After Rebel Without a Cause, my next exposure to director Nicholas Ray probably came through Lightning Over Water, Wim Wenders’ incredibly moving documentary on Ray’s last days before succumbing to lung cancer.

Then came Johnny Guitar, On Dangerous Ground, and, most recently, Criterion‘s bang-up resissuing of 1956’s Bigger Than Life.  James Mason plays a milquetoast school teacher, who, thanks to the “miracle drug” Cortisone, releases with near-tragic consequences his inner Übermensch.  You can watch a great, Mason-hosted trailer for the film here.

If you haven’t seen Bigger Than Life, please do—it remains one of the more scathing critiques of the “American Dream” ever committed to film.

After dying 31 years ago this month, Nicholas Ray popped up again in yesterday’s NYT.  During the years preceding his death, Ray devoted himself to his experimental film, We Can’t Go Home Again.

Made in collaboration with his college students at the time, segments of the film pop up in Lightning Over Water, but now Ray’s widow, Susan, in honor of what would have been her husband’s 100 birthday, is assembling a full print of We Can’t Go Home Again for next year’s Venice Film Festival:

“It was an experimental film, a difficult film and I think a visionary film that is particularly important today,” Ms. Ray said from her home in Saugerties, N.Y., where she has also been organizing the storehouse of original scripts, notes and movie storyboards for a sale.  Ray worked on the project from 1972 to 1976 with students he taught at Harpur College at the State University of New York at Binghamton.  An early version was screened at the Cannes Film Festival in 1973, but Ray continued to revise, reshoot and re-edit it until his death.  The film employs what Ray called “mimage” (short for multiple image), in which a number of camera images are simultaneously projected on the screen.

In certain respects his ideas were ahead of their time. On screen Ray and the students play versions of themselves, a conceit that smoothly fits into this era of reality television. Today’s digital techniques would also make it easy to create the effects Ray painstakingly tried to achieve on a shoestring budget.  Ray and his students, for example, used Super 8 millimeter and 16 millimeter formats and early video technology, projected the images onto a screen and then refilmed these multiple images using a 35 millimeter camera.

Jean-Luc Godard famously called Ray, “the camera,” and for a man whose conflicts—bisexuality, drug and alcohol abuse—always seemed on the verge of overwhelming his talents, it’s not surprising the director’s life was the subject of more than one documentary.

What follows is another look at Ray, ‘74’s I’m a Stranger Here Myself.  Directed by David Helpern Jr. and James C. Gutman, the doc covers Ray’s Harpur College teaching years, and features several sequences of Ray working on We Can’t Go Home Again.  Remaining parts follow at the bottom.

In light of Dennis Hopper’s recent passing, it’s also definitely worthwhile checking out Wenders’ The American Friend.  Hopper plays Patricia Highsmith’s Ripley, and Ray, in the opening scene, contributes a small but impactful cameo as a painter who’s faked his own death.  That scene, restaged with a frail and sickly Ray, opens Lightning Over Water.

 
I’m a Stranger Here Myself, Part II, III, IV, V, VI

Reclaiming Causes of a Filmmaking Rebel

 
Watch out Robert-De-Niro-as-Angel-Heart’s-Louis-Cyphre, there’s a new contender in town for most Dramatic Eating of a Hard Boiled Egg!  Ah, Faye Dunaway, keep your Eggs of Laura Mars carnality away from Edith Massey!

 
Thanks, Everlasting Blort!

 
A wonderful first-hand account of the 1969 Palm Springs Pop festival by my friend, the great rock ‘n’ roll photographer Heather Harris.

The Palm Springs Pop Festival, April 1, 1969, a music event a tad bigger quantitatively than the more celebrated Monterey Pop Festival of the same era although smaller by many triple digits than the later that summer Woodstock, was peopled by some eight thousand strong in drug-fueled hippie-dancing young souls. It was my first time attending a show that blocked off the front of the stage from the audience or photographers like me. I was as determined then as I am now to get good live shots, so I just tore down the chicken wire, entered the rarified area and took the following photo of The Flying Burrito Brothers, (left to right the legendary Gram Parsons, Chris Hillman, Chris Ethridge and Sneeky Pete) all accoutered in their infamous custom Nudie suits, Gram with cannabis leaves and pills, Sneeky with pterodactyls etc. I only got this one shot of The Burritos because suddenly eight thousand people rushed forward to join me and I was terminally jostled from any further photography. It was uncomfortable amongst the new surging throngs, it was cold in the desert night air, the two bands we wanted to see had canceled, we’d seen the remaining other acts before, and my friend was starting to get drugsick, so we left. But apparently those pushing stagewards continued in their spirit of surging and mobbing, and eventually rioted throughout tony Palm Springs all the way to the Taquitz Falls park. It was one of the first instances in failure of concert crowd control ending in rioting, quite some months before Altamont, and I, dear reader, may be responsible for its inception. Later I would find access to stage photography limited by far more than chicken wire fencing, instead by micro-managing control freaks associated with the acts, and that has proven in long run a far more formidable obstacle to good photography than any 8,000 person riot behind me.

 

(C) 1969 Heather Harris
 
Myself, I adore The Flying Burrito Brothers. So much so that I had their brilliant pedal steel player, the late Sneaky Pete Kleinow play on the first Medicine record. Here’s a great clip of them lip-syncing the first song from their first album :

 
HOW I STARTED A RIOT 41 YEARS AGO WHILE PHOTOGRAPHING GRAM PARSONS AND THE FLYING BURRITO BROTHERS (fast film blog)

 
Jason Gelt posts at Brand X:

“The Alchemy of Things Unknown” exhibit intends examines individual works of art in relation to theosophy, sacred traditions and devotional practice. From William Blake’s illuminated works of divine imagination to Carl Gustav Young’s drawings of collective symbolic unconscious, the artists in this exhibition sought after or seek spiritual truths through art making.

Artists include Paul Laffoley, Harry Smith, Marjorie Cameron, Willian Blake, Austin Ossman Spare, Scoli Acosta, Kenneth Anger, Aleister Crowley, Zach Harris, Susan Hiller, Alfred Jenson, Angus MacLise, JFC Fuller, and Marilyn Manson.

Khastoo Gallery, 7556 W. Sunset Blvd., Los Angeles; 323-472-6498

Image: “Kwaw”: an undated self-portrait by English occultist Aleister Crowley done in the 1920s, part of the exhibit at Khastoo Gallery through July 31. Courtesy William Breeze.

 
Difficult to tell from the box cover, but like the real thing, it certainly hints at it! Gaga goo goo!
 
Via Oh No They Didn’t! where you can also see the back cover.

 
Amusingly the Japanese press is now “debunking” this article’s claims, which appeared in the Korea Times. Not that she didn’t say this, and not that she’s not having sex with the Chinese students. It’s just that Anri Suzuki apparently has no PhD!

Japanese AV star with a doctorate, Anri Suzuki, 24, is having sex with Chinese students for free in Japan to apologize for her country’s invasion of China.

Suzuki won her doctors degree in history at one of the prestigious universities in her home country. Unlike other graduates, she focused on the Japanese invasion of China; writing the paper “The History of the Japanese Invasion into China.”

“We have to respect history and cannot obliterate it. I want to cure the wounds of Chinese with my body, and I am practicing this by having sex with Chinese students in Japan,” she said. “I think it is psychological compensation to them. Actually, Chinese students treat me more friendly and comfortably than Japanese.”

 
Thank you Rudy Coby!

 
Today, writing on Esquire’s Politics blog, Esquire’s executive editor Mark Warren posted this rather succinct piece about what GOP Rep. Joe Barton (TX)—a man who has received over $1.5 million in campaign donations from oil and gas interests—had to say about the BP oil spill catastrophe in his “apology” to BP and what it says—LOUDLY AND CLEARLY—about the Republican Party and whose side they are on. Hint: It’s not the people of the Gulf coast and it sure as hell ain’t mother nature’s side either. This is an ASTONISHING admission and something everyone in this country—even the Tea partiers—should read. The ones who can read, I mean…

Just when you thought nothing could improve upon the statement released yesterday evening by the Republican Study Committee’s chairman Tom Price of Georgia — which attacked the deal struck at the White House yesterday providing for the $20 billion escrow account to compensate the people of the Gulf Coast for damages as “Chicago-style shakedown politics” — came the unthinkable: This morning, Texas Republican Joe Barton apologized to Tony Hayward — twice — and said that he was ashamed that such a thing could occur in America.

He apologized.

Now, it was puzzling enough that the Republicans would think it wise to attack a deal that seeks to make American citizens whole from damages caused by a foreign corporation. But it is incomprehensible that even a lobby puppet such as Barton would place the Republican Party squarely on the side of the corporation and against the people of the Gulf Coast.

In so doing, in one five-minute opening statement in a hearing that otherwise seemed to be yielding nothing meaningful, Joe Barton may have changed the calculus of this fall’s elections.

His party will protest and say otherwise, but Barton has revealed something quite extreme and very ugly about what he and his colleagues truly believe.

—snip—

So today, in Washington D.C., Joe Barton has placed himself and his party so far outside the bounds of decency that he has even Tony Hayward shaking his head.

It is important to note that Joe Barton is not popularly regarded in his caucus as a whackjob. Rather, as the ranking Republican on Energy and Commerce, he is well-respected. He cannot be marginalized as an outlier. This moment cannot simply be allowed to pass. And its importance cannot be overstated.

George W. Bush once famously said: “You’re either with us or against us.”

Indeed.

 
THERE SHOULD BE A MOVE TO IMPEACH THIS SON OF A BITCH TOMORROW. WHAT ARE THE PEOPLE OF TEXAS WAITING FOR AFTER THIS?!?!?! NEED ANY MORE EVIDENCE THAT JOE BARTON IS A FUCK? I DON’T THINK SO!
 
The Joe Barton Apology Tour Is About to Bring Down the GOP (Esquire)
 
(Via Esquire’s newly minted News and Features editor at Esquire.com, Dangerous Minds pal Marty Beckerman! Congrats are in order for both Mr. Beckerman and for one of the most venerated magazines in American, Esquire, for making such an inspired hire as Marty. Salut!)

 
Eight days after the West End premiere of the play based on his autobiography, Dandy in the Underworld, top-hatted London-based extreme artist and lifestylist Sebastian Horsley was found dead this morning at age 47 of an apparent heroin overdose.

Born to wealthy alcoholics, Horsley is best known for traveling to the Philippines to be crucified as part of his research for a set of paintings dealing with the topic. But besides his arcane fashion sense, penchant for whoring, and ability to make the scene—running with the likes of Nick Cave, Current 93, Coil and others—Horsley was an accomplished painter and writer, and a guy with a drawling accent who could hold court in a red velvet chair with the best of them.

The Soho Theatre cancelled tonight’s performance of Dandy…, but will continue on tomorrow. Our own Richard Metzger put it best when told the news: “How sad that the world has one less total pervert.”
 

 
Get: Dandy in the Underworld: An Unauthorized Autobiography (P.S.) [Book]

 
I’m not sure who made the smart-ass tweak to the truly puke-worthy “painter of light” artist and accused drunk driver Thomas Kinkade‘s work (above) but I would surely like to kiss them.
 
CHP: Painter Thomas Kinkade accused of DUI in Carmel (The Californian)
 
Thx Nicole Panter !

