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Editor-in-Chief
Alex Carnevale
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Managing Editor
Kara VanderBijl
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Features Editor
Mia Nguyen
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Senior Editor
Durga Chew-Bose
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Senior Editor
Brittany Julious
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This Recording

is dedicated to the enjoyment of audio and visual stimuli. Please visit our archives where we have uncovered the true importance of nearly everything. Should you want to reach us, e-mail alex dot carnevale at gmail dot com, but don't tell the spam robots. Consider contacting us if you wish to use This Recording in your classroom or club setting. We have given several talks at local Rotarys that we feel went really well.

Pretty used to being with Gwyneth

Regrets that her mother did not smoke

Frank in all directions

Jean Cocteau and Jean Marais

Simply cannot go back to them

Roll your eyes at Samuel Beckett

John Gregory Dunne and Joan Didion

Metaphors with eyes

Life of Mary MacLane

Circle what it is you want

Not really talking about women, just Diane

Felicity's disguise

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Classic Recordings
Robert Altman Week

Friday
Oct302009

In Which The Trick Is To Stay Alive

This Recording and Laundromat United present

WE MIX ON YOUR GRAVE

Halloween Mix for Ghoulish Occasions

a seasonal tradition, like It's The Great Pumpkin, Charlie Brown or eating ghost meat

some last minute Halloween costume ideas:

Vinny Vedecci

Bram Stoker's Lady Gaga

Skateboard Cat

Sexy Marge Simpson

Gilly

American Psycho Tom Cruise

Nicholas Cage's goth black metal son

a bear in a tree

Molly Lambert is the managing editor of This Recording.

HAPPY HAUNTINGS FROM THIS RECORDING

Friday
Oct302009

In Which These Are All The Hot Places In San Francisco

Go West

by DANISH AZIZ

I recently read a piece on This Recording about "hot places" in LA, which Alex asked me to replicate for my adopted home of San Francisco. I agreed, but with the caveat that there are no hot places in San Francisco. The closest thing to a celebrity you're likely to encounter here is some dude who's "big on Twitter" or who perhaps even "founded Twitter."

The lack of celebrities is actually one of the better things about this city though, maybe second only to the fact that we have the most restaurants and bars per capita of any city in the country. 

When other people write about SF they generally focus on the BoBoBo© (boutique bourgeois bohemian) side of things and/or the Mission. It almost cannot be argued that the Mission is the best place to go out in the city for the non Ed Hardy crowd, so I've included a few of my favorites from the NorCal Silverlake, but the "I'm a contrarian, just like you" spirit of the Mission (cf. Williamsburg) influenced me to settle in a slightly less cliché neighborhood (Nob Hill/The TenderNob/The Tenderloin) for a mid-20s non-bro which I've tried to sort of focus on here.   

Drink

THE ATTIC I never really thought of the The Attic as anything more than another dive bar until my girlfriend pointed out that they have a capable DJ in house every night. Since "discovering" this fact, it's quickly become my favorite place to hit up when I make it to the south of the city.

EL RIO Hot days are rare in SF, so when they do arrive people flock to drink outside. Of course you can always hit up the Hipster Hamptons for free, but many people prefer Zeitgeist. On a recent 90 degree day, though, I actually witnessed a NYC/LA club line outside of Zeitgeist and after pointing and laughing decided to hit up El Rio instead, which boasts both a music stage and friendlier bar staff along with a spacious outdoor patio. 

geary clubPHONEBOOTH/AMBER/GEARY CLUB Bars that allow smoking in SF are kind of like cities with winters, they weed out the wimps. If you want to know what it's like to hang out in a bar before the year 2000, these three establishments are able to skirt the smoking ban by virtue of their cooperative ownership/bartending.

UPTOWN/KNOCKOUT/POPS Along with the above Phonebooth and the aforementioned Attic, these bars form the Mission's "frat free corridor" where you likely won't find any Marina refugees on the weekends.

TONGA ROOM This place is like Disney Land for old people. Located in the historic Fairmont Hotel, Tonga Room is the ultimate in Tiki Bar experiences. Not only are there endless tropical drinks in bowl-sized servings, but on some nights there's a cover band that floats out into the middle of the artificial lagoon and plays in the "rain" while empty nesters get their grooves back. Ex-This Recording CFO R. Rutherford once had the time of his life here. 

