phisca added 2 photos to Wikigraphs
Aug 9, 2010 10:58:00 AM
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lundi 16 août 2010
samedi 31 juillet 2010
Joyce Meets Burroughs by Way of Mary Beach
On line at :
http://www.artsjournal.com/herman/2010/07/joyce_meets_burroughs_by_way_o.html
The Beach-Plymell Collection
Mary Beach & Claude Pélieu Art
http://www.beachpelieuart.com/
http://www.artsjournal.com/herman/2010/07/joyce_meets_burroughs_by_way_o.html
The Beach-Plymell Collection
Mary Beach & Claude Pélieu Art
http://www.beachpelieuart.com/
jeudi 22 juillet 2010
previously on optical sound derniers jours
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DERNIERS JOURS / LAST DAYS !
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COLLECTIVE SHOW : "Previously on Optical Sound..."
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GALERIE FREDERIC GIROUX (Paris)
END ON THE JULY 24 th / FIN DE L'EXPOSITION CE 24 SAMEDI JUILLET
La vitrine par EDDIE LADOIRE
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Après son exposition collective « Sound by artists » en 2009, la galerie Frédéric Giroux entame en 2010
une série d’expositions personnelles d’artistes sonores :
Pascal Broccolichi du 20 mars au 15 mai,
Pierre Beloüin du 22 mai au 19 juin
Optical Sound du 6 au 24 juillet
Jérôme Poret du 4 septembre au 30 octobre
et Pierre-Laurent Cassière du 6 novembre au 23 décembre.
Previously on Optical Sound…
Du 6 au 24 Juillet
Galerie Frédéric Giroux 8 rue Charlot 75003 Paris
http://www.fredericgiroux.com/
Optical sound est une structure hybride et atypique, furtive et mobile qui dessine ses propres frontières entre musique expérimentale et art contemporain. Bien avant l'exode des musiciens vers les contrées plus accueillantes des arts plastiques - crise du disque oblige et soif insatiable de nouveauté - Optical sound œuvre depuis 1997 au mixage interdisciplinaire et produit sans distinction projets de musiciens-artistes- graphistes… : disques, dvd's, badges, sérigraphies, éditions limitées, interfaces, expositions, revues… Pas de dogme, ni de chapelle mais la cartographie d'un territoire animé par un réseau serré d'intervenant qui travaillent en cooptation, par le truchement des productions, des rencontres et du partage des données et des passions. Ici règne la Direction artistique au sens noble du terme, Pierre Beloüin en est le gardien - du studio d'enregistrement ou de la salle de concert, en passant par le Black Cube… - selon. Graphistes, plasticiens, écrivains, journalist es, musiciens font partie d'une dynamique de production, d'une marque de fabrique qui traverse les aléas de la production culturelle underground dans un pays peu réceptif aux décloisonnements et au transferts de genres. Cette exposition fera la part belle à ce qui peut-être vu - galerie oblige - mais lézardera le long des murs et dans les écouteurs cette musique qui depuis la naissance du label hurle en faveur d'un projet mixed media toujours bien vivant.
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*"A4" : sous la forme d'œuvres inédites en vente, spécialement conçues pour l'occasion par plus de cent artistes :
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J.G. Thirlwell, Alain Declercq, Barbara Breitenfellner, Rebecca Bournigault, Pascal Broccolichi, Pierre-Laurent Cassière, Jérôme Poret, Sophie Sommerlatt, Marjolaine Bourdua, Cathryn Boch, Emeline Girault , Cendrillon Bélanger, Philippe Perreaudin, Claire Moreux, Lydie Jean Dit Pannel, Serge Comte, Pascal Béjean, Loïg R, Goran Vejvoda, Ian Simms, Emmanuel Lagarrigue, Nicolas Simonin,Jill Gasparina, Frederic Nogray, Frédéric Post, Alain Declercq, Stéphane Sautour, Claude Lévêque, Rainier Lericolais, Christian Vialard, P.Nicolas Ledoux, Guillaume Ollendorf, Simon Fisher Turner, Isabella Turner, Sébastien Roux, Eddie Ladoire, Lionel Marchetti, Black Sifichi, Norscq, Cocoon aka Christophe Demarthe, Stéphane Thidet, David Michael Clarke, Anabelle Hulaut, Philippe Lepeut, Christophe Bailleau, Olivia Louvel, Thierry Weyd, Samuel Ruchot, Julien Sirjacq, Cécile Babiole, Gilles Berquet, Mirka Lugosi, Mathias Delplanque, Alia Daval, Dorota Kleszcz , François Ronsiaux,Wild Shores, Hervé TTrioreau, Laurent Faulon, Davide Bertocchi, Alexandre Bianchini, Dominique Blais, Vincent Epplay, Gérôme Nox, Scanner…
En vente à la galerie jusqu'au 24 Juillet, de 50 euros à 1500 euros
À l’occasion de cette exposition les éditions Optical Sound seront disponibles intégralement sous la forme d’un lot unique contenant la collection complète des 13 ans de productions.
