Mar received money from home. Suddenly her crisis is over and we’re friends again.
Listening to…
Relaxin’ by G-Side. In honor of Labor Day. Leisurely Southern two-handed rap with lush romantic slow-jams backing. This is, according to the NPR site where I found it, an unreleased track intended by G-Side’s last album, The One… Cohesive, which came out in January.
Sliced Dragon

The girls sculpted this “dragon bread” (with bonus baby lizard spawn), inspired by the old crafts manual Making Things Book 2—A Handbook of Creative Discovery by Ann Wiseman (Little Brown, 1975) which we found in a used book store in Vermont over the summer.
I like how it looks, but, to tell the truth, it doesn’t taste like dragon at all.

Rock Gods #193: Adventures in Our Little Music Scene
By Artie Capshaw
How many gelatin shots can you do?
…while singing?
…a duet?
If your name is Pud Large of The Chocolate Covers, and it was last Friday at the Bullfinch, the answer is five.
The song? “Softie.” The jiggly liquor fixes punctuated the “doo doo doo”s of the chorus.
Next question: How many more songs until the effects of such a public display begin to reveal themselves? By our estimation, two. Unfortunately for all, an opening band hadn’t materialized, so The ChocCos were expected to do an extra-long set, which they were only halfway through.
Did they make it to last call? Barely. Did they maintain the respect and admiration of the crowd? Yes, but only by offering us all gelatin shots of our own so we wouldn’t be jealous.
There were only seven of us there, see. Probably the reason Pud was so loose and sloppy in the first place.
There was a bit of a food fight. Then everybody wobbled home.
The Sheraton Armchairs and The Bannister Backs, an unusually high-end gig at the Bullfinch. The bands were “looking for a comfortable, intimate spot in a dark corner” between stops on massive multi-band supertours… Roy Croft and The Hepplewhites and The Savonarolas, cover bands from an earlier generation, at the cover-band mecca Hamilton’s… The Rohlfs at D’ollaire’s, with Frank, Lloyd & Right opening. Cool booking, but who’ll go with all that wonderment at the Bullfinch?…
Listening to…
These United States, What Lasts. Playing Sept. 21 at BAR. When the band really gets into it with the vocalist, as on the album closing “Water & Wheat,” I dig this a lot. The guitars buzzsaw into the mix, the drums rise atop the clatter, everyone’s pushing towards a spiritual revolt. When the singer’s left to his own devices, I’m turned off.
For Tomorrow We May Die: Diary of a College Chum #147:
Went out with “the boys.” Had to buy them all drinks.
Turning Jerry Lewis Loose
Many of those who lament the abrupt, unexpected end of Jerry Lewis’ involvement with the Labor Day telethon for Muscular Dystrophy may not be aware that had already severely cut down on his face-time on the show in recent years. He’d start the show, actively host until midnight or 1 a.m., then disappear until morning. He’d then do a few big chunks of the next day, then get his third or fourth wind for the manic last hour of tallying and singing the traditional “You’ll Never Walk Alone.”
His spirit was kept alive throughout the show via video clips of scenes from some of his great movies, such as the bigwig-phonecall bit from The Bellboy, plus highlights from long-ago telethons. But continuity was lacking. Overnight sections began to include entire 90-minute sets by Country & Western singers, or several hours of music videos.
I once wrote a column for the New Haven Advocate about how Lewis was overdue in picking a successor, hoping that this was not a question of ego, since the famously hardworking host could easily keel over one day while inserting a pint glass in his mouth or tossing a walking stick in the air or reciting the Radio Announcer’s Memory Trick (to name three of his stellar live routines). I despaired that the pool of potential successors was getting thin indeed-if Martin Short, for example, wasn’t groomed for the gig soon, it’d be too late.
I wrote that essay something like 15 years ago. Since that time, Lewis has had heart procedures, an addiction to steroids, unexpected surges in popularity which had him overworked year-round. Some of his staunchest sidekicks—Ed McMahon, Charlie Callas—have passed away.
