UnInTel

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Dancing to the English Beat

by Domain Mistress on Sep.25, 2009, under Music

A small number of our tribe just arrived back from one of the best dance parties in Monterey for a long time. Thank you to On The Beach Surf Shop . On the Beach sponsored the event as a fundraiser for the Junior Lifeguards. We had the pleasure to dance the night away to the English Beat. The music, the small enthusiastic crowd, the intimate setting, the energy of the band and the flashes of the past and present joy as memorable song after song pulsed over us, we…Jeanne, Kira, Robin, Chris, Karen and Karen’s brother Joel (of the triangle forging trio) carried the spirits of everyone who wasn’t there. We realized that we were somewhat out of shape after only 2 weeks off the Playa. The unanimous decision is that we need to keep our dance stamina strong.

During a set break (the band played from 9 pm to almost 11:30 with only 1 short break) our beat-energized brain trust hit upon the idea that we should take our dance tribe on the road. What if there was a danceable event in Santa Cruz? We could load up in the camper vans (Robin’s, Karen/Chris, Jeanne) and head up to Jonathan’s. If we were really ambitious, there is always Sacramento. Maybe a tribal descent on Woodland for dancing and socializing?

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The Playa calls

by Domain Mistress on Jun.14, 2009, under Art, Music, Playa Wear

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PlayAngles Comes to Life

by Domain Mistress on Jun.03, 2009, under Art, Music, PlayAngles

The seven sacred triangles have been forged with hammer and tong on the blackened anvil. By the sweat and blood of Chris and his kinsman Joel the iron was wrought into the shapes designated by the oracle. The triangles live! Their ringing tones have pieced my soul. I may have taken to much of the pain killing medicine. I will see that the singing steel reaches the playa in readiness for the gathering. I can not be there for the meeting but you all are in my dreams…… Mark
For more images in the creation process, take a look at Chris’ Picasa gallery

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Picture of Dorian Gray

by Domain Mistress on May.06, 2009, under Art, Music, PlayAngles

Yeh!  Keep it going I say, just play now like you’ll be playing it out there.  I like the energy of the project.  I want to have pot lids to bang, and corrugated aluminium to clang.  
Idiophones.  ….?….  I like it — sort of unintelligent sounding, no?  Just anything, not drums though, that vibrates itself.  I know people like that,  but  I like the amplified cactus as well… http://en.wikipedia.org/wiki/Amplified_cactus
But then I play the maraca all the time in Church, and it’s an idiophone as well.  It’s also very powerful shamanic tool. Another thing, in Chapter 12 (or 11) of Wilde’s Picture of Dorian Gray has this amazing passage about the eponymous character. I do believe that many of the odd instruments mentioned are actually real…
“At another time he devoted himself entirely to music, and in a long latticed room, with a vermilion-and-gold ceiling and walls of olive-green lacquer, he used to give curious concerts in which mad gipsies tore wild music from little zithers, or grave, yellow-shawled Tunisians plucked at the strained strings of monstrous lutes, while grinning Negroes beat monotonously upon copper drums and, crouching upon scarlet mats, slim turbaned Indians blew through long pipes of reed or brass and charmed – or feigned to charm — great hooded snakes and horrible horned adders. The harsh intervals and shrill discords of barbaric music stirred him at times when Schubert’s grace, and Chopin’s beautiful sorrows, and the mighty harmonies of Beethoven himself, fell unheeded on his ear. He collected together from all parts of the world the strangest instruments that could be found, either in the tombs of dead nations or among the few savage tribes that have survived contact with Western civilizations, and loved to touch and try them. He had the mysterious juru-paris of the Rio Negro Indians, that women are not allowed to look at and that even youths may not see till they have been subjected to fasting and scourging, and the earthen jars of the Peruvians that have the shrill cries of birds, and flutes of human bones such as Alfonso de Ovalle heard in Chile, and the sonorous green jaspers that are found near Cuzco and give forth a note of singular sweetness. He had painted gourds filled with pebbles that rattled when they were shaken; the long clarin of the Mexicans, into which the performer does not blow, but through which he inhales the air; the harsh ture of the Amazon tribes, that is sounded by the sentinels who sit all day long in high trees, and can be heard, it is said, at a distance of three leagues; the teponaztli, that has two vibrating tongues of wood and is beaten with sticks that are smeared with an elastic gum obtained from the milky juice of plants; the yotl-bells of the Aztecs, that are hung in clusters like grapes; and a huge cylindrical drum, covered with the skins of great serpents, like the one that Bernal Diaz saw when he went with Cortes into the Mexican temple, and of whose doleful sound he has left us so vivid a description. The fantastic character of these instruments fascinated him, and he felt a curious delight in the thought that art, like Nature, has her monsters, things of bestial shape and with hideous voices. Yet, after some time, he wearied of them, and would sit in his box at the opera, either alone or with Lord Henry, listening in rapt pleasure to “Tannhauser” and seeing in the prelude to that great work of art a presentation of the tragedy of his own soul.”
From Jayburd

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