...but it's not. Instead it's a very lazy, uninspired attempt at being "meta" or "postmodern" or whatever you elitist, intellectual hipster types want to call it. In other words, it's the lack of an interesting title.
As usual, here is the link to last Friday's playlist. The Friday before - October 15 - Paul, who does Viva Le Mock after my show, didn't show up, and his DJ sub didn't want to DJ, so I went until somewhere after midnight. Unfortunately, I don't think the stuff I played in the last three hours was anywhere near as interesting as it should have been, though I did play lots of stuff I don't play normally since it doesn't fit into the concept and manifesto of my show.
What's most interesting about playing during Paul's time is that I got callers from several of Paul's long-time listeners, and it was occasionally quite difficult to explain that Paul wasn't here and he would be back next week. This isn't my first time encounter with some of Viva Le Mock's odder long-time listeners: sometime last May, someone did an instant message request for something like 10-15 songs (almost in a row - it was something like two hours of programming), all of which were fairly esoteric "college rock" hits of the Eighties. Incidentally, I was again doing Paul's normal spot, sometime around Midnight on a Friday night. But the end result is I learned (or relearned) about a lot of esoteric music that we'd otherwise forget about since the vinyl records are stuffed away in record libraries like ours.
Now that I've said all of this, if you're actually on this blog because you listened to my show once, you should seriously consider listening to Viva Le Mock after my show. Paul is an awesome DJ and he knows more about music than essentially anyone else I know.
Back to last Friday now. I was DJing my show on Friday, as is standard, and I got some request calls as is standard. All of which were good requests - there was some Archie Bronson Outfit, some Volcano Suns, some Microphones. All good bands that fit the conceptual ideas of my show. Now we'll fast-forward to today. In my real life as a mathematician -- well, a college student studying math, but you get the point -- the common event on Sundays is to eat lunch out and play Scrabble with friends -- well, usually whoever shows up, but those are mostly friends. We went this week to Taiwan Cafe, a basement hole in the wall that has a full selection of the cheap Forties of malt liquor seemingly preferred by students of the adjacent University of Pittsburgh but somehow has some of the best (and cheapest) Chinese food in the world. If you're in Pittsburgh, you should seriously go here if you want Chinese food -- but this is a huge digression.
We're returning back to Carnegie Mellon and, almost at campus, someone in front of me screams to me something along the lines of "I played the Microphones!" It didn't take long to connect this to the request for the Microphones on my show, but I still can't parse this any more, beyond that this is one of the first times someone who's not family or a close friend has mentioned Respect is Due in any way in real life. Also, I feel like I should know who this person is, but my mind is completely drawing a blank. The most I can guess is that she must have requested the song, but I still can't parse anything more. Except that I possibly can't function socially, but that's not within the domain of this blog (thankfully), so we'll not go there.
I think sometime this week I'm going to need to revisit The Glow Part II. The three or four times I have managed to finish the record from start to finish, I've been in awe. I think my problem with the record back when I tried listening to it is that, since it has a rather full dynamic range, with minimal dynamic-range compression, it's easy to lose attention during the quiet parts (which are well over half the album) and forget about what Phil Elverum (however does he spell his name now??) did well: created the type of album that rewards those who start at the beginning and don't stop until the end of the record.