Things in Light is pleased to present our twenty-fifth podcast, Monkey Business Mix, featuring Nuevo Mexicano recordings — old and new, covers and originals — by Treadmill, Veery, Whiteshell Girl and Turquoise Boy, The Glass Menageries, Fort Hobo, Chinese Love Beads, The Drags, and Luxo Champ. See the full track listing below.
1. Treadmill - Shock the Monkey (Peter Gabriel)
2. Veery - Too Late for Love (Def Leppard)
3. Whiteshell Girl and Turquoise Boy - VI
4. The Glass Menageries - River of Secrets
5. Chinese Love Beads - Ballad of a Brown Beret
6. Fort Hobo - Sandman
7. The Drags - Iron Curtain Rock
8. Luxo Champ - Monkeytime!
21 August 2012
19 August 2012
Analysis of Fictive Locations Encountered Near Albuquerque
Rudolfo Carrillo
12:27 AM
By Rudolfo Carrillo
One.
Down yonder through the cottonwood thickets, there where the earth touches the river absorbently and with the patience of geological processes intact, the agent of an advance guard from an alternate universe nearly identical to Albuquerque and consequently, the watery sphere dangling in space that surrounds it, came upon or perhaps was chemically induced to discover a silver railroad watch upon the muddy shore alive with toads, it being summertime.
When properly activated, the clock transmitted images, and sounds from that other place were produced by turning gears and spindles too, in a convenient and easy to access format capable of imbuing historical activities that never happened with a vibrant, digitally enhanced realism that spoke properly, definitively and eloquently, to the possibility of distinctly divergent temporal process outcomes on other wetly blue globes floating past other warmly yellow suns.
On one such bright day, as he prepared to download and view the fantastic cultural units known to some members of his tribe as cartoons, the agent noticed an anomalous transmission emanating wanly from the timepiece; between colorfully meaningless iterations of Jonny Quest and mysteriously sped-up versions Space Ghost, sharp and lonesome flickers advanced, static tumbled restlessly about the apparatus.
The surface of that discovered file was coated in poisonous snakes and the limbs of trees that had fallen during summer storms. Although the agent was able to brush these dangerous contrivances aside with an electronic eraser, he remained wary about what followed, what proceeded forth and into the air from the damnable device.
There was a film. As a traditional practitioner of a human craft that was looked upon with great foreboding and holy ignorance by the other animals, the agent felt he had no other choice than to summarize the narrative. If necessary, he might add his own interpretation of what could only be considered, after much contemplation, the great masterwork of a race of beings whose similarity in form and function to his own was disturbingly beautiful.
Two.
A man with shabby woolen pants trod through snowy streets, stumbled drunkenly in front of his home and then entered. He jabbered in English over something that vaguely resembled a telephone, but was made from plastic and filled with copper wires. There were newspapers and what appeared to be butterfly wings scattered here and there without conscious regard to their position or function.
Later, he is sitting in a decrepit office speaking in plaintive tones to a well-groomed stick figure who might have been a movie star if only the desert had not captured him and brought him to the ruins of what had once been a quaint strip mall on the southern edge of town. Have you ever been in a band, the thin collection of wood inquires gravely while folding a dollar bill into a football and launching it across the room.
Next door it is always dark but a tropical ambiance has been introduced to improve morale. The manager wears a hula skirt and sings songs from her adolescence to the other workers. Everybody smokes and there is a beaded polynesian curtain separating the reception area from the sales floor.
This sequence is followed by scenes of women frolicking and gamboling across great swaths of asphalt. Birds light on some of the cars and all of the telephone poles in Nob Hill.
The man with moth-eaten trousers rushes out of the lodge with a camera, but it is too late because the day is retreating, the bar is open and everything important is happening upstairs, anyway.
12 August 2012
BrBa Haiku: Fifty-One, S5E4
The earth has revolved
The sky, submerged in water
Tick tock, tick tock, tick...
Things in Light Podcast #24: Home on the Range Mix
Unknown
11:04 AM
Albuquerque, Bermvda Shorts, Cobragroup, Farmington, iNK oN pAPER, Kayfabe Quartet, Knife City, Leeches of Lore, Pitch and Bark, podcast, Sabertooth Cavity, Santa Fe
Things in Light is pleased to present our twenty-fourth podcast, Home on the Range Mix, featuring Nuevo Mexicano recordings by Cobra//group, Knife City, Leeches of Lore, Pitch & Bark, Kayfabe Quartet, iNK oN pAPER, Bermvda Shorts, and Sabertooth Cavity. See the full track listing below.
1. Cobra//group - It's Still Rock and Roll to Me
2. Knife City - Death
3. Leeches of Lore - La Follia Di Spazio
4. Pitch & Bark - Twisted Hammer
5. Kayfabe Quartet - Le Mat
6. iNK oN pAPER - Mumblety Peg (Live in the Red Stick)
7. Bermvda Shorts - Dzoavits
8. Sabertooth Cavity - Manteca
09 August 2012
And Now, A Word From Our Sponsors
Rudolfo Carrillo
8:57 PM
Albuquerque, Gordon Sanders, history, KGGM, media, radio, television, Val de la O
By Rudolfo Carrillo
Here is some more of the stuff I know, about what happened in Albuquerque and the surrounding atmosphere.
Some of it I learned by asking folks, or by reading about events that occurred before I was born, things I heard about when I was a kid. My father was always a good source for that sort of information. So was Howard Bryan.
But I gotta tell you that some of the vast reserves of memory locked in the fatty tissues filling my thick skull came from television transmissions. I grew up on the edge of the rez. Because of my old man’s relationship with Tio Sam, my family had access to cable and satellite programming that was practically unheard of in the late nineteen sixties. In particular, I liked to watch the programs emanating from the city of angels, from KTTV-TV; reruns of The Outer Limits and 77 Sunset Strip, Connie Chung's noontime newscasts, and so forth and so on. I also spent many a laconic afternoon tuning into Albuquerque stations.
