In the story, Lulu is loved by many, but manipulates her lovers, moving from one to the next. At the height of her adoration, her fortunes begin to fall: she’s chased by the police, imprisoned, forced into prostitution, and then eventually murdered. To drive this musical and thematic symmetry home, Berg specified that the actors that play her first three lovers are the same actors that play her last three clients when she is a prostitute. This dramatic palindrome dovetails with the musical palindrome: Berg’s marriage of disturbing musical formalism with dramatic technique highlights Wedekind’s unearthing of the violence within patriarchal sexuality.
Tredici Bacci’s latest record, La Fine Del Futuro, released this spring, makes me feel like I’m playing a minor character in a movie about falling in love on mushrooms in a European technicolor nightmare circus. And oh yes, it’s definitely set in the 1970s. Simon Hanes is this 13-piece soundtrack-pop ensemble’s fearless leader, as well as its composer and arranger. Flypaper’s Dre DiMura asked the California-raised Brooklyn-based musical polymath to speak about his sense of humor, which is integral to the music, and Hanes said something which I think encompasses a huge part of the ethos of this interview series: