Can You Say “Off Of The Fucking Hook”?

I knew you could! And if you can say it, you can surely imagine it.

Back in Seattle now, after a whirlwind final week in Montana, from which I’m still reeling.

Here’s the deal. The National Folk Festival touches down in a given city, spends three years there, and then is off to the next one — leaving behind its legacy: each host city is requested to keep the tradition alive even without the National’s imprimatur.

In ought-eight, the National touched down in Butte, Montana — its first stop west of the Mississippi in, if you could believe it, seventy years. In its three years there, it rocked the city almost beyond the realms of the imagination. True to its charge, Butte has kept the tradition alive, having now completed the hosting of the first-ever Montana Folk Festival.

How’d it go? See here. (And, hey, look: whereas it took me three weeks to write about Folklife, it’s only been two-and-one-half since the Montana fest. Progress!)

Saturday began at the Family stage with some righteous Detroit-based Arabesque; which band included this guy, a kanoun master from the word “go”…

Over at the Dance Pavilion, this guy played one helluva cajun squeezebox, while his voice — sung in French — was pure gold…

Still at the Dance Pavilion, this guy…

…is a flat-out GOD. A God of what, exactly…

…I’m not sure. Well, let’s just call him a God Of Fucking Awesomeness, and leave it at that:

This guy; well, how could you not love him?

While this guy…

…may be the next coming of Jim Morrison. He led a troupe of twelve (maybe more!), delivering an electrifying Haitian roots revival show (or what) that was surely one of the best performances of my three years here.

Those were Saturday’s peaks. The other sets, while very good indeed, didn’t quite live up, in my estimation, to last year’s Fest. Sunday, on the other hand, was pure mind-blowing-ness from start to finish. How do the Festival programmers do it?

Got the day rolling with some knockout Gypsy Jazz which, I assumed at the time, would be my favourite set of the weekend. Then on to some boogie-woogie blues piano, to keep the blood pumping.

Next, Riley and Ira raised the bar again with their fancy footwork…

…and, even (wait for it) fiddlesticks!

Frank London’s Klezmer Brass All-Stars then took the stage and, with the help of their outrageously charismatic vocalist…

…knocked it out of the park. (Even if the tuba player was a bit of a sourpuss.)

Couldn’t possibly get any better, could it? It could! Acadian trio Vishten overcame many soundboard issues to wow the audience at the Family Stage in what I was sure, this time, must have been the best set of the Fest.

Except! Kermit Ruffins & The BBQ Swingers closed the Fest out with a jaw-droppingly scintillating set which left the audience panting for more.

Perhaps the most incongruous sight of the Festival:

Now, who the fuck ever heard of a Chinaman playing piano in a New Orleans Jazz band? Not me! But I’ll tell you what: the son of a bitch nearly stole the show on two or three different occasions. Dude could stone-cold play!

Toward the end of the set, Kermit brought his daughter out to play piano and sing one song. After which, the audience demanded she sing another. After which, the band lit up again, while members of the band’s family came out onto the stage to help celebrate. And to help them celebrate, members of the audience climbed up on stage to get in on the act:

By the time it was said and done, the band were fifteen minutes past their scheduled end-time and still going strong; meanwhile, the emcee was bringing cans of beer out to the band-members, and goosebumps ruled the day.

Well, you probably had to be there, and blah blah blah. And you oughta be there next year. From one who was there, I can say that it was a scene of pure elation. It’s the power of music, ain’t it?

Lots and lots (and lots and lots) more pics at my Flickr page. Why don’t let’s give Kermit the last thousand words:

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Watermelon Workout Y’all!

Check this out. If you wanna get your fatass into shape (and you know you do), I’ve some totally great news. All you need to do is follow this great new workout routine. I discovered it only last month, and have since rigorously tested its seaworthiness; ’til I am now happily able to report that it works goddam famously. I call it “The Watermelon Workout” because…well, see if you can guess why.

It works like this:

First, get your fatass out of bed, and hoof it to the store.

Now, purchase a nice, workout-sized Watermelon. None o’ this personal-/mini-watermelon bullshit; I’m talkin’ a nice fifteen- to twenny-pound fruit, yo.

