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Evisceration Conversation
Dec. 15th, 2009 11:47 amWatching a passable Nabokov travelogue/documentary yesterday, mention was made of the (twice) near-burning of Lolita at the back of Vladimir's house on Seneca Street. And that Wire book I'm reading had made mention of how hard a time David Simon had convincing HBO to make the show, and even then, its survival beyond the third season was by no means certain. And I started thinking, that's what I'd do with a gate between alternate worlds. Not save or conquer parallels that had gone awry, just take people through the stuff that never got made, or never survived. There's plenty we're missing, too - the full runs of Aztek and Big Numbers, more than half of The Canterbury Tales. It would be a productive cultural exchange, and you could make a fortune in the process. Win/win.
(Of course, there'd be a 'Library of Babel' problem where once you started looking you'd find an infinite number of slightly different versions of each lost classic - and indeed, of each extant one. And you'd go mad trying to find the best of them all. This is my problem, even in my daydreams I'm overwhelmed by the endless ramifications of everything)
Saturday night: finally a purpose to the existence of The X Factor manifests, as it delays the start of Soul Mole, meaning I can after all go see the Indelicates. Briefly I wonder whether this is such a good idea - they were so very perfect the last couple of times I saw them, surely this can only disappoint? See parenthesis above; I think too hard sometimes. They are bassless, and have a questionable backing track for 'Savages', so in that sense they are imperfect. But, somehow it still works, feels different not worse. When you're operating within the field of greatness, there's a lot of variation possible without diminution. Support is Keith TOTP, who is very loud and covers 'Lonely This Christmas' while wearing a black Santa hat emblazoned with 'Bah Humbug'. Good stuff.
Then on to Soul Mole for the usual dance-'til-feet-hurt-then-keep-dancing fun. I think it may now be the club I've been attending longest? If so, it richly deserves that.
On my Sunday trip to![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
beingjdc's annual festive bash, the first bendy bus has a bit of a spasm and the back doors won't shut. The driver tries to fix the bus by...turning it off and on again. It doesn't work. Their end cannot come too soon. The two I got yesterday behaved rather better, admittedly, as I made a late visit to the bafflingly-redesigned 12 Bar to see that rare beast, a Soft Close-Ups show. The promised elephants are absent, but as well as their own songs (and while 'Ditch The Theory' remains my favourite, 'Fireworks' is rapidly closing on it) we get a rather beautiful cover of 'Life on the Crescent'. As a Devant song, I know a lot of people love it, but I never quite felt it fit the band. Here, it belongs.
(Of course, there'd be a 'Library of Babel' problem where once you started looking you'd find an infinite number of slightly different versions of each lost classic - and indeed, of each extant one. And you'd go mad trying to find the best of them all. This is my problem, even in my daydreams I'm overwhelmed by the endless ramifications of everything)
Saturday night: finally a purpose to the existence of The X Factor manifests, as it delays the start of Soul Mole, meaning I can after all go see the Indelicates. Briefly I wonder whether this is such a good idea - they were so very perfect the last couple of times I saw them, surely this can only disappoint? See parenthesis above; I think too hard sometimes. They are bassless, and have a questionable backing track for 'Savages', so in that sense they are imperfect. But, somehow it still works, feels different not worse. When you're operating within the field of greatness, there's a lot of variation possible without diminution. Support is Keith TOTP, who is very loud and covers 'Lonely This Christmas' while wearing a black Santa hat emblazoned with 'Bah Humbug'. Good stuff.
Then on to Soul Mole for the usual dance-'til-feet-hurt-then-keep-dancing fun. I think it may now be the club I've been attending longest? If so, it richly deserves that.
On my Sunday trip to
beingjdc's annual festive bash, the first bendy bus has a bit of a spasm and the back doors won't shut. The driver tries to fix the bus by...turning it off and on again. It doesn't work. Their end cannot come too soon. The two I got yesterday behaved rather better, admittedly, as I made a late visit to the bafflingly-redesigned 12 Bar to see that rare beast, a Soft Close-Ups show. The promised elephants are absent, but as well as their own songs (and while 'Ditch The Theory' remains my favourite, 'Fireworks' is rapidly closing on it) we get a rather beautiful cover of 'Life on the Crescent'. As a Devant song, I know a lot of people love it, but I never quite felt it fit the band. Here, it belongs.