Listen

BOTTOM OF THE HILL Shows here are usually under $12 and whoever handles their booking here is very good, usually landing acts that are still in their blog hype stage.

RICKSHAW STOP Similar to Bottom of the Hill in terms of landing great acts early in their careers, although with a slightly more electronic/pop leaning.

HEMLOCK Like El Rio, this is a bar with a separate but attached venue. Great place to catch local bands with national followings, or visiting bands with cult followings.

EAGLE TAVERN This place is usually a gay bar with a great outdoor space, but on Thursdays it transforms into an all persuasions live music venue. 

Dance

CEREMONY OR BOOTY BASEMENT AT THE KNOCKOUT The 90s alternative night every first Saturday of the month at The Knockout, is fun but you can't go without ruining a pair of shoes. For similarly well-curated but slightly less sloppy fun check out Ceremony every third Monday for New Wave/Industrial/Dark Pop or Booty Basement for Hip Hop every third Saturday.

SHUTTER AT THE ELBO ROOM Goth and New Wave night. When I went Davey Havok was there...

DIARY AT POPS Named for the Sunny Day Real Estate album, this Emo/Screamo/Pop Punk night isn't actually one you're likely to dance at, but the nostalgia's deep and the booze is cheap every first and third Tuesday.

Eat

SHALIMAR Food like your moms used to make, if your moms is Pakistani.

ON THE BRIDGE Yoshuko style Japanese food for when you're in search of authentic inauthenticity.

CORDON BLEU Vietnamese chicken joint with excellent imperial rolls. 

YAMO The hole in the wall alternative to Burma Superstar for Burmese cuisine, though it will always be Myanmar...ian cuisine in my heart.

The vegan "chicken steak" sandwich with everything on it is warm, fresh and satisfying.LOVE AND HAIGHT SF is notoriously lacking in sandwich shops, but this family-run spot in the Lower Haight gets it right. I'm no a vegetarian but their fake chicken sammich is off the hook.

EL TONAYENSE Best known for their taco trucks scattered throughout the Mission, I find the goods at the brick and mortar location just as delicious. San Francisco burritos are wiki-famous, but the tacos are where it's at.

Danish Aziz is the senior contributor to This Recording. He tumbls here.

"Buried In Ice" - The Felice Brothers (mp3)

"Boy From Lawrence County" - The Felice Brothers (mp3)

"Sailor Song" - The Felice Brothers (mp3)

Thursday
Oct292009

In Which I Want Your Skulls, I Need Your Skulls

Seismograph, Phonautograph, Skull: On Useless Recordings

by COLIN DICKEY

The first known seismograph was invented in China by Zhang Heng in 132 CE, during the Han Dynasty. It consisted of a bronze urn about 3 feet in diameter, adorned with eight dragons around it.

Each dragon’s mouth held a ball, and when an earthquake hit, the closest dragon’s mouth would open, dropping the ball into the urn and indicating the direction of origin of the earthquake.

The modern seismograph came into development in the late 1880s. The basic principle has remained unchanged since then —a free-floating weighted pendulum sits above a recording drum which moves during the earthquake, while the pendulum stays still, recording relative motion.

The seismograph doesn’t record an earthquake in the way a video camera records an event. One does not record an earthquake to play it back later. The seismograph works by translating the earthquake into data, into something that can be read, analyzed, cataloged. Likewise with the phonautograph, the first known sound recording.

The first phonautographs were made in 1857 by Édouard-Léon Scott de Martinville, who attached a hog’s bristle to a membrane and focused a horn on it, so that sound waves would vibrate the hog bristle, which in turn scratched its movement on a lamp-blackened glass plate.

The phonautograph had no playback mechanism—it wasn’t until 2008 that they were made audible through digital analysis—but it could translate sound into a graphic form, allowing de Martinville to determine the frequencies of various musical pitches.

But while not as practical as an mp3, the phonautograph makes for a beautiful image—an eerie translation of sound into image, into a thing that can be analyzed.

I’ve been thinking about skulls, about phrenology. There’s something I find so captivating about Franz Joseph Gall, the inventor of phrenology, about the way his mind worked, about how one comes to see the human body in new ways. Gall was a young medical student, struggling in school, and jealous of his peers who could memorize facts so much easier than he could.

