Thursday, 28 April 2011
The Story Of This Is The Sea: An Interview With Mike Scott Of The Waterboys
You only had to take one look at Mike Scott in the early 1980s to know that he was born to write. His carefully cultivated appearance – long dark overcoat with collar turned up to the wind, shoulder length hair only a shampoo away from Bob Geldof's unkempt mop and tucked away beneath a Greek fisherman's cap – gave him the look of a poet, conveying an earnest, literary image no doubt enhanced by his study of English literature in his native Edinburgh. Like Morrissey, who formed The Smiths around much the same time as The Waterboys were born, Scott was a bookish romantic and also a product of punk culture: while Morrissey was running the New York Dolls fan club, Scott was publishing a fanzine, Jungleland. But unlike Morrissey, Scott wasn't immersed in the kitchen sink culture of 1950s England encapsulated by Alan Sillitoe, and neither did he write of gritty streets and the day-to-day minutiae of dreary disappointment. Instead he buried himself in the work of William Butler Yeats, Robbie Burns and William Blake, dreaming of "unicorns and cannonballs, palaces and piers / Trumpets, towers and tenements, wide oceans full of tears". Scott sought to give voice to a sense of the epic rather than the prosaic, almost guitar music's polar opposite of The Smiths, and he wasn't alone: U2 had made tentative steps towards grand themes on their early releases just as The Waterboys had on their first two impressive but nonetheless mildly technologically hamstrung albums. By 1985, however, the year that their third album, This Is The Sea, emerged, Scott had perfected a concept that The Unforgettable Fire, a year earlier, could only aspire to, a sound that rapidly became known as 'The Big Music'.
It took its name from a Waterboys song, the first single to be released from their second album, A Pagan Place. Though metaphorical in intent, its lyrics applied perfectly to the scale and grandeur with which Scott was beginning to carve his style: "I have heard the big music," he sang, "and I'll never be the same… I have climbed the big tree, touched the big sky / I just stuck my hand up in the air / and everything came into colour / Like jazz manna from sweet, sweet chariots". The album, however, was less successful at creating this sense of sweet euphoria: though its aim was ambitious – something to which opener 'A Church Not Made With Hands' and the mournful 'The Thrill Is Gone' testify, not to mention the eight minute waltz of 'Red Army Blues' – its reach sometimes fell somewhere short of Scott's target, partially due to the claustrophobic sound, a result of the fact that some of its tracks were little more than glorified demos. But that was, as Scott would have it, the river, and now he was looking to further, wider horizons: to the sea. With its follow up, Scott wasn't going to make the same mistake again...
It took its name from a Waterboys song, the first single to be released from their second album, A Pagan Place. Though metaphorical in intent, its lyrics applied perfectly to the scale and grandeur with which Scott was beginning to carve his style: "I have heard the big music," he sang, "and I'll never be the same… I have climbed the big tree, touched the big sky / I just stuck my hand up in the air / and everything came into colour / Like jazz manna from sweet, sweet chariots". The album, however, was less successful at creating this sense of sweet euphoria: though its aim was ambitious – something to which opener 'A Church Not Made With Hands' and the mournful 'The Thrill Is Gone' testify, not to mention the eight minute waltz of 'Red Army Blues' – its reach sometimes fell somewhere short of Scott's target, partially due to the claustrophobic sound, a result of the fact that some of its tracks were little more than glorified demos. But that was, as Scott would have it, the river, and now he was looking to further, wider horizons: to the sea. With its follow up, Scott wasn't going to make the same mistake again...
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Wyndham Wallace @'The Quietus'
Steadman's unused Fear & Loathing title
Video from 1998 shows artist Ralph Steadman at work on the title treatment for the film Fear and Loathing in Las Vegas. This version ultimately wasn't used.
HERE
HERE
birgittaj Birgitta Jónsdóttir
I'm sure #BradleyManning could use some mail. Write directly to: Bradley Manning 89289 ~ 830 Sabalu Road ~ Fort Leavenworth, KS 66027 USA
William S Burroughs on trial for corrupting Turkish morality
The Istanbul Prosecutor’s Office has opened an investigation into a book written by internationally renowned author William S. Burroughs. It was translated and published by Sel Publishing House in January.
The court referred to a report written by the Prime Ministry’s Council for Protecting Minors from Explicit Publications that accused the novel, “The Soft Machine,” of “incompliance with moral norms” and “hurting people’s moral feelings.” Sel Publishing issued a press release that included parts of their testimony in the court.
“It is impossible to understand the insistence in sending books written and published for adults to councils that specialize in minors. If we consider things from this perspective, then dozens of such reports could be written about TV channels, newscasts and thousands of books,” read the testimony given by the publishing house.
The testimony also argued that the Prime Ministry’s council had no credentials in literature, aesthetics or translation, thus causing what the representatives of the publishing house called a “freakish” decision by the council.
