177. the Official, March 12th, 1993ev, Medium-Sized Band Who Have Just Put Out Their First Record & Who Will Be Selling Them At the 14 Karat Cabaret for a Fabulously Reasonable Price as well as at Normal's Music Store at 429 E. 31st st. & Who are more Wonderful, Original, & Imaginative Than Even the Most Overblown Hyperbole Could Possibly Even Begin to Praise & who have a Penchant for Very Long Hard to Remember Band Names That Even They Find Hard to Remember but how else can they Make Laure Drogoul, Baby MaDenney, & the Ever-Lovin' Pamela Purdy Laugh Otherwise? - &, Besides, This is Probably Their Last Show So Why Not indulge them a Little, Eh? Incredibly Rapidly Shrinking Big Band Orchestra OOMPH!!

- 14 Karat Cabaret, Baltimore, us@

- March 12, 1993

- The 1st of the last(?) "official" so-called whatevers. Simultaneous with a snow storm, we went ahead with these 2 shows anyway. This included the premier of Dawn's variation on Neil's "Roto-Debacle" entitled the "Roto-Moe" in which the "Roto-Debacle" was "performed" using only 3 Stooges jokes. Also the premier of the "John Trubee Squee-Gee Blivet" described in the 1st of the "official" entries & Sarmad's tribute to Ruth Crawford Seeger entitled the "Seeger". Personnel: Neil Feather, Eric Myers, Scott Larson, John Berndt, John Eaton, Sarmad Brody, Dawn Culbertson, Peter Williams, myself, & Rebecca Barten.

- recollections from tENTATIVELY, a cONVENIENCE

 

178. the Official, March 13th, 1993ev, Medium-Sized Band Who Have Just Put Out Their First Record & Who Will Be Selling Them At the 14 Karat Cabaret for a Fabulously Reasonable Price as well as at Normal's Music Store at 429 E. 31st st. & Who are more Wonderful, Original, & Imaginative Than Even the Most Overblown Hyperbole Could Possibly Even Begin to Praise & who have a Penchant for Very Long Hard to Remember Band Names That Even They Find Hard to Remember but how else can they Make Laure Drogoul, Baby MaDenney, & the Ever-Lovin' Pamela Purdy Laugh Otherwise? - &, Besides, This is Probably Their Last Show So Why Not indulge them a Little, Eh? Incredibly Rapidly Shrinking Big Band Orchestra OOMPH!!

- 14 Karat Cabaret, Baltimore, us@

- March 13, 1993

- The last of the last(?) "official" so-called whatevers, it's a fitting memory of this dedicated group that they played despite public transportation's having been shut down by the "blizzard" & there being little audience. It's a fitting memory of the audience that there was 1 at all considering that some of them had to walk for miles under difficult conditions (being drunk probably didn't help their slipperiness coordination much either). John Eaton wore a damn cute cat suit. On both nights we tested the audience's patience by having them introduce the show by reading off of papers that John E handed out that went thru our entire (& tiring) band name. We even played the rarely performed "Hillbilly" - a muthafuckin' crowd-pleaser if there ever was 1. Personnel: same as the preceeding night minus Dawn Culbertson who couldn't make it because she lived in the county where the snow was too bad. Alas, our band name for this occasion doesn't say it all..

- recollections from tENTATIVELY, a cONVENIENCE

 

179. ["Radio Music" (by John Cage)

- Church of Saint Michael & All Angels, Baltimore, us@

- Sunday, October 10, 1993, 3:00PM

- A performance of the 1956 Cage piece as part of the Baltimore Composers Forum's tribute to him. The other players were: Sarmad Brody, Dawn Culbertson, Scott Larson, Mark Longaker, John Eaton, Leroy Keltner, & William-John Tudor.]

