Awpomeness


It's not New York, despite the cavernous avenues and the rushing throngs. It's not DC, despite the large number of black workers in uniforms and white folks in sweaters and peacoats. It feels somewhere in between.

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Keep seeing bridges that arch up beautifully into the nothing, arch up over the horizon, arch up into the wind rushing back down and onto my face.

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Almost fainted on the way down, the wind buffeting the wing had my stomach and my blood convinced that the little bent up end of the wing was about to snap off. Let everyone else exit off the plane, then asked for a Coke. Drank it as the cold wind rushed into the plane and two older Latinas worked row by row picking up people's trash they'd left behind.

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Everywhere, people yell "The weather's so nice!" and "It's so warm!" as I bundle up against the forty degree wind roaring off the lake.

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Todavía me siento mareado, casi listo para desmayarme. Pero voy a resistir el deseo de dejarme vencer.

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In line at registration for the conference, I hear an earnest young woman say to a friend as they beelined across the regal patterned hotel carpet: "I don't just want to write for the sake of writing, I want to write for my project." Lots of bridges that arch up into nowhere.

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Welcome to Chicago.

More on the Dirty War

A few weeks back, I wrote post called "It's not a Drug War, it's another Dirty War" about Cecilia Balli's article in Harper's. I lauded her for her criticism of Calderón's government and his war. I thought she was pushing the analysis further than I'd seen it pushed in most U.S. media.

Today I found an interesting critique of Balli's article by New Mexico librarian and writer, Molly Molloy.  While I read Balli's article as having a solid analysis of Calderón's Dirty War in Balli's article, apparently Molloy thinks she didn't go far enough. Check out her unpublished her letter to Harper's.

...si yo creyera que la escritura es permanente no me atrevería a decir ni jota. Pero como la literatura es tan efímera como la existencia de cualquier pobre insecto, entonces hay que escribir con frecuencia.

- Dolores Dorantes en su nuevo blog

Staying Negative


Josh Kun tracks the history and the present incarnations of the narcocorrido at American Prospect: "Death Rattle: A new musical movement turns Mexican drug violence into catchy sing-alongs." Not sure who wrote the title, since Kun is pretty clear there is nothing "new" about this musical form. And catchy sing-alongs? This ain't Kreayshawn. Narcobanda's multiple beats, conflicting rhythms and general dissonance make it pretty damn hard to sing along. But something tells me Kun didn't select the title. The rest of the essay is full of interesting analysis.

Kun makes clear that the cartels are only following the lead of the larger society, a more extreme version of what's happening all around; as he writes, "If cartels live by impunity, they are only following the example of corrupt politicians, soldiers, and CEOs." Like the Movimiento Alterado says in their song "Sanguinarios de M1:" "La gente se asusta, nunca se pregunta."

Kun also points out the important fact that many of the biggest stars in the field - the Velasquez brothers, Gerardo Ortiz, etc - have U.S. citizenship, either because they were born in the U.S. or because they've spent a lot of time north of the border line. What does this fact mean for the glamorization of violence in the genre? And the fact that most of the narcobanda acts are singing in the first-person like they're members of the cartels themselves? Kun has an opinion:

The Valenzuela brothers were born in Sinaloa but have lived most of their lives in Southern California, where they have been both omnipresent producers and sharp entrepreneurs, at the center of shaping Mexican musical tastes from within the United States. They originally worked in straight-ahead banda, or brass-band, music (their father was a member of one of the biggest bands back in Sinaloa), helped pioneer “banda hood,” or the banda hip-hop craze, of the early 2000s, and last year launched a reality show on NBC’s Mun2 channel that followed them everywhere from a spa day in Phoenix to a meeting with Snoop Dogg. It’s hard not to see Movimiento Alterado as anything but a shrewd business decision, a carefully plotted attempt to cash in on Mexican drug violence as if it were a new dance craze and to do so at a distance—from within the relative safety of the United States. As Adolfo Valenzuela recently told a reporter, “It’s a market, and I’m in the music industry. If I don’t do it, someone else is doing it.” 

It's a lot easier to perform narco-chic killer if you get to back to your palace in SoCal and don't have to risk your life every day on the other side.

