TTG BIT N - (4=6)

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The Fox sisters were three sisters from New York who played an important role in the creation of Spiritualism: Leah (1814–1890), Margaretta (also called Maggie) (1833–1893) and Catherine (also called Kate ) Fox (1837–1892).[1] The two younger sisters used "rappings" to convince their older sister and others that they were communicating with spirits. Their older sister then took charge of them and managed their careers for some time. They all enjoyed success as mediums for many years.

This description was taken from Wikipedia. For more information visit the page.

This series is written by Henry Cooke and produced by Garrett D. Tiedemann.

Original music and sound design by Garrett D. Tiedemann.

Tape Extracts:

And people have been communing with voices from other planes of existence with some regularity.

1931.

Accounts of contact with strange creatures, or spirits, weren’t that uncommon. The spiritualist movement, kickstarted by the accounts of the Sisters Fox, had been running for about 45 years now and people…

TTG BIT N - (3=2)

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Samuel Finley Breese Morse (April 27, 1791 – April 2, 1872) was an American painter and inventor. After having established his reputation as a portrait painter, in his middle age Morse contributed to the invention of a single-wire telegraph system based on European telegraphs. He was a co-developer of Morse code and helped to develop the commercial use of telegraphy.

This description was taken from Wikipedia. For more information visit the page.

This series is written by Henry Cooke and produced by Garrett D. Tiedemann.

Original music and sound design by Garrett D. Tiedemann.

Tape Extracts:

On May the 24th, 1844, Samuel Morse sent the first long distance telegraph message across America from Washington, D.C. to Baltimore.

He sent…

from the Bible’s book of numbers.

Frames the telegraph as a gift from a higher power.

From God to Morse to the rest of us.

Morse is merely channeling God’s wi…

TTG BIT N - (2=8)

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Gef (/ˈdʒɛf/ JEF), also referred to as the Talking Mongoose or the Dalby Spook, was the name given to an allegedly talking mongoose which was claimed to inhabit a farmhouse owned by the Irving family. The Irvings' farm was located at Cashen's Gap near the hamlet of Dalby on the Isle of Man. The story was given extensive coverage by the tabloid press in Britain in the early 1930s. The Irvings' claims gained the attention of parapsychologists and ghost hunters, such as Harry Price, Hereward Carrington, and Nandor Fodor. Some investigators of the era as well as contemporary critics have concluded that Voirrey Irving used ventriloquism and family collusion to perpetuate the hoax.

This description was taken from Wikipedia. For more information visit the page.

This series is written by Henry Cooke and produced by Garrett D. Tiedemann.

Original music and sound design by Garrett D. Tiedemann.

Tape Extracts:

Of course, Gef couldn’t speak at first. He just squealed and thumped inside the walls of the house.

However, in time he started to make gurgling noises like a child.

And with encouragement from the isolated Irvings, he picked up English. Not least through Jim’s daily reading to him from the newspaper.

Gef could also speak the odd phrase of Russian, Spanish, and…

TTG BIT N - (1=1)

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This series is written by Henry Cooke and produced by Garrett D. Tiedemann.

Original music and sound design by Garrett D. Tiedemann.

Tape Extracts:

First up, a word of warning.

It turns out this is an ambitious topic to fit into half an hour.

I’ll be glossing over a few things, passing by others at speed.

I’m assuming that everyone’s clever and has Google to follow things up later.

I’ve also published a lot of notes and references online, which, which I’ll be giving out the address of…

With that said…

Offbeat: A Resurrection of Crimes Unpaid

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Audio from a film. Watch it here: https://vimeo.com/292243431

Features new music from John Barner. Stream and buy the record here: https://americanresiduerecords.bandcamp.com/album/darker-places

Tape Extracts:

I used to dream satisfaction in quiet commerce.

Past experiences made new.

Wandering the aisles - no one there.

Belief a strange buzz - energy left over from all that's typical.

 

I'd rarely buy.

Just look. Touch.

 

Comfort.

Comfort.

Samples from Anodyne - "And we always finish with the end."

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end·ing

ˈendiNG/

noun

  1. an end or final part of something, especially a period of time

                            More

    • the furthest part or point of something.

      "a nerve ending"

Tape Extracts:

Julie, Shapiro: Yeah. I mean it is really for the 28 people that will get this in the mail. The timing and the pace, it doesn't, there's no time you know there's no strict deadline or timeline for this ever. It's really my own making of a structure for how quickly it goes out.

I would like to open it back up to people expressing interest so I can send out the signs. I mean I love the fact that it can't be done instantly and someone can't just take a picture or something and send it to me in an e-mail. That's not enough, right? They have to express interest, I'll send it out to them usually pretty quickly. They send it back whenever.

And maybe I'll do one or two issues a year depending on who gets in touch and how quickly I get responses back. So, but I think at least one year going forward is a pretty safe bet.

Garrett: I suppose I should have said...One. Two. 

Garrett (on phone): So this is like the end of a little over a year.

Julie: It's been a long time. 

Garrett: And we always finish with the end. And then we will crack up because we will both know that there is no such thing. As the end. 

Julie: Yeah, definitely. I think I can do that. I'm going to try to print them Monday and then it's just a matter of literally getting or buying enough. I can't steal any more of my dad's envelopes, they are not big enough, so I have to actually go buy some envelopes, that's fine.

Garrett: Shoved unconsciously, but systematically in-between a sun visor on the driver's side. I have no idea where most of them lead to. Although they once delivered me. Maybe to your house. If that's the case you can probably expect me again at some point. 

Julie: I will admit it's been a while since we talked the first time and I had grand visions of putting out the paper version of Anodyne Redux like by the end of the year, by the end of 2016. And lo and behold it's eight or nine, nine. OK. Let's call it, it's nine months into 2017 and I have countless times looked at that folder of signs that have come in through the mail and thought NOW is the time to put these on paper. But, the truth is things got busy. We moved, we bought a place, like life just totally exploded on top of our normal workflow. And so I hadn't really yet gotten around to making the paper version. And you know it was not until you sent me a note to say hey this is coming together. Things are looking like we'll be ready to release you know in a few weeks. That made me realize how much I really wanted to have that paper version done and to follow through on that claim that I was going to do it and the promise I'd made to participants.

Garrett: Blue apartment, house upstairs. A funny sculpture. Chair out front. This issue was meant to be read aloud, not necessarily to anyone else. Lets read and find out.

Garrett (reading e-mail from Julie): Remember about a year ago when you expressed interest in my 20 years later revived zine; and I sent you an illustration with two kids holding up a sign? You filled in their sign with whatever was on your mind and send it back. Do you remember? Do remember I promised you would one day receive something in the mail for your efforts? That day is quickly approaching, but since it's been so long I thought I should double check.

Garrett (on phone): What was it about the...Me getting ready to put out the audio that sort of made that happen do you think? Was it just the sort of that there would be audio saying you were going to do it. 

Julie: It was partly listening to some of the drafts and hearing myself talk about how much I enjoyed doing it and I was like oh yeah I really enjoyed doing it a lot. And what was cool was I already had already really thought out what I wanted to make. So it was really just a matter of like spreading things out, putting them together and gluing signs onto a piece of paper. And I realized I would totally enjoy doing that.

So I just, you know, in one night just mocked up both sides of the poster sized version that, small poster size version that I'm going to make and it felt as great as it always has to like sit there at my kitchen table late at night with my son's glue stick and put this together and think about mailing it out. How would I package it? You know would I look for envelopes that would fit the whole poster or am I gonna fold it and if I fold it should I lay it out according to where the folds would be? And all these things so. I usually choose the path of least resistance and think it's just paper, it can get folded and unfolded as many times as it needs to.

And you know, the big question is do I make color copies or stick with the old black and white? So I've not made that decision yet. But yeah I was just like sitting down and doing it and totally enjoying doing it again. 

Garrett (on phone): Well and I notice on the Tumblr you've added a couple more and then I noticed you changed around the description of it that's sort of highlighting the paper version for real. 

Julie: Yes, it's seeming more real. Well one thing is I had a couple of signs hanging out in my incoming mail pile that have been there for months so the signs came a while back I just hadn't processed them through the system of putting on Tumblr and then adding them to the pile to be put onto the paper version so, that little kind of...I'm always tinkering too. So no matter. You know every time I look at the tumblr site I want to change it. 

