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What is "Hose"?

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Charles Dirksen

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Sep 1, 1997, 3:00:00 AM9/1/97
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(reposted to see if anyone has anything relevant to the music to say..)

The following is from an NPR radio interview of Mike Gordon and Trey
Anastasio of Phish just after Hoist was released in Spring 1994, if I
recall correctly.

Interviewer("Int"): I wondered how much you were all influenced by
Frank Zappa?

Trey: Oh. Particularly myself and Fish, our drummer. I was heavily
influenced. As a matter of fact, the two of us -- (pause) I remember
going and following him around for a week or so, at one point, back
when he was still touring and alive. But I always liked any kind of
improvised live music, be it Frank Zappa, or the Dead, or Jazz. And I
think that's the One Love that we all shared. And --

Int: But the thing about Frank Zappa's improvised music is there was
a certain control to it, a certain discipline to it, whereas a lot of
improvisation can end up being rather self-indulgent.

Trey: Yeah, absolutely. We actually have exercises that we do, where
we work on improving our improvising as a group. It gets rid of the
ego. It's an exercise to get rid of the ego. And the more that we do
it the more we find that our improvisations are less concerned with
showing off flashy solos or whatever, and more concerned with making a
group sound. There's a feeling that we always talk about. When we
went out with Santana, he had brought up this thing about the Hose. I
don't know if you heard about that but uh --

Int: No, I didn't.

Trey: -- where the music is like water rushing through you and as a
musician your function is really like that of a hose. And, and well
his thing is that the audience is like a sea of flowers, you know, and
you're watering the audience. But the concept of music going through
you, that you're not actually creating it, that what you're doing is
-- the best thing that you can do is get out of the way. So, when you
are in a room full of people, there's this kindof group vibe that
seems to get rolling sometimes.

Mike: It gets -- It really starts to seem like It's not the audience
or the band. This Thing that gets rolling is It's OWN Thing. When
things are going really well, and a jam has taken off, there's this
feeling of motion that is created by the rhythm. And at that point
my bass that I'm playing feels like this sortof vehicle, or like a
hitch for me to hold on to, like someone would hold on to a um --

Int: Sounds like water-skiing. [Trey laughs and says "yeah yeah
like water-skiing"]

Mike: Like if you were on a -- I was thinking if you were on a ski
lift, maybe. A chair lift. Or just something that would hook you
on to the motion that's going, and pull you along with IT.

Trey: And yeah the proof of that is that you can't -- the water
skiing is a good, is a good analogy when it really gets going --

Mike: Yeah that is a good one actually.

Trey: -- and I think the proof of IT is that there are times when you
just can't pull IT together and you try and try and try and you're
beating your head against the wall and IT's just not happening. And
that kindof shows right there that you can't pull IT: IT's got to
pull you.

***END SNIPPET OF NPR RADIO REVIEW***

I still consider "IT" or "Hose" a concept of transcendent, mystical
proportions, even though I realize that some people use the term
loosely. IT is the fruit of the communication of musical genius and
being with an Other; with Love, with Life, with Being Itself. The
apotheosis of humanity through music, IT penetrates the fiber of our
existence and gloriously uplifts, strengthens and fulfills us. Many
of us, anyway -- although I believe that everyone can experience IT.

The Hose is also obviously not just a part of the experience of
Phish's music for many people. IT is an aspect of the Experience of
improvisational music in general, and a feeling that I first
experienced through The Grateful Dead, and then through Phish and
other improvisational bands (like Zero, MMW, Allmans, Santana, LoS,
moe., etc.). I think it is fair to suggest that gloriously composed
and passionately performed classical music has this Power, too. And
it should go without saying that some bands convey IT more often than
others, though.. :)

I reserve the use of "Hose" to describe improvisation when I get the
impression that the band, audience and music have gelled into a triune
Being of world-transcending blessedness. Jams that jettison the soul
skyward in a manner that is mystically astray from the expected and
typical course, but which *WORK* and weave tapestries of enchanting,
bissful melodies around our souls. The improvisation of the 2/15/73
Eyes of the World, early 70s Dark Stars & Elevens & New Potatoes, the
5/8/77 ScarletFire, etc. [continue this thread with more obscure
versions.. :-) ]