Par ailleurs un nouveau numéro "manifeste !", hors série de la revue Opticalsound consacré aux Manifestes sera proposé en exclusivité et en parallèle à sa présentation à l'Espace de l’Art Concret,(Mouans –Sartoux) à l'occasion de l'exposition "le temps des manifestes". du 22 mai au 19 juin
commissariat de l'exposition :
Pierre Beloüin avec P.Nicolas Ledoüx et Olivier Hüz.
Artistes invités :
*La Vitrine par : Eddie Ladoire « ENJOY THE SILENCE » :
Feuille d’acier de 5mm d’épaisseur + découpe laser (140x90) Tirage unique
« Enjoy the silence» est le titre d’un album du groupe de pop électronique anglais : Depeche Mode.
Fixer cette phrase hors de son propos, sur un support non musical et dans un contexte de bruit, devient un geste quasi fictionnel, et sculptural
*Black Sifichi (13 years continuous mix, vidéo)(www.blacksifichi.com)
*Ototoï (Borne interactive développé par Servovalve et Marie Destandau pour le site www.ototoimusic.com)
__________
OTHERS RELEASES / AUTRES EDITIONS Section Releases
Thanks for reading - Pierre Beloüin ~ Optical Sound
105 rue des Volubilis 83190 Ollioules
18 Rue de Stosswihr 67100 Strasbourg
25 rue des Cascades 75020 Paris
Season of Mist is the official French distro of Optical Sound in France / Distribution France Season of Mist
Vente format numérique / Digital Selling on OTOTOÏ
We're also on iTunes via Diogenes.
The Optical Sound CD's are always available in regular store, on-line it's better for us / les éditions Optical Sound sont disponibles
chez tous les disquaires, et de préférence sur la boutique en ligne Buy on-line with Paypal, quick and secure sending, règlement par C.B sécurisé.
Bob Branaman's illustration of Chances R
Bob Branaman's illustration of Chances R, famous gay bar in 50's published with Ginsberg poem when he visted Charles Plymell in Wichita in 60's.
Charles Plymell : videos by Mike Zombek
Charles Plymell Sings:
http://www.youtube.com/watch?v=Juma6hYzwZo
Charles Plymell Gets his Gas in Beer :
http://www.youtube.com/watch?v=QBFXto0-09M&feature=channel
http://www.youtube.com/watch?v=Juma6hYzwZo
Charles Plymell Gets his Gas in Beer :
http://www.youtube.com/watch?v=QBFXto0-09M&feature=channel
Pen Pals: Jack Kerouac, Allen Ginsberg and the Literary World They Made
http://www.nytimes.com/2010/07/20/books/20book.html?_r=1
By JANET MASLIN
Published: July 19, 2010
In one of Allen Ginsberg’s more crazily virtuosic letters to his sometime soul mate, Jack Kerouac, Ginsberg included an apology of sorts. “I was too intent on self-fulfillment, and rather crude about it, with all my harlequinade and conscious manipulation of your pity,” he wrote. He also looked back on his life as an artist and described it witheringly: “Art has been for me, when I did not deceive myself, a meager compensation for what I desire.” And he acknowledged being worn, enervated and world-weary. “I am sick of this damned life!” he complained.
The year was 1945. Ginsberg was a precociously ancient 19-year-old. He would grow friskier, more pragmatic and less self-dramatizing during the course of his long correspondence with Kerouac, but one thing never changed: Ginsberg’s insistence on keeping the friendship alive. It lasted until Kerouac disappeared into an alcoholic haze and died in 1969, despite Ginsberg’s best efforts to save him.
Many of the two men’s letters went to separate university archives, Kerouac’s to Columbia, and Ginsberg’s to the University of Texas. And there they sat for decades, not without good reason. These letters can be as long-winded, rambling, visionary and impenetrable as each man’s writing style would suggest. But they can also be sharp, lucid, funny, tender, intimate, gossipy, jubilant and absolutely honest about the two aspiring authors’ gigantic ambitions.
And if their correspondence sounds one loud cautionary note, it’s a warning to be careful of what you wish for. The free-spirited energy of their early communications can be seen slowly ossifying into the discourse of eminences too busy being famous to be friends. As Kerouac predicted to their mutual friend and mentor, Lawrence Ferlinghetti: “Someday ‘The Letters of Allen Ginsberg to Jack Kerouac’ will make America cry.”
In the seductive collection they’ve called “Jack Kerouac and Allen Ginsberg: The Letters,” the editors Bill Morgan and David Stanford stake out a distinct piece of literary turf. They do this despite the fact that Kerouac and Ginsberg were expansive letter writers, that each wrote to many correspondents, and that reams of these other letters have already shown up elsewhere. A third of the Kerouac-Ginsberg letters in this bumpy but transfixing volume have also been published before.
