If the gap between the two lines is too big it is not because we are just strolling around the pitch," said van Bommel, who will next season play for a second spell at Dutch giants PSV Eindhoven.
Van Bommel, formerly with Bayern Munich and AC Milan, had said prior to the tournament that he would not retire from international football.


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When applying a heat transfer using transfers printed with hot split plastisol ink, a portion of the ink remains on the paper and the remainder is transferred to the garment--thus the name the "hot-split." Hot split plastisol inks come in regular opacity as well as high opacity formulations.
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Yesterday during her tour of London's various means of mass transit, Kate Middleton reportedly dropped a detail to a group of congregated R.A.F. officers that—as any Middleton detail does—has already taken on a life of its own. Kate told the assembled air force members that she has been taking flying lessons in a fixed-wing aircraft. "'My grandfather [late R.A.F. pilot Peter Middleton] flew planes," she said. "I've had a few lessons on fixed wing."
We've got questions!
Who is teaching her? Naturally, this revelation has already led to much hypothesizing as to what strapping instructor is coaching her to get her fly on. William (who flies helicopters, not fixed-wing planes) is out, as he would be prohibited from being in a plane with Kate at the same time. This has led the Daily Mail and others to conjecture Harry (who took fixed-wing lessons himself) is teaching Kate. We find this . . . unlikely! Though the image of a uniformed Harry turning on LMFAO in the cockpit while an impeccably dressed Kate sits by his side rolling her eyes with a slight smile is one we're not upset about.
Where does she want to fly? The princess who just wants to fly somewhere, anywhere, sounds like it could be the premise for a Sofia Coppola movie. Perhaps Kate feels free in the sky, with no cameras awaiting her on the sidewalk, no commentators to zoom in on pictures of her grey roots. Maybe it's not where she wants to fly, as much as where she doesn't want to fly!
As is the effect with her sartorial choices, will this lead to a sudden uptick in the number of people signing up for flying lessons? (This one's rhetorical, but obviously the answer is yes.)
Will she soon get bored with the blue skies and decide to crash Lady Gaga and Curiosity's galactic slumber party, showing them who the real queen of space is? We can only hope.


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KUSA – How easy is it to break into a car? Extremely easy if you don't "hide, lock, take."
Twenty-four-year-old "Michael" is finishing up his third round of probation. If you pull up his criminal record, there are pages upon pages, filled with drug and theft charges to name a few.