For example, if, suddenly, in 'Bathtub Gin' (see 8/13/93 -- my first
experience of Phish Hose), the jam segues from being a typical
Gin-sortof jam into a weekapaugian groove, this is Hose. In
'Antelope,' it wouldn't be an 'Antelope' if the jam didn't kick your
ass and follow a fast-paced, tear-it-up style. THIS jamming isn't
"Hose," since it would be akin to a normal kickass Antelope; that is,
what you'd _reasonably_ expect to hear within the confines of The Song
(see also numerous versions of 'Deal' or 'SMAG' or 'Bucket' or
'Cassidy' etc.). Hose in 'Antelope' would be something completely
unusual for 'Antelope': where the 'Antelope' takes on a different form
completely, and Becomes An Other Endeavor ENTIRELY (or *ALMOST*
entirely, in some cases... see 10/24/95 Madison or a few Antelopes
from Aug 93..).

Another example of Hose would be the 'Bowie' from 12/29/94-2, which
every aphishionado should hear. The 12/29/94-2 'Bowie' is a
compelling Work of Art that explores territory never before explored
in the song (although also see the 11/26/94 'Bowie'). Much of the
improvisation of this version mellifluously CLICKED and carried
everyone giddily along (and CONTINUES to so carry... we should use the
present tense when talking about the power of these jams and the
experience of music as Hose... it doesn't take that much imagination
with a good pair of headphones!). The Dead experienced "Hose" like
this in practically every version of 'Dark Star' (which was called
"IT" by numerous fans, by the way), not to mention an awe-inspiring
number of other songs, at different times throughout their career.

Some more recent examples of Hose? Some people argue that all segues
are "hose," but I would suggest that only Powerful Segues are Hose.
Segues in which both songs are being played at the same time, and one
truly MORPHS into the other (such as 'Gin' -> 'Yamar' of 8/13/93, or
12/29/94 'Runaway'->'Foam,' or 'Gin' -> 'Real Me' -> 'Gin' of
12/29/95, or practically all Scarlet->Fire's and Help->Slip's etc.).
The Grateful Dead were (and ARE.. IT LIVES) the Masters of the
Profound Segue.

The recent 'Simple' of 12/6/96 Vegas is Hose, in my opinion. There's
an excellent, thrilling Jam in that version (the final ten minutes of
it or so), which begins after a dramatic key change and out of the
remnants of a typically inspiring 'Simple' jam. The second set of
Amsterdam 1997 clearly bears witness to Hose. The segue into 'Lucy
with a Lumpy Head?' Magnificent, even if you don't like this odd new
song.

The extremely straightforward segue from 'Houses' into 'Seen' of the
10/31/95 Remain in Light set -- that's Hose, in my opinion, although I
doubt the band members were all water-skiing at the time! That segue
just sounds so delicious on tape that I can close my eyes and imagine
being carried along by It, easily. See also the JAM out of 'Suzy' (of
all things) of 11/13/96, the 'DWD' of 11/27/96 Seattle which sure as
Icculus ain't typical.

"Hose" to me is a word that should be reserved for INTENSELY thrilling
& passionate improvisational events, and not for the Same Old Kickass
Jam Segments. If someone tells me they were "hosed" by a given
'Antelope' or 'Chalk Dust' or 'Possum,' I'll raise my eyebrows and
smile. But check out the version. "Hose" to me isn't merely
ass-kicking. IT is Earth-shaking and Revelatory. IT is of Profound
Significance in Phishtory; an event not merely "special" but worthy
of the highest esteem.

And I think most of the people taking the time to read this message
know what A Special Event is when they Hear IT, no matter how much or
how little Phish (or Dead, or Whatever) they have heard. Usually the
only thing that's a matter of debate is HOW amazing and magical IT
was. ("Hey man, I was there and it was much better for me than it is
for you on tape, no matter how insightful your imagination is!" ;)
Everyone knows instinctively that The Hose Jam was powerfully moving
in a spiritually profound way, whether they prefer to use the word
"spiritual," or something less prickly (but lame) like "emotional" or
"groovy." Or unless they weren't listening, in my opinion. =^] I am
"Hosed" whenever I encounter the aforementioned sort of JAM, and have
the good fortune to share in its Majesty with the band.

