Monday 10 February 2014
Adam Curtis
What I'm really complaining about is a lack of progressive ideas in music. Everything seems to be about just going back and reworking it and it becomes static – sort of like a zombie culture. As I listen to Savages, I have a terrible vision of Siouxsie Sioux coming towards me like a zombie. And nothing will kill that kind of music, because, and this is rude, but what is now called post-punk – that slightly angular stuff that borrowed off punk but took stuff from funk and all sorts of other devices – had its time and had its place. At the moment it’s just being reworked and it doesn't have any meaning to it. Like Mumford and Sons rework folk music and they don’t add any meaning to it either. It’s like they’ve stuck on beards
Sunday 9 February 2014
Climate State
On 8 May 1974, Henry Kissinger sent a cable
from the U.S. State Department to the Secretary General of the UN. The
cable contained a letter to the World Meteorological Organization (WMO)
Secretary General D.A. Davies from Robert M. White, permanent
representative of the U.S. to the WMO:
Dear Mr. Secretary-General. Increasingly, world leaders have expressed concern over indications of possible long-term climate change. This concern has become particularly prominent in relation to the Sahel droughtIn his address on April 15, 1974, to the sixth special session of the United Nations General Assembly, Secretary Kissinger called attention to this problem, noting that its implications for global food and population policies are ominous. He proposed that this problem be urgently investigated with the objective of identifying guidelines for international action. Potentially, the resources of many parts of the UN system will be involved. A better understanding of the meteorological aspects of climate change, together with an appreciation of the impact of such change on the well being of the world, is basic to the development of solutions.
That climate change would develop into the major nation security crisis for the U.S. has long been understood by policy makers. A fact that is at odds with their policy of climate change inaction.
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Saturday 8 February 2014
Friday 7 February 2014
Thursday 6 February 2014
Dante's 'Radio Inferno' (1993)
In 1993, German artist Andreas Ammer teamed up with members of Einstürzende Neubauten and legendary DJ John Peel to produce a radio play of Dante's Divine Comedy. The result was Radio Inferno, with music by Einstürzende's F.M. Einheit, and starring Blixa Bargeld as Dante, Phil Minton as Virgil, and John Peel as "The Radio" (the narrator) and Caspar Brötzmann on guitar
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Vladislav Delay - Studio Mix (Feb 2014)
Studio mix of mainly unreleased V.D. sketches, plus Ripatti 03 A/B (last two tracks)
Wednesday 5 February 2014
Tuesday 4 February 2014
The alphabet according to Cosey Fanni Tutti
A-Z"W as in William S. Burroughs: I’ve never been as interested in his work as much as the other members of TG were. I was “discouraged” from being involved on a personal level when meetings with Burroughs were arranged. I was told he was a misogynist. Or maybe it just wasn’t “cool” to have a woman with you when you go to meet and want to impress your hero."
William Bennett (Whitehouse/Cut Hands) on GPO
“Simon Reynolds' much-feted Rip It Up And Start Again is an entertaining but ultimately shoddily researched book about what he describes as 'post-punk'; he has far less grasp on the literary and artistic cultural references he bandies about than he and his band of nostalgic mostly fortysomething readers might like to think. But that's rock writers for you. Anyway, enough of that.I wonder what story relating to WSB old Gen will come up with for the 100th? Maybe a vid over at Danger Ass Behinds alongside Dick calling for a 5:1 version of 'Call Me Burroughs' eh?
--------On a personal note, it's irritating how Reynolds' included unverified quotes from Neil Megson get lazily regurgitated in various quarters, and once again, in this month's Wire magazine, Megson eagerly jumps at the opportunity tossed in his direction. And before I continue, I should state for the record that I admire both Chris and Cosey, nor do I have a problem with Sleazy (despite not being especially familiar with his latter-day work).
--------Hippie Megson has been playing the numbers game since the early 70s, trying his luck at almost any thing in the hope of hitting the big celebrity jackpot that, like the grapes to Tantalus, so sadly seems to keep eluding him. And despite the bold bulimic rhetoric he utilises in conversation, Megson in all that time - with the assistance of his trusty sidekick, the Oxford Rhyming Dictionary - has not managed (in my opinion) to write one single half-decent set of lyrics. His continual griping and posturing and bitching and rationalising and whingeing and namechecking and boasting says a lot more about him than it does about anyone else: a subtext of why he doesn't get the recognition and public love for everything that, at least in his own addled moral worldview, he feels he's invented or achieved, and donated to the world.
--------The ironic and disappointing truth is that he's not a man in drag at all, I really wish he was. He's Nicholas Fairbairn with piercings.”
William Burroughs: Brussels/Amsterdam 1979
...Bill stopped and leaned against a wall. I looked at him stopped there as though he was trying to catch his breath. He looked at me and we made eye contact. That look which I spoke of in the limousine back in Brussels, well it wasn’t there. Instead was the look of desperation, as though somehow he had had the same cogitative experience, which I had had inside during the reading. His look of what the fuck have I created am I somehow responsible for this? I asked him if he was cool, needed anything to which he sighed, and then in his typical Kansas (sic) drawl said. No, I’m cool, let’s just get me home.Gerard Pas
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