But this book’s emphasis is on the intensity and passion of two writers’ long conversation. That such a paper trail exists is never taken for granted. Amazingly, they wrote expansive, soul-searching letters even when in close proximity, let alone during the lengthy periods spent (as one of them put it) on the road. And the arc of the friendship is fully preserved here, from the hot-air excesses of college days to the chillier, fame-ravaged exchanges of later years. Each was an important critic of the other’s work. Each read as voraciously as he wrote. What Ginsberg called “the secret knowledge of reciprocal depths” helped bind them.
And neither was above noticing how the magazine Mademoiselle chose to cover the newly famous Beat Generation, once these two and their friends managed — to the everlasting amazement of one and all — to become published, celebrated, imitated and, in some quarters, reviled.
“Hasn’t it been awful?” Kerouac would write to Ginsberg in 1959. “We were so swingy? And now young poets are sneering at us?” Two years earlier it had been Ginsberg sagely advising Kerouac to be wary of becoming a symbol for the so-called Beat Generation: “You have too much else to offer to be tied down to that and have to talk about that every time someone asks your opinion of weather.”
But the Beat aura hangs over this book. Hindsight has made it impossible to avoid the shared myth that enveloped Kerouac, Ginsberg, their very close friends Neal Cassady and William S. Burroughs, and the wider circle that included Gregory Corso, Lucien Carr, Peter Orlovsky, Paul Bowles and Gary Snyder. And Mr. Morgan, one of the letters’ co-editors, is the authoritative Beat bibliographer who has devoted many years to the archives of Ginsberg, Burroughs, Mr. Ferlinghetti and many others.
Partly because Mr. Morgan has already mined this vein for other books — including the Ginsberg biography “I Celebrate Myself,” the Ginsberg-Snyder letters and Beat walking literary tour guides to New York and San Francisco — he has written a concise but broad survey of Beat history. It’s called “The Typewriter Is Holy,” and it’s a helpful, even necessary, companion piece to the letters, which are only minimally annotated. It’s also a book that tries to put the far-reaching Beat tentacles and vast Beat cultural legacy into perspective.
Mr. Morgan has said that he finds two different kinds of people interested in the Beats: either those who know nothing about them or those who know everything. “The Typewriter Is Holy” deliberately caters to both types.
For the unknowledgeable, it can be blisteringly obvious, as in: “Kerouac, a fast typist, decided that he would ignore punctuation, paragraph breaks and traditional form, and type the story in one long sustained burst of energy. For this book, he would put the words down on paper as fast as they came into his head without stopping to revise.” These same readers may be surprised to learn that “On the Road” was typed on an enormous paper scroll.
For readers who are already familiar with biographies of Beat personnel, Mr. Morgan just means to help with logistics. Who was in Tangier when? Or at the City Lights Bookstore in San Francisco? Or the Beat Hotel in Paris? Or visiting Neal Cassady? Or avoiding Cassady, as Kerouac did when his friend wound up in San Quentin on a drug charge?
Though “The Typewriter Is Holy” is most useful in conjunction with other books, it does neatly condense Beat lore. And it makes the same point to which Mr. Morgan has devoted decades’ worth of archival work. Both of these books underscore the very un-Beat concept of Beat power. One book shows where it came from. The other explains why it’s not going away.
A version of this review appeared in print on July 20, 2010, on page C2 of the New York edition.
By JANET MASLIN
Published: July 19, 2010
A late-1950s New York minute: clockwise from far right, Allen Ginsberg, Gregory Corso (in cap), the painter Larry Rivers, Jack Kerouac and the musician David Amram.
In one of Allen Ginsberg’s more crazily virtuosic letters to his sometime soul mate, Jack Kerouac, Ginsberg included an apology of sorts. “I was too intent on self-fulfillment, and rather crude about it, with all my harlequinade and conscious manipulation of your pity,” he wrote. He also looked back on his life as an artist and described it witheringly: “Art has been for me, when I did not deceive myself, a meager compensation for what I desire.” And he acknowledged being worn, enervated and world-weary. “I am sick of this damned life!” he complained.
The year was 1945. Ginsberg was a precociously ancient 19-year-old. He would grow friskier, more pragmatic and less self-dramatizing during the course of his long correspondence with Kerouac, but one thing never changed: Ginsberg’s insistence on keeping the friendship alive. It lasted until Kerouac disappeared into an alcoholic haze and died in 1969, despite Ginsberg’s best efforts to save him.
Many of the two men’s letters went to separate university archives, Kerouac’s to Columbia, and Ginsberg’s to the University of Texas. And there they sat for decades, not without good reason. These letters can be as long-winded, rambling, visionary and impenetrable as each man’s writing style would suggest. But they can also be sharp, lucid, funny, tender, intimate, gossipy, jubilant and absolutely honest about the two aspiring authors’ gigantic ambitions.
And if their correspondence sounds one loud cautionary note, it’s a warning to be careful of what you wish for. The free-spirited energy of their early communications can be seen slowly ossifying into the discourse of eminences too busy being famous to be friends. As Kerouac predicted to their mutual friend and mentor, Lawrence Ferlinghetti: “Someday ‘The Letters of Allen Ginsberg to Jack Kerouac’ will make America cry.”
