10 p.m. to 11 p.m.
You have just entered room "Chat 18332356542546128501."
fred: oh man you dissed me!
andy has entered the room.
joyce has entered the room.
winnie: where's mike?
winnie: and tom?
winnie: actually i don't have tom's username
tom has entered the room.
winnie: ope, there he is
fred: welcome tom whiz bang
fred: wow 5 out of 7 not bad
tom: glad to be here.
winnie: pow thwap
winnie: or something.
tom: pop whizzz!
winnie: shit, what's that batman one that's always great
tom: I feel like Brigitte Bardot in a Gainsbourg song
winnie: i didn't have any gainsbourg on there did i?
tom: No Serge. Would you like some Serge come March 7? But actually I worked at a computer company called Whizbang and they used AIM to communicate to the Francophone drones who translated French for them.
tom: Como estas, joyce
joyce: el sucktastic. how's the err?
winnie: i almost put on 69 annees amoureuses or whatever it's called
winnie: but it was just way too hokey
joyce: (where's austin?)
tom: Ooh, no. I am working in the graduate lounge with Meg and eating some movie candy that someone left in here.
winnie: oh, and fred, i took care of that little side project
tom: I only have the gainsbourg "jazz" album.
austin has entered the room.
winnie: holy schnikeys
austin: hi tom
winnie: that's 6
fred: cool winniebago
fred: so winnie mix time
fred: who brought the milk and cookies?
austin: all here
winnie: heh. so my first -- and all important question -- is:
winnie: do lyrics matter?
winnie: even if you don't understand them?
tom: Yes, they do.
joyce: i think they do when it concerns a rendezvous dans mon sandwich
fred: i say only after you like the music
andy: no - I like LIKE lots of these songs
winnie: why, that was very holophrastic of you, andy
andy: but the only songs i LOVE - I also like the lyrics
winnie: haha. count on joyce for profundity
tom: I blushed for five minutes when I heard that song.
fred: count on joyce for profanity? ;-)
andy: mmm - holophrastic is so pacey
fred: let's talk about booger man first
winnie: um, okay.
fred: he totally totally rocks my world
joyce: hahah. yes.
austin: i'd never thought i'd say this, but it annoyed me that i didn't understand what they were singing about
fred: winnie you totally have to copy that cd for me
winnie: and he's cute too
andy: he da homme
fred: no way!
winnie: oh really...
fred: talented and beautiful??
tom: What CD was it?
winnie: and you're the techno geek
joyce: (is he like amelie man?)
fred: how unfair
winnie: the mathieu boogaerts cd
winnie: is called, lessee...
winnie: um, mathieu boogaerts 2000
austin: yeah. i'm fine with sigur ros, but i can't help but wonder about la ciment
winnie: inventive, that guy
fred: i love the way he says "sand ... wich!"
fred: this guy makes me pant pant pant and wet my pants
winnie: yeah, he totally is
andy: he has such a sweet voice
tom: I found "tu es" rather grating, though.
fred: he's totally homestar runner man
andy: and I love all the african stuff in the music
winnie: wow, not everyone can claim incontinence-inducement
winnie: or something
fred: i liked tu es
austin: how is he homestar runner?
joyce: so would you say that liking the sound of the words (although you don't understand them) would still qualify as liking the lyrics?
fred: african stuff?
winnie: (there you go w/ the pacey)
andy: yeah F - the rhythms are v. African pop
fred: i would say the sound of the words def adds to the song
austin: no to joyce
andy: and La Ciment is all Nigerian guitar stuff on the top
tom: yes to Joyce
fred: like if you listen to ani she sometimes uses really percussive consonants to great effect ... or is it affect
winnie: i'm so glad we have andy
fred: nigerian guitar??
joyce: so liking the lyrics implies a totalizing comprehension of them?
winnie: could be both
fred: ohh -- andy i hear it now
winnie: or not
andy: oh - you know - that juju stuff
winnie: is that a good thing?
