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Cat Jams Label releases appear at Maude Vintage Clothing and Costumes, the Peace Nook, Whizz Records, Ragtag CinemaCafe, Slackers, and Apop Records, and the on-campus University Bookstore in downtown Columbia, Missouri, as well as the Slackers in Jefferson City.

Cat Jams Label releases are in format at Columbia radio stations KCOU 88.1 FM and KOPN 89.5 FM.

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since 11/13/03 

©2003-5 Cat Jams Label / Blanche Braden / Aaron Arnoldy / authors & artists / Channing Kennedy


Label

7/31/2005 A simply massive update.
sound images 025.jpgThank you to everyone who came out to and who sent good vibes to the Christmas Illusion 2 event and VHS release party on Thursday (Friday in Japan). Witnessing the collaboration firsthand was astonishing and novel, and it's a shame more people didn't come out for it, but we were definitely encouraged to do it again.


Here's some photos and stills from the two simultaneous videolinked shows.

And here's the jam created by Jerusalem and the Starbaskets at the show:
Jerusalem and the Starbaskets, "Christmas Illusion 2 live reinterpretation, Ragtag 28 July 2005" 67:43 47.8m

Kim played drums with sticks, brushes, and maraccas, and Jeremy played guitar and eked out snippets of the original Pokemon and LOOM tracks from a reel-to-reel, running all of it through several sampler and effects pedals.

Thanks a lot to christmasillusion205 Yuko for coming out and translating for us; she definitely made the evening go a lot smoother, and enabled a greater depth in the interaction. And a very special thanks to Japanese culture magnate Jean Snow for giving the show so much hype. Fun fact: he is not a girl

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Congratulations to Dzima for being the Cat Jams webstore's first customer. He lives in Australia and bought the All-Inclusive DVD.

OBELISK is up to #14 on the KCOU Top 30, and the NEKOZE comp is on there too, but we both got smooshed by Tiny Pants!, who have just joined the exclusive pantheon of local artists to get to #1, without even calling in and requesting themselves or playing their own CD on the air all the time (presumably).

I'm hosting some mp3s of the 'Clash of the Titans' band-battle finals held at Eastside Tavern on 16 July 2005; Bald Eagle, Witch's Hat, and Warhammer 48K, as recorded by Alex on minidisc. Here they are.

I also ripped two songs from tapes given to me by Timothy Linn, currently attending my alma dropouter (Truman State in Kirksville). They're good! Bogus Men

I also ripped a new Tape Store EP, handed to me by Chris the other day.
Tape Store, I used to be a tool... but now I'm a Super Tool 7/26/05
side a 15:00 21.7m
side b 10:57 16m
bonus track 0:48 1.2m

Also, there's a photo portait booth up at the Columbia Mall. I forget which wing it's in, but you can see Rex (drummer for the Pows/Sabertooth/Miami Dragons/Cat Jams High School Jazz Ensemble)'s senior portrait. He looks pretty intense!

Also, congratulations to Sabrina for defeating all comers at the All-Girl Armwrestling Contest at the Sapphire Lounge the other night. It was bad ass sss.

Also, Digiki (recently arrived in Tokyo from Paris) has started a new podcasting project, and it is excellent (of course). It's Polypunk, dummy. Contributing to the awesomeness is the Kawatorized Punkcaked MC Cat Genius remix following Nirvana at the halfway point.

This Shobus thing is great. Boy have I wasted my summer in comparison.

Do you know about Wizard People, Dear Reader by Brad Neely? I felt it to be remarkable. I uploaded to to the secret directory if you don't want to mess around with BitTorrent. I also burned a copy for 9th Street Video to rent out with the movie, if they didn't just keep it for themselves.

Here's all the studio-recorded output of Miami Dragons. They only have two more shows (one at Eastside and one at Ragtag) and then they're poofin'. Check the comments on this post for dates.

I found these unattended isolated instrument files on the old Mahjongg site. Poke around, there's some good stuff on there.

