Cartoon Graveyard 卡通墓園

做完了早課,腦袋裡響起這首歌:Paul Simon 在 Graceland 這張專輯的第一首主打歌,“You Can Call Me Al"

A man walks down the street
He says why am I soft in the middle now
Why am I soft in the middle
The rest of my life is so hard
I need a photo-opportunity
I want a shot at redemption
Don’t want to end up a cartoon
In a cartoon graveyard
Bonedigger Bonedigger
Dogs in the moonlight
Far away my well-lit door
Mr. Beerbelly Beerbelly
Get these mutts away from me
You know I don’t find this stuff amusing anymore
If you’ll be my bodyguard
I can be your long lost pal
I can call you Betty
And Betty when you call me
You can call me Al

A man walks down the street
He says why am I short of attention
Got a short little span of attention
And wo my nights are so long
Where’s my wife and family
What if I die here
Who’ll be my role-model
Now that my role-model is
Gone Gone
He ducked back down the alley
With some roly-poly little bat-faced girl
All along along
There were incidents and accidents
There were hints and allegations

If you’ll be my bodyguard
I can be your long lost pal
I can call you Betty
And Betty when you call me
You can call me Al
Call me Al

A man walks down the street
It’s a street in a strange world
Maybe it’s the Third World
Maybe it’s his first time around
He doesn’t speak the language
He holds no currency
He is a foreign man
He is surrounded by the sound
The sound
Cattle in the marketplace
Scatterlings and orphanages
He looks around, around
He sees angels in the architecture
Spinning in infinity
He says Amen! and Hallelujah!

If you’ll be my bodyguard
I can be your long lost pal
I can call you Betty
And Betty when you call me
You can call me Al
Call me Al

這種化認同於無形的感覺真的超好。對了,這整張專輯都是非洲化的 Paul Simon。鼓聲超正點的 🙂

Listening and Reading Queen of African Pop

I am looking for information about Brenda Fassie, the famous singer of South Africa who died in 39. I got her music from our South African friend, the first national black tour guide. We listen to her music together in the trip from Johannesburg to Kruger. You couldn’t imagine the sound of her voice remixed with the bright African sun and ever-extending fields and road.

I couldn’t understand the meaning of the lyrics in “Thola Amadlozi" and “Nakupenda (I Love You)". But that’s the kind of music just make you swing immediately. But I also found the “Shoot Them Before They Grow". Then I found this paper.

“God Rock Africa: Thoughts on Politics in Popular Black Performance in South Africa", by David B. Coplan, University of the Witwatersrand. Published on African Studies, Volume 64, Number 1/July 2005.

There is no better illustration of the inappropriate inscriptions of generic labelling than the term applied to the popular black dance music style that preceded kwaito in the 1980s: “bubblegum”. In a stereotypical sense bubblegum begins and ends with the recent tragically ended career of Brenda Fassie, whose first big hit recording with the Big Dudes in 1983, Weekend Special was political only in the sexual sense of protesting the subordinate romantic status of the “weekends-only” girlfriend of the philandering African man. Perhaps it was this perceived shallowness in the midst of the gathering political storm that led some radio disk jockey to dismiss the new style of township pop as “bubblegum”: a childish tease in which the initial burst of sweetness quickly vanishes on the tongue. And yet today over two decades later there is hardly a local kwaito or pop music diva who does not cite Fassie’s inspiration.

This is due not only to her unique and powerful voice, or even her endlessly selfregenerating capacity for stylistic referencing and innovation, but also, wondrously, her changing politics. By the late ’80s, Brenda demonstrated that she had far more than adultery on her mind when, under the powerful influence of her producer/song writer soulmate Sello “Chicco” Twala, she issued the mouldbreaking political album Too Late for Mama (1988). On it were songs like Black President, an unabashed praise poem to the then still-jailed Nelson Mandela, looking prophetically toward the day when he would indeed be the country’s first black president. The same album also contained Shoot Them Before They Grow, an imaginary debate between a liberal and a racist white on the future of young blacks, with its fierce, bitter indictment of police violence against youthful protestors.

