- Intro, Summary & General Questions
- STI - Paper Dollhouse
- Why Kids Quit Sports
- Why Kids Quit Sports - Changing the Game Project
- Inside Thirteen
The sonic combination of noise, IDM, post-industrial music, drone, and techno takes us to the notorious Willowbrook State School for the mentally disabled. Listening to this masterpiece is just like stepping into the now-abandoned Willowbrook complex, like a trip straight to hell.
The album is a must for any heavy and intense music lover, specifically for those fond of Autechre, Pan Sonic, Emptyset, early Speedy J or even Whitehouse. Secret Thirteen Mix is a musical gem compiled and mixed by Broken Bone. Music is the most powerful mood changing experience. With this mix, Broken Bone have drawn a profound and uncanny modern picture, with perspective, still life and chiaroscuro. If you are always hyper, hyper becomes normality.
The invisible folklore of the city. Nina: Even though A Box Painted Black and Aeonflower were both mainly recorded in London, we were always drawn to natural sounds as much as mechanical ones. Birds and water have always somehow been present amongst the drone of aeroplanes and sirens. Like dream and waking worlds, one cannot exist without the other. I no longer live in the city. I moved to rural Suffolk a year and a half ago and this shift has fed into the music. We spent a lot of time roaming the fields and coast, recording in the cottage and outside and developing ideas inspired by folklore, local history and the natural world.
Intro, Summary & General Questions
The rawness of the landscape and organic found sounds inform and twist our ideas and expand the sonic spectrum. A: There is. I was born in London and feel close to the heart of the city. I was always fascinated by Soho as a child. Musically, I feel like I grew up with a lot of music that felt unequivocally borne out of London and certain aspects of the London club scene. But the folklore element is really important, the peace and ancient tales, hills, countryside and trees, talking and dreaming in a different way in fresh air with bird sounds and water running.
A large part of the new album was recorded in Suffolk and is filled with these atmospheres. A: No, but that was part of the interest, in researching stories about the weird fabric of tales built to explain certain experiences, marking traditions and learning about mythologies connected to the region.
Nina and I chose the subject of ritual and were able to construct experiences like burning coloured smoke at dawn and making recordings in a cemetery in a meditative state as a response to the theme.
It was a really personal take on it, but we read about Devon Folklore in parallel and the recordings developed a certain gravitas as we repeated the words of the stories like chants alongside our own explorations. N: It was a magical way of working and creating sounds, channelling into something deep and historical which we felt connected people and lives through temporal portals.
STI - Paper Dollhouse
The experience has enriched the way we think about history and the sense of place and how we can feed these ideas into the music. It became as much about states and specific experiences we went through as the actual sounds. Some were unreleased tracks that I felt held their own and felt precious in their own way. A: For MoonDome I had a really specific pretty sci-fi and slightly industrial aesthetic with the black and white prints and artwork but I liked the novelty aspect of an extra element with a coloured cassette.
N: For me the visuals and artwork are just as important as the music.
Why Kids Quit Sports
Everything comes from us and everything visual is deeply connected to the music. He preferred to forgo the usual props of the magic world, working only with whatever happened to be on hand. During his senior year of high school, Robbins began dating the daughter of a local minister, and she became pregnant. After much dour conferring between the families, the pair got married. Instead of calling , he called a local circus clown with fire-eating experience to come and help.
He started reading books on personal development and sales techniques, and also put in a brief stint in telesales.
When Robbins was twenty-two, he decided to move his young family to Las Vegas and devote himself to magic full time. Things began inauspiciously. On his first day in town, he was robbed at gunpoint, and for several weeks he could barely feed his wife and son. He took a job working for a chain of magic shops, doing graphic design and demonstrating tricks. His marriage quickly unravelled and his wife moved to North Dakota, taking their son with her.
I thought my life was over. I had a diamond and a sapphire—where are they? While Robbins was being searched, the woman went to check her room and discovered that she had left her jewelry there. Robbins was offered his first permanent gig. His job was to dress as a wizard and provide seven minutes of entertainment for tourists waiting to be led to dinner by a toga-clad hostess. At six shows an hour, five hours a day, five days a week, forty weeks a year, that works out to at least eighty-one thousand pockets picked.
