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Interzone was a network of William Burroughs' readers founded (1997-2013). Its sites are still accessible at http://www.inter-zone.org/ , but most of them are sites of archives. The site presently active are: - Interzone Éditions http://www.interzoneeditions.net/ - La sémantique générale pour les nuls https://www.semantiquegenerale.net - La sémantique générale pour tous semantiquegenerale.free.fr - Pour une économie non-aristotélicienne https://generalsemantics4all.wordpress.com/
samedi 16 novembre 2013
Tonite! Norton Records Hurricane Sandy First Annual Weekend Ball Nov 15-16
mercredi 13 novembre 2013
Marie Martin-Pécheux : “BIOÉCONOMIE ET SOLIDARISME – POUR UNE ÉCONOMIE AU SERVICE DE LA VIE"
A lire d’urgence le livre de Marie Martin-Pécheux :
“BIOÉCONOMIE ET SOLIDARISME – POUR UNE ÉCONOMIE AU SERVICE DE LA VIE
D’un monde "libéral" à un monde libéré”.
Préface d’Albert JACQUARD.
En ligne dans le site de l’auteure http://bioeconomie.pagesperso-orange.fr/ en pdf à http://bioeconomie.pagesperso-orange.fr/BioeconomieetSolidarisme.pdf
mardi 12 novembre 2013
Galerie Ecritures: Vernissage de l'expo "parpaléminvid" de Gérard Guyomard
Vernissage de l'expo "parpaléminvid" de Gérard
Guyomard
Samedi 16 novembre 2013 à partir de 10 h 30 en présence du peintre
Galerie ECRITURES 1 rue Pierre Petit 03 100 MONTLUCON
http://www.koifaire.com/auvergne/galerie,ecritures-15609.html
facebook http://www.facebook.com/galerie.ecritures
Samedi 16 novembre 2013 à partir de 10 h 30 en présence du peintre
Galerie ECRITURES 1 rue Pierre Petit 03 100 MONTLUCON
http://www.koifaire.com/auvergne/galerie,ecritures-15609.html
facebook http://www.facebook.com/galerie.ecritures
A.D. WINANS: POEM FOR THE FRIEND WHO TOLD ME I NEED TO STOP DWELLING ON THE PAST
a friend of mine tells me
I need to stop dwelling on the past
that nostalgia is an anchor
that will weigh me down
he's like the lyric
to that Hank Williams song
"I saw the light, "I saw the light."
a song he sang to Minnie Pearl
his feet sticking out the side
of an open convertible
on its way to Memphis
I'm still groping for that light
a hundred shadows from my past
hitch-hiking along for the ride
I need to stop dwelling on the past
that nostalgia is an anchor
that will weigh me down
he's like the lyric
to that Hank Williams song
"I saw the light, "I saw the light."
a song he sang to Minnie Pearl
his feet sticking out the side
of an open convertible
on its way to Memphis
I'm still groping for that light
a hundred shadows from my past
hitch-hiking along for the ride
angels have traded in their wings
for a ticket to my dreams
the phantom of the opera
has a front row seat in my nightmares
mutilated poems wrap them self in my arms
pit tomorrow against yesterday
nomadic thoughts camp inside
my brain cells
master to none servant to many
old flame's light burned out torches
in my loins
there is no place to flee
no resting stop at the end
of a long journey
from here to nowhere
I spend the afternoon
at Martha's coffee shop
with hot coffee and a newspaper
for company
tomorrow those same newspaper lines
will be past history
should I pretend they never existed?
at Martha's coffee shop
with hot coffee and a newspaper
for company
tomorrow those same newspaper lines
will be past history
should I pretend they never existed?
I am ten months into
my seventy-seventh year
winter will soon be here
with her cold claws and heavy rain
forcing her way into the walls of my mind
were she of human flesh
she would crack open
my memory vault
find miles of past memories
that flow like Li Po poems
down a river old as time
should I ignore her
tell her to come back next winter
that now isn't the time?
