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investigatingregionalscenes · 7 years ago

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story about music #8

Winter-Spring, 2013: In order to graduate, I needed a capstone. I chose to do deep reporting project I’d been threatening to do since 2009, and looked into the noise and experimental scene of New England. I recorded seven interview with experimental artists about their lives and work. These are five of them. They were taken in a variety of locales in the Boston area: Cambridge, Somerville, Lowell, and Salem.

In the last year, I’ve been thinking a lot about this period and these conversations as I ask myself, why keep doing this?

above: Ron Lessard, as Emil Beaulieau, performs in someone’s basement in Worcester, Massachusetts.

Music

Music for this episode was created using the following household objects: a desk lamp, a can of beer, a record player, a radiator, and a vacuum cleaner.

With the exceptions of “Fog in the Ravine” by Lejsovka and Freund as well samples from their songs “From Royal Ave” and “Nothing, Just Looking at the Moon” and the song “Blue Line Homicide” by Twodeadsluts Onegoodfuck.

The soundtrack was created with advice from musician Jacob Rosati. It will be made available for download later in the summer. For more info please subscribe to the podcast, tumblr, or follow us on twitter.

Links

Crank Sturgeon still performs and tours regularly. He also builds contact microphones and other circuit bent sundries, one of which was used in the production of this episode. A full recording of his set used in this episode is available here.

Crank Sturgeon, 2012, from Wikimedia.

Shane Broderick spent most of his twenties making music with his friend Ted (and later, their friend Josh Hydeman) under the name Twodeadsluts Onegoodfuck. Their music is a good example of the subgenres Grindcore and Power Electronics. The name is also exemplary of those subgenres. The performance video which is referenced in the documentary, taken in the mid-00s, has been removed from Youtube. A video from that period is visible here, uploaded by the band’s Ted Sweeney. (contains nudity)

Shane Broderick, from Existence Establishment

Ron Lessard still runs RRRecords in Lowell, Massachusetts. He previously performed under the name Emil Beaulieau. A collection of performances, including the one used in the documentary, can be seen in the video compilation below.

youtube

Emil Beaulieau: America’s Greatest Living Noise Artist, from Youtube

Andrea Pensado still makes music and performs live. She composes in Max/MSP. Her most recent release is a pair of live collaborations with Id M Theft Able. Her former project, with Greg Kowalski, is QFWFQ.

youtube

Andrea Pensado live performance, 10-13-13, from Youtube

Angela Sawyer owned Weirdo Records until it closed in 2015. She now performs comedy and experimental music around Boston.

Angela Sawyer, from her personal website.

The interview with Andrea Pensado was recorded along with my friend Samira, who was producing her own documentary of Boston’s experimental music scene, below. It includes footage from the Andrea interview as well as her own separate interview with Angela Sawyer.

youtube

“The Noise” by Samira Winter, from Youtube

Luigi Russolo’s manifesto is The Art of Noises

Luigi Russolo and the Intonarumori, with his asst. Uglo Piatti, from Wikimedia

Transcript

Brendan: Would you mind telling me about the show at [withheld] , from six years ago, down the street?

Shane: Yeah, um, I was setting up a show with some old-school Detroit noise dudes. When we showed up, the owner was there instead of the doorman, and he was just upset cause he was there on, like, a Tuesday night.

So what ended up happening was is, uhh, two bands played and he came up to me a said, “show’s over.” “Well there’s still two bands to play,” and he’s like, “I don’t care, the show’s over.” I’m like, “the show’s been booked for two months.” Just because you want to go home and, like, jerk off into a kleenex or whatever it is that you fuckin’ do. It has nothing to do with me. And he got upset, and I was like, well listen dude, how about the last two bands play at the exact same time.” So that’s what we did. Warmth and Twodeadsluts collaborated. It lasted about fifteen seconds, and the owner came over and kicked a table with everyone’s gear on it. So the only logical thing for me to do as a Bostonian–– and I have pride being a Bostonian–– is I just looked at this guy and I was like, “I don’t care how big he is, or how Italian he is, I’m gonna wind up, and I’m gonna punch this guy right in the fucking face.”

Brendan: And what happened?

Shane: That guy hit me back––I-I lost a little bit of time there. He’s a lot bigger than me. Uh, clocks went still. I kinda woke up, I was on the ground, and he was smashing everyone’s gear. Cops came in, they put me in a car, they, y’know told me to leave and blah blah blah.

Brendan: Is that the only time cops have been called on you?

Shane: No. Not even close.

music: “Blue Line Homicide” | Twodeadsluts Onegoodfuck

You’re listening to Stories About Music, a podcast on the subjects of music, journalism, and memories, and how the line between those three things is often not as clear as I’d hoped.

My name is Brendan Mattox, and this is story about music number eight, “Who’s Afraid of the Art of Noise?”.

Room 1 (Crank Sturgeon)

Cars pass by on Massachusetts Avenue, seen out the front window of Weirdo Records in Cambridge. It’s night time. A few young men in their twenties sit on the floor of the small storefront, waiting as Crank Sturgeon sets up in a corner.

Crank: Cool. So, do you think this is our show? Shall we wait, or?

Angela: I think…What time is it? It’s not eight-thirty, that’s probably most of our show. Let me turn that off.

Crank: Not that uh, four’s a wonderful audience, I’ve played for two. One of them was my brother who never saw me before that point…and Id Em Thft Able and I had some very bizarre sexual ritual in front of my brother, involving instant powdered milk and a plastic poster from 1970 of this naked woman holding a stuffed animal…And I had a penis helmet at the time… but alright, well I will perform for you hello, my name is Crank Sturgeon everybody… (6:37) We could do a performance where I have everyone sing introductions of themselves to each other. Everyone up on your feet.

Crank: Hello! My name is Craaaaaaannnk Sturrrgeon!

Angela: Hello! My name is Angela Sawyyyyyeerrrrrr!

Crank: All at once now!

Brendan: And I am Brendan Mattox!

Crank: Hi Brendan Mattox, my name is Crank, it’s a pleasure to meet you, you have a really firm handshake. And this man in the corner, what’s your name? Andrew, another Andrew, Brendan, Angela.

Angela: Wow, we’re nearly phonemes.

Crank: Ahh, phonies…

Crank Sturgeon sits down behind his instruments: a few tape recorders, a sharpie, and a loudspeaker full of tacks and jelly beans.

