The House of the Rising Sun

Nobody’s sure yet — and, in truth, we may never be — but there’s at least a good possibility that archaeologists in New Orleans may have found the House of the Rising Sun.

This winter, a nonprofit organization called the Historic New Orleans Collection decided to expand. The organization, which runs a museum and research center, owned seven buildings in the heart of the French Quarter but needed another to serve as a vault. The group bought a one-level, ramshackle parking garage on Conti Street — pronounced KAHNT-eye — and announced plans to tear it down.

The purchase was serendipitous. If just about anyone else had bought the lot, no study would have been conducted. But the organization — dedicated, after all, to Louisiana history — wanted to know the story behind its property. It asked a scholar at the University of Chicago and a New Orleans archeology firm called Earth Search to perform an excavation and document search.

[…]

The archeologists, who plan to launch a more exhaustive study on Tuesday, found that a hotel called the Rising Sun appeared to have operated on the site from the early 1800s until 1822, when it burned to the ground.

In an 1821 advertisement from the newspaper La Gazette, a company called L.S. Hotchkiss explained that it had taken over the hotel but offered reassurance to customers: “No pain or expence [sic] will be spared by the new proprietors to give general satisfaction, and maintain the character of giving the best entertainment.”

The next sentence: “Gentlemen may here rely upon finding attentive Servants.” Similar language, Gray said, was used in old bordello advertisements to make it clear — without explicitly saying so — that extracurricular services were available.

And there’s more in the linked article, of course. Just neat.

Also of note, and a page I want to revisit later: this listing of 250 different recordings of the traditional tune. It’s pretty slow, and would take a while to trawl through, but there’s a wealth of stuff there I’d love to listen to.

(via MeFi)

iTunesTrain” by Pigface from the album A New High In Low (1997, 24:18).

Cyperpunk update

About a year and a half ago, I put up a post about Billy Idol’s Cyberpunk album and included an OS X disc image of the floppy that came with the special edition package. Antonio Exposito was kind enough to e-mail me today and let me know that the disc image was corrupted — so thanks to Kinko’s keeping floppy drives attached to their rental Macs, there’s now a new, freshly-created disc image available for download.

iTunesHappiness (Dub)” by Front 242 from the album Mut@ge.Mix@ge (1995, 6:10).

Best. April. Fools. Story. EVAR!!!1!!11!

Courtesy of StarTrek.com:

With Star Trek: Enterprise hanging by a veritable thread the last two years, a new direction for the show has recently been unveiled that is being hailed both as a triumph of corporate synergy for the Viacom-owned Paramount Pictures, and a way to keep the show on the air.

[…]

Enter the darlings of Viacom-owned Comedy Central, Star Trek fans Trey Parker and Matt Stone, the creators of South Park. Parker and Stone, you may recall, also made Paramount’s “Team America: World Police,” which ran in theaters last year and comes out on DVD in May. The movie grossed only $50 million worldwide, but it turned a profit for the studio due to its low production budget.

“The pieces fall together brilliantly,” said a top Viacom spokesperson. “Matt and Trey take over Enterprise, and it’s all done with marionettes! It’s like Thunderbirds and Captain Scarlet all over. Gerry Anderson, watch out.”

[…]

Parker and Stone have already started making a shooting model of the Enterprise NX-01, thus reviving an old Star Trek tradition. “We prefer the look of physical, tangible models over CGI ships any day,” Parker said. “Of course, we have no visual effects budget whatsoever, so we won’t be painting out the strings. You’ll get used to it. Still trying to figure out where to put the propeller.”

“We’re also gonna re-do the opening title sequence,” Stone revealed. “Record a new theme — something bombastic, action-oriented. Y’know, something that isn’t, like, totally gay.”

Camp Tomato!

Plans for April 30th are afoot, courtesy of Mr. Jason Webley

Camp Tomato!

