chickfactor fanzine was founded 30 years ago by Pam Berry & Gail O’Hara (in DC/NY) and we are celebrating by having some parties in New York! We are so excited to have a friend-reunion and see all these rad bands play!
October 6 at the Frying Pan The Aluminum Group Jim Ruiz Set Dump Girl Scout Handbook + DJs Stephin Merritt & Gaylord Fields Vegan options in the restaurant, nautical photo ops and portraits and other fun stuff! Get tickets
The Aluminum Group are the brothers John and Frank Navin of Chicago and Detroit, who recently released a wonderful new album. John says of this event: “Our performance is very audience interactive. We start with a brief demonstration and teach attendees how to make paper laurel necklaces, then we sing 5 new songs. Show a new short film by Frankie. Then sing sing 5 more songs from the new record, then encore with a new unreleased song from our next record, called ‘Punch The Lights Out Of This Crazy World.’”
Jim Ruiz Set Led by the Legendary Jim Ruiz (guitar, vocals), the set also features Emily Ruiz (drums, vocals), Mike Crabtree (lead guitar) and Charlotte Crabtree (bass, vocals). The Twin Cities outfit has been playing CF events since the olden days and never ever disappoints.
Dump Brooklyn’s James McNew is the force of nature behind Dump, which was interviewed in Chickfactor 8 back in 1994. Some of you may have heard of his other band, Condo Fucks. We are pretty sure that he will be playing solo tonight and that this is the only Dump show happening anywhere in 2022.
Girl Scout Handbook Girl Scout Handbook was formed by Brooklyn high school student Beatrix Madell, an avid musician and music fan. The band is technically 5 people, Madell, another guitar player, a drummer, a trumpet player, and a keyboard player. They will be doing a set of covers for tonight’s show!
Sat. Oct. 8:
Seablite is a four-piece pop band from San Francisco inspired by 80s/90s indie and shoegaze. In June 2019, Seablite’s LP debut, Grass Stains and Novocaine was released by Emotional Response, garnering domestic and international praise. They’ve since released a 10″ EP, High-Rise Mannequins (2020) and most recently their new single, Breadcrumbs c/w Ink Bleeds (2022). Seablite are back in the studio recording their sophomore LP and looking forward to what the upcoming year will bring. East Coast/NYC debut!
Artsickis an indiepop band from Oakland/Seaside, California, consisting of Christina Riley (Burnt Palms/Boyracer) on guitar and vocals, Mario Hernandez (Kids On A Crime Spree, Ciao Bella) on drums and Donna McKean (Lunchbox/Hard Left) on bass. They formed in 2018 and released a 7” inch single, followed by their debut album “Fingers Crossed,” on Slumberland Records. East Coast/NYC debut!
Jeanines specialize in ultra-short bursts of energetic but melancholy minor-key pop. With influences that run deep into the most crucial tributaries of DIY pop — Messthethics, the Television Personalities, Marine Girls, early Pastels, Dolly Mixture — they’ve crafted a style that is as individual as it is just plain pleasurable. Alicia Jeanine’s pure, unaffected voice muses wistfully on the illusions of time, while My Teenage Stride/Mick Trouble mastermind Jed Smith’s frantic Motown-esque drumming and inventive bass playing provide a thrilling rhythmic foundation.
Gary Olson OG Brooklynite Gary Olson is best known as the leader and founding member of The Ladybug Transistor, but he made a wonderful solo record in 2020 as well, and has collaborated with many bands including the Aislers Set. He also runs a famous studio in Brooklyn called Marlborough Farms, and will be playing as a duo tonight.
It’s that time of year again, friends! Time to open your wallets and throw some cash at WFMU to keep the best radio station ever fully operating! This coming Saturday, March 13, join Gaylord Fields and Todd Abramson when they host Yo La Tengo, who show up once a year to play your requests on demand (when you make a pledge of course!) We have known the sharply dressed, smart, funny Gaylord since the mid-1990s, when we met and realized we both had the best (kinda similar) taste in music and we were both copy editors! In recent years he’s been a regular MC at many chickfactor events and we love his radio show on WFMU. We caught up with him to see how he’s been handling COVIDtime and got the scoop. Interview by Gail O’Hara
chickfactor: How are you holding up? gaylord fields: I’m shocked at how my typical non-Pollyanna brand of optimism has been tested but has withstood the ordeals we’ve been through both with the pandemic and the sociopolitical reckonings of 2020–21, both in the US and throughout the world. If I can survive the worst year I ever lived through, with 2016–19 taking the other four spaces in that ignominious top five, with my head aloft, I can count myself fortunate.
How has your life changed during the COVID time? Between the forced-upon-me sedentary lifestyle and my recovery from the major back surgery I had last year to correct a crippling spinal disorder that left me bedridden for two months, I underwent a drastic redistribution of my body mass. So now I have a personal trainer who tortures me via Zoom. My brain is slowly learning to accept exercise as not being futile, but it isn’t doing it quickly enough for my liking.
Also, I learned that if you’re going to be stuck in bed for months at a time, it’s best to do it when there is literally nothing going on to get all FOMO about.
Have you been vaxxed? Yesterday I received my second dose of the Moderna — a.k.a. the Dolly Parton — vaccine. Here on day two, I thought I had escaped any adverse side effects, but an hour ago I was shivering under a duvet, a flannel sheet, and an Irish knit sweater! And now I’m sweating and fanning myself from the heat! I could not be happier.
What music/film/art/books/snacks have gotten you through the pandemic? My current “wow” group is Sault, a mysterious Afrocentric British R&B collective that released two of my favorite albums of 2020, Untitled (Black Is) and Untitled (Rise).
The last film I watched was Coming 2 America, which was pleasant enough for revisiting characters I liked in the original, mostly the secondary ones played by Eddie Murphy under pounds of latex. The last film I thoroughly enjoyed was during a socially distant trip to a Pennsylvania drive-in this past summer to view Rock ’n’ Roll High School. Worth the price of admission alone just to see Joey Ramone invent mumblecore. Fun fact: PJ Soles, who starred as high school student Riff Randell, was older than three of the four Ramones.
As for art, I allowed myself a rare museum trip to the Whitney, where I marveled at the video of Alexander Calder at play gleefully manipulating his magical Cirque Calder. There’s also a Calder exhibition opening at MoMA at just the time when I’ll be pronounced 100% vaccinated.
I just started reading Margo Jefferson’s Negroland, because I’m fascinated by an American Black upper class I knew practically nothing about as a product of the Black working class.
You didn’t ask about TV, but I watch a lot of 1960s and ’70s detective shows, such as Naked City and Cannon, respectively, because there is no story arc or even a B-story to be found.
Thanks to the fine people at the employee-owned King Arthur Baking Company, I got into baking doughnuts, until my carb loading while doing the opposite of running a marathon made my blood sugar levels rise — hence the dreaded Zoom personal trainer.
How long have you been at WFMU? How did you get involved? I did my first program in August of 1992, so my 29th year will be swiftly approaching. I’m trying to reckon if perhaps 30 years is enough, but I have made no concrete decision about my radio future either way. I got my start early in ’92, when I was discovered by the WFMU music director at the time, David Newgarden, whilst I was DJing a show at Maxwell’s at the request of headliners Yo La Tengo. I guess I was making some oddball musical choices, because several WFMU DJs that night recognized me as one of them, just like in the movie Freaks, but to an arguably more positive and definitely less tar-and-feathery outcome.
How important is the marathon to keeping the station going? The two-week-long WFMU Fundraising Marathon is by far the primary source of the station’s operating budget, as we steadfastly maintain our stance of airing no commercials or underwriting, and accepting no money with strings attached. We’ve seen too many other stations compromise their way to irrelevance once they began answering to anything but their own individual tastes and whims. We refuse to put on such a straitjacket. I think that’s a thing worthy of support.
What are your favorite shows on the station right now? And in the past? There are way too many favorites for me to list, especially now that we have three Web-only streams as well as the broadcast station proper. Also, I wouldn’t feel comfortable singling out some of those favorite shows and colleagues while slighting others. But to name just one out of many fabulous former programs that I enjoyed in the past, I really miss The Radio Thrift Shop, a country-leaning show hosted by the lovely and talented singer-songwriter and chickfactor 25 performer Laura Cantrell.
Tell us how long Yo La Tengo has been doing their marathon duties? What are some of the most memorable performances/covers of theirs? I had a thought that the band’s first appearance might have been 1997, but I recently checked with Ira Kaplan, who makes the persuasive case that it was 1996. If I take his word as gospel, that marks this year as the 25th anniversary of this wonderful WFMU tradition. For the past few years, former Maxwell’s impresario Todd Abramson, a.k.a. WFMU DJ Todd-o-phonic Todd, has been hosting them, and me, on his three-hour show instead of the band being forced to curtail their appearance during my inadequate for the task two-hour program. This also makes it a bit of a homecoming, as Todd, Ira, Georgia Hubley, and I shared a Hoboken home during the late ’80s and early ’90s.
In a quarter century, there have been too many renditions to recall, but I swooned mightily a couple of years ago when James lent his golden high tenor to bring forth a gorgeous version of Lois’s “Shy Town.” And they also memorably performed “Outdoor Miner,” by Wire, which is a shade less than three minutes — or less than two if you prefer the LP version — of left-field pop bliss.
How long have you known them? In what capacity? I knew who Georgia and Ira were from seeing Yo La Tengo perform here and there, and from the copy of Ride the Tiger I picked up at Pier Platters, but we didn’t become actual friends until early 1987, when I was invited by Todd to take over the biggest bedroom in the house the three of them lived in, and they are to this day three of my favorite people ever. Much later, I met James McNew when he completed the trio, and what’s not to love about him?
Can you tell us any stories from the early days of Maxwell’s? One of the first times I went to Maxwell’s, in the early ’80s, the band A Worrying Thing opened for the group I actually wanted to see, namely the Cyclones. I preferred that first band in their later incarnation when they renamed themselves after an apocryphal tale concerning the 1962 New York Mets and a three-word Spanish phrase. I also once saw rockabilly behemoth Sleepy La Beef go into the kitchen and chug-a-lug a carafe of hot black coffee, then clamber onstage to play his oversized heart out for hours.
Do you have any favorite memories of their Hanukkah shows? Forgive me for making this first memory about my own participation, but one of my happiest moments on a stage ever was sharing the one at Maxwell’s with Lois to perform an unrehearsed comic deconstruction of “Je T’aime (Moi Non Plus)” as an encore. Performing with her was a dream I never imagined would become real. Also, I must say that any time the Sun Ra Arkestra, featuring the ageless Marshall Allen, are part of the onstage Hanukkah celebration, as they were last in 2019 at the Bowery Ballroom, it’s a transcendental moment. Next would be seeing the late and great Neil Innes perform Rutles songs, backed by a worshipful Yo La Tengo in the roles of Dirk, Stig, and Barry, again at Maxwell’s.
Do you have any beloved memories from chickfactor shows? Every chickfactor show has been a reunion of sorts of lovely people I have not seen in a long time, sometimes in decades. It thrills me that the chickfactor community is not something people age out of, although many of us started off not quite fully formed when we entered this special world.