I actually added more text there because I was trying to balance the line breaks. I didn't have any control over the line breaks and it was bothering me that like it was one long line with two or three other words on the next line so I was just trying to outsmart Tumblr. 

Garrett: So many seeking direction and insisting we are not. I can sense it in his shoulders as we walk silently to the river. Grooming our hunches separately. Watch it in her wrist as she opens a bottle and hands it to me sighing $2.50. I read it in words that have arrived from the other side of the planet. Words describing temples and vulnerability and filth. My self-seeking. There is panic involved. Carefully placed in the corners of eyes. Their spontaneous, adamant need for reassurance. The right recipe. For direction.

Julie: It's funny how it worked out. I was thinking that initially I would put out 30 or 40 at a time per issue because I guess this could be ongoing still. And I had  28 signs so I had 2 gaping holes. So I actually gave a sign to my 6 year old to fill out and I plan to sort of write in the space with the last one so it just worked out perfectly in terms of what I have to work with and what I want to make out of it. 

Garrett (on phone): And so are you thinking it'll be more like a broadsheet sort of poster or are you going to try to fold it all together into something. 

Julie:  Yeah, total broadsheet, two sided, differently oriented. And then I'll just sort of fold it in half and send it out I think. But it's funny because it will end up being pretty much the same shape as the zine which is pretty square. Yeah, I think it was pretty square actually. So the packaging will not be that different from when the zines went out. 

Garrett: How hard is it to exit my head. To listen to my body. To trust my instinct. Immense difficulty in letting direction find me and relinquishing the search.

5. I'm not as afraid as I thought I'd be. Crashes in the night, movement in the shadows. It's dark out in the woods. Miles away from the cafes and bookstores. When the moon leans toward fullness, distant flashlight in the icy cold of space. Direction sprawls out in front of me. Warning against the ruts as we troop home. Wine stains on my shirt. Who needs purity in the deep woods? 

Julie: Um...I don't know, I guess like my...the thing is like, I guess I look back and think it was so easy. I really spent just a couple hours putting the sides of the poster together. So, you know, that could have been done at any time, but I really had to be mentally ready for it in some way, and ready to take it on, and it just hadn't been until this weekend and I realized I was like totally ready and that probably has a lot to do...I mean the way Anodyne has always been a reflection of where I'm at in my life. That just feels like another perfect. It still feels so true. I was so happy to realize it's still something that gives that back to me, that it always has been a sort of companion, in different times for different reasons and it was just it was sort of like Hello old friend, let's sit down and put you together tonight. 

And it's not a task, it's not an obligation, it's just something I really want to do you now. And I'm really excited to line them all up and put the stamps on, probably with Phine again because he helped me mail out the signs to begin with. And like, I look forward to the process, I look forward to people getting them. And , you know, ultimately look forward to doing the next round. 

Garrett: The signs, the arrows, the indicators; they're directions, but I still don't know where to go half the time.

Garrett (on phone): Are you feeling any different about the process being where you are right now? Or does it feel like you're kind of being put back in time?

Julie: Looking at my handwriting is odd, It's just odd to write. You know I actually, I wanted to thank everyone so I wrote their names out that will go along one side of the poster. But, I wrote them out a couple of times to understand how much space that would take. And I used to just eyeball that and it would be fine. I'm a little rusty on that account.

But, I also felt a little nervous about putting something down because it would be permanently on each sheet. So, there was a little bit more trepidation. And we're so used to editing our own words and you know that Delete delete delete button and cut and paste and you know that's really not part of this process. So that was, I was very conscious of how different it is than writing on a screen.

Garrett: Security of guidance. The safety of visualization. The lure of gaging.

Julie: Be like one paragraph of you know something and I wrote, I hand wrote that out and then started scratching things out and you know arrows and this and that and I had thought about sitting down at my computer to type it out first and then just transcribe it onto paper. But I thought No I'm gonna actually I'm gonna put the whole process out there in front of myself and that was challenging. But, you know, I think I like what I came up with I never. I'm waiting a few days till I actually commit it to the actual poster, but I think it got there in the end. But, it's a mess. It did not come through that first time at all. 

Garrett: Stop with orange windmill urban sculpture type thing closer pass fire station. 

Julie: I will say that once I got into the rhythm of like arranging the signs and thinking about the visuals on the signs and the words versus pictures and wanting that to kind of be intentionally laid out, that part felt great you know just having that tactile hands on moving the signs around and eventually gluing them all down and figuring out how much you know the pattern the glue stick on the back and how much glue a piece of paper needs to stick. I haven't really thought about that in a long time. And and just, I just enjoyed that so much, getting into the rhythm and you know there are 28 signs to glue So it was very repetitive and I WAS thinking about the fact I was listening to a podcast and that was very different because I used to always just have music on.

Garrett (on phone): What were you listening to? 

Garrett: Feel free to choose some direction. And take it. Tell me what happens. 

Julie: I wonder if, should, could we do. Should we do a call out just for people who want a sign?

Garrett (on phone): Yeah.

Julie: OK.

Garrett (on phone): Absolutely.

Julie: Because that would be fun if people hear the series and ultimately want to contribute. So if anyone who heard this series actually would like to contribute to the eventual issue two, episode two, I said it yet again, issue two of Anodyne Redux they could just send me a simple email jatomic@gmail.com and tell me that they're interested. I'll just need a mailing address and they'll get a sign in the mail you know within a week or two.

And they can, you know, to get a taste of the signs that they've been hearing about and see past ones those are at anodyneredux.tumblr.com

Garrett: 7. The end. 

Julie: You know maybe it'll be a little steadier now. Maybe it won't. You can look me up in 20 years again. Maybe I'll be ready to put out the second Anodyne Redux.

Garrett (on phone): We'll do another recap.

Julie: Yeah, why not? 

Samples from Anodyne - "Such a nice twang..."

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twaNG/

  1. 1.

    a strong ringing sound such as that made by the plucked string of a musical instrument or a released bowstring.

    •  

make or cause

Tape Extracts:

Garrett Tiedemann: As iterated previously, there's always more to say. Which is not a unique realization or particularly brilliant one, but a constant that I've finally given up trying to ignore and in doing so have returned to the most familiar conduit for contemplating minutia, filing grievances, attempting to make some sense of things while salvaging a few laughs, even if I am alone in laughing, that I've known ever. 

I figure now is the link between then and eventually. I prefer to ride into the horizon. Forget the bridge altogether, let alone the toll for safe passage; especially if I am alone in laughing. 

Recording for Anodyne. Something lives only as long as the last person who remembers it. Be careful they don't see the statues in the house. 

Julie Shapiro: I've been wondering myself about was what to call it because I didn't know whether to call it Anodyne again. So I settled on redux, which is of course just like speaks to the new version of it and I decided I didn't want to make a whole book with a lot of writing and images of clip art so I didn't want to call it the same thing. But it's certainly inspired by that so I'm trying to tie the two ideas together, but that felt like a hard decision actually. 

Garrett (on phone): Well that seems to be something you've really carried with you through up till now is like the important conversation of a community of making stuff and so like the participation in making things is in part to facilitate people coming together around stuff. 

Julie: Yeah

Garrett (on phone): For lack of a better phrasing. 

Julie: Yeah. No I think you are. I think you're right on. With all the crazy connect the dots that have gotten me from making the zine to doing what I do know with like a big podcast network that is a through line for sure; that sense of togetherness and community and finding common interests, common values, common missions with other people.

Garrett: You are my old friend. A distant flashlight in the icy cold of space. Wandering inspired ramblings, picking their way through.

[Intro Break]

Garrett: Samples from Anodyne Redux.

Paul de Jong: Sometimes old rage, truths that should have been told.  

Garrett: It's a transcribed sound sample, from a self-help cassette. Deep letting go. Out of my vast sample library of sound and spoken word. When Julie sent me the Redux request in the mail I was working on editing the transcribed text into poetry.  

Angeline Gragásin: So yeah. So I picked one up and then I ended up going to. She gave a presentation. And I ended up going to it. And you know making the connection because she announced it at the end of her presentation by the way you might you know pick up a copy of my zine and yada yada. And that's that's how I found it. 