An afternoon of fun and games beginning at Woodland Park and ending with a concert in Ballard. The day begins with a potluck picnic at 1 pm. Various tomato activities will follow. After a dinner break, Jason will give a concert at the new Paradox Theater. Tomato, tomato, wheee!

The Paradox Theater
1401 NW Leary Way
8 pm – All Ages – $9

iTunesI Am Calling Out (L’Alta)” by Master Musicians of Jajouka from the album Brian Jones pres. the Pipes of Pan at Jajouka (1995, 5:54).

Search Engine Wars

Statcounter has introduced a new section to the statistics they track titled “Search Engine Wars” — it’s a graph of how much traffic your site gets from each search engine. Out of the last 1,100 hits to my site, here’s what it shows me:

Search Engine Wars

Admittedly, my site isn’t representative of the ‘net as a whole, but from where I’m standing, it doesn’t look like much of a battle.

iTunesInjected With A Poison” by Khan, Praga from the album Pragamatic (1998, 5:06).

Funeral Music

Prairie just pointed out this list of the top ten favorite funeral songs in Europe:

  1. Queen’s “The Show Must Go On”
  2. Led Zeppelin’s “Stairway to Heaven”
  3. AC/DC’s “Highway to Hell”
  4. Frank Sinatra’s “My Way”
  5. Mozart’s “Requiem”
  6. Robbie Williams’ “Angels”
  7. Queen’s “Who Wants to Live Forever”
  8. The Beatles’s “Let It Be”
  9. Metallica’s “Nothing Else Matters”
  10. U2’s “With or Without You”

I’m finding the mental image of a full congregation of mourners standing in a cathedral, colored shafts of light cast through the stained glass windows slowly moving across their faces, sadly and somberly intoning AC/DC’s ‘Highway to Hell’ to the accompaniment of a church organist and choir far too amusing for my own good.

iTunesFiremission” by Noxious Emotion from the album This Hallowed Ground (1995, 5:27).

Jello Über Alles

About a week ago, Mike Whybark attended a small event involving local performer Jason Webley), and subsequently posted a video of fellow accordionist Aaron Seeman leading the accordion class in a rousing rendition of the Dead Kennedys‘ ‘California Über Alles‘.

In an entertaining little bit of synchronicity, while driving around on Saturday afternoon Prairie and I happened to catch the last half of this week’s This American Life show on the local NPR station. The show (at least in this latter half) was a fascinating look at Michael Guarino, most notorious for being the prosecuting lawyer in the 1986 obscenity trial against Jello Biafra and the Dead Kennedys over their _Frankenchrist_ album and the H. R. Giger print included with it.

From the Alternative Tentacles website:

When a San Fernando Valley mother complained that her 13- year old daughter had purchased the record as a gift for her 11-year old brother (at a Wherehouse Records outlet in a large mall), the LA City Attorney’s Office decided to prosecute the case. Deputy city attorney Michael Guarino, the prosecutor in the case, admitted they chose to prosecute the DKs because it would be a “cost-effective” way to send a message to other musicians, record companies and fans. Guarino had been considering prosecuting several other groups when this case came along, and he thought he could win this one.

Charged in the case were Biafra, and four others, including the 67-year old man whose company pressed the Frankenchrist disc. Conspicuously not charged were Wherehouse Records which sold the offending album. They had agreed to stop selling Frankenchrist and all other Dead Kennedys albums when the controversy first surfaced.

Biafra and the others decided to fight the charges of distributing harmful matter to minors, and set up the No More Censorship Defense Fund…

Finally, after months of delay, during which Biafra’s time was taxed enough that he had no time to work on his music, the case went to trial. After a week-long trial in which witnesses such as Greil Marcus testified on the group’s behalf, and a respected art teacher attempted to show how the poster was an integral part of the Frankenchrist package, the jury came out deadlocked (7-5 in favor of acquittal), and the judge dismissed the case.