I established an iTunes-specific RSS feed for this site. So, if you have iTunes 4.9, you can go to "Advanced", select "Subscribe to Podcast..." and paste in "http://feeds.feedburner.com/CatJamsLabel" (without the quotes), and iTunes will automatically download the mp3s I link to in these here posts. Actually it only downloads the first mp3 in the post, but whatever.



7/16/2005 Entei & Whitesnake with Hiroaki Koshiba
press release -- scroll down for liner notes and show media

Please add this item to your promotions and events calendars, and pass on as you see fit.

Cat Jams Label release JAM-013 VHS
Entei & Whitesnake with Hiroaki Koshiba / Jerusalem and the Starbaskets
Christmas Illusion 2 - an event/work for band, painting, video, performance, and internet
Thursday July 28th, 10:00 PM, Ragtag Cinemacafé, Columbia, Missouri, USA
Friday July 29th, 13:00, Design Festa Gallery, Tokyo, Japan
(these events are simultaneous)


Entei & Whitesnake is Gregg Lewis and Channing Kennedy respectively, a two-piece post-dronemetal project which came together around the 2004 holidays to record a one-off album, Christmas Illusion 2. Channing (me) runs Cat Jams Label, a ridiculous experimental CD-R label based in Columbia, Missouri, USA; and Gregg and Channing's other music projects -- Swamp Fuck, Animal Family, MC Cat Genius, RAVVEO))), the Diet Soda Supertsars, Sudden Impact 2.0 -- have all used the politics of originality, technical prowess, and popularity as touchstones. Christmas Illusion 2, following suit, takes five loosely holiday-themed songs and audio tracks from cartoon soundtracks, video games, and John Cage, and 'covers' them, liberally using elements of the original songs, transforming and fleshing them out with drone guitar, prepared synth guitar, real and synth drums, and iBook.

Channing's friend KOSHIBA Hiroaki, a Japan-based painter who draws influence from Kandinsky and music, agreed to create artwork for the album. Originally slated to come up with packaging, Hiro instead interpreted each of the five songs into an original painting. The group decided that the best way to pair the paintings and the music was to present them as a video; each painting would remain still on the screen while its corresponding track played in its entirety, one after the other, without breaks. The result is akin to listening to a record and staring at the album cover; as the music slowly unfolds, the eye wanders and new facets and details of the painting are noticed, and they in turn bring new connotations to the music. The album's concrete sounds and remaining vocal samples and pop-structure artifacts also serve in turn to ground the abstract paintings. The end credits include Hiro's production notes in English and Japanese, and his photos of the paintings taken before the paint had fully dried; after the long staring session, it's a thrill to steal a glance at the art's life cycle, to be reminded that the paintings are real and physical.

Also on the subject of media, Christmas Illusion 2 is being released as a numbered run of 40 VHS cassettes, with case artwork by Hiroaki Koshiba (a photo he took of his original CD case design, with his thumb and the ground visible on the edges); unlike DVD, VHS can't be easily skipped through, reproduced, preserved, or surveyed. An element of uncertainty and limitation is thus present to clear the work of any remaining charges of triteness. The VHS packaging also includes Hiro's production notes and biography, hidden on the other side of the liner. The show program (for the show I'm about to get to) is designed to slide into the case behind the existing liner, and to complement Hiro's comments with new thoughts by Gregg and Channing.

On Thursday, July 28th, 10:00 PM U.S. Central Time, Ragtag Cinemacafé will host the release show for Christmas Illusion 2. First, the fifty-minute video will be screened; then local space-folk veterans Jerusalem and the Starbaskets will take the stage and perform live reinterpretations of the songs. At the same time (Friday July 29th, 1:00 PM) in Tokyo, Design Festa Gallery will be hosting Hiro's 'Sound Images' show, featuring the five paintings from Christmas Illusion 2. Before Jerusalem and the Starbaskets begin playing, a two-way video link (using Apple's iChat AV software) will be opened between the two galleries. Patrons at Design Festa will be able to see and hear the live band playing new interpretations of the music, and patrons at Ragtag will be able to see Hiro, live at the gallery, painting new works inspired by the new music. After the show, the connection will be left open for audience members wanting to mingle across the ocean; Japanese translators will be on hand at Ragtag to assist the process.