Julie: I have been advertising Anodyne by mostly through Twitter, right? And it got, I've had no lack of entries but I did go to one sort of conference in New York a couple of months ago and just put a pile of them out to see if anyone would take them and do anything with it. And I only got one back so far, but it's so good. It's like one of my favorite signs ever. And the excitement of knowing like this stranger, I don't know who it is, picked it up off the table it just said for you - it was like the sign and it just said for you, exclamation point - just to see if anyone would bite. Which is a little bit how it used to be where I would leave piles of these signs and invitations for people to take. And so she might be the only person that plays along. But it was such a great sign to get back in it. You know it was it was excellent, just arrived yesterday in fact.

Miyuki Jokiranta: So stop and listen is actually a little project that I did a while ago where I would draw footprints on the pavement where I found a particular beautiful spot for listening that I you know I'd be walking down the street and I'd be arrested physically, sonically, by a space and I would carry chalk with me and I would draw footprints on the ground and then I would write stop and listen. And that would be a little indicator to someone that was walking down that same pathway to do the same. And they might have an experience similar to the one that I did.

Garrett: Starting it now, it's obviously in reflection of the last 20 years. So like, how is it different thinking about it now and how also is it different when you're bringing in something like tumbler and like the sort of digital interface and recognizing a desire to have it there while not losing the physical. 

Julie: Yeah, I know. I really struggled with does it need any digital presence. And then I thought, well that will help me because I'm not trading zines, I'm not listed in other zines so people can find out about mine, like how am I going to keep...Besides my initial Facebook post and tweet that's now pinned to my Twitter whatever feed you know how else can I get the word out so, I don't mind having them all in one place digitally. But, the prize is that everyone who contributes will actually get a paper version.

Simone Roche: I wonder if there is a little bit of this that works because it's non-digital because otherwise it's like it's Twitter right? It's just a list of things people write, you know, you may as we'll just have a 140 character limit on a on a long tumbler scroll. So I think putting a little brick in like this is like a tapestry idea you know and it's those blankets or whatever. So I think being part of a digital unit is in many ways it's not worth a curse. It's just like, if she asked me to write this digitally it wouldn't have meant the same, I wouldn't have thought about it the same way. 

And while I do, you know I had to send an email to a friend who's putting a book together for a friend's 40th birthday and I thought about it and I wrote the email and she's going to print that in the book and that's nice and I thought about it, but I thought about this, this was a different thing you know like you commit something to pen and paper and you send it off in the post. It's a little bit less immediate and it's more purposeful and I think you...I don't know. I love these collections. I mean it's still just a collection of individual's thoughts. I don't know if it's necessarily more than the sum of its parts, they're all...not that they're tied together, but maybe it is when you see the thread that's going through people. I don't know it's hard to tell, but I certainly think the analog idea of it. Brings a different approach out of people and maybe that helps the thing have more resonance. 

Julie: Incorporating all of them back. And anyone who reads the tumblr will never have, will never hold those in their hands. So I still feel like I'm rewarding the people who participate and care enough to. You know I haven't decided if I'll make extra copies for people who aren't contributing, but I kind of like the idea of the tumblr just being the signs too. And I've also decided I don't think I'm not going to fill up the rest of the zine with other ramblings. I don't actually have the time to do that. So I'm going to try to do more of a broadsheet that has like all of, more of a poster sized thing that has all the signs that get contributed back with a little bit of text to kind of explain what it is. But this one's is way more about what people send me. It's not as much about like what you know my internal musings, angst ridden rants and things. 

Garrett (on phone): Yeah, so you're a little more of a curator of other people's musings. 

Julie: Yeah. Which I guess is very consistent with what I've been doing for the last 15 years. 

Garrett (on phone): Yeah well and it's interesting because when you do, there was something about when you write it down on paper that forces you to at least in my mind you think about the words you're writing down more as if it's more permanent than what you put digitally whereas digitally it's like oh I'll go back and edit my grammar errors if I want to... 

Julie: ...or I'll just update. You know you can't. This is a one. Like, what's the one status update for this project. You can't you can't update your update.

Garrett (on phone): Right. So are you thinking you'll keep sending requests to all the same people or is the idea to try and keep going to people who haven't responded as you build it?

Julie: Yeah it's totally, I wouldn't repeat anyone. So it's just like, I think I'm going to wait and see what kind of a lay out I start working with when I get more back but I think I'll go for something symmetrical like 30 or 40 of them  per issue and always have different ones. And then hopefully you know once the first ones out and people see it there is more interest in participating. I just get it's just like it can just like live on its own, it's out there now. I have mostly sent to people who have seen my invitation and responded. But there are a handful of people I've just decided I'd love to reignite a correspondence with so I've sent them signs. Theirs will be surprises in the mail. But they know I did the old one so it won't be completely out of context and what's interesting is when I posted the Facebook thing, kind of impulsively I didn't give it a whole lot of forethought. I mean I had a vague plan in my head, but the people from that time in my life who responded you know is really...some people have pictures of old issues. My sister put up a picture of a T-shirt. You know I was like so cheap that for Hanukkah every year I'd be like here's my zine! Or, here's a T-shirt I thrifted and then went to my friends screen printing studio and made T-shirts for all my cousins you know who were like What is this. But you know some people still have that stuff. People keep stuff, so it's kind of great. 

Allyson McCabe: We sort of collectively decide what has value or what should be kept. You know, that sort of thing. I'm sure there are many many zines out there that we don't know about that will become known to us at some point, but just because somebody decided that they were important. And one of the cool things about a zine is that the gatekeeper is us you know it's not some person from on high you know hundreds of years into the future making a decision that they were significant because of X Y or Z specifically. 

You know we collectively are the judge of what's of value. So I think I think that's you know and they all represent different little micro communities and sometimes these zinees have lasted longer than the things they were attached to. You know so for example several bands had zines that were a huge part of what they were doing. Sometimes the bands aren't together anymore, but the zines still are. 

Simon:  The more stoic, mostly repressed place you know going back 50 years maybe not even that far or maybe 40 years and a lot of people you know, burying emotions and all that kind of stuff. And while in one way of course that can be really even more traumatic and really bad. But there's some kind of stoicism and just kind of parking stuff, going on with it, and you know if it rears its head again then so be it. I mean you can fix a set of shelves that fall down, but you can't necessarily fix all these things and I think the idea that you would get over things and people saying get over it. I mean I know they flippantly say that usually about something you know spilled milk but I kind of thought learning to park, learning to parallel park these issues may be a bit more benefit than the idea of getting over things.

Julie: You know, I mean it's hard to say like what impact Anodyne had in that zine world, but because I kept it up for quite a while. I mean 13 or 14 issues is a lot for that time because a lot of people started zines and moved on, just like podcasts, just like blogs, right? So you know I think like it did it kind of was like out there because it's very active. So for a little while it was one of the ones you'd hear about, was you know, I think it was listed in lists of zines you know it was in a few, it was highlighted in a few higher profile places for zines which doesn't mean much. I mean they did work, they were co-opted they became very mainstream after a while, but when they were truly more underground you know it was like a small pond. I was like a medium sized fish in a small pond so people remembered it pretty well and associated, still associate me with like doing all that. So it was fun just to kind of. I mean I think a lot of the pull back is a real, not like a midlife it's not a crisis it's like a midlife revisiting of my earlier self a little bit, which makes me feel very old to say, but I've noticed in a few ways this is happening and that is like reconnecting with people from that time.

Miyuki: How long did it take you to write yours? 

So once I'd settled on that trope, stop and listen, seconds. I've written it 100 times. But yeah there was a there was a large amount of deliberation as to whether I wanted to continue to be that person. And turns out I did. 

Garrett: Suspect a partnership between nearsighted and farsighted has obscured vision so severely though I'm not sure it has everything to do with my eyes. Somehow from this faraway planet it seems more valid than world, as distant stretches out snaps back into place. Such a nice twang. 

Julie: I don't feel the need to say the kinds of things I said back then and it's kind of a time thing. I think I'm less interested in my own ideas in that way. I'm actually just more interested in other people's ideas. I certainly have ideas and I believe in them etc. but I find other ways to express them. And. You know I guess I have all these other outlets. That's the other thing.  I feel very strategic about the way I use social media so that becomes an editorial outlet not just an update about my life or if it's an update about my life, it is disguised its editorial disguised as an update about my life and I think a lot about the kind of public. I mean I would say as most people do, but I think a lot of people don't think about what they're putting out. So I feel like I've got a kind of curated, careful approach to that and maybe that's enough and that doing this side project would just become a burden more than anything, but maybe who knows I say that and now maybe one side will be the zines and the other side will just be like you know nine point font of like crazy rantings from midnight you know writing sessions, I don't know. We'll see.

