Rodeo Clown

The clown is a figure on the edge. In the rodeo, he has a microphone.

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In the parking lot, a teenage cowboy rides a hover board and swings a lasso above his head. He successfully ropes a stationary plastic steer as his family looks on.

“…disorder exists with order. that the divine and the human are absolutely linked; the sacred and the profane co-exist. Clowns play at the edges of what is proper. In doing so they highlight what could be a 1-sided sacred approach…that didn’t always allow for disruption… For the chaos that is inherent in our lives…” - Michael Bala

Thank you to Geoff from In Other News Radio for letting The Wind use clips from this interview.

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Tags, Topics + Mentions: Rodeo, Rodeo Clown, Clown, ranch hand rodeo, the role of the rodeo clown, clowns in contemporary culture, Nevada rodeo, buckaroos, bull riding, bronc riding, the american west, performers of the american west, rodeo arena, winnemucca, winnemucca nevada

Year 3 • Prologue

• • • The Wind returns for Year 3 • • •

I found a handsaw sticking out of the snow, and I carried it deep into the woods.

This is a story I’ve told a few times.

Years ago, I built a desk in the mountains.

Now, I commute. I pass through Throat Forest, through groves and thickets, slopes and descents. Pine stands, arborglyphs, artifacts buried in the tall grass. Except for now, when the dry blades lay flat under deep snow.

I follow my own path, indented in the top crust. But if I were to find a shovel sticking out of the snow, and dig, I’d sink directly down to the dirt, where my foot path would be visible, in earth, as trail. A trail that, year round, leads from my house to my desk.

A path is made by repetitive action.

So too, is a path made by retelling.

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To speak a story over again is to deepen its ridges. And though I’ve strayed to unfamiliar terrain on occasion, finding new carvings, old fence posts, a decades-old car accident, I find my self in the same groove most days, like a needle on a record.

It becomes a performance, both the story and the walk. The walk, a performance of gratitude and curiosity, and habit. The story, a performance of understanding.

This year on The Wind, we’ll hear from performers, who step into arenas and ball parks, into the ring against the ropes and out on the open road, following migrations. We’ll listen to the paths they’ve created through repetitive action, as practice and preparation, the trails they’ve carved, as the steady beat of a distant drum.

I’m Fil Corbitt and this is Year 3 of The Wind.

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Tags + Topics: The Wind, The Wind Podcast, Fil Corbitt, Listening, Sound Podcast, Artifacts, Arborglyphs, Podcast about Listening, Reading Podcast, Literature Podcast, Journalism Podcast, Travel Podcast, Prologue 

Year 2 • Epilogue

My office is a field of poison flowers

purple swaying in the breeze.

It is also a pathway. For a bear, whose tracks have on occasion encountered my own.

Surprised by each other’s quiet presence, we make eye contact before retreat.

•

On the way to my desk, I traverse a shelf more mixed than lush: Throat Forest — a half failing aspen grove, green shoots among the fallen white trunks.

• That which is pliant is a disciple of life: that which is rigid, a disciple of death. •

Throat Forest voices this point. The living trees bend and sway, while the dead hold steady and unwavering: solemn monuments, they are their own gravestones.

•

This has been a year of adjustment, a season of bending and adapting. But in so, a year of life.

I appreciate your presence, and this show will return soon, with more findings and searchings.

I’m Fil Corbitt and this has been Year 2 of The Wind.

Stay tuned for Year Three, and

Keep Listening.

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Year Two

Whip Law

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An audio investigation of Reno’s whip culture.

How a small sonic boom came to represent homelessness in Reno, and how the city responded to unhoused people taking up sonic real-estate.

Utility, aesthetic language, 911 tape and the search for Reno’s master whip maker.

“The popularity of possessing a whip and cracking has grown significantly over the last few years…Calls for service regarding the whips have nearly doubled over the last year.” - Lt. Ryan Connelly, Reno Police Department speaking to city council.