The best and worst coverage about Lewis (still publicly mysterious and unexplained) split from the telethon came from the Associated Press. The low blow was this headline: “Jerry Lewis admits Muscular Dystrophy Association helped fuel his fame, but remains mum on departure.” The story itself doesn’t phrase it as demeaningly. In any case, Jerry Lewis came to the MDA having already achieved international stardom on a level few comedians since Charlie Chaplin have achieved. His old movies continue to inspire remakes—most recently a Broadway musical version of The Nutty Professor. He was a founder of the Rat Pack.As a director, Jerry Lewis conceived new ways to be efficient behind the camera, pioneering the use of the video monitor. His live tours were sold-out sensations whenever he chose to do them. The insinuation that he’d be washed up had he not hosted a telethon seems untenable.
Yet an AP story today by Oskar Garcia got exactly the right celebrity to quote about the appalling lack of Lewis this year: Late Show bandleader Paul Shaffer, whose 2009 autobiography We’ll Be Here For the Rest of Our Lives devoted a chapter and more to his cheerful obsession with the comic, whose mannerisms inspired some of his Late Show lingo.
In his book, Shaffer talks about watching the telethon with his pal Harry Shearer. It’s reminiscent of how a lot of people watch the Oscars, or a football game—all the delight, dishing, suspense, surprise.
Shaffer’s not alone. I’ve been a Jerry Lewis telethon junkie for over 20 years, taping long tracts of the show, switching channels to stations who ran tape-delay versions of the otherwise live show, in order to revisit unbelievable moments, comparing notes with friends for days afterwards.
We watched the telethon solely for Jerry Lewis and his cronies. For the old-school sensibility he’d miraculously sustained for decades, for the smarm and the sass and the scandalous remarks. I fondly recall ad-libs so bigoted or offensive that my jaw dropped. I also marveled at how deftly Jerry Lewis could still interact with young improv comedians and even with musicians. This was such a grand show—Catskills grand, Zero Mostel grand, Mark Twain grand, Dickens grand—that 20 hours could hardly contain Jerry Lewis at his best.
Now he gets a rest, and I get to go out to watch road races and browse book fairs on Labor Day without worrying that I’m missing some memorable Jerry Lewis outburst. I just hope nobody else gets Muscular Dystrophy from now on, because it just won’t be the same.
Rock Gods #192: Adventures in Our Little Music Scene
By Artie Capshaw
The Fairy Maps’ set got rained out last week—and they were indoors!
So they went outside where it was dry and finished up.
A roofing anomaly at the Roaring Brook Restaurant/gay bar meant that pockets of water had seeped into the ceiling. A torrent was unleashed when bassist Dot Mass jogged a few celing tiles during the band’s sex anthem “Upswing.”
It’s actually more complicated than that, with old pipes and bad insulation also involved. The Fairy Maps are not to blame, the Roaring Brook was quick to tell them. But at the time, it couldn’t have seemed more simple and direct: thrust and wash.
Fortunately for all involved, the seemingly endless stream of yuck which poured from above took the form of a thin drool that didn’t threaten any of the electrical equipment. The band, who were initially dazed but rapidly regained control of their faculties (except their noses—Phew! The stink!) were able to unplug and move their gear before much of a puddle formed.
It was drummer T-Stop who yelled “Bring it outside!” Dot and others thought he simply wanted to pack up and leave early. But when he didn’t stop pounding his trap, they got the idea. “No sound check,” Dot relates regarding the impromptu sidewalk set which lasted another seven songs. “But we knew we were in tune.”
And out of the deluge.
For Tomorrow We May Die: Diary of a College Chum #146:
Two days of screaming fights and silences.
Listening to…
Stephen Malkmus & The Jicks, Mirror Traffic. All the contextualized reviews I’ve read about whether this album does/doesn’t hearken back to Malkmus’ hallowed old band, or relate to that band’s recent reunion, have been enlightening. But personally, I’ve been out of touch with his work for years and can’t comment on its arc. What is abundantly clear is that this album lies squarely in the area where it should, considering the age and experience of its creator. It’s not too raw (that would seem lazy), not too slick (that would seem out of touch), not too derivative, not too “experimental.” It acknowledges where Malkmus came from—his own old band and even older influences—while finding new areas for exploration.
This is still background music for me; hasn’t quite exploded out of the box. But I appreciate its intelligence, its consistency, its self-aware Malmusness.