And, of course, any remaining VHSes not already spoken for will be for sale for US$5.00 each. All facets of the performance will be recorded, ostensibly for a future release. This is arguably the most ambitious event yet for Cat Jams, and while I can't say for certain how much of it will work, I'm grateful for all the support it's received thus far from both communities.

To my friends in Japan, most of whom I've never met or talked to: I hope to see you there! (And please consider bringing along your iChat AV-equipped iBook/TiBook and/or a firewire DV camera and/or English-Japanese skills, just in case!)


the music and paintings: (click here to hear and view all)

I Keep My Home In My Heart (from Pokémon Christmas Bash!, a US-released Pokémon holiday album) 5:24
Eyes On Me (from the PlayStation game Final Fantasy VIII's soundtrack) 22:52
PART TWO (from the audio drama cassette that originally accompanied the LucasArts PC game LOOM) 12:55
Utaou Bokura no Merry Christmas (from the Japanese Digimon holiday album Christmas Illusion -- this is generally regarded as anime crooner Wada Kouji's weakest track) 5:35
4'33" (John Cage's silent composition) 4:33


related links

Hiroaki Koshiba site
Ragtag Cinemacafé
Design Festa
a few Jerusalem and the Starbaskets tracks

Thanks for reading,

Channing Kennedy
CEO, Cat Jams Label
"Cat-owned ruled-based music"
http://www.catjams.com/

AIM / iChat: buffaloblanche

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Text for Christmas illusion2
by HIROAKI KOSHIBA
テクスト・絵画 小柴 博昭
February 6, 2005

1. I Keep My Home In My Heart
(Brock and Misty)
5:24

All through this song, something strong energy is flowing.
Guitar sound is very tough like a magma in volcano.
It’s corresponding with human fundamental power. I painted blue and red and black three wave, which is acting and dancing, splashing out.
As the result of splashing, some area is broken and divided to dots.

1.I keep my home in my heart
何とも表現しがたい巨大なエネルギーが渦巻いている。
冒頭から入ってくるギターが太く、溶岩のように力強い。
それは人間の極めて根本的な魂の力に一致しているようだ。
私は、青・赤・黒の3本の波を描いた。
それぞれが画面の中で暴れ、踊り狂い、エネルギーを拡散し撒き散らしている。
その結果、ある部分で、線が砕け散り、点となっている。



2. Eyes On Me
(Nobuo Uematsu)
22:52

At first, peaceful sound is dominating.
as the music go through, the comlicated sound has been contained.
This is sound in the universe, outer space, misterious fantasy.
I painted black line in the center, and some colorful bubble is uping beyond it.
Some cool enrgy is running very rapidly. The red fire is trying not to be vanished by something.

2.EYES ON ME
冒頭では、平穏な音が流れているが、
曲が進むにつれて、より複雑な世界が表現されている。
それは、あたかも宇宙空間の音のようで、神秘的なファンタジーである。
私は中央に黒い線を描き、その上に、いくつかの泡を弾ませた。
冷静なエネルギーが素早く走り去り、赤い炎は消されないように、疾走している。




3. PART TWO
(LOOM)
12:55

The drum sound is like a continuous line.
And human voice and guitar sound is put on that line, which came to be a big composition.
In the latter of music, tough sound is beginning and entering in.
So the sound is contained various factors in the end, however, the sound of the drum is continuous like human breath.

