Once again, Like
the mildew on your shower curtain “The Button” is back again,
exploring the very limits of collage, like they have done so many times
before. Breaking ground, breaking laws, and pressing as many Buttons as
they can lay their fingers upon, Dr. Asbestos, every mann, who sometimes
goes by the name of Jay, and of course Paul Ryan, have taken steps onto
the very thinnest ice that covers the lake of text manipulation, and in
turn created this new album called RE DADA, a work that stretches the
mind of the listener as much as it tests the strength of the definition
of “text manipulation”, by adding a new level of Dadaistic
But this time, as Confucius used to say: “He that explores the MP3.com for this album
will be disappointed in the end.” That’s right, this latest and
greatest attack of text collage will be available only though www.Pressthebutton.com.
However wonderful this
manipulation may be, it is so totally illegal that even at MP3.com they
were able to recognize that fact.
RE DADA embodies
one of the most straightforward forms of sound manipulation: test
manipulation. We take the
words of these school age actors and actresses with their pleasantly
two-dimensional battery of children’s book conflicts and convert them
to the Church of Latter Day Dadaism,. As you might expect, the text is
manipulated and the many stories are woven in and out, until the very
meanings of symbol and form are melded into new shapes of meaning. And
so you would think that would be it. We’d done as much as could be
Because RE DADA is
already text manipulation, We could have made it one very long track on
the disc. Very fun for us, since we got to create it, but not so much
fun for the listener, maybe, since all they could do was listen.
However, there are 99 tracks to this CD, so that you too, can come along
with us and manipulate the text almost as freely as we did when we
created RE DADA in the first place.
This bridges the
“artist-listener’ gap and allows the average listener to move into
the realm that we the collage artist already is: in control of the
Pancultural stream that comes at them in all directions every day. RE
DADA is available now, through www.Pressthebutton.com
directly. Order yours today
and take charge of the Pancultural stream as you play this disc,
building the bond between artist and listener.
Da·da or da·da (dädä)
|The beginnings of Dada were not the beginnings of an art, but of a disgust. Disgust with the magnificence of philosophers who for 3ooo years have been explaining everything to us (what for? ), disgust with the pretensions of these artists-God's-representatives-on-earth, disgust with passion and with real pathological wickedness where it was not worth the bother; disgust with a false form of domination and restriction *en masse*, that accentuates rather than appeases man's instinct of domination, disgust with all the catalogued categories, with the false prophets who are nothing but a front for the interests of money, pride, disease, disgust with the lieutenants of a mercantile art made to order according to a few infantile laws, disgust with the divorce of good and evil, the beautiful and the ugly (for why is it more estimable to be red rather than green, to the left rather than the right, to be large or small?).
|Dada is a state of mind. That is why it transforms itself according to races and events. Dada applies itself to everything, and yet it is nothing, it is the point where the yes and the no and all the opposites meet, not solemnly in the castles of human philosophies, but very simply at street corners, like dogs and grasshoppers.
|Like everything in life, Dada is useless.
|Dada is without pretension, as life should be.
|Perhaps you will understand me better when I tell you that Dada is a virgin microbe that penetrates with the insistence of air into all the spaces that reason has not been able to fill with words or conventions. -- Tristan Tzara from "Dada Manifesto"  and "Lecture on Dada" , translated from the French by Robert Motherwell, *Dada Painters and Poets*, by Robert Motherwell, New York, pp. 78- 9, 81, 246-51; reprinted by permission of George Wittenborn, Inc., Publishers, 10l8 Madison Avenue, New York 21, N.Y.