fred: i def wouldn't have thought of it at first
andy: I mean -it is - French (esp. Parisian) pop has lots of african influence
andy: the old colonial days
winnie: do you feel like the french kind of sets a certain tone?
tom: Think of Chaucer, Joyce. Some of it's really rather naif and halting, but b/c it's in ME, it sounds really cute.
austin: when i say i like the music, i usually mean the semantics of the lyrics, not the phonics
winnie: in the way that diction, etc. does for poetry or whatever?
tom: I think that diction include phonetics.
andy: i like lyrics for pure sound too
andy: however . . .there's a couple of other deliberate levels which the meaning adds
winnie: it's funny cos i tried to include tons of diff stuff on this album in all diff languages
winnie: but french seemed to eclipse everything else
andy: and to dismiss all that conscious hard work on the songwriter's part
winnie: maybe i just have a predilection for the frogs
andy: is to dismiss half the song
joyce: (or just their legs)
winnie: i have to capitulate, i think -- i really like le ciment even more after having read the lyrics
winnie: (yum -- i just had them sauteed with a young garlic soup at jean georges)
austin: do you plan on sending those out?
winnie: the lyrics?
winnie: i did
winnie: or frog legs?
andy: she did do
austin: yeah, not the legs
austin: oh ok nevermind
winnie: yeah, i think it's on the yahoo board
andy: oh - sorry austin!
winnie: or alternatively, there.
andy: the french are so odd
winnie: how so?
fred: actually i was disappointed in the ciment lyrics i liked the song more before i read the lyrics
andy: I might be being patronizing - in fact I think I am
winnie: i guess i'm sort of simple-minded that way. they're pretty damn cheesy.
andy: but hearing rap in French, sounds like hearing 4 year-olds rap
winnie: haha, really?
tom: it's rather endearing.
tom: Wasn't there a 4 year old French rapper?
andy: they try so hard to be tough and American, how can you not love it
fred: yeah sort of surprising i usu like lyrics but sometimes like w/ p5 reading what they're actually saying takes away from my own idea ... like when you see a fav book turned into a movie and people don't look anything like how you
winnie: i kind of like it better than spanish rap
fred: oops how you imagined
andy: ouch - ooh
winnie: oh man, andy, you just reminded me of that single from a like 8 years ago
winnie: "c'est tres dur etre un bebe"
andy: which what?.
andy: don't remember that
winnie: it was a ridiculous pop song that sampled this kid saying that
joyce: haha i remember that
andy: oh - i gotta have it!
winnie: i totally see what you mean about the 4-year old thing though
winnie: a 4-year old named oxmo
fred: haha funny
winnie: sounds like quite a brutish little guy
andy: just in passing - the language thing is what blocks a lot of opera for me
fred: well the idea though is that even though you don't understand the words, the emotion is supposed to be in the music
winnie: the french, italian, german... or otherwise?
andy: I know!
fred: that's why opera's plots are so simple
andy: but . . .
winnie: really? i find many of them inscrutable, fred
fred: it's like dance also -- it's abstracted movement, but you're still supposed to get a feeling
andy: yeah and why arias are just "I love you'
andy: or 'I hate him"
andy: it's my own wordy hangup
tom: Actually, I find all opera/oratorio rather incomprehensible: even Handel.
tom: But i like it, though
tom: Well, Monteverdi
fred: yeah, but when you get down to it the most primitive and basic emotions are the ones that don't need words to explain them
andy: I sometimes find with Handel that the Italian ends up sounding like badly pronounced English
tom: That sounds rather awful, Fred.
fred: andy -- that was a very pithy remark
winnie: well joyce, i dunno about you
andy: and you can make up your own bizarre stories - it's kinda fun
fred: tom -- how so?
winnie: but i kind of like the "di qualita, di qualita" in barber of seville
winnie: the italian does it for me
andy: like Jamie Lee Curtis in A Fish Called Wanda?
