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Monday, October 27, 2008

The Archaeology of the Monolators

The Archaeology of the Monolators, a catalog to accompany the exhibition curated by Dr. Sean Carnage, Pehrspace, November 2008.



Nestled somewhere ‘twixt the Mezotonic Era, when spiders of terrible size and ferocity roamed the earth and carved out ocean bed and mountain range alike with their fiery breath, and the Present Time, wherein men and ladies of Science discovered the Secret of Electricity and the extra month after Christmas, lies the Age of the Monolator–when frail, sickly fops of terrible size and ferocity roamed the earth and carved out ocean bed and mountain range alike with their fiery breath. In this new, weekly exhibition, we attempt to uncover the true history of this little-known age, and reveal the civilizations and appurtenances that flourished therein.

Most scholars, barring a rogue and fanatic few, divide the chronology of the Monolators into four distinct dynasties, or epochs. We commence, therefore, at the beginning, and note that all dates, places, and musical depictions are strictly approximate.

Week One: Prehistory and Rejection (representing the years 2002-2004)

In this first exhibition, we review the dawn of the Era and the musical detritus remaining thereof. In this earliest incarnation the Monolators took a tri-fold form, with a standard drum and bass configuration (originally represented by Dr. Mary Chartkoff and her menial day laborer Eli respectively) augmented by the presence of an electric guitar, originally in the hands of the esteemed Sir Michael Dennis, whose performance tonight represents his first stage appearance in several years. [Editor’s note: Although not technically correct in historical terms, for the purposes of enhanced fidelity we gladly note the presence of Dr. Ashley Jex and the Marquis Thomas von Bogdon on bass and electric guitar respectively. Dr. Mary will oversee the percussion ensemble while Eli will provide an additional guitar chores and light caterwauling.] The major work of the period, Rejection Set Me Free, is broached, preceded by two minor compositions of slightly earlier vintage, the now almost totally obscure “Spandex Hitman” and “In My Dreams.”

Also of note for the week is the unique recreation of the popular hymn, “Take It Outside,” along with its beloved mascot, Cupcake The Bear. Cupcake will make a special appearance to assist in the celebration of birthday festivities for the Curator, Dr. Carnage. Light refreshments will be served.

This week’s featured symposia:
Pizza
Mabson
Zombelle



Week Two: Rejection Inevitably Followed by Tears (2005-2006)


For our second week we examine the remainder of the Rejection strata and the metamorphosis of the trio format into a simple duo, resulting (among other things) in the document entitled Our Tears Have Wings. Whereas live performances of this epoch were strictly confined to drums and guitar, the historically-correct studio presence of von Bogdon is once again represented by the Marquis himself in live setting, and the gracious, post-contemporaneous contributions of Sir Dennis and Dr. Jex are faithfully depicted.

Of especial note is the aesthetic preference of the age for artifacts of outer space exploration, and the resulting (and uncharacteristically lengthy) dirge “Let’s Be Best Friends In Space” will be unearthed, although sadly without the accompaniment of a 350-member children’s choir as originally intended. The ensemble is also pleased to present the spirited holiday ode “Santa Claus Versus Dave Matthews.”

This week’s featured symposia:
60watt kid
Health club
Manhattan Murder Mystery
Billygoat



Week Three: In the Time of the Train (approximately 2006-2007)


After reviewing the remainder of Our Tears Have Wings, we examine the curious transition to the four-song disc You Look Good On The Train, wherein the dominant duo format finally gave way to trio once more, with bass guitar accompaniment provided by the enigmatic captain of industry and Co-Chair of the 8-Bit Foundation, Mr. Andrew Bollas.

The Train disc will be performed in its (admittedly brief) entirety, and the office of Mr. Bollas has issued a notarized document indicating that the distinguished gentleman will assist in multiple bass executions of several popular titles, including the oft-represented “We Fell Dead.” The theme for the week is Volume.

This week’s featured symposia:
Fertile crescent
Shirley rolls
The Voyeurs


Week Four: Promenade, or Don’t Dance Into The Future (2008-present)

The familiar quartet format is established, resulting in the period-correct ensemble now upon the bandstand. The theme for the week is Promenade, or Prom for short, and is intended to provide a semi-formal Ball experience for several distinguished visiting academics whose original prom experiences as undergraduates were, reportedly, limited to not actually attending. Appropriate dress is requested, although it is noted that the theme of the dance is: Don’t Dance. In anticipation of the approaching holidays, a brand-new Christmas-themed composition, “Hot Sleigh,” shall receive its debut public performance. Thus the exhibition closes.

The final week’s featured symposia:
Icy Demons
Kevin shields
Milton Melvin Croissant
Ema and the Ghosts

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