Crank: First Piece, oh, wait. My brand new fish helmet, so I can lose even more water to my body. There we go. First piece is improvisations with the letter D. Delirious, Delightful, Delicious, Dumb, Dumbfounded, Dimwit, Diplodocus, Dinosaur, Diana, Dagnasty, Dagnabbit, Diddling, Dawdling, Doodling, Dude Ranch (buzzing noise) Dick, Doofus, Dammit, Darn, Dangle, Drink, Drunk, Dank, Dork, Dusty, Dunce, Distinguished! Development! Duplicitous.

Crank is wearing a black garbage bag over his head, adjusted so his face and white goatee peek through the hole he’s cut in it for air. On either side of the bag are two enormous fish eyes, drawn on card stock, with marker.

I’m here tonight reporting a story about a couple of loosely associated experimental musicians from Boston, a story whose meaning is starting to exceed my grasp.

Brendan: How would you describe Crank Sturgeon?

Crank: In uhh, a sentence? Brendan: I have no idea. How would you describe the experience of being Crank Sturgeon?

Crank: Well it’s, uh, it’s not a party.

Angela: It is so.

Crank: It is a party. It’s funny because, I’ve survived for awhile, through the many phases of experimental music.

Brendan: What do you mean the many phases?

Crank: The many phases. You’d go to a show in 1996 in a basement in Allston and it was like, a tough guy scene.

Angela: People sitting on the floor, like indian style, and a dude looking at his belly button going “doonk-doonk-doonk.”

Crank: (laughs) Very true…

Angela Sawyer, the owner of Weirdo, jumps in. She and Crank know each other going back to the nineties, when they were at the beginning of the path that has led to the three of us standing in a circle in her record store.

Brendan: what’s the trick to growing old with grace within the experimental community?

Crank: Oh that’s a really fun question, because I’m still figuring it out. I think…did you want to say something?

Angela: Well I feel like no one– when I was twenty, or eighteen, and I met people who were much older than me, it never occurred to me to look at myself from their point of view, ever. So I only ever thought, “oh, that person is as old as my mom and my dad, but they’re doing what I want instead of what my parents are doing. Once you get to be–– I’m in my forties…then is when you’re like, oh, I have been there so many times and they have no idea where I am. So that’s when you start to feel marginalized a little bit

Room 2 (Shane Broderick)

The TV in Shane Broderick’s living room is on mute. A weather man gestures in to a map of New England in shades of blue and purple. At the top of the screen is a red banner with the words “Blizzard Warning.” It’s mid-afternoon. Shane and I are drinking cans of beer that Shane brought out of the fridge.

Shane: I was always playin’ music and stuff since I was a little kid. Even when I was, like, twelve years old I’d be up late smokin’ weed and messing with drum machines and stuff like that.

Brendan: Where’d you get your hands on a drum machine at age twelve.

Shane: Uhh, Christmas present.

Brendan: Christmas present?

Shane: Yeah.

Brendan: That’s pretty cool.

Shane: Yeah, I had my beginner guitar and a drum machine. Y’know once I was like, fifteen and stuff I got a job, started collecting equipment…I thought I’d make a career out of it but I ended up just being, like, a lifelong mailroom guy.

When he was 19 years-old, Shane dropped out of college in Florida and moved back to Massachusetts. He started making abrasive music with a friend he knew while working at a gas station in high school.

Shane: We worked together and every time we finished a shift it would be like a hundred and something dollars under, and I was like, what the fuck this kid man.

They called themselves Twodeadsluts Onegoodfuck.

Shane: We joked around on the internet about how we were going to start the most extreme band ever and how the first record we’d just put a bunch of contact mics in a blender and throw a rabbit in it and whatever it sounded like, that was the first LP. Which we never did. [music in]

Brendan: But what instead came out of it was…

Shane: I stuck my boner in a blender. Which was a demo that we did which was me and him coaching eleven of our friends, we were just trying to make circus music with grindcore parts.

Shane: We got reviewed in something like Metal Maniacs, that was like a magazine that when I was ten years old and my mother would drag me to CVS to grab things, I would sit in the aisle and look at, like, pictures of like, Slayer looking sexy and stuff like that, so I was like “oh shit, I’m in this magazine now.” After that, me and him decided to keep the name and go forward with it.

Shane is in his early thirties and he still makes music, although Twodeadsluts hasn’t been active for awhile. He also still plays shows sometimes, though he doesn’t really enjoy it.

Shane: I don’t know I think it’s just, like, nerves. It was easier with the other guys because we were more like a wrecking crew. Y’know, get blind stinkin’ drunk and it didn’t really matter what happened.

Brendan: What would one night at a TDS show end up being like?

Shane: It would start off sloppy and then I wouldn’t remember then end of it.

(Indiscriminate yelling)

Shane: We’re Twodeadsluts Onegoodfuck from Boston, and we need the drum machine way fucking louder. Get that shit way the fuck up.

Brendan: When you guys got onstage, there seems to be sort of a pattern. You start off with some harsh feedback, and then it progresses into stuff getting knocked over.

Shane: There was definitely a lot of feedback and definitely a lot of things knocked over.

They were also usually naked.

Shane: I think we were probably more performative over substance, to be quite honest. In those early shows we were just using five or six microphones, a bunch of fx pedals running back into each other, and just whatever sounds were happening, were happening

[music]

Shane: Either people really liked it or found it very entertaining, and on the flipside– we’d have people picket our shows, feminists thinking that we were, like, um, promoting sexism… Just that band name wipes off at least 70% of the population from even giving you a chance. It’s probably a higher percentage than that…

Brendan: So the choice of the band name then, was it to…

Shane: It was kind of like, a filtering mechanism and also it was like an inside joke that just kept going and going, and no one was really in on it but us. The band wasn’t supposed to last ten years either.

Shane: I can’t even give you any rationale behind it…it really might look pretty forced, but it was actually pretty natural for the people involved in the band.

Brendan: Why was it so natural?

Shane: I don’t know. That’s a question for a therapist. I don’t know.

I sip from my can of beer even though it’s empty. Shane plays with the pull tab on his. On the television, the weatherman predicts a foot of snow is going to cover Boston over the next two days. Shane, still dressed in scrubs from the hospital where he works, says,“I got to work tomorrow no matter what.”

There’s a half-open ironing board against a wall. In the bathroom, the sink is plastered with shavings. Next to the un-flushed toilet sits a stack of musical notation paper. I stare at it, because it says something specific about the person I’m speaking to. I can’t figure out what, or why.

Brendan: If you could maybe, like, point me in the right direction of some people in the area to talk to…

Shane: I think you should definitely talk to Ron in Lowell. He runs triple-R records. He’s kind of, America’s greatest living noise artist. Like a godfather type…

Room 3 (RRRon)

I walk out Shane’s front door and into Ray Robinson’s café in downtown Lowell. Ron Lessard waits for me in a yellow booth along the window. Through the rain on the glass, the world outside is a blur of different shades of gray.