The good white man says, give them good education.
The bad white man says, shoot them before they grow . . .

Brenda’s blend of explicit political and sexual explosiveness was never the contradiction to herself or her fans that the term “bubblegum” might suggest. In fact her defiantly self-destructive lifestyle and in-your-face rebellious female articulateness was as much part of her politics as her recordings and her frenetically sensual stage performances. But the bad girl of pop wanted more than anything to be loved, wickedly mimicking Winnie Mandela’s questionable title “Mother of the Nation” with her own self-description “Girlfriend of the Nation”. Despite all the self-promoting journalistic moralism, South Africans (bad girls and boys at 12 African Studies 64: 1, July 2005 heart) forgave their wayward “MaBrrr” (as she was called). In May 2004, Mandela, Mbeki, ministers of government, the aristocracy of black show business, and hundreds of other notables attended her hospital deathbed, and we all deeply mourned her passing.

Brenda is not alone. There are other figures like Steve Biko whom I know via Stings and Peter Gabriel. Let me share with you my feeling of these great music that inspires me so much.

* BBC NEWS: Brenda Fassie, A Very Human Hero
* Time: The Madonna Of The Townships

豬頭皮在 CC Salon:外好汝甘知 [updated]

Music Commons今天在首爾街頭的 CC Salon ,跟著 CC Taiwan 的 T.R. Chuang,開放地理實驗室的同事 Disorder、Andrea 一同參加了 Creative Commons Kroea 的活動:音樂 Commons(Music Commons)。活動中邀請朱約信(豬頭皮)跟韓國的音樂工作者就 Creative Commons 「創用 CC」的理念與實踐跨國對話。很熱鬧的 pub,雖然大家沒有辦法直接透過語言溝通,但是音樂的確是共通的語言啊 🙂 透過很棒的音樂,大家一同交換了熱情與…啤酒!而且我還「回憶」起〈外好汝甘知〉!這首當年的 hit!

[Updated] 〈外好汝甘知〉歌詞如下:

作詞:阿城 作曲:伍佰/China Blue

B1 咱若是心頭結歸裘 著來飲酒濕一咧濕一咧 外好汝甘知(好啦)
A1 有人飲酒假紳士 有人飲酒脫霓舞
有人飲酒愛唱歌 我若飲酒話著一大攤 有人飲酒面絿絿 有人飲酒撚嘴鬚
有人喝酒撚鬍鬚 有人飲酒搥心肝 我若飲酒尚愛招酒伴(哈麥)
A2 人生親像一盤棋 成功失敗思雙枝(甘拜 殺鹿 氣予死 乾杯)
A3 出入江湖講身不由己 風度永遠愛保持
不過請永遠不要忘了風度 酒量若有尚得意 但是酒品統要緊
若欲臭彈歕雞規 請汝趕緊趁酒醉
飲落去 飲落去 毋倘漏氣 醉落去 醉落去 逐家歡喜
B2 咱若是心情咧憂愁 著來飲予馬西馬西 毋通胡白想(好咧)
不要想太多 來來來 我的朋友好兄弟(尤伊 油伊 游揖)
燒酒著給飲落去 毋倘飼金魚(好啦 好啦)
給伊斟予伊〔表面張力〕外好汝甘知(嗦淚 縮淚)
B3 哈麥咱若是心頭結歸裘 著來飲酒濕一咧濕一咧 外好汝甘知(知啦)
A4 彼落阿土阿草仔出世作酒蟲 無代無誌嘛會找孔縫
無事幹也會找花樣 阿仁阿義仔干哪一杯落腹 紅關公著走出來弄
杯底毋倘飼蟾蜍 杯底毋倘種蕃薯
杯底毋倘飼紅蟳 杯底毋倘娶細姨
A5 人講酒醉嘛心頭定 毋倘藉口欲賈人車拼
飲酒尚驚敖牽拖 暈暈相掙講毋知疼
人生永遠是向前行 飲啦 飲啦 免著驚
面子暫時免論輸贏 剖復交陪朋友成(哈麥)
A6 講著飲酒 我攏無步 講著食燻 我火著著
講著檳榔 我著吐血 講著賭筊 我著會氣
若閣欲臭彈歕雞規 請汝趕緊趁酒醉
飲落去 飲落去 毋倘漏氣 醉落去 醉落去 逐家歡喜

