MY OLD HAT
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I HAVE BEEN THINKING ABOUT MY OLD HAT> VERY MUCH SO RECENTLY> AFTER I SENT
AWAY THE MOST GULLY ONE> TO SPREAD MY w.o.rod.s, i have not been recieving
very ...
15 years ago
Tuesday, December 29, 2009
Monday, December 28, 2009
Saturday, December 26, 2009
Thursday, December 24, 2009
oh you silly google voice
A message to my google phone from joanna and luke kelly:
Now read the transcript:
Now read the transcript:
Friday, December 18, 2009
Thursday, December 17, 2009
old hat's alien diety w. alan wrote an open letter to mary kate olson twins.
W. Alan Yankovic's Blog
Learn about me through my Old Hat
OPEN LETTER TO MARY KATE OLSON TWINS
DEARES T INTERNET
I WAS READING THE COMMENTS ON MY OLD HAT NEWS. IT SEEMS MARY KATE OLSON TWINS WAS UPSET. HERE IS WHAT SHE SAID:
I WAS READING THE COMMENTS ON MY OLD HAT NEWS. IT SEEMS MARY KATE OLSON TWINS WAS UPSET. HERE IS WHAT SHE SAID:
I was there and I walked out as did half of the room: Old Hat was terrible. To talk out of one’s ass about music as presented in this article is horseshit. Mr. Armento not only completely ignores the third band that played but poorly critiques the wonderful performance by Rockwood Revival and praises the shitty imitation of The Moldy Peaches that is Old Hat. Old Hat was annoying and certainly not witty. Rockwood Revival beautifully arranged classic songs and the setting at Northeast Kingdom offered an appropriate atmosphere. The den felt like pappy’s livingroom with loved ones sitting around on the floor, where songs like “cripple creek” should be played. Fuck shitty paintings and fuck Dominic the Donkey.I UNDERSTAND. I TRIED TO WRITE BACK< BUT I WAS MODERATe. so here is my opened letter response
DEAR MARY KATE OLSON
I AM MY OLD HAT’S ALIEN DEITY W ALAN YANKOVIC
I HAVE WRITTEN MAN SONGS FOR THE OLD HAT. MY ENGLISH IS NOT SUCH THAT GOOD. I AM ALWAYS A RECONSTRUCTIONIST OF THE LANGUAGE FROM THE MANY EMAILS THAT ARE DELIVIRED TO MY EDOORS. PLEASE DO NOT BLAME MY OLD HAT. IT IS ONLY TO BE BLAMED FOR THE BAD OF THE SONGS, BECAUSE I WRITE THEM ALL AND THEN SEND THEM TO THEM IN AN EMIAL
my old hat is not the witty, and is certainly the annoying.theyare not the classic arrangement of the rockwood music hall of williams burg. my old hat is here to present you with all this hideous on the earth that you might recognize with your puny threed dimensional minds that each human benig is a union of the witty and the not the witty. the annoying and the not the annoying. if you cannot confront the annoying and the not the witty that is concealed within my old hat, then how will you come to terms to deal with the annoying that is within you? will you do it through passive aggressive messing boards, or will you find you’re own w.a.y.? becase let me tell you, i have seen you watch my old hat and you are very annoying. the way your face twssts with fear when you see something you are not comfortable with annoys me.