Brendan: Where should we begin?

Ron: (chewing noises) So. Today is Wednesday. I’m eating lunch. I’m almost through with my fries, soon I’ll be starting on my burgers. Fuckin’ awesome.

Ron is the noise expert, one of the engines driving America’s experimental music scene since the 80s. Ron has released about 1000 recordings on Triple-R’s in-house label.

Ron: I was the source. And everybody who ever learned how to play a tape backwards or make feedback decided to send me a demo. And man, I heard so much crap like you wouldn’t believe…I mean, how many Rock’n’roll bands are awesome, and how many suck beyond belief?

Ron first got into noise music around 1981, after he left the Air Force and came home to Lowell.

Ron: There was a mail-order outlet out of Colorado called Aeon A-E-O-N. When I got their catalog, I couldn’t believe the stuff they had listed. They had, like, Whitehouse albums, New Blockaders, Maurizio Bianchi, and it’s like who the fuck are these guys? So I started buying that stuff and I was like, woah, this is what I’ve been looking for all these years. The guy that ran it became a survivalist kind of guy, y’know, living out in the woods with his gun type of thing and, actually, he eventually sold me his entire inventory, I bought him out.

Ron: When I first opened I tried to specialize in all the really weird imports, bizarre bands and that kind of stuff, y’know. But at the same time, I knew enough to know that pedestrians, your average everyday person, has no freakin’ clue. They just want to listen to a Barry Manilow or whatever the fuck they like, y’know.

His store, RRRecords, opened in 1984.

Ron: After Aeon, I was the guy that was thoroughly obsessed, and I just devoted myself to it…Day in day out noise, morning, noon, and night. Listening to tapes, checking out bands all day every day. At that time Heavy metal wasn’t heavy enough, punk rock wasn’t extreme enough, Noise did it for me, it really did.

Ron started performing noise music himself under the name Emil Beaulieau. Footage from from the nineties, like this, show him using vinyl records and their accessories as instruments.

This is another way to look at noise music: instead of using something like a trombone, or a tuba, a guitar, or a piano, you take whatever you can find, whatever objects appeal to you, and you refashion them into something expressive. The screeching noise you hear is coming from a modified turntable, which Ron stands behind with a goofy look on his face, pretending to polish record.

Ron: Remember to always, always use the circular motion when cleaning your records.

From that perspective, noise is a positive, creative philosophy, and I can see how people get so obsessed with it.

Ron:A lot of people, y’know, they can’t play guitar, they can’t play the drums–– but twisting knobs and screaming your brains out, getting out that primal scream, whatever it is…it’s inside everybody.

Brendan: And speaking of which, what’s your personal experience with it.

Ron: (Darkly) What do you mean?

Brendan: I mean with Emil Beaulieau.

Ron: Yeah.

Brendan: Well you just said that Noise music was this personal experience. How did you get stuff out through Emil Beaulieau?

Ron: I–I’m not sure where your leading, as far as recording or getting the name out?

Brendan: Why did you start Emil Beaulieau?

Ron: ––you know, I just wasn’t any good at sports (laughter).

The uncomfortable moment sticks in the back of mind for the rest of our interview. Though Ron’s eloquent and energetic, as I was warned he would be, he’s also a little guarded. Maybe that’s because I showed up looking for someone to answer the criticisms of noise music or its culture, which he brushes off with a simple:

Ron: Lately? Lately I’m out of it.

Brendan: When was the last time you were in it?

Ron: Seven years ago (laughs)

Brendan: So let’s go back seven years, because this is something that keeps coming up in interviews with people. Seven years ago, things were very…

Ron: Active.

Brendan: Active.

Ron: Wicked, wicked, wicked active.

Brendan: What’s happened?

Ron: The bands that are making noise today sound like the bands that were making noise ten years ago, that sound like the bands making noise twenty years ago, y’know they sound exactly the same, they’re doing the same freakin’ feedback, they’re still screaming the same lyrics, y’know, it’s just the same thing over and over and over and over again. Which is fine, y’know, punk rock exists for a reason, y’know. The young people, they’re totally into it because it’s new for them. It’s like wow this is freakin awesome these guys are screaming their brains out! They’re talking about killing people! But then ten years later it’s the same thing all over again…I mean do you want to listen to that same band for freaking ten years in a row? I mean do you still want to hear Aerosmith? No you don’t (laughs).

He seems tired in a way that I’ve not seen before. As we talk, I get the sense that what Ron and I are doing has become an exit interview.

Ron: I did what I had to do. I did what I had to do and just to keep doing it because somebody else wants me to? Wrong freakin reason. That’s how bands start to suck. So fuck that y’know.

Y’know there was a time when I couldn’t wait to get on stage and scream my brains out. It’s like, well I mean y’know, you ever had a girlfriend? You make out with her it’s like the best! And then one day, you don’t want to make out with her anymore. It’s no different.

I mean, it’s been seven years. I stopped performing seven years ago, March of ’06. It’s now March ’13. It’s seven freaking years that I’ve stopped. Chances are you’re not doing the same thing you were doing seven years ago. And I’m willing to bet, seven years from now, you’re not going to be doing the exact same thing you’re doing now. People change, they move on. Been there, done that, why do it again?

music: “Fog in the Ravine” | Lejsovka & Freund

The scene dissolves. In the darkness, I think of the question that I wish I’d asked. This isn’t just some thing Ron was doing, it was the thing – what can you do when you lose touch with the something that was core to your identity?

Room 4 (Andrea Pensado)

Andrea: I think it’s very important to not to be scared of being in a place of not knowing. To be in a place of uncertainty, is excellent! Even if it is uncomfortable. Honestly, I don’t want a comfortable life.

I’m sitting in a cozy loft apartment in Salem, while my friend Samira chats with a small, owlish woman in her late 40s named Andrea Pensado.

Andrea: Well if you feel it at twenty than you cannot imagine in your forties.

Samira: I just taste it and I’m like, ‘wow, I’m just feeling all the sugar.’

Andrea: I ate a lot of chips, it was a bad idea. With beer, y’know, not good.

Samira is working on her own documentary about experimental music.

Andrea first got interested in music when she was a little girl, growing up in Buenos Aires.