Tunes/Songs, in order to be "tunes" or "songs," follow a Plan: a
structure that controls and holds the melody and rhythm, the measures
and the lyrics. This structure is objectively based (we can
intersubjectively communicate about it as "fact" and "truth" and
symbolize it), but our appreciation of its merits is obviously
subjective. Hose to me, though, necessarily loses the structure of
the tune -- at **LEAST** in the sense that the jam or composition has
created repercussions more significant than it ever had before, within
the confines of the Typical DWD Jam Segment Structure, or Typical FOTM
Jam Segment Structure, or what have you. Hose is something that we
can experience and communciate about intersubjectively; given the
trinity of band, audience and the music, we have to experience IT
together as One. To communicate about IT is mysteriously complex in
light of our subjective experiences, but yet IT may be communicated
merely with a knowing Smile to a fellow brother or sister. Have you
ever seen that Gleam in the eyes of people who have experienced Joy?
Some truly blessed folks have that Gleam all the time.

Where the comfortable confines of a Song are transcended or abandoned,
and mysteriously thrilling improvisation seizes the moment, with The
Spirit we soar and are towed...

I hope that all of you who have read this far will continue to seek,
for it is only by seeking that you will find, and experience, IT.

And though IT sure as 420 isn't 'Sparkle' or 'Liberty,' every
improvisationally inspired song has potential to Hose us off...

"skipping diamonds in the big time..."

charlie dirksen

p.s. If you want to get a copy of one of the following 97 shows for
blanks and postage, send a pleasant email: 6/25, 7/1, 7/2, 7/3, 7/5, 7/6,
7/9, 7/22, 7/23, 7/30. Your copy will be daud-2, or dat>analog>analog.
(thanks Gianni Rosati, Mikey Perrott, Peter Bierman, and Rob Clay) This
offer is open to everyone who cares enough to send a sincere, thoughtful
request.


Lincoln Mongillo

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Sep 1, 1997, 3:00:00 AM9/1/97
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Charles Dirksen <dirk...@dons.ac.usfca.edu> wrote in article
<5udi0k$j...@agate.berkeley.edu>...

> (reposted to see if anyone has anything relevant to the music to say..)
<snip, I had to, it was too big together>

You see!! This is it!, this is what a post on r.m.phish is suppost
to look and sound and read like! It's all about Phish, phans, content of
music, and the journey we all take on any given night with 20,000+ friends!
After all the crap that goes along with this newsgroup(not being a
subscriber to Rosemary) this is the light at the end of the tunnel, if you
will. Charlie speaks(or writes, I should say) completely from his heart,
and from his love of the music(any music). All passion. Thanks Charlie
for the great post!!! Hopefully this will get more posters to post stuff of
real content(not that this is anything to get all up about).

Sharin' in the groove!
lincoln

My HOSE show was the VanGroover 96 show. A bit lost in the shuffle because
of the Seattle show. But I thought the Vancouver 11-96 was a bit
better...although I can't put it into words why, yet. It was probably one
you just had to be at. The whole show as totally amazing. The drive to
portland sucked(but it was worth it)
Setlist:
11/23/96 Pacific Coliseum, Vancouver, BC, Canada

1: Chalk Dust Torture, Guelah Papyrus, Cars Trucks Buses, Divided Sky,
Punch You in the Eye, Mid-Highway Blues*, Split Open and Melt, Rift, Funky
Bitch

2(aka TOTAL HOSE): The Curtain-> Mike's Song-> Simple-> Makisupa
Policeman-> Axilla-> Weekapuag Groove-> Catapult, Waste, Amazing Grace**,
Harry Hood

E: Good Times Bad Times

* 1st time played. ** A capella.

han...@panther.middlebury.edu

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Sep 1, 1997, 3:00:00 AM9/1/97
to dirk...@dons.ac.usfca.edu

In article <5udi0k$j...@agate.berkeley.edu>,

dirk...@dons.ac.usfca.edu ( Charles Dirksen) wrote:
>
> (reposted to see if anyone has anything relevant to the music to say..)

You should know better than that by this time ;-)

> I still consider "IT" or "Hose" a concept of transcendent, mystical
> proportions, even though I realize that some people use the term
> loosely.

<snip>

> "Hose" to me is a word that should be reserved for INTENSELY thrilling
> & passionate improvisational events, and not for the Same Old Kickass
> Jam Segments.

Charlie, you seem to be equating two very different things that may go
hand & hand for YOU (and for some other people here, granted), but that
aren't universally related. IT is some kind of deeply moving spiritual
musical experience. The Hose refers to musical moments when the band
abandons the structure of whatever "tune" they're in and spontaneously,
as a group, creates something totally new. You get IT from the Hose --
you find group improvisation spiritually moving. Cool. So do Trey and
Mike, or at least it seems that way from the NPR interview. But what if
you get IT from the Nirvana section of YEM? It's composed, it can't be
the Hose.. but it can send shivers down my spine. What about symphonies?
What about Steve Kimock's (of Zero) guitar solos? They're improvised in
the more traditional sense of a soloist playing a spontaneously composed
melody within a pre-determined song structure, but damn! they're
gorgeous.