3.Loom Audio Drama Part Two
ドラムが永遠に続く線のようだ。
人間の声とギターの音がその線上に、アレンジされ、一つのコンポジションとなっている。
後半では、太い音が挿入され、より複雑な世界となっている。
その複雑性の中でも、ドラムが人間の呼吸音のように続き、その世界を維持している。



4. Utaou Bokura no Merry Christmas
(Wada Kouji)
5:35

It’s an urban image, very tokyo taste in a sense.
Below line is building line in my mind.
Also in this music, strong guitar is in, doubled with the Pop music,
and likea urban anonymousity.
 
4.Utaou bokura no Merry Christmas
都会的な音が表現されている。ある意味、とても東京的である。
画面下部の線はビルの線である。この曲においても、強力なギター音が挿入され、ポップミュージックと重なり、
都会的な匿名性を表現しているようだ。



5. 4'33"
(John Cage)
4:33

At first, I felt the image of blue water running ,
gradually I noticed the another bright pink point, added it.

5. 4:33
最初、青い水が弾け飛ぶように聴こえたが、
しだいに、別の明るいピンクの点が浮かび、画面に加えた。



BIOGRAPHY / HIROAKI KOSHIBA

1979.4 Born in Yokohama(Japan)
1998.4 Began to painting
2001.4 First group exhibition (at Artist in/Tokyo)
2001.7 Live painting with Kenichirou Nishihara(musician) (at Loop /Tokyo)
2001.10 Second group exhibition (at Artist in/Tokyo)
2002.1 ‘ FLASHBACK ‘ Exhibition with Yoichi Sugiura(photographer)
(at Design Festa Gallerly / Tokyo)
2002.3 ‘ Untitled ’Collaboration with Kenichirou Nishihara(musician)
produced by Junko Yazaki (at Artist in/Tokyo)
2002.3 Graduated from Keio university( art history and aesthetics faculty)
2003.1 First solo exhibition(at Artist in/Tokyo)
2003.10 Collaboration with Miaki Kudoh(shoes designer) (at Artist in/Tokyo)
2004.2 Third group exhibition ‘ drawing chapeaux ’ (at Artist in/Tokyo)
2004.7 ‘ FLASHBACK 2 ‘ Exhibition with Yoichi Sugiura(photographer)
(at Design Festa Gallerly / Tokyo)
2004.12 CD cover design of ‘ Team Asakusabashi ‘ ( Male Choir)
2005.1 Collaboration and CD cover design of
‘ Christmas Illusion 2 ‘ by Channing Kennedy( Entei and Whitesnake)
2005.7/24-30
-SOUND IMAGES- solo exhibition at Design festa gallery, featuring works from ' Christmas Illusion 2 ' collaboration




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NOTES BY CHANNING KENNEDY

Gregg and I originally intended to record an inauthentic dronemetal holiday album in December 2004, despite or because of our complete lack of musical performing experience in the genre, to give to our friends. We didn't get it done until after Christmas, and all the songs we covered ended up being from video games and cartoons (and John Cage) because we're huge nerds. But we made an album! Entei is the name of Gregg's one-man drone/metal project, taken from the mythical Pokémon at the center of the third and proggiest Pokémon movie; and Whitesnake is the name I used for the one track I did, a public-domain folk song recorded on cassette in one take for the second Rodenburg compilation, with the prepared synth guitar revamped for me by Dustin at Apop. I figured Whitesnake wasn't doing anything with it.

Hiroaki Koshiba and I met on the old official Cornelius messageboard. He introduced himself as a Kandinsky-influenced painter, and asked if we could collaborate. I said he should design the CD case for our album, but he ended up painting a new work for each of the five songs. We were stumped for a while on how to package it all, but we decided to make the video you see here, in VHS form.

We asked Jerusalem and the Starbaskets to perform the music at the show, not knowing if they'd say yes. But they did! Jeremy and Kim seem to generate their space-folk using a series of deducible but obfuscated rules; the resulting music is wholly rational, but is thick with dark matter, so to speak. I think they're one of the few Columbia groups really using experimentation and application as instruments, and their involvement makes the show much more exciting for me. As I write this, the show is still a few hours away, and I don't know what to expect -- if they'll draw inspiration from our songs, or the originals, or the paintings, or Hiro's live painting, or all of it or none of it, but I have faith in their judgment.