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Ovarian Tumor (Benign)
Ovarian Tumor (Benign) is a topic covered in the 5-Minute Clinical Consult.
To view the entire topic, please sign in or purchase a subscription.
Medicine Central™ is a quick-consult mobile and web resource that includes diagnosis, treatment, medications, and follow-up information on over 700 diseases and disorders, providing fast answers—anytime, anywhere. Explore these free sample topics:
-- The first section of this topic is shown below --
- The ovaries are a source of many tumor types because they have complex histologies and embryonic origins.
- Adnexal masses have a wide differential diagnosis, including malignant or benign tumors, infectious processes, and ectopic pregnancy.
- Tumors are often clinically silent until well-developed.
- Tumors may have a mixture of solid or cystic components and may produce hormones.
Pediatric Considerations
- Ovarian masses are rare in the neonatal period.
- Malignancy must be ruled out in premenarchal patients.
- Management of tumors in pediatric patients must prioritize preservation of normal ovarian tissue.
Pregnancy Considerations
- Most cysts discovered during pregnancy are corpus luteum or follicular cysts.
- Large, bilateral theca lutein cysts in early pregnancy, in conjunction with an elevated hCG, should raise suspicion for a molar pregnancy.
- The most commonly encountered tumors during pregnancy are cystadenomas (serous/mucinous) and dermoid cysts.
- The ideal time for surgical management is the 2nd trimester.
Geriatric Considerations
The risk of malignancy is greatly increased in women age >50 years. Postmenopausal patients warrant comprehensive evaluation and follow-up.
- Premenarchal
- 2–5% in prepubertal girls
- Premenarchal girls have a 6–11% risk of malignancy in an ovarian tumor.
- Premenopausal
- 30% in women with regular menses and 50% in women without regular menses
- Postmenopausal
- Prevalence of ovarian tumor (benign or malignant) in postmenopausal women is 7%.
- The risk of malignancy in an ovarian tumor in postmenopausal women is 29–35%.
Etiology and Pathophysiology
- Functional cyst
- Results from dysregulation of ovarian follicles during the menstrual cycle
- Bleeding into a functional cyst will result in a hemorrhagic cyst.
- These cysts do not appear to be precursor lesions to epithelial ovarian malignancies.
- Endometrioma
- Endometriosis causes localized, repeated ovarian hemorrhage.
- May arise from retrograde menstruation
- Hormone mediated
- Theca lutein cysts develop in response to β-hCG.
Risk Factors
- Benign ovarian tumors
- Early menarche, obesity, infertility, and hypothyroidism
- Cigarette smoking doubles the relative risk for developing functional ovarian cysts.
- Risk factors for endometriomas and mature teratomas are not well-defined.
- Tamoxifen increases the risk of ovarian cyst formation (15–30%).
- Hormone replacement therapy increases the frequency of unilocular ovarian cysts in women age >50 years (1)[B].
- Malignant ovarian tumors
- Lifetime risk of ovarian cancer is 1.3%, and the average age of diagnosis is 63 years.
- In children up to 14 years old, 78% of malignant ovarian tumors are germ cell tumors (2)[B].
- Risk factors for ovarian cancer include age >60 years, early menarche, late menopause, nulligravidity, infertility, endometriosis, polycystic ovary syndrome, family history of ovarian/breast/colon cancer, a personal history of breast/colon cancer, or a deleterious BRCA mutation.
- Risk for ovarian cancer is decreased in women who have used oral contraceptive pills (OCPs) for at least 5 years, are multiparous, have a history of a tubal ligation or salpingectomy, or who have breastfed.
- Limited studies show no clear evidence that fertility treatment increases the risk of a woman developing invasive ovarian cancer.
General Prevention
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Stephens, Mark B., et al., editors. "Ovarian Tumor (Benign)." 5-Minute Clinical Consult, 27th ed., Wolters Kluwer, 2019. Medicine Central, im.unboundmedicine.com/medicine/view/5-Minute-Clinical-Consult/116429/1.3/Ovarian_Tumor__Benign_.
Ovarian Tumor (Benign). In: Stephens MB, Golding J, Baldor RA, et al, eds. 5-Minute Clinical Consult. 27th ed. Wolters Kluwer; 2019. https://im.unboundmedicine.com/medicine/view/5-Minute-Clinical-Consult/116429/1.3/Ovarian_Tumor__Benign_. Accessed December 5, 2019.
Ovarian Tumor (Benign). (2019). In Stephens, M. B., Golding, J., Baldor, R. A., & Domino, F. J. (Eds.), 5-Minute Clinical Consult. Available from https://im.unboundmedicine.com/medicine/view/5-Minute-Clinical-Consult/116429/1.3/Ovarian_Tumor__Benign_
Ovarian Tumor (Benign) [Internet]. In: Stephens MB, Golding J, Baldor RA, Domino FJ, editors. 5-Minute Clinical Consult. Wolters Kluwer; 2019. [cited 2019 December 05]. Available from: https://im.unboundmedicine.com/medicine/view/5-Minute-Clinical-Consult/116429/1.3/Ovarian_Tumor__Benign_.
* Article titles in AMA citation format should be in sentence-case
TY - ELEC T1 - Ovarian Tumor (Benign) ID - 116429 ED - Stephens,Mark B, ED - Golding,Jeremy, ED - Baldor,Robert A, ED - Domino,Frank J, BT - 5-Minute Clinical Consult, Updating UR - https://im.unboundmedicine.com/medicine/view/5-Minute-Clinical-Consult/116429/1.3/Ovarian_Tumor__Benign_ PB - Wolters Kluwer ET - 27 DB - Medicine Central DP - Unbound Medicine ER -