I doubt that you mean to say that you can only get IT from pure
improvisation (does Phish do PURE improvisation? I think their Hey
exercise imposes its own type of short-term structure to Phish's jams).
I don't know if you mean to say that the purer the improv, the greater
the spiritual experience. (I know that isn't necessarily true for me.)
But, well, it kind of sounds like you're saying both things.

Kim

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Jesse Appelman

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Sep 1, 1997, 3:00:00 AM9/1/97
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Charles Dirksen wrote:

> I still consider "IT" or "Hose" a concept of transcendent, mystical
> proportions, even though I realize that some people use the term
> loosely. IT is the fruit of the communication of musical genius and
> being with an Other; with Love, with Life, with Being Itself. The
> apotheosis of humanity through music, IT penetrates the fiber of our
> existence and gloriously uplifts, strengthens and fulfills us. Many
> of us, anyway -- although I believe that everyone can experience IT.

<snip>

> For example, if, suddenly, in 'Bathtub Gin' (see 8/13/93 -- my first
> experience of Phish Hose), the jam segues from being a typical
> Gin-sortof jam into a weekapaugian groove, this is Hose. In
> 'Antelope,' it wouldn't be an 'Antelope' if the jam didn't kick your
> ass and follow a fast-paced, tear-it-up style. THIS jamming isn't
> "Hose," since it would be akin to a normal kickass Antelope; that is,
> what you'd _reasonably_ expect to hear within the confines of The Song
> (see also numerous versions of 'Deal' or 'SMAG' or 'Bucket' or
> 'Cassidy' etc.). Hose in 'Antelope' would be something completely
> unusual for 'Antelope': where the 'Antelope' takes on a different form
> completely, and Becomes An Other Endeavor ENTIRELY (or *ALMOST*
> entirely, in some cases... see 10/24/95 Madison or a few Antelopes
> from Aug 93..).

What I take from this is that you believe Hose can only exist in type II
jamming (correct me if I'm misunderstanding you), where the normal
structure of the jam is abandoned, the tempo/time signature/chord
pattern/mood is changed. I think that while Hose is most often found in
type II jams (11/2/96 C&P, 2/17/97 DWD, 7/9/97 Split Open), I also
believe that it can be found in type I jams as well. I don't mean the
tingling up your spine or the goosebumps you get at the climax of Hood,
an Antelope gear shift (Victor! Bring back AIR!), or the "AAAAAAAHH...
BOY!" in YEM (this gives me goosebumps live, but never on tape). What I
mean is a jam that stays with the normal structure (i-7 IV-9 in YEM or
VII I in Reba for you musical types) but something in Trey's soloing
crosses the Line and Hose is acheived. I'm thinking of the 6/11/94 YEM
or 8/3/97 Taste to name two.

> Some more recent examples of Hose? Some people argue that all segues
> are "hose," but I would suggest that only Powerful Segues are Hose.
> Segues in which both songs are being played at the same time, and one
> truly MORPHS into the other (such as 'Gin' -> 'Yamar' of 8/13/93, or
> 12/29/94 'Runaway'->'Foam,' or 'Gin' -> 'Real Me' -> 'Gin' of
> 12/29/95, or practically all Scarlet->Fire's and Help->Slip's etc.).
> The Grateful Dead were (and ARE.. IT LIVES) the Masters of the
> Profound Segue.

The segue in the 7/31/97-II Runaway Jim->Circus was powerful Hose to me,
as was most of Runaway Jim. I have yet to hear the tapes which may or
may not give me the feeling I had deep into Jim when the jam had become
evil and spooky dropping down lower until Fish was no longer holding a
rhythm, just building up rolls on the ride cymbal with mallets. Trey
had dropped out as well, leaving Page playing dark chords low down on
the baby grand as Mike backed him up with deep, low tones. This
continued for maybe 30 seconds when all of a sudden, on top of this,
Trey broke into an intense melodic soloing high up on the 'doc. That
was when the music took me There. At that point I was no longer
listening to the notes or thinking about what Mike or Page was doing. I
was just staring forwards letting the music wash over me. I surrendered
to the flow and became part of it. When I get the tapes, who knows what
that jam will do to me. I may even be bored by the Jim (not likely!).
But I know it won't match up to anything I felt during that jam.