In the seductive collection they’ve called “Jack Kerouac and Allen Ginsberg: The Letters,” the editors Bill Morgan and David Stanford stake out a distinct piece of literary turf. They do this despite the fact that Kerouac and Ginsberg were expansive letter writers, that each wrote to many correspondents, and that reams of these other letters have already shown up elsewhere. A third of the Kerouac-Ginsberg letters in this bumpy but transfixing volume have also been published before.
But this book’s emphasis is on the intensity and passion of two writers’ long conversation. That such a paper trail exists is never taken for granted. Amazingly, they wrote expansive, soul-searching letters even when in close proximity, let alone during the lengthy periods spent (as one of them put it) on the road. And the arc of the friendship is fully preserved here, from the hot-air excesses of college days to the chillier, fame-ravaged exchanges of later years. Each was an important critic of the other’s work. Each read as voraciously as he wrote. What Ginsberg called “the secret knowledge of reciprocal depths” helped bind them.
And neither was above noticing how the magazine Mademoiselle chose to cover the newly famous Beat Generation, once these two and their friends managed — to the everlasting amazement of one and all — to become published, celebrated, imitated and, in some quarters, reviled.
“Hasn’t it been awful?” Kerouac would write to Ginsberg in 1959. “We were so swingy? And now young poets are sneering at us?” Two years earlier it had been Ginsberg sagely advising Kerouac to be wary of becoming a symbol for the so-called Beat Generation: “You have too much else to offer to be tied down to that and have to talk about that every time someone asks your opinion of weather.”
But the Beat aura hangs over this book. Hindsight has made it impossible to avoid the shared myth that enveloped Kerouac, Ginsberg, their very close friends Neal Cassady and William S. Burroughs, and the wider circle that included Gregory Corso, Lucien Carr, Peter Orlovsky, Paul Bowles and Gary Snyder. And Mr. Morgan, one of the letters’ co-editors, is the authoritative Beat bibliographer who has devoted many years to the archives of Ginsberg, Burroughs, Mr. Ferlinghetti and many others.
Partly because Mr. Morgan has already mined this vein for other books — including the Ginsberg biography “I Celebrate Myself,” the Ginsberg-Snyder letters and Beat walking literary tour guides to New York and San Francisco — he has written a concise but broad survey of Beat history. It’s called “The Typewriter Is Holy,” and it’s a helpful, even necessary, companion piece to the letters, which are only minimally annotated. It’s also a book that tries to put the far-reaching Beat tentacles and vast Beat cultural legacy into perspective.
Mr. Morgan has said that he finds two different kinds of people interested in the Beats: either those who know nothing about them or those who know everything. “The Typewriter Is Holy” deliberately caters to both types.
For the unknowledgeable, it can be blisteringly obvious, as in: “Kerouac, a fast typist, decided that he would ignore punctuation, paragraph breaks and traditional form, and type the story in one long sustained burst of energy. For this book, he would put the words down on paper as fast as they came into his head without stopping to revise.” These same readers may be surprised to learn that “On the Road” was typed on an enormous paper scroll.
For readers who are already familiar with biographies of Beat personnel, Mr. Morgan just means to help with logistics. Who was in Tangier when? Or at the City Lights Bookstore in San Francisco? Or the Beat Hotel in Paris? Or visiting Neal Cassady? Or avoiding Cassady, as Kerouac did when his friend wound up in San Quentin on a drug charge?
Though “The Typewriter Is Holy” is most useful in conjunction with other books, it does neatly condense Beat lore. And it makes the same point to which Mr. Morgan has devoted decades’ worth of archival work. Both of these books underscore the very un-Beat concept of Beat power. One book shows where it came from. The other explains why it’s not going away.
A version of this review appeared in print on July 20, 2010, on page C2 of the New York edition.
samedi 17 juillet 2010
A Bibliography of Works by Richard Krech 1065-2009 by Jason Davis
http://bospress.wordpress.com/2010/07/17/a-bibliography-of-works-by-richard-krech-1065-2009-by-jason-davis/
A complete bibliography that details every known printed appearance including books, magazines, anthologies and ephemera. An exhaustive work. 100 pages. Edition of 74 copies, 1/4 bound cloth over boards. We have very few of these left. $35 plus shipping. Visit www.bospress.net/order.html to order.
A complete bibliography that details every known printed appearance including books, magazines, anthologies and ephemera. An exhaustive work. 100 pages. Edition of 74 copies, 1/4 bound cloth over boards. We have very few of these left. $35 plus shipping. Visit www.bospress.net/order.html to order.
