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Rarely seen film footage of hippie bard Richard Brautigan
11.29.2016
10:05 am
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Photo: Baron Wolman
 
The following is an edited version of an article I wrote on Dangerous Minds back in 2012 when Jubilee Hitchhiker: The Life and Times of Richard Brautigan, the then-new biography of the poet, was published. I felt I couldn’t improve upon it so am sharing it again in a different context, as a preamble to this new video I put together of footage I’d never seen before of Richard Brautigan. This is an excerpt from a documentary about The Summer Of Love which was broadcast on the Canadian TV series The Way It Is in 1967. There is very little Brautigan on film, so for fans of the bard of San Francisco this is a short, but sweet, visit with one of our great countercultural heroes.

Richard Brautigan, Jack Kerouac and The Doors were my saviors in the year of the Summer Of Love. I was stuck in the suburbs of Virginia, surrounded by jocks and greasers, mostly always alone in my room full of beatnik books, magical vinyl and a meerschaum pipe full of banana peel. It was the year I read Brautigan’s second book Trout Fishing In America and the year that I left home for San Francisco’s Haight Ashbury.

Those were the days when a book or a record album could change your life. If literature had a Beatles, his name was Richard Brautigan. It comes as no surprise that John Lennon was a Brautigan fan. They both had a whimsical point of view that started in the square inch field and expanded into the cosmos.

In 1968, I lived inside of a parachute inside of a dance hall in a ghost town near Los Gatos, California. It was my summer of In Watermelon Sugar. I read that book like a preacher reads the Bible. It was my new testament. Brautigan’s poems and prose had this uncanny ability to gently slap you upside the head while disappearing into what is being described. In Watermelon Sugar was Brautigan’s river Tao, a sweet subtle liquid that flowed through the pink flesh of our being.

William Carlos Williams famously wrote “no ideas but in things” and embodied that thought in poems like “The Red Wheelbarrow.” Brautigan wrote from a similar point of view - a kind of American Zen that was ordinary and transcendental, modern and prophetic…

  I like to think (and
  the sooner the better!)
  of a cybernetic meadow
  where mammals and computers
  live together in mutually
  programming harmony
  like pure water
  touching clear sky.

For many of us, Brautigan was a door into a consciousness that was liberating in its playfulness and here and nowness. Reading Brautigan is like taking a pure hit of oxygen. Things sparkle. There is a sense of boundless delight and eroticism in his prose and poetry - a promise of the unspeakable, where language transcends itself.

Watch the clip after the jump…

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Posted by Marc Campbell
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11.29.2016
10:05 am
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‘Look, they’re crucifying Him! And nobody cares!’: When Charlie Chaplin met Igor Stravinsky


 
For a couple of years when I was a little kid—before I discovered rock music, so like 3rd and 4th grade—I collected Charlie Chaplin movies that I purchased on 8mm film from Blackhawk Films. Blackhawk sold newsreels of the Hindenburg disaster and WWII along with the public domain silent horror films of Lon Chaney and comedies by Chaplin, Buster Keaton and Harold Lloyd. Blackhawk advertised in comic books, Famous Monsters of Filmland and in a nostalgia magazine my grandfather used to read (I wish I could recall the name of it, I’d buy every issue on eBay). I sent for their free catalog. The price of the Chaplin shorts ranged from like $7.98 to $14.98 which was an astronomical amount of money at that time, for someone who was eight years old, or otherwise. When I say “collected,” I probably had like seven Chaplin shorts that I got from Blackhawk. I’d tell my parents and grandparents just to give me money for Christmas and birthdays so I could order them. A $10 reward for a good report card meant another Chaplin film. I would screen them in my parents’ basement on a moldy-smelling Westinghouse 8mm projector my father had long ago lost any interest in.

I was really, really Chaplin obsessed. I still am to this day.

Charles Chaplin’s My Autobiography was published by Simon & Schuster in 1964, when the great man was then in his seventies and living a life of comfortable exile at Manoir de Ban, a 35-acre estate overlooking Lake Geneva in Switzerland, having been pushed out of Hollywood during the Red Scare. It’s one of the most extraordinary books that I’ve ever read. The first portion of the book describes, in brutal detail, the life of crushing Dickensian poverty that Chaplin and his brother Sydney were thrust into when their mother—who’d gone mad from syphilis and malnutrition—had to drop them off at the pauper’s workhouse, unable to care for herself, let alone them.