- recollections from tENTATIVELY, a cONVENIENCE

 

180. "Red 19" & "Angerds engMudsroodn" (by Franz Kamin)

- 14 Karat Cabaret, Baltimore, us@

- mid November, 1993

- Two "performance poems" (perhaps) by Franz Kamin. Angerds engMudsroodn had Leroy Keltner playing trombone, Kirk-Evan Billet playing flute, & Sarmad Brody playing keyboard. Its narrators were myself, Dawn Culbertson, Franz Kamin, Sara Epple, Jeanine Farrall, David Yaffe, & Neil Feather. Our texts were in a nonsense (?) language invented by Franz.

- recollections from tENTATIVELY, a cONVENIENCE

 

181. "She Turns Alone" & "Unknowing Games at the Hut (Behavioral Drift 10)" (by Franz Kamin)

- Church of Saint Michael & All Angels, Baltimore, us@

- Sunday, November 21, 1993, 7:30PM

- She Turns Alone was another "performance poem" (perhaps). The "Choir" consisted of myself, John Berndt, John Eaton, Leroy Keltner, & Sarmad Brody. We lined the walls spread out on 2 sides of the audience. Franz read while we extrapolated off his text with scored vocal sounds. Jeanine Farrall stood on the stage & performed scored motions as the "Gesturalist". The term "Behavioral Drift" is derived from a side-effect warning on a mood control pill packaging (see also #161). Unknowing Games at the Hut was a sortof perverse subversion of Freudian Psychology & cyclical epics performed in the style of a mental institution talent show or high school play with "20th Century" "performance poetry" as the text-style basis. Every performer played most of the roles at one or more times during the approximately 22 minutes of its duration. There were the old woman/women, the sexy girl(s), the wood chopper(s), the tree(s), the card players, & the angel(s). Sarmad Brody provided a repeating narration throughout. The gist of it was that an old woman lived alone in a hut & fucked a tree, giving birth to a child who grew up to be a wood-chopper & chopped the tree down without knowing it was his father, then leaving for the city to meet a sexy girl who he takes back to the hut only to get himself killed by a vengeful tree, the sexy girl then becomes an old woman at the hut only to repeat the cycle all over again. In the meantime, the 3 card-players each personify 3 archetypes of attitude: the winner, the loser, & the person whose problems are always "somebody else's fault". Each performer changes costume to change roles. The sexy girl costume consisted of a grotesquely stuffed bra, a black wig, & a decorative waist chain; the old woman's was a wig & a shawl, the angels wore sheets & yellow wigs. The wigs were made from mops. The tree was represented by a person standing in "crucified" position in front of some branches on a ladder. The card players wore hats & held big cards. The wood chopper wore a hunting vest & a sortof mining light. Each character had a way of acting. The old woman walked with a shaky stoop & talked with a wavery voice. These ways of acting were cartoon archetypes. Each performer drifted into other characters than the ones whose costumes they wore at times. As such, this was a "true" "Behavioral Drift". There were variations in the cycle which such as having more than one sexy girl & old woman etc.. at the same time. Everyone ends as an angel. The sets & costumes were created by Leroy Keltner, Sarmad Brody & members of the New York crew who had performed this piece's last presentation (Pixie Alexander, Steve Clay, Mitch Highfill, & Peggy Young). The performers were myself, Martha Colburn, Dawn Culbertson, Sara Epple, Jeanine Farrall, John Berndt, John Eaton, & Leroy Keltner. "Back-stage" assistance (performance expiditing) was provided by Peggy Young. Franz directed it.

- recollections from tENTATIVELY, a cONVENIENCE

 

182. [Volunteers Collective XVI

- 14 Karat Cabaret, Baltimore, us@

- Friday, December 3, 1993

- Yet another audio improvisation from: Jack Wright (Alto, Tenor, & Soprano Saxes), Neil Feather (NuGuitar, Effects), John Berndt (1 String Stand-Up Zither with Spring & Bridges, Electronics, Stephanie Palmer Apologetica, Soprano Sax, & Guitar), myself (DX27S Synthesizer, K1m Synthesizer, Mirage 8 bit Sampler, Multi-Verb Processor, Small Instruments, Voice), & John Eaton (Alto Sax & Mouthpiece, Stage). Further visuals were provided by my "Color Bars" video.]

- recollections from tENTATIVELY, a cONVENIENCE

 

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