tom: Oh, it's so terrible early Modernist-primitive crap. All teleology and exoticism
winnie: really? i agree w/ fred
winnie: that's why i took issue w/ the lyrics thing in the first place
winnie: for me, it's always music first
winnie: lyrics, verbiage, etc. later, if at all
winnie: (but i dunno if fred means it in that way)
tom: No. I agree w/ Hr. Wittgenstein: to grok the experience you need to put words to it. One can say that the music has "its own language" but still that language is culturally conditioned
fred: winnie -- i thought you were saying you hardly ever listen to lyrics. i think music first but lyrics are what clinches it for me
winnie: oh really?
winnie: both actually
tom: Think about Noh. It is Noh, right?
andy: what about music which arises from the literature though?
winnie: michael valentine
andy: how bout Schubert?
winnie: stranger in a strange land
joyce: tom, what the hell is grok?
winnie: i think of them separately
tom: yes, grok. "you couldn't grok my race car/ but you loved the roadside blur." Am I misusing language
fred: i think i lost the thread of this conversation ... how many conversations are currently going on?
andy: grok is the inverse of korg
tom: understand, encapsulate
winnie: grok is from _stranger in a strange land_
winnie: by what's his face
tom: it used to be jargon and now it's not.
andy: I have 12 inside my head
tom: that guy
andy: none of which I'm following
andy: how about the mix?
joyce: (kind of like deck?)
tom: or patois, used by fans of the book
winnie: yes, so how bout it?
austin: haha so how about the mix
andy: well - why not
tom: (you're so fin)
andy: I loved it - or
andy: if you prefer Winnie
andy: la la la la la
winnie: yeah, so was anyone disappointed
winnie: you're funny andy
andy: yeah yeah
winnie: but i have no tune! no melody!
winnie: no sequence of pitches
joyce: (can you burn me the amelie soundtrack?)
winnie: no rhythm
joyce: i loved it aussi.
winnie: (it's funny how language lets you communicate on so many levels)
winnie: (or 2)
winnie: disappointed that there was no edith piaf
austin: how many levels does music have
joyce: wait, one last question about booger
winnie: (there wasn't, was there? i don't remember)
andy: there was
winnie: i dunno if i think of levels in musi
joyce: who is someone similar to him in the american scene in terms of popularity?
andy: oh - sorry - forget it
austin: layers? what?
winnie: i feel like it's a big mesh like structure that i sort of just smoosh into
winnie: or osmething.
winnie: ummm a happy elliot smith?
winnie: i think les inrockuptibles calls him "minimalist rock" but i think that's rather a misnomer
winnie: yeah, layers, sorry
austin: sorry who's les inrockuptibles?
winnie: it's this french music rag
winnie: the frog equivalent of rolling stone
austin: rolling stone translation
andy: where did you find this stuff Winnie?
austin: why la vie en rose?
andy: just snooping around Nice?
winnie: the boogaerts i'd found before
winnie: (see email)
andy: all of it - Booger, kinky, P. Combo
andy: ah har
andy: I have been remiss
winnie: but i looked for it in france cos i loved everything of his that i'd heard
winnie: paris combo i heard about from my friend ryan
winnie: who was going to go to a show in nyc when they were touring the states
andy: why does 'bran van 3000' ring a big fat bell?
winnie: they're pretty big in france, but not in the boyband-kinda-way
andy: isn't there a Canadian band with a imilar name?
tom: They were "driving around la" or something.
winnie: the very same
tom: weren't they?
tom: hmm. I have to go.
winnie: um, the other stuff i just found by association
winnie: okay, nice talking to you tom
tom: Winnie, should I send you my profound reflections over e-mail? I promise, no philsophers.
winnie: send em to the group
tom: It was really a nice mix. I have pleasant things to say.
andy: bye Tom, and hi Tom
andy: in the other order
winnie: i'd like to hear what you think about the other as well
tom: understood. g'bye.