Tania Ketenjian: Everything that you post says something about you. But some things say more about you than others. And I think I was playing it very very safe. I am what might be called a stalker on social media. I don't post very much but I love looking at what other people are doing. And I'm very careful about what I post. I really want to. Today I read, I read a quote by Walter Mosley or I read an interview with the author Walter Mosley in the spring issue of The Paris Review. And I immediately thought you know I want to I want to post this on this on Facebook I think this is great. People should know this about like, you know, he's being irreverent about the choices we make as a creative person and realizing the fragility of those choices I guess. And I was like, I want to post this thing and then I kind of thought oh maybe I shouldn't and then it starts then it goes through this whole questioning and then, but then then the whole thing that you're posting then becomes far too analyzed in this way of like what does it reflect on me rather than just its inherent beauty. So that's why I try not to post too much because I don't want to be too character driven. And so in essence, the quick answer is No I did not think about what this was going to say about me or if I did I knew I was playing it so safe I knew that I wasn't taking a risk. And I like that because so much can be misinterpreted online and through text and through printed matter and so I'd rather just play it safe. 

Garrett (on phone): Alright, so we've got a few minutes left. So, with deciding to do this again, and I know we've talked about this some so I know this is kind of retreading, but I think you know speaking too about leaving this stuff out and someone did respond. I mean I think it's very much as a reception feels like a gift and that like the looking over the old ones you did like I can imagine that like getting one of them was like a gift from wherever.

Julie: Always. Totally. Exactly.

Garret (on phone): Yeah. And I think it's sort of, much the same like in the last couple years people have returned to appreciating vinyl because it feels like a physical thing. Is that partly feeding as well as your own creative need to do it, like why you want to still make a physical thing when you know it's still a lot of work even to put them up online? 

Does it make sense what I asked? 

Julie: Yeah, I felt kind of like two questions in one, but I will say that like everyone that I receive now is totally exciting. You know there's always that sort of sense before you open the envelope of what's inside. And then there's actually, I don't remember how I handled this back then. If I actually curated entries or just put everything in. I think I was pretty open to whatever came back. I'm actually a little bit more picky now and there are a few that have come back that I don't want to include. I just don't think they're very thoughtful. I think people just like dashed something off and sent it back. Now if they happen to dash something that I find appealing it might still get into the magazine, but there's sort of a line that if people...I guess the easiest way to say it is like there's been a few entries in this new batch that I'm not that excited about. And then I feel like that is where my own aesthetic taste is going to guide the actual outcome which feels as much, as much my offering as all of the people who've contributed. Maybe it's just you know 15 years of being a curator first and foremost I just can't let go of that quality control a bit. 

Garrett (on phone): At least I know, sort of in my brain, like part of your sort of artistic moment then becomes assembling them together in a certain pattern, which is very different than the metadata of an upload. 

Julie: Yeah definitely, definitely. And I should say like even though I said that earlier about feeling a little weird about most of the signs coming in pre-election, there's also an upside to that which is I actually wouldn't want the issue to be burdened by one common response to you know a new reality. And while it could be a document of a time which would also be very important, and I regret missing that opportunity a little bit, Anodyne has never been a political thing. Maybe in the broadest cultural political sense you could say it was because it was DIY and managed to make it for free and sort of stayed out of the major publishing industry. But for the most part it is meant to just be something a little bit less circumscribed by a particular tone. So at the end of the day it's probably fine that we'll have signs from before the election and after the election.

Allyson: Say for any kind of thing that you make. You know, I make the zine. There, you know you might say any zine you look at it and somebody who knows nothing about zines and is completely outside of it might be like why would anybody waste their time, these photographs they're all like photo copy that looks terrible and there's a typo here and haven't they proofread it. And oh my god who cares about this obscure band that nobody heard of you know that person is not going to get it and it can't be explained to, but for the people who it is intended, like if it finds its audience, it's done its job it served its purpose. The zine, all the zine does or the podcast or whatever the thing you're making does is all it does is it's a vehicle for delivering that idea. 

Tania: If there is an opportunity to connect, to be part of something, to say that...say someone I meet that contributed to this zine, I don't know them in any other way except for that we both contributed, then we, we're connected. We're connected in that way and I don't think there's anything more important in life than feeling connected.

Julie: You know it's hard to sort of recede for me in terms of the new issue has, it's taking longer than I thought I would just because I cannot find the time and energy to work on it when I want to. And, I think part of it is just being a parent now, having a child being a parent, as opposed to the other form of apparent, as one word. And you know that extra energy that I have really goes into raising my kid with my husband. So yeah I guess there's a little bit of guilt that's come in. I don't think people are waiting for it. They've probably forgotten if they even have sent in zines. But, I'm keeping track of how long it's taking. And so I've set aside some time, in my mind, over the holidays to actually mock up the first issue and figure out what I'm going to do on the other side of it. You know how much writing there will or will not be. And so, I'm looking forward to that. I mean that feels like a really compelling project ahead that I think I'll find some time for in the downtime of the holidays. But, yeah, it's much harder to fit around my current lifestyle both personally and professionally. I mean if I think of the hours that most of those Anodynes were made during, both written and assembled, it was like between midnight and 3:00 a.m. and you know I just I don't have that, I can't burn the candle like that anymore. 

I'm getting a lot out of this, I hope that when I send the signs back to people they get something out of it. I hope that participating, they get something out of.  l hope they like getting a piece of mail that isn't a bill. You know, this is a small, little enhancement to a day kind of thing. 

Tania: I don't know how you're going to put this all together, but I will just say that you know Julie I've said this to you many times before when I've seen you in a conference with hundreds of people around, but you really have this extraordinary ability to make someone feel very special and make someone feel like their contribution is special. And you do that in so many different ways whether it be bringing people together in a conference or inviting people into a radio project or creating a zine. And it's such a wonderful gift and you know your warmth is something that I really value in my life even if I may see it every couple of years. 

End credits:

I'm Allyson McCabe. I'm an independent reporter for NPR's arts and culture desk. I'm also the creator slash producer slash host of Vanishing Ink.

My name is Angeline Gragásin. I'm a writer and filmmaker. 

I'm Simon Roche. I'm a graphic designer. I have a side project called The Radio Post. 

My name is Whitney Henry-Lester. I'm a podcast editor and producer.

Hi, my name is Tania Ketenjian. I'm a journalist.

I'm Miyuki Jokiranta and I make radio documentaries. And occasionally head off on strange sonic excursions. 

Simon: I contributed. 

Angeline: And I contributed.

Tania: I contributed

Allyson: I contributed

Whitney: I contributed to Anodyne Redux. Is that how you say it? 

Miyuki: I contributed to Anodyne Redux.

Julie: All right. Talk to you soon. All right. Take care.

Garrett (on phone): You too.

Julie: Bye.

Garrett (on phone): Bye. 

Garrett: It's so important to support the people who insist on living their lives by their own terms, creating their own work by their own rules. Check out independent record and bookstores and comic book stores. Find things you like and let their creators know. Share them with the people you love or at least the people who would appreciate them, even if they don't know it yet. All of this, meant as vague as it sounds, depends on communication and support. Enjoy the centerfold, enjoy the tape, enjoy the fact that you have great taste in music. 

So, if you'd like to play the kids with sign game. Or already have and would like to play again. Or know someone who you think might like to play. Or need some advice. Or want a Connie Francis tape. Or just feel like ranting about the general chaos that seems imminent. Or perhaps you'd like to rave about it. Please send your comments along with a brief statement to Anodyne.

Atomic shake well publications.

William S. Burroughs (archive tape): Silence to say goodbye. 

Garrett: Thanks to all who contributed to Anodyne and this production. It could not have been done without you. Additional music and sound elements were provided by John Barner and Leon van Bokhorst

This has been The White Whale. Samples from Anodyne. 

Samples from Anodyne - "Was like a soundtrack for me..."

IMG_3986.jpg

hōp/

  1. 1.a feeling. archaic

    •  
    •  

"he looked through her belongings"

  1.  on, want; More

Tape Extracts:

Julie Shapiro: Anodyne was like a soundtrack for me as well. I was always listening to music that was a lot about something to do while I listened to music.  

