04/07/2020

Welcome back, Gentle Reader(s), to your fave rave online resource for... for whatever it is we offer to you here. Like arty stuff and such like. But let's forget about the arty farty stuff for a moment and get down to brass tacks: We remain in the throes of Lockdown and enforced solitude is quite likely beginning to weigh a bit heavily upon many of us. While I don't have any ready solutions to offer for our current state of Heavy Manners I can extend to you DJ Inky's Social Distance Dance Party, Part the Deux—tried and trusted toons from the expansive dancefloor of Ye Olde Matador Bar & Lounge. With any luck it might provide a bit of welcome distraction from the myriad woes and worries of the day. I find getting up and moving about to be an essential tonic—it can do nothing but good for you & yours as well, just don't trip over the pets or the furniture or your fellow inmates.
03/30/2020

Welcome back, Gentle Reader(s). I trust that you are all keeping the protocols and keeping the faith. My 'Shelter In Place' playlist has elicited a positive response from across the intrawebs—thank you one and all for the positive feedback—so I've decided to dip into the DJ Inky archive and put together some toons gauged to get you up and out of that chair, on your feet, and onto the floor. It could be the living room floor, the kitchen floor, the bedroom floor or whatever—just get UP, get on the Good Foot, and move around!
03/26/2020

Welcome, Gentle Reader(s), to DJ Inky's exclusive Shelter In Place playlist. Your Humble Narrator has been ruminating over this selection for several days now, adding and subtracting, refining the vibe as it were, for optimal effect. And what effect might that be, you might ask. Well you might. The effect that I'm aiming for is somewhat multifaceted, encompassing acknowledgement of the unprecedented parameters of the current situation, the sober realities of isolation, expressions of the desire for human connection, and hope for the future.
03/20/2020

This is it, Gentle Reader(s)—the last full DJ Inky set list to see the light of day (figuratively speaking) before the Lockdown took effect. There was an abbreviated set on the evening of March 12, but with scant attendance and concerns of pandemonia hovering ominously about the town, Your Humble Narrator decided to let discretion be the better part of valor and repair back home to the Inky Aerie shortly after the stroke of midnight. Amongst the sparse attendees on 3/12 were three short, boisterous women, one of whom was insistent in loudly proclaiming to all and sundry ‘We’re from Texas! We’re from TEXAS!!!’ My response was, ‘Do I come to you with my problems?’
03/11/2020

You'd think it would be, wouldn't you? Enough, that is? Well, hardly. Banish the thought. I owe you PLAYLISTS, Gentle Reader(s)! I know you've been thirsting for them, dreaming of them, lusting after them! Well, so have I. I made my triumphant (if scarcely noted) return to the Ye Olde Matador Bar & Lounge just shy of a year ago, unsure of whether or not I still had the stuffe required to reclaim and retain my prior position of glory in the deluxe DJ booth. Well, I did, or so it seems. No one has complained, or perhaps they just haven't gotten around to it yet. After 12 years of service I still love Ye Olde Matador and I love bringing a bit of musical enjoyment into the lives of our esteemed clientele. It's been good to be back and, with a bit of luck, I'll stick around for a while longer.   So there!  
03/11/2020

…For the Return of Your Humble Narrator to these Hallowed Pages after a year and a half of blogular silence. Wherefore and Whence? you might inquire, and well you might. It has been a strange and terrible saga, Gentle Reader(s), but all not-so-good things must come to an end (just in time for other not-so-good things to arise in their place, so it would seem).   Where to begin? At the beginning, I should think, and so think I shall. I give you:   The Story of a Lump
09/01/2018

I have been refraining from blabbering about political matters for a while now. The time for making fun of the revolting buffoon currently residing at 1600 Pennsylvania Avenue is well past: The Drumpf regime is no laughing matter and hasn’t been in quite a long time (if ever it was). I find myself struggling daily to comprehend the horrifying depths to which this pathetic excuse for a human being will sink, aided and encouraged by the shameless complicity of his spellbound cabal. Watching clips of Drumpf’s never-ending campaign rallies I despair of the possibility that we can ever find common ground again in any of the core values that this flawed union was founded upon. The hate and divisiveness seem overwhelming and appeals to reason and decency fall on deaf ears.   The passing of Senator John McCain, however, provides an exceptional opportunity for reflection. I long found John McCain to be a frustrating presence in the national political debate—frustrating because I considered him a thoughtful, honorable and decent individual whose hawkish tendencies I strongly disagreed with. In the waning days of the second Obama administration, when the nuclear treaty with Iran was being hammered out, I was dismayed to hear McCain insist that we should not be negotiating with the Iranians—his approach was more along the lines of ‘Bomb now, talk later.’ Of course, I was adamantly opposed to his presidential ambitions and his fateful decision to hitch his star to the likes of Sarah Palin for the 2008 campaign was ill advised in the extreme, not only in terms of how it diminished McCain’s own stature but in that it conferred a certain degree of legitimacy on the nascent Tea Party movement. Those now seem like innocent and idealistic times.
08/08/2018