Chaplin’s remarkably beautiful prose is nothing short of heartbreaking. It’s not just the harsh Victorian circumstances he’s describing that are so excruciatingly Dickensian, it’s the quality of his writing as well. My Autobiography starts off exactly like a lost novel by Charles Dickens, and indeed there is probably no greater true life rags to riches story that has ever been told in the entire history of humankind. Chaplin went from being an innocent young boy who’d had his head shaved and painted with iodine for a lice treatment (there’s a group shot in the book that will hit you in the gut) in the lowest of circumstances to being the most famous man in the world just a few years later. It’s one of the best books that I’ve ever read and it’s one that will still be read long into the future as long as we don’t go the way of Planet of the Apes.
 

Stravinsky takes a spin on a hoop contraption that Chaplin had built at his Beverly Hills home.
 
And speaking of our puzzling new Bizarro World national reality, there’s an anecdote that happens later in Chaplin’s book (pages 395-397) where he writes about a meeting that he had with Russian composer Igor Stravinsky where he proposed a collaboration between them. It was sometime in 1937. War had yet to be declared, but something very dark was happening in the world.

I was thinking about this over the weekend, and how potent this imagery is in Donald Trump’s America:

While dining at my house, Igor Stravinsky suggested we should do a film together. I invented a story. It should be surrealistic, I said—a decadent night club with tables around the dance floor, at each table, greed, at another, hypocrisy, at another, ruthlessness. The floor show is the Passion play, and while the crucifixion of the Saviour is going on, groups at each table watch it indifferently, some ordering meals, others talking business, others showing little interest. The mob, the High Priests and the Pharisees are shaking their fists up at the Cross, shouting: “If Thou be the Son of God come down and save Thyself.” At a nearby table a group of businessmen are talking excitedly about a big deal. One draws nervously on his cigarette, looking up at the Saviour and blowing his smoke absent-mindedly in His direction.

At another table a businessman and his wife sit studying the menu. She looks up, then nervously moves her chair back from the floor. “I can’t understand why people come here,” she says uncomfortably. “It’s depressing.”

“It’s good entertainment,” says the businessman. “The place was bankrupt until they put on this show. Now they are out of the red.”

“I think it’s sacrilegious,” says his wife.

“It does a lot of good,” says the man. “People who have never been inside a church come here and get the story of Christianity.”

And the show progresses, a drunk, being under the influence of alcohol, is on a different plane; he is seated alone and begins to weep and shout loudly: “Look, they’re crucifying Him! And nobody cares!” He staggers to his feet and stretches his arms appealingly toward the Cross. The wife of a minister sitting nearby complains to the headwaiter, and the drunk is escorted out of the place still weeping and remonstrating, “Look, nobody cares! A fine lot of Christians you are!”

“You see,” I told Stravinsky, “they throw him out because he is upsetting the show.” I explained that putting a passion play on the dance floor of a nightclub was to show how cynical and conventional the world has become in professing Christianity.

The maestro’s face became very grave. “But that’s sacrilegious!” he said.

Continues after the jump…

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Posted by Richard Metzger
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11.21.2016
12:40 pm
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Totally Insane James Bond comic books from India
11.17.2016
12:13 pm
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Diamond Comics are the largest comic book distributor and publisher in India. They’ve created a lot of original Indian comic book characters as well as publishing
foreign comic titles like The Phantom, Superman, Batman and Spider-Man. The Diamond superhero comics look more or less as we’ve come to know them. They don’t depart radically from the American versions.

But the James Bond comic books in Hindi are from another universe entirely. With eye-searing colors and primitive graphics, Diamond’s James Bond series completely lacks the elegance and style we associate with the suave superspy. Day-Glo 007 has been shaken, stirred and put up wet.

I was going to say that these covers are kind of lysergic. But really they’re not. This is what shit looks like after eating a handful of Datura or Amanita Muscaria. Double oh my God!
 

 

 
More double-0-WTF, after the jump…

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Posted by Marc Campbell
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11.17.2016
12:13 pm
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Salvador Dali goes to Hell: Astounding illustrations for Dante’s ‘Inferno’
11.15.2016
12:10 pm
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‘The Delightful Mount.’
 
We are in Hell.

That’s how it begins.

We are in Hell and have to find our way out.

That’s the “tagline” for Dante’s epic allegorical poem the Divine Comedy.

