(…the latest entry of ‘blanks and postage’—author jesse jarnow’s irregular column for aquarium drunkard highlighting the fringe and beyond.) Sanjay Mishra’s colleague warned him about the corporate spies and that he should […]
Category: Blanks And Postage
Lost Live Grease, Recovering the Hampton Grease Band
The importance of the Hampton Grease Band is almost always reduced to factoids. Mainly that their sole album, 1971’s Music To Eat, was allegedly the second worse-selling double-LP in Columbia Records’ history, after an instructional yoga set.
The Hampton Grease Band deserve better. The Hampton Grease Band were the South’s first freaks, and still their most incredible.
Blanks & Postage: Kyle Barnett and the Record Cultures of Wild Midwest
Despite a plot that takes place a century ago, nearly every twist of Kyle Barnett’s new scholarly work Record Cultures: The Transformation of the U.S. Recording Industry feels acutely connected to the present. With a big picture historical view, Barnett maps how the unsettled and undefined chaos of American music coalesced into the modern world of record labels and genres with all their racist complexities and romantic myths.
Blanks And Postage: How To Build A Diving Bell, or Tape-Hunting Tips For Quarantined Gormandizers
Just as many of us were folding into our geo-domes for extended isolation in early March, a tweet floated across my transom that asked the reader to “Imagine a world where there were archives of live P-Funk and Fela recordings as extensive and well-curated as those devoted to the Grateful Dead.” To paraphrase a recent viral hit: it’s easy if you try. At least, the imagining is. Just pretend that they’re the Dead…
Blanks And Postage :: The 21st Century Cosmicomics of Jesse Jacobs
“Psychedelic but readable” is how the proprietor of my local heady art emporium, Desert Island Comics, introduced me to the work of Jesse Jacobs a few years ago. While an accurate blurb, it only barely covers 2017’s Crawl Space, the Canadian artist’s breakthrough full-length book as a sequential narrative-maker…
Blanks And Postage: Psychedelic Futures
For this month’s Blanks And Postage column, author Jesse Jarnow, explores the myriad worlds of psychedelic sci-fi pulp lit…and beyond.
Blanks And Postage: Like A Road Leading Home – The Elusive Sarah Fulcher and the Less Elusive Jerry Garcia
Of the many improvisers to regularly share a stage with Jerry Garcia, almost none were women. A new archival release from 1973 brings attention to one of Garcia’s least known […]
Blanks And Postage: San Francisco Radical Laboratory and the Mysterious Moogist of Altamont
The Bay Area convergence of art, technology, drugs, and other disciplines is well-documented, but one mostly forgotten node is the San Francisco Radical Laboratory at 759 Harrison Street. The home base of composer Doug McKechnie and electrical engineer Bruce Hatch …
Blanks And Postage: News From the Silk Trombone / Delving into the Deadhead Tour Zine MIKEL
As Dead & Co. fire up the machine for their fall outing, a remarkable stash of the early ‘80s Deadhead zine MIKEL provides a DIY window into what life on Grateful Dead tour was (sur)really like in the early ‘80s, before 1987’s In the Dark blew the band into the top 10 and football stadiums…
Blanks and Postage: Bob Dylan, Totally Normal Buddy
(welcome to ‘blanks and postage’ — author jesse jarnow’s monthly column for aquarium drunkard highlighting the heady, askew…and beyond.)
Blanks And Postage: How To Weird Your Mind
Several recent books provide counterpoints to Michael Pollan’s best-selling How To Change Your Mind. “Psychedelics for normies” in writer Alison Hussey’s memorable phrase, Pollan’s 2018 book almost instantly transformed the dialogue around the substances with its clear and direct arguments about their miraculous power to heal trauma. Only on occasion, though, does it entertain a present or future in which psychedelics might be used meaningfully outside the medical model, or acknowledge the ways that’s occurred in the past. How To Change Your Mind is a skeptical book, and draws some of its power from this, an extension of Pollan’s role as a mainstream journalist, but its tone is also an act of erasure in other ways.