Monthly Archives: February 2012

Scud Mountain Boys at Lee’s Palace in Toronto, Sat. Feb. 25, 2012

by Carl Wilson

Memory, as everybody knows, is an odd, perverse thing. When I first saw the reunited Scud Mountain Boys’ stage setup at Lee’s Palace last weekend, I said, “Oh, that’s funny, it’s just like the photo on the back of one of their albums where they’re sitting in somebody’s apartment around a kitchen table, playing and drinking.” Then I came across the above 1990s-era photo online, clearly not a candid home snapshot but one that includes microphones and at least a bar booth if not an actual stage. Was this the album shot, or a publicity picture I got with the Sub Pop CD reissue of their first two albums, when I worked at an alt-weekly in Montreal in the mid-90s, which is how I first heard of the band? Or another picture altogether? I wanted to dig out my copy of the CD to check, but almost all my CDs are walled in with a bunch of boxes in a nook off my kitchen and retrieving it would be basically a home-renovation project.

What a more exhausting and error-fraught sort of excavation it must be to dig up three people with whom you were once intimate, but haven’t spoken to in 14 years, and propose that you do the thing you used to do together, before you stopped talking. But now-Toronto-based songwriter Joe Pernice (better known for his subsequent and current band, the Pernice Brothers) did that after a close mutual friend of the group’s unexpectedly died. The deceased had been a fan and the idea was to honour his memory. Not right after, though. As Pernice explained on stage, it took him a year to make the phone calls. But whatever he was afraid of happening didn’t happen, maybe because “nobody really remembers what caused all the shit any more.”

What I hadn’t known was that the kitchen-table-on-stage was a standard live Scuds motif in their initial run, around the Boston area, not a cute reunion gimmick. You could argue that now it has become a cute reunion gimmick. I think it is more apt to say that it is a technique, one of those stage-magic tricks you discover and maintain because it works, makes the show the way you need it to be. Now I find it virtually impossible to picture them standing in standard band configuration, rather than drinking beers off the table (Americans visiting Toronto always love Keiths), bending over in the uncomfortably expressive angles around their instruments that people do in a home song-swap session (not a “jam,” as Pernice admonished), mumbling in each other’s ears, telling tales between tunes.

But this was not folksy-homey coffeehouse shtick. Pernice’s songs are too infused with rue for that, as much as classical pop craftsmanship ever has been, lying (their pretty white asses off) where the mouths of the George Jones, Jimmy Webb, Alex Chilton and Joe Strummer rivers meet. His persona now is laid back and salty-charming, but the songs make it easy to picture it when his back-in-the-day yarns tend to include heavy doses of anti-anxiety meds. Then you’re tempted to imagine “all the shit” wasn’t so much the bass player, the mandolinist/drummer or the lead guitarist’s faults – but maybe that’s just because they weren’t talking as much on stage. Second-guessing other people’s memories is an even less reliable thing.

Indeed, I wondered what the person in question would have had to say about the story Pernice told about writing one of his best-loved songs: A girlfriend at the time, he said, kept going on about what a romantic song “Hey Jealousy” by the Gin Blossoms was, and he exasperatedly responded that the guy in the song was just trying to get laid. To prove his point he wrote a seductive, early-70s-style, gorgeously hazy tune in which a guy tries to wheedle his way back into a girl’s bed (“I would give anything to make it with you, one more time/ I would give everything I own”), which builds up to chillingly menacing insinuations. He titled it, “Grudge Fuck.”

The crowd was full of pushing-middle-aged folks, no doubt with their own recollections to husband. There wasn’t a lot of dancing or swaying, as if everybody were still following the cool-rules of 1997, when they went to more shows, when audiences stood or sat nodding with their arms crossed whenever not moshing. But when they did express emotion, it was with surprisingly rowdy outbursts, of varying appropriateness: Why did people scream every time Boston was mentioned? Was the room really full of Mass. expats or were they just trying to bonafide their in-the-knowdom? Even on a Saturday in a bar, do you shout every time a song mentions drinking and drugging, when those are the things clearly killing the protagonists? Jeez, it wasn’t St. Patrick’s Day.

Unfair. But the intimacy made it tempting to rubberneck into people’s minds. Pernice suddenly did a double take at a woman holding up a homemade shirt in the front row: “Is that you?” He explained that she’d shown him the same shirt at a show in another town 15 years ago – when her parents brought her, and she was, “like, 13. … Wait, I don’t like the way that sounds.” The dysfunctional-neighbourhood feel was cemented when Sadies (and former Pernice Bros) drummer Mike Belitsky cracked the singer up so much from the back of the room with a text message (his iPhone was on the table, to watch the time) that Pernice had to take a few minutes’ break after corpsing on his first couple of tries at the Scuds’ somberly beautiful cover of Cher’s “Gypsies, Tramps and Thieves.” He had to think of “nuns beating me” and other dark childhood images to regain composure.