Andrea: Eh, I was living in an apartment building, and a friend of mine, she started taking piano lessons. She showed me her music and I saw the notation, ehh, and I was fascinated. Honestly I was not aware of such a rich experimental music background until when I was in Poland…

She left Argentina to study composition in Krakow as an adult. But the music she composed on paper was so complex, that she often had trouble finding people to play it. Andrea likes to think about timbre–– the color of sound, what differentiates one instrument from another. To wring out some really interesting timbre with traditional instruments, you’ve got to do some out there stuff.

Andrea: Like, I don’t want to be just writing for the drawer.

And then, Andrea went to the Audio Art Festival, a meeting of the minds held in Krakow every November. The festival focuses on objects used to produce sound: musical instruments, but also computers.

Inspired, Andrea taught herself to program and began using electronics in her work.

Andrea: So I create a wifi for myself just to avoid latency, you can work with any wife…So my controllers are! An iPod–– I say, I look like an apple merchandise stand, which is quite depressing, but you know, what can I do? So this is an iPod with a special application I use to… [iPod click]. Well, first I have to set up the wifi, I show you…

Andrea is wearing a a headset like the kind people use to play video games. She’s sitting at her computer with an iPod Touch in her right hand.

Andrea: This is a simple wave, just a simple low tone. So if I move it like this, I change the pitch. And then if I do like this, the distortion is the direct result of–

She twists and bends her arm manipulating the sine wave into a complex pattern.

Andrea: And I can do the same if I had my voice…

Then she flicks on her mic.

Andrea: Hey, hah, that’s my voice! (noise) hello! Hah! (pause, noise ends). So you know it’s quite dramatic.

Andrea: Maybe for somebody who is not a lot in music, this seems harsh. I don’t think this is harsh at all, this is just the way new music is going. I do believe that, even though I don’t think what we do now is better than what was done in the Renaissance, ok, I do believe that there is constant change, and that artistic languages keep having a need of refreshing themselves, ok?…yeah?

Brendan: (18:49) Why do you think music is shifting in that direction?

Andrea: To explore timbre…Because now, thanks to the technology, we have access to it. It’s easier to manipulate. We are like kids, we are, like, playing. (12:26) I compare it to the beginning of the baroque, where they became aware of chords, of verticality, and then for 300 years, they explore that.

Andrea’s grandiosity reminds me of the document that first inspired me to pursue this project. In 1913, a young painter named Luigi Russolo wrote a letter to a composer he admired. The two of them were part of an Italian movement known as Futurism. Russolo’s letter ended up as one of the movement’s major manifestoes, The Art of Noises.

In The Art of Noises, Russolo laid out a framework for the music of the new industrial world, in which the city itself is both the inspiration and the instrument.

For centuries life went by in silence, at most in muted tones…Amidst this dearth of noises, the first sounds that man drew from a pieced reed or stretched string were regarded with amazement…and the result was music, a fantastic world superimposed on the real one…

We Futurists have deeply loved and enjoyed the harmonies of the great masters. Now, we are satiated and find far more enjoyment in the combination of the noises of trams, backfiring motors, carriages and bawling crowds than in rehearsing the “er-O-i-ca” or the “Pastorale”.

We cannot much longer restrain our desire to create finally a new musical reality, with a generous distribution of resonant slaps in the face. Discard violins, pianos, double-basses and plaintive organs…

I am not a musician, I have therefore no acoustical predilections, nor any works to defend. I am a Futurist painter using a much loved art to project my determination to renew everything. And so, bolder than a professional musician could be, unconcerned by my apparent incompetence and convinced that all rights and possibilities open up to daring, I am able to initiate the great renewal of music by means of the Art of Noises.

It is, and I am one to talk, very pretentious. And yet, I kind of sympathize with the guy. When I started making a podcast, I was intent on remaking a whole sector of journalism with my own bold incompetence.

A man of his word, Luigi built these giant boxes called the Intonarumori, whose purpose was to make a bunch of noise. A photo of them often accompanies The Art of Noises, and you can see Russolo standing behind one, this thin guy with a mustache, a hand placed on the crank handle at its back.

Like most manifestoes, The Art of Noises says very little about its writer, except what he wanted to be: a great destroyer come to remake the world in his image. If you’re a certain type of young person, that idea is very attractive, and you can embrace it without really thinking about what other things you might put to the side to achieve that.

Samira: What’s your, I know you’ve done a lot of work with visual, audio and visual.

Andrea: Well that’s with my ex-husband (laughter). Greg, whom I met in Poland, he comes from video, from cinema. We had a duo, eventually, I stopped doing my own to work for our duo, which we worked together for ten years. Greg did the images and I did the sound. And we work on interactivity. Then we split, so now I work just with sound.

Brendan: How is your music different working with your ex-husband, than after?

Andrea: The main goal of our duo was to have real time interaction between images and the sound. So if there was something onstage like a movement or, whatever, it had simultaneously a result in both. It gave some rigidity. So now that the interaction isn’t so important, I have much more freedom to just to improvise. It’s like much, much more freedom.

Room 6 (Angela Sawyer)

Angela: One of the first people I ever met who was interested in experimental music was Ron Lessard.

I’m standing at the counter in Weirdo Records one afternoon, talking with Angela Sawyer again She’s telling me how she first got involved with the experimental scene, just after she started at U-MASS LOWELL in the early 90s.

I had never been to New England at all, I just flew here on a plane from Denver and I wanted to meet some people, and I didn’t really know what to do, and I heard some other kids saying that they wanted to join the college radio station. They said at the meeting to join up, you have to show up and volunteer…I went back the next day, and there no one was there.

Brendan: How long were you there for?

Angela: Probably an hour (laughs). Finally someone came by…I was just like, “hey, hey, I’m here to volunteer, what should I do?” And they just looked at me like I had three heads. They were like, “why don’t you clean something?” So I found a vacuum and I just started vacuuming…

And I went through all the rooms, and finally I got to a room that I hadn’t been in yet, and there was a person in there, and it was kind of dark in there…So I waited for him to notice me. I said hi, I’m trying to vacuum. I had no idea that it was the air studio and, um, Ron, of course, he’s like a firecracker going off. So he’s like, “OH YES COME ON IN,” he was mic-ing the vacuum cleaner, and I’m just like “oh hi,” and he’s like tell me about yourself, who are you? And uhh, he was really awesome to me

As we walk down memory lane, Angela starts talking about a world that I was once very interested in, the network of noise and experimental artists who connected in the early days of the internet, after decades of being little feudal kingdoms.

Angela: There was definitely a feeling at one point of there being a first-world wide, at least, community, if not worldwide, of people who were listening to the same releases, and they were seeing the same bands, they’d heard some Throbbing Gristle records, and they had a common language and finding out about cool stuff and figuring out how it worked, and they knew what happened when you stuck a clarinet underwater and put delay on it.