The Divine Comedy tells of the poet Dante “midway upon the journey” of his life when suddenly he finds himself lost “within a forest dark” having strayed from his “straightforward path.” It’s like the opening of some grim horror story or even a disturbing pulp detective tale—where the hero awakes lost and menaced in a dark and foreboding place.

It was another great poet T. S. Eliot who once wrote “Dante and Shakespeare divide the modern world between them. There is no third.”

In terms of Europe, he was right—though some may now add Goethe.

Shakespeare with his poetry and plays changed the English language and offered an unrivaled insight into the human condition.

Dante certainly added to our language and literature and gave some insight into human understanding—but his greatest literary feat was creating our vision of Hell.

Hell with its gates and abandon all hope ye who enter here. Hell with its nine circles—its brutal, horrific punishments, fire and ice, mythical creatures and monstrous demons.

The Divine Comedy is an allegory about sin and redemption. Dante is led by yet another poet Virgil—chosen because he described Hell in his poem the Aeneid—through the Inferno (Hell) on towards Purgatory and Paradise.

Understandable therefore that Dante’s epic tale would appeal as a subject matter to an old superstitious Catholic like Salvador Dali. The fact that this poem had already been illustrated by William Blake and Gustave Dore only added to its attraction

In 1957, the Italian government approached Salvador Dali to produce a series of 101 watercolor illustrations intended to accompany a new edition of the Divine Comedy intended to celebrate the 700th anniversary of Dante’s birth in 1965. Dali set to work. But when the first of Dali’s paintings were exhibited at the Palazzo Pallavicini in Rome, a section of the Italian public were disgusted that a Spaniard had been hired to celebrate their country’s greatest poet rather than some Italian. The project was quickly dropped.

However, Dali seemed unperturbed. He finished the project.

In 1964, Dali approached his French publisher, Joseph Foret, who was then producing a volume of Dali’s illustrations to accompany a new edition of Don Quixote. Dali suggested the idea of publishing his illustrations in a new edition of Dante’s epic poem. Foret took a selection of Dali’s watercolors to the publishers Les Heures Claires—who were equally enthusiastic about the project.

Two engravers—Raymond Jacquet with his assistant, Mr. Taricco—were hired to hand carve the 3,500 wood blocks necessary to reproduce Dali’s watercolors. A limited edition of the book was published in Italian. Sets of Dali’s prints are still available to buy online for plenty of lucre.

Dali’s illustrations feature many of his trademark images—elongated limbs, melting faces, and disturbing unquiet. Though his paintings do not attempt to compete with the illustrations of Dore and Blake—Dali’s images do create a surreal interpretation of Hell and all its punishments. Below is the complete set of Dali’s illustrations for the first part of Dante’s Divine Comedy—the Inferno—as recounts the poet’s journey from dark wood through the gates of the underworld onto the nine circles of Hell. The full poem can be read here.
 
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‘Reassurance.’
 

I was among those, in Limbo, in suspense, and a lady called to me, she so beautiful, so blessed, that I begged her to command me.


 
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‘Charon.’
 
More of Dali’s vision of Hell, after the jump…

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Posted by Paul Gallagher
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11.15.2016
12:10 pm
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Kinky erotic portraits of Yukio Mishima
11.11.2016
10:00 am
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In 1961, a young photographer named Eikoh Hosoe was asked by writer Yukio Mishima to take his portrait picture. It was a humbling yet surprising commission. Mishima was then Japan’s greatest living novelist—the author tipped to one day win the Nobel Prize. Hosoe was relatively unknown. The commission made Hosoe deeply curious as to why the great Mishima had chosen him.

When they met in the small garden at Mishima’s house, the author anticipated Hosoe’s question:

“I loved your photographs of Tatsumi Hijikata. I want you to photograph me like that, so I asked my editor to call you.”

“Mr. Mishima, do you mean I can photograph you in my own way?” I asked.

“Yes, I am your subject matter. Photograph me however you please, Mr. Hosoe,” he replied.

All my questions and anxiety faded.

The photographs Mishima so greatly admired were the ones Hosoe had taken of the dancer Tatsumi Hijikata. 

Hijikata was an originator of Butoh—an apocalytpic dance form developed in Japan after the Second World War in opposition to western influence. Mishima had similarly broken away from the prevailing western influence that had altered Japan after the war and during the 1950s. Mishima wanted a return of the Emperor and the ancient samurai traditions.

