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ICP’s Violent J sits down with legendary MT photographer / writer Doug Coombe for this week’s cover story. They talk about ICP’s latest project “The Mighty Death Pop”, fatherhood, Faygo, and wrestling. You can find out the meaning of a “real Juggalo” and if living the “Scrub Life” is a good thing or a bad thing Check out the whole interview.
tUnE-yArDs’ Jagged Pop Smarts by Nathan Phillips
‘Do you want to live!?’ Merrill Garbus wants to know.
Here’s how a tUnE-yArDs show begins. A rather diverse crowd filters in. Not just earnest, true-believer hipsters, but high school kids and seniors, young married couples, some folks who look like they wandered in from a dance club or a jazz spot.
After helping her bandmates and crew set up her equipment, versatile looper-singer-songwriter Merrill Garbus, whose brainchild this is, unceremoniously takes the mic, creates a drum loop and unleashes her ukulele.
She then very ceremoniously demands of everyone in the room: “Do you want to live!?”
And then an explosion of activity engulfs the room.
For 90 minutes or so, her face contorts in a joyously menacing fashion. Her voice winds in and out of a hundred nuances and tics. Saxophonists Matt Nelson and Noah Bernstein dance behind her, while bassist Nate Brenner plays, concentrating heavily, off to the side.
It’s often explained that this cacophony of massed bodies began with Garbus alone on her laptop. But really, it began long before that, she explains in her response to a series of e-mailed questions.
She defines tUnE-yArDs as a culmination of “28 years’ worth of life” — including piano lessons, English country dance, and work as a puppeteer, a nanny and an improv performer. (Click the picture to read on)
Belle Isle, a troubled jewel of a troubled city, is a center
of controversy as the city and state negotiate its future. MT made an
in-depth study of the island, devoting our entire editorial staff and
more than a few freelancers to spend 48 hours on the island in 2004.
It’s still relevant reading today at metrotimes.com.
Death - protopunk from Detroit
*awesome protopunk band from Detroit
A Day In The Life by Detroitblogger John
DPD’s daily crime report shines a light on the city’s violent side
For about a year now, the Detroit Police Department has done something it’s never done before — it sends out a daily report chronicling the previous day’s major crimes — the shootings, the stabbings, the carjackings, the armed robberies. It’s an ongoing narrative of the worst behavior of the city’s worst residents.
There’s not enough time or space to report all the incidents that, in Detroit, are considered comparatively minor — the burglaries (more than 7,900 so far this year by mid-July), the assaults (more than 15,000), the stolen cars (more than 6,500), the rapes (more than 520). And some violent incidents are left out entirely if a detective says he wants it kept quiet while it’s being investigated.
What’s finally released, then, is an imperfect but revealing measure of the substance behind the city’s longstanding reputation for violence.
“It’s just to be transparent,” says Sgt. Eren Stephens, a spokeswoman for the department, of the daily reports. Chief Ralph Godbee, she says, “believes that if it helps the citizens help us fight crime, let’s put it out there.”
Each entry is its own brief story, written in cold, flat police jargon whose vagueness sometimes poses more questions than answers. A recent description of three suspects wanted in an early July shooting reads: “Suspect #1: Black male, wearing an orange shirt. Suspect #2: Black male. Suspect #3: Black male, armed.” Be on the lookout.
The vague language is deliberate, Stephens says. Sometimes an investigation is ongoing, and releasing too many details could compromise it. Sometimes the police don’t have more information because the victim won’t talk. Or can’t anymore.
“It could be that they didn’t see anything, it could be that the individual was not available at the time to give the information, so a lot of times we just want to let the citizens know this is happening in that area, so be aware.”
And sometimes, the police run into the notorious street code that says snitching on a murder is almost worse than the murder itself. A report of a July 22 shooting notes that, “The victim has refused to cooperate at this time. The circumstances pertaining to this incident are unknown. Suspect: Unknown, possibly driving a vehicle.”
gelatin silver print
overall (sheet, trimmed to image): 8.3 x 11 cm (3 1/4 x 4 5/16 in.)
National Gallery of Art, Washington, Gift of the Callahan Family
© Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York
Electric Corpse’s Dark Shadows by Brett Callwood
Gothic songs from the pain of loss
Think “goth,” and images of Anne Rice-era vampires (pre-Twilight) and black leather-clad bands such as Bauhaus, the Sisters of Mercy and Alien Sex Fiend will often come flooding forward. The word became a cliché in the music world long before it became unfashionable, with black mascara and black lace gloves the order of the day.
But to many, those overplayed images had little to do with the gothic art that is in turn romantic and devastatingly sad. Look at pre-Raphaelite art and, while the skin is pale, the eyes are not smudged with black and nobody looks like a Robert Smith-style death-mime.
The dark, poetic lyrics of Nick Cave and even Morrissey, certainly Kate Bush, capture that feeling beautifully — that Wuthering Heights (book and song) feeling of having love within your grasp and having it torn away before drowning in a sea of grief. A group of twentysomethings from Detroit called Electric Corpse has that aesthetic down pat.
The trio of Matt Galanek (vocals, guitar), Megan Marcoux (keys) and Laura Abbruzzese (drums) played together in a six-piece alt-rock band called A House in Paris, but it proved too big to keep together. Galanek and Abbruzzese decided to play out as Electric Corpse, later bringing Marcoux back too. (For more, click the picture)