After all, I’m not the boss of anybody else’s nostalgia. (Though I’m tempted to call Pernice on leaving out that he didn’t just “work in a bakery” when the band started, but was doing an MFA in creative writing.**) Hell, I’m not even the boss of mine. I was grateful finally to see a band that never played near me in their original lifespan. And to see them enjoying each other’s company. Even though there’s a part of me that selfishly hopes this slight return will be the sum of it. That even wishes they’d remained, as the slogan of Lubbock, Texas’s The Flatlanders had it, “More a Legend than a Band.” (Yet even they later reunited for a string of shows and new records.) That sympathizes with Darren Hayman’s title, “We Love the Bands that Don’t Re-form.”

It’s an adult pleasure to have memories that stay memories, memories you can’t recover, even ones you never got to attain in the first place. Perhaps we just confuse reality with rarity, essence with inaccessibility. We think there’s only so much room around a kitchen table. Or, whether superstitiously or maybe with real folk wisdom, we long for minor rites of sacrifice, destruction, some kind of preview of death and loss to gird us for the real thing, even fantasizing it can homeopathically prevent the real thing: “I’m going to burn the silo when you go,” a farmer whose wife is on the way out sings in one sterling Scuds song. “You’ll see the flames, and maybe know.”

We’re damn fools, the thing is. Can’t we be allowed sometimes to forget that? The sugar-lick torture of the Scud Mountain Boys was to remind us and make us like it.


** Joe informs me that there was a significant time lag between the bakery and the grad-school period – sorry for presuming on my own in-the-knowness!

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Little Boxes #81: How Ironic

(from “Tales Intended to Cause a State of Astonishment,” by Michael Kupperman, 2012)

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Tea With Chris: Which of Us Ex-Leninists…

Tea With Chris is a roundup of recommended links, posted every Friday. Here are a few of our favourite things from the Internet this week:

Carl: Astra Taylor wrote a Kindle Single on Unschooling that has sparked some useful debate: A Slate article slammed it harshly, advocating a position that I’ve long sympathized with, that we have an obligation to support and participate in the institution of public education; Conor Friedersdorf in the Atlantic took issue with that; and Astra herself wrote a thoughtful and balanced rebuttal in n+1. I strongly believe that (like most things about education) this is an ethical and political issue that doesn’t get rigorous enough consideration, and one with deep contradictions that are hard to work out. When I was a student myself, I spent a lot of time passionately reading and thinking about alternatives to the way schools restrict, control and segregate; as an adult, I’ve become more alarmed about the erosion of public schooling as a basic pillar of democratic society – I was even more gut-level enraged by Rick Santorum’s statement that as president he would homeschool his kids in the White House than by the rest of his idiotic stances. Whatever your personal stake in it, this conversation is vital to have and to expand.

On another note altogether, the great English singer and musician Robert Wyatt took a look back through his own lifelong sentimental education in music in a Pitchfork interview this week, including his struggles with alcohol, disability, anxiety and politics. (I suspect he’s a little revisionist about his Leninist past, but then which of us isn’t?) It is candid, funny, painful and enlightening.

Finally, in the Torontopian department, the Toronto Standard‘s Sarah Nicole Prickett takes a look at the diverse state of youthful collective creativity here, in a piece both heartening and informative, even if it never quite overcomes (though it tries) its historical nearsightedness.

Chris: Three decades ago, somebody watched a test screening of Videodrome and didn’t love it quite as much as me or Carl or (probably) Margaux.

Emma Healey wrote a sharply incisive response to “So Many Feelings,” Molly Fischer’s dismissive essay about “ladyblogs,” supporting “an acknowledgement of the fact that the experience of being a woman is inextricable from the need to waste time at work, or look at things that make you laugh, or find a community whose sensibilities and interests and tastes are familiar to you—whose existence makes you feel, in some small way, less alone.”


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Friday Pictures – Hernan Bas

Night Fishing

The Day the Love Tree Fell

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Thinking about Damien Hirst the other day

by Margaux Williamson


My sister, Tara Williamson, brought up the artist Damien Hirst with me last week. She said they had been discussing his new spot paintings on the radio. She asked what I thought of his work. I said that it can be irritating sometimes but that mostly it somehow always worked to break my heart a little bit. She said, I knew you would say that.