Mishima had been a puny kid. As he matured he changed his body through rigorous exercise and weight-lifting to become toned and highly athletic. His books often deal with the theme of the split between intellectual ambitions and the man of action.

His first novel Confessions of a Mask examined the “reluctant masquerade” between the perceived and actual life. Mishima was bisexual. He was married with two children but had an intense and active gay life. He was a sadomasochist, who believed in the living of a life through force of will. A life that he claimed adhered to the strict codes of the samurai. His books were fixed in this tradition—though his subject matter was preoccupied with sex and death. This led many critics in the west to misunderstand Mishima. One of my collegues here label him as a cross between “Proust and Jeffrey Dahmer.”

That fine day in September 1961, Hosoe quickly realized Mishima did not want a banal author portrait:

In offering himself as the “subject matter” of my photographs, I thought he might have wanted to become a dancer himself. I was still in my twenties then, so I was naïve. I did not make the distinction between an international literary figure and a dancer.

Mishima’s father happened to be watering the garden, so I grabbed his hose, and I wrapped Mishima’s entire body in the hose and kept him standing in the center of the zodiac, where he was planning to erect a statue of Apollo.

I asked him to look up and concentrate on my camera, which I was holding from a ladder above. I shouted, “Keep looking at my lens very intensely, Mr. Mishima! Okay, that’s great, keep going . . .” He never blinked while I shot two rolls of 35mm film. “I am proud of my ability to keep my eyes open for minutes,” said Mishima.

“I have never been photographed like this,” he said. “Why did you do it in this way?”

“This is the destruction of a myth,” I replied.

“You should wrap the hose around Haruo Sato,” he laughed. Haruo Sato was considered to be a literary giant at that time. But what I really meant was that I wanted to destroy the preconceived ideas about Mishima’s image in order to create a new Mishima.

After the shoot, Hosoe thought he may have gone too far. Two days later, Mishima phoned him to say he loved the photographs and wanted to collaborate with Hosoe on some more.

Over a period of six months Hosoe worked with Mishima on a series photographs which he hoped would capture the writer’s soul. These were eventually published as a book—with text by Mishima—called Ba-ra-kei or Ordeal by Roses.

In November 1970, Mishima together with four members of his secret army attempted a military coup. They broke into the eastern headquarters of Japan’s Self-Defense Forces taking the commanding officer prisoner. Mishima demanded 800 soldiers gather outside the offices to hear a speech and a list of demands he had written. Mishima hoped this speech would inspire the troops to rebel against the corruption of western influence and join his rebellion. Mishima wanted an end of democracy and a return of the Emperor. His rebellion was a literal union of the artist and man of action changing history.

The troops laughed and jeered as the author spoke. The coup failed. Mishima returned inside where he committed seppuku (self-disembowelment) before one of his soldiers attempted to decapitate him. After several blows failed to remove his head, another of his soldiers eventually managed to decapitate Mishima.

Mishima’s biographer John Nathan suggested this military coup was only a pretext for Mishima’s ritual suicide—something he had long dreamed about. In his short story “Patriotism” Mishima described an idealized seppuku where the central character pulls a blade across his abdomen cutting himself open:

The vomiting made the fierce pain fiercer still, and the stomach, which had thus far remained firm and compact, now abruptly heaved, opening wide its wound, and the entrails burst through, as if the wound too were vomiting. . . . The entrails gave an impression of robust health and almost disagreeable vitality as they slipped smoothly out and spilled over into the crotch. . . . A raw smell filled the room.

Hosoe’s photographs of Mishima taken in 1961 and 1962 capture the author’s terrible beauty, eroticism and conflicted sadomasochistic nature.
 
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More of Hosoe’s photographs of Mishima, after the jump….

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Posted by Paul Gallagher
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11.11.2016
10:00 am
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William Burroughs: ‘When Did I Stop Wanting to Be President?’
11.08.2016
11:59 am
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The March 1975 edition of Harper’s featured an interesting essayistic gallery culled from the American populace to answer the question, “When Did You Stop Wanting to Be President?” The group of respondents included Theodore Sorensen (advisor to President Kennedy), George Romney (former governor of Michigan and father to Mitt), Kevin Phillips (author of The Emerging Republican Majority), and Eugene McCarthy (longtime Congressman from Minnesota).

But there were two writers in the group that merit special attention, in part because one can scarcely imagine them sharing the same editorial space: Ronald Reagan and William S. Burroughs!!!