I have written one too many memorial poems
for friends who have passed-away
should I shut them out of my mind
focus on tomorrow
build a graveled path that leads
to the promised land?
my emotions are trapped in quicksand
no place to run
no place to hide
endless chatter comes from
the 4-walls where
death hides between the cracks
the past is my lover
she clings to my body
like a child to a mother's bosom
she sleeps in my memory cells
like a phantom bank that accepts
only deposits refuses withdrawals
I think of her
like I think of San Francisco
the city of my birth
the salt air smell at ocean beach
the Marina Greens
north beach and the fillmore
all filled with memories
my past is my present
the future a gypsy fortune teller
like I think of San Francisco
the city of my birth
the salt air smell at ocean beach
the Marina Greens
north beach and the fillmore
all filled with memories
my past is my present
the future a gypsy fortune teller
my existence
a slow chugging locomotive
on an anonymous journey
known only to the conductor
punching invisible tickets in the hands
of faceless passengers
a slow chugging locomotive
on an anonymous journey
known only to the conductor
punching invisible tickets in the hands
of faceless passengers
A.D. WINANS
On Rusty Truck: Veterans Day (2013) by Bradley Mason Hamlin
Hey All
and couldn't let it sit..so take a look.
I am reminded today of the Nam vets I knew and know--friends that died
either there or when they got back--some still alive barely but died and didn't
know it. The guys that cry late at night from nightmares. I think about these
Vets because I went to school with them, worked with them, grew up with them.
All combat veterans are heroes, I thank all who served in whatever capacity.
Taught my kiddos in school today about real heroes today when we had about 30 vets in for brunch and to honor them. When the program was over--every student in the school went by their tables and shook their hand. Some of the WWII guys had tears. No need for background checks--I know where these guys came from and where they've been.
Taught my kiddos in school today about real heroes today when we had about 30 vets in for brunch and to honor them. When the program was over--every student in the school went by their tables and shook their hand. Some of the WWII guys had tears. No need for background checks--I know where these guys came from and where they've been.
scot
dimanche 10 novembre 2013
François Darnaudet * Catherine Rabier Noire 57. Zombies Gore
D'après Charles Dexter Philippe Ward, c'est effectivement sorti ! Included Andernos Trap, Collioure Trap, Trappes Trap et une étude de Daredevil DD David Didelot, mister Vidéotopsie Fanzine Cinéma
François Darnaudet * Catherine Rabier Noire 57. Zombies Gore ISBN-13: 978-1-61227-234-4 240 pages http://riviereblanche.com/ zombiesgore.htm Cet hiver, à Ander...nos, les zombies ont remplacé les vendeurs de chichis et de glaces. Le piège andernosien va se refermer sur ses habitants pour la réédition d'Andernos Trap. A Collioure, les morts-vivants sont accompagnés par les jonglômes, des monstres à tête de rhinocéros. C'est le retour éditorial de Collioure Trap. Quant aux deux collectionneurs qui s'affrontent du côté de Paris, leurs aventures meurtrières sont totalement inédites. En sus, David Didelot nous offre une analyse historique de la collection Gore du Fleuve Noir. Mon tout forme ZOMBIES GORE. COLLIOURE TRAP (Darnaudet & Rabier) ANDERNOS TRAP (Darnaudet) TRAPPES TRAP (Darnaudet - inédit) POSTFACE de David Didelot.
Victor Bockris: ON THE DEATH OF LOU REED
https://www.facebook.com/victor.bockris/posts/10201060012643630
Dear Friends,
I have been thinking about Lou Reed for the last week and wondering how his death has effected you, and how it’s effecting his wife Laurie and all the other people who love him. I was blessed by Lou’s friendship in the mid to late seventies, he taught me a lot about how to live on the wild side. I didn’t really see much of him after 1980, but I kept listening to the music. In 1983 Omnibus Press in London published Uptight: The Velvet Underground Story by myself and Gerard Malanga, who played a crucial role in bringing Andy Warhol to the Velvet Underground. After Andy died I went to St Anne’s in Brooklyn to see Lou and John’s first performance of Songs for Drella in 1988. I was back stage with Billy Name when he introduced Lou to La Monte Young! Things heated up in 1992 when I started work on Transformer: The Lou Reed Story. When the book came out in 1995, journalists from several countries told me when they asked Lou for an interview he asked them if they’d read my book. If they hadn’t, he told them to read it and then come back for an interview. I always dug Lou. When I published a suite of poems from his book All The Pretty People in The Coldspring Journal in 1976, he won a prize given to him at the Gotham Book Mart by Senator Eugene McCarthy, poet and hero of the anti-war movement in 1968. I could go on, but not here. I have been awakened from the dream of life by Lou Reed’s death. Tomorrow I am going to start rewriting and updating my biography of Lou. This time I think I’ll be able to ride that satellite of love up to the stars.
The last thing Lou says in Transformer is, “If you line the songs and play them, you should be ale to relate and not feel alone. I think it’s important that people don’t feel alone.”