I read something Matthew Barney wrote about his Cremaster films, to the effect that they 'move at the speed of art, which I would say is pretty slow.'

I cannot thank everyone enough.

111 Hubbell Dr
Columbia, Missouri
July 28th, 2005.


I Keep My Home In My Heart

This is from the Pokémon English-language holiday album, Pokémon Christmas Bash!. Gregg bought this album in November 2004, but managed to save it until our night drive home from Thanksgiving. The songs on this album are sung and rapped entirely by the Pokémon characters, a departure from the other albums, which mostly use studio singers singing in third-person. This track is a sad but brave one, sung by Brock and Misty, starting with a dialogue outside a party and over a wicked synth-slap-bass riff. Brock and Misty share with each other how much the holidays make them miss their hometowns, but they reassure each other and the listener that, though they may be apart (from their families), they keep their homes in their hearts.

For this track, I let Recycle auto-cut the track into 92 'slices' (chunks with divisions at key points in the audio) -- this function is usually used for changing the tempo of short beat snippets without repitching or 'stretching'. I then loaded the sliced file into Reason's NN19 sampler module and reduced the tempo by 33%. Since some of the slices were quite long, long periods of silence were created between one slice ending and the next waiting to be triggered (1.5 times after its usual starting point). I then slightly randomized the order of slices and added some automated panning and pitching effects. I also played some prepared synth guitar.


Eyes On Me

This is the main theme from the PlayStation game Final Fantasy VIII, by Squaresoft. Nobuo Uematsu has made all the music for the Final Fantasy Games since the first one, but this might be the first FF song with vocals. I could be wrong. FFVIII received mixed reviews from gamers, many of whom held it up against FFVII and found it wanting. I never clicked with FFVII (the characters' big cartoony heads were hard to get around), but FFVIII was one of the few games I really got into in recent years; I played through it three times at various difficult points in my life, giving the characters a variety of themed dumb names. This song plays when the male and female leads realize their feelings for each other while in a futuristic spaceship. It's Christmassy because it's sentimental.

We slowed the track down twice, once to 25% and once to 50%, and let the 50% one repeat twice. I play prepared synth guitar with a serrated butter knife. Gregg tone-deafly played a snow-area song from FFVII on his pan flutes and we arranged it into a fugue.


PART TWO

This is from a 1990 LucasArts PC game, LOOM ( http://en.wikipedia.org/wiki/LOOM ). LOOM was a graphical adventure, similar to the King's Quest games, but there was no point system, and no risk of dying. The story revolved around an ancient futureworld society in which all of time was rendered into an eternally knitting fabric. When hardship struck the land and the Weavers Council of Elders would do nothing, one woman, Lady Cygna, snuck to the Loom and integrated a new gray thread, not knowing what would happen. A baby was created from nothing and the Fabric was thrown into chaos, and Lady Cygna was transformed by the Council into a cursed swan for her transgressions, allowed to pause her ceaseless flight once a year to see the child. You play as the child, Bobbin Threadbare, a gray-cowled figure whose eyes glow from within the depths of his hood, who is told of his true nature on his seventeenth birthday, the last time Lady Cygna is allowed to visit. You cast spells by learning and playing simple melodies on your 'distaff,' and seek to restore order to the world. LOOM came with a half-hour audio drama cassette that laid out this background story. This track is Part Two of three of that tape, found salvaged on a sympathetic website.