George Laughead: Beats In Kansas: The Beat Generation In The Heartland: updates
William Burroughs (1914 – 1997) Photo Gallery
with Allen Ginsberg, Anne Waldman, Patti Smith
Photo copyright Georges Laughead
Enter Gallery
Photographs byGeorge Laughead
Iggy and the Stooges: videos of concerts july 2010 on YouTube
Iggy & The Stooges - No Fun @ Nuits de Fourvière, Lyon 2010-07-14 :
http://www.youtube.com/watch?v=iSe8tgMc2AU
Similar videos included.
http://www.youtube.com/watch?v=iSe8tgMc2AU
Similar videos included.
New additions to Bowlie + Nightmare + In Between Days plus Modest Mouse / The Pop Group in London and more!
1. New additions to all three Xmas ATP Festival Events
After announcing a bunch of great line-up additions recently to all three of our Christmas festival events we're happy to be able to bring you even more new artists this week. First up chosen by Belle & Sebastian for Bowlie 2 are...
DIRTY PROJECTORS
THE ZOMBIES
JENNY AND JOHNNY
SONS AND DAUGHTERS
TREMBLING BELLS
ABIGAIL GREY
ZOEY VAN GOEY
THE 1900s
Which means that the current line-up looks like this:
BELLE & SEBASTIAN / TEENAGE FANCLUB / ISOBEL CAMPBELL and MARK LANEGAN / JULIAN COPE / THE VASELINES / THE NEW PORNOGRAPHERS / VASHTI BUNYAN / THE APPLES IN STEREO / FRIGHTENED RABBIT / FIELD MUSIC / HOWLIN' RAIN / THOSE DANCING DAYS / THE DUTCHESS AND THE DUKE / SILVER COLUMNS / FOALS / CRYSTAL CASTLES / DEAN WAREHAM PLAYS GALAXIE 500 / MULATU ASTATKE / EDWYN COLLINS / STEVE MASON / DIRTY PROJECTORS / THE ZOMBIES / JENNY AND JOHNNY / SONS AND DAUGHTERS / TREMBLING BELLS / ABIGAIL GREY / ZOEY VAN GOEY / THE 1900s
Tickets for BOWLIE 2 are priced at £165.00pp for room only and £175.00pp for self catering and are on sale now from www.atpfestival.com.
We also have a very exciting addition to the line-up for In Between Days. The latest announcement is:
HALLOGALLO 2010 (MICHAEL ROTHER & FRIENDS PRESENT NEU! MUSIC)
Hallogallo is a group formed by Michael Rother (frontman of the mythical Neu! and Harmonia, and member of one of the first formations of Kraftwerk), Steve Shelley (drummer of Sonic Youth), Aaron Mullan (from the New York band Tall Firs and collaborator of people like Chris Corsano) and Ben Curtis (of Secret Machines & School of Seven Bells). This group are currently playing a small number live shows in which they perform the highly influential music of Neu!
In Between Days is curated by AMOS, and runs from 6th - 9th December 2010 at Butlins Minehead. If you are planning to come to both December ATP weekends, or wish to stay on after weekend 1 (or come early to weekend 2!) or indeed if you're not coming to our Xmas festivals at all we have limited availability for people to stay on site during the week in between. During the event the small Crazy Horse venue will be open and we’ll be putting on entertainment including bands and djs.
The line-up so far looks like this:
CARIBOU / WOODEN SHJIPS / MOON DUO / FOUR TET / WHITE HILLS / CAVE / EMERALDS / HALLOGALLO 2010 (MICHAEL ROTHER & FRIENDS PRESENT NEU! MUSIC)
With more bands, DJs and other activities to be announced. In Between Days will cost £100 per person for the four nights, and is available as 4 berth self-catering. If you only have 2 people in your party who wish to stay, we can place you in a share-an-apartment scheme for the 4 days with another 2 people.
To book for In Between Days email us at feedback@atpfestival.com with IN BETWEEN DAYS in the subject line and we will give you full information; payments can be made using Paypal or Cheque. Tickets are available at a discounted rate of £75 per person for those going to both ATP Festivals. For full info on In Between Days see our website.
We also have the following confirmations in for the Godspeed You! Black Emperor curated Nightmare Before Christmas:
BERG SANS NIPPLE
SICK LLAMA
Which means that the current line-up looks like this:
GODSPEED YOU! BLACK EMPEROR / "WEIRD AL" YANKOVIC / NEUROSIS / BARDO POND / THE EX / DEERHOOF / THE DEAD C / BLACK DICE / FRANCISCO LOPEZ / TIM HECKER / MIKE WATT / SCOUT NIBLETT / WOLVES IN THE THRONE ROOM / MARISSA NADLER / GROWING / RANGDA / NOMEANSNO / JOSEPHINE FOSTER (SOLO) / WHITE MAGIC / EMERALDS / DANIEL HIGGS (LUNGFISH) / BOBAN I MARKO MARKOVIC ORCHESTRA / CHARLEMAGNE PALESTINE / COUNTRY TEASERS / DANIEL MENCHE / MAHER SHALAL HASH BAZ / BORBETOMAGUS / FLOWER / CORSANO DUO / KEIJI HAINO / BRUCE MCCLURE / MAHJONGG / CLUSTER / BERG SANS NIPPLE / SICK LLAMA
With more to be confirmed! The festival weekend will run from the 3rd-5th December at Butlins Holiday Centre, Minehead featuring around 40 bands picked by Godspeed You! Black Emperor, who will also perform. Tickets are priced at £165.00pp for room only and £175.00pp for self catering and are on sale now. Two, Three, Five and Seven Berth Apartments are now completely Sold Out and other ticket options are selling fast. Click Here to Buy
2. Modest Mouse + Yuck to play London Troxy
After playing a number of fantastic sold out shows for us last December, Modest Mouse will return to London this September to play the Troxy. We've just confirmed the great Yuck will support on this show which takes place on the 8th September. Tickets are on sale now, click here to buy!