B4 咱若是心頭結歸裘 著來飲酒濕一咧濕一咧 外好汝甘知(知啦)


如果心裡不舒服 就要拿杯子來澆愁 那是非常美好的事
有人喝酒假正經 有人喝酒大跳脫奶舞
有人喝酒愛唱歌 我若喝酒就酒話連篇 有人喝酒臉都縐成一個叉燒包
有人喝酒呼天嗆地 我若喝酒最愛呼朋引伴
人生就像在下棋 成功失敗捏不準
有酒量的話當然最得意 但是酒品最要緊
吹牛不用繳稅金 但請趁酒醉時才可免除刑責
喝吧 喝吧 不要漏氣 醉吧 醉吧 大家高興
若是心情憂愁 就來給它喝個暈頭轉腦
來吧 我的朋友好兄弟
喝吧 要用台灣式的乾杯 不可留底
給它倒到剛剛好有阿港伯的表面張力 真是美好的事情啊
我們若是心情不好 就來小酌兩杯 保證忘憂 多好的一件事阿
王五趙六酒量沒有通過國家檢驗局 只求一杯 臉就跟劉備一樣
杯底不得殘留異物 統統一口喝光
杯底不得留下半滴酒 行徑要守規矩
酒醉的時候 神智還是要清楚 借酒裝瘋人人看不起
喝酒就喝酒 不要五四三 喝得頭昏 打架都不會痛 真好
人生永遠都要像林強說的向前走 喝吧 喝吧 甚麼都不怕
面子暫時放一旁 坦承相對變成好朋友
說到喝酒 我都不嚼的 說到抽煙 我馬上點火
吃檳榔 不要忘了吐檳榔汁 賭博的話 一定要去
想要吹牛 請快趁酒醉的時候
喝吧 喝吧 不可丟臉 醉吧 醉吧 歡喜就好
你們若是有人心裡頭憂愁的 到我這裡來 我將賜給你永生的活水
喝我的水將永遠不渴 信我的人 將得到永恆的生命

另外《Net and Books 網路與書》整理一篇由民生報記者徐開塵所進行的訪談:「無非是抱著一個夢──伍佰、豬頭皮、林暐哲談「第二勢力」(一)(二),討論台客的現象與力量。有興趣的朋友可以參考。

[重貼] 如何亂(有創意地)橋接數據圖表:Röyksopp’s “Remind Me"

(原本貼在,因為 把這個檔案已經關閉,所以改成 google video 的格式重新貼一遍。)

XXCRichyLi 的 blog 上面讀到介紹挪威樂團 Röyksopp 由法國公司 H5 所製作的 MTV:Remind Me ,裡面運用數據圖表、資訊示意圖來構築成一個英國 IT 部門女生的一天。裡面最精彩的部份是一個個銜接不同圖像的橋段,教導著我們如何講故事講岔題了之後,還是可以「橋」回來(例如你可以把 NASDAQ 的漲跌當作音響面板的頻率波動來想像)。


[更新] 在新加坡的 APAN 會場,介紹這個 MV 受到大家的歡迎。尤其是白蘭氏雞精的研發部長輩,特別一起討論了這個 MV 的未來可能性與影響。


五個月之前,加拿大的 Michel BlondeauECentricArts) 與 Katherine WatsonMeta4 Creative Communications Inc.) 應邀來台參加數位典藏年度成果展的國際研討會。當然,我不用詳述他們研討會中所談論有趣的緊的議題,你可以在網上閱覽研討會的成果紀錄