Then, carry it on home. (I suppose a bit of rolling would even be acceptable…but only a bit, mind!) At first, you’ll find this a right challenging endeavour — especially if you’re doing some one-armed carrying (remember to use your non-dominant arm, too, beeyatch) as well.

You’ll soon find yourself capable (not to mention daydreaming) of even more. And so you can! Indeed, this is where the fun comes in. Time to get the blood really pumping with some watermelon curls, one-armed curls, overhead lifts, behind-the-head lifts, rows — you name it. Hell, I’ve even added some throws to my routine! Be as creative as you dare! (But don’t let your walking-pace flag too much, sucka.)

Best part of all: once you and the melon have arrived safely home, you are allowed (it’s not only a workout, but free diet advice, too, y’see…) to eat it. In its entirety, even, if you like. What other workout lets you eat a frickin’ watermelon at the end? Fuckin’ none, I’ll wager!

By the way: no fair living a block (or what) from the store. Or else, use a different store to the store located a block (or what) from you household.

Oh, also by the way: killerest watermelon-opening method is as follows. Just up and drop it from on high. I mean, not from the top of the fucking Vatican or some shit; just a nice-easy waist height drop will usually do fine. You only want to crack it open; not get all David Letterman on its dimpled ass. It’s great ’cause you not only open the fucker right on up without need of locating a carving knife; but the process also acts to convert the flesh from smooth to chunky. Easy bite-sized pieces, in other words.

But is The Watermelon Workout as advertised? Fuckin’ too right it works — if you do the work. No pain, no gain, motherfucker! (I mean, don’t give yourself a hernia or nothin’…) BUT, while you’re feelin’ that burn, just always remember: delectitude (a word?) awaits!

Too bad fuckin’ Kubrick’s dead; or I’d have him do up a video of the workout, and then the World would know what this shit is all about. Also too bad that it wasn’t discovered before Wesley Willis’ passing; or head surely be alive — and thriving, to boot — down to this very day.

Well, no matter. It’s The Watermelon Workout all the same, and it’s gonna turn you from a fatass into a freakin’ herculoid!

“The Watermelon Workout” — its time has come. Your time has come.

Get your fatass into shape with The Watermelon Workout.

Its time has come.

Posted in Culture | 2 Comments

“If The Social Contract Is Broken, The People Must Revolt”

Very highly recommended: Max Keiser, in an absolute tour de force of an interview with KPFA’s Bonnie Faulkner, in the June 22nd edition of Guns And Butter.

Keiser has got to be the most annoying host, what with all the histrionics and contortions, on gawd’s green earth. But as a subject, he’s the cat’s meow: informed, enraged, lucid, and biting.

Keiser and Faulkner discuss the bailout of Greece, and subsequent protests; as well as the ongoing worldwide insurgency of what he calls “global financial terrorists” — AKA the banks and other ne’er-do-well financial institutions. (For good measure, Keiser also on occasion dips in to John Perkins‘ lexicon, using the terms “financial hit-men”, “jackals”, and the like).

Keiser also calls bullshit on the “Intellectual Property” (as with ethnic “cleansing”, I just can not, will not, shall not bring myself to write that phrase without utilisation of the scare-quotes) regime, in promoting his new venture, Pirate My Film.

But the interview, good as it is, is a bit of the trees without the forest. At no point during the hour-long, for instance, are the words “peak oil” uttered.

For that, one might listen in to Nicole “Stoneleigh” Foss’ not one, but two segments this week on the Financial Sense Newshour. Wherein, she gave her latest analysis of events — not so much different from her previous analyses, as it happens. To wit: that big old debt bubble’s gonna burst; and when it does, we’ll all be splattered but good.

Unlike most peak-oil-istas, Foss — along with her writing partner, Ilargi — gives primacy to finance as ruiner of the world economy, as she expects typical Ponzi dynamics to bite us in the ass before energy constraints do. The latter, she thinks, will prevent the resumption, after the economic dust settles, of business as usual.

Either way, ‘twould be a good time to batten one’s financial hatches and to begin to growing one’s own food.