As an nine year old, I was hooked on Dialing for Dollars, a show that was broadcast live from the KOAT TV studios, five days a week.
The aforementioned activity went something like this: the station screened cheesy movies (including the ouevre of Marjoe Gortner) and during commercial breaks cut to the studio. There, the host, standing in the middle of a folksy but brightly painted and cardboard set, drew a phone number (clipped out of the Burque White Pages) from a spinning drum. He dialed the number. If a human on the other side answered and knew what movie was currently emanating from said studio's technical broadcast facilities, then blam! The lucky viewer won at least seventy-seven dollars.
That kinda exposition of the random nature of electronic existence, plus the seeming contradiction of this randomness (each time there was no winner, the prize was raised in value, with each iteration ending in seven: 77 dollars, 87 dollars, 97 dollars, and so on and so forth) drew me back for weeks. I also gained an appreciation for mediocre filmic productions, a proclivity that continues to influence my intellectual and literary output.
Besides Dialing for Dollars I was also partial to the Val Del La O Show on KOB. Broadcast live on Saturday afternoons, the De La O Show was a Spanish language variety program. Val was urbane and hip, his sidekick clownish and messy. For years, as he highlighted the latest in homegrown performing arts, I watched and listened carefully, honing my Spanglish and allowing his broadcasts to symbolize my journey away from childhood; the show came on after the morning cartoons and seemed to be an prescient indicator of the culture I would inherit someday.
My favorite early electronic media experience though, was rooted in the kick I got out of watching and listening to the news shows on KGGM TV 13. It’s called KRQE now, but back in the sixties and seventies, it was locally owned and displayed a sort of hyperlocality in focus that was keenly evidenced in the on-air talent. The son and daughter of the owner, who served as anchors, presided over a circus that included the lovably shambling and disheveled weatherman, Hartsell Crib (whose toupee often awkwardly shifted position as he sweated and grunted through his rambling descriptions of this and that high pressure system, or of the interminable heat of the Albuquerque summer) and more influentially, the inimitable ravings of Gordon Sanders.
Sanders was a local wag whose favorite targets were the city government and the mayor. A larger than life and often combative man, he was hypercritical of the powers that be, would get visibly upset during his on-air commentaries, allowing his passion for the working man and his distrust for the ruling class to become battle cries for justice and redemption. His peculiar brand of populism and angry activism has all but been lost to those who followed him, those of the shiny smiles and perfect hairdos who have ubiquitously infected American television journalism. At the height of his popularity, Sanders ran for mayor of Albuquerque twice, but lost.
Sanders' bellicose tone eventually cost him his job at KGGM, so he moved on to the station that was home to the Val De La O show, where he served as news director. He continued to spin his tales of cyclical poverty and government greed until his retirement. In my research on Sanders, I came across only one video document of his informed, precious, and wholly unorthodox brand of broadcast journalism. While Sanders spoke about the high cost of meat and how citizens were being duped into buying unhealthy and unwholesome versions of the butcher's produce, an unknown citizen snuck into the studio and let Gordon have it in the face with a banana creme pie.
I suppose there is some tragedy in that fact, in the path of reductionism that is symbolized and mythologized in a clownish act that rendered intelligence as comedy and rewarded shallowness as somehow newsworthy.
So, tonight, if you get around to it, and the bright, one-eyed god is willing, take a close look at the humans who came after Gordon Sanders, noting if nothing else their intrinsic and cosmetically enhanced effervescence, even as the beautifully ugly ghost of Gordon Sanders lingers somewhere in the teevee studio, on the airwaves beaming their way toward other, grateful worlds.
I won't be able to join you all though, my television hasn't worked properly for years and years; the screen is more often than not overcome with the static of history. But, hooked up to a DVD player, it's great for watching bad movies, yo.
04 August 2012
BrBa Haiku: Hazard Pay, S5E3
Icarus, Scarface
Hark! "Shut up! Shut up! Shut up!"
Cooks and cockroaches
30 July 2012
Things in Light Podcast #23: ∆Voltage Mix
Unknown
2:16 PM
Albuquerque, Deadtown Lovers, Fort Hobo, Jonny Cats, Knife City, New Mexico, Pancakes, podcast, Retard Slave, The Glass Menageries, The Grave of Nobody's Darling
Things in Light is pleased to present our twenty-third podcast, ∆Voltage Mix, featuring recordings by bands from New Mexico's present — Pancakes!, Deadtown Lovers, Fort Hobo, Jonny Cats, Retard Slave, Knife City, The Grave of Nobody's Darling, and The Glass Menageries. See the full track listing below.
1. Pancakes! - Lipbiter
2. Deadtown Lovers - Sinking
3. Fort Hobo - Power Wolf
4. Jonny Cats - Vic Vega
5. Retard Slave - The Creation and Subsequent Revolt of Horseborg
6. Knife City - Crazy Arms
7. The Grave of Nobody's Darling - Kentucky
8. The Glass Menageries - Foxy
29 July 2012
A Phone Call From the Future and It's For You
Rudolfo Carrillo
5:48 PM
Albuquerque, capitalism, New Mexico, politics, poverty, presidential campaign
By Rudolfo Carrillo
I have a wall-mounted rotary telephone with an ivory color to match the surrounding environment, to complement the other electronic and mechanical appliances that define the space in mi chante used to store and process food into attractively temporary constructions for consumption.
Well, that damn thing started ringing last night about ten and besides startling my pack of ferocious, pizza-eating canine sentinels, it additionally became a dandy and perfectly logical reason for me to rise, moonlike and spherically, from my repose upon a burgundy lounger made from dreams, copper, and ethernet cables.
I reckoned answering the incoming transmission would afford me an opportunity to survey the local refrigeration unit for another Otter-Pop, which we have been loading up on for relief from the heat of summer.
The fella on the other line wanted to tell about how the election for president of the United States was only a hundred days away. Course he also wanted to know to which side I was leaning in the upcoming and gloriously democratic fray. That ought to be clear, said I to him with just the slightest Saturday night-induced vocal nuance. I am for the one that jumps heroically into the captain's chair, consults his science officer and chief engineer with the proper gravitas, and warps us all the hell out of the mess we have been navigating mournfully towards while increasingly dramatic music composed by Alexander Courage plays in the background.
