Tuesday, 13 March 2012

All of Texas can go fuck itself, cause it's filled with too many gun-toting, bible-thumping, racist, anti-gay good old boys who would like to perpetuate this country's fucked up legacy of white anglo domination. Mind you, this is a state that only stopped throwing gays in jail for having sex in 2003, after being FORCED to by the Supreme Court.
Austin itself is filled with a shit-load of pseudo-liberal hipsters who seem to think that voting for a Democrat excuses their soulless, elitist, narcissistic attitudes. Half the town looks like a sterile, lifeless movie set, and the idea that Austin is some creative artistic paradise in a sea of Texas conservatism? Well, that's a fucking joke...

The barbeque is quite good, however.

Photographs of the Famous by Felix Nadar

Via Public Domain Review

You're Gonna Miss Me - Roky Erikson Documentary

Bonus:

On The Road (Trailer)

Blixa Bargeld: Mein Leben (Full Version, German 2008)

:)

Via

Chant Down The National Front Mix

UK reggae and the National Front

(Thanx John/Helen!)

In The Mirror Of Maya Deren (Martina Kudlacek - 2003)

Why the American Empire Was Destined to Collapse

(Thanx Sander!)

Robert Wyatt: Dondestan (Revisited) Interview

This is a wonderful mini-documentary featuring an interview with the English musician and songwriter Robert Wyatt, in which he discusses his album "Dondestan" and his decision to release a revised version of the project as "Dondestan (Revisited)." The brief film was/is included as an extra feature of the CD release of "Dondestan (Revisited)" in the late 1990s.
For fans of Robert Wyatt who are not acquainted with this album, this document serves as a charming and informative introduction to "Dondestan"'s aesthetic. Through its use of the album's music, the imagery of Alfreda Benge's photographs and paintings, and Wyatt's insightful and unpretentious commentary, the film evokes "Dondestan"'s spare, meditative and (deceptively) tranquil moods and atmospheres.
Those who are not acquainted with Robert Wyatt's music and songwriting, or have yet to explore his solo work, might find this film to be a helpful introduction to Wyatt as an artist—that is, as opposed to Wyatt as a biographical or sociological subject, to the latter two of which there is no shortage of introductions.
It offers insights into Wyatt's approach to songwriting, chord progressions, musical notation (specifically, his heterodox approach to it), record production (which he describes as "low-tech"), lyric-writing, collaboration, technology, musicianship, instrumental virtuosity (or lack there-of), composing as a process of "retrieval" and "simplification," album-sequencing, and what Wyatt calls "find[ing one's] own voice."