Simon Roche: I'll read it, it says: we don't have to get over everything traumatic we can live with ghosts. 

Allyson McCabe: I do think that as somebody who is old enough to have been around sort of in the 90s wave of zines, and even before that, you know most people my age you know they have kids now. And so that's something that kind of comes up is the idea of I think I had said something like, 'I'm telling mom' why does it still work despite generations of evidence to the contrary and just sort of struck me as a sort of truism that would make sense as a zine statement, but also a statement for people who have kids and know exactly what I'm talking about. 

Julie: I think it's funny when you're watching bad TV and something profound comes out of a character's mouth that speaks directly to your life situation and you're like no, this can't be happening that the answer is coming from this terrible TV show, NO.

Garrett Tiedemann: I urge you to take advantage of the following offer. If you send me a blank cassette, and some money for shipping and handling, I'll gladly tape for you Connie Francis Sings Jewish Favorites. 

Julie: I mean you have to couple this with being in college, being up at all hours, having friends working at Kinko's, that was a huge part of the equation for all zine makers back in the day who would just make your copies for free. I had my friend John who had the overnight shift. You know, my theory was like every Kinko's in America had an overnight shifter wearing Converse high tops. And you would find the person wearing Converse high tops, you would make friends with them, and they would help you make your zine for free. So I could do color copies.

Kinko's had this temporary thing you could do everything in a mono color so you could have green, just like instead of black and white it would be green and white or red and white or blue and white. 

Miyuki Jokiranta: And she then promised I think, I think she'd already had the idea that she'd started up again. So I did know that she'd done this in the past, but I think when I first saw the Anodyne, the first image of it online, it didn't calibrate with the picture that I had had in my mind. So, I was pretty curious to see in the flesh. 

[Intro Break]

Garrett: Samples from Anodyne. Smile, obey rules, good manners pay.

When a massive star dies leaves behind the small, dense, remnant core. 

Allyson: Back in the day, when I would read people's physical zines, papers zines; you know you read it a few times, you get a sense of what the aesthetic is, you know maybe sometimes if it's political what the politics are, musical taste, etc. and you're able to figure out OK you know do I make sense in the context of what I know about this publication. In this case, I wasn't familiar with the paper iteration that existed before so I had only the idea of the prompt. 

Tania Ketenjian: It's very empowering I think, in many ways, it's like you don't have to go with the establishment or the established ways of getting something published, you can just do it this way. 

Julie: It was really open, total experimentation. I did one, one essay on glow in the dark, things that glow in the dark. And then I had like glow in the dark, I found like glow in the dark stick...make your own stickers. So, like put some of those into all of them. I was very into process I was very into like inserting something into every one. And I loved the folding, I loved the packaging, and the kind of making the stack of things to address, stamps to put on, you know kind of compulsively so that way. 

Miyuki: I decided to participate, one because she invited me and that's a very generous gesture. And you can't really turn that down, but two because blank space to me is absolutely terrifying. I just find it just totally paralyzing. And have. For years and will for years to come. And so, of course I had to say yes because there's no other way to deal with paralyzing blank space than staring at it.

Tania: Yeah, I mean I grew up in San Francisco and I I went to a college called Bard and I think that although...and I actually even, I mean, I kind of made a zine when I was in high school. It was called, what was it called, Perusa. which means inquiry I think in like Sanskrit or something. But, then also it was a play on words with perusal like you could just peruse it. So, yeah I was familiar with zines and I actually love sort of the punk nature of zines and the political nature of zines and all that they represent and the countercultureness of it. It's kind of like Pirate Radio

Garrett: White space, two lines, each like a train track. Travel through space. The opposite of what is familiar. Negative descending, the positive, an arrow on which familiarity travels without limits. Familiarity and human likeness.

Julie: For a sort of literary styles. I mean I was really highly influenced by just the general mail art culture for sure. And that was like the Wild West of design and creativity and innovation. And I had a real love for the Fluxus movement. I know like a lot of that, those two kind of artful historical entities really were on my mind a lot during these years and they were communities that I tapped into, other fans of those things and the Fluxus and the mail art were very heavily connected as well so that was kind of a logical bridge.

Interviewer (archive tape): Well George, let's skip back a little bit. How did Fluxus get its start? 

George Maciunas (archive tape):  First plan was to publish a magazine Fluxus. And that's how the name came about. And we just, like the dictionary meaning, kind of several meanings, which anybody can look up. It was influenced directly by the school of John Cage that he had in the New School where people like George Brecht, Dick Higgins, Jackson Mac Low were taking in 1958 to 59 I think. They were taking a class and all those people later were associated with, well the magazine never came out in time, it  came like five or four years after. We started to plan it and we just found it was too costly to do. The concepts was easy to do. 

Like Ben Vautier, who has a lot of theater shock pieces as he calls. There would be, for instance, a play going on and on announced all people would come for that play, but the door is locked. Meanwhile the play starts and goes on. And they just, you know, they hear all the noises, but they cannot get in. 

There's another audience piece like that, similar, where at the end of the concept we would tell that well the last piece has to be performed in a secret place and we have to take one row at a time to that place.So the usher will take the first row of people, they would follow him and he will just take them down the back exit into the street. Meanwhile the rest, you know, they all sort of drinking in anticipation, what's that next piece? And they'll never know except when they actually go through it. 

Julie: There were a few others, zinesters, zine makers at the time that I definitely was close with and some of the formats, you know, shared certain aesthetic qualities. The cut up, the black and white Kinkos, you know, like sort of Kinko's style. But, of course the content was pretty different one to the next.

Charles Bukowski (archive tape): Style. Style is the answer to everything. A fresh way to approach a dull or dangerous thing. To do a dull thing with style is preferable to doing a dangerous thing without it.

Garrett: My performance of childhood; a kind of dark traffic. Men in uniform were posted all along its length. Some had cameras, some had guns. To slip down it's invisible curtains like sheets.

Garrett (on phone): Well, that seems to be something you've really carried with it through, up til now is, like, the important conversation of a community of making stuff. And so the participation in making things is in part to facilitate people coming together.

Garrett: Curtains like sheets tied together and hung out hotel window. Toward itself.

Garrett (on phone): You were saying that the way of mapping this out was sort of a collage effect. So, would that be mostly gluing things down or taping them, I know eventually they reach the copy machine.

Julie: Glue sticks, it was always glue sticks. 

The, with the format of Anodyne being the, you know, every other page or every few pages for signs, that to me provides kind of the backbone of each issue. And then  a kind of mess of montage and collage could spiral out from that center through line. And so there was some order, but also with a sense of almost improvisation and experimentation around that very direct and consistent part of putting the signs in each issue.

Garrett: Tattoos and teeth. Several cases presented on morning hospital rounds led to the observation that there might be a relationship between the number of teeth and the number of tattoos a person possesses. We tallied data and plotted the number of natural teeth both intact and broken against the number of tattoos both professional and amateur. Examined  all patients who were seen by the anesthesiologist service who had at least one tattoo. We set no lower limit for the number teeth. Results? The quantities of teeth and tattoos are inversely related, if a patient has tattoos he or she is likely to be missing teeth. For adults more tattoos equal fewer teeth. The teeth tattoo relationship is linear. See figure. We are continuing to collect and refine our data.

Whitney Henry-Lester: I think probably right around that time. So, I mean, I have this. I was trying to think, OK what what is something important enough to me that I would put it down on paper and encourage other people to take a moment, even if it's just a second to look at it and it was just, you know. I can think too hard about that. And so, I didn't want to think too hard about that. The first thing that came to mind was something that I'd been doing and had been working on, it being really important to me, was just taking Sundays away from the internet and I'd been like, it's a lot easier to do if you name it. So I named it, no internet Sundays, it was this thing that I was doing.

Allyson: Submitting anything to anybody else is really different stakes than doing your own thing. I think I was thinking a lot more about you know not should I submit, but could I submit something that would be good enough. You know you sort of have an idea for your own show or your own project, what that level is. But, when I submitted to Julie's zine I really didn't know what any of the other entries were. 

Angeline Gragásin: Actually, you know, I think I didn't know what other people had written. I think I didn't have the URL for the blog, if I remember correctly, it was not written on the form. Because I remember being surprised after seeing mine go up, what other people had written. I remember being surprised that people had thought to even draw pictures and I remember thinking, ah man I should have done that. But, I think at the time I wanted to be as, like, what was the most concise, succinct statement that I could make and stand behind. It was the thing is going to be published you know. And that, that was it. 