andy: yeah we all gotsta see them
winnie: right then
austin: bye tom, should we move onto the second mix
joyce: later tom
tom: Oh, well then I'll suppress the nasty things I was going to say about Joyce. Bye
winnie: that's okay
joyce: bring it.
austin: love the name of the mix
winnie: we all say nasty things about joyce
tom has left the room.
winnie: which one? the second?
winnie: really? or are you making fun of me?
andy: I just love love love Boum
winnie: tim is always saying "rock out with yer cock out"
andy: before we leave this mix
winnie: did you know it before?
andy: and Winnie - do you know the Jacques Tati movies?
andy: I did
winnie: i know of them
austin: no and no. depending on what you're referring ot
winnie: but i haven't gotten around to them on the ol' netflix queue yet
fred: rock out w/ your cock out?? is that tim's pickup line??
andy: oh - mama - you'll love them
winnie: oh, i was referring to 'boum'
andy: I think
winnie: no, you guys haven't heard that?
winnie: it's how he describes a good day at work
fred: i wanna work where he works
winnie: i'm sure i would
winnie: didn't he do some movie about a kid?
winnie: or a bunch of kids?
winnie: maybe i have... oh wait, that was italian.
joyce: (did he do small change?)
winnie: you & fred should totally watch "toto le hero"
winnie: yes, that's what i'm thinking of
winnie: (but i haven't seen it)
winnie: (are there kids?)
joyce: (i just remember the part where the kid falls out the window saying 'minou')
fred: (what does minou mean?)
winnie: oh, i think you were telling me about that movie
fred: (why are we whispering?)
andy: it's a cat name, like 'Puss'
austin: boum sounds like lots of sound effects. where does he work
winnie: it's sooooooo great, those sound effects, in 'toto'
winnie: that's def one of my all-time fav french movies
winnie: (which has a very post-wwii feel)
austin: flic flac boum boum maa
fred: oh i think you told me about it once winnie
winnie: yeah, probably
joyce: wait are we talking about boum the band or the movie?
winnie: what band?
winnie: and speaking of boum, there's always the movie, "la boum"
joyce: not sure. this isn't la boum, is it? the one w/ sophie marceau
joyce: oh okay
winnie: toto le hero
joyce: (small change was directed by truffaut, not tati)
winnie: have we left this first mix unresolved?
winnie: let's move onto the next one
fred: i'd like to say more stuff about emotion in music but i'll send an email
winnie: ? hello? yes no?
andy: say it
winnie: well whatever you like
fred: re the second mix i didn't like it as much as your first indie mix
winnie: yeah, just say it
fred: not sure why
austin: it's hard to talk about the nitty gritty of the music and talk about the importance of lyrics in general
winnie: yeah, i'm not sure why either
winnie: cos i like it as much
winnie: but then again, i made it
joyce: what made you split it up the second mix?
joyce: oops. split up.
winnie: what do you mean?
joyce: parenthetical styrofoam
joyce: oh shit
joyce: i'm a dumbass
joyce: strike that
andy: hey Joyce - two good names for bands in a row!
fred: split up as in do two cds instead of one?
andy: oh - maybe three!!
austin: which album is that supergrass song from? it's soo mellow cheerful for supergrass
winnie: well fred, was it maybe that there weren't tracks that you particularly liked in this mix?
winnie: it's from the les inrocks compilation
fred: i think more songs were rocky on this cd
fred: but i might be wrong
andy: that damn SuperG song haunbted my dreams the other night
winnie: (i sort of cheated, using both the booger and supergrass tracks)
winnie: yeah, maybe
austin: haha how did a song haunt you
andy: every frickin dream ended with it, and I woke up on the hour all night long
fred: or maybe i was just in a bad mood when i listened to this last
winnie: i think the y^3 track on the first was the rockingest
andy: singing the opening
winnie: wow, that's...scary?
winnie: did anyone like it better than the first?
fred: what's wrong w/ booger and superg?