Jesse

Charles Dirksen

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Sep 1, 1997, 3:00:00 AM9/1/97
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} > "Hose" to me is a word that should be reserved for INTENSELY thrilling
} > & passionate improvisational events, and not for the Same Old Kickass
} > Jam Segments.

Kim Hannula responded:


} Charlie, you seem to be equating two very different things that may go
} hand & hand for YOU (and for some other people here, granted), but that

No no.. they can be equated, and have been. Some people have certainly
got IT with Phish or the Dead when said band has HOSED them (and everyone
else) off in some spectacularly groovy manner. But they aren't the same,
in my opinion, as in yours. As you say below Kim:

} aren't universally related. IT is some kind of deeply moving spiritual
} musical experience. The Hose refers to musical moments when the band
} abandons the structure of whatever "tune" they're in and spontaneously,
} as a group, creates something totally new. You get IT from the Hose --

That's right. That's the way I understand them. I got *IT* with Phish
not from any Hose but actually from a frightfully standard version of Also
Sprach Zarathustra. Both IT and HOSE involve -- as I understand them --
practically spiritual, transcendent, all-hallowed, divine experiences.
When someone gets *IT* they sure as hell know it. And if someone doesn't
understand *IT*, they haven't got *IT*, because people who Know Know...
simple as that. It is one of Those sorts of experiences as you know.
With Hose, I still think it shouldn't be loosely used, even though I know
it will be loosely used. WTF..

} Mike, or at least it seems that way from the NPR interview. But what if
} you get IT from the Nirvana section of YEM? It's composed, it can't be
} the Hose.. but it can send shivers down my spine. What about symphonies?
} What about Steve Kimock's (of Zero) guitar solos? They're improvised in
} the more traditional sense of a soloist playing a spontaneously composed
} melody within a pre-determined song structure, but damn! they're
} gorgeous.

Yes!! I never meant to imply that people can only get *IT* from Hose.
That's not true at all, of course.. :) Wasn't true in my case. FWIW,
it is interesting that you bring up the Nirvana section of YEM. Back
when I was in college (I think I told you this, actually), before I saw
Phish for the first time in 89, I had heard a crappy hissy bootleg, and
it was the Nirvana section of a shitty version of YEM that caught my
attention (didn't give me *IT*, but made me want to hear more... and go
see them in concert). Of course I didn't get a YEM at my first show...

} I don't know if you mean to say that the purer the improv, the greater
} the spiritual experience. (I know that isn't necessarily true for me.)
} But, well, it kind of sounds like you're saying both things.

Yes, well. Surprise, surprise.

charlie


> jeff buchholz

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Sep 1, 1997, 3:00:00 AM9/1/97
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Charles Dirksen wrote:
>
> } > "Hose" to me is a word that should be reserved for INTENSELY thrilling
> } > & passionate improvisational events, and not for the Same Old Kickass
> } > Jam Segments.

Why just the jam segments? That's not at all how I understood it. I
think limiting Hose to just the improv parts is not fair. As Santana
explained it the hose could come anywhere. He placed no restrictions on
the hose, and neither do I. In fact, didn't you say yourself Charlie
that someone could get hosed from a "Sparkle" if that appealed to that
person's soul, in that particular manner?? I don't like to say you can
only get hosed from the improv, granted 90% of my hose moments come
during and improvisation, but I also feel the spiritual connection on
other songs in which the lyrics are especially pertinent to my life at
the moment. That happened during The Horse at StarLake, or Free and
Taste at Darien. Now both of these were very breif moments, but it did
give me shivers and goosebumps. The longer moments of hose were from
the Ghost->Isabella at StarLake, and Harry Hood->Col. Forbin's
Ascent....at Darien, and these segments of the shows were all
improvisational.
Now the way I've presented myself, it seems that hose is at every show,
which is not true. It was just my particular mood at the shows, I'm
sure I son't feel the same after listening to the tapes a couple of
times.
That brings up a question, do you think that if you listened to a
particular hose segment, you could get tired of it? Or vice-versa, a
couple of times through a tape could make you realize the hose of a
particular jam? I dunno, Charlie, enlighten me! :)