As for a personal MC memory, I recall at the Bell House in Brooklyn when I divided the audience as well as the performers into two gangs: One group I dubbed Team Horizontal Stripes, and the other was Team Gingham Checks (my own posse, membership duly marked by the lilac gingham shirt I was sporting). I may have had Lois on my ginghamed side, but we were up against the striped likes of Small Factory’s Phoebe Summersquash. No one was harmed, all were delighted. It was a chickfactor event, after all.
Another was when Sukhdev Sandhu, Tae Won Yu, and I held a meeting of what I cheekily called the “chickfactor men of color” in the Bell House’s automatic photo booth.
Then there was the London chickfactor 25 show at the lovely Lexington in my home away from home, Islington, when Cathy Rogers of Heavenly, Marine Research, and, evidently, Junkyard Wars fame, approached me after one of my typically freewheeling and off-the-cuff announcements and said, “I never have any idea where you’re going with these introductions, and somehow you pull it all together at the end!” I told Cathy that if I’ve learned anything from watching gymnasts, it’s that you can perform any sort of mad gyrations and twists and turns, as long as you stick the landing at the end.
What were your most treasured purchases from Pier Platters or Other Music? Thanks to recommendations by my longtime dear friend Katie Gentile, who was working her way through grad school as a Pier Platters clerk, I own all the early Bus Stop Label 45s, mostly seemingly recorded by different permutations of Ric Menck and Paul Chastain. I also did all of my Sarah shopping there, whenever one of those precious discs would somehow wend its way from Bristol to Hoboken. I also have many, many cherished releases put out by Flying Nun, such as the three Look Blue Go Purple EPs, as Pier Platters — where I was later a clerk myself — had the most comprehensive New Zealand indie collection on the East Coast, and possibly in all of North America. But the most valuable thing I have from Pier Platters is its distinctive handmade swirly open/closed sign, which Bill the store proprietor let me take home on the store’s final day.
I had such good luck in the cheap 45 bins at Other Music that it mentally allowed me to go extravagant on some of the store’s pricier imports, such as the Tom Zé reissues imported from Brazil.
Do you have a current favorite record store? Online one? I rarely visited local record stores, even pre-lockdown, as the pickings are slim in New York, and my usual vacation forays into shops have obviously been curtailed. But the last local record store I visited pre-lockdown was the Greenpoint, Brooklyn, outpost of Academy Records. I will correct my lack of local shopping once I’m comfortable to do so again, and look forward to crossing two rivers to get to such Brooklyn shops as Earwax, Rebel Rouser, and Captured Tracks, to name just a few.
Online, I use Discogs to find mostly old and rare 45s, and I still patronize Dusty Groove, especially for my Brazilian musical needs.
Do you listen to any podcasts? When I actually went into an office pre-lockdown, I used to walk to the train station listening to John McWhorter’s Lexicon Valley language podcast — love his linguistics work; not as big a fan of his politics, but they never intrude. I guess I could consider him the William Safire of the 21st century in that regard. Nowadays, the only podcast I listen to is called Nothing Is Real, and you can guess by the name that it’s Beatles-related. The two Irish hosts go deep into the Fab Four’s careers, both as a group and solo, yet in a way that isn’t old hat or slobberingly hagiographical.
What is a Melody Dad? My late friend Trevor Jenkins, who was a composer of production music in his native London, referred to me as such with regard to my show’s embrace of melodic components, and it is an honor I wear proudly. I was quite chuffed that someone who wrote melodies as a career thought I had a keen ear for picking out and combining indelible ones for interesting effect. I always listen to my air checks post-show, but I have yet to re-listen to the one I programmed in his memory a couple of years ago. It’s still too soon, too raw.
I know your wife is involved in helping animals. Is there a place folks can donate to help her out? Kathleen is the director of community cat education for the NYC Feral Cat Initiative, which recently partnered with the longtime animal welfare nonprofit Bideawee. So if you would like to support community cats by donating to help fund programs such as Trap-Neuter-Return and shelter-building seminars, here is the place to do it.
What are you going to do when we are all vaxxed and are given a green light to be free? Because I’m now set up to work remotely, once it’s absolutely safe to do so, I plan to couch surf in L.A. for a few weeks and get caught up with all my friends on that coast. A side trip to my beloved Palm Springs may also be in the offing.
I’d also like to visit the chickfactor editrix now that she lives in the same time zone as I do.
Any other news about you or WFMU? WFMU is unparalleled in its diversity of programming, but recently we had a bit of a reckoning about its somewhat less diverse roster of actual programmers. As such, we’ve enacted internal programs to make the station more inviting to BIPOC and other marginalized groups. Within the past year, the on-air staff has become more representative of our community and our nation than ever, but we can’t rest on our laurels, as this is an ongoing struggle.
Also, this past summer I joined the station’s board of directors, and as proud as I am to take on such an important role for a radio station I love and believe in, I never saw myself as boardroom material beforehand. Mind you, WFMU is far from corporate, but this is real grownup stuff nonetheless. I promise to take on this role with the utmost seriousness, whatever that word means relative to WFMU.
Will you MC some shows at chickfactor 30 (gasp!) in 2022? Try and stop me, Gail! I have a travel budget burning a hole in my Venmo account! Have quirky MCing style, will travel!
Thank you, Gail, for interviewing me, and I hope to see everyone everywhere during chickfactor 30.
Thank you, Gaylord!
Tune in to WFMU on Saturday, March 13 at 3 pm EST to hear Gaylord, Todd and Yo La Tengo!
Noise in hallway: can now identify every person in building by sound of their footsteps
Noise in car: alternator/ serpentine belt
Noise in toilet: fill valve
Noise from outside #4: fireworks (all summer, every night)
Noise from outside #3: maskless rich drunk asshole neighbors partying and blasting music in their well-appointed backyards at 2am (May–September)
Noise from outside #2: sirens (March–June: ambulances; June–December: cops)
Noise from outside #1: one minute of applause/noisemaking at 7pm daily, in appreciation of essential workers; said appreciation ended promptly June 1. More than one person within earshot has (= shouldn’t have) a trombone.