Well, it took him a few ticks to figure out what I was getting at, but when my pop culture obscurantism unraveled poetically on his side of things, he laughed nervously and suggested we meet at his Nob Hill office to get to know one another and work out some strategizing. I told him I would sleep on it and did just that.
The next morning, the sun came up just like it was supposed to do; the dogs didn't wanna have anything to do with the dry kibble I offered them, unless I tossed in some warm milk and a couple of encouraging winks; meanwhile, I figured out a meaningful way to meaningfully contribute to the meaningful political discourse dancing this way and that, with great profundity and cyclical rhythm, on the airwaves and lips of my fellow Americans.
What you all have read so far is the preamble to that, which goes something like this:
According to indications available to Rudolfo Carrillo through a combination of personal experience and anecdotal electronic data-gathering missions, the author is convinced that a reordering of priorities is order. The man responsible for this particular polemic earnestly believes our world is on the edge of just about every kind of cliff the reader can meticulously and neurologically render.
The economic and cultural gap between the rich and poor in this city is heartbreaking. The experiences that led to that conclusion are easy to come by, repeatable by you or you in any city in this nation, I fear.
If you don't care to acknowledge that fact, then grab your keys, ATM card, and detachable-face car stereo thingy and drive down to the Smith's grocery store on Carlisle and Constitution. The drive there will be idyllic, composed mostly of tree-lined avenues, well-kept gardens, and good neighbors gamboling blithely from one private pool party to another, Tecate or mojito in hand. Ah, summertime!
Spend some time wandering through the formidable produce section, let the young woman with a sparkly smile serve you up some fresh sushi from the demonstration counter. Take a careful look at the humans that are coming and going, note their happiness and satisfaction, the kind attentiveness of the clerks.
Then leave that place, buoyed by hope and pride in our community. Drive about two miles south, to the Walmart that is gently nestled in the economically shattered neighborhood next to the air force base where they store thousands of thermonuclear devices and have soaked the surrounding earth with enough jet fuel to poison our enemies and our own citizens with equal relentlessness.
When you are inside that second food distribution center I told you about, take some time to count the number of young women accompanied by more than two children and with no partner or father in sight; whose shoes and shirts are slight and threadbare not out of a sense of fashion or because of a bizarre involvement with the cult of the visibly youthful human form, but because there are no words for new or beautiful in the vernacular of interminable unemployment and sullen trips to the payday loan counter next to the thrift store where mi jita found a gently used pair of flip-flops in her size.
When you take your leave, do not look up, like I did, at the gangsta rolling past the doorway. He is threatened by eye contact and will mistake your tears for weakness, for proof of the corruption of the ruling class, even as his attention is diverted by the shameful self-loathing induced by five missed child-support payments.
In case you are interested, I was gonna interview some middle-class folks in an earnest attempt at balancing the foreboding tone contained herein, but they were so worried about losing their jobs, their delinquent student loan payments, and about how they were still working towards getting three co-payments together this month so that the family could get to see a doctor who is so overwhelmed with patients and looming insurance companies that his corporate backers only give him fifteen minutes per patient, not a one of them had time to chat.
And if all that descriptive stuff seems more than a little unsettling to you, you are damn right, it is. It is my hope, however, that these words will invoke progression, actions designed to walk all of us away from the precipice, back to the center of things. Taken all together, that should give you all some idea of who my vote is going to, come November.
I have a wall-mounted rotary telephone with an ivory color to match the surrounding environment, to complement the other electronic and mechanical appliances that define the space in mi chante used to store and process food into attractively temporary constructions for consumption.
Well, that damn thing started ringing last night about ten and besides startling my pack of ferocious, pizza-eating canine sentinels, it additionally became a dandy and perfectly logical reason for me to rise, moonlike and spherically, from my repose upon a burgundy lounger made from dreams, copper, and ethernet cables.
I reckoned answering the incoming transmission would afford me an opportunity to survey the local refrigeration unit for another Otter-Pop, which we have been loading up on for relief from the heat of summer.
The fella on the other line wanted to tell about how the election for president of the United States was only a hundred days away. Course he also wanted to know to which side I was leaning in the upcoming and gloriously democratic fray. That ought to be clear, said I to him with just the slightest Saturday night-induced vocal nuance. I am for the one that jumps heroically into the captain's chair, consults his science officer and chief engineer with the proper gravitas, and warps us all the hell out of the mess we have been navigating mournfully towards while increasingly dramatic music composed by Alexander Courage plays in the background.
Well, it took him a few ticks to figure out what I was getting at, but when my pop culture obscurantism unraveled poetically on his side of things, he laughed nervously and suggested we meet at his Nob Hill office to get to know one another and work out some strategizing. I told him I would sleep on it and did just that.
The next morning, the sun came up just like it was supposed to do; the dogs didn't wanna have anything to do with the dry kibble I offered them, unless I tossed in some warm milk and a couple of encouraging winks; meanwhile, I figured out a meaningful way to meaningfully contribute to the meaningful political discourse dancing this way and that, with great profundity and cyclical rhythm, on the airwaves and lips of my fellow Americans.
What you all have read so far is the preamble to that, which goes something like this:
According to indications available to Rudolfo Carrillo through a combination of personal experience and anecdotal electronic data-gathering missions, the author is convinced that a reordering of priorities is order. The man responsible for this particular polemic earnestly believes our world is on the edge of just about every kind of cliff the reader can meticulously and neurologically render.
The economic and cultural gap between the rich and poor in this city is heartbreaking. The experiences that led to that conclusion are easy to come by, repeatable by you or you in any city in this nation, I fear.
If you don't care to acknowledge that fact, then grab your keys, ATM card, and detachable-face car stereo thingy and drive down to the Smith's grocery store on Carlisle and Constitution. The drive there will be idyllic, composed mostly of tree-lined avenues, well-kept gardens, and good neighbors gamboling blithely from one private pool party to another, Tecate or mojito in hand. Ah, summertime!