> Kim Hannula responded:
> } Charlie, you seem to be equating two very different things that may go
> } hand & hand for YOU (and for some other people here, granted), but that
>
> No no.. they can be equated, and have been. Some people have certainly
> got IT with Phish or the Dead when said band has HOSED them (and everyone
> else) off in some spectacularly groovy manner. But they aren't the same,
> in my opinion, as in yours. As you say below Kim:
>
> } aren't universally related. IT is some kind of deeply moving spiritual
> } musical experience. The Hose refers to musical moments when the band
> } abandons the structure of whatever "tune" they're in and spontaneously,
> } as a group, creates something totally new. You get IT from the Hose --

> That's right. That's the way I understand them. I got *IT* with Phish
> not from any Hose but actually from a frightfully standard version of Also
> Sprach Zarathustra. Both IT and HOSE involve -- as I understand them --
> practically spiritual, transcendent, all-hallowed, divine experiences.
> When someone gets *IT* they sure as hell know it. And if someone doesn't
> understand *IT*, they haven't got *IT*, because people who Know Know...
> simple as that. It is one of Those sorts of experiences as you know.
> With Hose, I still think it shouldn't be loosely used, even though I know
> it will be loosely used. WTF..

I can see that. I appears that my definition of hose is your *IT*.
But once again, I direct you to the conversation the band had with
Santana. Improv is not mentioned, so I don't think we can limit it to
improv moments.

> } Mike, or at least it seems that way from the NPR interview. But what if
> } you get IT from the Nirvana section of YEM? It's composed, it can't be
> } the Hose.. but it can send shivers down my spine. What about symphonies?
> } What about Steve Kimock's (of Zero) guitar solos? They're improvised in
> } the more traditional sense of a soloist playing a spontaneously composed
> } melody within a pre-determined song structure, but damn! they're
> } gorgeous.
>
> Yes!! I never meant to imply that people can only get *IT* from Hose.
> That's not true at all, of course.. :) Wasn't true in my case. FWIW,
> it is interesting that you bring up the Nirvana section of YEM. Back
> when I was in college (I think I told you this, actually), before I saw
> Phish for the first time in 89, I had heard a crappy hissy bootleg, and
> it was the Nirvana section of a shitty version of YEM that caught my
> attention (didn't give me *IT*, but made me want to hear more... and go
> see them in concert). Of course I didn't get a YEM at my first show...
>
> } I don't know if you mean to say that the purer the improv, the greater
> } the spiritual experience. (I know that isn't necessarily true for me.)
> } But, well, it kind of sounds like you're saying both things.
>
> Yes, well. Surprise, surprise.
>
> charlie

--
"..language is a virus" -William S. Burroughs

Martin Acaster

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Sep 2, 1997, 3:00:00 AM9/2/97
to

Hey there

my take on the "Hose", *IT*, >IT<, and The Blob for anyone who cares is
something like this. The Hose as described in the interview and put in
different yet just as understandable terms by Charlie is a vessel.
Something that carries something else. The Hose dispenses >IT< or the Blob.
When either the >IT< or the Blob is dispensed through the Hose sometimes I
and I repeat I get *IT* two different ITs therefore exist in MY UNIVERSE,
one an amorphous ever changing entity (>IT<), the other *IT* an ephemeral
"place" or feeling. I think the IT of Darkstar is the >IT<, the thing that
can get you to reach *IT*. The Hose delivers the >IT< which is responsible
for getting ME to reach *IT*.

*IT* can be found without a Hose and without an >IT< of course. The Hose
also can deliver >IT< but that may not get you to feel *IT*. At EVERY Phish
show(20) and Dead show(11) I have had the pleasure of attending, there was
always at least one moment (usually more) when I felt or reached *IT*. Not
always did this coincide directly with >IT< having been delivered into the
arena by the Hose.

The Hose is turned on by departures from the norm for me. >IT< comes out of
the Hose when this departure takes place. If the >IT< that is delivered by
the Hose is profound enough to do so I reach *IT*. Bowiegasm.

For an example. In an earlier post today I recounted my adventures last
night. I was at a bar, a band called the Flat Irons were playing in the
background, and were not really impressive enough musically to have in
their possession a spray bottle least of all the Hose. They did however
depart from the norm at one point in their set and really caught my
attention. Roughly half way into a BLUEGRASS version of Crazy Train (OZZY)
I realized what the hell I was listening to. No Hose No >IT< but at that
moment I felt *IT* that moment of bewilderment when the WTF flashes through
your brain, the chill races down your spine, the hair stands up on the back
of your neck, and for that instant you are THERE. The Answer is
yours....(42).... all the secrets of the universe at your control. Then
just as quickly they are gone.

What was the question???

Lawnboy26

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Sep 2, 1997, 3:00:00 AM9/2/97
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I loved that response Martin : )

han...@middlebury.edu

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Sep 2, 1997, 3:00:00 AM9/2/97
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In article <01bcb73d$8a4cac60$bc01...@cube152.a003.sprintisp.net>,
"Martin Acaster" <maca...@sprintmail.com> wrote:

> my take on the "Hose", *IT*, >IT<, and The Blob for anyone who cares is
> something like this. The Hose as described in the interview and put in
> different yet just as understandable terms by Charlie is a vessel.
> Something that carries something else. The Hose dispenses >IT< or the Blob.

.. and went on to talk more about getting *IT* from >IT< ..

but Marty -- how does the Blob fit in??

Kim, imagining a horror movie entitled "*IT* came from the Blob"

Martin Acaster

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Sep 2, 1997, 3:00:00 AM9/2/97
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Kim

the Blob is the >IT< in disguise.....you don't know it's in the room...it's
just oozing around low to the floor....sneaks behind you....then all of a
sudden POUNCES on you from behind and you are swallowed up by it....let me
try to cite an example

two cases of Hose...one releasing >IT< the other a Blob....

6-24-95 set 2 Mann music center....the bowie....A large Diameter Hose was
unfurled An Enormous it rumbled out of it's throat....I knew it was
coming....but it was so enormous I was powerless to fight it....I was still
reeling from my Bowiegasm when page was teasing Lifeboy in Suzy (thereby
returning me to the *IT* I had reached during the Bowie instantaneously).

a couple of months ago driving to the post office to send out some
tapes....listening to the 10/14/95 Austin show.....minding my own business
listening to Stash.....an invisible stealth Hose was turned on....the Blob
oozed out of the speakers of my truck....it found it's way behind the seat,
snuck up the back of the bench....WHAM.....suddenly I find myself parked in
the midst of an intersection with no traffic control devices indicating I
should not be moving at the time, my bottom jaw resting on my lap saliva
dribbling onto my left thigh, suddenly feeling a big WHOA, wait.... where
am I?????.....I never saw it coming

luckily for me I was not cited for DUIP

Marty

han...@middlebury.edu wrote in article

Charles Dirksen

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Sep 2, 1997, 3:00:00 AM9/2/97
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> jeff buchholz (buc...@rpi.edu) wrote:

> Why just the jam segments? That's not at all how I understood it.

What's so special about the Hose if it happens whenever the band plays a
kickass jam, which they are basically guaranteed to do at an average show?
What's so special about the Hose if it occurs during a composed section
of a song?

> think limiting Hose to just the improv parts is not fair. As Santana
> explained it the hose could come anywhere. He placed no restrictions on
> the hose, and neither do I. In fact, didn't you say yourself Charlie

I don't mean to restrict it in the sense you are using it. Hell, nobody
can control when the Hose occurs (the band says it isn't even in command
of it). But I've certainly never heard what I'd call Hose in the
composed section of any tune by any band.

> that someone could get hosed from a "Sparkle" if that appealed to that
> person's soul, in that particular manner?? I don't like to say you can

I may have said that, as you suggest, but I meant to say that anyone
could get *IT* from hearing sparkle. That's different. I got *IT* with
Phish from a perfectly plain old version of Also Sprach in summer 93.
Most people would probably say that I was *hosed* as well, of course.
I'm trying to limit the use of "Hose" for truly special occasions. I
mean, seriously, there's "Hose" at every show based on how most people
use the term. What's so special about that? Nothing. And it also
doesn't follow the band's and Santana's understanding. You're right..
the Hose *can* occur anywhere. I've suggested that it hasn't occurred
anywhere except in Type II jamming events. That's all.

> Taste at Darien. Now both of these were very breif moments, but it did
> give me shivers and goosebumps. The longer moments of hose were from
> the Ghost->Isabella at StarLake, and Harry Hood->Col. Forbin's
> Ascent....at Darien, and these segments of the shows were all
> improvisational.

Most people understand being HOSED as getting shivers and goosebumps.. I
have no problem with that. I have a problem when people talk about
"*THE* HOSE" being present when all they meant to say was that they got
shivers and goosebumps from a particular song or jam (that, objectively,
was basically an average kickass version at best and nothing truly
transcendent ("objectively" meaning when compared with other versions of
the song.. nothing special, in other words)). I think the presence of
*THE* Hose should be reserved for truly unusual events, such as the Went
Gin (if you can even call it "Gin").

