By Bob Ruggiero
By Hilary Hughes
By Peter Gerstenzang
By David R. Adler
By Devon Maloney
By Brian McManus
By Jessica Hopper
By Harley Oliver Brown
"This song is from a woman's point of view," MC Paul Barmannasally intoned Friday at the Westbeth (referencing so-serious hip-hoppers the Lox, he proclaimed himself the "bagel"). That lady had little more to say than "I can't tonight," as Barman channeled and mocked predictable perceptions of womenthough she sure strung together some clever rhymes. From Barman to Wesley Willis to Ari Up, the 20th annual CMJ Music Marathonstructurally diverse owing to its sheer sizepresented in sounds from way out, often free-your-mind-and-your-body-will-follow danceable.
Willis (Friday at Luna Lounge), a formerly homeless 230-lb black schizophrenic who poked at a "Demo"-set keyboard, held an extended head-butting session with a fan and challenged "the demons" to the nervous laughter of his Star Trek-ish audience. Songs in the Key of Z compiler and "Outside Music" panel moderator Irwin Chusid called him a "teddy bear," a typically condescending term from this infantilizing assemblage of experts, who described the artists as having "ambition exceeding ability" and a "lack of self-awareness." (Miriam Linna of Norton Records was the sole dissenter: The panel's "intellectualism makes me vomit.") Better "teddy bear" than "freak" and "imbecile," words used to describe CMJ performers B.J. Snowden and Jandek. Erik Lindgren of Arf Arf Records confessed it unnecessary to give elderly Jack Mundrian royalties or even a copy of the comp in which his repertoire of real old rural tunes appears, while filmmaker Doug Stone pointed out to an unaware Chusid that Snowden was "very upset" to have her song on his disc.
The advent of self-playing Casio keys in the '80s was assailed by these in-on-the-outsiders, but such simple equipment was put to excellent use by the boy-girl Winterbriefand Brooklyn's also-lady-led Semiautomatic, who opened for Willis. Bis-influenced but past powerpuffed twee punk, the duos showed room for improvement, which is to say potential. Meanwhile, at the synth-pop showcase (Thursday at Lion's Den), clean-cut New Clear Sky did a pulsing, only vaguely twee cover of Sabbath's "Paranoid" with soaring vocals, more poking and programming. Though Le Tigre (Saturday at Thread Waxing Space) claim not to value mastery over their digital devices, their innovation mastered an overcrowded party. The two dudes from (the band) Princess, done up in coneheads and spacey suits, exemplified the enthusiastic crowd response with sharp synchronized onstage dancing, even executing the Running Man, MC Hammer-era glory! Kathleen Hanna's bopping and shouting, though, outshone even the school dance shimmying.
Also winningly frolicsome was Bratmobile's Allison Wolfe (Thursday at Westbeth). Her dress drenched with lascivious Rolling Stones tongues, she was part gymnast, part majorette, kicking her legs, pumping her arms, lingeringly shaking her sexy ass at the audience, and even cartwheeling the length of the stage in the band's final number, dedicated "to all the girls." Petitioning the audience for a screwdriver (part of Bratmobile's appeal is wanting to get drunk with them and storm the jukebox), throwing their new record into the crowd, and coyly joking that no boys were getting any "Lookout! pussy," they chanted "Fuck you!" and "Girls rule!", underscoring the music's raw repetitionMolly Neuman even timed her drumbeats to her gum chewing.
That girls rule was uncontested at Saturday's "Backlash" panel, although "complexity" details ranging from the politics of Limp Bizkit fandom to wearing Gucci stilettos to sleeping with rock starswas moderator Ann Powers's theme. Joan Morgan Murray, executive editor of Essence and the only nonwhite respondent, referenced women's selective myopia regarding sexism in music, because "If the beats are slammin', they're slammin'." Most important, she pointed to controversial lyrics as a platform for public discussion of feminism. Powers, pop critic for The New York Times, also sagely cautioned against dropping one's guard for "sensitive" emo boys. The "Womyn in Loud Rock" gathering rocked with the following stupidism, courtesy of a bystander from the metal act Crud describing what he told himself after lunching with three industry women: "I am one smooth prick."
Speaking of slammin' beats: People Under the Stairsmultiracial left-coast hip-hoppers with a Wes Craven film namesakehad ones as complex as their jokey rhymes (Thursday at Nix). Sez critic John Kenneth Muir, incidentally illuminating down-underers Tres One and Double K's case: "Although some of The People Under the Stairs' moral explorations are simplistic, the film is a courageous one that exposes the dark consequences of the Reagan" Clinton?"revolution and revels in the joys of diversity and community." Handsome Boy Modeling School spun studies in contrasts: Dan the Automator claimed it was past his bedtime, so it was understandable he seemed half asleep at the decks; Prince Paul recalled the early '90s like Malcolm X caps (no Hammer or Running Man, though) with a sick mix culminating with Black Sheep's "Choice Is Yours." This or that, indeed.
Speaking of studies in contrasts: Pioneering Ari Up (Saturday at Wetlands), 14 when she became singer for the influential punk-rasta outfit the Slits, has a new format. Invoked at "Backlash" as never having abandoned her independent ideals, Ari marked her resurgence as an all-out Jamaican-style reggae performer on her own terms (although her best track was the Slits' "New Town"). In a teensy pink iridescent miniskirt (which she eased down to reveal a sparkling thong) and spiky heels (to which she directed the audience's attention), Ari, sensuously handling and flinging her ass-long dreads, flaunted overt sexuality onstage, even as her prepubescent daughter sang backup. Most representative was her anti-"grown-ups" songand she certainly hasn't yet been assimilated by that so-called corrupt world.