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Outline about the musical group Kinghorse and my association.

Sunday, 20 November, 2011

Someone back home is putting together a memoir of the members, fans, followers, hangers on and so forth for the musical group Kinghorse. I am not certain in which of those categories I qualify, but I fit in there someplace.

A tribute site has been established. No comprehensive analysis of the band as a regional phenomenon, not merely an especially popular musical group, has yet appeared. I suspect this is the object of the memoirs. I am posting a potential outline for what I think I have to say in hopes of getting desperately needed help with editing from the cloud. Perspective with regard to projects in which I was personally connected, and especially those in which I was involved emotionally (leave the appropriateness of that for another day, please) is difficult.

  • Personal history, briefly discuss who the hell I am and how a non-musician, non-creative type with massive anxiety issues and no social skills from the hillbilly part of town somehow managed to infiltrate the Falls-City Post-punk scene.
  • History of the musical acts which preceded Kinghorse, especially Maurice; the other half of which became Indy deity Slint.
  • I don’t really know enough about the curious selection of the name. It is something of a attitude juxtaposition; I never really asked. The only person who ever understood the origin of the name upon its mention, in my experience, was Rodney Bingenheimer.
  • My association, including promotion, design with co-conspirators, roadieing, and so forth. I can only recall two anecdotes right now, both of which should have ended with Mark kicking my ass were he not such a gracious individual.
  • The inadvertent study of pop music and the culture of “The Industry” thanks in no small part to Joe Donovan the radio personality and crappy overnight jobs. My subsequent disappointment in the Caroline album and disillusionment.
  • Kinghorse fandom as part of the phenomenon which, in time, breached mighty sociopolitical barriers in a town where class and social roles were very important.
  • My disappointment with an “East meets West” show featuring white pop acts, east of 10th St, and black pop acts, west end, never happening. We just didn’t push the idea hard enough.
  • How in March 1996 I burned my bridges and left town. Anything after that remains mysterious.
  • In detail, the crowd response to the distinctive buzz of Mark’s guitar being plugged in moments before the curtain opened at The State in New Albany.

All of this is just what comes off the top of my head.


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