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Tom Waits’ ‘Big Time’: The concert uncut for your viewing pleasure
05.30.2012
04:17 pm
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Big Time filmed at San Francisco’s Warfield Theater and the Wiltern Theater in Los Angeles, is like entering a sideshow tent in Tom Waits’s brain. Directed by Chris Blum and written by Waits and his wife Kathleen Brennan, Big Time makes use of minimal sets and simple disguises to create a wildly evocative musical that draws from elements of vaudeville and burlesque. A truly unique vision from the always inventive Mr. Waits.

When the film was released in 1988, the press notes (grappling for some reference point) described it as a mix of…

[...] avant-garde composer Harry Partch, Howlin’ Wolf, Frank Sinatra, Astor Piazzolla, Irish tenor John McCormack, Kurt Weill, Louis Prima, Mexican norteno bands and Vegas lounge singers.

Tom Waits: organ, vocals
Michael Blair: percussion, bongos, drums
Ralph Carney: clarinet, horn, sax
Greg Cohen: bass, horn
Richard Hayward: drums
Marc Ribot: guitar

Long out of print on VHS (used copies are fetching a couple hundred bucks) and never released on DVD, it’s a treat to find Big Time in its entirety on YouTube. Dig it while you can.
 

Posted by Marc Campbell
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05.30.2012
04:17 pm
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Italo-disco emergency room freakout
05.30.2012
04:04 pm
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Scotch had a string of Italo-disco hits in the early-to-mid 1980s. Manlio Cangelli was the mastermind of the band, which included playing synths, programming drum machines and composing the smash hit “Disco Band.”

While “Disco Band” is a more than serviceable dance floor filler with a decent hook, the video is another beast all together - a WTF slice of videotape that seems to have been concocted by Laurie Anderson and The Marx Brothers on crack.
 

Posted by Marc Campbell
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05.30.2012
04:04 pm
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Careful with that pirouette, Eugene: The Pink Floyd Ballet, 1972
05.30.2012
03:52 pm
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The great French choreographer Roland Petit’s “Pink Floyd Ballet” saw the group performing live onstage in 1972 and 1973 with the dancers of Le Ballet de Marseille, Petit’s company.

Oddly, the original idea for the ballet was to do a version of Marcel Proust’s Remembrance of Things Past!

Quotes taken from various sources about the experience and sourced by the Moicani blog:

Nick Mason: “But nobody read anything. David did worst, he only read the first 18 pages.” [Miles]

Roger Waters: “I read the second volume of Swann’s Way and when I got to the end of it I thought, ‘Fuck this, I’m not reading anymore. I can’t handle it.’ It just went too slowly for me.” [Miles]

Later Petit wanted to do A Thousand and One Arabian Nights.

Nick Mason: “Proust has been knocked on the head.” [Miles]“Originally he was going to do a complete program: a piece by Zinakist, a piece by us, and a new production of Carmen. I think he has now decided to do just two pieces — Zinakist’s and ours — which has meant doubling the length of the thing we are going to do.” [Miles]

Nick Mason [February 1972]: “We haven’t started work on it yet. We’ve had innumerable discussions, a number of lunches, a number of dinners, very high powered meetings; and I think we’ve got the sort of storyline for it. The idea is Roland Petit’s and I think he is settled on the ideas he wants to use for the thing so I think we’re going to get started. Ballet is a little like film actually. The more information you have to start with, the easier it becomes to write. The difficulty about doing albums is that you are so totally open. It’s very difficult to get started.” [Miles]

Roger Water and Nick Mason discussed the experience in retrospect, in 1973:

Roger Waters: “The ballet never happened. First of all it was Proust then it was Aladdin, then it was something else. We had this great lunch one day [4 December 1970]: me, Nick and Steve [O’Rourke]. We went to have lunch with [Rudolph] Nureyev, Roman Polanski, Roland Petit and some film producer or other. What a laugh! It was to talk about the projected idea of us doing the music, and Roland choreographing it, and Rudy being the star, and Roman Polanski directing the film and making this fantastic ballet film. It was all a complete joke because nobody had any idea of what they wanted to do.”

Interviewer: “Didn’t you smell a rat?

Roger: “I smelt a few poofs! Nobody had any idea — it was incredible.”

Nick Mason: “It went on for two years, this idea of doing a ballet, with no one coming up with any ideas. Us not setting aside any time because there was nothing specific, until in a desperate moment Roland devised a ballet to some existing music which I think was a good idea. [Referring to the winter ‘72-‘73 performances] It’s looked upon a bit sourly now.”