Spend some time wandering through the formidable produce section, let the young woman with a sparkly smile serve you up some fresh sushi from the demonstration counter. Take a careful look at the humans that are coming and going, note their happiness and satisfaction, the kind attentiveness of the clerks.
Then leave that place, buoyed by hope and pride in our community. Drive about two miles south, to the Walmart that is gently nestled in the economically shattered neighborhood next to the air force base where they store thousands of thermonuclear devices and have soaked the surrounding earth with enough jet fuel to poison our enemies and our own citizens with equal relentlessness.
When you are inside that second food distribution center I told you about, take some time to count the number of young women accompanied by more than two children and with no partner or father in sight; whose shoes and shirts are slight and threadbare not out of a sense of fashion or because of a bizarre involvement with the cult of the visibly youthful human form, but because there are no words for new or beautiful in the vernacular of interminable unemployment and sullen trips to the payday loan counter next to the thrift store where mi jita found a gently used pair of flip-flops in her size.
When you take your leave, do not look up, like I did, at the gangsta rolling past the doorway. He is threatened by eye contact and will mistake your tears for weakness, for proof of the corruption of the ruling class, even as his attention is diverted by the shameful self-loathing induced by five missed child-support payments.
In case you are interested, I was gonna interview some middle-class folks in an earnest attempt at balancing the foreboding tone contained herein, but they were so worried about losing their jobs, their delinquent student loan payments, and about how they were still working towards getting three co-payments together this month so that the family could get to see a doctor who is so overwhelmed with patients and looming insurance companies that his corporate backers only give him fifteen minutes per patient, not a one of them had time to chat.
And if all that descriptive stuff seems more than a little unsettling to you, you are damn right, it is. It is my hope, however, that these words will invoke progression, actions designed to walk all of us away from the precipice, back to the center of things. Taken all together, that should give you all some idea of who my vote is going to, come November.
25 July 2012
Things in Light Podcast #22: Impression Mix
Unknown
12:20 PM
Albuquerque, Era of Sound, Luxo Champ, New Mexico, podcast, Saddlesores, The Drags, The Kreeg, The Rondelles, The Scrams, The Strawberry Zots
Things in Light is pleased to present our twenty-second podcast, Impression Mix, featuring recordings by bands from New Mexico's recent and long-ago past — Luxo Champ, The Drags, The Scrams, The Strawberry Zots, Era of Sound, The Kreeg, Saddlesores, and The Rondelles. See the full track listing below.
1. Luxo Champ - Block Mover
2. The Drags - Dirty Little Bird
3. The Scrams - BHJ
4. The Strawberry Zots - Little Latin Lupe Lu
5. Era of Sound - Girl in the Mini Skirt
6. The Kreeg - Impressin'
7. Saddlesores - Me and Raul Julia Down By The Graveyard
8. The Rondelles - Pay Attention to Me
1. Luxo Champ - Block Mover
2. The Drags - Dirty Little Bird
3. The Scrams - BHJ
4. The Strawberry Zots - Little Latin Lupe Lu
5. Era of Sound - Girl in the Mini Skirt
6. The Kreeg - Impressin'
7. Saddlesores - Me and Raul Julia Down By The Graveyard
8. The Rondelles - Pay Attention to Me
23 July 2012
16 July 2012
Things in Light Podcast #21: Transmission Mix
Unknown
8:06 PM
Albuquerque, Carlosaur, Cloud Lantern, Eva Ave, Fort Hobo, J Angelo, Javelina, New Mexico, podcast, Post War Germany, The Glass Menageries
Things in Light is pleased to present our twenty-first podcast, Transmission Mix, featuring recordings by The Glass Menageries, Bigawatt, Cloud Lantern, Fort Hobo, Post War Germany, Javelina, J. Angelo, and Eva Ave and Carlosaur. See the full track listing below.
1. The Glass Menageries - Fine Fine
2. Bigawatt - Fight Me Then
3. Cloud Lantern - Post Up in Phonebooths
4. Fort Hobo - Two-Step Revolution
5. Post War Germany - You Know No One
6. Javelina - No Mail Sunday
7. J. Angelo - Sagebrush and Mesquite
8. Eva Ave & Carlosaur - Ain't No Grave
1. The Glass Menageries - Fine Fine
2. Bigawatt - Fight Me Then
3. Cloud Lantern - Post Up in Phonebooths
4. Fort Hobo - Two-Step Revolution
5. Post War Germany - You Know No One
6. Javelina - No Mail Sunday
7. J. Angelo - Sagebrush and Mesquite
8. Eva Ave & Carlosaur - Ain't No Grave
BrBa Haiku: Live Free or Die, S5E1
Surveillance snafu
Solved by beginner's mind, yo
"Yeah, bitch! Magnets, oh!"
Solved by beginner's mind, yo
"Yeah, bitch! Magnets, oh!"
08 July 2012
Bada Boom
Rudolfo Carrillo
10:08 PM
With TiL Editor Samantha Anne Carrillo, at the National Museum of Nuclear Science and History. Photograph by Rudolfo Carrillo
05 July 2012
TiL Arts Pick: Funny Farm Reception at Small Engine
Unknown
6:08 PM
art, Brapola, comics, Drake Hardin, Luke Hussack, Mark Beyer, painting, Roman Lopez, Small Engine Gallery
In the market for a non-bougie art opening to check out this weekend? TiL recommends attending the Funny Farm opening reception on Friday evening. Funny Farm features new painting work by locals Mark Beyer, Roman Lopez, and Luke Hussack. The reception starts at 6 p.m. at Small Engine Gallery (1413 Fourth SW) and the show runs through August 2, 2012. RSVP here.
Outsider comic artist Mark Beyer was the only artist other than RAW magazine founder/legendary cartoonist Art Spiegelman to be featured in every issue of '80s alt.comic publication RAW. Beyer produced cover art for John Zorn and the characters in Gregg Araki's The Doom Generation were loosely inspired by Beyer's Amy and Jordan. Beyer pairs his distinctive style with existentialist pathos and the resulting work is worth your consideration.