Victor Bockris
Dear Friends,
I have been thinking about Lou Reed for the last week and wondering how his death has effected you, and how it’s effecting his wife Laurie and all the other people who love him. I was blessed by Lou’s friendship in the mid to late seventies, he taught me a lot about how to live on the wild side. I didn’t really see much of him after 1980, but I kept listening to the music. In 1983 Omnibus Press in London published Uptight: The Velvet Underground Story by myself and Gerard Malanga, who played a crucial role in bringing Andy Warhol to the Velvet Underground. After Andy died I went to St Anne’s in Brooklyn to see Lou and John’s first performance of Songs for Drella in 1988. I was back stage with Billy Name when he introduced Lou to La Monte Young! Things heated up in 1992 when I started work on Transformer: The Lou Reed Story. When the book came out in 1995, journalists from several countries told me when they asked Lou for an interview he asked them if they’d read my book. If they hadn’t, he told them to read it and then come back for an interview. I always dug Lou. When I published a suite of poems from his book All The Pretty People in The Coldspring Journal in 1976, he won a prize given to him at the Gotham Book Mart by Senator Eugene McCarthy, poet and hero of the anti-war movement in 1968. I could go on, but not here. I have been awakened from the dream of life by Lou Reed’s death. Tomorrow I am going to start rewriting and updating my biography of Lou. This time I think I’ll be able to ride that satellite of love up to the stars.
The last thing Lou says in Transformer is, “If you line the songs and play them, you should be ale to relate and not feel alone. I think it’s important that people don’t feel alone.”
Victor Bockris
Ball of Wax 33 Songs: Virgin of the Birds – “Victor Bockris”
Ball of Wax 33 Songs: Virgin of the Birds – “Victor Bockris”
http://ballofwax.org/tag/victor-bockris/
The songs by Victor Bockris are on line at
http://chinasearecordings.bandcamp.com/album/summer-palace
https://www.facebook.com/victor.bockris
Bob Branaman and Brigtte Moos: OPENING RECEPTION: A Diamond Light at the Memory Palace
Saturday November 16th 15:00 (PST)
Join us for a free reception to celebrate the art of Robert Branaman and Brigtte Moos!!
Beat Generation poet, painter, and film producer Bob Branaman continues to make avantgarde art today. Branaman joined the Beatniks in San Francisco in the 1950s, part of the Kansas Vortex, which included Charles Plymell and Michael McClure, and soon made his name as a hep cat. He outlived many of his bohemian contemporaries, despite his bad habits. Over the years he has collected a great deal of stories and ephemera from that time period and because he has outlived most of his beat contemporaries he is in many ways an archivist and one of the last voices of the Beat Generation.
Birgitte Moos is an Artist from Copenhagen, Denmark, working in Los Angeles and Copenhagen.
Birgitte works in an unconventional, interdisciplinary manner to combine art, theory and function. Utilizing the vibrant space and surroundings of the City Birgitte exhibits visual art works often focusing on the totality of an environment reflecting all aspects of her art and vice versa.
Holding an MFA in set design from Denmark’s Royal College of Fine Arts in Copenhagen, Birgitte also studied painting and set design at The Berlin University of Arts under Achim Freyer who recently staged The Ring Cycle at the LA Opera.
As a Visual Artist and Set Designer, Birgitte has been involved in numerous projects in theater, short films, videos, performances and gallery exhibitions internationally, also lecturing in set design, amongst projects such as Zentropa Productions by Danish Filmdirector Lars von Trier.
In 2011 Birgittes set design for the staging of ‘The Arsonists’ at The Odyssey Theater in Los Angeles was nominated as set design of the year by LA Weekly. In 2012 Birgitte was selected from thousands as a finalist in the Saatchi Gallery’s Open Call for Abstract Art. In April this year she was the Featured Artist at the Downtown Artwalk curated out of Artists from all LA.
Beat Generation poet, painter, and film producer Bob Branaman continues to make avantgarde art today. Branaman joined the Beatniks in San Francisco in the 1950s, part of the Kansas Vortex, which included Charles Plymell and Michael McClure, and soon made his name as a hep cat. He outlived many of his bohemian contemporaries, despite his bad habits. Over the years he has collected a great deal of stories and ephemera from that time period and because he has outlived most of his beat contemporaries he is in many ways an archivist and one of the last voices of the Beat Generation.
Birgitte Moos is an Artist from Copenhagen, Denmark, working in Los Angeles and Copenhagen.
Birgitte works in an unconventional, interdisciplinary manner to combine art, theory and function. Utilizing the vibrant space and surroundings of the City Birgitte exhibits visual art works often focusing on the totality of an environment reflecting all aspects of her art and vice versa.