I UNDERSTAND WHY YOU ARE UPSET. I HAVE WRITTEN SONGS ABOUT YOUR WONDER FUL HOUSE TELEVIOSIN SERIES, IT IS CALLED “JAM FRANCISCO” AND I REQUESTED THAT MY OLD HAT NOT PLAY THE SONG ON THAT EVENING BECAUSE I SENT YOU TO THEIR PERFORMANCE AND I DIDN T WANT YOU TO BE EMBARASSED. I REALIZE NOW THAT THIS WAS BEING MASSIVE AGGRESSIVE BY NEGLECTING YOUR VAIN DESIRES TO HEAR THE OLD HAT SING ABOUT YOU. I KNOW YOU WILL NOT COME TO ANOTHER SHOW, BUT IF YOU EVER DO, JUST TELL MY OLD HAT AND THEY WILL PLAY MANY SONGS ABOUT YOU IN MY LITERATURE “90′S AGAIN” AND “JAM FRANCISCO (MENTIONED ABOVE]’
AS FOR THE CRIPPLE CREEK, I THINK IT IS VERY ASSIVE AGGRESSIVE OF YOU TO BRING IT UP IN THIS MANOR. THE PROPPER TERMS ARE `THIS ABLED CREEEK`. AS FOR THE FUCKING OF THE SHITTY PAINTING AND OF DONKEYS NAMED DOMINIC, I WOULD NOT DO SUCH THINGS, BUT IF THEY MAKE YOUR BOAT A FLOATER, DROP IT IN THE CAN AND FUCK THE DONKEY. YOU HUMANS MUST ALL EMBRACE YOUR DESIRES HOWEVER NEEDED. DO NOT DENY YOUR SIRE THE DONKEY OR THE PAINTING
I HOPE that you learn to experience TRUE LOVE through some W.A.Y. mine is not THE ONLY W.A.Y., but it works. PLEASE FIND YOUR OWN W.A.Y. AND FOLLOW IT SUCH THAT YOU MAY TRANSFORM YOURSELF INTO THE ALIEN CHILD GODDESS THAT ONCE WAS YOU
IN YOUR W.A.Y.,
W ALAN YANKOVIC
PLEASE SEND ME A GMAIL
w.alanyankovic@gmail.com
cheese on bread on japan!
Moorworks 最新のリリースは 12.26のクリスマス翌日に送り出す、爽快痛快 Twee なメガネポップスを奏でる５人組 “Cheese On Bread” のニューアルバム The Search For Colonel Mustard をリリースします！
これぞ Twee Pop なインディーアメリカンロック、メロコアやスカ、アメリカンポップの良いところだけを寄せ集めた初期衝動突破型バンド、眼鏡率100％のアメリカ産 5人組チーズ・オン・ブレッド。スウィートな女性ヴォーカルとアコースティックを軸としたサウンドは、インディー・ポップと少しオタク経由の可愛らしさが 奇跡的にブレンドしたネオ・アコースティックの現在進行形。
味わい深く、勢いだけで突っ走っていたファーストの反省を生かした真摯な作り。知的でユーモアに溢れ、尚且つダンサンブル、カントリーとシンセ・ ポップがビーチ・ボーイズのハーモニーによって見事にロックに昇華。アコースティックを基調にした楽曲を大事にした多彩なアレンジと温かいメロディーをお 届け致します！
http://moorworks.com/news/2009/12/09/twee-%E3%81%AA-cheese-on-bread/
Wednesday, December 16, 2009
Wednesday, December 9, 2009
old hat gets first ever review!
Folk and Frenzy at the Den
The four members of Old Hat. — Photo courtesy of the artists
Friday night at the Northeast Kingdom Den started with a folk revival trio and was followed by a quartet of rowdy self-professed misfits that would likely revel in being called immune to categorization – which they certainly are.
First up, Holly Overton, Brian Chillemi, and Nick Chiericozzi (each of different bands) have put together a group they call Rockwood Revival. Ms. Overton, vocalist and guitarist of the wonderful duo Feather & Folly, said the gig at NE Kingdom would be their first together. Rockwood Revival’s game is traditional folk – Seeger, Sainte-Marie, Woody Guthrie – a bit of a leap from the softer dreamlike tunes she normally plays.
And it mostly works. The arrangements were great, especially Mr. Chiericozzi on mandolin, and the occasional dulcimer from Mr. Chillemi. After a brief instrumental number, they opened with "Cripple Creek," which hit all the right instrumental beats, but came just short on the harmonies – damned if they kept getting close, but Mr. Chillemi ran into some pitch problems, and it never quite found its stride.
There are also some spatial limitations here. The Den is a perfect venue for intimate acoustic sets, but with its lack of amplification, it can be death for anything high-tempo/multi-instrument. So Ms. Overton’s great voice, try though she might to boom it above the din, was often drowned out. This is especially unfortunate in a song like "Cindy," where we lose much of the verse-switching and harmonies.
They close with the old Woody Guthrie number "Goin’ Down the Road Feelin’ Bad," though, and it’s their strongest of the night. It’s a more laid-back tune, Mr. Chillemi throws on the harmonica holder, and here they find the right balance of mellow and twang.
