“I rely upon wild speculation. I’m not just filling in the blanks. I’m surrounded by people all the time. They’re everywhere, resonant and reverberating… and an embrace becomes a memory of being held.”—
Lynne Tillman, “Pleasure Isn’t A Pretty Picture” from This is Not It
i hate the words “resonant” and reverberate,” but i like wild speculation. a real physical sounding thing, out of control. i keep a mental catalog of all the people i pass regularly on my way to work; neighbors and mothers and the thin, middle-aged woman in blue who stands every other day on first avenue and smokes, looking sad and authentically invisible.
"I Don’t Care If There’s Cursing" — Phosphorescent
I don’t care, call me corny, but: here’s to taking it easy. I don’t care if you like me, I don’t care if you don’t. I don’t care if you fight me, I don’t care if you won’t. I don’t care if it’s tomorrow, I don’t care if it’s at all. No, no, I don’t.
Callahan: Songwriting is something that happens if you let it. There is little correlation between writing prose and writing songs for me. A song is a bed sheet used as a sail, prose is a barquentine fully-rigged.
Rumpus: What brought you to music? What is the first engagement with music that you can recall?
Callahan: I remember as a small child thinking that the fiddle in bluegrass music was a baby crying and singing. So I liked it. I thought they just brought their baby on stage with them. Bluegrass was what I first saw as a three-dimensional music—the skeleton and the organs and the skin and face. That is the first thing I remember about music, that bluegrass is like a body with joints that move and smiles, stretches, etc.
“I wanted to bring her backstage and give her a cup of tea and hold her and take care of her. And then I would have fucked her. She would have had a really great night.”—Frances McKee, on playing ATP and witnessing a young girl getting bullied in the front row by an overly eager crowd.
Isolation Ward perform their last concert in May 1983 in Brussels … The band jams throughout the summer and plays lengthy, uninhibited pieces. Unfortunately, this new direction ends up breaking the band apart. The Présence label releases a tape (Point Final) featuring those last recordings as well as another tape (Point de Départ) with the demos recorded two years earlier with Nanou.
Point Final, reissued and newly available via the always amazing LTM. key biographical footnotes include:
1979 Stéphane Willocq and Jean-Pierre Everaerts, editors of Brussels punk fanzine Isolation Ward, sell their skateboards to purchase an electric guitar and a bass.
"selling their skateboards for an electric guitar." ain’t that just right. (in your daily whimsy)
“It’s boring to just do the same thing over and over, no? Change is always good. I mean, at what point is hip-hop actually pop, industrial is new-wave, punk is no-wave, etc. It’s all music in the end and the good tracks always come from individuals; they are not genre specific.”—