Roger Waters [still on about the 4 Dec lunch]: “We sat around this table until someone thumped the table and said, ‘What’s the idea then?’ and everyone just sat there drinking this wine and getting more and more pissed, with more and more poovery going on ‘round the table, until someone suggested Frankenstein and Nureyev started getting a bit worried, didn’t he? They talked about Frankenstein for a bit — I was just sitting there enjoying the meat and the vibes, saying nothing, keeping well schtuck.”

Nick: “Yes, with Roland’s hand upon your knee!”

Roger: “And when Polanski was drunk enough he started to suggest that we make the blue movie to end all blue movies and then it all petered out into cognac and coffee and then we jumped into our cars and split. God knows what happened after we left, Nick.” [Miles]

Dave Gilmour: “In fact we did that ballet for a whole week in France. Roland Petit choreographed to some of our older material . . . but it’s too restricting for us. I mean, I can’t play and count bars at the same time. We had to have someone sitting on stage with us with a piece of paper telling us what bar we were playing…” [Miles]

“The Pink Floyd Ballet” has been performed all over the world since its debut. Aside from the Pink Floyd, Petit also worked with Serge Gainsbourg, Yves Saint-Laurent, David Hockney, Jean Cocteau, Rudolf Nureyev and artist Niki de Saint Phalle. Roland Petit died last year at the age of 87.

The videos below were shot on November 22 and 26,1972 and January 12,1973 at Marseille Salle Valliers, France and Le Palais des Sports de la Porte de Versailles, Paris for various French TV networks. Dig how fluent David Gilmour is, seen suavely speaking French here with a passable accent.
 

Posted by Richard Metzger
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05.30.2012
03:52 pm
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Neil Young with Booker T and The MGs: Two and a half hours of live dynamite
05.30.2012
01:52 pm
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Neil Young at the “Rock am Ring” festival in Germany on May 18, 2002. Good quality with very good sound. Enjoy two and a half hours of Mr. Young. And Booker T. and The MGs!

Neil Young—vocals, guitar, harmonica
Frank ‘Poncho’ Sampedro—guitar, backing vocals, piano on “Helpless”
Donald ‘Duck’ Dunn—bass guitar
Booker T. Jones—hammond organ
Steve ‘Smokey’ Potts—drums
Astrid Young—backing vocals, piano on “Quit” and “She’s a Healer”
Pegi Young—backing vocals
Larry Cragg*—additional bass guitar on “Let’s Roll”

 
Part two after the jump…

READ ON
Posted by Marc Campbell
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05.30.2012
01:52 pm
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Nietzsche and Masturbation: Über-clench of the Übermensch
05.30.2012
10:06 am
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“Can I do it ‘til I need glasses?”

It was odd seeing Nietzche’s face on that pancake yesterday, as I’ve just been reading Gregor Dellin’s Richard Wagner, His Life, His Work, His Century, where I came upon a bizarre perspective on the renowned Wagner-Nietzsche feud – one far less elevated than the philosophical dispute detailed by Nietzsche in his essay “Nietzsche contra Wagner” and elsewhere.

Nietzsche, of course, spent much of his life, prior to his complete physical and mental collapse, struggling with appalling ill-health; attacks of near-blindness, madness and incapacity that ruined his academic career and are nowadays almost unanimously thought to have been the symptoms of advanced syphilis. In 1877, when Wagner and Nietzsche’s friendship was apparently in its pomp, but Nietzsche’s health was moving through an especially rocky patch, Wagner (a bullish individual, to put it mildly) instigated a correspondence with Nietzsche’s then-doctor, evincing a great deal of concern for his younger friend, but an arresting want of tact:

“In assessing Nietzsche’s condition I have long been reminded of identical or very similar experiences with young men of great intellectual ability. Seeing them laid low by similar symptoms, I discovered all too certainly that these were the effects of masturbation [by hiding under their bed, perhaps]. Ever since I observed Nietzsche closely, guided by such experiences, all his traits of temperament and characteristic habits have transformed my fear into a conviction.”

Yes, what Herr Dr. Wagner wants to focus on is the possibility that Nietzsche was, in Wagner’s words, “a confirmed masturbator.” Back then, the world’s foremost pastime was widely considered to be an extremely risky business, as Dr. Balthazar Bekker’s study of 1716 (still influential in Nietzsche and Wagner’s day) details – the following, believe it or not, are just a few of the physical consequences supposed to derive from so-called “self-abuse:”

“Disturbances of the stomach and digestion, loss of appetite or ravenous hunger, vomiting, nausea, weakening of the organs of breathing, coughing, hoarseness, paralysis, weakening of the organ of generation to the point of impotence, lack of libido, back pain, disorders of the eye and ear, total diminution of bodily powers, paleness, thinness, pimples on the face, decline of intellectual powers, loss of memory, attacks of rage, madness, idiocy, epilepsy, fever and finally suicide.”

Which must have spiced up the average wank no end. But spare a thought for young Nietzsche, who already suffered from a decent number of these symptoms and must have regularly entertained the possibility that they were, so to speak, self-inflicted, just as Wagner (indiscreetly) would later allege. Dellin makes a good case that, for Nietzsche—a sexually sensitive man in sexually sensitive times—Wagner’s betrayal of his privacy was, once he learned of the correspondence, impossible to forgive or forget, the unflattering designation made in painful proximity not only to Cossima Wagner (the chick Nietzsche most dug) but also – and worse still – history itself!

But beyond Delin’s suggestion that Nietzsche’s subsequent philosophical feud with Wagner is only a smokescreen to distract history from these rumors and resentments, I couldn’t help entertaining the idea that Nietzsche’s entire later philosophy was an elaborate refutation of the possibility that he was a “confirmed masturbator” –  which Nietzsche could well have imagined his own medical history would suggest to future generations even louder than Wagner’s lay-prognosis.

After all, whichever “moral” worldview Nietzsche attacked – be it Christianity, Buddhism or Socialism – he always did so primarily on the grounds that they were only the symptoms of decadence and that the cultures in which they originated and spread had long since stopped being able to control themselves. As Nietzsche noted in Twilight of the Idols:

“There is a time with all passions when they are merely fatalities, when they drag their victim down with the weight of their folly (...) all the old moral monsters are unanimous that ‘the passions must be killed’.”

Which is to say that you would only preach against the passions if they were fucking you up in the first place! The more moral the philosophy, insisted Nietzsche, the more debauched its adherents; Christianity, then, for whom “the only ‘cure’ is castration” (“if thy eye offend thee, pluck it out”), would therefore find its natural adherents among the most hopelessly degenerate:

“Survey the entire history of priests and philosophers, and that of artists as well: the most virulent utterances against the senses have not come from the impotent, nor from ascetics, but from those who found it impossible to be ascetics, from those who stood in need of being ascetics.”

What might the private life of such a moralist and would-be ascetic look like, then, at its worst? You might envisage (were you alive in the nineteenth century, that is), none other than a chronic masturbator, one (say) whose habit had become such a “fatality” that they risked permanently blinding and paralyzing their mind and body with the “weight of their folly.” 

Quite the opposite, then, of an anti-moralist like Nietzsche, who definitely didn’t have, as Bob Dylan sang, “One hand tied to the tightrope walker/ The other in his pants…”

Posted by Thomas McGrath
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05.30.2012
10:06 am
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When Harry Met Sammy: Pinter on Beckett
05.29.2012
07:52 pm
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He describes him in short, clipped sentences.

‘He came into the hotel, very quickly indeed. Sharp strides, quick handshake. It was extremely friendly.’

And then he tells you about himself, a slight pride, ‘I’d known his work for many years, of course.’

Of course, as if there would have been any question to otherwise. Then the non sequitur, ‘But it hadn’t led me to believe that he would be such a very fast driver. He drove his little Citreon, from bar-to-bar, throughout the evening. Very quickly, indeed.’

And of course, there are (pauses).

It’s Harold Pinter on Samuel Beckett, recalling an evening spent in his company. A pub crawl in France.

‘We were together for hours, and finally ended up in… (Pause) ...a place in Les Halles, eating onion soup, at about 4 o’clock in the morning. (Longer Pause) And… (Pause) ...I was, by this time, overcome, through, I think, alcohol and tobacco and excitement (Pause) with indigestion and heartburn. So. I lay down on the table, to still see the place. (A Beat) When I looked up he was gone. (Pause) A I say, it was about 4 o’clock in the morning.’

It could be lines from a Pinter play, My Night Out With Samuel, or a comedy, When Harry Met Sammy, but it all progresses beautifully, and menacingly, towards a punchline.

‘I had no idea where he had gone, and he remained away and I thought perhaps this had all been a dream. (Long Pause)  I think I went to sleep on the table and…. (Pause) ...About forty-five minutes later, the table jolted and I looked up and there he was, a package in his hand. A bag.

(Pause)

‘And he said, eh, “I’ve been over the whole of damned Paris to find this. I finally found it.” And he opened the bag and he gave me a tin of bicarbonate of soda. Which indeed worked wonders.’

Pinter then goes on to read from a letter he wrote to a friend in 1954, when he was 24, about Beckett - ‘The farther it goes, the more good it does me’ - before performing an extract from Beckett’s The Unnameable. In total, this short program is seven minutes of sheer brilliance.
 

 

Posted by Paul Gallagher
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05.29.2012
07:52 pm
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Allman Brothers live at the Fillmore East, 1970
05.29.2012
06:26 pm
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Last week, after I lamented that I’d never seen any good concert documentation of the Allman Brothers in their prime, DM reader Amanda_B_Reckonwith made my day with this footage of the Allmans playing their epic jam “Whipping Post” at the Fillmore East on September 23, 1970. This was about seven months before their classic At Fillmore East live album was recorded there.

This is a pure pleasure, seeing the best blues-rock band America ever produced improvising at their all time peak. “Whipping Post” begins in 11/4 time, almost placing the Allmans—for one song at least—into some sort of quasi Southern-fried Prog Rock continuum. The version that appears on At Fillmore East album clocked in at a never boring 23 minutes, taking up an entire side, but this blistering, energetic rampage through the song is just 11 and a half minutes long, as if they’re cramming all the energy of their more expansive jams into half the time. The band, still young and hungry at this point—and with something to prove—produce full “lift-off” here.

The group is Gregg Allman, Duane Allman, Dickey Betts, Berry Oakley, Butch Trucks, and Jai Johanny “Jaimoe” Johanson. Their pal Tom Doucette sat in on harmonica and percussion during this set.
 

 
After the jump, more Allman Brothers at the Fillmore East…

READ ON
Posted by Richard Metzger
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05.29.2012
06:26 pm
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The Antichrist: Friedrich Nietzsche’s face spotted on pancake
05.29.2012
05:31 pm
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Breakfast of Champions the Übermensch?

Via reddit

Posted by Tara McGinley
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05.29.2012
05:31 pm
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Famous rappers and hip-hop artists share their opinions on buttsecks
05.29.2012
04:17 pm
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From a 2004 survey where rappers and hip-hop artists weigh in when asked, “How Do You Decide Who You’ll Have Anal Sex With?”

Click here to read larger version. (NSFW-ish)

Via Dressed Like Machines

 

Posted by Tara McGinley
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05.29.2012
04:17 pm
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‘No. 1 Against The Rush’: New Liars single; album drops next week
05.29.2012
01:33 pm
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Liars’ unsettling creepy-crawler of an album, Sisterworld was one of my favorite albums of 2010, so I’m thrilled to hear that their new album, WIXIW (pronounced “wish you”) is coming out next week.

WIXIW seems to be a real departure from Sisterworld, with moody, anxious synthpop replacing the violent sonic onslaught of their last record. After recording WIXIW in Los Angeles, the group relocated to Brooklyn to shake things up creatively, as they told DAZED:

DAZED: As a group you move around a fair bit – Brooklyn, Berlin – would you say you draw a lot from location for your art/music?
Liars: It depends entirely on the type of project we undertake. In some instances our goal is to engage and react to our environment and on other projects we look to alienate and isolate ourselves from what’s going on around us.

DAZED: Why the name ‘Liars’? Would you say that being an artist is to be honest or dishonest?
Liars: I think it’s important for an artist to be honest with themselves in terms of what they are interested in and what types of ideas they wish to pursue, i.e. good artists follow their instincts. But in terms of the work created I see no reason to impose any kind of practical moral guidelines or sense of right or wrong that could potentially inhibit the development of the work. Personally, I think pure honesty lacks imagination.

DAZED: You seem to embrace confusion and ambiguity in the messages and themes of your music – why is that? How does that affect your approach to making music? What are you seeking to achieve through music if not clarity?
Liars: I think clarity is one dimensional and boring. I’m much more interested in the innumerable possibilities of misunderstanding and misinterpretation. Today’s information age is fraught with the overbearing knowledge of detail – so our approach is less about delivering finite answers and more about developing interesting questions.

“No. 1 Against The Rush,” the first single from WIXIW, is out on Mute Records today. The album, with artwork designed by John Weise, will be available on CD, deluxe vinyl (with CD) and limited edition vinyl with silk screened embossed covers hand dipped in black wax by the band on June 4 in the UK and June 5 in the US. You can stream the entire album at DAZED Digital.

The video fro “No. 1 Against The Rush,” directed by Todd Cole in Los Angeles.
 

Posted by Richard Metzger
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05.29.2012
01:33 pm
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