







Brendan Mullen, interviewed in Penelope Spheeris' The Decline of Western Civilization (1980) relates the BPM of punk and the adrenaline rush that results from the adjusted dance to increases in violence during shows. He also relates punk and folk music, both being protest genres.
"I think alot of the time that it gets out of hand is because of the speed of the music, which is way above the normal rythym of a dance. If you take a 4/4 disco time signature, which is comfortable, you can kind of dance easily to the disco rythym, which is, I understand, 126 to 132 heartbeats a minute.
Whereas the kind of music the Germs or the Black Flag is playing is playing is upwards of 250 or 300 beats per minute, which is not comfortable or normal to dance to. And this is why this dance that you'll see in the film, the pogo dance, which is jumping up and down and bouncing off walls and stuff, is kindof an abnormal level of adrenalin and sometimes some violence breaks out.
Nowadays I think the kids are more desperate or something or more bored. Some of the better of the punk bands developed into sort of like "folk music" I dont mean folk music as a traditional folk music but the allegory can be drawn in the sixties when the protesters used acoustic guitar. Now instead of acoustic guitars they have high speed three hundred beats a minute speed rock. Yelling about the same things. About how the air is poisoned out there. The air in utopia is poisoned. The final joke."


Olivier Messiaen composed the Turangalia-Symphonie, the posthumous "Feuillets" inedits (unedited leaflets above), and several others with the ondes Martenot in mind.
This spring, Irving Sandler asked Roberta Smith about what's fashionable in art today. I like her honest (as always) answer:
"Rail: ...What are your thoughts about what is considered the fashionable style at the moment?
Smith: Oy. There are probably several, with most of them involving some form of appropriation, whether the medium is abstract painting, or the juxtaposition of odd found objects. I think the notion that everything—whether materials or narrative—needs to be found, not made is a bit of an obsession. Another one is this reverence for the late 1960s and early 70s. It seems like a certain kind of early 70s conceptualism is considered a kind of antidote to the market and the corruption—I’m using scare quotes—of object-making. I find that kind of tiring, or perhaps a way of hiding from your own time. There’s also resurrection-for-resurrection’s sake: the rediscovery of forgotten artists just because they’re neglected. Some of these artists aren’t that interesting, but the mere fact of their having been overlooked makes them heroic in some people’s eyes."
I also like alot of other things she says in the full Brooklyn Rail interview here.
S & M synth band Duchess Says (Montreal) play CMJ next week. Singer Annie-Claude Deschênes wears a hockey goalie mask while performing, barking like Stasi commander above a din of guitar shreds and deep synth. This song is the poppiest they get, but thanks to the video, their perversity shines through.






Tiny blogger Tavi of Style Rookie rules the fashion world! Scrolling through her blog's archives (they start way back when she was 12 in 2008) it's amazing to watch how she refines her sense of style.