Tania: You know if I had maybe given it deeper thought in the sense of I don't know how can I. A lot, a lot of people know Hug O' War, you know, a lot of people are familiar with that poem and Shel Silverstein and I have a five year old and we had just gotten those poetry books so they were kind of in the ether around my house. But, I mean, I think that in my sort of maybe playful, quick thinking way I was like oh this will be a great way to sort of say all right well we're in this political moment that's sort of devastating. Why don't we soften it up a bit and put something playful and remind people that you know above all else love and and care and affection and respect for others is what matters. And I think there are lots of ways to say that you know. I mean there are lots of, you could say it through a kid's poem like I chose to do or you could say it through you know some political writing or you could you know something by Naomi Klein or maybe something by Noam Chomsky or something that you know something that really questions. And if I had really wanted to get into that and sort of think through the concept of what's a zine and what does this really mean and how can you sort of uncover something through that medium or maybe share something in a way that you wouldn't be able to share otherwise, I probably would have shared something different. But, you know, everyone loves Hug O' War. And it's sweet. 

Whitney: Or trying to do. It's a practice, it's an ongoing thing. But, that seems like worthy to put down and I'd also actually been, you know I do a lot of sort of like weird paper stuff, collage, or this like printmaking but very, very, very amateur level. 

So I have this desk that's like set up for writing letters and I just went to the desk and said OK what do I have around here I've got this typewriter, I've got this stamp I actually had because I had carved this heart stamped for my wedding invitations. So it was just right like right there at the moment and I just played around with what I had on my writing desk. And this is what came out. 

Julie: I feel like in choosing to bring the zine back, that's exactly what happened. I wasn't. It wasn't like a conscious decision. Oh it's been 22 years I'm going to do this again. It was going through stuff and finding the signs, finding a folder of the blank signs, that somehow was with me and always thinking. A couple times over the years I felt like oh maybe it's time to do this again and revisit, but I really had the strong sense that I had the space in my life for it. And I was really excited to kind of turn away from all digital all the time. And think about you know extending, inviting people to like go so far as to find a stamp and an envelope to send this back to me you know and some people wont. That's the thing, that's a barrier for a lot. But, now it's so novel. People are like, you're gonna send me something in the mail?

And hand writing, you know, that I'm like like addressing. I mean, I did print out a letter because I didn't want to write that 80 times, but you know a little bit of a note to everyone who participates, and actually writing out the actresses and most people hand write them back because it's a little hard to finagle you know, you could type onto it, some people type with a typewriter, but yeah it's like that just humanness about sending something to someone and getting it back.

And in Portland there were some local kind of I would say zine superstars that I knew and kind of ran into a bunch; sometimes at Kinkos making our zines. So yeah, I would say there was a very strong kind of shared community, creative energy between everyone making them and a real generosity too. You would definitely trade yours with someone else's. And I think I sold them for like a buck or two to cover postage. Never. I mean it was never ever a profit making venture and is not this time around either. I'm just paying for stamps and you know beg borrowing and stealing. I took a stack of envelopes from my father's neurology practice. He retired and had this stack of envelopes and I was like I'll take these for my zine, perfect. You know. So that's why there's a pink tape over the envelope that you got because. Yeah. Because that was what you would do, you just, you know, used as few resources as possible. You have to pay for postage. 

Simon: It's kind of like the bullet that lodged in your gut and, you know, your skin grows around it and you just live with it and you know eventually it just becomes part of ya. So, I guess that's what a little, if it doesn't kill you. It might make you stronger, but it mightn't kill you again. You know, it's just, it's done all the damage it's going to do and now it's just a part of you. 

Garrett (on phone): Did you have an overarching theme for each one that distinguished the musings on daily life or was it really governed just like, it was, the overarching was Anodyne and it was just built up with what you had at the time. 

Julie: Yeah, more the latter because I would constantly be collecting you know books to cut things out of and ideas for interviews. I did some some some print interviews. A lot were just kind of like stream of conscious writings, quasi poetry ranting. You know. It's funny because certain phrases and clusters of words still ring true for me, but they're always surrounded by a lot of guff. But yeah, it was a little bit of a mind dump, and a heart dump, and a brain dump each time. 

Garrett: So, if you'd like to play the kids with sign game. Or already have and would like to play again. Or know someone who you think might like to play. Or need some advice. Or want a Connie Francis tape. Or just feel like ranting about the general chaos that seems imminent. Or perhaps you'd like to rave about it. Please send your comments along with a brief statement to Anodyne.

Samples from Anodyne - "The thing with beginnings..."

IMG_3993.jpg

or·i·gin

ˈôrəjən/

noun

  1. 1.

    the point or place where something begins, arises, or is derived.

Text Extracts:

Garrett Tiedemann: The thing with beginnings is that once you've started, it sometimes becomes clear that you're already in the middle. That you started a million and a half times already and you're actually drawing conclusions that you must be in the proximity of some other ending. 

Garrett (on phone): Were there any sort of huge influences on how you approached the method? Either within zine [mispronounced] writers or outside in literature, audio, that sort of thing. 

Julie Shapiro: I have to say I find it so interesting that you call them zines and not zines [like magazine]. Is this like a...maybe it's a divide of like who did it when?

Garrett: Well, so, I did not learn of these things until sort of after the fact. So things like the pronunciations are not part of my cultural upbringing. 

Julie: It doesn't look like zine, it looks like zine. Sure. 

Garrett:  So, this is partly also like, in a selfish way, this is me learning through you a particular version of this development in the late 90s. Things like that. 

Julie: Yeah. Well think of, I mean it was zine because they were like kind of like magazines. I mean that's how I always thought of it. 

Allyson McCabe: You know there's a way in which your personal experience has a broader public point. You know that's why people, that's why there can be sites where people digitize these mix tapes and share them and even if I don't know either party, the party who made it or the party who it was made for, I can still relate to the emotions. And I feel that that carries over to the idea of a zine. You know a zine could have one, it could have an audience of one. It could have an audience of many more than one. But, the sweet spot I think is the idea where it feels a little bit exclusive, a little bit underground, a little bit like not everybody knows about this thing and that's what makes it kind of fun. 

Julie: I mean I always have done this, well to state the obvious not by myself because it's completely about other people, but I've never collaborated with someone in making it, beyond the signs you know, so it's funny because I was thinking, you know I had decided not to go into audio with it at all like firmly, I'm not interested in that for this. I wanted something outside of that part of my life through this. But that ,I was actually really intrigued by the idea of someone else doing it. So, it was really interesting when you reached out with this idea of could you, you know, could you sonifi some of these ideas and some of the signs that come back beyond just reading them and you know what's the sonic interpretation of the message people are sending. Messages people are sending. 

[Intro Break]

Garrett: Samples from Anodyne. Don't let the fascists tell you what to do.

Julie: Anodyne had a lot. It had like, was like...

Allyson: There's this great quote from Virginia Woolf and she says partially in writing a letter to someone you're trying to give back a reflection of them. I mean that's kind of a paraphrase, but... In writing a letter you want to give a reflection back to that person of who they are. I mean, I think that's an amazing thing.

Julie: The centerfold was always like a woman hero. One was like Harriet the Spy in the cover of that book. One was Connie Francis because I kept finding Connie Francis records at the thrift store. One was like this amazing postcard. It was like a chainsaw advertisement and had this like 50s woman sitting on a like bright red chainsaw with like a beautiful display of colorful chainsaws behind her, sort of menacing, but except it was actually just an advertisement. Strong, strong woman wielding wielding a chainsaw. But, yeah, I think I'm just trying to remember like as the riot grrrl stuff came and my sense of feminism was growing as well. You know how that was expressed through a more cultural lens and a sort of fun and sometimes ironic lens as well.

People are drawn to a community vibe and then feel more welcome and then become part and then pull others in. 

Garrett: When nothing is done, nothing is left undone. Last night I dreamed I was in hell and now I'm having trouble making a list of things to blow up. I didn't realize I was in hell until I got out of bed, Julie the sixties glasses wanted to be hear about it. Instead I gave her another piece of metal I found inside a dumpster in an alley.