The next day I came across a text by Katy Siegel on Damien Hirst. It was somehow in my Kindle but maybe it came to me from an Art Forum email. Siegel’s text is useful in its criticism but generous too. In writing of Hirst against the art world Siegel writes:

It seems silly to feel sorry for successful artists, or for rich people in general, but in the end, there is no attitude to strike that can beat the house. Or, to put it another way, no one gets out of here alive.

I also feel a little silly to feel empathy for Hirst, but I do. Hirst’s work always seems to be saying “ALL IS LOST, I DON’T CARE”, with a much smaller voice in the background asking “all is lost, right?”

It’s interesting when an artist’s work, like in the case of Hirst, shows such a consistency of feeling despite how varied their projects or intent can be.

Thinking about it this week made me think of the model Kate Moss. She, too, seems to have a consistency in the work she does with her face.  Coming across a random picture of Kate Moss in a magazine,  her face always seems to say, “TAKE EVERYTHING, I DON’T CARE” with a much smaller voice in the background saying “you can take everything, but you’ll never, ever get anything from me.”

It seems a little like a puzzle. Was she born with this face? Is it her bone structure that tells you to “TAKE EVERYTHING”? Or are her feelings shaping her face? – the feelings that one doesn’t think to hide when the photographers take their pictures since one might not know that they are there.

Weighing Kate Moss’ feelings verses her bone structure reminded me of the work of Paul Ekman and Maureen O’Sullivan. They are psychologists who study, in great, unimaginable detail, humans’ microexpressions. Microexpressions are the involuntary expressions made unconsciously and received uconsciously. Apparently, microexpressions are very difficult things to repress.

Come to think of it, anything I came across by the designer ALexander McQueen always broke my heart too. His work always seemed to be saying “If I keep my eyes closed, keep dreaming and work really hard, maybe everything in the world will get better” (he never seemed to have a smaller voice saying something different – other than maybe “I DON’T SEE YOU”).

Maybe these are the things that happen when you are surrounded by England. Maybe these are things you can’t repress when England takes your picture. Maybe the gestures and the expressions and the objects made by people who are being closely watched by England always break my heart.

That’s on the other side of what I see when I see Damien Hirst’s work. When I see his work, I think “It’s not just England that’s watching you, it’s not just the filthy rich who are invested, it’s not just the art world that cares.”  Maybe it is always a little bit hard to strike a pose for people who aren’t in the room.

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Little Boxes #80: You Had Your Chance

(cover of Prez #1, by Jerry Grandenetti, 1973)

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Tea With Chris: Breathless We Were

Tea With Chris is a roundup of recommended links, posted every Friday. Here are a few of our favourite things from the Internet this week:

Chris: “The kind of recombinant horror created by splicing Jessie J and Katy Perry.”

My question after seeing this post was: How does one preserve a candy heart?

Last weekend I went to a dance party where one of the DJs played Phreek’s transcendent “Weekend,” and that moved me to search for clips of it online later, and there I found a rare Youtube comment worth reading: “Sat night at the Garage, it’s 6:30 in the morning, the party’s at its height, you’ve been dancing nonstop for hours, sweat is DRIPPING off your body, I need a rest, I need a rest, but OMG is that …is that….Find a friend OMG YES whatchu been givin ain’t enough I’m goin out to find some love tonight…this song wore EVERYBODY out, breathless we were, tryin to keep pace with this fabulous song, thank you for posting”

A couple of days after that party, Whitney Houston died, and I wasn’t sure what to say about her here, because her songs that I loved best were the ones contemplated least often – I only danced to them, or played them for others, or sang them badly at karaoke. (Conflicted, indecisive consideration of “I Will Always Love You,” though, that I can give you.) Luckily, albeit forseeably, Daphne Brooks has us all covered.

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Friday Pictures – Jean Laudat



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Little Boxes #79: Detritus

(from Akira, by Katsuhiro Otomo, 1982-1990)

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Tea With Chris: Collective Slobbering

Tea With Chris is a roundup of recommended links, posted every Friday. Here are a few of our favourite things from the Internet this week:

Chris: Reaching the internet’s attention slightly too late for last week’s TWC was this clip of 42 Saint Bernards, whose collective slobbering bears a certain sonic resemblance to drone music.

Maura Johnston compiled a guide for “how not to write about female musicians.” Clip it, save it, print it out and laminate it, whether you’re a man who covers pop music or someone who just listens to it.

Brooklyn, 1997, as drawn by Gary Panter.

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