At the end of the story, Kun finds something hopeful in narcobanda star Gerardo Ortiz's latest album and specifically the song, "Cara a la muerte." The song is first person, telling the story of narco who's been gunned down and then sings about his lack of hope from his coffin: "Con dolor no descansa mi alma / Solo queda perder la esperanza / Dentro de mi caja." Last year, Ortiz was almost killed himself in Colima when he was attacked; his cousin, Ramiro Caro, and his driver didn't make it out alive. Kun still sees the song as more of a lamentation about all the mistakes and failures of a life badly-lived. And therein, he finds some hope:

As a rejoinder to violence, “Cara A La Muerte” is only one song—a meek offering considering the scope of Mexico’s social crisis—but it’s closer than any narcocorrido has come to joining the protesters and the poets and the bereaved thousands in saying ya basta, enough already, no más sangre, no more blood. It holds out a sliver of hope that as Mexico’s body count continues to grow, there might be a new song to sing.


I want to believe Kun. I listen to this music a lot on the radio (Houston's La Raza 98.5FM right now) and I actually love the multilayered beats, the chaotic pull of its accordion and the nasal strangeness of Ortiz's voice. The sound is refreshing and different from the majority of more traditional norteño music. But I can't find much hope in Ortiz. When he's asked in an interview about tracking down the people who murdered his cousin and his driver, he says he'd rather focus on the positive then think about impunity. And then there's a video of him defending narcos as doing good for the Mexican people; he makes a huge jump after that and starts to defend Hitler. His argument: narcos and Nazis, they get such a bad rap, but they've done some good for people, they've got a positive side.

Yeah, defending narcos and Hitler? Ay, Gerardo, I don't think so. If being "positive" means supporting impunity and defending Hitler, I'll just stay negative, thanks.



Houstonites! I am doing a collaborative performance with Lucas Gorham and David Feil in the Counter Crawl III festival this Saturday. Lucas and David are improvising deconstructed steel guitar and I'm live-remixing text from a book-length project, called Ford Us Over. The poetry and prose I'm remixing is thinking about crossing rivers in Texas, how science names landscapes, how language can be refigured as plant life and rocks. Better just come and experience it!


We're performing at the Mystery Spot at 4pm-ish. You can either bike along with the Counter Crawl crew or email or call me for the Mystery Spot location. Here are details I copied from the Alter Audio site about the whole, all-day, multi-venue festival:

H E A R   Y E ! ! !     H E A R   Y E ! ! !

Beasts of East End.  Beasts of Montrose. Beasts of every land and clime:  Hoist your freak flags and unfurl your superlatives -- Counter Crawl the THIRD doth roll through town, this 28th day of January!

It’s a party on wheels, this funner-all procession, this kaleidoscopic journey through the underpants of the city featuring spontaneous, unpretentious entertainment that will have you scratching your head and asking WHOSE YOU’RE DADA?

Here’s what’s going down.  Most of us ride bikes from venue to venue, but that doesn’t mean you have to.  The whole day’s events are free! Meet up at noon at El Rincon Social.  Then...



El Rincon Social, 12-3 pm
3210 Preston, 77003
* Visual art + Sustainability Carnival
* Performances by Demonic Hen /
    Ancient Astronaut Theory /
    and SPECIAL GUESTS

The Mothership, 3-4 pm
3210 Commerce, 77003
* Swap Meet - BRING STUFF TO SWAP!
* Houston Free Thinkers skillshare

Mystery Spot, 4:20-5:20 pm
(It’s a mystery! Come to one of
the earlier stops to find out where.)
* Performances by: John Pluecker with Lucas
   Gorham & David Feil / Harbeer Sandhu with
   Josianne Modelo / Circuit 7 / Julie Rogers

Donkey Paw Studios, 5:30 - 7:30 pm
2010 Commerce, 77002
* Screen print show + food!
* Music by:  Alimanas / Lazer Cunts /
   Escatones

Jenner House, 7:45 - 10:00 pm
1619 Chapman, 77009
* Visual Art + BBQ + Smilebooth photos
* Performances by Components of the Modern
   Age (COMA) / Zoofelia / Rivers /

Warhaus, 10:00 pm - 12:30 am
4715 Main Street, 77004
* More Visual art
* FLCON FCKR presents NSFW
* Ms. Sandy and Ms. YET



Participating Visual artists: Alice Le, James Hickey, Thien Ho, Amos Garcia, Laura De Leon, Valerie Ramirez, Marcus Adams, Matthew Sullivan, Alex Tu, Jordan Johnson, Brittney Anele, Nana Sampong, Isaiah Lopez, Denis Cisneros, Montserrat Olmos, Maria Heg, Melissa Taylor, Weah, Angel Quesada, Jaja Gray, Elsa Briggs, Christina Todaro, Geneva Gordon, Mitch Johnson, Steven Baptiste, Sid Cespedes, Dianne Webb, Allison Whitley, Yasmin Cespedes, AND MORE!

Counter Crawl is a quarterly, roving, art festival which takes place at different underground, off-the-beaten-path type spaces where cool people are doing cool stuff.  The point is to showcase emerging talents as well as community- and sustainability-minded initiatives.  The first Counter Crawl took place on July 9th of last year, and the second was on October 8th.  They were both pretty awesome, with over 100 participants each time, and this one is going to be the best yet!  

Abigael


People in the know know Abigael Bohórquez. He has a kind of cult status in Northern Mexico and in sexually subversive communities across Mexico. His poetry is well known (among a select group) for its refusal to accept the status quo, its rebellion in content and form.

The poetry of Abigael Bohórquez (1936 - 1995) leaps across traditional boundaries in Latin American literature: both colloquial and neo-baroque, regional and informed by classical traditions, intimately personal and actively political, traditionally-informed and experimental. Despite this richness, his work has been marginalized even within Mexico because it challenges historical hierarchies: particularly, a centralist tendency within Mexican literature which privileges literature from the capital and an aesthetic hegemony which makes little room for the work of an openly gay man.

In the last ten years, there has been something of a renaissance in interest in the work of Bohórquez. A number of presses in Sonora have republished his works. In 2000 a consortium of Sonora publishing houses released an anthology of his work called Heredad (Inheritance); this anthology has since been re-released in two subsequent editions.

Check out a new translation of a poem, "Primera ceremonia"/"First Ceremony," by Bohórquez here in the most recent edition of Asymptote, an exciting new international journal focusing on translation.

It's not a Drug War, it's another Dirty War.


Over the last few years, whenever I return to the U.S. from Mexico, the questions begin: isn't it dangerous? Aren't you afraid to go there? Recently, most people in the U.S. have come to equate Mexico with violence, especially when it comes to the gritty, industrial cities in the North where I've spent most of my time. I've struggled for some years to figure out how to talk about the current violence in Mexico - the tens of thousands of people who have lost their lives since Felipe Calderón came to power in 2006.  I've talked about my difficulties with telling these stories here on the blog before.

A little background: over the last fifteen years, I've been going back and forth to Mexico, first in 1997 on a trip to Chiapas to do human rights observation work and then in 1998 to lead a student delegation of fifteen to the same state. In 2001, I went back again but this time to visit a guy I'd been seeing in Monterrey. That time, for Thanksgiving, I took the bus down and spent 10 days tooling around industrial Monterrey, a very different Mexico then I'd ever seen before. It wasn't exotic, it wasn't totally foreign, it felt as much like home as Houston did at the time. Even thought things with the guy didn't work out, I did love the North, especially because it was so close by and so easy to get to on the bus from Houston.

And the love grew. In 2004, I lived for a year in Tampico, the city where my partner was born. In 2006, I lived for a summer in Tijuana doing a writing workshop.  In 2008, I went for six months to work at the International Book Fair in Monterrey. From 2009-2011, I lived in Tijuana, crossing several days a week into San Diego to work and study at the University of California. For all of these last eleven years, I've been going back and forth pretty constantly⎯to Monterrey, Tijuana, Tampico, Juárez, Chihuahua, Hermosillo, Mexico City, Querétaro, Reynosa, Matamoros and more. Usually I'm on the bus or driving so I'm passing through a lot of towns and ranchos along the way. And of course, Houston or San Diego is not so far from the border⎯Aztlán is alive and kicking in all kinds of new 2012 ways.