The great Igor Stravinsky was born this day in 1882. Although it’s nearly impossible to imagine it happening now, this man’s music once caused riots when performed for audiences not prepared for the radical dynamic shifts and sheer exuberant sonic violence. Of course by now all of these elements have been well absorbed into the public expectation of what orchestral music is supposed to be, but at the time this stuff was an absolute affront to human decency! Below is a complete performance by the man himself conducting his epic Firebird suite sometime in the late 1950’s.

 
This kid is no joke!
 
(via HYST )

 
It’s with heavy hearts that we come upon news of the death at 56 years too-young of Funkadelic guitarist, writer and arranger Garry “Diaper Man” Shider.

As a teen in the late ‘60s, Shider first linked up with the visionary funkateer George Clinton at a barber shop in his native Plainfield, NJ where Clinton rehearsed his doo-wop group the Parliaments. He joined Clinton’s guitar section in 1971 and ended up writing and performing on some of Parliament Funkadelic’s classics, including “One Nation Under a Groove” and “Cosmic Slop.” Unlike many of his peers, Shider was able to smoothly navigate his bluesy, psychedelic style over the insistent thump of most of the Funkadelic repertoire.

He’s also the guitarist who’s stuck with Funkadelic’s exhausting touring schedule the longest.

Let us remember him in his 20-year-old glory here in a promo for his best-known composition (on which he sang lead), dressed in trademark diaper and Roman centurion-style cape with feathered shoulder shells.  

Image via Rodcorp
 
An actual recording of James Joyce himself reading the Anna Livia Plurabelle section of Ulysses. Click here for audio. Via the awesome Ubuweb.

Recording James Joyce by Sylvia Beach

In 1924, 1 went to the office of His Master’s Voice in Paris to ask them if they would record a reading by James Joyce from Ulysses. I was sent to Piero Coppola, who was in charge of musical records, but His Master’s Voice would agree to record the Joyce reading only if it were done at my expense. The record would not have their label on it, nor would it be listed in their catalogue.

Some recordings of writers had been done in England and in France as far back as 1913. Guillaume Apollinaire had made some recordings which are preserved in the archives of the Musée de la Parole. But in 1924, as Coppola said, there was no demand for anything but music. I accepted the terms of His Master’s Voice: thirty copies of the recording to be paid for on delivery. And that was the long and the, short of it.

Joyce himself was anxious to have this record made, but the day I took him in a taxi to the factory in Billancourt, quite a distance from town, he was suffering with his eyes and very nervous. Luckily, he and Coppola were soon quite at home with each other, bursting into Italian to discuss music. But the recording was an ordeal for Joyce, and the first attempt was a failure. We went back and began again, and I think the Ulysses record is a wonderful performance. I never hear it without being deeply moved.

Joyce had chosen the speech in the Aeolus episode, the only passage that could be lifted out of Ulysses, he said, and the only one that was “declamatory” and therefore suitable for recital. He had made up his mind, he told me, that this would be his only reading from Ulysses.

I have an idea that it was not for declamatory reasons alone that he chose this passage from Aeolus. I believe that it expressed something he wanted said and preserved in his own voice. As it rings out-“he lifted his voice above it boldly”-it is more, one feels, than mere oratory.

The Ulysses recording was “very bad,” according to my friend C. K. Ogden. The Meaning of Meaning by Mr. Ogden and I. A. Richards was much in demand at my bookshop. I had Mr. Ogden’s little Basic English books, too, and sometimes saw the inventor of this strait jacket for the English language. He was doing some recording of Bernard Shaw and others at the studio of the Orthological Society in Cambridge and was interested in experimenting with writers, mainly, I suspect, for language reasons. (Shaw was on Ogden’s side, couldn’t see what Joyce was after when there were already more words in the English language than one knew what to do with.) Mr. Ogden boasted that he had the two biggest recording machines in the world at his Cambridge studio and told me to send Joyce over to him for a real recording. And Joyce went over to Cambridge for the recording of “Anna Livia Plurabelle.”

