so how did you get into the record game? when ramona and i were grad students at ucla studying art, we started selling records to a few shops in europe and japan. every month we'd travel around buying collections. do you ever follow the rules like "the bigger the afro the better the record"? well, i'll buy anything that looks good, anything that i haven't seen before, anything of the right era that looks like it has the right ingredients. it doesn't have to have an afro. i have sold $300 records by guys with short fades. what's the biggest single record score you've had? well, i've sold some expensive records, but it's more of a triumph for me to sell a really bogus-looking 80s record for twenty bucks, because i'm taking something that nobody understands is useful or enjoyable, and it's like i'm turning it into something that someone appreciates in some way. it's like, the ones that are in the book and valuable, i don't have as much interest in, because i'm trying to find a way to use these unknown records. it's sort of like creating new markets. so you're more about flipping an atlantic starr or something? yea, well atlantic starr is a known thing, maybe more like an obscure guy on the same label who has, like, one good track on his album. [at this point the record on the turntable ends. anthony gets up and slides a pat metheny lp out of its sleeve] pat metheny? crazy yea, pat petheny. i've never been able to get into things like this you've got to think of it in a different way. you've got to wrap your mind around it and remove parts of the stylistic content. my whole thing is i gotta force myself outside of listening [to certain genres] so you'd rock a yanni record? i'd listen to it. but it probably isn't good. you see, pat metheny is good. it's progressive and has an attitude. and it kind of sucks, and it's kind of cheesy, but there's a magic to it. but it's the total opposite of a hard break. i always wondered what you listend to. i pictured you at home grooving out to dorothy ashby's rubaiyat or some rufus harley or something like that well you see see i have those, but listening to them is like listening to stuff you were really into years ago. maybe i've exhausted my relationship with them. you appreciate and always love it, but it's like you're not going to put it on as much. i'd rather listen to this metheny lp, because i disregarded it so many times. i got this friend who's into finding these common records that are so obscure because they've been ignored. it's like how you might enjoy finding a tal armstrong tallest man in love, because it's so rare and you found some way to appreciate it. well, he'll take some really bogus record like michael franks or kenny rankin and find some special moment on it and play it for me. it's a new kind of digging where you take something truly useless and find something new and exciting within it. so what's the truly amazing moment on this pat metheny? let me show you. [anthony lifts up the needle and drops it down on a part of the song with a soft jazz buildup] you see this is like the music i pictured myself listening to at thirty-five. it makes me feel like i need to go out for a jog or something. just picture it being 1978 and you're listening to blondie and dad is listening to this. for me it's all about this really progressive jazz fusion. is it cool if i look over some of your records? go ahead. [i start flipping past michael franks lps and directly behind one is a copy of sons & daughters of light and starcrost. anthony reaches over and pulls out a private press album that looks interesting. he replaces the pat metheny with a really odd-sounding mid-70s ambient lp] so have you dealt with crazy guys in either buying or selling records? it's so common. one of the weirdest places i found great stuff was out of a dumpster. i mean, don julian on money and things like that. this was a guy who was selling his collection, and he just got a bunch of his stuff refused at a local record shop. we saw him, and he told us he was desperate and about to be kicked out of his apartment. he told us he just threw his albums into a dumpster. so we paid him and my friend and i dived into the dumpster and started pulling things out...that was a very weird situation. did you look at yourself and say, my god i'm in a dumpster? man it felt great. this stuff was about to be disposed of, and we came around and kind of liberated it and gave it a new chance to be enjoyed. any other weird place? i was in this brothel on the south side of houston once that a dj took me to, and there were thousands of records there. there was tons of rare stuff like rick holmes 12"s on gold mind, and it was like all this sex going on around me. i mean women getting sex in the next room and women on the pool table. it was just so weird. it was insane and it was pretty scary. it was a hardcore situation in a pretty ghetto area. now you're a professor too? yea i teach photography at uc riverside. how did you get into that? i knew some artists at riverside and they admired my pictures and thought i'd be good with the students, so they gave me a job. so how do you have time to do records, art, and teach? people ask that a lot. the truth is i just don't watch television / waxpoetics #10 2004 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . anthony pearson's (ebay rating 6482, 99.9%+) joints ending 7.25.06:

old color #dedc82 to match ebay auction winners