Orson Welles (archive tape): It's true. It's a good story though.

Miyuki Jokiranta: Ah, how did you first become aware of Julie's zine?

Tania Ketenjian: I didn't know that she had done the zine in the past and so...You know it doesn't surprise me that she has. But, yeah, I didn't know and I thought Gosh how does she find the time to do it. 

Allyson: Really only vaguely. I think it was described in a social media post as a redux of the zine. You know, so I kind of worked my way back and then I found out more about what she was doing before and making those connections. 

Simon Roche: She sent me a letter, I guess some time a year ago maybe, and in it was one of these little cards with the little kids on it, holding up their blank card, and I was like OK and she just said will you fill this in I've got a collection of them that I keep online.

Whitney Henry-Lester: Probably. I think she had a pin pinned tweet on Twitter that said something, I'm resurrecting my zine and I didn't know about the original zine, but it sounded like something that Julie would do.

Angeline Gragásin: I encountered her zine at an event at Kickstarter last October. I saw the zine before I knew who Julie was. She had already distributed several copies. They were kind of strewn about the space like amongst the snacks.

Julie: Is actually the origin story, so I came upon this image of these two kids holding up the sign in like a 1950s health book and so I whited out what was in their sign, it was like tips for good health, and I just, it was blank, and I thought like well here's a blank canvas to just invite people to you know speak up about what they're thinking about. So, it was very like of the time, of the DIY, of the like give people a voice you know kind of, I think of it a little bit like pre-status updates. You know it was kind of the analogue version of just speaking your mind and sharing it with the public. 

Allyson: You want to make it as organic as possible. It's not like you're taking your brand new pair of jeans and deciding to you know drive over it 100 times in your driveways so they look distressed. You actually want it to be distressed. I think that there is a kind of sincerity even in that construction when you're putting these things together.

Julie: So, I was actually, I was in college in Colorado in Boulder and I actually started getting into mail art, like postal mail art, M-A-I-L, and this was right also around the time I was working in a record store and I was really getting into the kind of riot grrrl music movement. 

[brief riot grrrl interlude] 

Julie: Just a lot of DIY energy around. And I started morphing my kind of mail art, which was basically just make stuff and send it out to people who would make stuff and send it back.

Garrett: Join us, we're donating our bodies to automobile crash tests.

Stop the slogan. X-ray-o-matic. 

Allyson: You know that feel real. You know that the flaws are what make them human. I think there's something about listening to some podcasts you know and some looking at some zines; any kind of homemade media that people realize that there is a person behind this and their trace is part of what's happening and that's kind of what makes it appealing. I don't have to necessarily look at zine and go oh you know who's is this or be able to tell you know that looks like a so and so. But, what I can get out of is the idea that some human person or group of people made this and they took the time to put this all together and it feels to me a lot more satisfying than a glossy magazine that maybe you know has recycled the same stories over and over again or is just chasing what's happening right now. 

Julie: There was a really thriving underground of mail art; international actually. So, there were probably five or six dozen people who I would occasionally trade mail art with, but then because it was happening at a time where a lot of young girls were kind of speaking up and supporting each other. That became something I wanted to do more of and have more of an editorial kind of narrative input on I think although I'm sure I wasn't thinking of it in those terms so I'm putting that back on it now. I also was really into like a lot of kitsch and I was a thrifter and I collected things and that kind of old school clip art.

Garrett: Anodyne 1. Failure to read may result in injuries or death. 

Anodyne came to English via Latin from Greek and it has been used as both an adjective and a noun since the 16th century. It has sometimes been used of things that dull or lull the senses and render painful experiences less so. Now, in addition to describing things that dull pain, Anodyne can also refer to that which doesn't cause discomfort in the first place. 

Julie: So, that's how it started, and I called it Anodyne because I loved what that meant. It wasn't a word that was on a record album cover yet or... It also became the name of a publication in the northwest but, I think Wilco put out a record called Anodyne. But, before that I decided to call the zine Anodyne and then I had copped this little warning from a instruction manual. So the cover was just like the sign with the kids and it would say Anodyne. And then the bottom would say failure to read may result in injury or death. 

So, that was like the basic template for it. And then, so there was some similarity from issue to issue. And then, yeah inside was kind of anybody's guess. 

Miyuki: I think I first became aware of Julie's zine when we were doing this fantastic project in New Zealand. We were road tripping across New Zealand and looking for tiny libraries. Libraries that were the size of your bathroom or your closet or potentially your living room. And we were rolling over the hills, this kind of incredible New Zealand landscape, and Julie was kind of just telling me about her past and she told me about a zine that she used to run, she used to distribute, when she worked in a record shop when she was living that indie life. And that was the first I heard of it. 

Julie: I mean, one problem with doing a zine in that time in my life was I moved around so much so I was constantly getting contributions mailed forwarded to me like sometimes two addresses behind etc or having friends pick up mail and you know a lot of a lot of my memory of putting that thing together actually happened in the fluorescent lit Kinko's in the middle of the night. I think that's where I actually did a lot of the work. So, the mail would come to my house or come to a P.O. Box but I would actually take it all into Kinko's because, I think I said earlier, I had friends working there or I would make friends with people there and then just set up camp and spread out you know commandeer the counters and just go to town for several hours.

Garrett: How you act in public is important because people will form an opinion as to the kind of person you are by observing your manners.

Julie: What was I saying? So, yeah, I think it was this blend of already being in the habit of going to the post office a lot, making things, being delighted by things coming back. And then the zine, zines were just coming up and so I felt like I was plugged into that scene already and it was a very logical, natural thing to do.

Garrett: Sharing. A folktale by Jeff Grimes.

A young couple are holding hands on a walk which follows a dry creek bed. Under a large cottonwood tree they find the dead bodies of a man and woman. The bodies lie lazily next to a clump of tree roots. There are knife cuts on their clothes and skin. Leaves stick to the dead woman's throat. After a long day of talking with police, reporters, friends, and family the young couple go to the man's apartment. He convinces the woman he had been holding hands with to perform oral sex on him. He thinks these words perform oral sex on me. Although he doesn't say them and uses his hands and body movements to do the persuading. The woman's name is Lilia. She shares a distaste for eating with her mother. As a result, their bodies look very much alike. For instance, there is no difference between the size of a mother's lower arm and upper one. The same is true for her daughter. Now Lilia has a man's penis in her mouth. She thinks she hears a teakettle whistling in the distance. The man's name is Jerry. Without opening his eyes he looks outside the room. In the dark there are two children, a boy and a girl. They are holding a sign and smiling.

Unknown Male (archive tape): This abstraction, called Caprolan Number One is not a painting and it's not on campus. It's printed on Caprolan nylon and can be worn. 

Julie: Yeah, so giving a platform to other people. And I was really interested in the contrast, like how people would approach this idea of here's a very small like parameters right like it's just a couple inches by a couple inches and what can you do in that space. So, I would leave them for people to find and mail back to me and then they would get a copy of the zine. I would give them to other zine makers and we would trade zines. I would give them to like musicians coming through town at the record store. So, for me it was kind of a way to just connect with interesting people and a place for me to pour out some of my own angsty thoughts at that time. Originally the zine had a lot more writing, and a lot more overwriting. Oh my gosh I've been reading through some old issues and the editor, the now me you know a couple of decades working in editing other people's writing is so kind of charmed and horrified by that stuff. But, you know, I had feelings, I had a lot of feelings back then I guess. And there is you know an element of humor and there were reviews, there were some record reviews. I did things like interview toll booth operators about what they loved about their jobs and gas station attendants and in Portland where I was then moved and lived most of the gas stations were run by attendants so. I had this like, I thought it was brilliant. I'd ask every gas station attendant, What's your favorite kind of sandwich? 

And then a friend made like a comic of it. I mean you know it was like, pretty random, quirky, nonessential, all wrapped up and that would all surround the zines that people would send me back. 

Simon: And I'd say I probably left it for like six months or whatever. I left it for a long time and then she kind of reminded me somehow. Usually analogue like, we don't have, I don't have that many mails or texts or anything, but she reminded me going could just get me the thing I really need to post it

So I was like OK. So I kind of wrote something that was on my mind right then and I sent it off and I I knew nothing more about it. I don't know, somehow I do remember her telling me it was online and I must of looked at it online, but it's all a blur.  So, I'm not quite sure.

