1982 Top 40 23rd May # 32 Echo & The Bunnymen
2 minutes ago
Monday, 9 May 2011
evgenymorozov Evgeny Morozov
re #netfredom: "the free flow doctrine...no longer presents itself as a legitimate element in global media policy" http://goo.gl/ZCEMU [pdf]
Trevor Brown's stolen art for sale : unexpected epilogue!
I will return your works “Trevor Brown 1984-1993″.read this post first
Please return your address to my e-mail address
I am still sick but I’ve heard my friend KIKUTI said to me
“Trevor want to return his works”.
it’s taken a while (17 years?) but today i got my artwork back! (minus several colour photos but nothing to cry about) - i guess i’m happy, particularly in the knowledge someone can no longer be tempted to impart a stupid amount of money for it - the actual art was mostly printed in “temple of blasphemy”, as i said - tho there are a number of drawings unpublished/unseen for decades (including a self-portrait!) - i’ll celebrate it’s return by posting a few here (before throwing it all in the trash!)
no, not me! - it’s an unused gg allin 7″ cover - i was told i drew him “too nice” (?) - my logo design for the label used instead
MORE
@'baby art blog'
SBTRKT - Wildfire (download)
Download ‘Wildfire’ ft.Yukimi Nagano (Little Dragon) by SBTRKT. Taken from the album ‘SBTRKT’ released June 28, 2011 on Young Turks.
Finally debut Album from our fav.artist SBTRKT
Tracklist
1 Heatwave
2 Hold On
3 Wildfire
4 Sanctuary
5 Trials Of The Past
6 Pharaohs
7 Something Goes Right
8 Right Thing To Do
9 Ready Set Loop
10 Never Never
11 Go Bang
@'Extra Music New'
Mosques, Churches, and Synagogues Made From Bullets and Guns
Al Farrow’s New Reliquaries are currently exhibited at the Catherine Clark Gallery in San Francisco, including his most recent and ambitious work Bombed Mosque, a meticulously detailed, 780-pound sculpture composed from 50,000 bullets.
Via
Threads - Nuclear War (1984)
Threads is a 1984 television docudrama depicting the effects of a nuclear war on the United Kingdom and its aftermath. Written by Barry Hines and directed by Mick Jackson, Threads was filmed in late 1983 and early 1984. The premise of Threads was to hypothesize the effects of a nuclear war on the United Kingdom after an exchange between the Soviet Union and the United States escalates to include the UK.(Thanx DJ Pigg!)
Love Is the Devil: Study for a Portrait of Francis Bacon (1998)
Love Is the Devil: Study for a Portrait of Francis Bacon is a 1998 film made for television by the British Broadcasting Corporation (BBC). It was written and directed by John Maybury and stars Derek Jacobi, Daniel Craig, and Tilda Swinton.
A biography of Anglo-Irish painter Francis Bacon (Jacobi), it concentrates on his strained relationship with George Dyer (Craig), a small time thief. The film draws heavily on the authorised biography of Bacon, The Gilded Gutter Life of Francis Bacon by Daniel Farson, and is dedicated to him.
The film won three awards at the Edinburgh International Film Festival: Best New British Feature (director John Maybury) and two Best British Performance awards, one for Jacobi and the other for future James Bond actor Craig. The film was also screened in the Un Certain Regard section at the 1998 Cannes Film Festival.
(Wiki)
Breathless : Classic (ABC At The Movies w/ David Stratton & Margaret Pomeranz)
Review by Margaret Pomeranz
This week's classic is BREATHLESS. Michel Poiccard, JEAN-PAUL BELMONDO, a petty criminal, steals a car in a coastal town and finds a gun in the glove compartment. He shoots a policeman who stops him en route. In Paris he tries to get hold of some money while resuming his relationship with Patricia, JEAN SEBERG, an American who sells copies of the Herald Tribune on the Champs Elysses.Arguably, Jean-Luc Godard's A BOUT DE SOUFFLE, made in 1959, was the most original first feature since CITIZEN KANE or THE NIGHT OF THE HUNTER. Godard was one of a group of French cinephiles, a group that included Francois Truffaut, Claude Chabrol and Eric Rohmer, who had all written about film in the magazine Cahiers du Cinema. Godard himself said that with BREATHLESS he referenced scenes from the Hollywood films he admired - from directors like Samuel Fuller, Nicholas Ray, Otto Preminger and George Cukor.
