Even to Zmuda, who had helped create many of Kaufman’s deceptions, it all began sounding “pretty f- -ked up.”
“Bob, it’s who I am and what I do,” Kaufman said. “Nothing could ever top it. I’ve given it great thought. Besides, I’m getting psyched. I’m starting an entire new life.”
Asked how he would start that life given that the world knew what he looked like, Kaufman suggested becoming a children’s clown, which would allow him to wear makeup, and calling himself “something stupid like ‘Zany Clowny.’ ”
When the body double died, Zmuda says, a switch was made, with the double buried as Kaufman, and Kaufman being spirited away to start his new life.
My new musical adventure is called Sunday Bingo Band from the ruins of my old “experimental noise whatever” band Vanhainkoti.
Mayones 5-String bass
Electro Harmonix Hog
Apogee one (audio interface)
Ableton Live 9
I recorded and mixed it in my living room in 3 hours through old stereos. The design was to do the same kind of sound that people in Finland (and probably most definitely elsewhere in the world) were doing in the early 2000.
Success or not? I am proud that I finally got something done with this project. More to come!
Marsh’s expansive liner notes observe that the song “East-West” “was an exploration of music that moved modally, rather than through chord changes. As Naftalin explains, “The song was based, like Indian music, on a drone. In Western musical terms, it ‘stayed on the one’. The song was tethered to a four-beat bass pattern and structured as a series of sections, each with a different mood, mode and color, always underscored by the drummer, who contributed not only the rhythmic feel but much in the way of tonal shading, using mallets as well as sticks on the various drums and the different regions of the cymbals. In addition to playing beautiful solos, Paul [Butterfield] played important, unifying things [on harmonica] in the background - chords, melodies, counterpoints, counter-rhythms. This was a group improvisation. In its fullest form it lasted over an hour.”
In his summation, Marsh points out that “‘East-West’ can be heard as part of what sparked the West Coast’s rock revolution, in which such song structures with extended improvisatory passages became commonplace.”
Going on to call the Butterfield Blues Band “one of the greatest bands of the rock era”, Marsh concludes that “With ‘East-West’, above any other extended piece of the mid-Sixties, a rock band finally achieved a version of the musical freedom that free jazz had found a few years earlier.
So I want you to watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long—held for that exact length of time and placed in that order? Sounds like fun, right? It actually is. To me. Oh, and I’ve removed all sound and color from the film, apart from a score designed to aid you in your quest to just study the visual staging aspect. Wait, WHAT? HOW COULD YOU DO THIS? Well, I’m not saying I’m like, ALLOWED to do this, I’m just saying this is what I do when I try to learn about staging, and this filmmaker forgot more about staging by the time he made his first feature than I know to this day (for example, no matter how fast the cuts come, you always know exactly where you are—that’s high level visual math shit).