Stephen McRobbie (Pastels, Geographic, Monorail)
1. One of the best best things about 2020 for me was starting to see Glasgow in a slightly different way, one in which the river is the essential part. In May I started cycling to work on a daily basis along the Clyde, rediscovering landmarks that I had loved and forgotten and new ones too. It was a time of dramatic change and sometimes cycling slowly home or stopping off to examine something was the best way to find some perspective on what was going on and to feel hopeful that in the end there would be a way through.
2. Music was incredible in 2020. Not us so much us, in fact we didn’t play together at all. At the start of the year I thought I had three strong ideas for new songs. At the end of the year I had what I still felt were three strong ideas for new songs. So it was more a year of archive things. It was really nice to finally release two songs from a 1997 John Peel Session – “Advice To The Graduate” and “Ship To Shore” on a 7”. “Advice To The Graduate” is of course a David Berman song – thought about him often.
3. Music was incredible in 2020. Really fell for the Cindy album, Free Advice. It just had real confidence about playing softly and being there but not fighting for your attention or anything. And it opened up a scene of other groups via a mix cd… Present Electric, Reds, Pinks & Purples, Hectorine. It felt new but also existed in the spaces between Galaxie 500, Yo La Tengo, Movietone and various Flying Nun groups. There are always spaces, you can always make something new.
4. So many other great records came out. Amazingly Plone came back with Puzzlewood for Ghost Box, and by now more or less working from home, I’d lots of time to write about it for Monorail. It was a really fabulous return, so unexpected, I was often smiling their tunes as I cycled along.
5. The Jarv Is record was amazing too – he somehow managed to make it of the times but above or at least to the side of them too. I interviewed him on the day it came out. He said that when he was researching stories for This Day In History on his Sunday Service he realised that most news stories at any time are bad news and this had given him a bit of perspective on things. His group just now is dynamite.
6. As if that wasn’t enough he ran his Domestic Disco on Saturday nights for a large part of the year. These were magical (Jarvis is a great dj) and ok, maybe a little drunken at certain points. Along with Tim Burgess’s Tim’s Twitter Listening Parties and various BBC6 shows especially Gideon Coe, something similar to going out to shows was always there. We always felt we were part of a great community.
7. Great songs belatedly dropped out of the seeming nowhere. That Dump single, “Feelings 1 & 2” is so special. I got a preview of a new Johnny record (all Joe Meek songs) performed with a super lightness of touch and sheer pop joy by Norman Blake and Euros Childs. People are going to love this record.
8. I was working on various archival projects I thought I could close out but didn’t – Strawberry Switchblade, Pastels, a Glasgow music comp. I did manage to make a fanzine called Yesterday Was Another Day, Glasgow 1979-82 to coincide with the reissue of The Bluebells Sisters album. It was a collaboration with the group and my friend, Musho Fernandez, who is a great graphic designer. Felt a real sense of pride about how it turned out.
9. The more I think about it the more I realise that music more or less got me through 2020. It seemed deeper than ever with so much music – Jon Brooks, Robert Lippok, Andrew Wasylyk, Tenniscoats, Bridget St John, Stereolab, Broadcast, Movietone, Brian Eno. In the kitchen Katrina and I listened to lots of mix cds, probably the most played being one that Gerard made for the Monorail Film Club night we used to have at the Glasgow Film Theatre.
10. Steve McQueen’s Small Axe series was important and righteous. It was beautifully made too. Janet Kay’s “Silly Games” from the Lovers Rock episode became an absolute obsession. There are so many Janet Kay Top Of The Pops appearances on Youtube (a couple even with the great Dennis Bovell who wrote and produced it). Still not enough, song of the year, music of the year. Fight on.
Like many of us, I’m sure, I needed a mental break from the horrors of 2020, and books have always served as a trusty escape hatch. So, here’s a random sampling of ten that I happened to read last year. Just to be clear, this isn’t a list of “Best Books of 2020” or even my personal “Top Ten.” As you’ll see below, several of them didn’t even come out this year, and one of them I didn’t even really like! Just ten random books. Here ya go.
• When No One is Watching by Alyssa Cole (2020, Harper Collins) Described in the press release as “Rear Window meets Get Out” — and I legit thought “this is so Hitchcock-ian” while reading it — When No One is Watching is the gripping tale of a fictional Brooklyn neighborhood on the brink of gentrification… but there seems to be something even more insidious at play. I found this book breathtaking, and I consumed it in less than two days. And during a year of relentless (and disheartening) racial unrest, this book was even more powerful and unsettling.
• Earthlings by Sayaka Murata (2020, Grove Press) I loved Murata’s 2016 novel Convenience Store Woman, so I was excited to get my hands on her latest. That said, WHOA, this was nothing like that charming tale of a small store clerk; Earthlings has abuse, violence, incest, cannibalism, and more, all crammed into less than 300 pages. This was another one of those books that was just exhilaratingly engrossing, and the ending was such a smart surprise. I can’t say I “recommend it,” per se, but I’ll just say, it sure as heck was a page-turner.
• Wow, No Thank You. by Samantha Irby (2020, Vintage) Discovering comedic essayist Samantha Irby was one of the very few bright spots of 2020. I somehow stumbled across her 2017 collection titled We Are Never Meeting in Real Life, and felt an instant kinship. I then went on to inhale everything she’s ever written. Like me, she recently moved from a big city (for her, Chicago; for me, Seattle) to sleepy Southwest Michigan. And, like me, she loves Sassy magazine, receiving mail, and being indoors. I feel like she and I need to be friends, but I am also slightly afraid of her.