So how to talk about this violence in a place I love so much?  A place⎯the North⎯that I think of as part of a larger region on both sides of the border.  A region that, more than any place in the world, feels like home to me.

I don't want to be silent about the violence, but it can be hard to speak clearly about what's going on. In a recent book called To Die in Mexico, John Gibler points to the existence of a particular brand of silence, what he calls narco-silence: "For drug war silence is not the mere absence of talking, but rather the practice of not saying anything. You may talk as much as you like, as long as you avoid the facts. Newspaper headlines announce the daily death toll, but the articles will not tell you anything about who the dead were, who might have killed them or why. Not detailed descriptions based on witness testimony. No investigation."

This silence means that it is inordinately hard for anyone, Mexican or foreign, to fully explain what is going on, to get clarity or to provide a larger context.  And many accounts from the U.S. (even in leading newspapers like the NY Times) are just horrible⎯written by journalists who parachute in and then attempt to sum up the situation while getting most everything wrong, oversimplifying, generalizing or writing scandal-based work that doesn't go deep.

Well, today I stumbled on an article in Harper's by Cecilia Balli about the violence in Mexico and specifically about the corruption, torture and human rights abuses being committed by the Mexican federal government and the Army under the cover of the "War on Drugs."

Over the years, I've talked to a lot of people in Mexico from all backgrounds about how they see the violence.  This much is clear: the way many of my friends (and the ones whose instincts I trust the most) talk about this violence is totally different from most portrayals found in U.S. or Mexican or international media. There is a clear sense, a certainty, that Calderón is behind the spiraling numbers of dead. There is a lot of anger against him personally and a complete distrust of any governmental institutions. Some insist that the army and the government itself is behind much of the abuse.  For them, the era of drug dealers killing drug dealers seems to have morphed into a different kind of war - one with a lot more complications and more guilty parties.

Balli's article does an amazing job breaking down the way the Mexican Army and the federal government have tortured and killed their own citizens under the cover of this campaign against drugs. Through diligent, long-term research into the issue, she's been able to piece together a very different story.  A story about disappearances, torture and impunity.  As she makes clear: Just one case of military abuse should be enough to submit Calderón to judgement, or even imprisonment.  But it will take a lot of journalism like this and strong activism to change the story in the media from one about a "Drug War" to one about the state-orchestrated violence and impunity in Mexico.  (There's been some amazing work on impunity in the last year as well. If you haven't seen Presunto Culpable, watch it soon please.)

To be clear: this is not just a war between cartels; it is also a campaign of fear and torture being waged by the Mexican government against its own citizens (with US government support and complicity, of course). But Balli points out a critical difference between this dirty war and previous dirty wars in Mexico or in other countries in Latin America (Chile and Argentina come to mind): its victims are largely not political activists or student protestors. While there is also intense violence directed against activists and journalists along the Northern border, the tens of thousands of dead are mainly working-class and lower-middle class Mexican citizens.  As Balli writes:

Questioned about the violence during the campaign's first days, one general told the press: "I would like to see the journalists change their stories, and when they write that there's been 'one more death,' they'd instead say there's one less criminal."

This is the logic behind this state-orchestrated violence.  Everyone is guilty until proven innocent (which is in fact the law in Mexico) and therefore any tactic (including extra-official murder, torture and disappearances) is acceptable. The violence has its roots in poverty and lack of opportunity and also in the lack of effective legal mechanisms or accountability in Mexico.  As Balli writes about the tens of thousands of people tortured, killed and disappeared:

Because they were nameless citizens on the margins of the country and its conscience, few will rise to defend them or reconstruct their stories.

I'd like to thank Cecilia Balli for doing this hard work to reconstruct the stories of Jaime Alejandro Irigoyen, Benjamín Medina Sanchez and others. She's long been involved in and writing about this borderless & border-filled region between Mexico and the U.S.  I have so much respect for her work, because I know personally how hard it is to sift through all the information. It's been fifteen years since I first started going to Mexico, and a lot of the issues of repression, violence and impunity remain the same.  And the U.S. government and U.S. citizens are complicit in so many ways.

