photo manipulation by nacrowe
there's something to be said about musicians interview musicians. there is a telepathy and a common wavelength at work that transcends superficial aspects like genre and style. it probably comes from a rooted common experience and mentality of persistence that comes with "making it" in a band setting. IT'S ELECTRIC! (APPLE MUSIC) was a in-person, pre-pandemic podcast where METALLICA drummer LARS ULRICH interviewed peers like JERRY CANTRELL (ALICE IN CHAINS), NOEL GALLAGHER (OASIS), JAMES MURPHY (LCD SOUNDSYSTEM), MAYNARD JAMES KEENAN (TOOL/A PERFECT CIRCLE), BILLY CORGAN (THE SMASHING PUMPKINS), LES CLAYPOOL (PRIMUS), GREG PUCIATO & BEN WEINMAN (THE DILLINGER ESCAPE PLAN), DAVE GROHL (FOO FIGHTERS/NIRVANA), JOAN JETT, JACK WHITE (THE WHITE STRIPES) and TOM MORELLO (RAGE AGAINST THE MACHINE) among many others.
whats interesting is that ULRICH, despite his notorious reputation for talking (and talking and talking), within the confines of these interviews he is mostly listening. in fact, i'd argue he is an incredible astute interlocutor that gently guides his subjects through insightful productive conversations. most teachers know that the longer you speak the less impact each word has on your students. i was really taken when recently rewatching these interviews to see just how gifted an interviewer ULRICH was and how engaged his follow-up questions were. you didnt get the sense that he had a list he wanted to get through, rather in an almost HOWARD STERN-like manner allow the subject free reign to drive the conversation as he gently steers it. to pull this off you must be a really good listener, which in popular culture i think ULRICH never gets credit for. makes sense though, given the fact that he is often a key composer within METALLICA who often deals with arrangements, a practice whereby you need to listen with intention to surmise the best presentation of musical ideas for maximum impact.
i hope he gets back to this podcast post-pandemic, because it felt like he was really on a roll with it. and it seemed like he was genuinely in his element and having fun. selfishly i just found the conversations compelling and insightful, more so than the vast majority of ROCK AND ROLL interviews you find online.
photo manipulation by nacrowe
for whatever reason, the four seasons of 90s cult classic comedy show MR. SHOW (HBO, 1995-1998) starring BOB ODENKIRK (BREAKING BAD, BETTER CALL SAUL) and DAVID CROSS (ARRESTED DEVELOPMENT) is criminally overlooked. an outgrowth of the alternative comedy scene in LOS ANGELES at the time, its cultural impact can be seen in the varying careers of its many collaborators including that of BRIAN POSEHN (METALOCALYPSE, THE BIG BANG THEORY), TOM KENNY (SPONGEBOB SQUAREPANTS, THE POWERPUFF GIRLS, JOHNNY BRAVO), JILL TALLEY (SPONGEBOB SQUAREPANTS, THE BOONDOCKS), PAUL F. TOMPKINS (BOJACK HORESMAN, BOB'S BURGERS, THE DAILY SHOW), JACK BLACK (TENACIOUS D), SARAH SILVERMAN (THE SARAH SILVERMAN PROGRAM, SATURDAY NIGHT LIVE, BOB's BURGERS), JAY JOHNSTON (THE SARAH SILVERMAN PROGRAM, MARY SHELLEY'S FRANKENHOLE), BEN STILLER (THE BEN STILLER SHOW, ZOOLANDER, DODGEBALL), JERRY MINOR (SATURDAY NIGHT LIVE, COMMUNITY), MARY LYNN RAJSKUB (24, THE LARRY SANDERS SHOW, PUNCH-DRUNK LOVE), JOHN ENNIS (TWIN PEAKS, WALK HARD, ZODIAC), SCOTT AUKERMAN (BETWEEN TWO FERNS WITH ZACH GALIFIANAKIS), MARLON WAYANS (IN LIVING COLOUR, REQUIEM FOR A DREAM) and JANEANE GARAFALO (SATURDAY NIGHT LIVE, 24, THE LARRY SANDERS SHOW). the "Titannica" skit was referenced in the name of a BLINK-182 song ("Adam's Song") and the show even become the springboard for a TOOL side project (MAYNARD JAMES KEENAN's PUSCIFER) and TENACIOUS D, who themselves had an HBO show that was co-created and co-produced with ODENKIRK and CROSS.
the show takes its sensibility from MONTY PYTHON in that live and prerecorded skits are connected tangentially from segment to segment with no narrative arc. this frees the material to be the focus. a product of the CLINTON-era, much of the focus of the humor is derived from lampooning the stupidity of american life (reality tv, jingoism, sensationalist journalism) and public institutions (the police, government officials, corporate america). in many ways the lack of intellectual curiosity and selfish nature of the american general public is a target just below the surface and for that reason, this show has aged remarkably well.
given the political nature of their comedy, the creators and select cast members have done mix-media tours of theaters over the years. i saw them in NYC around 2003 as they lampooned the build-up to the misguided return american military adventure into the middle east on their HOORAY FOR AMERICA! tour. to me MR. SHOW holds a special place in my heart as they were consciously articulating a perspective and using comedy as a mirror to articulate just how far from our professed ideals we had fallen, especially during a time of compliance and plastic patriotic fervor rooted in raw, uninhibited xenophobia.
again, MR. SHOW still holds up. definitely worth your time to investigate.
photo & text by nacrowe
t seems incredible that this book exists, given the mercurial and closely-guarded nature of TOOL / A PERFECT CIRCLE / PUSCIFER frontman MAYNARD JAMES KEENAN, whose legendary live performances notoriously find him donning an eclectic assortment of stage personas/characters/costumes meant to provoke and obfuscate, allowing him to separate his art from himself. in this manner he has continued to maintain a balance with his family and more importantly his own sense of self.
so it is a little more than intriguing that his collaborative memoir A PERFECT UNION OF CONTRARY THINGS (BACKBEAT BOOKS 2016) written by long-time friend SARAH JENSEN even exists.
this is most definitely the first memoir i have read that has the subject written about in third person, which structurally and stylistically has numerous advantages. structurally it gives the book some distance from its subject, not having to worry itself all the time with the personal feelings and perspective of KEENAN, instead allowing for an unbound narrator to integrate multiple points of view into the narrative. stylistically it makes this memoir read more like a novel, which intriguingly makes KEENAN as a "character" another entity for his audience to interpret and project unto, much like his music.
the main takeaway i got from reading his memoir is that KEENAN is the type of artist that is constantly seeking to challenge his audience, peers and most importantly, himself, to see things from an altered perspective. this need to tinker with formulas and audience expectations while maintaining integrity puts him, in my perspective, as one of the most dynamic frontman of his era (the other being renaissance man MIKE PATTON of FAITH NO MORE / MR. BUNGLE / FANTÔMAS / PEEPING TOM / DEAD CROSS).
given his enigmatic nature and numerous outside focuses (wine-making, BRAZILIAN jiu-jitsu, comedy, etc.), this memoir was his way of elucidating to his audience the common thread throughout binds them all: MATHEMATICS. you really get the sense from this book his sensitivity and delight in discovering the patterns, routines and rhythms of nature that bind us all and the myriad of ways mankind has devised uses for them, whether militarily, artistically or even agriculturally.
well worth seeking out and reading. don't worry his mysterious, enigmatic persona is still very much intact, if only slightly more defined at the edges.