3. The Pop Group reform! Original line-up to play London shows
The Pop Group return after nearly thirty years to play a small amount of club dates to "blow the dust off the old songs and pick up where we left off.” These initial dates serve as a brief introduction to a new generation of the band's signature caustic Molotov dub funk that manifested itself into only two albums that went on to sporn a whole genre.
Formed in Bristol in 1978, The Pop Group were for many the first and the last après punk band. After two seminal albums ‘Y’ and ‘For How Much Longer Must We Tolerate Mass Murder’ the group split in 1981. "There was a lot left undone,....we were so young and volatile....Let's face it, things are probably even MORE fucked now than they were in the early 80's.....and WE are even more fucked off!"
The 2010 line-up features all original members, Mark Stewart (vocals), Gareth Sager (Guitar, Keys, Sax), Bruce Smith (Drums), Dan Catsis (Bass). ATP are proud to present The Pop Group over two nights at The Garage, London - Saturday 11th and Sunday 12th September. Tickets are on sale now, click here to buy!
4. ATP New York - NYC Altar show, Philadelphia bus on sale!
Fans of Sunn O))) and Boris will be pleased to know that on the 7th September we are presenting a New York City show in which the bands will perform their collaboration Altar live for the first time in NYC, with support from BXI (Boris and Ian Astbury in their first US performance) and Jesse Sykes And The Sweet Hereafter. The groups are also of course performing Altar at the ATP New York 2010 festival this September 3rd-5th at the request of guest curator Jim Jarmusch. Tickets for the show at Brooklyn Masonic Temple are on sale now via our website.
In other U.S. news we have just put on sale a Bus to take people to and from Philadelphia to ATP New York. If you're interested please click here for full details.
5. ATP Recordings / Fopp promotion in the UK starts Monday!
We're excited to announce that Fopp will be running an ATP campaign starting next week from Monday 19th June. Titles include Deerhoof - Milkman @ £4, Death Vessel - Stay Close @ £3, Fuck Buttons - Street Horrrsing @ £7, The Drones - Havilah @ £4, Built To Spill - There Is No Enemy @ £7 and many many more. Go to www.foppreturns.com/stores/ to find your nearest store.
<6. Built To Spill - There Is No Enemy now available on Double 12" Vinyl
Built To Spill's latest fantastic album (and their first for ATP Recordings), There Is No Enemy, is now out on Double 12" Vinyl as well as on CD and Digital Download. The ATP/R version of this album includes an exclusive new song, Water Sleepers, that is unavailable on the U.S. version. To buy it from our website Click Here...
7. Updated UK show listing - including new Yann Tiersen, Godspeed and Broken Social Scene + Tortoise shows
Here's our newly updated UK show listing. New shows include a second London date for Godspeed You! Black Emperor plus a new headline date from Yann Tiersen and two special double headline shows from Broken Social Scene and Tortoise. Please note all shows are in London unless otherwise stated. To buy tickets for any of these shows just click the links...
- Sleepy Sun + support TBC, Bush Hall, 17th August 2010
Avi Buffalo + support TBC, Cargo, 24th August 2010SOLD OUTThe Black Angels + support TBC, The Borderline, 26th August 2010SOLD OUT- Modest Mouse + Yuck, Troxy, 8th September 2010
- The Pop Group + special guest DJ, The Garage, 11th & 12th September 2010
Iron & Wine + support TBC, Union Chapel, 14th September 2010SOLD OUT- The Vaselines + support TBC, The Scala, 22nd September 2010
- Mudhoney + Unnatural Helpers, Electric Ballroom, 6th October 2010
- Broken Social Scene + Tortoise, Koko, 15th & 16th November 2010
- Spoon + support TBC, Shepherds Bush Empire, 16th November 2010
- Beach House + support TBC, Shepherds Bush Empire, 23rd November 2010
- Blitzen Trapper + support TBC, The Garage, 24th November 2010
- Shrinebuilder + support TBC, The Scala, 2nd December 2010
- "Weird Al" Yankovic, The Forum, 6th December 2010
- Godspeed You! Black Emperor + support TBC, Manchester Academy 1, 7th December 2010
- Godspeed You! Black Emperor + support TBC, Glasgow Barrowlands, 8th December 2010
- Godspeed You! Black Emperor + support TBC, Bristol Anson Rooms, 12th December 2010
Godspeed You! Black Emperor + support TBC, London Troxy, 13th December 2010SOLD OUT- Godspeed You! Black Emperor + support TBC, London Troxy, 14th December 2010
8. Hallogallo 2010 at the Barbican
As noted previously in this mailout, Hallogallo 2010 is a group formed by Michael Rother (of Neu! and Harmonia, and member of one of the first formations of Kraftwerk), Steve Shelley (Sonic Youth), Aaron Mullan (Tall Firs) and Ben Curtis (of Secret Machines & School of Seven Bells). As part of their current small run of live shows in which they perform the highly influential music of Neu! the band will perform at the London Barbican on 21st October 2010. Tickets go on sale today from the Barbican website.