We're not familiar with Roman Lopez's work, but a Google search turned up this image, a cell phone pic of a painting of a sad-looking horse, a shining cross, and a scrolling message informing us that "Sometimes, a pony gets depressed."
Luke Hussack, a/k/a Brapola!, has consistently created work that impresses us. Hussack's done illustrations for local alt.weekly Alibi, made a slew of great fliers, and TiL editor Samantha Anne Carrillo's second-favorite t-shirt is a Brapola! print. Hussack serves as a member of the curation collective at Small Engine.
The opening will feature the aural accompaniment of Drake Hardin's Kayfabe Quartet. Hardin explained the project to TiL:
"There is a lot of live multi-instrumentalism, but I also use 4-track tape, a drum machine, and loops. It started as a recording project limited to four parts, but when I play live, I cut live samples of various personal favorite quartet musics: classic Coletrane, Ornette Coleman, Bartok string quartets, Crumb's Black Angels, Messiaen's Quatour pour le fin du temps, the Beatles, etc. If you hear it called a 'one-person quartet' or something like that, then those are not my words; it's more of a limiting factor for the project as a whole, which is based on the four-part layout of Tarot trump XXI, Le Monde, which represents the structure of the entire Tarot. Kayfabe Quartet is serially releasing 22 pieces, one for each Major Arcanum. With all that said, I do play live drums, guitar, clarinet, and electronics, often simultaneously in two's/three's, rarely four. Sometimes I switch the keys for guitar, maintaining four sections."
04 July 2012
sixty seven years
Rudolfo Carrillo
5:04 PM
By Rudolfo Carrillo
Certainly, due consideration was taken.
Course I am talking about the images displayed above. As an ensemble they are meant to represent something that is perhaps unattainable except through the magic distilled and distributed by the research and engineering department at the Adobe Corporation.
If you are wondering what I am getting at in that previous and elusive statement, well let me tell you.
It is the Fourth of July, two thousand and twelve. Sixty-seven years ago, this same date fell on a Tuesday. I am just guessing here, but it probably was a beautiful day in Albuquerque, back there in nineteen hundred and forty-five.
I'd like to believe that a minor variation of the slow-to-gather but remarkably triumphant monsoon clouds building themselves up on the horizon visited the inhabitants of that military outpost, that railroad crossing, that widely expansive bosque and adjacent farm land, with the same grace and sudden transformative effect water always has an elusive and perhaps eternally temporary phenomenon still observable among the tribe of humans gathered in concrete shelters around the edges of el rio.
Anywho, back in that dimly lit yet shadowy (because you'd figure that dim lighting would beget weak shadows, but that's the past for you, always surprising) other summer, folks probably got ready for barbeques, looked lovingly at photographs of their children and husbands and wives at war, headed out for parades and fireworks displays. I am almost willing to bet that city commissioner Clyde Tingley bought a new tie especially for that parade and that his wife Carrie had a new and properly floral hat delivered to the mayor's home that morning, in anticipation of the same.
Besides all that hullabuloo, there was probably a small group of humans stationed at the airbase on the edge of town who were wondering about something amazing that was going to happen two weeks into the future. Maybe there were just one or two, maybe a dozen. I don't know for sure. Maybe they were concerned that the atmosphere might catch fire, that the night's patriotic fireworks display would just be an ironic harbinger of what was to come. Maybe some of them had faith in science though and firmly believed that what was about to happen was right, would save lives and ultimately add some sparkle to all the patriotic fireworks displays yet to come.
The soldiers and sailors and airmen and airwomen who had no idea what was really going on at that military outpost in the desert were probably scared. Most of them were going to be sent to Japan in September, as part of a massive invasion force. Most likely the mysterious activities being played out between Los Alamos and Albuquerque and into la jornada del muerto raised the level of disquiet. That summer, that Fourth of July must have seemed like the last hurrah to them. I would not be surprised if some of them drove down to the river and waded in the muddy and cool water, admiring the cottonwood forest that wound out, apparently endless, all around them. That musta been one hell of a stress buster.
Course I am talking about the images displayed above. As an ensemble they are meant to represent something that is perhaps unattainable except through the magic distilled and distributed by the research and engineering department at the Adobe Corporation.
If you are wondering what I am getting at in that previous and elusive statement, well let me tell you.
It is the Fourth of July, two thousand and twelve. Sixty-seven years ago, this same date fell on a Tuesday. I am just guessing here, but it probably was a beautiful day in Albuquerque, back there in nineteen hundred and forty-five.
I'd like to believe that a minor variation of the slow-to-gather but remarkably triumphant monsoon clouds building themselves up on the horizon visited the inhabitants of that military outpost, that railroad crossing, that widely expansive bosque and adjacent farm land, with the same grace and sudden transformative effect water always has an elusive and perhaps eternally temporary phenomenon still observable among the tribe of humans gathered in concrete shelters around the edges of el rio.
Anywho, back in that dimly lit yet shadowy (because you'd figure that dim lighting would beget weak shadows, but that's the past for you, always surprising) other summer, folks probably got ready for barbeques, looked lovingly at photographs of their children and husbands and wives at war, headed out for parades and fireworks displays. I am almost willing to bet that city commissioner Clyde Tingley bought a new tie especially for that parade and that his wife Carrie had a new and properly floral hat delivered to the mayor's home that morning, in anticipation of the same.
Besides all that hullabuloo, there was probably a small group of humans stationed at the airbase on the edge of town who were wondering about something amazing that was going to happen two weeks into the future. Maybe there were just one or two, maybe a dozen. I don't know for sure. Maybe they were concerned that the atmosphere might catch fire, that the night's patriotic fireworks display would just be an ironic harbinger of what was to come. Maybe some of them had faith in science though and firmly believed that what was about to happen was right, would save lives and ultimately add some sparkle to all the patriotic fireworks displays yet to come.
The soldiers and sailors and airmen and airwomen who had no idea what was really going on at that military outpost in the desert were probably scared. Most of them were going to be sent to Japan in September, as part of a massive invasion force. Most likely the mysterious activities being played out between Los Alamos and Albuquerque and into la jornada del muerto raised the level of disquiet. That summer, that Fourth of July must have seemed like the last hurrah to them. I would not be surprised if some of them drove down to the river and waded in the muddy and cool water, admiring the cottonwood forest that wound out, apparently endless, all around them. That musta been one hell of a stress buster.
Meanwhile other cars came and went from the Alvarado Hotel to the base
and then out into the southern desert, carrying men who smoked pipes and wore
big-brimmed hats. The summer wind kicked up, the sun climbed mercilessly into
the air and the elm trees the mayor had advocated for started doing their shady
jobs.
Now it is sixty-seven years later. The elm trees for Albuquerque part of
Tingley's legacy has been noticably and (warning, humourous neologism ahead)
enviro-properly dealt with. The Alvarado was destroyed but then gloriously re-imagined by another
visionary mayor. Most of the folks I wrote about have disappeared back into the
earth.
On the southern edge of town the mystery our mothers and fathers left for us in
1945 has become a legacy, a thing to
symbolize and protect, despite the heat, just like the summertime. Of course,
we can never really make all of that run backwards, as I have imagined. The way
the universe is built, we can only hope that it never runs forward, again.
It's warm out. Birds are singing everywhere, hardly anyone is wearing real
shoes and maybe it will rain tonight. Somebody down the road already has the
grill going and I know this because I can smell the igniter fluid and charcoal
wafting in the background.
Have a happy and safe Fourth of July.
03 July 2012
NM Snaps: Kimm Wiens
TiL is especially pleased to present the third installment of NM Snaps, featuring the work of photographer and artist Kimm Wiens. Wiens was the first photographer to contribute to Things in Light and has created a couple of wonderful photographic slideshows for us in the past. Enjoy Wiens' exploration of mushroom magic in the Sangre de Cristo Mountains here and her photographic ode to winter in Nuevo Mexico here. Wiens captured the above photo of the Needle rock formation in the Sandia Mountains. Scroll on to read the artist's statement Wiens sent to TiL and see more of her sublime work.
"New Mexico's abundant open space, volcanoes and mountain ranges are generally quiet still places where the sound of birds and leaves quaking are all you're likely to hear. My photographs are journal entries of my meditations in these quiet places. Aside from occasional cattle fences or trail markers, there is nothing man-made here; a world overflowing with mysterious beauty, scents and sounds. I spend most spring and summer weekends meandering up in the high mountains with my camera focused on trees, rocks, mushrooms, flowers, bugs, birds and other critters. After the first snows, I switch to the foothills and otherworldly beauty of NM's many badlands.
Originally from Northern California, I've lived happily in New Mexico (Santa Fe, Abiquiu, Taos and Albuquerque) for most of the last 22 years. After a brief jaunt in Washington state in the last decade I'm back in the Land of Enchantment with new knowledge that New Mexico is Home."
See more of Wiens' photos here and check out her drawing and video art here.
Half-frozen pine tree at the crest of Mount Taylor (Tsoodzil)
Moth and Butterfly on a Sneezeweed in the Sangre de Cristo Mountains
Wild grasses on the Rio Grande
28 June 2012
NM Snaps: Bradford Erickson
Unknown
11:51 AM
Albuquerque, Bradford Erickson, New Mexico, NM Snaps, photo, photograph, photography
The second installment of TiL's Nuevo Mexicano photography series, NM Snaps, features the work of student and artist Bradford Erickson. Erickson is currently studying Art Education at both CNM and UNM. Read Erickson's statement to TiL about his art below.
"I am fascinated by the act of making marks, be it paint on canvas, charcoal on paper, a line etched in copper, or a figure pecked into patinated volcanic rock. Like countless others, I respond to an inner, primal urge to assert my presence and, in leaving my mark, rationalize my existence in an turbulent and confusing world. I am not interested in capturing the real, but rather share my interpretation of the world I inhabit. My work, whether it is sculptural or two-dimensional, reflects the joy, guilt, and fear I experience, and it is through the process of constructing these works that I find release.
Much like the way children develop unique personalities, independent of their parent's guidance, I let my artwork grow and develop in response to circumstance; while I try to exert control over the
processes I work in, I account for 'artistic anomalies' and allow organic forces to exert their influence on my work. In this way, I allow the work to develop its own energy, instead of trying to force myself into it and, by doing so, allow my work to stand on its own.
I like to drink coffee on most days, and beers on most evenings, and love drawing in charcoal. I was born in Shawnee, Kansas, conceived on the grass lawn at a Styx concert in late September 1982. Recently, I've found inspiration in the works of Edward Hopper, H. Joe Waldrum, and Edouard Manet, and have been occupied with the process of synthesizing these artists influence into a series of digital 'paintings' which are currently on display at Blackbird Buvette."
Scroll on to enjoy more of Erickson's photography. Visit the Baadford Photography Facebook page to view even more of his work.
27 June 2012
Ex Cathedra
Rudolfo Carrillo
11:50 AM
By Rudolfo Carrillo
I.
Here is some mierda I come up with after I took the garbage to the curb and then set my arse down on an old chair I found abandoned on Ridgecrest Boulevard about a year ago.
That perch makes for a damn good sit because it is covered with the same sort of luxurious burgundy cloth and brass tacks that might have been popular among the upper classes back when the liquor establishments in these parts were dark and smoky, their clients innocent of things like men on the moon, the redemption of Elvis, and the the ascendancy of King Nixon.
Just so you know, I took up a book whilst in the aforementioned repose, and with considerable joy and foreboding read from the part of Huckleberry Finn where the hero of the story tells all about death. That would be chapters seventeen and eighteen, if you wanna know more.
The action in those chapters are all mixed up together, just like this post, and sorta like the fried animal flesh, smashed up beans, and sliced American cheese food product that I made for my supper last night. Some of it makes you laugh, and then you cry; but when you've just about had your fill of either tears or burritos, freedom beckons. For Finn, it was the river; for me it will probably be a good nap on the rico throne that I took home.
II.
Anywho, it's been about a month since my old dog died. I ain't seen much of her in the dream world, except in bare glimpses, like the time I was carrying her around in a golden cage through the streets of Mexico City. My father appeared, covered in black ink and blue bird feathers. He was serving up elote on a street cart and wanted to tell me that the cage was empty, except when I looked at it. Course he disappeared in puff of smoke, but the dog smiled at me and licked her chops as I opened the door to her mew. Then I heard some nightjars chirping and awoke just past four in the morning with the swamp cooler just tumbling and tumbling cold air into the world.
Since every other body in mi chante was asleep, I tilted myself away from the abyss and touched a little round button that sets among its own brand of royal accouterments. An instant later, light filled up the whole room: a symbol of a common fruit with a bite taken out of it flickered and hovered in the center of all that action. For a moment lost in time, I thought order had been restored.
III.
I was wrong about that too, because no sooner did I start clicking and typing than I found out some folks I knew back in high school were planning to meet up after thirty years removed from the city of gold. They must've had an inkling that I might want to join them, so they sent me an order form, which told of near future reunion events that would be the ginchiest of all time, clearly worth the exchange of feria spelled out in Comic Sans on a pdf that also featured a multi-color gradient background and promises of golf and resort locations - with a picnic and campus tour thrown in for good measure.
I reckoned there and then I would not go. That was not out of spite, neglect, nor a failure of my nostalgia programming circuitry, but mostly because I didn't need to go, what with Facebook and all, sabes?
Besides, the whole damn thing just seemed a little too high falooting and I just knew I'd feel out of place in my dusty-shoe teacher costume among the bomb-makers, real estate developers, and high-heeled government wives.
Very few of the freaks or theater or band people I knew in that misty world went to the previous iteration, convocation, invocation, or whatever the hell you wanna call it; the twentieth reunion sucked. If you wanna know how bad it sucked, here's some good clues: it was held at a downtown meatmarket; all the jocks and preps were drunk as fuck and rocking Thirty-Eight Special and Duran Duran. Ten years on, at least they've advanced to the country club level of things, though the swing from one extreme to the other is concerning, I gotta tell you.
IV.
It was pouring with rain that night of our twentieth reunion and my brother and I got eighty-sixed for complaining about the atmosphere, the shitty snacks, the watered down drinks. We stood outside in the falling summer water and I gave the bird to the captain of the football team. We wandered back to my place, and spent the rest of the evening watching old science fiction movies on the teevee and cursing the past during commercial breaks, which were mostly about the glory of the future, and so on and so forth.
Now it's dry as summer on Mars, out here, and ten years later, too. I feel like I've come around in a windy circle. Back yonder, the old man was in the hospital, fixing to die while the monsoon was swirling through town. Some folks were embracing the past drunkenly, my brother eventually went home to Ohio, and I was working my way to a place near the corner of San Mateo and Central for a meet up with a dog I thought was dead. She wasn't dead back then. She lived ten more years and became the center of my life, became the leader of the TiL pack. When she left all of that behind, she was at home and lying peacefully next to me on her special and luxurious futon, in case you want to know.
At first all of that hurt like hell: Rosie dying, my old man long gone, my twin brother living a continent away. But things sorta lightened up when I realized I never had to go back to high school, never had to see the creepy assholes, bullies, and temporarily beautiful people that had the run of the place. I had already decided, via the magic of twenty-first century computing technology, whom I would still hang out with, virtually or otherwise.
Plus which, I have a damn fine chair to sit in and dream upon; a place to envision the future, and read about Finn's adventure. All of these things are portals to other worlds that I have either been in or at least dreamt about whilst longing for the next thirty years to pass swiftly, roaringly alive, like a river making its way to the sea.
21 June 2012
NM Snaps: Elaine A. Russell
Unknown
6:47 PM
Albuquerque Rail Yards, Bosque, Elaine A Russell, NM Snaps, photo, photography, volcanic
Things in Light loves the sights and sounds of New Mexico. Our plentiful podcasts are an attempt to share our favorite sounds with y'all, but we recently realized that the sights of this beautiful, difficult land are underrepresented on the site. Inspired by the wealth of talented photographers in the land of enchantment, TiL presents the first in a new series showcasing the work of masterful Nuevo Mexicano shutterbugs, past and present. The above photo — of the volcanic West side landscape — was captured by local photographer Elaine A. Russell. Scroll on to read Russell's bio and enjoy a couple more of her terrific photos.
"Elaine A. Russell is a New Mexico photographer and artist. Since 2008, she has been writing a daily blog that showcases her unique vision of the world, as seen through her camera lens. She graduated from the New York Institute of Photography in 1990, and — although she was a nurse for over 17 years — has been focusing on her second career, art, since retiring in 2003. Her work has been published in magazines, calendars, and books. She was one of the original founders of The Wooden Cow Gallery in Albuquerque and has since moved to an online sales model. See more of her work at her blogsite, moonGipsies, and her Etsy store, moonGipsies Etsy."
The below smoky bosque sunset was captured by Russell in late-May. The contrast of the beauty of the bosque with oppressive wildfire smoke culminates in the emergence of the violet-pink blaze of the star we orbit, the sun. This photo seems particularly poignant given the Romero wildfire, which ignited during yesterday's summer solstice and has spread over 288 acres in the Corrales Bosque north of Albuquerque and on Sandia Pueblo land.
In the below photo, Russell captures remnants of the inner workings of the Albuquerque Rail Yards.
16 June 2012
The Next World is Here
Rudolfo Carrillo
8:57 AM
Albuquerque, baseball, Drought, Harvard Street, Kai's, overheard, Student Ghetto, Winning Coffee
by Rudolfo Carrillo
Maybe those vocalized thoughts would climb through the hot, dry wind that has come to distinguish this place, carrying the lot into space, chariot-like and roaring. There'd be vowels bouncing off satellites and hooking up with this or that noun just for the sake of meaning and the promotion of order against the backdrop of a yawning void that goes on and on forever.