• Solutions and Other Problems by Allie Brosh (2020, Gallery Books) I bought Brosh’s 2016 book Hyperbole and a Half at the airport ages ago — I mean, just the fact that I wrote “airport” tells you it wasn’t in 2020 — and proceeded to annoy my fellow passengers because it was literally laugh-out-loud funny. But shortly after the book’s release, she mysteriously disappeared. There were Reddit threads of readers wondering if she was okay. The concern slowly died down as fans seemed to assume and accept that she had chosen the unpublished life after all. But, in 2020, she returned with her first new book in seven years! I’ll admit, I didn’t “LOL” as much as I did with her first one, but maybe that’s ‘cause 2020 just wasn’t a real “LOL” type year. But I liked it a lot.
• My Best Friend’s Exorcism by Grady Hendrix (2016, Quirk Books) This year’s season of the podcast Conviction sent me down a “Satanic Panic” wormhole. I wanted to read, listen, and learn everything I could about this weird ‘80s phenomenon, even culminating in an article for my day job (gratuitous self link here). I scrolled past this book on the library app while doing research, and the funny VHS-style book cover inspired me to check it out. It’s a fictional story of two best friends, one of whom seems to have been possessed by an evil spirit. It’s somehow both funny and creepy. Hendrix has also written a story about a haunted IKEA titled Horrorstör that I have definitely added to my “must read” list.
• The Witches Are Coming by Lindy West (2019, Hachette) I’ve been a fan of West’s since back in the days when she wrote for Seattle’s alt-weekly The Stranger. It’s been rad to see her writing get such national attention, and she even has a TV show on Hulu titled Shrill. (The aforementioned Irby is a staff writer.) The Witches Are Coming is a much-appreciated attack of “Tr*mp’s America” (sorry, I can’t even type it without throwing up in my mouth a little). She somehow released a new book toward the end of 2020 titled Shit, Actually that I’m currently reading.
• A Very Punchable Face by Colin Jost (2020, Crown Publishing Group) I don’t know why I like Saturday Night Live. It’s not even that funny most of the time. But, it’s something that’s been in my life since I was a kid. I still remember my best friend and I sharing Jack Handey’s Deep Thoughts on the playground during recess, or going to see Wayne’s World at the dollar theatre. So, I’ve read a lot of cast member memoirs, and this one was pretty entertaining. (I still enjoy Tina Fey’s Bossypants the most.)
• Over the Top: A Raw Journey to Self-Love by Jonathan Van Ness (2019, HarperCollins) The release of season 5 of Netflix’s Queer Eye was an all-too brief spark of sunshine during the dark summer of quarantine. I checked out Ness’s auto-bio audiobook to fill the void and found myself appreciating the grooming expert even more. He shares how he overcame childhood sexual abuse and drug addiction — stuff he can’t really address during the hour-long episodes, which are mostly focused on the nominees. (Do they still call them “heroes”? I can’t remember if that’s a throwback to the original series.)
• Let’s Go (So We Can Get Back): A Memoir of Recording and Discording with Wilco, Etc. by Jeff Tweedy (2018, Dutton) This book came out a couple of years ago, but, as I’m not really a fan of Wilco, I never bothered with it. But then, in April, a podcast I listen to (Rivals: Music’s Greatest Feuds) did an episode detailing the conflict between Jeff Tweedy and Jay Farrar during their Uncle Tupelo days, and I was so intrigued I wanted to learn more. What I learned is, Tweedy is a very funny writer. (Either that, or he has a good ghostwriter/editor.)
• Remain in Love: Talking Heads, Tom Tom Club, Tina by Chris Frantz (2020, St. Martin’s Press) I’ll be honest, this isn’t a very good book. Frantz isn’t the most engaging writer, and many of the chapters just blur into each other. (“We played a concert and got an encore. We ate fish for dinner. Some random lady was good-looking.”) But the David Byrne barbs are both relentless and hilarious, and you can tell from his writing how much he still really loves Tina, which is so sweet after 40+ years of marriage.
Rob Pursey (Catenary Wires, European Sun, Heavenly, Tender Trap)
I’ve been running an online poetry-reading event during 2020. Basically, I choose a collection, everyone gathers on a zoom call, and then we take it in turns to read out loud. Sometime the poetry is canonical and old, sometimes it’s contemporary (and on most of those occasions the real-life poet has joined us on the zoom call). It works better than I can have expected. Hearing 30 people’s voices, taking it in turns to read, is very moving and a good antidote to loneliness and isolation. So my top ten readings were
PARADISE REGAINED by John Milton. An old, blind man finds himself on the losing side of the English Civil War and tries to come to terms with the restoration of the hated monarchy by re-telling the story of Christ in the wilderness.
DIVISION STREET by Helen Mort. Legacies of the Miners’ Strike, passionately re-imagined by someone too young to have been there.
SONGS OF INNOCENCE AND EXPERIENCE by William Blake. Apocalyptic poems for children.
RECKLESS PAPER BIRDS by John McCullough. The excitement and fear of living in London when you are young and gay.
BRIGGFLATTS by Basil Bunting. On a par with ‘The Wasteland’, but less celebrated because rooted in the landscape and dialect of the North-East.
ISN’T FOREVER by Amy Key. Funny, fragile, sometimes self-lacerating poems by a really great new writer.
SONNETS by William Shakespeare. He couldn’t put his plays on because of a pandemic, so wrote lots of these instead. Lucky us.
HAPPINESS by Jack Underwood. Beautiful, funny, very self-aware poems on straight male identity and anxieties.
VENUS AND ADONIS by William Shakespeare. Him again. A little epic, where his medieval roots are audible.
SMOOTHIE by Claudine Toutoungi. Another really great new poet; spiky, witty, dramatic and energetic.