iggy + the stooges in france, monaco and belgium july 2010
Diary:
http://hootpage.com/hoot_stooges-wattdiary2010b.html
Diary of April-May http://hootpage.com/hoot_stooges-wattdiary2010a.html
July 11, 2010 featuring: remote broadcast from marseille, france in the Watt from Pedro show http://twfps.com/
http://hootpage.com/hoot_stooges-wattdiary2010b.html
Diary of April-May http://hootpage.com/hoot_stooges-wattdiary2010a.html
July 11, 2010 featuring: remote broadcast from marseille, france in the Watt from Pedro show http://twfps.com/
3 slide shows of claude pelieu and mary beach's work from ginger
CLICK HERE TO SEE THE SHOW
or the url is http://www.slide.com/r/NNxfYtIhwT9DHSI-jl1TdNf1oiWJK2Ev?previous_view=lt_embedded_url
also this one is the one Jan Herman put up on Huffington Post and Arts Journal: click HERE FOR MY BEACH & PELIEU SLIDE ON THE ARTS JOURNAL
or the url is http://www.artsjournal.com/herman/2009/02/the_claude_mary_show.html
the last one of their show is here and you have to hit the play button: Beach and Pelieu Slide 3
or the url http://picasaweb.google.com/Highjiver/BeachPelieu?authkey=Gv1sRgCIDJ57rC8eTHCw#slideshow/5234268328357164370
--
or the url is http://www.slide.com/r/NNxfYtIhwT9DHSI-jl1TdNf1oiWJK2Ev?previous_view=lt_embedded_url
also this one is the one Jan Herman put up on Huffington Post and Arts Journal: click HERE FOR MY BEACH & PELIEU SLIDE ON THE ARTS JOURNAL
or the url is http://www.artsjournal.com/herman/2009/02/the_claude_mary_show.html
the last one of their show is here and you have to hit the play button: Beach and Pelieu Slide 3
or the url http://picasaweb.google.com/Highjiver/BeachPelieu?authkey=Gv1sRgCIDJ57rC8eTHCw#slideshow/5234268328357164370
--
Click for Jive: 
AD Winans with Robert Kennedy
Photo AD Winans,1966
I met RFK in 1966 when he was a senator. I remember that he looked even shorter than in pics I had seen of him. I was introduced to him by a navy officer who had worked for JFK. I asked if I could take his pic and he said why don't you take one with me. I was sitting next to him and I remember thinking how good the photo would look on my apartment mantle and impress the women, and as if reading my mind, we both broke out into laughter at precisely the same time, and he reached over and slapped me on the knee. A very human moment.
The night he was assassinated, the primary results were coming in slow and I went to sleep, only to wake, bolting up in bed, as if from a nightmare, and unable to go back to sleep,I turned on the TV and it was moments after he had been shot and everything was in panic mode.
Strange that should happen the way it did. It was that night I lost all interest in politics and even now wonder what the world would be like today if he had survived and won the nomination and became President.
Attached is a photo taken in 1966.
A.D.Winans
Video by Lazi Vazakas: Charles Plymell reading: "A Fable: The Prince Of Tides"
"A Fable: The Prince Of Tides" by Charles Plymell
Charles Plymell reads "A Fable: The Prince Of Tides" at Ecstatic Yod Books in Florence, Massachusetts on August 12, 2001. Video by Laki Vazakas.
http://www.youtube.com/user/beatnow65#p/u/0/vp2x6dnec9U
See also http://poetry.about.com/library/weekly/aa072799.htm
“The Prince of Tides,” A Timely Fable by Charles Plymell
Dateline: 7/27/99
As disturbing as the event was, more so was wading through the real tears and bathos of last week's news and hearing the need of a nation to create heroes and myths. That is the poet's job, and Charles Plymell, a nation's poet, responded. Since I heard it last Wednesday night, I can't stop thinking about Charlie's fable, we're honored to present it here.
--Bob Holman
In 1909 in Albany, NY
Carl Jung, marveling at the birth
of our technological culture,
observed: “All that is frightfully
costly and already carries
the germ of the end in itself.”