Jello has talked about this case many times over the years at spoken word performances, some of which have been recorded and released as albums. I first learned about the case from Jello’s spoken word album No More Cocoons, and have heard it referenced quite a few times over the years since.

Apparently, though, Mr. Guarino has come to see his zealous attack against the Dead Kennedys as a mistake — and has since come to gain an appreciation for the causes that Jello supports. From a 1997 Music News of the World article:

In fact, Guarino, whose son is a big fan of Biafra, said he now appreciates a lot of what the punk poet has to say in his spoken-word rants.

“In retrospect,” Guarino, the Director of Clinical Programs at JFK University in Orinda, Calif., told ATN last week, “I think it’s more important for (District Attorneys) offices and US Attorneys offices to focus on the tremendous amount of conflict of interest at the top, the accountants, the lawyers, the politicians, and get out of the area of freedom of expression.”

In one of life’s great ironies, Guarino said his teenage son “idolizes” Biafra and constantly listens to the punk poet’s CDs of spoken-word rants. “I keep trying to tell him that there’s much more to all of this than what Jello talks about, but he is definitely right about a lot of stuff,” Guarino said about Biafra’s conspiratorial rants. “He’s an interesting guy, but he only sees what he’s in a position to see and he can’t get beyond a quarter-inch or so of what’s going on. In some cases, it’s much worse than he could ever imagine.”

Towards the end of the This American Life segment, interviewer David Seagal (sp?) has called Jello and gotten the two men to talk. Not only do they end up talking about the nearly two-decade old case, but they go on from there, finding more common ground than might be expected and chatting like old friends.

It was an incredibly interesting bit of radio to randomly stumble across. The show (Know Your Enemy) isn’t available online yet, but according to the This American Life website, it should be downloadable in about a week or so. Consider it highly recommended listening.

iTunesCalifornia Über Alles” by Disposable Heroes of Hiphoprisy, The from the album Hypocrisy is the Greatest Luxury (1992, 4:13).

Marilyn Monroe

Up until last week sometime, I’d never actually seen a Marilyn Monroe film. Marilyn MonroeI knew who she was, of course, and had seen the occasional brief clip from one film or another here and there, but I had yet to actually watch any of her work. All I knew about her was the image — the blonde bombshell, most often posed either with her skirt blowing up around her waist or in her famous nude shot.

Last week I got Some Like it Hot from Netflix), Prairie and I watched it over that weekend, and both really enjoyed it — as much for realizing just how cute Marilyn was as for the excellent humor running throughout the film. This week we decided to try another of her films, and picked Monkey Business, which was equally enjoyable.

Something tells me there may be more Marilyn films in the future ’round my place.

iTunes100 Mile Dash” by Giacchino, Michael from the album Incredibles, The (2004, 3:07).

They used to be funny…

When did Steve Martin stop being funny? It had to be sometime after 1991, when he wrote and starred in one of my personal favorite films, L.A. Story. I found out some time ago that Prairie hadn’t ever seen L.A. Story, finally managed to remember that while we were wandering through Blockbuster, and got to introduce her to it this weekend. As I expected, she loved it.

Still, I’d watched Bowfinger, a more recent Steve Martin comedy, earlier in the week and had been singularly unimpressed with it. Neither Steve Martin nor Eddie Murphy are nearly as funny as they used to be — in fact, these days I generally tend to avoid movies with either of them. Admittedly, Eddie Murphy has done some worthwhile voice work lately, as Donkey in the Shrek films and as Mushu in Disney’s Mulan, but his recent live-action work (Daddy Day Care? Dr. Doolittle?)…well, even the trailers make me cringe. Meanwhile, Martin, who has two of my favorite films in his past — L.A. Story and Roxanne — has been turning out such quality fare as Cheaper By the Dozen and Bringing Down the House (I’ll admit that I haven’t seen either of those — but again, the trailers don’t give me any reason to bother).

A shame, really.

iTunesBlues Line” by Toyes, The from the album Toyes, The (1996, 4:13).