me back. Yeah, take me back. Take me back to where I once
beee-longed. (Elvis version of the Fab 4.) Git back juju.
I mean, fuck a duck, man--where's the FUN that was supposed to be at
the heart of everything that matters? War sux. Racism sux.
Etc. Yeah, that's all pretty obvious, unless you've got yr head up
the ass of some right/left-wing/religious ideology of suffering.
There's not much worth fighting about, but there's lots of things worth
partying about! Nobody's pie in the sky tastes as sweet as simple
pleasure, whether it's getting nicely fucked up, or the beauty of a
woman, or getting lost in sound. But for awhile now getting lost in
sound has got all
messed up with "art" and "collecting" and that awful "Western" idea of
progress. Ornette wasn't great because he was "progressive"--he was
because he kept the circle movin'--he breathed the tits back into mama.
Us white folks got a lot of stupid ideas, and one of them is the notion
we're not alive if we're not on the road to something "new." Of course,
sad truth is that we just keep repeating ourselves in
frustration--chasin' our tails around like dogs who don't get to run
free--instead of relishing loving dancing ROCKIN' to the cycles of life
as it really exists. What's new is old is new is old. Round and round
and round we go. You keep spinnin' and you git real giddy--and kinda
No more theoretical whoozis! No
more art for art's sake! Art for fuck's sake! John Lee Hooker--not La
Monte Young! FUN! MUSIC! LIFE! Stop pretending like noise ain't music
and music ain't noise. John Cage was a closet case who should've been
suckin' dick instead of runnin' down jazz. And I'm a rocker who should
be eatin' pussy instead of taking
up precious space with unlistenable crap from limited editions of 12
copies that I'll never listen to again. Open up, honey, my tongue is
tinglin'! Let's fuckin' ROCK! Let's fuckin' ROLLLL!!
--Stenson Domingo Eddy LeRoi Flores,
James Brown Fan Club, Slippy Town,
Republic of California (independence NOW!)
P.S. Tell yr mama to send pictures!
* * *
creator George Herriman and fans.
Ishmael Reed -- Mumbo Jumbo (1972): Here's a book
about the REAL struggle between civilizations: the monotheistic control
freaks vs. the pantheistic revelers. Jazz and blues as direct
methods to (not metaphors for) sexual and spiritual liberation. The
called Jes Grew was a primary influence on George Clinton's P-Funk
Nick Tosches -- Country (1977):
"The biggest music in America"--so big that Nick's book about country
music is as much about R&B and R&R as so-called hillbilly. It's
all the same? Hmm? Tosches makes a lot of arguments for
pleasures of the flesh on the other side of the black/white divide from
Ishmael Reed. Dig 'em both and yer diggin' deep, my friends.
Tony Sherman -- Backbeat: Earl Palmer's Story (1999):
you dig R&R, here's a guy you might not know who helped invent
the music you love. New Orleans native Palmer played drums on classic
sides by Little Richard, Fats Domino, Amos Milburn, Don & Dewey,
Nelson, Larry Williams, Eddie Cochran, Johnny Otis, Ritchie Valens,
Alpert, Jan & Dean, and LOTS of others. He helped pioneer drum
that led the way to everything from James Brown's funk to the Ramones'
This book is part third-person history and part oral history--very
done. It starts with Earl's childhood years on the road as a
tap dancer, follows his New Orleans breakthroughs in percussive
and eventually finds him as a high-profile session player in L.A.
* * ** * *
SLIPPY TOWN TIMES online #2:
Interview by Tony Rettman
Music I Dig
Movies I Dig
FROM THE ARCHIVES:
Gulcher #0 (1975) online
SLIPPY TOWN TIMES online #1