Belmondo's amoral crim is patently inspired by Humphrey Bogart, while Jean Seberg was cast in what Godard claimed was a continuation of her role in Preminger's BONJOUR TRISTESSE. Godard threw out the rule book with this film; his characters break the fourth wall and address the camera, there are jump cuts, controlled hand-held camera: the director was taking the familiar story from a Hollywood B movie and filming it as though the cinema had just been invented - he even dedicates the film to Monogram Pictures, the lowest of Hollywood's poverty row studios. Banned in Australia for years because of its alleged immorality, BREATHLESS is an astonishing film - rough, abrasive, seemingly improvised and casual - it still radiates a strange charm thanks to the magnetism of Belmondo and Seberg. Jean-Pierre Melville, who plays Parvelscu, the visiting intellectual interviewed by Patricia, was a French director influenced by Hollywood thrillers and much admired by the New Wave directors.
BREATHLESS took my breath away when I saw it in London in 1961; when I arrived in Australia and found it was banned here I became a rebel with a cause.
DAVID: Margaret?
MARGARET: It's unbelievable. If ever there is an argument against censorship it's this film being banned.
DAVID: Well, it was criminal.
MARGARET: For goodness sake really.
DAVID: It was criminal because this was the film that changed cinema.
MARGARET: Well...
DAVID: And a whole generation of Australian filmgoers couldn't see it.
MARGARET: Yes. Yes. I saw it many, many years later and I revisited it again recently and it's interesting looking at it again and thinking that, in 1959 it was - it took everybody's breath away. It's almost like a feral film in a lot of ways. It's sort of like he's constantly making phone calls to no avail. He's constantly buying newspapers. He's stealing cars. The number of cars in that film is just unbelievable. Usually they're American tanks. It's sort of like it's bizarre. That bedroom scene between the two of them, where they talk about nothing for at least 25 minutes, it's absolutely bizarre and wonderful and you can see...
DAVID: But it's so charismatic.
MARGARET: Yes.
DAVID: Yes.
MARGARET: But the way it's shot too. The way it embraces the streets of Paris and Raoul Coutard, who shot it, said that they never had permission for any of the stuff they shot on the streets of Paris.
DAVID: No.
MARGARET: It was really bushranger filmmaking.
DAVID: Yes, absolutely. Yes.
MARGARET: And obviously low budget but full of some strange joie de vivre. I don't know and anarchy and, oh, it's wonderful. It's wonderful.
DAVID: Yes. Well, it certainly changed my film-going life.
@'ABC'
List of films still banned in Australia
HA!
Illustration by Sebastian Krüger
IN THE SUPREME COURT OF MISSISSIPPI
NO. 1998-CA-01573-SCT
IN THE MATTER OF THE ESTATE OF ROBERT L. JOHNSON, DECEASED: ROBERT
M. HARRIS AND ANNYE C. ANDERSON
v.
CLAUD L. JOHNSON
bengoldacre ben goldacre
On a train. I decided to read an Orwell essay, and one minute later it's in my hand. I frickin love this century.
East L.A. Mural Paints History Of Water In California
While the debate about graffiti and vandalism explodes around the Art in the Streets exhibition at MOCA, the Museum of Contemporary Art in Los Angeles, a few miles away, a new mural that taps the talent of local street artists hopes to send a different message.
From Good:
"Cuidela" (or "care for it" in Spanish) is the name of a 25-foot by 100-foot mural recently completed in Boyle Heights, one of ten public art projects launched by the Estria Foundation worldwide as part of a campaign called "Water Writes" to empower young people in the preservation of water.
With vibrant colors and incredible detail, the mural depicts various stories—real and fictional—about California's water. Figures from Aztec culture like the goddess Chalchiuhtlicue, whose jade skirts represented her protection of lakes and streams, and river god Tlaloc, or "He Who Makes Things Sprout," are intertwined with the visualization of contemporary issues like the privatization and corporate control of our most precious resource. A map studded with X's represents the few remaining free sources of local water.
Check out how it looks at:With vibrant colors and incredible detail, the mural depicts various stories—real and fictional—about California's water. Figures from Aztec culture like the goddess Chalchiuhtlicue, whose jade skirts represented her protection of lakes and streams, and river god Tlaloc, or "He Who Makes Things Sprout," are intertwined with the visualization of contemporary issues like the privatization and corporate control of our most precious resource. A map studded with X's represents the few remaining free sources of local water.
@'care2'
Sunday, 8 May 2011
ggreenwald Glenn Greenwald
Is Arthur Brisbane the NYT's Public Editor or its hagiographer? http://is.gd/t0nOt7
Glinner Graham Linehan
It is 'Big Bang Theory'! Why was it reported as 'It Crowd'? Fucking Osama. FUCKING ROT IN HELL, MOTHERFUCKER! #OBL #itcrowd #bigbangbollocks
Review: Emily Barker & The Red Clay Halo at Kings Place, London (6 May 2011)
On Friday, 6 May 2011, I had the pleasure of seeing Emily Barker & The Red Clay Halo play at Kings Place in north London. The gig was the first in a series of events at the venue this Spring under the Folk Union banner, promising the opportunity to "explore future traditions and contemporary songwriting with the leading lights of folk music"It fell to Emily to curate this inaugural event, a task which she fulfilled more than adequately, having clearly taken the time and trouble to research the other artists in some depth, and to open the evening she introduced Cath & Phil Tyler who performed an absorbing set which drew on American traditional music contextualised in a modern folk idiom. They have an obviously deep love and respect for the Appalachian music archived over decades during the last century by people like Anne and Frank Warner, Cecil Sharp, Maud Karpeles, Ralph Peer and Alan Lomax. The results were enormously evocative of a music now perhaps largely lost to the mists of time, but which has as much emotional pull today as it ever did. And Cath's witty and amusing between-songs chat deserves an archive of its own...
After a short break, Emily returned to the stage with The Red Clay Halo (Anna, Jo and Gill). Despite this being only the band's second UK gig of a slightly less intensive itinerary than last time - full details are at the EB&TRCH site - they sounded as confident and fluent as I remembered them from their set at St. Giles-in-the-Fields set back in February.
One of the many pleasures I derive from the music of EB&TRCH is the constant innovation and development of it by the band. Although the core band lineup - Emily Barker, Gill Sandell, Jo Silverdale and Anna Jenkins (with Almanac's co-producer Ted Barnes again providing guitar, mandolin and thumb piano on several songs) - and instrumentation (acoustic and electric guitars, accordian, flute, cello, banjo and violin) was the same, and much of the setlist was drawn from the current Almanac album (buy it here!), there were some obvious differences.First, the venue. Kings Place, built in 2008 and, according to the website, "a hub for music, art, dialogue and food, housed in an award-winning building in Kings Cross" couldn't be further from the 18th century church of St. Giles-in-the-Fields in terms of visual ambience, but to say one is acoustically 'better' or 'worse' than the other would, I feel, entirely miss the point.
To my high-mileage - and these days, slightly whistly - ears, the most noticeable difference was that while the vocals sounded much more upfront at St. Giles-in-the-Fields, at Kings Place I was struck by how much to the fore Anna's violin and Jo's cello were. Of course, no matter the frequency range of any building, be it three years or three hundred years old, you only have to put any acoustic instrument - or voice - through a state of the art PA system and all bets are off.