I’ve been thinking a lot about what Angela said at the Crank Sturgeon show, about choosing to live on the Island of Misfit toys without thinking about it very hard. Because I feel, in a lot of ways, that that’s become my life. I’m more devoted now than ever to completing the work I set out for myself, but I’m also deeply unhappy, and more isolated.

Angela: Every town has the person who is like, I’ll become the nun, I’ll sacrifice myself and do all this work and…y’know, I have a store, that’s what I do.

Brendan: Can you talk a bit about sacrificing–– about becoming a martyr for the scene?

Angela: I’m not trying to do that, I actually really dislike that.

Brendan: How did you fall into the role?

Angela: If you have some job related to underground music, that’s what you’re doing. ‘Cause there’s no money. But that’s one of the only ways you can spend your whole life surrounded by it.

music: “Fog in the Ravine” | Lejsovka and Freund

Angela: Everything I know about politics and geography and sociology and psychology, and how to sort of figure out how to deal with the world at large, I mostly learned them from records. It’s been a very long time since I’ve had a conversation about anything else. I’m a very narrow person outside of records. Basically, records are sort of my defense system and or window for everything, I think of every record as like a pair of of tinted glasses, and you can look at the whole world through that and see it in a new way, and each good record has a slightly different shade on it, so you never get done figuring out how things work and enjoying new wrinkles in how things are. The bad news is that if you take the glasses off things look terrible, then you have to function like a regular person. And that’s not something I’m very good at.

If I’m being honest, neither am I. I’ve agonized over these interviews for a long time, afraid of saying the wrong thing about the people in them. To call it a “cautionary tale of loving something– an idea– that cannot love you back,” sounded unkind, both to them and to myself. I can’t help but feel at the end that that’s exactly what it is.

I avoided revisiting these interviews for almost five years because they held up a mirror to the shaky logic I built ambitions on. They pointed out, in no uncertain terms, that art cannot save me. It can help me find a way to save myself, by learning to communicate things that I feel deeply in a way that’s truthful, accurate, and honest. But that’s all that it can do.

And it took losing someone I loved very much to understand that.

Room 7 (Somerville Ave)

Shane Broderick and I stand on the sidewalk of Somerville Avenue on a cool spring evening. Shane’s arm is in a cast. He’s just finished telling me a story about the time he punched a club owner at a venue up the block. As we’re talking about the reputation that Twodeadsluts Onegoodfuck had amongst Boston’s club owners, some of Shane’s friends emerge from the bar where he’s just finished a gig.

Shane: it’s funny because we never actually gave any of the venues our actual performances, it was more like basement parties and shit like that that they were scared of, that they’d heard about.

Brendan: I can’t remember if I got this on tape last time, would you mind describing what the actual performances were?

Shane: Can’t really do that, I don’t know, you can ask these guys.

Friend 1: What’s that?

Friend 2: You gotta lighter? I just realized I left my backpack down there, I got good beer in there but whatever fuck that shit.

Brendan: Would you guys mind describing to me what a normal show by Twodeadsluts Onegoodfuck was like?

Friend 2: Is this an interview? I wasn’t ready for an interview man I can’t do that! My voice cannot be heard on tape.

Friend 1: (makes jerk-off motion) It’s like this.

Friend 2: Can I get a lighter from somebody?

Shane: (shouting) It’s like looking at something, and gettin’ so excited and just BAM! And then it’s kind of like aww fuck.

Friend 1: I don’t have a lighter!

Friend 2: Do you have a lighter?

Shane: We need to go home. Need to hide under a blanket.

Friend 2: Do you have a lighter buddy?

Brendan: Nah, I’m sorry.

Friend 2: Motherfucker! How can you do an interview without a lighter? (distant) Fuck! Amateur!

Brendan: So, just so I don’t take up the rest of your time, there was something you said during the last interview. You said that, for TDS, there was this joke that you guys…when the joke stopped being funny, you guys were like, ‘alright, I’m gonna do something else.’

Friend 1: The joke didn’t stop being funny.

Shane: Well ok I’m not sure the joke ever stopped being funny but…

Brendan: So, what, in your opinion what was the joke?

Friend 1: The band was the joke.

Brendan: What specifically about the band was the joke?

Friend 1: I don’t know…

Friend 2: (strike lamppost) Do a funny voice c’mon what the fuck! We’re supposed to be entertained by this shit.

Shane: Alright, you can cut my voice here.

Friend 2: It doesn’t matter what you say so long as it’s in a funny voice it’s cool.

Shane: There are a lot of Boston noise bands and people from Jamaica Plain and Allston and they want everyone to be like, onboard with, ‘hey, we’re all friends, this is a scene! come down to our house play a show blah blah blah.’ And what Twodeadsluts was more like, was just like, ‘We’re not even invited. We’re playing a show, we’re trashing your fuckin’ house.’

Brendan: Do you ever miss it?

Shane: Yeah, of course I do. It is what it is.

Brendan: I feel like that’s a pretty good place to end.

Shane: There you go.

I walk off into the night. A block away, I come to a stop on a concrete island in the middle of Somerville Avenue and look back at Shane and his friends. They were still down by the bench we were sitting on, drunk, being loud, but their noise is drowned out by the cars flying past me, headed for the outskirts of Boston.

Standing here, it occurs to me that need room tone, the sound of the place I’m in. Room tone helps smooth out transitions in editing, makes a radio documentary sound more natural. I’ve forgotten to get it for almost every other interview with the noise artists. But that I remember now seems significant to me, an promise to myself that someday I’ll figure what made this experience worth telling.

Credits

Today’s episode was produced with help from Wes Boudreau and Samira Winter. Editing help by Kyna Doles and Jon Davies. Special thanks today to Lejsovka & Freund, Jacob Rosati, Sean Coleman, Elissa Freeden, Brittany Rizzo, Tyler Carmody, and Birgit from Denmark.

Visit our website, investigating regional scenes dot org, for more episodes and, this summer, some bonus materials. You can find Stories About Music on your local podcast provider. Please leave a review to helps us find new listeners.

From Philadelphia, I’m Brendan Mattox, back soon with more stories about music.

#stories about music #noise music #experimental art #radio documentary #podcast

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newagesispage · 5 years ago

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AUGUST 2020

PAGE DEB

There is a limited series coming to Showtime ,Blackbird: Lena Horne and America.