> That brings up a question, do you think that if you listened to a
> particular hose segment, you could get tired of it? Or vice-versa, a
> couple of times through a tape could make you realize the hose of a
> particular jam? I dunno, Charlie, enlighten me! :)

(laughter)

Yes, grasshopper. I'm sure you could get tired of anything musical, no
matter how glorious it might seem upon the first thousand listens. As
far as making someone realize the Hose of a particular jam, well. I
don't think that can really be done. Either the Hose is or isn't
present, and I think the band and audience at a particular show are the
best ones for that, obviously. Again, the Went Gin is clearly a
phishtorical Event that, in my opinion and based on the opinions of many
present at the Went (the band? I dunno), witnessed THE HOSE. Ditto with
the 8/13/93 Gin, which is far less engaging, imo, as the Went Gin.

As far as "making someone realize" anything with respect to why Jam A is
"better" than Jam B, well. That's often a silly effort. But amusing
nevertheless. With respect to Gin, again, compare the Went Gin to a
sampling of Gins from even the last few years, and I think one can easily
hear the Difference. And what a remarkable Difference it is! Compare,
for example, the 12/31/95 Mike's and Weekapaug combo to versions from
previous years. There was certainly Something Else going on on 12/31/95.

> I can see that. I appears that my definition of hose is your *IT*.
> But once again, I direct you to the conversation the band had with
> Santana. Improv is not mentioned, so I don't think we can limit it to
> improv moments.

Improv didn't have to be mentioned.. but I completely agree with you that
the Hose can occur during perfectly plebeian composed sections of songs.
The band basically plays itself.. unconsciously plays the song as one.
This happens all the time, I imagine, on stage. But since the AUDIENCE
has to be a central part of the "hose" concept, well. Again I'm not so
sure THE HOSE is *really* present during, say, the opening segment of Reba.

two cents

charlie


Jointsky

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Sep 2, 1997, 3:00:00 AM9/2/97
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you guys are fucked up, wasting so much times on ridiculous semantics.


Patrick Donahue

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Sep 4, 1997, 3:00:00 AM9/4/97
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andrew,
thank you for the incredible post which unintentionally convinced me to
adjust my mail order form from two nights at worcester to all three. the
anticipation charging through my body for the upcoming tour could be
misdiagnosed as a fatal heart condition.

as to the hose and the IT, these are the two addictive elements that may
eventually result in federal regulation of live phish performances.
crack schmack, those fools in the lot have no idea what a "rush" is.
mainlined through my ears and coursing through my soul.

as far as differences between the two, i'd have to say i most often feel
IT during a sweet page solo or maybe in the pause before songs as trey
looks over to mike and, after some whispering, they nod and smile. or
maybe
the moment when i realize a diseaprise is coming back for me out of the
void. the IT as you said andrew is the pause on the stairs you are
climbing when your pulse quickens then slows and then quickens again. IT
has brought tears to my eyes when i did not expect them. IT makes me
bite my bottom lip. climb on my tippytoes. clasp my hands as if in
prayer. IT makes my skin somewhat cold just before exploding with
warmth. IT is for those who pay attention. IT is a small gift given to
each of us to be unwrapped with slow hands and an anxious chest. IT is
the possibility of what will happen next.

hose? the word should be whispered like "cancer" if spoken aloud at all.
the hose is above and below language. it is pure energy and light that
spills into and out of our bodies. transcending sound, thought. hose
builds and builds and builds. there is no control. it is the longest of
moments. it is when you look across at your closest friends whose bodies
are shaking beside you with openmouthed wonder and wideeyed grins. you
want to scream out in glory but can barely breathe. if IT is the
realization of some small thing your loved one has done for you
unconciously (like saving the last bite of her only sandwich), then hose
is the simultaneous mutual orgasm you share on the night you each
confess your complete trust in one another. there is no way to say this.
the hose is inevitable and unplanned.

you can discuss IT at setbreak and after the show and for the next two
weeks. but when the hose has occurred, you can only stumble about
shaking your head. you may find yourself looking directly into the eyes
of everyone you pass, shaken and dizzy with the knowing stares shared by
utter strangers. long ribcrushing hugs are recommended.

IT is a private intimacy. the hose is unabashed joy.

there is no way to say this.


thank you for reading,
patrick donahue

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