“…we gotta travel at night. We don’t want all of our stuff out here. So we travel the bike trail. And there’s skunks and raccoons and even snakes, gosh you name it. Well we had a bear down here, know what I’m saying? So that crack is very useful to make em go away for sure.” - Monica Plumber

“The tip of the whip obviously breaks the sound barrier, if used correctly, the integrity of the whip is compromised, due to not being professionally constructed and the materials that they are made out of…..The vast majority of the whips that we have seen in and around town are homemade, and they use a variety of materials such as rope, string chains, leather to name a few.” - Lt. Ryan Connelly, Reno Police Department

“And you know, one has a different sound than the other. We can tell who’s who just from the crack from down the river. It’s amazing... You can really tell where your family is at…” - Monica Plumber

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“I ask that you pass the proposed ordinance regarding whips. I frequently hear the whips cracking. I hear them from my home. I hear them when I'm out and about. They make a very scary noise. They basically sound like a gunshots…” Eric Lerude, Public Comment

“…I enjoy the public spaces and the last couple of years, it gets worse and worse. Three a.m. in the morning, it's simulated gunfire. And it's a means of intimidation...” Anthony Townsend, Public Comment

“…I think that the whip ban is discriminatory. … I mean, if there's if there's an issue of them attacking people with the whips, that should be a an assault thing. And there's already laws in place for that… Why are we making criminals out of people over something that helps them?” Gabe Stransky, Public Comment

“The unsheltered population is over-policed, lacks trust in law enforcement, and this ordinance threatens any efforts to build that trust…” - Holly Wellborn (ACLU of Nevada), Public Comment

“I don't believe that artistic expression should interfere with people's quiet enjoyment of their property.” - Councilmember Naomi Duerr

“…I think it's intimidating. I think it's absolutely dangerous….This is in no way an art form, I'm sorry…” Reno Mayor Hillary Scheive

“I've heard from the people for this ordinance and people with concerns for this ordinance that they understand the whip crackers to be people who are homeless. Is that like a universal given as we move forward with this?” Councilmember Jenny Brekhus

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“…I’m alone. I don’t have boyfriend or any of that… I don’t carry a knife…So it’s nice to know that my family is out here with me. And if I crack my whip, somebody will crack theirs.” - Monica Plumber

Monica Plumber:  This is rough. This is really rough. And it’s really scary sometimes.

The Wind: What do you mean by "this"?

Monica Plumber: Being out here. Homeless.

“Mine’s just to get attention from like everybody around, they know I'm in the area when I crack my whip.” - Hatchet

The Wind: Do you think it's about power or control?

Hatchet: It's more like releasing… Because when I get angry, when I get sad or something, I just pick up a whip, it helps me release it... Honestly, I use to get physical. With people and stuff when I get angry, but not anymore. Once I started doing the whip, cracking the whip, It just released all that.”

The Wind: Do you have a favorite in town?

Hatchet: My favorite has to be Fernando. He braids the best.

“With a lot of uses with the whip, they're using just the sound of it. (Historically) there would be different patterns or different sequences usually referred to as a flash. There would be the Queensland Flash or the Sydney Flash, and it would be basically a unique sequence of cracks or unique rhythm that would be recognizable. So you would hear that and be like, Oh, that's you know, this delivery company or, you know, what have you that's coming down the road. …” - Matt Franta, Los Angeles Whip Artists

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“…I’ve been on the streets since I've been to Reno, so I've been in Reno for 14 years…I got into it because I was homeless…. At first I didn't like it. It was like, “These are stupid you guys are you're wasting your time.” But then I was like, man, “if you guys can make it, I bet I can make a better one.” Competition…I have ADHD. So my hands are always moving, and this right here, constantly, you're moving up and down.” - Nando, Downtown Reno Whip Maker

“Hello this is Lisa, a local resident of Reno, and I'm very concerned about the current atmosphere and the knee jerk reactions going on with these horse whips. It's called a crop. They are used for the hind quarter of the horse to move the horse out of tough situations such as the river, any kind of running water… So to just suddenly ban them. It's it's silly. Being a horse rider and knowing many ranchers here in town, we're just appalled. I can't believe this. Please reconsider the decision because valuable tools and can often be used to help move the horse in a dangerous situation… I cannot stress to you guys the value and the importance of retaining the horse crop for use in public service. Thank you.“ - Lisa, Public Comment

“…If you've got a horse and you're down south, that's totally fine and fair and you're not going to be penalized for using that whip. So again, it really gets to… the problem is the downtown. The problem is we have, you know, whips cracking downtown, sounds like gunshots. People report gunshots and that activity has got to stop and we don't expect to see that outside of the downtown corridor area.” Jonathan Shipman, Assistant City Attorney