I hope you will take a few minutes to read the article.  Let me know what you think.



I love how anywhere can be boring.
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How Rihanna and Kreayshawn travel.  Making my way through the Top 40 from 2011 right now.  Thanks, Lana Turner.
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Yes, I'm on the other side of the world. Hot summer afternoon, the sun bashing against the glass and the curtains drawn against it.  Hot hot hot.  I say later: I'm going to the roof of this highrise to draw the cityscape.
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Bolaño cita a Pascal para decir: Cuando considero la corta duración de mi vida, ... el pequeño espacio que ocupo y incluso que veo, abismado en la infinita inmensidad de los espacios que ignoro y que me ignoran, me espanto y me asombro de verme aquí y no allí.
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This tiny block of cement risen up in the sky like a platform to look out at the city and the Andes beyond. And the Andes higher than that beyond that.
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The hydrangeas are huge and pink or blue and it looks like New England.
The houses are low and wooden and perched on well-trimmed grassy hillsides; almost all of them are advertising the sale of something with road signs and it looks like Route 1 in Maine.
The cacti tower high above the dusty earth and it looks like Arizona.
The buildings are grey and dirty, dripping with something resembling water and innumerable and it looks like NYC.
The vineyards stretch off in the distance and it looks like North San Diego County.
The mountains are tan and hazy in the distance with tall spindly trees in the foreground and it looks like El Paso.
The small towns appear around a corner and the houses are bunched together in a little cluster and it looks like the Valle de Guadalupe.
The insides of the houses and bus terminals are made of varnished wood and it looks like ski chalets in the Alps.
The bathroom on the bus stinks and it smells like the one between Houston and Tampico.
There is laughing, talking, drinks clinking, the hum of people from the bar next door and it sounds like Calle Sexta in Tijuana.
The sidewalks around the downtown plazas are clean and marbled; the subterranean entrances to marble-walled museums have marbled steps and it looks like Washington, DC.
The rundown wholesale market is full of herbs, beans, toys and candy and it looks like Mexico City.
The thin dry leaves of the acacia trees resist the brutal heat and it looks like Tucson.
The Metro is full of seventies modernist details and typefaces and it looks like Monterrey.
The pine trees are tall and bushy and full and it looks like Colorado.
The tunnels are open except for beams that cross them and mesh wires to cover the gaps and it looks like Barcelona.
The eucalyptus trees grow like gangly teenagers and it looks like La Jolla.
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A girl asks me if the U.S is going to invade Chile.  If there will be war between our countries.  I say no.
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Un niño listening to reggaetón - while his sister sleeps - drinking apricot juice from a straw: I scribble this down on a sheet of paper quickly so as not to be seen.  Now I type it out on the screen for you to read wherever you happen to be.

Book Sprint!

We tackled Maker Culture, Hacking, Artistic Research, Citizen Science, and Computational Art, wrote about over 60 artists, and created a gigantic timeline that includes everything from the establishment of Radio Shack to Creative Commons and Kickstarter. WE DID THIS IN SEVEN DAYS, with little sleep and lots of instant feedback from faculty and students at CMU, as well as artists who generously skyped into the conversation at a moment’s notice. The product of the sprint, New Art/Science Affinities is now out in the world and available as a free download or you can purchase a hard copy.

- An amazing "book sprint" explained by Andrea Grover on Glasstire.

Upcoming Events in Houston

Wednesday, November 30



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Tuesday, December 6

Slinging Ink at Big Star Bar
December 6, 2011
7:30
Big Star Bar, 1005 West 19th St., Houston, TX, 77008
Join DiverseWorks as we gather at Big Star Bar for the first night of a new series called Slinging Ink. Four readers have been selected to read their own short-form writing on a single theme. This round’s theme is: 

I WAS LOOKING FOR A JOB, AND THEN I FOUND A JOB, AND HEAVEN KNOWS I’M MISERABLE NOW.

Slinging Ink promotes not just creative writing, but also short forms like memories, reports, notes, letters, recommendations, lesson plans, proposals, complaints and confessions.