It could turn out that a sentient liquid on venus or a robot investigating the dust clouds of the andromeda galaxy would receive my howling transmission someday, come to believe they have a decent, if abstract, grasp on what the hell was going on amongst the momentarily beautiful bundles of flesh, electricity, and smoke-like souls that crawl and walk and wander through Burque.
I'd look up into the sky and pick out a familiar star or constellation; I'd speak to the dead like they were alive and happily dangling their wings angel-like off of the edges of a billion earth-covering clouds.
This is what I did between the horns of the day, but just some of it, I'd tell all those entities briefly described in the previous paragraphs of this transcription.
It still hasn't rained and even the weeds are getting brown, so I gave up on pulling them out of the garden. I figured they'd appreciate the gesture; maybe the monsoon would get here in time and they'd get to flower one more time.
After contemplating the implications of that command decision, I drove down to the student ghetto for chinese takeaway. They have a great lunch special at Kai's. I waited in the dining room and eavesdropped on two young blonde women. One of them had a tattoo of fancy letters on her right foot. The other had a pair of big white plastic sunglasses perched on her head, sorta like an ersatz alabaster temple to blindness setting upon an impossible flaxen sea.
They talked about infections caused by jacuzzi water and how they were both anxious yet intrigued about going to a cocaine and booze party. They seemed mostly flummoxed and laughed nervously. The one with the painted foot said you'll like the buzz but the other figured those sorts of activities encouraged infidelity and unexpected trips to the student health center. The hostess brought out the takeaway and I hobbled out of there just as the conversation turned to the subject of body hair.
When I got back to the car I noticed plenty of parking on Harvard Street. The asphalt lined corridor there, between Central and Silver was quiet except for a coffee house down the street, where all sorts of humans were drinking caffeinated beverages and carrying on like it was already summer. One fellow was juggling, tossing bright red spheres around and around while a dog wearing a blue bandana barked and jumped, turning circles around the man.
A pair of bearded dudes, dressed for Seattle or Portland, in flannel shirts and leather shoes, were playing a game of chess; one of them grabbed at the hound's tail as it spun past. A young couple gamboled out the front door, tossed their sandals into the street spontaneously and, with synchronous smiles flaring sunward, began dancing.
On the way home, I tuned the radio to a baseball game broadcast. The home team was winning.
31 May 2012
Things in Light Podcast #20: Mostly Noise Mix
Unknown
12:10 PM
Albuquerque, Anna Mall, Cinik, Dan K, Father of the Flood, John Dieterich, Luperci, New Mexico, podcast, Postcommodity, Raven Chacon, Summer Assassins, TANHZzz, William Fowler Collins
Noise music isn't for everyone. But, for those of us that it is for, well, there's nothing else quite like it. I could get all academic and prattle on about perception or signals and signatures, but what it really comes down to is a visceral reaction to sound. If you're of the noise-lovin' persuasion, New Mexico — and Burque in particular — is a damn fine place to call home. Things in Light is pleased to present our twentieth podcast, Mostly Noise Mix, featuring Summer Assassins (Raven Chacon and John Dieterich), Anna Mall, Postcommodity, William Fowler Collins, Luperci, Father of the Flood, TAHNZzz, Cinik, and Dan K. See the full track listing below.
1. Summer Assassins - Creeping of the Foul (excerpt)
2. Anna Mall - Vivre Se Vie
3. Postcommodity - Piles of Cougar Pelts (excerpt)
4. William Fowler Collins - Slow Motion Prayer Circle
5. Luperci - Excarnation III
6. Father of the Flood - The Wind Which Carries Your Scent
7. TAHNZzz - Ground Levels
8. Cinik - The Scene in Which the Villain Escapes
9. Dan K. - CLONÆZÆPÆM
24 May 2012
A Note To Our Readers About the John Drake Project
Rudolfo Carrillo
2:01 PM
Last night, at about nine in the evening, the official mascot of Things in Light, Rosie the Dog, died suddenly, following surgery for cancer. She was beloved by me and by Samantha. We had hoped for the best, but sometimes freedom from the flesh is the best one can hope for in this world.
She will be forever missed and held in our hearts and minds here, there, and everywhere.
Coincidentally, John Drake died with her. The reason for that is simple. Rosie inspired some damn fine reflection upon the past, and subsequently, some writing about that past taking place in Burque. We posted that output at our old stomping grounds.
Reading through the morning news, I note that a discussion on Duke City Fix mentions Drake. One commenter puts forth the proposition that we here at TiL were " ...just screwing with this site. One might even say he was trying to get even by "saving" Duke City Fix."
Nothing could be further from the truth. The John Drake project was sincere, folks. It was meant to be a way to disperse the grief of our household, a grief and shock that grew as we cared for a much-loved companion who was dying. That we chose an uncommon and gestural way to accomplish that goal may be unusual, but its roots in postmodernism are undeniable and just fine, by our standards.
There was never any attempt to save that other site. Nor was there any malice involved in its manifestation. We are not eccentrics or agitators. We are dadaists and artists. We have no grudge to bear or any illusion about our ability to revive any person, animal, or website, living or dead.
If our posts generated more traffic over there, then that is a good thing, but that was not our goal. Our goal was to embrace the spirit of an animal we really loved, to make her the star of something that is greater than any of us puny humans.
Certainly, we have issues with both the content and powers that be over there, and have made them clear over the time it has taken to create this successful and hep site that you are visiting now.
We do not seek fame or acknowledgment from the folks over there. Some of them were friends. We take our work seriously. But it also says a lot about DCF that the detractors and doubters have center stage, can say things that are just downright foolish, are poor judges of character, and intention.
The publishers of this blog are both published writers who have significant credentials, by the way. It seems hurtful and unkind to us that what we did has been misjudged as the work of people that wear "tin-foil hats".
The world is a rough place. We work for its betterment, without concern for ourselves. That's punk rock, sabes?
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