*****

Barack Obama joined a zoom call to Crip camp for the 30th anniversary of Americans with Disabilities act.** Hearing Obama, Clinton and even Bush speak as they remembered John Lewis reminds us how calming it can be to hear inspiring words.** Feel bad that Jimmy Carter could not attend since it was in Georgia. We miss ya.**John Lewis put his own words out there in the NY Times on the day of his funeral. He also wrote letters over the last couple of months to many activists to continue the fight.

*****

Racism is so American that when you protest it, people think you’re protesting America. – Romy Reiner

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Check our Smartless, the new podcast from Sean Hayes, Jason Bateman and Will Arnett. Each episode one of the hosts brings a surprise guest that answers questions.

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Opening some states is like opening a ‘peeing’ section of the pool. –Neil de Grasse Tyson

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Rumor is that Dave Chappelle will be on Letterman’s next batch of Netflix shows, My next guest needs no introduction.

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Check out the album Grandpa Metal from Brian Posehn, Brendon Small, Scott Ian, Al Yankovic, Corey Taylor and Jill janus.

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Reports have come thru that Brett Kavanaugh wanted the Supreme Court to avoid decisions about abortion and Trump’s financials.

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The Redskins have become the Washington Football team.

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Hulu will bring us Nine Perfect Strangers with Nicole Kidman, Melissa McCarthy and Michael Shannon.

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Days alert: I wish Bonnie would turn out to be Adrienne. If the switch was made when she chose Justin over Lucas,that would explain a lot. Eve is back for revenge but Ciara and Hope will find Ben. Will it be too late? I hope this brings Shane and Teresa back to town. Allie will have a boy but who is the Father? Rumor is that it could be Theo Carver or Parker Jonas or Tripp Dalton. Will Eli and Lani have twins? Sarah and Xander will reunite??

*****

Spencer Grammer was stabbed while trying to break up an altercation in NY. She is on the mend.

*****

The Green Banana is a sort of 425 foot bright blue sink hole that has been found off the coast of Florida. Divers say it is about 155 feet below the surface.

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The Department of Homeland Security has more law enforcement capability than all other branches combined.** Why aren’t the storm troopers working on real crime?? Fingers crossed for no more Trump troops for “Operation Legend.”

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Jim Jordan says that, “Big tech’s out to get conservatives.” The top performing FB posts that day: Ben Shapiro 2. Fox news 3. Dan Bongino 4. CNS news 5. Ben Shapiro 6. Ben Shapiro 7. Fox news 8. CNN 9. Blue lives matter

*****

2 million Americans do not have running water.

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Actor Bryan Callen has been accused of sexual assault.

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Breonna Taylor is on the cover of O.** The WNBA has dedicated their season to Breonna and the Black Lives Matter movement.

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Epix has brought us a sort of new look at Manson with Helter Skelter: An American Myth.

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Southern Crossroads has a slogan: Rednecks for Black lives!!

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Louis De Joy, the new Postmaster General has apparently shut down sorting machines and cut overtime so that mail carriers must leave mail behind.

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David Duke is permanently banned from Twitter.

*****

The Emmy noms are here: Netflix broke all previos records for number of noms. Leading the pack was Watchmen, The Marvelous Mrs. Maisel, Ozark, Succession, The Mandolorian, SNL and Schitt’s Creek. The best drama category is the toughest with The Mandolorian, Ozark, Succession, Better Call Saul, The Crown, The Handmaids tale, Killing Eve and Stranger Things. Best supporting actor in drama and comedy is tough including Kieran Culkin, Giancarlo Esposito, Matthew Macfayden, Andre Braugher, Tony Shalhoub, Kenan Thompsonand Daniel Levy. The limited series or movie supporting actress is loaded with goodies too like Holland Taylor, Uzo Aduba, Margo Martindale, Tracey Ullman, Toni Collette and Jean Smart. How can you pick?? The 72nd Emmy’s will be hosted by Jimmy Kimmel.

*****

A new low: College Covid parties in Alabama to see who can get it. I think we need to crack down on education because we have some pretty stupid people in this country. Why do we want to work the medical professionals within an inch of their lives??** 155 thousand dead. The total cases have dipped slightly but fatalities are up. ** Pelosi has issued mandatory mask order for the house.** In the new covid bill they want 1.75 bill for a new FBI building that will stay in the same place that it now stands?? This surely couldn’t be because it is across the street from the Trump hotel and he does not want competition and likes his special locale. **The Senate decided to take a long weekend and not deal with it until August. How do so many not care about their fellow man??** The longer it takes to get the virus under control, the more business’s we lose forever.

*****

The Catherine’s clothing chain is closing.

*****

We need more detective shows with real stories about cops that don’t do things by the book. We have all heard of the fucked up crime scenes like Jon Benet Ramsey or Jeff Macdonald and we know that is just the tip of the iceberg.

*****

There have been shootings all over the country at various gatherings which should not even have been held.

*****

There is a long history with these vipers, Bill Barr’s Father hired a 20 year old Jeff Epstein to teach at Dalton. He was a high school drop out with no degree.** The usual suspects, Nugent and Baio et al.will speak virtually for Trump at the Republican convention.** Contrary to what the administration said, Paw Patrol was not cancelled.** You knew he would get around to wanting to postpone the election. Too bad for him congress has to agree and if they can’t work it out then the speaker may have to take over.

*****

Shep Smith has joined CNBC.

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Colin Kaepernick’s life will come to Netflix from Ava Duvernay. **

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The world hates us so much right now. We’ve been ruined in more ways than we know.** What kind of shithole President wishes a child sex trafficker well?

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Billy Eichner will play Paul Lynde in Man in the Box.

*****

The U.S. has told the Chinese consulate in Houston to shut down. Is this because of intellectual theft?? Now China has moved us out of our consulate there.

*****

Fairfax County will rename Robert E. Lee high after John Lewis.

*****

The Reagan foundation has asked the Trump campaign to stop raising money off of his name.

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I’ve been begging everyone for years; please wear a mask! –Emo Phillips** CVS and Wal Mart no longer require masks!!

*****

The company, Tele Tracking that took over control of the covid info is owned by Chris Johnson. The 10 mil contract went to the NY real estate dude.

*****

Funny how everything is a handout besides generational wealth.

*****

Hooray to the Yankees and the Nationals for taking a knee before the game.** Trump claims he was busy with Covid and could not throw out the first pitch. Come to find out, he was not asked. He made it up.

*****

Favre and Trump golfing, yea, that sounds about right.

*****

A company can keep women from birth control if there are religious or moral objections. About 126 thousand women will lose coverage.