The second act of the night is Old Hat, and what can one say? Two men and two women take the stage and proceed to give us songs divined from their spiritual leader W. Alan Yankovic (who has a blog, and unconfirmed connection to the musical parodist of similar name).
Songs in Friday night’s set included "Dominic the Donkey," "Uncle Pat’s Pig Roast," and "Fucking Morphine," which was described as "the song about the time we took drugs and nothing happened." They take breaks in between songs to auction off a macabre painting, and end up taking a collection from the audience – twice, because they weren’t satisfied with the results of the first go-around.
All this, and the music itself was fun, spectacularly entertaining, and very often witty. I don’t know that I’ve ever seen someone play the acoustic bass with intensity, but that is what Old Hat’s bassist Preston Spurlock did. Besides being a talented musician, his violent outbursts with and towards this usually-docile instrument were perhaps the most entertaining part of the show. I don’t know if his rage-fueled bass-playing was part of the act, or just part of an artist’s passion in the moment – I don’t care, it was fucking fun.
These musicians (the others are Dibson Hoffweiler on guitar, Deenah Vollmer on mandolin, and Fran Agnone on drums) smile out the side of their mouths throughout the set, as though they’re getting away with something. Indeed, at one point Hoffweiler – their sort-of lead man – remarked that they must be doing something wrong, because not nearly enough people had walked out yet.
http://bushwickbk.com/2009/12/09/folk-and-frenzy-at-the-den/
Monday, December 7, 2009
i forgot to mention that the new yorker mentioned old hat and kung fu crime wave last week
VARIETY SHOW TELETHON BASH
The Debutante Hour, a lively female vocal trio whose members play the accordion, the cello, and the drums, needs money to record a new album, so they’re putting on a show, with performances by other bands, jugglers, puppeteers, opera singers, and comedians. (The roster includes Jonathan Wood Vincent, the Wowz, Phoebe Kreutz, Old Hat, Kung Fu Crime Wave, Rachel Feinstein, Michael Richter, Victor Varnado, Herb Scher, Marti Newland, Sweet Soubrette, Grits and Harmony, and the Orange Teardrops.) Donations will be accepted on twenty old—allegedly Soviet—rotary phones, and there will be a silent auction for such prizes as a private show in the winner’s living room, cupcakes baked by the Debutantes, and a canoe trip with the group down the Gowanus Canal. (Ukrainian National Home, 140 Second Ave., between St. Marks Pl. and 9th St. 212-529-6287. Dec. 5 at 7.)
Sunday, December 6, 2009
Wednesday, December 2, 2009
!!! ! ! ! ! ! !machine project at the moma! ! ! ! ! ! ! !! ! ! !
EVENTS
Special Exhibition Programs | Bauhaus Lab
Walking Tables and Wrestling Foals: A Hands-on Workshop and Musical Performance
Friday, December 4, 2009, 2:00 p.m. –8:00 p.m.
In conjunction with the exhibition Bauhaus 1919–1933: Workshops for Modernity (November 8, 2009–January 25, 2010), Bauhaus Lab is a new interactive space that reimagines the historic Bauhaus classrooms in which students and teachers of many forms of art experimented with innovative pedagogical approaches. Led by artists, educators, and art historians, an ongoing series of hands-on art-making workshops offers participants of all ages the opportunity to engage in techniques and processes integral to the Bauhaus, such as drawing, collage, graphic design, color theory, and mechanical construction.
Join Machine Project for a day of woodworking, mechanical mayhem, and cute baby horses. Participants collaborate with artist Douglas Repetto in manufacturing a herd of “foals”—simple walking tables—small tables that actually "walk" across the floor—handmade from scrap wood and basic mechanical parts. The foal-building workshop is a humorous take on issues central to the Bauhaus movement, including the relationships between form and function and between craft and mass production. At the end of the afternoon the foals are let loose in MoMA's Education and Research Building. Musicians from the experimental chamber ensemble WetInk provide musical accompaniment with improvisations informed by the movements and intersections of the foals. Poet Joshua Beckman reads traditional ceremonial foal poems of his own devising. Foal pandemonium or peaceful frolic? There's only one way to find out! Workshop participants and audience members may adopt a foal. Take-home foal-building plans are available.
Workshop: 2:00–6:00 p.m.