At that moment Reagan was a year away from a failed attempt to wrest the Republican nomination from sitting president Gerald Ford and five years away from being elected president as a reactionary fuckwit.

Reagan uses his space to spout a lot of aw-shucks baloney about not wanting to be president (“I never started”), to throw out a few potshots at FDR and government in general, and to express confidence that public confidence in the presidency is likely to go up in the future (hasn’t happened).

For his part, Burroughs spins a funny alternate vision of himself as “Commissioner of Sewers” (as the item is sometimes known) of Los Alamos. Turned off by the notion of the president “pawing babies and spouting bullshit,” Burroughs engages in a reverie of being able to use his exalted position as an opportunity to engage in wide-ranging graft and shenanigans, including pressuring the sheriff “for some mary juana he has confiscated and he’d better play ball or I will route a sewer through his front yard.”

Eventually Burroughs (or his fictional stand-in) realizes that he’s “simply the wrong shape” for that kind of position, noting that plenty of his “plump” boyhood friends had gone on to pull down hefty salaries in similar roles.

You can read Burroughs’ original article in the pages of Harper’s (click on “Download PDF”) or you can read a slightly different version of it in the Google Books preview of Word Virus: The William S. Burroughs Reader.

More amusing, though, is to hear Burroughs read it himself, as he does after the jump…

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Posted by Martin Schneider
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11.08.2016
11:59 am
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‘Live animals are known to be devoured’: Brion Gysin and Paul Bowles’ Sufi recordings
10.20.2016
09:08 am
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Part of Ira Cohen’s layout for the Jilala sleeve (via Granary Books)
 
Brian Jones Presents the Pipes of Pan at Joujouka was not the first album of Moroccan music inspired by the kif-smoking literary expats in Tangier. In 1964, Brion Gysin and Paul Bowles taped the Jilala brotherhood, a Sufi order whose ritual dance and music were supposed to exorcise evil spirits and heal the sick. The LP Jilala, released a year or two later by Ira Cohen, brought these recordings into limited circulation and preserved them for posterity.

Poet, musician, traveler, author of The Hashish Cookbook, and director of The Invasion of Thunderbolt Pagoda, Cohen was another Olympian of the arts who had joined Burroughs, Gysin, and the Bowleses in Tangier in 1961. (My old employer Arthur Magazine brought out Invasion of Thunderbolt Pagoda on DVD ten years ago, with new scores by Acid Mothers Temple and Sunburned Hand of the Man supplementing the original soundtrack by founding Velvet Underground drummer Angus MacLise.) Years before his psychedelic photo experiments with Mylar, Cohen edited the literary magazine Gnaoua, named after a form of North African religious music that’s related to but distinct from the Jilala’s. 

It’s not entirely clear how Jilala is connected to another Paul Bowles recording project involving the same collaborators, time, and place. Bowles wrote Cohen in 1966 about donating the profits from something called the “Hypnotic Music record” to the Timothy Leary Defense Fund. In a footnote, the editor of Bowles’ letters says this refers to a compilation of Hamatcha, Jilala, Gnaoua, and Aissaoua trance music that was put together from tapes made separately by Bowles, Gysin, and Cohen and released by Cohen. However, the Independent reports that the Hypnotic Music record was an unrealized project, so perhaps Bowles’ editor has conflated it with Jilala, which Discogs lists as the sole release on Cohen’s Trance Records.

I would be delighted to be proven wrong about this. Does anyone have a copy of the Hypnotic Music record?
 

The cover of the original issue of Jilala
 
Before putting Jilala in your gym playlist, you should probably read Cohen’s liner notes (reprinted in full at Big Bridge and Discogs) so you know what you’re getting yourself into. The Jilala knew how to pitch a wang dang doodle with their flutes and drums. The bath salts of their day, these religious tunes have been known to make listeners eat live animals, slash themselves with knives, and drink boiling water straight from the kettle, as Cohen tells it…

More after the jump…

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Posted by Oliver Hall
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10.20.2016
09:08 am
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‘Shock And Awe’: How platform shoes, mascara and glitter saved rock ‘n’ roll
10.12.2016
10:13 am
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In 1972 rock music rolled out of the 60s as pale and cold as a corpse on a hospital gurney. There was the occasional death twitch but rigor mortis had set in and for most of us rockers there was a sense of hopelessness as we listened to vapid shit coming out of our radios.

How bad was it? Here’s the top ten tunes of 1972 according to Billboard magazine:

1 “The First Time Ever I Saw Your Face” Roberta Flack
2 “Alone Again (Naturally)” Gilbert O’Sullivan
3 “American Pie” Don McLean
4 “Without You” Harry Nilsson
5 “The Candy Man” Sammy Davis, Jr.
6 “I Gotcha” Joe Tex
7 “Lean on Me” Bill Withers
8 “Baby, Don’t Get Hooked on Me” Mac Davis
9 “Brand New Key” Melanie
10 “Daddy Don’t You Walk So Fast” Wayne Newton

That list is completely devoid of anything that remotely could be called “rock and roll.” With the exception of Joe Tex’s “I Gotcha,” virtually every song falls into the easy listening/pop category. Sentimental, corny, goofy, maudlin and over melodramatic, none of this stuff rocks. The closest the top 20 got to rock that year was Neil Young’s “Heart Of Gold.” And as lovely as that song is, it’s one of Neil’s most middle-of-the-road creations and still more folk than rock. In the entire Billboard top 100 of 1972 there are two songs that could be categorized as hard rock with some bonfide badass attitude. They were Alice Cooper’s “School’s Out”  and T.Rex’s “Bang a Gong (Get It On).” Elton John, Derek And The Dominoes, Badfinger and The Hollies all had hits with power ballads or top-forty schlock. The Hollies aping Creedence Clearwater with “Long Cool Woman (In A Black Dress)” may be memorable, but it also could have been recorded by just about any half-decent band. Completely unidentifiable as a Hollie’s song. 1972 was also the year that arguably the greatest rock composer of all time, Chuck Berry, released “My Ding A Ling.” This was the kind of shit that made a rock fan like myself weep.
 

 
In 1972, I was 21 and writing record reviews for a newspaper in Boulder, Colorado. At the time, record companies were very generous in sending out review copies of LPs to just about anyone claiming to be a rock critic. As a result, I was receiving well over a hundred copies of new record releases each month. Every day the postman would drop a load of vinyl on my front porch and I was like a kid at Christmas. Unfortunately, most of the freebies were real shit. But some good stuff would squeak through and occasionally the good stuff would be better than merely good. There were records among the dross that would eventually change my life.

From ‘72 to ‘75, when I did most of my reviewing, the albums that blew my mind were coming from reggae artists like Bob Marley and Toots And The Maytals followed by Brit rockers T.Rex, Roxy Music, David Bowie, Mott The Hoople, Cockney Rebel and American outliers Lou Reed, The New York Dolls, Sparks, Alice Cooper and Suzi Quatro, among a handful of others. What these performers shared in common was an energy that recalled some of the best of 60s garage bands, British Invasion, doses of psychedelia and a theatricality that was eccentric, fresh and provocative. Their songs tended to be short and to the point, with strong hooks and infectious beats. And they were sexy! This was the beginning of what eventually became known as glam rock. I know calling Marley glam is a stretch but let’s face it, Bob was glamorous and songs like “Lively Up Yourself” could be dropped into a mix with Bowie and Marc Bolan without missing a beat. Even if the twain does meet, we’ll still keep reggae out of the mix for sake of argument.
 

 
Glam rock blew open the doors for the punk scene that quickly followed on its heels. There’s not a single rock band that emerged in 76/77 from CBGB, Max’s, or The Marquee Club that weren’t inspired by glam bands. A few hate to admit it, but most know it’s true. From Johnny Rotten to Joey Ramone to Patti Smith, the visionaries in platform shoes with glitter in their hair like Marc Bolan, Bowie and The Dolls turned budding punks’ heads around and pointed them in a direction that would change them forever… just as they did for me.
 

 
Glam rock was fun at a time when rock wasn’t. The music I loved had become too self-important or too inconsequential to capture my heart and gut. Easy listening “elevator music” on MOR radio tossed with the pompous orchestral rock of Emerson, Lake and Palmer and Yes and the blowhard power ballads of Kansas and Styx created a mind salad that was all cellulose and little fiber. Even bands I had once looked to for some hard-edged three-minute rockers, The Who, for instance, were creating pretentious rock operas that were large-gestures but intellectually feeble. I wanted plain old pinball machines without the wizards. When rock songs started taking up entire sides of an album, I found myself dragging out my old Seeds and Music Machine albums. Few rock artists could sustain the longform song for me. Only the Doors, Jimi Hendrix and The Velvet Underground could pull that off.
 