在 Michel Blondeau 與 Katherine Watson 所帶來的觀念、想法與作品中,有一個由 C0C0S0L1DC1T1NFB 加拿大國家電影理事會terminus1525 計畫共同執行的作品:-40,我到這幾天才有機會詳細瀏覽,就被裡面的有趣深深吸引。

這個計畫(簡單的新聞稿)是一個由加拿大國家電影理事會邀請六位知名的影音導演、創作者,與其他十四位二十五歲以下的聲音與影像創作者合作的計畫。遊戲規則是創作者必須從指定的老電影檔案中選擇一部作品,只能保留影像卻修改聲音軌重新混音,或者重新搭配組合影像保留音軌。這二十位數位藝術創作者,參與了這場重新創作宣傳影片(propaganda film)的盛宴。

策展說明(Curatorial Statement)是這樣說的:

“-40″計畫所收藏的作品是它們的時代數一數二的製作,同時也是一段延續仍在進行中的個人與國家認同的對話。無論是從個人到政治、獨特到全球共享,"-40″ 是一個從多重的視角來觀察的,二十世紀加拿大數位藝術家探索過去與現在相遇、再各自踏上不同路途的一場影音計畫。藝術家們運用著選自加拿大國家電影理事會保存的 1940 年代社會與政治宣傳影片,策展的規則是他們必須基於聲音或視覺媒介,創作出一部新的作品,面對整合影片中保持原狀元素的對話挑戰。

Mark Glassman 在它的評論文章〈好好搖、狠狠攪拌:混成我們的過去〉(Shake Well and Stir: Remixing Our Past)中介紹了這些作品的獨特性與其整體形成的意義:

That’s the beauty of this collection. Each artist is up to the task of reconfiguring old Film Board material into something fresh and exciting. In Ordeal by Ice, prhizzm uses a light, melodic touch to remix the audio on the film, allowing the eye to roam freely and see the stark, beautiful quality of the frozen terrain of Northern Canada. By contrast, Amen by David Lemieux, a remix of Terre de Nos Aieux (1943), incorporates digital imagery into a film that used to be a portrait of “pure laine” Québécois country folk. Cutting down the film’s length, Lemieux avoids most of the doc’s visuals, preferring to create silhouettes of the farmers. By emphasizing, through drawings, the sound levels and faces—without mouths—of the inhabitants of the region, the vice-like grip of the Church becomes all too clear.

-40 was set up with a simple set of rules. Remixers had to keep either the audio or cinematography intact from the original NFB films. Cuts could be made as some of these shorts were quite long, and that factor helped the artists to place an emphatic stamp on the material. The major reworking—and rethinking—was done either through new soundtracks or visuals.

The effect of this organizing principle is two-fold. First, it allows the artists to re-imagine the films, creating exciting work(首先,策展規則讓藝術家重新想像這些影片,因而創造出精彩的作品). With remixing so important in our culture today, -40 proposes a whole new area to “plunder”–older films, especially documentaries. Re-makes in the collection range from the overtly political (Definitely Not Internment Camps’ plea for the imprisoned Japanese-Canadians of WWII) through the purely formal (Action Stations’ “thriller” electro-pop score) to the satiric (Bonjour Voisin’s contrast between tourists’ images of Canada and the mundane reality).

Secondly, these remixes allow us to see Canada’s past with clearer eyes(透過重新改作,讓人清晰地看見加拿大歷史). With voice-over narration and musical effects freed from their visuals, the audience can listen and examine how a nation was moved to work together during the stirring times of World War II and the rebuilding years that followed the Allies’ victory. Lorne Greene’s acclaimed “Voice of Doom” serves to remind us how Canadians were mobilized into action.

More poetically, the remixed audio tracks allow us to see the beauty of Canada(更為詩意地看見加拿大的美麗): the zig-zagging trails of skiers on mountains, the toiling workers outdoors cutting lumber, the children playing in small towns throughout the country. It reminds us that Canada was once a pioneering nation. With new technologies and fresh attitudes towards cultural expression, perhaps that spirit of adventure still prevails.

於是我在這些片中看到了慢動作搞笑、提醒人們對群眾講話是一件多蠢的事情的希特勒(Matt Burke “When You Address the Masses"),石油與水重新剪輯與塗抹的歷史影像(Creatrix, “Oil + Water"),還有英國的孩子在戰爭時到加拿大避難的複雜心情DJ Dopey, “Children From Overseas")。我多麼希望我的朋友、同胞能夠也能夠看見保存、分享與新世代重新創造 remix 的巨大力量…

“Englishman in New York" 紐約英國人


I don’t take coffee I take tea my dear
I like my toast done on one side
And you can hear it in my accent when I talk
I’m an englishman in new york

See me walking down fifth avenue
A walking cane here at my side
I take it everywhere I walk
I’m an englishman in new york

I’m an alien I’m a legal alien
I’m an englishman in new york
I’m an alien I’m a legal alien
I’m an englishman in new york

If, manners maketh man as someone said
Then he’s the hero of the day
It takes a man to suffer ignorance and smile
Be yourself no matter what they say

I’m an alien I’m a legal alien
I’m an englishman in new york
I’m an alien I’m a legal alien
I’m an englishman in new york

Modesty, propriety can lead to notoriety
You could end up as the only one
Gentleness, sobriety are rare in this society
At night a candle’s brighter than the sun

Takes more than combat gear to make a man
Takes more than a license for a gun
Confront your enemies, avoid them when you can
A gentleman will walk but never run

If, manners maketh man as someone said
Then he’s the hero of the day
It takes a man to suffer ignorance and smile
Be yourself no matter what they say

I’m an alien I’m a legal alien
I’m an englishman in new york
I’m an alien I’m a legal alien
I’m an englishman in new york
我是個紐約的英國人(Sting, Nothing Like The Sun)


當注視聆聽潘越雲演唱時,我沒有辦法遏止我的感官尖銳地批判音響效果。或許是因為我太愛「謝謝你曾經愛我」了,當潘越雲在唱「謝謝你曾經愛我」的時候,跟「桂花巷」與「情字這條路」,我覺得聲音效果差很多。是否是因為「謝謝你…」的 key 比較低,整體的安排沒有相對調整?我覺得好可惜啊。低聲(low key)是潘越雲多麼獨特的特徵,伴隨著的氣質、生命感永遠無法被任何人取代。如果這件事情沒有被清楚地表達出來,那麼所表達的還該是甚麼樣的意念呢?

在潘越雲、于台煙跟曾淑勤演唱的時候,我覺得…(歌手)太孤單了。舞台部份不曉得設計有甚麼想法,有點像是純唱歌;但是又不像是一些質感很好的 MTV unplugged 演唱會。舞台上沒有事情發生;歌手在台前孤軍奮戰,實在是太孤單了。

只有當蘇芮演唱「變」的時候,感覺後面的鋼琴才像是活了起來一樣。整個舞台的視覺焦點,後面的影像,我不曉得那是不是「紅情歌演唱會」的 logo。我覺得要傳達的力量好弱、好弱。如果說他們帶著我們的記憶,那麼為什麼現在的我們,沒有準備夠有力道的影像、攝影、舞台、樂手、剪接、企劃來歡迎他們回來呢?