In fifth through seventh grade, I attended a very small, well-funded school in rural Maine (there were twelve kids in my grade) which had an excellent Apple computer lab. Color Macs were a new thing, and the lab had three. At some point, the somewhat eccentric principal, Mr. Buckingham, announced that the computer lab had a new game, but anyone wanting to play had to attend a special session to listen to an introductory audio tape. About a grade's worth of boys showed up that afternoon, and Mr. Buckingham closed the new venetian blinds and turned off the lights, and we all sat in the dark in the deactivated computer lab, listening to the mysterious tape for an unquestioned reason. Mr. Buckingham sat silently by the tape player, eyes to space. The memory formed deep inside me as I sat there with my puffy hair and giant plastic glasses and stained sweatsuit, and I remember LOOM as being indescribably in color.

On this track, I time-stretched the base audio a bit and added a synced-up delay to Gregg's guitar riff. I played keyboard drums, and Sabrina joined us on Boris-esque real drums. Note Gregg's blues jam at the end.


Utaou Bokura no Merry Christmas

The complement to 'I Keep My Home in My Heart'. Japanese anime soundtrack songs are different from American ones because they are more likely have nothing to do with the series, and are instead generally about following one's dreams -- also, the Japanese anime soundtrack market seems much larger, with a healthy show releasing a few mini-CDs a year. Wada Kouji, this vocalist, has sung on more than a few Digimon tracks, our favorite being 'Biggest Dreamer'. 'Biggest Dreamer' and its long shadow are probably why 'Utaou Bokura no Merry Christmas' has gotten dissed on the websites of various US fanboys and fangirls who know about this sort of thing -- naturally this endeared it to us. Wada croons a line about how it would be cool if Santa left a Digimon under the tree this year. And it came on the Digimon holiday-themed Japanese mini-CD titled Christmas Illusion, the title of which inspired this entire project.

I loaded the entire track into Recycle again, and created two versions, one pitched slightly up, creating awkward pauses at crucial points. I also used the slice map as a skeleton for a slightly randomized rising tone series, and added some 'um, hello and welcome to the Holiday Inn Express Expo Center'-style reverb. I also brought the bells back in at the end. Gregg plays El-bow.


4'33"

John Cage, the American dodecaphonic-turned-postphonic composer and patron saint of Cat Jams premiered this compsition in 1952; for it, the performer sits silently on stage for four minutes and thirty-three seconds. Cage was inspired by a visit to a university lab's 'silence chamber,' in which he found himself nearly deafened by the sounds of his body and ears, and came to the conclusion that true absolute silence is a myth. He later composed 0'00", which is constantly performed by every living being.

We first performed this track by not playing our plugged-in instruments, but I later scrapped it in favor of an open-air mic recording of my living room on a rainy Friday morning. Gregg can be heard in the basement as he leaves for work. For whatever reason, I threw the cats outside before recording.




NOTES BY KIM SHERMAN of JERUSALEM AND THE STARBASKETS

We watched the video, then listened to the CD of the Christmas songs, then recorded the video’s audio onto reel-to-reel tape to play along with us as we play over it.  Mostly what helped was reading about how the watercolors were developed.  It was sweet and unifying.  It was hard to come up with Christmas accompaniment in July…


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post show notes by Channing

Thank you to everyone who came out to and who sent good vibes to the Christmas Illusion 2 event and release party on Thursday (Friday in Japan). Witnessing the collaboration firsthand was astonishing and novel, and it's a shame more people didn't come out for it, but we were definitely encouraged to do it again.
sound images 025.jpg
Here's some photos and stills from the two simultaneous videolinked shows.
And here's the jam created by Jerusalem and the Starbaskets at the show.
Jerusalem and the Starbaskets, "Christmas Illusion 2 live reinterpretation, Ragtag 28 July 2005" 67:43 47.8m
Kim played drums with sticks, brushes, and maraccas, and Jeremy played guitar and played back snippets of the original Pokemon and LOOM tracks from a reel-to-reel, running all of it through several sampler and effects pedals.
Thanks a lot to christmasillusion205 Yuko for coming out and translating for us; she definitely made the evening go a lot smoother, and enabled a greater depth in the interaction. A very special thanks to Jean Snow for giving the show so much hype.

The VHS is now available for sale in the Cat Jams webstore, Maude Vintage, Apop, and Slackers. And I gave a copy to the Columbia Public Library and 9th Street Video.



7/11/2005 he's killing them
OBELISK cracks the KCOU Top 30. FUCK YOU #31



7/02/2005 I'm-a answer your question in the form of a thanks
JAM-016 TAPE, James Harvey feat. The Catmaster Squad and the Rude Boy of Cats, Cat Jam Nation
JAM-017 TAPE, VA, Muy Neko - a D!G!K! Cat Jams records megamix
JAM-018 TAPE, Thee Pepsies, Thee Pepsies Want To Kill Your Mama: A Cat Jams Remix EP

The Celebrity Mixtape series -- friends of Cat Jams (specifically James Harvey (Wales), Digiki (France), and Thee Pepsies (aka Jason Cafer, Columbia MO) ) were all asked to create promotional mixes from the Cat Jams catalog, and to adhere to their own rules. The result is three very different experiences, ranging from Digiki's straight-up mix set to Cafer's classic-rock mashups to James Harvey's radical remixes and non sequiturs. Released on duped-over cassettes in numbered runs of 33 each, and featuring original artwork by 13-year-old Columbia female digital/ink graphic artist Bob Dynamite. Free.


JAM-019 TAPE, Tape Store, Pneumonoultramicroscopicsilicovolcanoconiosis Your Mom

New signee and rumored fifteen-year-old Chris Boeckmann's debut, showcasing a reappraisal and revitalization of music recording and structure. Soundscapes dubbed together from piano, synthesizers, rewinding CDs, found tapes, and spoken dialogue stare down 'pop' music and the politics of low-fi in this precocious ambient comedy palimpsest. Numbered run of 30 duped-over commercial cassettes with a tasteful amount of audio bleedthrough. original individual duct-tape packaging by Chris. $4.


JAM-020 OBELISK, Hot Beats / Cool Treats

new Shake 'Em On Down DJ Stephen Howard using Hiphop E-Jay 2, a $10 CD-ROM from Circuit City that functions as a prerecorded sample-driven instrument arranger for hiphop musicians. While the album is mostly ridIculous hiphop instrumentals, original vocals ice out 'Aviators' (written and recorded by Stephen, arranged by France's DJ Chienloup) and 'My Nuts!' (a Fat Boys cover, featuring MC Cat Genius). Each CD in the run of 50 Hot Beats / Cool Treatses comes in a popout case hot-glued into a defaced and rearranged secondhand book (defaced and rearranged by OBELISK & friends), to continue the theme of reappropriation of existing media. Featuring remixes by James Harvey, Tape Store, Digiki, the Diet Soda Supertsars, and the Marriage, on a separate minidisc sealed between pages somewhere in each book -- inaccessible without tearing. Numbered run of 50. $6.


JAM-021, Cat Picabians, NEKOZE

The results of Cat Jams artist's entries in a remix contest held by Digiki last year. Some entries were accepted and some were not, but they all deserved to be heard and stand up on their own. Featuring Cat Jammers from Scotland, England, and Columbia, and with original artwork by Japanese graphic artist Tsune. Featuring a fake Cornelius remix and a suprise MC Cat Genius appearance. Numbered run of 50. $5.


JAM-022 2CD, Digiki feat MC Cat Genius & Sarbochron, Pancaked

Arguably the greatest Cat Jams packaging feat yet. This is the long-awaited single for the collaborative track between Digiki, MC Cat Genius, and Maude Vintage owner Sabrina Braden, and features 30 remixes of the track across two CDs, by professional and first-time remixers from Japan, France, Britain, Florida, and Kansas City (and of course Columbia), ranging in age from 2 to 54. Disc Two has a bonus music video by Ted CIanciosi. Each ziploc bag includes the two black-on-both-sides CDs screenprinted by James Cary inside a clamshell case fried by Aaron Arnoldy (accent on second syllable), as well as an activity placemat designed by Gregg Lewis, a crayon, a single-serving condiment, and a floppy disc containing one of fifty bonus tracks. Numbered run of 100. $6


JAM-023 MINI Blue Ribbon vs. Digiki, Pancaked: Breakfast Bonus Disc

A complementary mini-CD release to Pancaked. Packaging by Kansas City artisan Alex Schubert and music by French guy Digiki, featuring an all-star reversion of Pancaked and an instrumental mega, no, gigamix. Numbered run of 50. $5.

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Thanks to all the artists and artisans who helped will these remixes into existence -- Bob Dynamite, Gregg Lewis, Alex Schubert, James Cary, Aaron Arnoldy, Stephen Howard, Tsune, the people who showed up to customize OBELISK books at the Maude Vintage grand opening. Thanks to Chris for making the flyer. Extra thanks to Aaron Arnoldy for walking around in 95° weather putting up the flyer and getting liners made, as dubiously implied in his unpaid intern duties. Thanks to the Pancaked remixers across the world, to Digiki, to Darsh, to Tanuki and James Harvey, to Jason Cafer for making a mix tape and interviewing Erik and Alex on KOPN. Thanks to Apop Records for selflessly donating about 150 cassettes to Cat Jams for our cassette releases, and thanks again to Apop for not getting too mad when the show that I said would be over by 11:30 ran until 12:30, completely negating my intentions not to compete with their fine show happening at the same time across downtown. Thanks to Christy Lemaster for telling everyone to shut up before the show, and thanks to the audience for actually shutting up and for showing up in such massive numbers -- even for a free show, I've never seen Ragtag that packed since maybe the ILYs release two years ago. Thanks to Pete Bland, Justin Glow, Vox Magazine, and everyone else for promoting the show. Thanks to Chris Keener for doing sound so coolly and diligently. Thanks to Duncan Bindbeutel for letting himself be suckered into working the merch booth, and without change. Thanks to Erik Moore aka The Marriage aka MC Impossible Dick versus DJ Dick Inspector for playing such a wonderful opening set and granting such an air of import to the proceedings with his hypnotic single bass lines and claims to bore-action, and thanks to Tape Store, both Chris and Marcus, for playing such a wonderul second set and delighting all the ladies with their charming fifteen-year-old ways and your homemade Nintendo 64 VHS backdrops and unsingalongable singalongs and otherwise faith-restorative measures in Columbia's art youth, and thanks to Chris' parents for letting Chris stay long enough to complete his set. Thanks to Stephen Howard for nailing the hiphop thing with charisma and panache, and for not sounding like a dick while doing it, and for getting all our background video together except for the parts I did. Thanks to Sam D'Agostino for playing sax in the OBELISK/MC Cat Genius touring Band, and thanks to Rex McMurry for playing synth drums and triggering Charles Kuralt samples in the same. Thanks to Gregg Lewis for wearing a dumb outfit and playing simultrumpet. Thanks to the people who got up and rapped at the end. Thanks to me for saving the video, organizing the show and releases, working out a setlist, and generally doing all the stuff I do. No thanks to me for forgetting my tail at home twice and having to run back and get it, breaking Chris Keener's favorite glass while cat-rushing the audience, not getting everyone to rehearse more, forgetting most of the lyrics, not getting someone to videotape the second half of the show, and generally doing all the stuff I do.

I think that's everyone. I'll see if I can post some videos of the show.

except: thanks Ted Cianciosi for conceiving/executing the Pancaked video; DJ Chienloup for rearranging OBELISK vocals; thanks Aaron Arnoldy again just for being invaluable.

It seems like not long ago I was wondering what would become of Cat Jams once there were no functioning bands on it. But now I feel that the Cat Jams roster is a more direct expression of my innermost being than ever before. For real. It's been said that Cat Jams is an army, and perhaps that's true.