Holding an MFA in set design from Denmark’s Royal College of Fine Arts in Copenhagen, Birgitte also studied painting and set design at The Berlin University of Arts under Achim Freyer who recently staged The Ring Cycle at the LA Opera.
As a Visual Artist and Set Designer, Birgitte has been involved in numerous projects in theater, short films, videos, performances and gallery exhibitions internationally, also lecturing in set design, amongst projects such as Zentropa Productions by Danish Filmdirector Lars von Trier.
In 2011 Birgittes set design for the staging of ‘The Arsonists’ at The Odyssey Theater in Los Angeles was nominated as set design of the year by LA Weekly. In 2012 Birgitte was selected from thousands as a finalist in the Saatchi Gallery’s Open Call for Abstract Art. In April this year she was the Featured Artist at the Downtown Artwalk curated out of Artists from all LA.
vendredi 8 novembre 2013
Isabelle Aubert-Baudron: Aristotelian and non-Aristotelian economies
On line in the blog Pour une économie non-aristotélicienne :
A comparison between market economy, based upon the antique postulates (450 BC), and a restructuration based upon Alfred Korzybski's general semantics (XX° century).
For more information about the evolution of this research, undertaken in 1999 in the framework of the network Interzone :
- A non-Aristotelian economy
- Restructuration: Une économie non-aristotélicienne
mardi 5 novembre 2013
Cédric Cavenaille: Pictsound
Pictsound est un studio graphique pour le print et le web installé à Albi - Tarn - Midi-Pyrénées.www.studio-graphique-pictsound.fr
Description
Réalisation de documents imprimés ou de site internet. Création de logo, d'identité visuelle. PAO. Illustration. Signalétique. Édition.
Logo Pictsound:
Pictsound 2013:
9, Cloître St-Salvy
81000 Albi
Tél. 06 98 28 36 63
81000 Albi
Tél. 06 98 28 36 63
lundi 4 novembre 2013
invitation vernissage exposition couleurs actives, galerie didier devillez
Retrouvez l'exposition Couleurs actives sur http://www.galeriedidierdevillez.be/expo.php
GALERIE DIDIER DEVILLEZ
53, rue Emmanuel Van Driessche • 1050 Bruxelles (Belgique) • +32(0)475 931 935
jeudi 31 octobre 2013
Laurent Beysson: vidéo Showreel V2.1.1
On line at http://vimeo.com/77983570
Laurent Beysson is a conceptor, motion designer and developer of 3D real-time environments for design, culture and communication.
Laurent Beysson is a conceptor, motion designer and developer of 3D real-time environments for design, culture and communication.
Kicks Books • Norton Records: Charles Plymell Book Blast Nov 8 NYC
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lundi 28 octobre 2013
Rolling Stone: Lou Reed, Velvet Underground Leader and Rock Pioneer, Dead at 71
http://www.rollingstone.com/music/news/lou-reed-velvet-underground-leader-and-rock-pioneer-dead-at-71-20131027
New York legend, who helped shape nearly fifty years of rock music, underwent a liver transplant in May
Lou Reed, a massively influential songwriter and guitarist who helped shape nearly fifty years of rock music, died today on Long Island. The cause of his death has not yet been released, but Reed underwent a liver transplant in May.
Look back at Lou Reed's remarkable career in photos
With the Velvet Underground in the late Sixties, Reed fused street-level urgency with elements of European avant-garde music, marrying beauty and noise, while bringing a whole new lyrical honesty to rock & roll poetry. As a restlessly inventive solo artist, from the Seventies into the 2010s, he was chameleonic, thorny and unpredictable, challenging his fans at every turn. Glam, punk and alternative rock are all unthinkable without his revelatory example. "One chord is fine," he once said, alluding to his bare-bones guitar style. "Two chords are pushing it. Three chords and you're into jazz."
Lewis Allan "Lou" Reed was born in Brooklyn, in 1942. A fan of doo-wop and early rock & roll (he movingly inducted Dion into the Rock and Roll Hall of Fame in 1989), Reed also took formative inspiration during his studies at Syracuse University with the poet Delmore Schwartz. After college, he worked as a staff songwriter for the novelty label Pickwick Records (where he had a minor hit in 1964 with a dance-song parody called "The Ostrich"). In the mid-Sixties, Reed befriended Welsh musician John Cale, a classically trained violist who had performed with groundbreaking minimalist composer La Monte Young. Reed and Cale formed a band called the Primitives, then changed their name to the Warlocks. After meeting guitarist Sterling Morrison and drummer Maureen Tucker, they became the Velvet Underground. With a stark sound and ominous look, the band caught the attention of Andy Warhol, who incorporated the Velvets into his Exploding Plastic Inevitable. "Andy would show his movies on us," Reed said. "We wore black so you could see the movie. But we were all wearing black anyway."
