Bill Callahan
This entry was posted on Monday, October 12th, 2009 at 9:28 pm|

Callahan started out as a highly experimental artist, using substandard instruments and recording equipment. His early songs often nearly lacked melodic structure and were clumsily played on poorly tuned guitars possibly influenced by Jandek, whom Callahan admired, resulting in the dissonant sounds on his self-released cassettes and debut album Sewn to the Sky. Much of his early output was instrumental, a stark contrast to the lyrical focus of his later work. Apparently, he used lo-fi techniques not primarily because of an aesthetic preference but because he didn’t have any other possibility to make music. Once he signed a contract with Drag City, he also started to use recording studios and a greater variety of instruments for his records.
Smog’s songs are often based on simple, repetitive structures, consisting of a simple chord progression repeated for the duration of the entire song. His singing is strikingly characterized by his baritone voice and a style of delivery without being over-emotional. Melodically and lyrically he tends to eschew the verse-chorus approach favoured by many contemporary songwriters, preferring instead a more free-form approach relying less on melodic and lyrical repetition. Themes in Callahan’s lyrics include relationships, moving, horses, teenagers, bodies of water, and more recently, politics. His generally dispassionate delivery of lyrics and dark irony often obfuscate complex emotional and lyrical twists and turns. Critics have generally characterized his music as depressing and intensely introverted, with one critic describing it as “a peep-show view into an insular world of alienation.” 1 Despite this there is also a broad swathe of joy throughout Callahan’s work and more attentive critics have picked up on Callahan’s tendency to black humour, a tendency often confused with a depressed mental state or a genuine obsession with the morbid, a confusion no doubt caused by his deadpan vocals.
Excerpt Taken From http://en.wikipedia.org/wiki/Smog_(band)
Despite the success of his 2002 team, the 2003 Raiders had a losing record. After his team got off to a 2-5 start, many of his players, in particular Charles Woodson, publicly demonized the coach, even suggesting that Callahan was deliberately trying to sabotage the season. Apparently, his accusations of strife and mutiny within the clubhouse were corroborated by others, including veteran receiver Tim Brown. Callahan, his supporters claim, had recognized that the team was aging and needed younger talent. To get it, he would have to cut existing salaries, an assertion that did not sit well with many of the team’s veterans. On Nov. 30, after a 22-8 loss to the Denver Broncos, Callahan said the Raiders must have been “the dumbest team in America in terms of playing the game.” After a lackluster 4-12 season, due to the injury to quarterback Rich Gannon and despite having led the Raiders to a Super Bowl a year earlier, Callahan was fired. This may have seemed surprising, but owner Al Davis is not known for being patient with coaches. Callahan was also the last Raider coach to have posted a winning season.
Many expected that the 2007 season would be a breakthrough year for Nebraska. Instead the program endured new highs and lows. Nebraska was beaten by Southern California on September 15 , being outrushed by a 313 to 31 margin but outgaining USC in the passing game 389 to 1442. The team had five consecutive losses against Missouri, Oklahoma State, Texas A&M, Texas and Kansas. It was the first time since 1958 that Nebraska had lost 5 consecutive games3. During this time, Nebraska fans had become hostile towards coaches and players, mailing in death threats and booing Husker players. On October 15, 2007, Steve Pedersen, the athletic director who hired Callahan, was fired by the University, a strong indicator that Callahan’s position was in jeopardy. Pedersen was replaced on an interim basis by Nebraska’s legendary former head coach, Tom Osborne, despite having been recommended by Tom Osborne when hired on as athletic director in 2002. On November 3, the Cornhuskers gave up 76 points to Kansas, the most points ever scored against the Cornhuskers in their 117-year football history. The Huskers followed that performance a week later with a win, scoring 73 points against Kansas State. This marked the first time in history that a team has given up over 70 points in a loss only to score 73 points in a win a week later. The loss supplanted the previous record for most points allowed in a game, 70, by Texas Tech in 2004, Bill Callahan’s first season.
On November 24, 2007, a day after a 65-51 loss to rival Colorado, Callahan arrived to the team’s practice facility at 6:30 a.m. He met briefly with Osborne and was fired. As he left the complex, he waved to reporters gathered outside. Osborne announced during a press conference held at the school that Bill’s “contract would not be renewed the following season”4, but due to a contract extension given to him by Steve Pederson earlier in the year Callahan will still earn 3.1 million as part of his buyout5. Despite a 27-22 record in Lincoln five games over .500, Callahan was 1-10 against teams ranked in the Top 25, 27-2 in games in which he led at halftime, 0-17 in games in which he trailed at halftime, 25-21 against Division I opponents, 15-18 against the Big 12, and coached the program to two of its four non-winning seasons in 46 years.
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Excerpt Taken From http://en.wikipedia.org/wiki/Bill_Callahan_(football_coach)
Bill Callahan’s music is so durn pretty that it’s easy to forget where the man came from. Once revered by Sonic Youth and covered by Flaming Lips, Callahan’s alias Smog was a leading name in lo-fi experimentalism. But Callahan has a knack for reinventing the past one great album at a time, and the future he’s been crafting is increasingly melodic. With 2007’s Woke On A Whaleheart, his 13th full-length, Callahan left behind the Smog moniker for his birth name and an oddly upbeat album—a surprise coming from someone known for his black humor and deadpan baritone. His new album, the string-laden Sometimes I Wish We Were An Eagle, finds him on familiar ground again, but still doing what he does best: tweaking the format as he continues down an amorphous musical path that dodges genre classification. Sure, it’s little bit country and a little bit rock ’n’ roll, but there’s always an X factor with Bill. The A.V. Club caught up with the inward-chuckling, slow-talking philosopher by phone at his home in Austin.
BC: No, my parents weren’t religious at all. I remember the first time I heard about Jesus was at school. Some teacher said something about him, and I was like, “I wonder if everyone knows about this guy.” My thoughts on it have all been from my own investigation. In my early 20s, I’d read Franny And Zooey, and for a while, I was very interested in Buddhism. It seemed less didactic than some Western religions. People would always ask me, “Are you a spiritual person” and I would say yes, but it made me uncomfortable. Before “Faith/Void,” I was reading a lot of atheist literature and I realized, no, I’m not a spiritual person, because I don’t know what that means. I like mountains and oceans and stuff, which is where I’ve always felt some sort of power of meaning, but that’s not necessarily spiritual. I’ve realized it’s better if we just stop talking in that language, because it can lead to so many conflicts.
Excerpt Taken From http://www.avclub.com/articles/bill-callahan,26516/
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Topic – Bill Callahan
Current Live Discussion for Bill Callahan on Fri, 03 Sep 2010