joyce: ah, but was it the lyrics or the melody which haunted you, andy?
winnie: did anyone like the white stripes track better here?
andy: well - it was . . .exhausting, but the song is kind of droopy too
andy: no no no
andy: prefer the other one
andy: and I'm done with that one too
winnie: i thought the other one annoyed you
winnie: or maybe that was fred
andy: it does!
fred: i really didn't like the first one, this one is slightly better
andy: well - I loved it once, liked it twice . . .etc.
fred: exponential decay?
andy: i think they're kind of ordinary
fred: i think they're annoying
winnie: my housemate uncontrollably starts headbanging as soon as she hears the opening bars
winnie: or "starts uncontrollably"
winnie: yeah, sort of
fred: i'm trying to think of something profound to say about this cd ... how about this would most of these songs be classified as indie?
winnie: okay, does anyone LIKE any of it?
andy: oh yes - lots
winnie: yes, except for the daedalus, i think
joyce: why'd you stick 7&8 in the middle?
andy: it's oddly patchy for me though
fred: i think i'm getting sort of tired of the indie sound
andy: I really like the first Walkmen track
winnie: i dunno. i don't think they belong near the beginning
andy: and really don't like the second one
winnie: i think i would normally put 7 or 8 in the bottom third
andy: love 7
winnie: but i wanted some of the last tracks, well, last
andy: and 6
joyce: ditto. that's why i was surprised to hear it in the middle
andy: and 4
joyce: but maybe that's why you did it
andy: from 9 on doesn't speak to me
winnie: really? i love 15
winnie: not even 16? that's kind of a fun one
winnie: they're totally deck right now too
fred: on deck?
andy: 16 is okay, but that 15 guy . . I wanna punch him in the face
fred: such violence!
winnie: no kidding. i'm rather frightened.
austin: what's the hipster word for dork?
fred: why's he so annoying?
andy: it's so sloppy
winnie: and what's a 424, anyway?
winnie: but isn't sloppy sort of an indie thing?
winnie: or maybe i'm confusing lo-fi with sloppy
andy: yeah - it doesn't usually appeal to me
winnie: or garage
winnie: or something
joyce: i wonder if it's hard to keep one clear thread going for 16 or however many tracks?
winnie: no, i don't think so
winnie: my problem is always trying to mix it up
andy: i think it is, Joyce . . putting together an album is harder than we thought!
winnie: i tend to gravitate to the same-sounding stuff
austin: and we all do it differently
joyce: bc inevitably i find myself just listening to the tracks i like, making my own mix
winnie: i mean, alot of the stuff that's popping up now that'll probably end up on my next mix could have gone on this one
winnie: or the first
andy: I try not to - but I end up doing exactly that
fred: hey winnie -- on the first cd did you consciously pick songs w/ good pop hooks? maybe that's why i didn't like this one so much ... they sort of ramble and don't go anywhere for me
winnie: i guess that's why these are MY creations. they're two of the only cds i DON'T skip around in regularly
winnie: really? i think alot of these are pop-hooky too
winnie: the first one came together, and then i picked the title
winnie: cos they all happened to be poppy
austin: just answered by question. i do the same thing. i pick the songs, then try to rationalise it
winnie: this foreign language one was difficult b/c the theme came first
winnie: yeah, it probably works better for someone w/ a rational mind (you, not me)
fred: i think when we first heard it andy and i thought tr2 reminded us strongly of another song -- anyone else?
winnie: i guess i also consciously try to incorporate stuff that i come across here
fred: here? ny?
andy: yeah - it reminds me of a number of things
fred: heh. you're our link to the big apple
andy: the only one I've been able to pin down so far
andy: is an old Chicago track
fred: oh really?