“…A lot of us, we live downtown. I mean, homeless, you know, I mean, like, we live downtown and it is what it is. We don't really we don't have the means to go all the way up to the country and all that.” - Nando

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“…like any sort of kind of like spiritual practice or, you know, trying to to cultivate mindfulness or meditation as as a movement artist, I prefer moving meditation, right? Something that I can connect body and mind that way rather than sitting still… it's something that you can stick with your entire life. There's always more to learn.” - Matt Franta, Los Angeles Whip Artists

Whip. At my request, Nando braided a twig of aspen from Throat Forest into the handle. (Pictured on my desk)

“Each time I make a whip, I lose a piece of my soul. Not for the bad… Like when I do go one day, if my whips are still around, if they're not in the garbage, I'm still going to be here… this one right here, when you take this one, when I'm done with it, my spirit is in this. A piece of my soul goes, know what I mean? And … I grow a new soul. All the time I've had on the streets and all that, just everything I've been through… all the bad. It gets put into these whips, you know? I become a new me each time.” - Nando

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Thank you to Emily Pratt Mike Corbitt and Anjeanette Damon for support and advice on this episode. Additional thanks to Nico Colombant & Natalie Handler. About a month after our interview, Nando was evicted from his motel room, along with everybody who lived in the building. He and his wife found another place. After the whip ban passed, I heard from a few people that their whips had been confiscated. Three people I spoke to said that they were simply making replacements, and whipping more frequently in the middle of the night to avoid detection.

Episode scored by Howls Road

+ Mountains by Yclept Insan

Math behind Whip Cracking

Our Town Reno blurb on Paul Espinoza

Matt Franta • Website • LA Whip Artists

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Transcript of this story

Tags, Topics and Mentions: Whips, Reno whips, Reno whip man, Reno, Downtown Reno, Audio Journalism, Radio Journalism, bullwhip, bullwhips, reno whip law, reno whip ordinance, reno's whip problem, whips in Reno, whip culture, 911 audio, sonic booms, public comment, community journalism, Reno City Council, Naomi Duerr, Jenny Brekhus, Hillary Schieve, Devon Reese, Oscar Delgado, Bonnie Weber, Neoma Jardon, City Attorney Karl Hall, Assistant City Attorney Jonathan Shipman, Ryan Connelly, Reno Police Department, Reno Police, Reno 911, whip braiding, whip making, how to make a whip, paracord, how to make a nylon whip, whip sound, houselessness, homelessness in Reno, unsheltered population in Reno, point-in-time count Reno, Truckee River, Brick Park Reno, Methodist Church Reno, Reno City Plaza, Wells Overpass, Brodhead park, Wingfield Park, Arlington Tower, Park Tower, Reno riverwalk, Los Angeles Whip Artists, Howls Road, The Wind, The Wind Podcast, thewind.org

The Cobra, The Fuse, and The Woman at the End of the World (with Kiko Dinucci)

Listening to 3 pieces from Brazilian guitarist Kiko Dinucci. Samba, repetition, resistance and change.

Plus, a primer on regime change and presidential politics in Brazil.

Rastilho

Kiko Dinucci: “It's been about 10 years since I've realized that in my music, in all my works and projects, such as Metá Metá, I have been working with something beautiful and something ugly; something violent and something lyrical. And I think Brazil is like that. It is a tropical country with wonderful nature, but it has its past and history marked by death, exploitation, and so on and so on… So we live with many amazing things, especially when we think about our culture and nature; but there's a lot of bad stuff too. Thus, we still have a lot of marks from our colonial period, from slavery, from military dictatorship… so I got used to writing songs in this way: bringing together beautiful and ugly things; lyrical and violent things. I like that mix and I like artists who play with it.”

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A Mulher do Fim do Mundo

Guilherme Kastrup, drummer and producer of A Mulher do Fim do Mundo: “Elza has this kind of Fire… She used to say, “my name is now.” “My name is now! My name is now!” All the time. It’s true. It’s true in her heart.”

Kiko Dinucci, guitarist and vocalist on A Mulher do Fim do Mundo: ”Everything gets a little naive when compared to samba; because samba has beautiful things, but also has a violent side -- which could be in the lyrics or on drums… When you go to a samba school, for instance, and listen to the drums, that's hardcore!