*****

Lt. Col Vindman had been approved for promotion but the President would make the final decision. The brave hero decided to retire.

*****

The Supreme Court ruled that Trump can’t block his records being released. It is in the public interest but Trump can try again to block with different tactics.** They also ruled that most of Eastern Oklahoma will remain Native American land.** The Esselen tribe of Monterey county have reclaimed land on the Big Sur coast that was theirs 250 years ago. This was a cooperative effort between them, the California natural resources agency and a conservancy group.

*****

Trump calls the Black lives matter in front of Trump tower, “a symbol of hate.”** Cops shot, Cops killing civilians, mask confrontations: The mental illness in this country is officially off the charts.

*****

Biden claims he will use the Trump tax cuts to pay for 5 million new jobs in products and technology. The Dems released their agenda that touts free child care.** 100 days before the election, Brad Parscale was demoted. Jared puts his friends in high places and it goes on.** They say John Kasich will speak for the Dem convention. **

*****

Hey Seth Meyers: I LOVE the sea Captain!!

*****

Muddy Water’s former Chicago home at 4339 S. Lake Park Ave. will be a museum.

*****

Sen. Tom Cotton called slavery, “a necessary evil.”

*****

Still advertising on Fox news: Verizon, Noom, Allstate, Pfizer, Ancestry, Honey, Poshmark, Purple and Sanofi. ** And we know never to eat Goya again.

*****

Jean Smart will star in Miss Macy.

*****

Oprah mag will stop print.

*****

It is so Scary Clown: The only thing the enemy can’t stand is being laughed at. –Mark Twain

R.I.P. all the Covid victims, Nick Cordero, Hugh Downs, Ennio Morricone, Bill Field, the elephants of Botswana, Ronald Schwary, Charlie Daniels, Mary Kay Letourneau, Max B. Bryer, Kelly Preston, Naya Rivera, Ben Keough, Phyllis Somerville, Grant Imahara, Emitt Rhodes, Regis Philbin, John Lewis, John Saxon, Peter Green, Malik B., Herman Cain, Alan Parker and Olivia de Havilland.

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yahoo-puck-daddy-blog · 7 years ago

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What We Learned: Canadiens continue to make themselves worse for no apparent reason

Another summer, another wasted asset? (Getty)

The Alex Galchenyuk trade was a long time coming, that’s true.

But if you saw the immediate assessment from pretty much everyone on Friday night, you fully understand that everyone sees this as another big L for the Montreal Canadiens.

The question to be asked of any trade is, “What’s the point?” and if you’re Marc Bergevin, what answers could you possibly begin to offer that make sense? Galchenyuk was a natural talent who was nearly a point-a-game player early in 2016-17, when he was already coming off a 30-goal season as an age-21 center, before a bad knee injury seemed to set him back. That was all the Habs needed to inexplicably shuffle him away from the middle of the ice forever, despite the fact that they desperately needed someone — anyone — who could play that position in a lost season when they had all the time in the world to experiment.

Instead, his most frequent linemates this season were Jonathan Drouin, a good player, and Artturi Lehkonen (not so much). Galchenyuk still ended up as the team’s second-leading scorer who was also third in goals despite playing just 16 minutes and change a night somehow.

Again, it was clear the Habs wanted little, if anything, to do with him but if the plan was seemingly always to trade him, the way they handled him this season was baffling. If you’re trying to get someone to buy high on a guy you don’t really value that much, you have to put him in more of a position to succeed, especially if you’re trying to sell people on the fact that he’s a competent center. Instead, Bergevin and by extension Claude Julien spent much of the season more or less saying, “I know this guy isn’t ready to be an NHL center after that knee injury 18 months ago,” and even if that were true and you had your heart set on shipping him out this summer, that’s not how you handle it.

The return for Galchenyuk, who will absolutely be used as a center in Arizona, was left winger Max Domi. You’ll notice that, in the Canadiens’ pursuit of a legit No. 2 center, they seem to have traded one away for a guy who is decidedly not a center at all, which is a weird decision. Moreover, while Domi and Galchenyuk have identical career points-per-game numbers, Domi has also played nearly 200 fewer games in his career.

Ah, well, Domi debuted in 2015-16, versus the lockout-shortened 2012-13 campaign for Galchenyuk. But here’s the thing: their birthdays are separated by fewer than 13 months. It took Domi longer to get himself to Galchenyuk’s level, and while their games are very different — Domi is more of high-skill grinder set-up man-type player — the amount of quality they bring to their respective teams should be a major point of concern.

After all, if Bergervin’s media availability about the trade referenced “energy” and “intangibles” more than once, with an ask for doubters to watch highlights on YouTube, that should be telling. That in addition to the acknowledgement that this guy is, of course, definitely not a center. You can find some really great goals scored by, like, Fernando Pisani or Alex Tuch. These aren’t the kinds of guys you trade Galchenyuks for.

Domi wasn’t exactly running with the biggest of the big dogs in Arizona (he mostly played with Christian Dvorak and Clayton Keller), but he still finished 17th in primary assists per 60 among players with at least 500 minutes at full strength this year. In the same neighborhood as Jaden Schwartz and Evgeni Malkin. Nothing to sneeze at. The question is, do they put him on Drouin’s top line immediately? If not, who else can he pass the puck to that will be able to convert at the same rate as a Keller?

No one is saying Domi is a bad player — though his worse-than-Zac-Rinaldo underlying numbers on a crap Arizona team certainly don’t say he’s a good one either — but the Canadiens don’t seem to have acquired the best player in the deal, either. And in fact, they’ve moved on from a player that theoretically could help at a position of need (even if they were reticent to try him there) for one that definitively does not help there.

Sure, he’s 12-and-a-half months younger, and came with an advantageous contract situation — the Habs immediately signed Domi to a two-year extension worth $3.15 million against the cap, after which he’ll still be an RFA due to his wholesale lack of service time — but the cap savings on this deal is only about $1.75 million, and it’s not like Montreal is right up against the ceiling or anything anyway. They have to re-sign like four guys and will have $21 million or so in cap space right now, so that’s probably an indicator that the GM is going on safari with some big game in mind.

Maybe, if you’re being charitable to Bergevin, you argue that’s $1.75 million more that can go to a big signing this summer that’s going to steer this team out of the skid. But can you honestly trust Bergevin to make such a signing? Short of John Tavares, who’s he going to acquire that makes the kind of impact Montreal needs such a player to make? The decision-making on both the UFA and trade markets exhibited by this particular group of executives has been beyond baffling for years, and it’s not about to turn around just because Bergevin may or may not have an in with Tavares’s agent.