 
So glam put the fun back into rock. It also put sex back into rock and returned some color, glitter and style to a musical culture that had turned to faded denim, faux blues and pretentious bluster. It was bigger than life, but as light as moonbeams. While Rick Wakeman and Mike Oldfield were pumping hot air into the balloon of pop culture, Sparks and Roxy Music were sticking needles in it. Underneath their wild threads and crazy hair, the glam rockers were smirking at the artifice of it all, using the theater of rock and roll to remind us that rock music was as silly as it is essential.
 

 
Simon Reynolds book Shock and Awe: Glam Rock and Its Legacy, from the Seventies to the Twenty-first Century is the definitive book on the music and pop culture explosion that put style, extravagance and a sense of—yes—absurdity back into rock and roll. Written from a place of genuine love for his subject, Reynolds’ 700 page history is formidable in its research and thoroughly entertaining. It’s smart without being academic and contains none of the “hey look at me” smarty pants rock crit that focuses more on the writer than the subject at hand. Reynolds is passionate about what he’s writing about and it’s truly infectious. From the big lights of Bowie, Roxy and Bolan to lesser known, but equally amazing, groups like Wizzard, The Sensational Alex Harvey Band and The Tubes, Reynolds covers dozens upon dozens of artists starting with proto-glamster Jerry Lee Lewis, The Stooges, through the rock scenes impacted by glam including punk, new wave, hair metal and techno. Like with his terrific book on post-punk Rip It Up and Start Again: Postpunk 1978-1984,  Reynolds obviously knows what he’s talking about. As well-researched as his books are, they’re never larded with too much minutiae or footnoted to death. They move like rock and roll moves. Shock And Awe has the energy and exuberance of a tight chugging Marc Bolan guitar riff. You can dance to it. Buy it here. Really, buy it. At 12 bucks it’s a fucking steal. Thank me later.
 

 
After the jump, a special video mix inspired by ‘Shock And Awe’ containing songs from Marc Bolan, Mott The Hoople, Slade, Roxy Music, Suzi Quatro, Cockney Rebel, Sweet, Wizzard, Sparks, Mud, The Osmonds and Jook….

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Posted by Marc Campbell
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10.12.2016
10:13 am
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A young Patti Smith and Jonathan Miller star in a 1971 BBC doc about New York City
10.07.2016
09:05 am
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Jonathan Miller became famous in the cast of the great 1960s comedy show Beyond the Fringe, sharing the stage with Peter Cook, Dudley Moore, and—I can’t tell if a heart emoji would be out of place here—playwright Alan Bennett. To this day, Dr. Miller is well-known in the UK as a public intellectual, prominent atheist, TV documentarian and opera director. (During the early 1980s, Miller was briefly famous in America, too, as the host of the popular PBS history of medicine, The Body in Question, and as the author of the best-selling book of the same title. He was often a guest on Dick Cavett’s talk show for an entire week at a time.)

In 1971—YouTube says ‘72, but I’ll take Miller’s biographer’s date—Miller returned to New York, a city he’d first visited when Beyond the Fringe played Broadway a decade before, and he brought a BBC camera crew. West Side Stories: Two Journeys into New York City juxtaposed his impressions of New York City and those of a very young Patti Smith.
 

 
She looks and sounds like Rimbaud if he just stepped away from a stickball game, which is to say she’s already, as Oliver Stone made Ray Manzarek say, “making the myths.” Patti talks Godard, rock journalism, “slopping the hogs,” spending the whole day on 42nd Street for fifty cents, and the first porno double feature she watched (Orgy at Lil’s Place and Blonde on a Bum Trip), all with unusual verbal facility and charm for a 24-year-old.

In my whole life, no matter where I lived—Chattanooga, Chicago, South Jersey—I was always an outcast. Y’know, even in my own neighborhood, even in my own family. I looked different than my whole family. I always felt alien. Not that I wasn’t loved, but people thought I was weird-lookin’ and skinny and all that. I had an eyepatch which I’ve since got rid of. And I never had no friends or boyfriends. When I came to the city, my whole life changed.

The uploader of this footage, YouTube user Pheidias Ictinus, claims it was the cameraman’s idea to interview Patti:

This film was made by the director Tristram Powell. At the suggestion of his cameraman he went to meet Patti and she ended up as an integral part of the film he was making with Jonathan Miller. The decision was made on the fly, during filming in New York, it was not part of the original concept. That’s what you call creative freedom.

Who would Jonathan Miller’s cameraman tell him to interview in today’s Manhattan? Some tech guy? I can’t wait to turn on the TV in 2047 and hear some tech guy reminisce about New York on the roof of the Chelsea Hotel. Lord, take me now. . .
 
Watch after the jump…

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Posted by Oliver Hall
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10.07.2016
09:05 am
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The 13th-century ‘thinking machine’ of Ramón Llull
09.22.2016
09:17 am
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Ramón Llull, via Alchetron. The ribbon in his mouth says Lux mea est ipse dominus, “My light is the Lord himself”
 
There’s an exhibition at Barcelona’s CCCB called “The Thinking Machine: Ramon Llull and the ars combinatoria,” up through December 11. Including work by Arnold Schönberg, Athanasius Kircher, Giordano Bruno, Leibniz, Italo Calvino, John Cage, and Salvador Dalí, the show makes its case for the influence of the Catalan philosopher Ramón Llull (1232-1316, sometimes anglicized “Raymond Lully”), who might be credited with inventing the first computer, or its primitive ancestor.
 

via inexhibit.com
 
I first became aware of Llull and his contraption in Jorge Luis Borges’ Selected Non-Fictions, which reprints “Ramón Llull’s Thinking Machine,” an article Borges wrote for El Hogar Magazine in 1937. Borges gives the most lucid description of the machine I’m aware of, starting with its simplest, two-dimensional form, a circle divided nine times:
 

 

It is a schema or diagram of the attributes of God. The letter A, at the center, signifies the Lord. Along the circumference, the letter B stands for goodness, C for greatness, D for eternity, E for power, F for wisdom, G for volition, H for virtue, I for truth, and K for glory. The nine letters are equidistant from the center, and each is joined to all the others by chords or diagonal lines. The first of these features means that all of these attributes are inherent; the second, that they are systematically interrelated in such a way as to affirm, with impeccable orthodoxy, that glory is eternal or that eternity is glorious; that power is true, glorious, good, great, eternal, powerful, wise, free and virtuous, or benevolently great, greatly eternal, eternally powerful, powerfully wise, wisely free, freely virtuous, virtuously truthful, etc., etc.

I want my readers to grasp the full magnitude of this etcetera. Suffice it to say that it embraces a number of combinations far greater than this page can record. The fact that they are all entirely futile—the fact that, for us, to say that glory is eternal is as rigorously null and void as to say that eternity is glorious—is of only secondary interest. This motionless diagram, with its nine capital letters distributed among nine compartments and linked by a star and some polygons, is already a thinking machine. It was natural for its inventor—a man, we must not forget, of the thirteenth century—to feed it with a subject matter that now strikes us as unrewarding. We now know that the concepts of goodness, greatness, wisdom, power, and glory are incapable of engendering an appreciable revelation. We (who are basically no less naive than Llull) would load the machine differently, no doubt with the words Entropy, Time, Electrons, Potential Energy, Fourth Dimension, Relativity, Protons, Einstein. Or with Surplus Value, Proletariat, Capitalism, Class Struggle, Dialectical Materialism, Engels.

Then, Borges moves on to the more elaborate version of Llull’s thinking machine—the one with three revolving disks, illustrated below: 
 

 

If a mere circle subdivided into nine compartments can give rise to so many combinations, what wonders may we expect from three concentric, manually revolving disks made of wood or metal, each with fifteen or twenty compartments? This thought occurred to the remote Ramón Llull on his red and zenithal island of Mallorca, and he designed his guileless machine. The circumstances and objectives of this machine no longer interest us, but its guiding principle—the methodical application of chance to the resolution of a problem—still does.

[~snip]

Let us select a problem at random: the elucidation of the “true” color of a tiger. I give each of Llull’s letters the value of a color, I spin the disks, and I decipher that the capricious tiger is blue, yellow, black, white, green, purple, orange, and grey, or yellowishly blue, blackly blue, whitely blue, greenly blue, purplishly blue, bluely blue, etc. Adherents of [Llull’s] Ars magna remained undaunted in the face of this torrential ambiguity; they recommended the simultaneous deployment of many combinatory machines, which (according to them) would gradually orient and rectify themselves through “multiplications” and “eliminations.” For a long while, many people believed that the certain revelation of all the world’s enigmas lay in the patient manipulation of these disks.

More after the jump…

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Posted by Oliver Hall
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09.22.2016
09:17 am
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