Submissions included fiction and real-life stories about quitting, getting fired, or holding on for dear life to an awful job just to pay the bills. Writers focused on first days, workplace injuries, questionable judgments, and ordinary tedium. A blind panel selected four readers for the competition. We are please to have John Wayne Comunale, Wanda Harding, Dean Liscum, and John Pluecker to read their works.

The audience at Slinging Ink will decide who wins a $100 cash prize by the volume and enthusiasm of applause at the end of the night.


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Sunday, December 11


POLITIQUEER
6:30 pm
Houston Institute for Culture, 708-C Telephone Road, Houston, TX 77023
$ Free
Featured artists and performers include: Philomena Bradford, William R. Duell, Loriana Espinel, Amanda Ford, Jonatan Lopez, Koomah, Eli'jah Carroll + Robin Mack + Jay Mays, John Pluecker, Stephanie Saint Sanchez, Rowdy Tidwell and Alyx Trouble

VBB is excited to kick off our 2011-12 East End Live Art series with POLITIQUEER, a continuation of art and conversations from VBB's June 2011 production that presented art from the perspective of GLBT / queer artists. The December 2011 show is curated by Sima Shakhsari and Jennifer Tyburczy who announced an open call for artists leading to a rich variety of submissions from the community. The fourteen cutting-edge artists ultimately chosen for POLITIQUEER will present multidisciplinary art - video, performance, poetry, visual art and more. As always, there will be food, drink, open mic and community!


Well in general there are two forms of listening: focused listening and open, global, and receptive listening. This is also true of eyesight, you can focus on something for detail and you can have a peripheral vision of the field. Then, you can also defocus your eyes so that you take in more of the 180° that you can see, and thus you become quite sensitive to motion. The same applies to hearing. You can in a way defocus your ears so you're taking in all of the sounds around you, inside of you, in your memory or imagination all at once. The best image or metaphor I can give for it is a tapestry of sound: threads of sound that come and go and some that stay. Trying to expand oneself to include more and more of the field, I call inclusive listening. And then when something attracts your attention to focus in on, that's exclusive listening. You can do both at once, actually. I have a lot of exercises and pieces that try to expose these different forms. And this is what we do in the Deep Listening retreat. Deep Listening is a process. I guess the best definition I could give is listening to everything all the time and reminding yourself when you're not listening. You also have to understand that there's a difference between hearing and listening. In hearing, the ears take in all the sound waves and particles and deliver them to the audio cortex where the listening takes place. We cannot turn off our ears--the ears are always taking in sound information--but we can turn off our listening. I feel that listening is the basis of creativity and culture. How you're listening, is how you develop a culture and how a community of people listens, is what creates their culture. So that's the theory in kind of a nutshell.


- From an interview with Pauline Oliveros, who will be performing this Saturday in Houston.


(On Houston in the 30s & 40s when Oliveros was a child, she says in the same interview: I lived in Houston, Texas. I was born in 1932 and grew up at a time when humans had less impact on the environment than they do today. I mean, now the frogs are leaving and vanishing. The frogs in my childhood could be heard loud and clear. Then of course, now so much is paved over with asphalt and cement that the cicadas are trapped and can't get out. But you can still hear wonderful stereophonic cicada sounds in Houston as you walk or drive down the street. And all of those sounds were very important to me in childhood. My mother and my grandmother were both piano teachers, so I heard piano music being played in the house from early morning until early evening as they practiced and gave their lessons. We had a phonograph, a wind up Victrola, on which I used to play records. I listened to them and loved it when the phonograph ran down so the music would start to droop; that was fun. I used to listen to my grandfather's crystal radio, and I loved the static that came out of it. It was so hard to tune to stations on that radio. Same thing with my father's short wave radio, I loved the whistles and pops and things that were in between the stations. Radio was a very, very prevalent influence in my childhood, and I loved the sounds made by the foley people, the sound effects for different radio programs. So those were the different sound influences on my childhood. Then of course, I went to all kinds of musical events. In Houston there was a lot happening in the musical scene. There was the symphony orchestra, musicals, recitals, and so on. So it was very rich, as far as my memory can tell you.)