The council also accused the novel of “lacking unity in its subject matter,” “incompliance with narrative unity,” for “using slang and colloquial terms” and “the application of a fragmented narrative style,” while claiming that Burroughs’s book contained unrealistic interpretations that were neither personal nor objective by giving examples from the lifestyles of historical and mythological figures. None of the above, argued the publishing house, constitutes a criminal act.
The council went further and said, “The book does not constitute a literary piece of work in its current condition,” adding it would add nothing new to the reader’s reservoir of knowledge, and argued the book developed “attitudes that were permissive to crime by concentrating on the banal, vulgar and weak attributes of humanity.”
The representatives of the publishing house responded to these charges. “Just as no writer is under any special obligation to highlight humanity’s fair attributes under every circumstance, the measure of whether a book has any literary value or not, and the judge of what the book may add to the reader’s reservoir of knowledge, is not an official state institution, but the reader himself,” they said.
“Once again, societies comprised of modern, creative and inquisitive individuals are formed by reading and being exposed to literary texts and works of art that can be considered as the most extreme examples of their kind,” further asserted the defendants’ statement.
The testimony also invited members of the council to conduct “a simple Internet research” about the writer, and learn about the fact that Burroughs was one of the pioneers the “Beat Generation” that rebelled against the stagnant morality of the middle class in post-World War II America. The testimony also drew attention to the fact that the “cut-up” technique used in the book was once heralded as a great novelty among literary circles.
“Through this technique, Burroughs runs counter, not just to entrenched attitudes in people’s lifestyles but also in contradiction to [older] literary techniques. That being the case and since the aim of the book itself is to push boundaries, it is clearly absurd to search for criminal elements in the book by suggesting that the book does not conform with social norms,” further stated the press release.
“Moreover, it is also meaningless to expect William S. Burroughs, who was not raised in accordance with the National Education Law, or as an individual who ‘identifies with the national, moral, humanitarian, material and spiritual cultural values of Turkish society, and who always tries to exalt his family, country and nation,’ to have produced a text within this framework,” read the testimony. “It is clear and obvious that this case carries no weight nor any respectability outside of the borders of our country.”
“We demand an end to investigations that constrain our activities and the prosecution of books for any reason whatsoever,” concluded the statement.
@'Hurriyet Daily News'
The court referred to a report written by the Prime Ministry’s Council for Protecting Minors from Explicit Publications that accused the novel, “The Soft Machine,” of “incompliance with moral norms” and “hurting people’s moral feelings.” Sel Publishing issued a press release that included parts of their testimony in the court.
“It is impossible to understand the insistence in sending books written and published for adults to councils that specialize in minors. If we consider things from this perspective, then dozens of such reports could be written about TV channels, newscasts and thousands of books,” read the testimony given by the publishing house.
The testimony also argued that the Prime Ministry’s council had no credentials in literature, aesthetics or translation, thus causing what the representatives of the publishing house called a “freakish” decision by the council.
The council also accused the novel of “lacking unity in its subject matter,” “incompliance with narrative unity,” for “using slang and colloquial terms” and “the application of a fragmented narrative style,” while claiming that Burroughs’s book contained unrealistic interpretations that were neither personal nor objective by giving examples from the lifestyles of historical and mythological figures. None of the above, argued the publishing house, constitutes a criminal act.
The council went further and said, “The book does not constitute a literary piece of work in its current condition,” adding it would add nothing new to the reader’s reservoir of knowledge, and argued the book developed “attitudes that were permissive to crime by concentrating on the banal, vulgar and weak attributes of humanity.”
The representatives of the publishing house responded to these charges. “Just as no writer is under any special obligation to highlight humanity’s fair attributes under every circumstance, the measure of whether a book has any literary value or not, and the judge of what the book may add to the reader’s reservoir of knowledge, is not an official state institution, but the reader himself,” they said.
“Once again, societies comprised of modern, creative and inquisitive individuals are formed by reading and being exposed to literary texts and works of art that can be considered as the most extreme examples of their kind,” further asserted the defendants’ statement.
The testimony also invited members of the council to conduct “a simple Internet research” about the writer, and learn about the fact that Burroughs was one of the pioneers the “Beat Generation” that rebelled against the stagnant morality of the middle class in post-World War II America. The testimony also drew attention to the fact that the “cut-up” technique used in the book was once heralded as a great novelty among literary circles.
“Through this technique, Burroughs runs counter, not just to entrenched attitudes in people’s lifestyles but also in contradiction to [older] literary techniques. That being the case and since the aim of the book itself is to push boundaries, it is clearly absurd to search for criminal elements in the book by suggesting that the book does not conform with social norms,” further stated the press release.
“Moreover, it is also meaningless to expect William S. Burroughs, who was not raised in accordance with the National Education Law, or as an individual who ‘identifies with the national, moral, humanitarian, material and spiritual cultural values of Turkish society, and who always tries to exalt his family, country and nation,’ to have produced a text within this framework,” read the testimony. “It is clear and obvious that this case carries no weight nor any respectability outside of the borders of our country.”
“We demand an end to investigations that constrain our activities and the prosecution of books for any reason whatsoever,” concluded the statement.
@'Hurriyet Daily News'
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