So I guess these different things connect with each other. Any transgressive thing connects itself with other transgressive things. When one thinks about Elza Soares career, one could see that it is marked by transgression. Yet when she was recording samba albums, there was always something new; a new way of playing samba, a new way of singing it. Thus, when she met us - hardcore punk musicians, there was no generaitional clash. She was the one who asked to turn up the guitars.”

Guilherme Kastrup: “This CD don’t talk about politics directly. There is nothing on this CD that is talking about democracy or parties... We are talking about human beings. We are talking about living with the difference. Talking about the gay, the transgender the women not to be hit. That’s that. But the situation now…at this point, talking about not hitting a woman represents a very strong political position. And to live with the difference you know?” (2016)

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Metá Metá ★ CASA DE FRANCISCA

— filmed & edited by vincent moon, sound recording by césar martini, mixed by guilherme destro —

Kiko Dinucci: “The Brazilian musician, in our popular music, established a way to compose that is with harmonic progressions to elaborate things very carefully harmonically, perhaps due to jazz influence during the Bossa Nova period. (but) I've always like guitar riffs and groovy basses in James Brown, Michael Jackson, Prince.. I like when the bass repeat itself and drive the song.

… it's like this: when it repeats, it does not come back the same. No loop is the same. Everything changes around us; different people could come and go; the air changes; the country changes; the world rotates along with the loop… the world is a loop, right? and so things are not the same.” “e as coisas não são iguais…”

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Kiko Dinucci responding to Gus Venturelli: Acho que todas as casas de show, pequenas e grandes… eu tenho um ligação muito forte com a casa de francisca, que era um lugar muito pequeno, cabiam 40 pessoas, e depois foi pra um lugar maior no centro de sp, e eles tao passando por muita dificuldades. a associação cecilia, onde eu toco bastante tambem; a audio rebel no RJ tá com dificuldades; lugares maiores tambem, como o circo voador no rio. Eu acho que vai ser muito dificil a volta.. muitos desses lugares não vão mais existir quando todo mundo estiver vacinado.. eu não sei como muitos ainda não fecharam e estão conseguindo se manter. uns dias atrás teve uma campanha pra salvar o ó do borogodó, lugar onde eu já toquei diversas vezes, porque eles tavam quase fechando. Eu acho que quando sairmos da pandemia e os shows voltarem, vai ser tipo um cenário de guerra, de encontrar os destroços desses lugares.. mas ao mesmo tempo as pessoas que gerenciam esses lugares estão prontos pra voltar, mesmo que seja do nada.. O renato da cecilia, Pedro, da audio rebel; o rubens da casa de francisca.. eles tem muita gana, muita vontade de fazer as coisas acontecerem.. mesmo que essas casas venham a fechar, eu acredito que eles começariam algo do zero. E acredito que todo mundo vai recomeçar suas vidas do zero.. sobre tocar, aqui no brasil a perspectiva é ruim.. a vacinação tá muito lenta. eu tenho uma turne do Rastilho marcada na europa, em novembro.. mais ou menos 30 shows. eu percebo que lá as coisas tão voltando ao normal, mas aqui não temos muita perspectiva. o mais importante nesse momento, no brasil, é nos mantermos vivos, porque tem muita gente morrendo, e quando você está doente num hospital nada é mais importante que a saúde e a vida.. então a gente esquece um pouco da arte e do trabalho.. a gente só pensa na família e na saúde. então estamos num momento crítico e quando for pra reconstruir as coisas, a gente vai reconstruir.

Links:

Metá Metá - MetaL MetaL

Elza Soares - A Mulher do Fim do Mundo

Kiko Dinucci - Rastilho

Nelson Cavaquinho

Elza Soares - Mas Que Nada

Metá Metá - Obatalá (closing song)

Guilherme Kastrup

Le Dégoût (Gus Venturelli)

MNTH (Luciano Valério)

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Tags, Topics and Mentions: Kiko Dinucci, Metá Metá, Elza Soares, A Mulher do Fim do Mundo, Rastilho, Nelson Cavaquinho, Mas Que Nada, Guilherme Kastrup, Mais Um Discos, Brazil, Brazilian politics, Brazilian presidential election, Casa de Francisca, Samba, repetition, Carta de Samba, punk, brazilian hardcore, noise music, experimental music, samba punk, dirty samba