He wanted to know why they were so much better at memorization, and so rather than studying harder in school he started staring at them in envy, trying to figure it out. Finally he came upon the notion that their eyes were bigger, and deduced, in his inimitable way, that big eyes somehow correlated with increased memory.

That’s the basis of phrenology (what Gall originally called “cranioscopy”): different parts of the brain do different things, and that brain size indicates capacity. Gall went on to theorize that these different parts of the brain would press on the skull and make an indentation, so that one could map these corresponding parts of the brain, and their relative strengths and weaknesses, on the skull itself. Thus, “bump reading”: feeling the scalp or a skull to learn about the person’s brain and personality.

Yes, all of this is ludicrous. Yes, at times it got downright offensive: the world-famous criminologist Cesare Lombroso, for example, argued that women’s natural inclination was to marry and have children, and if this didn’t happen they turned out bad (the virgin-assassin Charlotte Corday, and the bumps on her skull, was a prime case for him). No, I don’t believe in any of it. But what I find so elegant about Gall’s theory is the way he made the skull into a recording device.

The brain's workings are invisible and silent: it doesn't work like other organs. Take the heart: Cut open a body and there it sits, at the center of the human world. You can trace its veins and arteries threading out in every direction, in order to understand its networks. If you cut open a still living body, you can see it going about its bloody work.

The brain is a different matter. It sits removed; it keeps its secrets to itself. When the Egyptians embalmed a body, they placed each organ in a separate urn; each was sacred, each was worthy of reverence—except the brain. It works not with blood or food but with its own electricity, and it keeps its own counsel. The Egyptians didn’t know what it was for, so they threw it away. By the eighteenth century, anatomists knew more about the brain and its networks, but it still remained remarkably aloof.

The motivation that drives phrenology, at its heart, is a quest for the visible. The Enlightenment was a time when people were obsessed with sight and metaphors of vision—you can see the obsession in the name itself, an age of illumination. To see a thing was to know it.

The metaphoric connection between sight and knowledge drove much of Enlightenment thought, from Jean-Jacques Rousseau’s desire in 1761 to become “a living eye” to Ralph Waldo Emerson, ninety years later, becoming a “transparent eyeball” in moments of transcendence.

As one modern commentator points out, the Enlightenment conceptualized a reasoning mind whose “processes appear to have been closely akin to those of the seeing eye.”

Gall was ultimately a man of his age, who sought knowledge in sight and did his best to bring the study of the brain into an era in which only sight mattered. Maybe he can be forgiven if in trying just a little too hard to solve this problem he created one of the most egregious pseudosciences of the nineteenth century.

Two hundred years earlier, Rene Descartes had written, “All the management of our lives depends on the senses, and since that of sight is the most comprehensive and the noblest of these, there is no doubt that the inventions which serve to augment its power are among the most useful that there can be.”

He was speaking of telescopes and microscopes, but cranioscopy would soon find its place as just one more such lens, opening up what was hitherto invisible to the eye.

What Gall did to the skull was to re-envision it as a recording device, something like a seismograph, or a phonautograph. The skull took the ineffable, incomprehensible workings of the brain, and not only recorded them, but translated them into something that could be mapped, decoded, read.

As if a weirdly organic precursor to the phonograph, the skull appeared to phrenologists as something like a recording device, a malleable surface onto which a record of the ineffable could be printed. The etymology of the terms is telling: whereas “phrenology” means “mind-knowing,” Gall’s own term, “cranioscopy,” means “skull-seeing.”

Electroencephalography, or EEG, came into its own in 1920, and at that point we finally had a reliable method for recording the electrical signals emitted from the brain. Phrenology had already been debunked by then, and the last century has done much to blot its most obscene prejudices and claims from popular imagination.

But the effects that remain—the ceramic busts, the charts, and, most of all, the odd beauty of Gall’s thought process—continue to permeate the world around us. As the phonautograph and Zhang Heng’s urn show, it’s when a science ceases to be useful that it becomes beautiful.

Colin Dickey is a writer living in Los Angeles and the author of the recently published book Cranioklepty: Graverobbing and the Search for Genius.

buy "Cranioklepty" at Amazon or Unbridled Books

THIS RECORDING IS AN INTERNET RECORDING DEVICE