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Scrawl 151/17/2024 ![]() The partition of India was meant to give rise to a new “homeland”-Pakistan-for “Muslim-Indians,” who, of course, would cease to be so the moment they moved to Pakistan. Sometimes this exercise takes the form of a meditation on the conflict between life and the ledger. In telling these stories, they attempt to work through what it means to be poised on the hyphen between the terms “Indian” and “Muslim,” in whichever order the two are read, when they are read together. 1Īmong the stories they tell are accounts of people, incidents, places, and facts frozen as notes and jottings in the archives related to the Indian Subcontinent’s partition in 1947. Two performers, Mahmood Farooqui and Danish Husain, tell stories in Delhi as part of an attempt to revive a traditional narrative form called Dastangoi (story-speech). The tree of life, and therefore of art, would be barren were it not for the fruit of occasional misunderstandings. The transparency that brooks no translation also requires no engagement. ![]() We read each other for signs, not because we are opaque, or necessarily wish for opacity, but because our desires, fears, and experiences still require the life-giving breath of translation. Between the bare-faced lie and the naked truth lies the zone of illegibility-the only domain where the act of interpretation retains a certain ontological and epistemic significance. The respondent may not be lying, but neither may he be interested in offering a captive legible truth either to the interrogator or to his circumstances.Īn insistence on legibility produces its own shadow, the illegible. Often, when asked an uncomfortable question, or faced with an unsettling reality, the rattled respondent ducks and dives with a stammer, a mumble, a sweat, a scrawl, or a nervous tic. To be legible is to be coded and contained. To be legible is to be an entry in a ledger-one with a name, place, origin, time, entry, exit, purpose, and perhaps a number. Scrawl's final release is a combination of new material and re-recordings of Rough Trade/Simple Machines era material.To be legible is to be readable. ![]() Produced by Gary Smith ( Throwing Muses, Pixies, The Chills, Walkabouts)įollowed by tours with the Afghan Whigs, Meat Puppets, Fugazi and My Bloody Valentine Mays performed live with the Afghan Whigs at the Reading Festival 1994 and, more recently, with the reunited Whigs at All Tomorrow's Parties I'll Be Your Mirror USA 2012. The recording was released as a B-side on the Afghan Whigs' Debonair single, and later appeared on a promotional CD The B-Sides/The Conversation and on the remastered ' Gentlemen' At 21. The Whigs also recorded a cover of "Ready" from Scrawl's He's Drunk with Mays sharing vocals with Greg Dulli. Marcy Mays appeared as lead singer on "My Curse" from the album Gentlemen by the Afghan Whigs. Only six weeks after Nature Film came out Elektra dropped Scrawl. The band was then signed their first major label deal with Elektra, for whom they released two albums, Travel On, Rider, and Nature Film. It was engineered by Steve Albini (around the time he produced Nirvana's In Utero), and released on the Simple Machines label. They recorded their next album, Velvet Hammer, in 1993. Their next release, a seven-track EP called Bloodsucker, was released on the Chicago-based Feel Good All Over label (then reissued on Simple Machines Records).ĭrummer O'Leary left the group in May 1992, and was replaced by Dana Marshall. filed for bankruptcy in 1990, the band placed a successful bid to purchase back their master recordings during an auction held during the label's Chapter 11 proceedings. The following year the band was signed to the ill-fated Rough Trade Records U.S., for whom they released two albums, He's Drunk (produced by Jim Rondinelli) and Smallmouth (produced by Gary Smith). Their first album, Plus, Also, Too, was self-produced (with Andy Izold) and released in 1987 on the local label No Other Records. Their first show, in the summer of 1985, was a 20-minute opening spot for the Meat Puppets, and inspired the band to find a new name, "Scrawl", that sounded a bit like Skull. The founding members were Marcy Mays (lead vocals, guitar, songwriting), Sue Harshe (bass guitar, backing vocals, songwriting), and Carolyn O'Leary (drums). The band formed in 1985, originally under the name Skull. Scrawl was an American indie rock trio based in Columbus, Ohio, and active from the mid-1980s.
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