SHAKEDOWN, 1979 (November)
3 hours ago
Friday 7 November 2014
Bruce Springsteen - Stand Up For Heroes MSG NY (5/11/14)
Jon Stewart Introduction.
Working On the Highway
Growing Up
If I Should Fall Behind (with Patti)
Born in the USA
Dancing In The Dark
Funnily enough I was just listening to the Nebraska outtakes last night. I really do prefer Springsteen in acoustic mode
Thursday 6 November 2014
David Byrne Radio: Viva Mexico (Part 1)
There is no sequential order or order of preference. There are songs from records that are 20 years old and some that just came out a few months ago. Most are pop songs—I stayed away from classical or folkloric recordings, though there is lot of great stuff there as well. What excites me is that many of these artists have found ways to incorporate their Mexican musical heritage and culture into what might be called the global pop form. The stuff doesn't sound like imitations of North American or UK alt-rock—though there are plenty of groups I didn't include that do sound a bit like someone else. These ones sound like nothing but themselves.
DB
Previous mixes
Boo-Hooray NYC presents: 'Cut-Ups: William S. Burroughs 1914 – 2014' (7/11 - 12/12)
On view will be hand-edited typescript drafts from the Nova Trilogy, rarely seen publications like the mimeographed newsletter The Burrough and the Sigma Portfolio, alongside correspondence with Brion Gysin, vinyl releases, as well as the original cut-up paper components that went on form his novels.
The Cut-Ups began in October of 1959, when Brion Gysin sliced through a pile of newspapers with his Stanley knife, his intention had been to "cut mounts for his water colours" and the newspapers were there simply to protect his desktop. However, while observing the patterns created by the different layers of cut paper he decided to reshuffle them to compose a new narrative. Finding the result most amusing, he showed them to his friend and colleague William Burroughs. Burroughs realized Gysin had inadvertently opened a door that led not only to an artistic breakthrough, but also to a different way of seeing the world and processing/interpreting time.
Heavily influenced by the Dadaist movement, this serendipitous realization would have a profound effect on the world while simultaneously destroying conventional notions of time, space and linear narrative.
Via
Nick Kent's masterful take on Nick Drake's life and death (NME 1975)
In retrospect, it all seems pretty logical now: straddled at the tail-end of a self-indulgent bout of thoroughly earnest teenage introspection, which had manifested itself through long solitary gambols over village greens; vague, confused affairs with willowy, callous girls; occasionally picking away tardily at cheap open-tuned guitars in an effort to “express myself”; studious, worshipful dialectics over the hidden gem-like enunciations on Blonde on Blonde – above all, that arch-affectation of the world-weary Misunderstood Youth.
It was fun for a while, and Nick Drake with his fragile quasi-bossa-nova inflected voice and almost overwhelmingly gentle hypnotic music fitted into the landscape perfectly for that time. Drake, mind you, had probably risen from roughly similar circumstances. Born while his parents were stationed in Burma, he was brought to his homeland when aged six and, through a long illustrious sojourn within England’s educational network, later landed himself a place in Fitzwilliam College, Cambridge.
Once in Cambridge, Drake had become a part of both that whole cerebrally obsessive elitist capriciousness that the likes of Cambridge and Oxford seem fond of cultivating, and the activity on the outer periphery of the town itself. Cambridge was at that time (early ’68) starting to simmer with a certain well-honed enthusiastic self-enveloping energy: the Pink Floyd had probably set the ball rolling the previous year, their appearance providing a spotlight for the area which carried on through to such cultural events as the staging of a Cambridge Free Festival, John and Yoko doing one of their dynamic displays of “bag-ism” at the Lady Margaret Hall – a four-hour avant-garde extravaganza which also featured John Tchicai (a black saxophonist who had once worked with Archie Shepp), and the whole of the Cadentia Nova Danica...
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Dances Sacred and Profane (1985)
"I finally met Fakir at Annie Sprinkle's New York apartment in 1980. The next year Fakir and I worked together on a feature film by Mark and Dan Jury titled Dances Sacred and Profane, in which Fakir not only explains but demonstrates his philosophy and practices. The climax of the film shows Fakir doing the Native American Sun Dance ritual. He performed a preliminary ritual at Devil's Tower in Wyoming--a sensational sacred site. Then Fakir found a remote wooded area, consecrated a cottonwood tree, and suspended himself with flesh-hooks while he left his body and communicated with the Great White Spirit. The footage was awesome, and when the film opened at San Francisco's Roxie Theater in 1985, there were lines around the block. Lots of people were interested in these rituals." - Charles Gatewood
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