October 19, 2016 | by Brian Cullman
In 1973, I took a brief sabbatical from college to study in Switzerland at the University of the New World. I still have the small red course catalog somewhere. It was a school started by visionary hustler Al de Grazia, who had been a professor at Brown and … well, you should see what they offered: a faculty that included Allen Ginsberg, John Fahey, Ornette Coleman, Robert Motherwell, Immanuel Velikovsky, John Cage, Ram Dass, twenty-four-hour music rooms/art studios/libraries. There were stalls set up on the quad promoting it.
The university was situated in a tiny canton just outside Sion. The university was actually situated somewhere deep in the recesses of Professor DeGrazia’s mind. There was no university. It was, to be charitable, a work in progress. There were no libraries or music studios or art studios. There were no classrooms. There were no dormitories. There were no teachers. There were only a handful of students—mostly from Antioch—and we were all housed in rooms in a nearby ski lodge. From this distance I can’t tell whether it was a scam or a pipe dream. I had to humbly ask to be readmitted to Brown, and Dean Hazeltine was sympathetic but let me dangle in the wind for a few weeks just … well, just to give me time to reflect.
It turned out to be an interesting time. Read More »
March 14, 2016 | by Brian Cullman
George Martin, 1926–2016.
In the summer of 1971, I got a lift to Marblehead, Massachusetts, to audition for George Martin. It wasn’t my idea. I wasn’t ready; musically I was barely ambulatory, but my friend Dick Shapiro had dropped out of school a few months earlier and landed a gig with a mobile recording service who’d set up shop in an old house on the Cape to record Seatrain. George Martin was producing, and had agreed to see me.
When Martin walked in, he filled the room. He was trim and neatly pressed, gracious, with just a hint of malice behind his poise, like an assistant principal making a surprise visit to the classroom. I got the sense that he’d rather be sharpening pencils. Read More »
January 14, 2016 | by Brian Cullman
Remembering Giorgio Gomelsky, 1934–2016.
I met Giorgio through Robert Fripp in 1980. He thought Giorgio should work with me on the single my band was getting set to record. At the time, Giorgio was living in the loft that housed Squat Theatre, an Eastern European guerilla theater collective on West Twenty-Fourth Street. They put on strange events and pornographic puppet shows at their loft, ten dollars at the door, stay all night. And they sponsored Polish punk bands, held rallies protesting rent and sodomy laws, dealt dope, and more or less lived a wild East Village life, despite being in Chelsea.
Giorgio was a big, beefy character with a mane of thick greasy black hair, a goatee, and a thick Russian accent that grew more and more pronounced as he drank or expounded on his various theories on life and music and the evils of the bourgeoisie. Fripp had told me stories of how Giorgio had shown up at the Marché International du Disque et de l’Edition Musicale, the music business trade show, one year with a parrot on his shoulder, and how, anytime he was approached by a label about licensing material, he’d confer with the parrot in Russian before shaking his head and turning down the offer with a show of disdain. In this way, he was able to generate more attention, double his offers, and confound various labels into thinking he was a genius. Fripp also implied that, at the close of MIDEM, Giorgio had eaten the parrot. Read More »
August 24, 2015 | by Brian Cullman
There was a time when I didn’t know Gordon Bishop, but that time’s not worth talking about.
I met Gordon in his shop, Tropics, sometime in the early eighties. I’d been walking through Soho and noticed a store I hadn’t seen before. Inside was a jumble of Javanese antiques—carved doors; four-poster beds; objects that seemed decorative, ceremonial, and incomprehensible—along with fabrics and wall hangings and kites and sculptures. It looked like Santa’s workshop, if Santa had a penchant for priapic statues of half-dressed men with enormous erections and wicked smiles.
No one seemed to be working there, but I heard flute and gamelan music coming from the back room. There was a curtain separating me from the music, along with the sort of velvet rope commonly seen in discos, and a hand-painted sign fixed to the rope: DO NOT ENTER. Read More »
March 20, 2015 | by Brian Cullman
This was not quite what I’d expected.
I’d come to the psych wing of Butler Hospital, in Providence, Rhode Island, to present a music seminar or, more properly, a sing-along, as part of a community service requirement for my college. This was in the late seventies. I was in a brightly lit dining hall that smelled of tobacco and medicine. There were twenty-five or thirty folding chairs but only thirteen or fourteen patients, all of them sad and doughy, middle aged or older. I sat facing them on a gray wooden stool and looked out at the assembled not-quite crowd. They looked like retired firemen, metalworkers, or lunch ladies; men with mustaches, pensions, and bad habits; women with secrets; people who rode the bus, who stood in line and then stood in the same line again. I’d read The Bell Jar, some Randall Jarrell, and I had a vaguely romantic, if ill-defined, sense of life on the other side of what passes for sanity. But this was not a good advertisement for crazy. Read More »
January 11, 2014 | by Brian Cullman
My father bought me a Swiss watch when I was seven. The strap was too big and needed adjusting, but when I could finally put it on, I felt a surge of electricity pulse through me, as if I’d just been shackled to time’s wrist. No matter what I did, I couldn’t get the ticking of the second hand to sync up with the beat of my heart.
I stopped wearing it and kept it in my pocket, only later finding the proper use for it: timing the forty-fives I bought and listened to in my room, checking the accuracy of the time on the label to the time on my watch. The Beatles’ singles, I found, all listed the correct times. The Rolling Stones’ singles, not so much. They’d often claim their songs were fifteen or twenty seconds shorter than they really were, hoping to get more airplay from DJs, who would often opt for a song they could run right into the news break. For me, it was the first hint that time was negotiable, that with the right connections no one had to pay full price for an hour. That being the case, what was the point of a watch? I haven’t worn one since. Read More »