Listen to 20 essential Lou Reed tracks here
"Produced" by Warhol and met with total commercial indifference when it was released in early 1967, VU’s debut The Velvet Underground & Nico stands as a landmark on par with the Beatles' Sgt. Pepper's Lonely Hearts Club Band and Bob Dylan's Blonde On Blonde. Reed's matter-of-fact descriptions of New York’s bohemian demimonde, rife with allusions to drugs and S&M, pushed beyond even the Rolling Stones’ darkest moments, while the heavy doses of distortion and noise for its own sake revolutionized rock guitar. The band’s three subsequent albums – 1968’s even more corrosive sounding White Light/White Heat, 1969’s fragile, folk-toned The Velvet Underground and 1970’s Loaded, which despite being recorded while he was leaving the group, contained two Reed standards, “Rock & Roll” and “Sweet Jane,” were similarly ignored. But they’d be embraced by future generations, cementing the Velvet Underground’s status as the most influential American rock band of all time.
After splitting with the Velvets in 1970, Reed traveled to England and, in characteristically paradoxical fashion, recorded a solo debut backed by members of the progressive-rock band Yes. But it was his next album, 1972’s Transformer, produced by Reed-disciple David Bowie, that pushed him beyond cult status into genuine rock stardom. “Walk On the Wild Side,” a loving yet unsentimental evocation of Warhol’s Factory scene, became a radio hit (despite its allusions to oral sex) and “Satellite of Love” was covered by U2 and others. Reed spent the Seventies defying expectations almost as a kind of sport. 1973’s Berlin was brutal literary bombast while 1974’s Sally Can’t Dance had soul horns and flashy guitar. In 1975 he released Metal Machine Music, a seething all-noise experiment his label RCA marketed as a avant-garde classic music, while 1978’s banter-heavy live album Take No Prisoners was a kind of comedy record in which Reed went on wild tangents and savaged rock critics by name (“Lou sure is adept at figuring out new ways to shit on people,” one of those critics, Robert Christgau, wrote at the time). Explaining his less-than-accommodating career trajectory, Reed told journalist Lester Bangs, “My bullshit is worth more than other people’s diamonds.”
Reed’s ambiguous sexual persona and excessive drug use throughout the Seventies was the stuff of underground rock myth. But in the Eighties, he began to mellow. He married Sylvia Morales and opened a window into his new married life on 1982’s excellent The Blue Mask, his best work since Transformer. His 1984 album New Sensations took a more commercial turn and 1989’s New York ended the decade with a set of funny, politically cutting songs that received universal critical praise. In 1991, he collaborated with Cale on Songs For Drella, a tribute to Warhol. Three years later, the Velvet Underground reunited for a series of successful European gigs.
Read Rolling Stone's 1989 Lou Reed cover story
Reed and Morales divorced in the early Nineties. Within a few years, Reed began a relationship with musician-performance artist Laurie Anderson. The two became an inseparable New York fixture, collaborating and performing live together, while also engaging in civic and environmental activism. They were married in 2008.
Reed continued to follow his own idiosyncratic artistic impulses throughout the ‘00s. The once-decadent rocker became an avid student of T'ai Chi, even bringing his instructor onstage during concerts in 2003. In 2005 he released a double CD called The Raven, based on the work of Edgar Allen Poe. In 2007, he released an ambient album titled Hudson River Wind Meditations. Reed returned to mainstream rock with 2011’s Lulu, a collaboration with Metallica.
“All through this, I’ve always thought that if you thought of all of it as a book then you have the Great American Novel, every record as a chapter,” he told Rolling Stone in 1987. “They’re all in chronological order. You take the whole thing, stack it and listen to it in order, there’s my Great American Novel.”
New York legend, who helped shape nearly fifty years of rock music, underwent a liver transplant in May
By Jon Dolan
October 27, 2013 1:15 PM ET
Lou Reed
Lex van Rossen/MAI/Redferns
Lou Reed, a massively influential songwriter and guitarist who helped shape nearly fifty years of rock music, died today on Long Island. The cause of his death has not yet been released, but Reed underwent a liver transplant in May.