The second difference - that there were fewer musicians onstage this time - relates to the sound of the band, and might just have had more than a little to do with my subjective perceptions of the acoustics, as Emily tactfully pointed out to me afterwards!
Finally, of course, there's the choice of songs. This time there were a couple less from Almanac, a couple more from Despite The Snow and one new number.
Despite these differences between the gigs, the band remained confident, assured and relaxed, starting the set with Billowing Sea, the opening track of Almanac and a great way to ease into the evening.
I mentioned earlier in this long and winding post that Emily was curating various artists at the event and throughout the set, a number of highly atmospheric films were projected onto a huge screen at the back of the stage. This visual art was the work of Patti Gaal-Holmes; the other artist featured in the night's Folk Union event. Patti's work has already featured in Emily Barker & The Red Clay Halo videos - Little Deaths is a fine example, and Emily herself has said that songs such as Storm in a Teacup and Despite the Snow were written to Patti's films.
Billowing Sea was followed by a handful of tracks from the album (Little Deaths, Ropes and Dancers), interrupted only briefly by a still ever-so-slightly jetlagged guitar deciding its tuning was fine-thank-you despite Emily's view that it most definitely wasn't, and the band was sounding every bit as fresh and musically tight as I remembered. Calendar was a particular joy for me to hear played by just the band without benefit of additional musicians; this was the version which had first captured my attention when I heard it on the Loose Ends radio broadcast and last night sounded every bit as punchy as it did the first time I heard it.
The heartbreaking harmonies of Pause - currently receiving a fair bit of media attention in its remixed version as the theme for the BBC2's law-and-disorder drama The Shadow Line - appeared midway through the set, to be followed in quick succession by the band's other tv crime thriller soundtrack song, Nostalgia (used in BBC1's Wallander series).
A shifting up of the pace brought two songs available only as digital downloads: Almanac's twelfth track Look Out For My Love with its live vocal fadeout making the hairs on the back of your neck stand up, followed by the sparse but insistent Despite The Snow - and with the elegaic Bones it was into two encores.
We were privileged to hear the first public performance of a new Emily Barker & The Red Clay Halo song, The Rains. It's a measure of the musicianship of Emily, Gill, Anna and Jo that they could perform a new piece almost without batting an eyelid, making it sound as if it was something they'd been playing since the sessions for Almanac began. My already hazy memories (old age, as the saying goes, doesn't come alone!) are telling me that the vocal harmonies are some of the strongest and sweetest I've heard from the band so far. And - again, if I recall correctly - the song structure is firmly in place and I'd like to think that playing it out live over the course of the next three weeks will allow those hallmark EB&TRCH instrumental licks and rifflets to grow and flourish. It would be really interesting to hear a recording of this live debut performance back-to-back with one from the last night of the tour, just to see how it's evolved. But damn, I'd so love to hear it again right now.
Unfortunately, a second hearing of The Rains wasn't on offer (*pouts, sulks*) and so bringing the night to a close, as it did at St. Giles-in-the-Fields, was the epic stomper and rebel-rouser Blackbird. By the time I got myself organised and wandered out of the auditorium, Emily, Gill, Jo and Anna were already chatting to people, signing autographs and so on; on a personal note I was chuffed to conkers that Emily not only remembered me but also remembered my name. Truly, musicians as talented, focused and approachable as Emily Barker & The Red Clay Halo deserve all the success that will surely come their way - and I have to say that it couldn't happen to a lovelier group of people. Not that I'm biased or anything...
...where we go goodness we'll find...
---------------
Setlist:
Billowing Sea
Little Deaths*
Ropes
Dancers*
Calendar*
Storm In A Teacup*
Pause
Nostalgia*
Disappear
Look Out For My Love*
Despite The Snow*
Bones
First encore: The Rains*
Second encore: Blackbird*
[* denotes video art by Patti Gaal-Holmes]
---------------
Via Bird of Paradox
Subscribe to:
Comments (Atom)