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Mountain Daylight Time

Have arrived back in Montana for my annual late-June/early-July feast of cloud-photograph-taking, thunderstorm-reveling-in, and folk-festival attending. Just in time, this year, for the solstice: sunset tonight in Whitehall is 9:22pm — twelve minutes earlier than Seattle’s. Hilo’s, meanwhile, is (drumroll) 7:01pm.

It’s been a wet/cold spring in Whitehall, so there’s a lot of snow on the surrounding mountains, and the valley’s still quite green. Otherwise, things feel more less as usual. Oh, the mosquitoes are in all-out attack mode.

Posted in Road Trippin' | Leave a comment

Forty Years Young

Well, the fortieth annual Northwest Folklife Festival was certainly a doozy!

I’d been a mere Folklife dabbler for fifteen years or so; but after the restaurant went out of business, and I could reliably count on having Memorial Day weekend off, I became a true junkie: all day, every day. In my experience, this was the best yet.  (Not necessarily weather-wise — although the weather was so much better than had been predicted, that it’d be scandalous to complain about the rather chilly evenings.)

My method of festival attendance is to hit the ground running: attend alone (or, if not, be willing to ditch others at a moment’s notice), and see as many musical performances as possible. It means no standing in line for food, no loitering between performances, no goofing off at the fountain, etc.. (For better or worse: no doubt a great many consider the foregoing what festivals are all about.)

With thirty-minute sets, ten-minute changeovers, and (like) fourteen thousand different stages, it’s possible to see a poop-tonne of different bands. This year, for example, I recorded sixty different acts! That may not even be a personal record — although it’s probably very close to.

But four days of riding the Folklife whirlwind leaves little time to even scratch one’s dimpled ass — let alone see any forest among the trees. Then come Tuesday, it’s whump! right back into real life, can’t wait ’til next year.

Well, perhaps now I’m a jobless vagabond, I can spare the time for a few anecdotes, even if three weeks later…

But first, a public service announcement. Standing in front of the stage between sets at the Vera Project (I think this was Saturday), there were a coupla ten-year-old (or what) boys next to me. One of ’em says to me: “You’re Mickey, right?” He seemed genuinely shocked to’ve learnt that I’m in fact not Mickey. Then, right after a set at the Fountain Lawn on Monday, a lady came up to me and asked if I were “Freewill”.

So, Mickey, Freewill, if you’re out there: know that peeps is lookin’ for you.

The highlight of the Fest — and perhaps of my concert-going career – occurred early in the final set of the Women’s Voices From Bulgaria And Beyond showcase: The Verimezovi Family — a mother, father, and two daughters. This particular song featured mom and dad on vocals and gaida, respectively.

While I had immensely enjoyed the Showcase up to this point, I was wholly unprepared for the power of mom Tzvetanks’ voice; and so, when she started belting out, a huge wave of emotion swept over me. Was all I could do to keep from bawling my fool head off. Just remembering now, weeks later, is giving me chills.

I guess one’d need to hear it to believe it. So here’s my recording of the song. Enjoy! (And if it doesn’t change your life, I don’t wanna know!)

Meanwhile, Saturday Afternoon, The Vera Project, Hobosexual presented rather a side-splitting turn of events. Hobosexual are a drummer, and…

…this guy; a fucking force of nature stalking the stage like a cat on the prowl, blowing mind-melting metal riffs out of the guitar, and stepping up to the mic for the occasional howled lyric.

So during the changeover (remember, only ten minutes between bands!) he asks the sound guy to run his vocal mic through…

…this box. If you know what the fuck it does, you’re one step ahead of me. Presumably some manner of effects. Meanwhile, Hobo was busy whipping this into line…

…so wasn’t really paying attention to sound dude’s inability to get any sound out of the mic, despite his frantically attempting many different configurations. At one point, Hobo did glance over and notice that sound dude’d not finished with his task — at which he kind of smirked, and went back to his business.

Finally, sound dude, near tears, had to tell him that it wasn’t happening. Hobo just shrugged and said that if it didn’t work, no big deal. I near to peed my pants laughing…but I’ll allow that you probably had to be there.

Well, I guess that’s enough post-mortem for this year, especially considering that… Montana Folk Fest, second weekend in July …is almost here already. Be there or be square!

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