Performance: 7:00–8:00 p.m.
In conjunction with the exhibition Bauhaus 1919–1933: Workshops for Modernity
Most workshops are free and on a first-come, first-served basis.
Spaces are limited for each program. Though we cannot guarantee your place in advance, participants will be admitted on a first-come, first-served basis, beginning twenty minutes prior to the start of each workshop. For each program, spaces are limited to twenty participants. Programs are open to individual participants; school groups cannot be accommodated.
Download the Bauhaus Lab brochure in PDF format (Adobe Acrobat required)
This program is free and participation is on a drop-in first-come, first-served basis. All materials are provided. Open to ages fifteen and up.
Join Machine Project for a day of woodworking, mechanical mayhem, and cute baby horses. Participants collaborate with artist Douglas Repetto in manufacturing a herd of “foals”—simple walking tables—small tables that actually "walk" across the floor—handmade from scrap wood and basic mechanical parts. The foal-building workshop is a humorous take on issues central to the Bauhaus movement, including the relationships between form and function and between craft and mass production. At the end of the afternoon the foals are let loose in MoMA's Education and Research Building. Musicians from the experimental chamber ensemble WetInk provide musical accompaniment with improvisations informed by the movements and intersections of the foals. Poet Joshua Beckman reads traditional ceremonial foal poems of his own devising. Foal pandemonium or peaceful frolic? There's only one way to find out! Workshop participants and audience members may adopt a foal. Take-home foal-building plans are available.
Workshop: 2:00–6:00 p.m.
Performance: 7:00–8:00 p.m.
In conjunction with the exhibition Bauhaus 1919–1933: Workshops for Modernity
Most workshops are free and on a first-come, first-served basis.
Spaces are limited for each program. Though we cannot guarantee your place in advance, participants will be admitted on a first-come, first-served basis, beginning twenty minutes prior to the start of each workshop. For each program, spaces are limited to twenty participants. Programs are open to individual participants; school groups cannot be accommodated.
Download the Bauhaus Lab brochure in PDF format (Adobe Acrobat required)
This program is free and participation is on a drop-in first-come, first-served basis. All materials are provided. Open to ages fifteen and up.
http://www.moma.org/visit/
Tuesday, December 1, 2009
velvet underground at the nypl. omg. can't wait.
LIVE from the NYPL
The Velvet Underground with Lou Reed, Maureen ‘Moe’ Tucker, Doug Yule & David Frickeat 7:00 PM Celeste Bartos Forum Stephen A. Schwarzman Building 5th Avenue and 42nd Street (directions) SOLD OUT. Tickets may be available at the door. $25 general admission and $15 library donors, students and seniors with valid identification." SAVE $10 on every LIVE ticket All LIVE from the NYPL events are general admission. Arrive early for best seat selection. Box office opens 2 hours before the event and doors open 45 minutes before the event. Management reserves the right to refuse admission to latecomers. |  The Art and Soul of The Velvet Underground SOLD OUT. Tickets may be available at the door.In the historic ferment of Sixties rock, the Velvet Underground were the perfect band in the right city, New York, at a crucial time. For five years – 1965 to 1970 – singer-songwriter and guitarist Lou Reed, bassist and viola player John Cale, guitarist Sterling Morrison and drummer Maureen Tucker, with the German vocalist Nico and bassist Doug Yule (who replaced Cale in 1968), broadcast the real life of their home town – the sex, drugs and art; the furious street energies, hidden pleasures and desperate romance – in an unprecedented pop music of vivid storytelling and transgressive excitement. On stage and on their four influential studio albums, the Velvets invented the many futures of rock – punk, drone, free improvisation, lyric candor – in songs and performances that made the group notorious, with the pivotal help of their early manager and mentor, Andy Warhol. Legendary status came later, after the group broke up and Reed and Cale went on to bold prolific solo careers. Today, the Velvet Underground are the stars they always deserved to be, with a rich and still mysterious story that continues to unfold: in the new visual collection, The Velvet Underground: New York Art, and tonight, in this unprecedented reunion of Reed, Tucker and Yule-the words,music and rhythm of The Velvet Underground. $25 general admission and $15 library donors, students and seniors with valid identification." SAVE $10 on every LIVE ticket |
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