But it once again circles back to what a guy provides, y’know? Domi is probably at a maxed-out value (pardon the pun) because it’s hard to see him staying an elite set-up man for too long; his personal all-situations shooting percentage was just six this year, well below his previous career average, but his teammates shot a whopping 11.6 percent with him on the ice. Maybe you chalk that up to his elite set-up skills, but also, there probably aren’t too many guys who can reasonably support an 11-plus teammate shooting percentage long-term. Especially with a low-talent group like the Coyotes and Canadiens both have. Most of the guys with on-ice shooting percentages of 9-plus over the past three seasons have names like Matthews, McDavid, Perry, and Pastrnak; can we really consider Domi in that group?

Unlike the Habs, Arizona actually put Domi in a position to succeed, and while they probably weren’t shopping him, one imagines that when Bergevin called, John Chayka felt it was one of those “we’re always listening but they’d have to bowl me over” offers.

Apologists will say that the jury is out until they’ve played the full 82 in 2018-19, or maybe even longer. But when the hockey world — even the national media guys who don’t usually put the boots to teams over this kind of thing — is collectively laughing up its sleeve at what seems to be another lost trade for the Canadiens, you really have to wonder.

Three summers in a row, Montreal has traded out at least one name-brand player. Subban, Sergachev, and now Galchenyuk. The return has been Weber, Drouin, and now Domi. Is that a team that’s improving? Is it even a team that seems to have any kind of direction?

The only thing Bergevin should be happy about these days is that he’s not Pierre Dorion.

What We Learned

Anaheim Ducks: I can assure you: Teams should always always always always always take the best player available. “Should they do that?” is a question we need to stop asking.

Arizona Coyotes: Click here to see Shane Doan whining about how Galchenyuk doesn’t Play The Right Way. Also note Galchenyuk, at age 21, had as only one fewer 30-goal seasons as Doan did in a 21-year career. Doan would probably also like to see Galchenyuk chicken-wing elbow a few more opponents in the face. Get lost!

Boston Bruins: This is a nice little deal for Matt Grzelcyk. Think this could be a very good bottom-three defenseman for a number of years.

Buffalo Sabres: The Sabres love acquiring guys who were on BU in 2015. Insofar as they’re up to four such players. Which is a lot.

Calgary Flames: The Flames would be delighted to move up in the draft but Brad Treliving said, “I’d like a helicopter, too.” So probably don’t get your hopes up.

Carolina Hurricanes: The Hurricanes should already be trying to extend budding star Sebastian Aho but the player would be very wise to refuse until he has another potentially get season.

Chicago: Well, these are definitely two guys, for sure.

Colorado Avalanche: I love to qualify my lede about the Avs maybe moving up to No. 4 by the eighth word of the first sentence.

Columbus Blue Jackets: Haha yeah, okay.

Dallas Stars: Kari Lehtonen is selling his house and maybe that means he’s done in Dallas after this season you never never know.

Detroit Red Wings: The Wings have offered pending UFA Mike Green $6 million for one year or $10 million for two. Take the latter deal, Mike.

Edmonton Oilers: There are still players who WANT to play for the Oilers? Signs and wonders.

Florida Panthers: The Panthers made a big deal out of their 25-anniversary logo and it’s…… fine I guess. I always loved the crossed-hockey-stick-and-palm-tree secondary logo.

Los Angeles Kings: I absolutely did not hear about the Kings trading for Peter Budaj again last week. So here’s that news.

Minnesota Wild: Pretty good examination of how the Wild miiiiiiiight be able to make some small changes to improve their chances to compete. But also, good luck in that division hahaha.

Montreal Canadiens: Yeah again Domi is a good playmaker but for whom is he Playmaking?

Nashville Predators: Sure the Predators don’t need to make any kind of big changes but imagine if they felt like doing that anyway?

New Jersey Devils: Here’s New Jersey governor Phil Murphy throwing $20 in the trash.

New York Islanders: I literally won’t believe a word about Tavares re-signing until it happens and even then I’m gonna be like, “Yeah, but really?”

New York Rangers: Plenty of machinations coming up for the Rangers in the week ahead. Having that many first-round picks is a nice kind of luxury, isn’t it?

Ottawa Senators: I love that the Sens finally got around to suspending Randy Lee a full 17 days after he was arrested. Dorion’s out here like “We made it clear we don’t tolerate this kind of stuff” and it’s like, come on man who are you fooling?

Philadelphia Flyers: Just in case you were wondering whether buying tickets to preseason games was a ripoff, the Flyers and Islanders are playing each other four times in September.

Pittsburgh Penguins: Horrible news about a Pens prospect and his junior teammates injured in a fire.

San Jose Sharks: If the Sharks can get a good forward this summer I like them a lot to come out of this division.

St. Louis Blues: This is an evergreen headline, to be honest.

Tampa Bay Lightning: Tyler Johnson, the Spokane Enjoyer. Say, do you think there might be an NHL team near Spokane, like maybe about four hours away, sometime soon?

Toronto Maple Leafs: Honestly, if you can get Tyler Bozak relatively cheap (which I doubt) he’d be a useful bottom-six center.

Vancouver Canucks: The Canucks probably should be looking at a buyout or two but probably won’t make a move there because, ah, why bother?

Vegas Golden Knights: So funny that an expansion team isn’t picking until 61st. Very sad!

Washington Capitals: I’m increasingly of the opinion that John Carlson really might re-sign after all.

Winnipeg Jets: Don’t get it twisted: Just because the Jets are really good now doesn’t mean Winnipeg is no longer a “frozen outpost.”

Gold Star Award

I always feel so happy when guys get traded out of bad markets, so congrats to Alex Galchenyuk!

Minus of the Weekend

Phew, that was a close one for Max Domi, who is no longer an immigrant now that he’s moved back to his home country. Now he’s gotta Make the Canadiens Great Again!

Perfect HFBoards Trade Proposal of the Week

User “DownGoesMcDavid” is on one.

To Van: Karlsson Bobby Ryan

To Ottawa: 7OA 2019 2nd rnd pick Tanev Kole Lind Michael Dipietro

Signoff

May I see it?

Ryan Lambert is a Puck Daddy columnist. His email is here and his Twitter is here.

(All stats via Corsica unless otherwise noted.)

More NHL coverage on Yahoo Sports:

yahoo

#_revsp:21d636bb-8aa8-4731-9147-93a932d2b27a #_lmsid:a077000000CFoGyAAL #_author:Ryan Lambert #_uuid:d40555dd-bb19-3343-8f34-1ca714b010f3

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