Bridget St John, Vashti Bunyan, Sandy Denny, Rodriguez
The Clientele, Oh everything. Musical anti-anxiety remedy and life-affirming soul boost. More please!
Yo La Tengo’s very sad but very necessary Hanukkah show. Please music gods, don’t make them go through that again. Shoutout to Amy Rigby (my friend Shawn called her “a female Jonathan Richman, but funnier”) and Ira’s sweet mom, slaying us.
All the best to everyone in 2021. Keep fighting evil.
our intrepid webstress janice headley (also of KEXP & copacetic zine fame) flew across the atlantic to brave scorching august heat, put on a life jacket and hit the high seas with the boaty weekender gang (kinda like the bowlie weekender but on a fancy cruise ship, 20 years later, and twee AF). for those of us too skint to go, here’s a peek into what went down.
words by janice headley • photographs courtesy janice headley and the boaty weekender
for me, the boaty weekender began with a guitar case crashing onto my foot. we were still at the hotel in barcelona, wheeling our luggage down to the shuttle bus that was going to take us to the cruise ship. I greedily refused to let go of my kas, a delicious orange soda drink that’s only available in spain, mexico and france, and was available in portugal, brazil, and argentina during the 1990s. (thanks, wikipedia!) at some point in the elevator, my boyfriend joe accidentally let a guitar case roll forward, right where my sandaled foot happened to be. I yelped, tried to push it off of me using my elbow (since my hand was still gripped around the tasty, tasty beverage), joe grabbed my drink to try and help, and then *DING* the elevator doors opened, and standing there was the gallant norman blake of teenage fanclub, who graciously took my beverage from joe while I stumbled out, hopping on one un-squished foot. embarrassing. what a gentleman. and that was how my boaty weekender began. (thank you, norman. no thanks to you, kas soda.) (no, I take it back, you’re too delicious to be mad at.)
we all boarded the bus that took us to the norwegian pearl cruise ship, which was huge. I’d never taken a cruise before in my life, so I was awestruck by the size of this thing. passes acquired, forms filled out, we boarded the boat, and headed to our lodging. music by the bands playing the event was piped into the hallways, and on the televisions in our rooms, concert footage of belle & sebastian played all day and night.
the boaty weekender, for anyone who doesn’t already know, was a four-day “floating festival and luxury cruise around the mediterranean” starting in barcelona, landing in sardinia, Italy, for a day, and then returning to barcelona. the event was organized by belle & sebastian and featured special guests yo la tengo, camera obscura, teenage fanclub, mogwai, the vaselines, django django, alvvays, the buzzcocks, japanese breakfast, kelly lee owens, nilüfer yanya, and, if you can believe it, more. in fact, despite it being a four-day event, I didn’t get to see every band play, not by a longshot. there were five different stages across the ship, and the sets often overlapped. but, here are a couple of notes on just a few of the bands I did manage to see. (I tried to write about all of them and even bored myself, so here’s an abbreviated take.)
the vaselines “who here has heard of the love boat?… creepy, wasn’t it?”so chirped the effervescent frances mckee during the vaselines’ first set, which just happened to be booked at the same time as an artist meet-and-greet on a different floor of the boat. (“we don’t need their party, we’re having our own party,” she insisted brightly.) she looked adorable in a hawaiian print dress while her bandmate eugene kelly wore a simple black tee.
the stage was on the floor where the check-in counters lined the back of the room, so there was a funny juxtaposition of employees helping customers while the vaselines tore through “sex with an ex” and “molly’s lips.” there was also a large jewelry retail area to the side of the room where no one was shopping. “I get really seasick, but I think gin and tonics should help,” she declared. “diamonds really help, too,” she quickly added.
the vibe reminded me a lot of matador 21 (which happened in a vegas casino in 2010), if you went to that. I had a lot of people tell me it reminded them of all tomorrow’s parties, too. waiters in yellow polo shirts walked the room, offering to get people drinks. you could actually buy drink packages ensured to keep the alcohol flowing all boaty weekend long. (hi, julie!)
belle & sebastian seagulls swarmed as the band played on the top deck of the boat. stuart murdoch was wearing naval white pants, a striped tank top, and a captain’s hat, while guitarist bobby kildea wore a full-on sailor’s suit.
the band played “dog on wheels,” “I’m a cuckoo,” “she’s losing it,” “another sunny day,” “stars of track and field,” the new single “sister buddha,” and the song “sweet julie” which made stuart remark, “doesn’t that sound like the love boat theme?” stevie jackson nodded, “it does, doesn’t it?”
they continued to play as the sun descended and darkness rolled in. by the end of their set, the moon was shining vibrantly from above.
band name bingo this was not as exciting as I had hoped it would be. (sorry, boaty-ers.) I liked the concept of band names instead of letter/number combos, but the execution was a little weak.
the first round, the band names were just shouted out, but the following rounds, only trivia on the bands were revealed and it was up to you to know if the band was on your card or not. for example: “this band’s frontman was freddie mercury.” (that’s a real example, I’m sad to say.)
the evening was co-hosted by stina of honeyblood, who was wearing an adorable two-piece with fantastic strappy platform sandals. the crowd booed whenever a bad band came up (sorry mumford & sons) and it was quick to correct the hosts when they mispronounced a scottish city.
teenage fanclub the fellas were in fine form and their harmonies were pitch perfect all performance. I somehow missed the news that euros childs had joined the band following gerard love’s departure, so I was delighted to see him on stage adding his gorgeous vocals.
they closed with “everything flows”—a perfect song for the cruise, except I want the captain to set a course he doesknow, thank you very much.
band t-shirts spotted R.E.M. new pornographers teenage fanclub (also in tote bag form) belle & sebastian
wind down meditation I’m embarrassed to admit I slept in this day and missed the buzzcocks, kelly lee owens, django django, and/or alvvays, as well as the collage club gathering. there was a lot of stuff scheduled for earlier in the day!
