P4P Video - Maestro

This one's a special one. Maestro is a film by Josell Ramos that chronicles the early days of disco and dance music in New York City. It takes a look back at the underground scene that gave birth to disco and house music, chronicling legends like Larry Levan, David Mancuso, Nicky Siano, Frankie Knuckles and Tom Moulton and legendary places like Paradise Garage, The Gallery and The Loft. It's an amazing document, a chance to go back to the beginning of dance music and hear the stories from the people who were there. Ramos talks with Siano, Mancuso, Knuckles, dancers from back in the day, club staff, lighting men, sound engineers and others. Add in some great archival footage from the various clubs and you've got yourself a history lesson kids should be learning in school. It will show you just how important this music and scene was in the lives of so many people, who were able to find themselves and be themselves in an environment that strived to bring people together.

Here's the video for part 1 (there are 9 total parts) and anyone who reads the blog should consider this essential viewing:



It got me to thinking about the dance culture that existed back then, in the late 70s and 80s in New York City, and what things are like in the NYC of today. I try to avoid nostalgia, as it's such a corrosive and pointless emotion, usually based on rose-tinted glasses that never quite tell the whole story. But, it's hard not to feel like NYC today is missing something, something big. I'm not sure if it's the cabaret laws that have shut down so many clubs, if it's the yuppification of Manhattan, if it's the fact that gay culture doesn't have to be underground anymore, if it's the fault of bloggers like me who talk about everything and prevent any underground from really developing, if it's the insane cost of living or a combination of all of those factors. Whatever it is, I feel like club life in NYC is at a nadir, more about being seen or making money than telling a story or celebrating music. Am I being too pessimistic? Am I missing something? Leave some comments and let me know your thoughts, as I want to be so wrong.

P4P Video - John Zorn's Cobra

Here's a new feature at Pound for Pound, as we're gonna get all visual on your asses. During my hiatus, when I was studying for the GRE, I spent much of the time scouring Youtube for cool music videos (and videos on cysts, big boobs and Flyers fights). I'm gonna try to give you the results of those searches once a week from here on out, hopefully everyone enjoys the videos.

Here's one of my favorites that I encountered, a part of the 1992 Channel 4 TV documentary On The Edge: Improvisation In Music. This segment looks at John Zorn and his game pieces. I can't say that I am an expert on these, but having had the fortune to finally see a live performance of the most famous game piece, Cobra, conducted by Zorn at the Music Under the (Brooklyn) Bridge series a month or so back with that hyphenated girl JH-B, I wanted to talk a little about it.

It was amazing to watch it live, as Zorn conducts the ensemble through note cards that indicate specific rules which denotes what a performer can do, in essence a set of rules that the performers must work with. The music almost becomes secondary, as the real thrill is watching people communicate with each other in order to create the small groups they want. There's a lot of pointing and eye contact, sometimes subtle, occasionally over-the-top. Zorn explains it much better in the video: "It becomes kind of a scary, frightening thing, to be in front of that band, to see these people, kind of, blossom and become the assholes that they really are." Check this wikipedia page for more info on Cobra and the game pieces. Most definitely watch the video, as it gives great insight to what the pieces are all about, what Zorn is trying to do with them, plus it's a great interview with the reclusive Zorn.

Most of all, the video will remind you of just how exciting it is to hear from someone who lives and breathes music, whose . I'll have a lot more to say about Zorn down the road, as he is a key figure for my own musical development and a big part of that early 80s downtown NYC scene that is at the heart of this blog.