Look back at Lou Reed's remarkable career in photos
With the Velvet Underground in the late Sixties, Reed fused street-level urgency with elements of European avant-garde music, marrying beauty and noise, while bringing a whole new lyrical honesty to rock & roll poetry. As a restlessly inventive solo artist, from the Seventies into the 2010s, he was chameleonic, thorny and unpredictable, challenging his fans at every turn. Glam, punk and alternative rock are all unthinkable without his revelatory example. "One chord is fine," he once said, alluding to his bare-bones guitar style. "Two chords are pushing it. Three chords and you're into jazz."
Lewis Allan "Lou" Reed was born in Brooklyn, in 1942. A fan of doo-wop and early rock & roll (he movingly inducted Dion into the Rock and Roll Hall of Fame in 1989), Reed also took formative inspiration during his studies at Syracuse University with the poet Delmore Schwartz. After college, he worked as a staff songwriter for the novelty label Pickwick Records (where he had a minor hit in 1964 with a dance-song parody called "The Ostrich"). In the mid-Sixties, Reed befriended Welsh musician John Cale, a classically trained violist who had performed with groundbreaking minimalist composer La Monte Young. Reed and Cale formed a band called the Primitives, then changed their name to the Warlocks. After meeting guitarist Sterling Morrison and drummer Maureen Tucker, they became the Velvet Underground. With a stark sound and ominous look, the band caught the attention of Andy Warhol, who incorporated the Velvets into his Exploding Plastic Inevitable. "Andy would show his movies on us," Reed said. "We wore black so you could see the movie. But we were all wearing black anyway."
Listen to 20 essential Lou Reed tracks here
"Produced" by Warhol and met with total commercial indifference when it was released in early 1967, VU’s debut The Velvet Underground & Nico stands as a landmark on par with the Beatles' Sgt. Pepper's Lonely Hearts Club Band and Bob Dylan's Blonde On Blonde. Reed's matter-of-fact descriptions of New York’s bohemian demimonde, rife with allusions to drugs and S&M, pushed beyond even the Rolling Stones’ darkest moments, while the heavy doses of distortion and noise for its own sake revolutionized rock guitar. The band’s three subsequent albums – 1968’s even more corrosive sounding White Light/White Heat, 1969’s fragile, folk-toned The Velvet Underground and 1970’s Loaded, which despite being recorded while he was leaving the group, contained two Reed standards, “Rock & Roll” and “Sweet Jane,” were similarly ignored. But they’d be embraced by future generations, cementing the Velvet Underground’s status as the most influential American rock band of all time.
After splitting with the Velvets in 1970, Reed traveled to England and, in characteristically paradoxical fashion, recorded a solo debut backed by members of the progressive-rock band Yes. But it was his next album, 1972’s Transformer, produced by Reed-disciple David Bowie, that pushed him beyond cult status into genuine rock stardom. “Walk On the Wild Side,” a loving yet unsentimental evocation of Warhol’s Factory scene, became a radio hit (despite its allusions to oral sex) and “Satellite of Love” was covered by U2 and others. Reed spent the Seventies defying expectations almost as a kind of sport. 1973’s Berlin was brutal literary bombast while 1974’s Sally Can’t Dance had soul horns and flashy guitar. In 1975 he released Metal Machine Music, a seething all-noise experiment his label RCA marketed as a avant-garde classic music, while 1978’s banter-heavy live album Take No Prisoners was a kind of comedy record in which Reed went on wild tangents and savaged rock critics by name (“Lou sure is adept at figuring out new ways to shit on people,” one of those critics, Robert Christgau, wrote at the time). Explaining his less-than-accommodating career trajectory, Reed told journalist Lester Bangs, “My bullshit is worth more than other people’s diamonds.”
Reed’s ambiguous sexual persona and excessive drug use throughout the Seventies was the stuff of underground rock myth. But in the Eighties, he began to mellow. He married Sylvia Morales and opened a window into his new married life on 1982’s excellent The Blue Mask, his best work since Transformer. His 1984 album New Sensations took a more commercial turn and 1989’s New York ended the decade with a set of funny, politically cutting songs that received universal critical praise. In 1991, he collaborated with Cale on Songs For Drella, a tribute to Warhol. Three years later, the Velvet Underground reunited for a series of successful European gigs.
Read Rolling Stone's 1989 Lou Reed cover story
Reed and Morales divorced in the early Nineties. Within a few years, Reed began a relationship with musician-performance artist Laurie Anderson. The two became an inseparable New York fixture, collaborating and performing live together, while also engaging in civic and environmental activism. They were married in 2008.
Reed continued to follow his own idiosyncratic artistic impulses throughout the ‘00s. The once-decadent rocker became an avid student of T'ai Chi, even bringing his instructor onstage during concerts in 2003. In 2005 he released a double CD called The Raven, based on the work of Edgar Allen Poe. In 2007, he released an ambient album titled Hudson River Wind Meditations. Reed returned to mainstream rock with 2011’s Lulu, a collaboration with Metallica.
“All through this, I’ve always thought that if you thought of all of it as a book then you have the Great American Novel, every record as a chapter,” he told Rolling Stone in 1987. “They’re all in chronological order. You take the whole thing, stack it and listen to it in order, there’s my Great American Novel.”
Related
Libération: Lou Reed, mort d'un Rock'n'roll Animal
A lire dans le Libération d'aujourd'hui:
Lou Reed, mort d'un Rock'n'roll Animal par Eric LORET 27 octobre 2013
http://next.liberation.fr/musique/2013/10/27/lou-reed-est-mort_942734
Lou Reed, c’est donc au départ un artiste pas tout à fait complet, qui est le chanteur du Velvet Underground, groupe mythique fondé avec le compositeur John Cale, un proche des minimalistes comme La Monte Young. L’album The Velvet Underground & Nico sort en 1967. Ils sont une des «créatures» d’Andy Warhol qui les «produit», comme il produit les films de Paul Morrissey. Warhol est un catalyseur, mais aussi un dévoreur. Difficile après cela de mener une carrière solo. Le Velvet en revanche aura une descendance fournie : Sonic Youth et toute la scène noisy des années 80.
C’est David Bowie qui sort Lou Reed de la panade et qui l'aide à atteindre le succès avec Transformer (1972), qu'il produit. Berlin (1973), où Bowie et Iggy Pop sont allés visiter Neukölln et respirer un peu l’air de la ruine, de la culpabilité et des mondes interlopes, est le premier vrai album solo de Lou Reed. Lui n'y a pas mis les pieds mais c’est l’époque du best-seller Moi, Christiane F, droguée, prostituée. Reed incarne au masculin cette autodestruction romantique, mais chaussé de lunettes noires et de métal bouillant. Dès le début, en 1964, il avait composé Heroin, hymne lancinant à la mort lente.
La suite est moins iconique. Ses albums sentent moins le soufre. En 1975, le double vinyle Metal Machine music déchire cependant volontiers les oreilles avec plus d'une heure de larsen. On le retrouve en 1990 avec Songs for Drella, un dernier hommage à Andy Warhol, composé avec son vieux complice John Cale. Il avait donné des concerts jusqu’en 2011, avec toujours un extrême succès et des millions de fans restés scotchés à Berlin.
Vidéos et Playlist dans le site de Libération
Sur le même sujet
Lou Reed, mort d'un Rock'n'roll Animal par Eric LORET 27 octobre 2013
http://next.liberation.fr/musique/2013/10/27/lou-reed-est-mort_942734
L'ex-icône du Velvet Underground, revenu récemment au succès avec Bob Wilson, est décédé à l'âge de 71 ans.
Lou Reed c’était : du cuir, Andy Warhol, le Velvet, Bowie et Berlin, Metallica et Bob Wilson. Une partie de l’art américain des années soixante, star un peu pute et droguée de la Factory warholienne, devenu vieille grenouille à bajoues, mais qui n’avait jamais perdu le goût du borderline.
Témoin sa dernière œuvre : une musique composée avec le groupe de hard Metallica pour Lulu, la pièce de Wedekind déjà mise en son et en chef-d’œuvre par Alban Berg en 1937. Lui travaillera avec le metteur en scène Bob Wilson, excusez du peu. Lulu, l’histoire d’une prostituée, justement, façon de revenir à la chanson qui avait rendu Reed célèbre en 1972 : Walk on the wild side, qui parle des transsexuels de la Factory.
On disait que Warhol le tripotait dans les coins, qu’il était l’amant de Bowie. Il épousa en 2008 sa compagne, la musicienne expérimentale Laurie Anderson. C’est elle qui déclarait en mai dernier qu’une greffe du foie l’avait sauvé. On peut toujours espérer. L’annonce de sa mort est tombée aujourd’hui à 13h15 aux Etats-Unis heure locale, sur le site du magazine Rolling Stone.