ironically, for a girl who overslept, I first headed over to the “wind down meditation” session with gen kelsang machig, a representative from the kadampa meditation centre glasgow with 15 years of experience. she led us in a quiet meditation session that was just lovely. after it was over, she told the audience, “If you have any questions, just find me on the boat, I’m the only one dressed like this,” referring to her traditional garb. (and I did find her later in an elevator!)
belle & sebastian Q&A I made it up to the pool deck for most of the belle & sebastian Q&A, which was moderated by comedian alex edelman, who joked that scottish people keep all their emotions bottled up and communicate instead through belle & sebastian songs. the questions were all very thoughtful and serious, even leading stuart to say, “c’mon, don’t you want to ask us about your futures? we are all clairvoyants, you know.”
wine tasting with neil and ira ira (of yo la tengo, natch)’s brother neil “has 25 years of sales and support experience in the wine and spirits industry as well as advanced wine certification.” (thank you, google!) so, the siblings teamed up for an evening of wine tasting. I don’t like red wine, so I didn’t go, but joe tells me toward the end of the tasting, they did, indeed, break out a riesling. (sigh.)
camera obscura it’s been so long since I’ve seen camera obscura in concert, I had forgotten how good they are live. they did “let’s get out of this country,” “the sweetest thing,” “desire lines,” and, of course, “lloyd, I’m ready to be heartbroken.” hearing their harmonies was absolutely awe-inspiring and made me miss my karaoke bestie, laura. (hi, laura!)
japanese breakfast I bounced back to the atrium to see japanese breakfast next. she was looking super smart in an ’80s-inspired power suit with a crop top underneath. she smiled a lot during their set. their drummer is serious about his mullet. she would step aside when the guitarist had a gnarly solo.
yo la tengo they started off their pool deck performance joined by euros childs for a rendition of “sea cruise.” (you know, that vintage song that’s all “oooh-eee, oooh-eee baby.”) and then norman and raymond from teenage fanclub joined them for a few songs, including fan favorite “stockholm syndrome.” I can’t remember what else they performed; I took lousy notes.
band t-shirts spotted: camera obscura belle & sebastian paul mccartney (???)
cagliari, sardinia not a band, but the city that we ported in for the day. joe and I took a taxi to the beach and soaked up the sun and the crystal-clear blue, blue water for most of the morning before returning to the city and having the most amazing lunch, thanks to neil kaplan’s recommendation.
band t-shirts spotted: japanese breakfast the breeders ween (ween?) austin city limits with paul mccartney (him again?) daniel johnston (thanks, james!) radiohead
yoga with frances mckee I was scared to take this class, but knew I couldn’t let the opportunity to take yoga with the woman from the vaselines pass me by. she’s a really good teacher. I didn’t realize it, but apparently she runs a yoga studio, so that explains it.* she’s kinda hardcore though; imagine her sharp scottish accent barking, “straighten yer legs! don’t look at what yer neighbor is doin’! don’t forget to breathe!” (*editor: read all about it in CF18)
belle & sebastian perform fold your hands child, you walk like a peasant after repeat viewings of both the vaselines and japanese breakfast, I ran over to the stardust theatre to watch belle & sebastian perform their 2000 album fold your hands child, you walk like a peasant in its entirety. I feel bad, because when it first came out, I didn’t like this album very much. but I loved hearing it live. once the album was played, they began taking audience requests, which was a little clumsy with lots of awkward moments as they tried to remember how to play forgotten songs. and there was a cute moment where they got a bunch of kids from the boat, dressed up in their nautical finest, to shake percussion during “legal man.”
yo la tengo on sunday night, yo la tengo took the pool side stage for the second time for another awesome set. about midway through the set, a very handsome man took the stage and began to recite the opening prose to donovan’s 1969 surprise hit single “atlantis,” a song that went to #7 on the billboard charts upon its release. (thank you, wikipedia!) this wonderful performance was the paramount of a spectacular weekend, and I called it a night thereafter ’cause I knew everything else would pale in comparison.
band t-shirts spotted: eugenius teenage fanclub beat happening spiritualized british sea power
(P.S. final word from james yo la tengo, who we asked to comment on the boaty cuisine: “the food on the boat was good and readily available. the soft-serve was a nice touch. there were a few restaurants on the boat, where you could sit and someone would take your order. there was also a wildly popular buffet-style full contact scrum which was pretty fun. I didn’t locate any scottish-themed food, but maybe I just wasn’t looking hard enough.”)
most people know james mcnew from his other band, the condo fucks (and yo la tengo). as long as he has been in yo la tengo, he has been making his own recordings under the name dump. dump songs have sort have been filtered into yo la tengo these days so he is less prolific. we interviewed dump + yo la tengo for chickfactor 8 back in the mid-90s and again later, but here we are doing it again! we love dump and gilmore tamny conducts the interview this time and asks some excellent Qs. ps. dump performs at chickfactor 21 on june 13 with the pastels, lois and jim ruiz set. he also plays with the condo fucks and the pastels on june 15 at maxwell’s!
chickfactor: what chickfactor show do you remember best? missed but wished you’d attended? any particular fond/joyful/amusing chickfactor memories?
james: I think I Ioved every one I ever saw, and I definitely loved playing at them. I saw a lot of them. getting to see nice at under acme was a once-in-a-lifetime kind of thing. same goes for the georgia hubley trio at fez. versus were just bloodthirsty at the bell house last year (“another face”!). gail was really the only person who ever asked dump to play, and that always meant a great deal to me. I will always remember the sight of magnetic fields fans in the front row with their fingers in their ears while I played my opening set.
who else will be playing with you for the chickfactor show unless that’s ruining a surprise? are you getting besieged with requests?
that shit’s top secret.
how has your relationship with the dump songs (if it does) change over time? the things that you like/that bug you tend to be the same when you revisit?
I cringed a few times while putting together the reissues, but I guess everybody does that, like when you see old photos of yourself. unless you’re really good-looking. but I still liked most of the songs, or at least the ideas. I feel like I have gotten a lot better at writing songs since then, but I can still relate to old me. depression is timeless.
I was approached by thomas moor of the/his moor music label, of berlin. I was already a fan of their catalog & bands; he was a fan of the dump records. I am always kinda surprised when anyone says that, since they were so difficult to find. I dragged my heels on doing the project until he finally convinced me. so I spent a LOT of time turning it into a deluxe package; bonus tracks, photos, a bunch of new artwork and a ton of new notes I wrote for them. there’s no doubt at least one frustrated moor employee will punch me one day. still, I am very happy with the results. I’m glad he thought of it.
I read once that charles barkley was so keyed up after his games that afterward he’d often vacuum the house to relax. do you have to do any such similar things after shows?
I love charles, so I’ll try that. I also heard he would get his lady friends to shave his head for him. normally I like to pretend like I didn’t just play, and get on with my life, then scrutinize it later.
I’d think touring so much would—if you were inclined—turn one into a bit of armchair sociologist/anthropologist, noting regional differences or ways fans interact, or bass player vs. guitar personalities, etc. any thoughts?
everyone, everywhere, is nuts.
who do you know or admire that might prompt you to say: “that gentlewoman or gentleman, __. _______ _______, has exquisite taste.”?
walt “clyde” frazier.
are there any human virtues you admire or weaknesses that depress you that, when manifesting themselves in music, make you admire/loathe even more? like: subtlety. or: showoffyness. or, the opposite?
traditional “weaknesses” like not being a virtuoso, or having an unusual voice or take on reality, can be total pluses. fearlessness, whether to express yourself or challenge yourself, or just in general, is definitely something to strive for. also, personally, I don’t like when artists supply me with answers. I like mystery; I don’t want them to tell me what their songs mean. I don’t even want a lyric sheet. I prefer to use my imagination and come up with my own meanings.
what show have you played that has most felt like a hallucination? place you’d like to play you haven’t (parthenon, etc.?)
many of them feel hallucinatory, if all goes according to plan. the shows I played as a member of man forever were all that way. I have been insanely lucky to play at some pretty sweet places. that said, I would like to play at an aquarium.
what’s your perspective on musical literacy? If it isn’t too nosey, how technically literate are you or have you had to become? how would you say or observed it being a help/hindrance?
not very. I have learned to do some stuff. I am mostly self-taught, and completely self-taught on bass (I learned by watching and studying the greats, namely sue garner). I took guitar lessons from age 9 to about 12. one day my teacher refused (in disgust) to teach me a van halen song, instead trying to get me to play some fingerpicky blues thing. That was it for lessons. Technical proficiency is by no means a prerequisite for great, important music. by itself, without feeling or ideas behind it, it’s just dumb. to me, few use it for good. But just to name some who do, glenn jones, william tyler, mary halvorson, tortoise and the boredoms all make music I absolutely love.
what non-musical (piece of?) art(s) has had the biggest influence on your music?
the work of jim woodring, for sure.
do you ever feel like you glimpse, out of the corner of your mind’s eye, some instrument not yet invented that you wish was? can you describe?
no, but I would love it if I could get a car horn that is not only deafening but is also a flamethrower.
would you ever—presuming you haven’t, pardon if my internet research skills are lacking—like to do some sort of sound installation à la christo or spiral jetty (etc.)?
dump is a lazy band from brooklyn. they never do enough music for the kids. they go on the road with some other band, which is really annoying! get to work, dump. for chrissakes, we need a new dump box set. we tracked down the dump guy for an exclusive interview.
cf: where is my new dump album?
dump: it’s not done yet. cf: what has dump been watching on tv? now that dump is a tv star who has starred on the gilmore girls and the simpsons, what other shows does he want to be on?
dump: I’ve been watching heroes,the wire, lucky louie,pitagora suichi and talk sex with sue johanson. I wouldn’t mind being in the audience of a judge judy. cf: what is dump eating on the road with his other band?
dump: I’ve been eating cuban food in miami, somewhere near the corner of stab whitey and kill whitey. bbq from dreamland (the tuscaloosa branch, but delivered to us in birmingham) was stout and soulful. I couldn’t find anything to eat in orlando so instead I bought records (eddie bo, skull snaps, chubb rock, beach boys “breakway” 45, released the day I was born!). fried chicken in tallahassee. very good cheeseburger at pete’s in knoxville. jonathan marx brought me cookies from nashville’s best bakery, becker’s. cf: what does dump download, listen to, watch, whatever, on the innernet?
dump: recipes, sports scores, directions, occasionally music, “can’t stop the bleeding,” hardcore pornography, flipper videos on youtube, and streaming wfmu. cf: where is my dump box set? badges? promotional vinyl carrying case?
dump: I don’t know where your dump box set is. same goes for the badges. I don’t even know how to address the matter of the promotional vinyl carrying case. those would all be pretty cool, because the first two things could fit inside the third thing, and you could carry them all around like that, and then it’d be really easy to know exactly where they all were. but I haven’t made any of those things yet. cf: why is dump ignoring the fans? when will he deliver the goods?
dump: I’m not ignoring dump fans, quite the contrary. I finally started a dump myspace spage, where I am conversing freely, practically like a normal person. I’m posting new, unreleased and hard-to-find songs there from time to time, as well as original artwork. cf: normal, hmm? ha ha, keep trying.
dump is on myspace apparently, but we would prefer a new vinyl product