So, I don't really know much about Julie's Tumblr at all, except for the fact that you're now ringing me about it. 

Garrett: So, if you'd like to play the kids with sign game. Or already have and would like to play again. Or know someone who you think might like to play. Or need some advice. Or want a Connie Francis tape. Or just feel like ranting about the general chaos that seems imminent. Or perhaps you'd like to rave about it. Please send your comments along with a brief statement to Anodyne.

Offbeat: Stay Wild Child (2017 Radio Race)

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This Offbeat episode was produced for the KCRW 2017 Radio Race. The theme was Down With Whatever and included a special bonus clip of David Bowie performing for special consideration. Everything had to be recorded and mixed within 24-hours.

Tape Extracts: 

Unnamed Child: So, what I am making here is a little family.

Garrett Tiedemann (Narration): Thinking is difficult. Getting up is difficult. Planning is difficult.

This morning I left the record player on mistakenly. The old analog hum lingered in time as I got my kids' lunch together. Made me remember what it was like before being a parent. Made me remember my wife sleeping in. Me reading. Time. The air not doing anything.

Instead of taking an idea and planning it out, grabbing a microphone, and going outside; I gave a microphone to a child, to wander around with, carry it. An identity from a child who cannot speaking. Chasing after a child who can. 

Garrett (to unnamed child): You're making a family? What are we going to do with the family once you finish coloring them in?

Child: Go to the park!

 Garrett (Narration): Ideas over product. Ideas over thought excursion. As I just let the recorder go. 

I have this book. It's, in the closest sense, my book. Because they are notes. They are notes that I write as I'm making things, writing things, coming up with ideas. And from time to time I go back through them. Like now when I don't have any idea what I'm doing. Grabbing at words. Trying to screw things together. And when you do that, you're not only taking something and making something anew, but you're reengaging with an idea from a past time. Trying to get a sense of what it was, trying to see its connections to the rest of the page. How a thought got put down and forgotten. How a thought became a thought. Became something obliged to exist.

It's an idea I want to live with, it's an idea I want to store; contain and have as a moment in time. 

I did what the instructions said. We went out, did our day, a certain day in the life. I had this idea for a story about a day in the life of living with children. Being a part of children. Being enrapt in the abstraction and curiosity and experimentalism of sound that is children. Children naturally are an orchestra billowing out at the edges.

It's the thing that drives some people nuts and it's the thing that's most stimulating; a house is dead when your children are gone. There is no sound like their presence or their absence. 

Offbeat: Phone Calls (2016 Very, Very, Short, Short Stories Submission)

The phone keeps ringing.

This piece was produced for the 2016 Very, Very, Short, Short Stories contest and was inspired by the rules of CLIFFORD THOMPSON

Dialogue: "Do one thing for a person, and he think he owes you; do everything for a person, and he thinks you owe him."
Sound: Cicadas whirring
Narrative: The action takes place during the hottest summer on record.

Offbeat: Last Breaths (2016 Very, Very, Short, Short, Stories Submission)

In a small shop they gather, knowingly submitting to the last breaths of suffocation, exsanguination, and repose in a world torn by snow flakes.

This piece was produced for the 2016 Very, Very, Short, Short Stories contest and was inspired by the rules of CAROL ZOREF:

Dialogue: "The animals kept arriving."
Sound: Knives being sharpened.
Narrative: Someone dies from suffocation.

Offbeat: Life (2016 KCRW RadioRace)

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This piece was produced by The White Whale as part of The 24-Hour Radio Race from KCRW's Independent Producer Project. Features the voice of Don Chambers, a musician from Athens, GA. For more information on his work visit http://www.donchambersmusic.com/

Tape Extracts:

Everybody was trying to imitate everybody else because there was a set rule of this is how we're going to do this.

(narration from performance film) I went to the office that day only to see a sign tacked to the door. I was disappointed. I was confused, bewildered. So turned to the only man in town who I thought could help.

If you can get your ego out of the way and let it take on its own life then I think copy and imitation, I'm not afraid of those. You're looking for the ghost in the machine.

It started off with a film of Disneyworld. Like these were my personal films of my childhood in Disneyworld. At some point I had a friend of mine get up and give a lecture on why the Beatles ruined Rock and Roll. And then Pete sits back down and I was like "now ladies and gentlemen, Pete" and another guy came up dressed exactly like him, who does a good imitation of him, did the speech in an exaggerated form of what they'd just seen. This guy's good though, this guy, Curtis, my friend Curtis. 

The one year I was working at the bar and I stepped outside the bar and looked up the street and there was Vic Chesnutt on Halloween night, rolling down the street in his wheelchair with this acoustic guitar in his lap.

(narration from performance film) I was recently hired to copy the Encyclopedia Britannica. 

And it was Curtis doing Vic who he could do, he could do Vic Chesnutt better than Vic Chesnutt. Later that week they played a show. Curtis came out, introduced as Vic, Curtis came out and did a Vic song and then like halfway through the song Vic comes back with ropes on him as if he'd been tied up in the back. And Vic comes out and they end up doing the song together, but I swear Curtis' version of Vic was, what I remember was Curtis' version. 

(narration from performance film) Everyday was the same, and it suited me well.

I definitely am a strong believer in stealing. I'm a strong believer in trying to copy something as exactly as you can and when you go back and compare it to the original thing, and the part that didn't quite get that original thing, that part of it is you. I think borrowing and stealing, pull from wherever you can pull from. I think copying and imitation is a little tricky because copying is more of what I am talking about. 

I don't know if you've listened to the book on tape of Keith Richards' story, 'Life'. That's a really interesting book on tape. It starts off with a professional actor, British guy, reading Keith Richards' story. Then, about eight chapters in, Keith Richards reads a chapter of his own story. And Keith Richards doesn't sound nearly as Keith Richards-ish as the guy who was just doing it. I kinda wanna know who that is.

 Everybody is borrowing from somebody else constantly. You can't help it. It's part of being alive. 

 

Offbeat: Bellhop (#ShortDocs 2016 Submission)

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"We were lied to." This short audio work was produced for the 2016 #ShortDocs competition held by the Third Coast International Audio Festival. This piece was inspired by the "film noir" mini-movie produced by Manual Cinema. In addition to original music by Garrett D. Tiedemann there are music tracks by Manual Cinema within the mix as required by the competition for this year. To learn more about this year's competition and view the film inspirations from Manual Cinema visit Third Coast: http://thirdcoastfestival.org/competitions/shortdocs/2016

Tape Extracts:

I awoke from a dream. Trees lined the city. Night turned on. And we were still.

Kids playing.

(whisper) Why are they so loud?

There is no anxiety. No trace of despair. No pain. No regret. Or any sadness as one falls from great mountain heights. 

Instead the person who is falling often hears beautiful music while surrounded by superbly blue heaven that is filled with rosette clouds. And then suddenly, and painlessly, sensations are extinguished immediately from the body at the exact moment that the body makes contact with the ground.

I awoke from a dream. 

On these tapes was a man. A wall of a man. Held up.

(newsreel) Clearly this is going to have psychological importance.

In the story she asked the most fundamental questions. I work myself to keep from receding into the distance. To find her, playing in the streets, oblivious to the goings on of a tired old man. 

Fingers bleeding. Looking for a burial. Sunlight long in the distance. 

(deep voice buried in newsreel and other audio) Alright, we have to take him away.

The Yokai Trilogy - Witnessing End Times

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This episode of The White Whale winds things down. Concluding Funayūrei's making, John brings us to the guest in his room uninvited and the curious happenings around the finality of the trilogy. It's an ending in a beginning.

The Yokai Trilogy - Absent Presence

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This episode starts addressing the films and how they evolved the way John saw the music. The coincidences of construction keep building onto this new narrative, creating ripples in how everyone can interpret the work.

Testing 1,2

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You have to start somewhere. Seems a guitar feed was the best way for The White Whale to make an entrance. Stay tuned for more episodes shortly.

A place of audio. A place of ideas. The White Whale is a podcast collective of mixtape journalism, long-form documentary, fiction, and sound experimentation. Find us wherever you listen to podcasts, including iTunesSoundcloudGoogle Play, and Stitcher. Be sure to follow us on Twitter and Facebook! Brought to you by CyNar Pictures; a multimedia lab experimenting with image and sound that also releases music via American Residue Records. We try to do things as they are not supposed to be done.