在下午五點之前,我的確沒有辦法想像這個 party 是甚麼樣的場景。昨天參加了徐文瑞的 Wayward Economy 的開幕,其中鄭淑麗的 DJ SoundJam Party 是在晚上 10 點舉行。工頭太妃糖坐到了不錯的好位置(雖然後來變成火線最前線),Oliver 跟其他的朋友則在 DJ 的後方。DJ 的專注操作的確很像 Matrix 的 Operator,絕對是 spectacle 的重要地點。林強、Monbaza、罐子、林其蔚等 DJ 專注地製造聲音串流,我沒有所有的名字,但是他們「聽」起來都很讚。

五點到七點協助他們 setup 網路與投影,開幕鼓表演結束、晚上的螢幕順利投出 BURN 的介面,已經是十點的事情了。下雨堵車的 DJ 紛紛來到,音樂暖身影響擴散之後,美麗夜店裡的魅炫螢幕好像需要點改變。在跟工頭、太妃糖討論螢幕該出現些甚麼才酷的時候,顯然動點手腳,大家都會比較快樂些。於是動手動腳找東西,就端了影像的配菜,讓「下載」「確認」「BURN」「drag me to the CD」「Creative Commons」這些指令、概念、視覺意象與視訊片段有了不同的體驗。(感謝劉燈提醒我要裝 OSX 的 zoom in/out 縮放功能 :D)

十年以前研究所拍紀錄片時,眾人一致稱讚我的影像品質好到足以讓人暈車。在混雜這些影像體驗,替超 high 的聲電之夜作註解的當下,我突然覺得能夠讓人暈車,也是一種天賜的 blessing。



Originally uploaded by Ilya Eric Lee.

週三的晚上,我去國際藝術村看了一場表演。「來自 Burkina Faso 的傳統音樂與舞蹈」。不太知道要怎麼描述非洲鼓。除了朋友們知道我買了一個非洲鼓,開始學習之外,我也不太知道要怎麼跟別人陳述喜歡上非洲鼓的經驗。「它跟優人神鼓,或者鬼太鼓有甚麼不同?」昨天一個新認識的朋友這樣問我。我覺得鬼太鼓或者優人神鼓都像是想「傳達」某種意念,也許是某種氣、某種態度中的想像的力量,但是非洲鼓很像是一種溝通。如果說兩種鼓(如果能夠概略地區分成為兩種的話)都是在溝通的話,一種是人與天地的溝通(觀眾等於是在觀賞、旁觀),另外一種則是人跟人的溝通與對話(觀眾等於是在參與)。


A.A.K.Z.B. 是很棒的西非 Burkina Faso 的鼓團。林宏璋帶他們來跟台灣的心靈對話。雖然我還是不太了解整個節目想要安排的意義脈絡、對話或者批判(How Much Do You Pay for Their Culture?),你還是可以從鼓的直接撞擊中得到自己的體驗。「文化交換匯率行動」今天下午三點到六點會在台北:國際藝術村(北平東路七號),明天晚上八點到九點會在大趨勢畫廊(承德路 3 段 209 號之 2)演出。

另外這個週末非洲鼓延燒的是策展人徐文瑞策劃的「嘛也通:非常經濟實驗室」(Warward Economy),裡面的開幕活動是工頭有提到週六晚上鄭淑麗的「SoundJam 狂燒之夜」,地點在 FiFi 茶酒沙龍,台北市仁愛路四段 15 號 3 樓,02-2779-0528)。週日我會參加的是「非常經濟國際研討會」,地點也是在大趨勢畫廊。


根據 tm 的說法,新年的惡魔來了。能逃的快逃吧。這個惡魔名字叫做 osymyso

我聽了之後,才深深體會惡魔的意義。殘酷的心理學實驗,我讓自己暴露在這大量的詩情記憶底下(套句米蘭.昆德拉在《生活在他方》的說法),竟然能夠藉著自我虐待而產生極大的快感。除了聽到 Queen 在重複唱著 re…..ality,re…..ality 的愉悅感受之外(嘿,現在已經 2005 年了耶),任何有記憶的受虐者,在聽到 The Power of Love 的鼓聲敲下,然後被轉調,我不知道會不會有極樂的感覺。