In late 1969 the Rolling Stones were touring the United States for the first time in three years, having suffered through a variety of legal hassles and harassment at home and the departure and subsequent death of the group’s onetime leader and guitarist, Brian Jones (replaced by the young virtuoso Mick Taylor). A lot had changed a lot since 1964 and the T.A.M.I. Show and Mick’s lack of formal neckwear didn’t seem quite as scandalous. The band had decided it was time to bust a cinematic move and they hired the Maysles Brothers—Albert and David—and Charlotte Zwerin, to film and direct a document of the tour in which the Stones presented their bonafides as ‘the Greatest Rock n’ Roll Band in the World.’   By the time ‘Gimme Shelter’ was released in December, 1970, everybody knew perfectly well what had transpired at the tour-ending free concert in Altamont, California. The film starts setting up the horror from the very beginning with scenes of Jagger and Charlie Watts in an editing suite looking at film clips and listening to recordings of radio broadcasts from just after the concert. Sonny Barger of the San Francisco Hell’s Angels, calling into a radio show, deflects all the blame for the Altamont disaster onto drugged up hippies and the Stones. Mick looks perplexed, Charlie mutters ‘What a shame.’ A shame it was indeed and ‘Gimme Shelter’ looks it directly in the face, recording everything with a disconcertingly unflinching eye. The movie ricochets from one locale to another, jumping to Mick and Charlie back in England on a photo shoot for the cover of ‘Get Your YaYa’s Out.’ Next, the Stones are bopping around in an Alabama motel room (with journalist Stanley Booth), hanging out backstage at Madison Square Garden, crammed into a small control room at Muscle Shoals Sound listening to mixes for ‘Sticky Fingers.’ Everyone looks zoned out. Charlie gets into a staring contest with the camera. The scene bounces from riveting stage footage at Madison Square Garden to lawyer Melvin Belli’s office in San Francisco as he negotiates to find a last-second venue for the free concert. The energy and momentum build and for a few moments the mood seems somewhat upbeat.
08/02/2018

In reference to rock journalism, the late Frank Zappa once famously posited that it was ‘written about people who can’t play, for people who can’t read, by people who can’t write.’  Zappa made this observation in 1977 and one can’t help but wonder whether it might be more or less true now than it was then. Either way, Zappa’s epic cynicism would probably be severely strained to accommodate contemporary levels of mendacity. His riposte was witty (there’s a reason why people have been quoting it for the last 41 years) but I must take issue with Frank. I think, or rather I know, that there has been some excellent writing done by people who can write about people who can play for people who can read (amongst whom I number myself, in the third category at least). I’ve been reading about rock music since I were but a wee lad and some of it has been genuinely informative, insightful and moving… but we’ll have to leave that for another day.   The topic of the moment concerns a different medium: Film. Specifically, rock and roll on film. To extend Zappa’s hypothesis: Movies about people who can’t play/act, for people who can’t watch, by people who can’t write/direct? In some cases, undoubtedly, but there have been numerous notable exceptions over the years and some films that arguably rise to the realm of true cinematic greatness. In the early to mid 1950s, before rock and roll had become a fully viable form, there were a few notable films that managed to communicate something of the essential rock and roll attitude. Foremost among them is ‘The Wild One’ of 1953, the progenitor of the outlaw biker movie genre. Marlon Brando stars as Johnny Strabler, leader of the Black Rebels Motorcycle Club, and in a classic bit of dialogue he expresses an attitude that extends from early Elvis to the Who to the Sex Pistols to late 20th/early 21st century punk:    Girl: Hey Johnny, what are you rebelling against? Brando: Whaddya got?   The essence of rock and roll in a nutshell.
06/28/2018

This missive is intended to address the myth and the mystery of three great albums of late ‘60s/early ‘70s rock n’ roll that have, to various degrees, disappeared from public circulation and from the collective sub- or un-conscious. None of them is completely gone—the original albums exist on the margins of the marketplace, on eBay and in the rarities bins of collector vinyl emporiums (emporia?) and some have been reborn in modern guise—but they remain largely obscure relics of special interest only to pathetic dorks such as Your Humble Narrator. Each one of these albums was important to me as a wee lad back home in New Orleans and I listened to each one of them countless times on my plastic close-and-carry record player back in the days before digital anything and Oranguntans-in-Chief. Ahhhh, thems was the days.   The recordings in question are ‘Live Yardbirds, featuring Jimmy Page’ by the Yardbirds, ‘Coast to Coast, Live: Overture and Beginners’ by Rod Stewart & Faces, and ‘Time Fades Away’ by Neil Young. All three of these recordings disappeared from the record stores not long after they were issued, largely due to the artists’ subsequent dissatisfaction with their quality. They languished in cut-out bins for a while, available for $1.99 or thereabouts before eventually vanishing altogether. In two of these three cases, those of the Yardbirds and Neil Young, only recently has the material been rehabilitated and reissued, nearly 50 years after the fact. As for Sir Roderick of Stewart, I suggest not bothering to hold your breath in anticipation of his following suit.