Témoin sa dernière œuvre : une musique composée avec le groupe de hard Metallica pour Lulu, la pièce de Wedekind déjà mise en son et en chef-d’œuvre par Alban Berg en 1937. Lui travaillera avec le metteur en scène Bob Wilson, excusez du peu. Lulu, l’histoire d’une prostituée, justement, façon de revenir à la chanson qui avait rendu Reed célèbre en 1972 : Walk on the wild side, qui parle des transsexuels de la Factory.
On disait que Warhol le tripotait dans les coins, qu’il était l’amant de Bowie. Il épousa en 2008 sa compagne, la musicienne expérimentale Laurie Anderson. C’est elle qui déclarait en mai dernier qu’une greffe du foie l’avait sauvé. On peut toujours espérer. L’annonce de sa mort est tombée aujourd’hui à 13h15 aux Etats-Unis heure locale, sur le site du magazine Rolling Stone.
Lou Reed, c’est donc au départ un artiste pas tout à fait complet, qui est le chanteur du Velvet Underground, groupe mythique fondé avec le compositeur John Cale, un proche des minimalistes comme La Monte Young. L’album The Velvet Underground & Nico sort en 1967. Ils sont une des «créatures» d’Andy Warhol qui les «produit», comme il produit les films de Paul Morrissey. Warhol est un catalyseur, mais aussi un dévoreur. Difficile après cela de mener une carrière solo. Le Velvet en revanche aura une descendance fournie : Sonic Youth et toute la scène noisy des années 80.
C’est David Bowie qui sort Lou Reed de la panade et qui l'aide à atteindre le succès avec Transformer (1972), qu'il produit. Berlin (1973), où Bowie et Iggy Pop sont allés visiter Neukölln et respirer un peu l’air de la ruine, de la culpabilité et des mondes interlopes, est le premier vrai album solo de Lou Reed. Lui n'y a pas mis les pieds mais c’est l’époque du best-seller Moi, Christiane F, droguée, prostituée. Reed incarne au masculin cette autodestruction romantique, mais chaussé de lunettes noires et de métal bouillant. Dès le début, en 1964, il avait composé Heroin, hymne lancinant à la mort lente.
La suite est moins iconique. Ses albums sentent moins le soufre. En 1975, le double vinyle Metal Machine music déchire cependant volontiers les oreilles avec plus d'une heure de larsen. On le retrouve en 1990 avec Songs for Drella, un dernier hommage à Andy Warhol, composé avec son vieux complice John Cale. Il avait donné des concerts jusqu’en 2011, avec toujours un extrême succès et des millions de fans restés scotchés à Berlin.
Vidéos et Playlist dans le site de Libération
Sur le même sujet
Appâts de Lou
- Par Françoise-Marie Santucci
- Archive
Lou Reed, la chambre et la scène
Par Eric Dahan
dimanche 27 octobre 2013
October 26, 2013 The Norton Records Invasion! With Special Guest Charles Plymell (Kicks Books)
October 26, 2013 The Norton Records Invasion! With
Special Guest Charles Plymell (Kicks Books).
Listen to this show and playlist at http://www.wfmu.org/playlists/shows/52922 .
30 tracks on line, music and interviews.
Quelques nouvelles de l'éclat
Bonjour
Le livre de P.M.,
bolo‘bolo
a paru pour la première fois en allemand il y a
30 ans.
Il a été traduit depuis en anglais, italien,
français, hébreu, arabe, espagnol, portugais, chinois, néerlandais, russe
...
La version française a été publiée aux Editions
de l'éclat en 1998 et a été rééditée cette année (augmentée d'une nouvelle
préface).
Pour fêter dignement cet anniversaire nous
vous invitons
le 30 octobre à partir de 18h30
à la librairie/ galerie
71, rue de Ménilmontant / 2, rue de la
Mare
75020 Paris
En présence de l'auteur (et de l'éditeur)
qui racontera les 30 ans passés de bolo'bolo,
évoquera ceux à venir et répondra à vos questions...
Venez
nombreux, faites suivre le mail à vos amis...
... et puisque les générations se suivent et
(ne) se ressemblent (pas), l'éclat est heureux de vous annoncer la naissance du
site (en anglais) Lasso, où vous
trouverez peut-être chausson à votre pied...
Merci de votre fidélité
consultez notre page "nouveautés"
Michel Valensi
Editions de l'éclat
Interzone galleries: Le Château d'Oiron (3) 15/09/13
15 high resolution pictures, taken on September 15th 2013 https://sites.google.com/site/interzonegalleries/oiron3-htm
Photo: I. Aubert-Baudron
samedi 26 octobre 2013
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