So I brought these two together, the man who was liberating and expanding the English language and the one who was condensing it to a vocabulary of five hundred words. Their experiments went in opposite directions, but that didn’t prevent them from finding each other’s ideas interesting. Joyce would have starved on five or six hundred words, but he was quite amused by the Basic English version of “Anna Livia Plurabelle” that Ogden published in the review Psyche. I thought Ogden’s “translation” deprived the work of all its beauty; but Mr. Ogden and Mr. Richards were the only persons I knew about whose interest in the English language equaled that of Joyce, and when the Black Sun Press published, the little volume Tales Told of Shem and Shaun, I suggested that C.K. Ogden be asked to do the preface.

How beautiful the “Anna Livia” recording is, and how amusing Joyce’s rendering of an Irish washerwoman’s brogue! This is a treasure we owe to C. K. Ogden and Basic English. Joyce, with his famous memory, must have known “Anna Livia” by heart. Nevertheless, he faltered at one place and, as in the Ulysses recording, they had to begin again.

Ogden gave me both the first and second versions. Joyce gave me the immense sheets on which Ogden had had “Anna Livia” printed in huge type so that the author-his sight was growing dimmer-could read it without effort. I wondered where Mr. Ogden had got hold of such big type, until my friend Maurice Saillet, examining it, told me that the corresponding pages in the book had been photographed and much enlarged. The “Anna Livia” recording was on both sides of the disc; the passage from Ulysses was contained on one. And it was the only recording from Ulysses that Joyce would consent to.

How I regret that, owing to my ignorance of everything pertaining to recording, I didn’t do something about preserving the “master.” This was the rule with such records, I was told, but for some reason the precious “master” of the recording from Ulysses was destroyed. Recording was done in a rather primitive manner in those days, at least at the Paris branch of His Master’s Voice, and Ogden was right, the Ulysses record was not a success technically. All the same, it is the only recording of Joyce himself reading from Ulysses, and it is my favorite of the two.

The Ulysses record was not at all a commercial venture. I handed over most of the thirty copies to Joyce for distribution among his family and friends, and sold none until, years later, when I was hard up, I did set and get a stiff price for one or two I had left.

Discouraged by the experts at the office of the successors to His Master’s Voice in Paris, and those of the B.B.C. in London, I gave up the attempt to have the record “re-pressed “-which I believe is the term. I gave my permission to the B.B.C. to make a recording of my record, the last I possessed, for the purpose of broadcasting it on W. R. Rodger’s Joyce program, in which Andrienne Monnier and I took part.

Anyone who wishes to hear the Ulysses record can do so at the Musée de la Parole in Paris, where, thanks to the suggestion of my California friend Philias Lalanne, Joyce’s reading is preserved among those of some of the great French writers.

 
Wicked Lasers have released a new “toy” laser, except that it’s not really a toy, you see. More like a weapon.

In fact, it’s exactly like a weapon! Wicked removed the laser from a Casio video projector and placed it into a casing resembling something out of “Star Wars.” Witness The Spyder III in action above.

It will blind permanently and instantly and set fire quickly to skin and other body parts, use with extreme caution and only when using the included eye protection. Customers will be required to completely read and agree to our Class IV Laser Hazard Acknowledgment Form.

Worrywarts! What could possible go amiss with a laser beam capable of burning flesh and causing blindness?

Better than a silly old BB gun, eh? Be the first kid on your block to be arrested!

 
Another couple of rarities from Beatles producer George Martin. He collaborated with Maddalena Fagandini on these two songs, Time Beat and Waltz in Orbit, the A & B sides of a single released on the Parlophone label. They were released under the pseudonym “Ray Cathode.” Fagandini, who was a part of the BBC Radiophonic Workshop, worked alongside Delia Derbyshire on Doctor Who sound effects. This would have been recorded mere weeks before Martin met the Beatles in 1962. (Audio for Time Beat is here)
 
Bonus clip: The Beatles appear on Doctor Who in 1965. Imagine jumping into a time machine and getting to see the Beatles! Sadly this scene only appears on British Region 2 DVDs: