The scent of television.

I grew up in the age that preceded the ubiquity of screens, and one of the absolute and unquestionable rules in our household was that there was to be no television in our rooms, ever. We were already wild-eyed radicals in that we’d pull out the TV guide from the Baltimore Sun at our Sunday dinners and each pick out our four hours per week of programs, at least before we finally wore my parents down and killed that experiment in utopian media regulation. I’d pick Lost In Space, Quark, and my other science fiction camp atrocities, my siblings would pick out their own indulgences, and it’d all be marked off in the book with a highlighter pen.

I chafed at the restriction, and my solution was to sneak out to the yard sales and buy old TV sets, then hide them nearby until the middle of the night, when I’d slip out and drag large wood-clad sets to the front yard, carefully attach them to a net, haul them up onto the porch roof, and push them in through my bedroom window. I’d hide each with great care, and I felt like a super-spy in the process, like I was getting away with something grand and noble.

Only thing was—my father could smell television.

Each of my illegal sets would be swiftly detected and my ability to watch Lucan and the delectably snarly Kevin Brophy from the privacy of the tiny embedded closet in the modern bunk bed my dad built himself would be taken from me, time and time again.

“Son, you know I’m going to know when you’ve got a TV.”

How is what I’d like to know.”

“Eerie powers, Joe-B. Eerie powers.”

I read a lot, largely because there was no TV in my room, and I came to the conclusion that he was hearing the high-frequency whine of the flyback transformer, so with the next set, I carefully packed blankets and clothes around it until there was nothing but a screen exposed in the depths of my closet. Had I read more, I might have learned that insulating a TV set filled with vacuum tubes was not the best course of action, but we live and learn, and when I left it on one afternoon before heading downstairs to root through the National Geographics, I was again caught.

The smoke alarm shrilled, polyester smoke roiled, my father dashed by with a bucket, and then there was a bang from upstairs.

I suspected I was in trouble, but kept mum.

“Is there anything you want to tell me?” he asked, after stomping down the stairs, looking at me with his eyes narrowed and the loops in his handlebar mustache unwinding from sweat.

“About what?”

“About why there’s a burning DuMont in your closet?”

“There’s a burning DuMont in my closet?”

“It has been extinguished.”

“Oh.”

I tried hiding the TVs in the basement, in the attic, in the shed where we kept the cracked corn and mash for the chickens, but he always found them.

Somewhere along the line, I dragged home a boat anchor of a shortwave radio, a black crackle-painted metal box of phasing drifty gorgeous chanting from the Vatican and smart-sounding Deutsche Welle broadcasts and strange farm drama from the BBC World Service and a whole lot of interesting noises that came ricocheting around the ionosphere, which my father approved of as a ham radio operator and a general radio enthusiast. I’d listen and I’d drift off with the monstrous thing warm by the bed like a fireplace with the little glowing coals of tubes showing through the perforated vents, lulled to sleep by the voice of the electromagnetic spectrum, and he never knew when I had a TV again.

Years later, he admitted that he did not, in fact, have eerie powers, but just a keen nose for the scent of hot, dusty vacuum tubes cooking in bakelite sockets, and couldn’t distinguish between the boat anchor shortwave and, say, a smart little turquoise plastic RCA set hidden not in the closet, but in the space behind the built-in drawers in my bed. By then, though, TV had lost its luster for me, so it was largely a hollow victory. The smart little turquoise plastic RCA set stayed cold more and more often, I read and I listened to strange propaganda in peculiar tongues instead, and the world came to me every night.

© 2013 Joe Belknap Wall

Fish Are Jumpin’ at Club K, Baltimore.

JBW at Club K 2013.06.14

I played a quirky set of warped sounds and modulated atmospheres at Club K in Baltimore on Friday, 14 June 2013, using the small rig I’ve been calling the Lotus Toolbox. For your listening pleasure, it’s right here!

Live at the controls of the Lotus Toolbox, 14 June 2013

I’m excited to be playing a live ambient set in Baltimore on Friday, 14 June 2013. It’s part of a two-day series of concerts curated by the Baltimore SDIY group, called the Baltimore Electronic Music 2013 Summerfest Concerts, on 14 & 15 June 2013 at Club K.

The line-ups for each day are available here:

Baltimore Electronic Music 2013 Summerfest Concert One [14 June 2013]
Baltimore Electronic Music 2013 Summerfest Concert Two [15 June 2013]

Club K is on 2101 Maryland Avenue Baltimore MD 21210, physically located at 2101 W. 21st Street, Baltimore MD 21210, two doors from the corner of Maryland Avenue & W. 21st Street. Admission is $5 per person per concert.

I’m in the line-up from 9:30-10:00 on Friday, but the events run from 8-11 each night, with an array of electronic musicians ranging from the experimental to the beatworthy. The SDIY group does a great job of mashing a lot of genres together in these events, so you’re almost certain to find something that stokes the fires.

I’ll be playing sort of cascading shambling digital slow music with electronics using the lotus toolbox, a stripped-down live rig I’ve been refining with the intention of getting my gear simplified to the point that I can fit all I need across the seat of a motorcycle.

C’mon down and see me!

a new blessing and upcoming notions

 

Performed my fifteenth psychotronic blessout of the holy rollers and their grimy feet at the American Visionary Art Museum‘s 15th annual Kinetic Sculpture Race in Baltimore last weekend and it was a blast. This is my best video yet, thanks to Will Wall‘s steady camera work, though with increased resolution comes a realization that I could stand to take an iron to my habit. I did double duty this year, being recruited to do announcements and color commentary at the water entry in the race, and it was a thoroughly fun and fantastically action-packed day, as usual.

A few old and new projects are in the works, and I’m gradually getting my old stale web presence dusted off for the year. I’ve written a script for a one act play, “Overdue,” based on a particularly aggravating phone conversation with a bill collector back in hairier days, I’m continuing to work on a new edition of my one man show, My Fairy Godmothers Smoke Too Much, with the intention of doing a little touring version sometime in the next year or so (drop me a line if you have a venue, please!). It’s expanded to the original script length, with new music and sound and the same old staging (me and a microphone). Will be posting some teasers as the completed version gets closer.

In the process of consolidating fifteen years of various web presences, I’m going to revive my stalled ambient music podcast, 12 Minute Travelogues, in order to get it back online and to finally air the final two episodes. It’s a nice, pastoral thing, consisting of twelve twelve-minute ambient experiments created between 2008 and 2013, so watch this page for an announcement of its reappearance. In a similar vein, I’m working on a new podcast of generative music pieces, to be described in more detail very soon.

The hum drift at Pyramid Atlantic.

I had the great pleasure to perform a short ambient set at Pyramid Atlantic in Silver Spring, Maryland as a part of the Sonic Circuits Broken Mic Night for July 30th, 2012. I’d just come in from a long road trip, got home in time for the derecho storms that knocked out power and generally tore up the area, and made my way south the very next day, which was no mean feat, given that every traffic light in the county was out and lines at the gas stations that still had power were up to an hour long. There was a full house, the audience were cool and properly into experimental sound, and I had a great time.

I was a bit tense, though, and there was a hum in my gear I couldn’t quite shake, so I went with it. Essence of the moment.

See an annotated photo of the rig I used here.

Spinning more strands.

As the internet grows ever more complicated, I’m moving sideways to better connect with people who wish to follow what I’m up to at any given moment. I’m gearing up to add a lot of new content to this page, and related online sources, finishing up 12 Minute Travelogues #11, and working on a piece I’m planning to submit to the New York Times. In the meantime, I’ve added some new venues to my repertoire, including the following.

My interim outlet for ongoing writing projects and better pieces from the past:
bluestarlounge.blogspot.com

My “fan” page at facebook:
facebook.com/joebelknapwall

And last, and least, my twitter feed:
twitter.com/joebelknapwall

As usual, thanks for following along and giving me the space to work.

Love and kisses, Joe!

Dredging up past projects

I’ve been reminded, in a bout of sudden and unexpected attention (thanks, y’all!), that I’ve had a few projects on the back burner for so long that they’ve fallen behind the stove altogether, and are now adrift in the dark realm of crumb-covered kitchen dust bunnies, lost bottle caps, and the nylon chew bone my previous dog lost under there a decade ago.

There’s the mosaic project at AVAM, for one thing. It’s odd how quickly you can forget a giant art project you worked on for a solid year, on a diesel high lift in the Baltimore skyline in blazing summer heat and the wicked, biting winter wind that blows in from the bay without a pause.

George Washington was a very small animal

I was just interviewing this dog for the 4th of July, and the very, very nice guy who does panoramablog took some neat pictures with this cool camera that’s like a little whirling ball on a stick. If you pan around (ignore the dork in overalls), you can get a nice view of the north face of the mosaic wall. Each of those panels is 32 x 50 inches, weighs about 90 pounds, and rode around the city strapped onto the roof of my Metro before coming back to be bolted in place from the wiggly platform of a lift. I think it’s pretty neat, but I’m hardly an impartial observer.

Working at AVAM, particularly on the Mosaic Project Phase II,  a huge community art project designed by the artist/educator Mari Gardner, built by kids in drug treatment, homeless shelters, and juvenile justice programs, and engineered by yours truly, was just hard to describe—emotional, frustrating, complicated, joyous…just lots of things at once. It’s always great to go back and see my work there (in the last crunch to get stuff built, I got to do some design elements, too, and the inclusion of the constellation Ursa Major was my own little intrusion) when I do my street theater gigs there.