Before long, magicians from all over the country were stopping by to see him work, and when they asked him about his methods he realized that he had nothing to tell them. Then he showed me a few steals, which was so cool. He was soon in demand as a corporate entertainer.
Why Kids Quit Sports - Changing the Game Project
By the time he turned thirty, he was a fixture of the Las Vegas sleight-of-hand scene. Looking around at the men who had once been his inspiration, Robbins realized that he had become their peer. Robbins earns a decent living, mostly by performing at corporate functions in Las Vegas and around the country, and by doing a variety of consulting gigs. But, from time to time, he wonders about reaching a larger audience. His friends, too, have a sense that his preternatural abilities mark him out for finer things.
Jillette thinks that Robbins has yet to find just the right vehicle for his talents.
How do I come away from the show a different person? A few years ago, Robbins came up with an idea for a real-life Whiz Mob: a group of ex-cons, magicians, and cops, who could be a kind of performing brain trust, lecturing and consulting on pickpocketing, con games, crooked gambling, fraud, and deception. One winter morning, Robbins and I drove four and a half hours north from Las Vegas, through the desert, to the Tonopah Conservation Camp, a minimum-security prison, where a pickpocket named Gary Scott was serving time.
Scott, at five feet four and two hundred and ten pounds, cut a memorable figure. I later heard his appearance compared, more than once, to a bowling ball. His hair was plaited in cornrows, and he walked with a slight limp. I used to play in the ghetto. Then I started playing Skokie, then I started playing downtown in the Loop.
They got Shot-Jims down there, and if you can play at that level and beat a chump, right there on the corner in front of they face—believe me, you can play. Robbins grew excited. Robbins explained what he did for a living, and demonstrated on Scott, who was flabbergasted. They spent the best part of an hour comparing techniques, and talked about projects on which they might collaborate after Scott was released.
Robbins suggested that they could work on a public-education crime-awareness project. And imagine if you could sell the rights to play those films. A few months after this meeting, Scott was transferred to a halfway house near the Las Vegas airport, and Robbins took to chauffeuring him around town.
He wanted to get to know Scott better, and also to keep him away from the lures of public transportation. Scott was excited about getting involved in show business. He also had a plan to launch a line of theftproof clothing. Robbins saw tremendous potential for him, but he tried to manage his expectations, explaining that none of it was going to happen overnight.
Once, he pressed Scott about whether he was committed to the hard work it would take. A rangy man in his early fifties, with a rawboned face and a Southern twang, Rod is widely considered one of the finest card cheats alive. His nickname refers to his signature move—invisibly transposing the top and bottom halves of a deck.
His career included a stint as a dealer for a casino in Las Vegas, where he made sure that certain well-connected individuals left the table happy. His luck ran out, though, when he became obsessed with beating slot machines, and he wound up serving a yearlong sentence. Since then, Rod had kept himself out of the clutches of the law, hanging around magic circles while working as a salesman at a used-car lot.
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The Whiz Mob represented a chance to put his criminal skills to legitimate use and earn the money for hip-replacement surgery, though he was wary. So he gave Scott a choice. For Shalhoob, the Whiz Mob offered a way of breaking into the lucrative law-enforcement convention circuit and gave him a creative outlet for his obsession.
Robbins threw himself into the role of team leader and arranged for Rod and Gary to test the waters as public speakers and performers, first at a law-enforcement conference and then at a walk-around magic gig. Unfortunately, Scott, despite his outgoing personality, was petrified of getting up onstage, and, despite his reputation as a cannon, his sleight-of-hand skills were not audience-ready. One afternoon, I watched Robbins teach Scott a routine in which he had to ask a spectator to sign a twenty-dollar bill, fold it, wrap it in a handkerchief, and put it in his pocket.
After some byplay, the spectator would discover that the bill was no longer there, whereupon Scott would pull from his own pocket a small metal tube, secured with a padlock, and remove the signed bill. Scott tried the routine. As he reached for the silk, he looked down. Robbins jumped up. You know where your pockets are. Take your time. Scott started again.
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Thank you very much, sir.