winnie: something like that
andy: '25 or 6 to 4' , or something
andy: "waiting for the break of day"
andy: woo woo (trombones)
winnie: does anyone know what the 424 thing is? (regardless of whether you like the track or not)
andy: but I like this about Supergrass - they just sweep up all the crumbs of British pop
andy: and make a new album with them
fred: well 420 is a word for marijuana
winnie: hey, someone's gotta do it
winnie: ummmm no, i don't think that's related
andy: i know - and so many crumbs!
winnie: andy, you're hilarious today
winnie: (as always)
winnie: what about bright eyes?
winnie: he's the critics' darling
winnie: but i've had difficulty liking him
winnie: kind of one reason why i put this track on
winnie: to persuade myself into liking him more
andy: oh yes - he's that geeky geezer from nebraska or sumoin
winnie: conor oberst
winnie: he also fronts desaparecidos
joyce: first google hit for 424: application # for federal assistance
andy: right - the "new dylan" or so we are told
winnie: oh yes
winnie: i'm trying my best to be told
winnie: but resisting
andy: I'm resistant aussi
winnie: i kind of like his titles
winnie: "you will. you? will. you? will. you? will"
winnie: "let's not shit ourselves (to love and be loved)"
joyce: his stringent parts remind me of your next track after it
winnie: "a line aloows progress, a circle does not"
winnie: he's a regular fortune cookie!
joyce: (reason for contingency?)
winnie: oh man, i love that sleater-kinney track
andy: odd - I really like the first Walmen, the first Sleater-Kinney and the first AA Set
andy: and I really dislike the second from each of them
andy: words and guitars is just wonderful
winnie: really dislike?
winnie: i love that one as well
andy: yeah - I don't like the Go-Go's sound
andy: or is the Bangles?
winnie: hmm. okay
andy: I like S-K all punky and angry
winnie: i def prefer the first walkmen to the second
winnie: no thoughts on the badly drawn boy sdtrk?
andy: it's a great start to the mix Winnie
joyce: i gotta run. good mixes, winnie.
winnie: not sdtrk
andy: tata Joyce
joyce: adios dudes.
joyce has left the room.
winnie: see you stinky
austin: what's the story behind 7?
andy: LA - alone in his room
andy: it's good isn't it?
winnie: how do you mean?
winnie: i like how it's sort of an analogue of the amelie instrumental track in the first mix
andy: ha - hadn't thought of that - but yes :-)
andy: a little downtime in the middle
fred: oh mike says he can't make it
winnie: yes, if there's one thing that ties my mixes together, it's the sound of typing
austin: the only non indie song. why did you choose it
fred: the sound of typing? i hadn't noticed
winnie: yeah, i wrestled w/ that one for a while (maybe 5 minutes)
winnie: i can't resist including something i really dig, even if it doesn't really fit properly
andy: it works tho
austin: i agree. but i usually make up some excuse for it. what do you mean by sound of typing
winnie: am i the only one who hears typing in both tracks?
winnie: oh haha, i even put them both as #7
winnie: that was totally unconscious
winnie: 7 is a typewriter
winnie: oops on the first mix
andy: dude it's spooky
winnie: and the mashnote one is a computer typing
winnie: are you making fun of me?
andy: no - i love synchronicity
winnie: isn't it typing?!
austin: yeah i hear it now. deck
winnie: someone agree w/ me here
winnie: oh good.
andy: i agree
andy: I hear it
andy: I hadn't heard queens of the sa before
andy: and expected something gutsier . . . is this track typical?
winnie: they're also pretty hot over in the big a
fred: shall we start wrapping it up? any parting shots?
winnie: no, it's not
austin: it'd be quite fun to make a pair of mixes and have people guess the connection between them
winnie: they're definitely much louder and rocking-er
andy: that's the impression i'd gotten
andy: yeah F - I'm burned out
winnie: me too
andy: lovely two mixes W - esp the Booger mix
fred: okay tty guys laterrrr
austin: good mixes, esp the first
austin: aight. time to go pick favourites
winnie: thanks again. later guys
andy: arrividerchi Roma
andy has left the room.
winnie has left the room.
austin has left the room