The Prince of Tides The King of the most powerful land was preparing his reign of peace, freedom, and equality for all his people. The Queen was preparing for birth of the new Prince. But there were problems. His armies were engaged in a conflict they could not win. The young did not want to fight the unknown enemies that the old had made to keep power. Much to the Queen's dismay, who was busy rearing the new Prince, the King had also fallen under the spell of the Sex Goddess who ruled in the Make Believe World.
In order to draw attention from his problems, he promised his people and the Goddess something impossible. The Moon was inviolate and pure through all the millennia. It was the symbol of an untouched heavenly body. On a hot July day when the seas of the earth were hazy his spacemen set foot on the moon and played a sport. For beings from Earth, landing on the moon was the greatest of all feats, but other Heavenly Bodies grew angry and sent a tremor through space.
The others ordered the moon to multiply the earth beings until they poisoned themselves with their sciences, inventions, and technologies that they thought would better their race and protect themselves. The toxins made them act strangely and kill each other in inhuman and unpredictable ways. The other Heavenly Bodies also put a curse on the Sex Goddess who died mysteriously, reportedly taking her own life. The King was assassinated, his brain stolen, and the event so obscured that the Queen and her people would never know the truth. The toddler Prince saluted his father's horse-drawn casket. The king's brother was also assassinated and tragedy befell more of the family.
The Prince grew into the handsomest and most desired by all peoples. Even a Princess from another country came to visit him. The millennium was drawing to a close. Strange events happened more frequently. The Princess' great beauty was crushed by a new lifestyle of high-speed technology and metal. With his wife and her sister by his side, the Prince flew his new sleek-wing'd technology into a July haze just a few years after the Queen had died. Before the new millennium, in the same month the King had made the moon his conquest, fabulous remains washed ashore in silent pieces where the Queen had once played with the child Prince while the King governed his people.
--Charles Plymell
Cherry Valley, NY
July 19, 1999
Charles Plymell reads "A Fable: The Prince Of Tides" at Ecstatic Yod Books in Florence, Massachusetts on August 12, 2001. Video by Laki Vazakas.
http://www.youtube.com/user/beatnow65#p/u/0/vp2x6dnec9U
See also http://poetry.about.com/library/weekly/aa072799.htm
“The Prince of Tides,” A Timely Fable by Charles Plymell
Dateline: 7/27/99
As disturbing as the event was, more so was wading through the real tears and bathos of last week's news and hearing the need of a nation to create heroes and myths. That is the poet's job, and Charles Plymell, a nation's poet, responded. Since I heard it last Wednesday night, I can't stop thinking about Charlie's fable, we're honored to present it here.
--Bob Holman
In 1909 in Albany, NY
Carl Jung, marveling at the birth
of our technological culture,
observed: “All that is frightfully
costly and already carries
the germ of the end in itself.”
The Prince of Tides The King of the most powerful land was preparing his reign of peace, freedom, and equality for all his people. The Queen was preparing for birth of the new Prince. But there were problems. His armies were engaged in a conflict they could not win. The young did not want to fight the unknown enemies that the old had made to keep power. Much to the Queen's dismay, who was busy rearing the new Prince, the King had also fallen under the spell of the Sex Goddess who ruled in the Make Believe World.
In order to draw attention from his problems, he promised his people and the Goddess something impossible. The Moon was inviolate and pure through all the millennia. It was the symbol of an untouched heavenly body. On a hot July day when the seas of the earth were hazy his spacemen set foot on the moon and played a sport. For beings from Earth, landing on the moon was the greatest of all feats, but other Heavenly Bodies grew angry and sent a tremor through space.
The others ordered the moon to multiply the earth beings until they poisoned themselves with their sciences, inventions, and technologies that they thought would better their race and protect themselves. The toxins made them act strangely and kill each other in inhuman and unpredictable ways. The other Heavenly Bodies also put a curse on the Sex Goddess who died mysteriously, reportedly taking her own life. The King was assassinated, his brain stolen, and the event so obscured that the Queen and her people would never know the truth. The toddler Prince saluted his father's horse-drawn casket. The king's brother was also assassinated and tragedy befell more of the family.
The Prince grew into the handsomest and most desired by all peoples. Even a Princess from another country came to visit him. The millennium was drawing to a close. Strange events happened more frequently. The Princess' great beauty was crushed by a new lifestyle of high-speed technology and metal. With his wife and her sister by his side, the Prince flew his new sleek-wing'd technology into a July haze just a few years after the Queen had died. Before the new millennium, in the same month the King had made the moon his conquest, fabulous remains washed ashore in silent pieces where the Queen had once played with the child Prince while the King governed his people.
--Charles Plymell
Cherry Valley, NY
July 19, 1999
From beat museum newsletter: On the Road Movie Update
After more than fifty years it looks like a movie version of Jack Kerouac’s signature work On the Road may actually get made and released to the public very soon!
LEGEND, RUMOR AND GOSSIP:
There are almost as many legends and rumors about On the Road the movie as there are about Kerouac’s book and the scroll itself! One legend has it that Marlon Brando originally bought the movie rights with the intention of playing Dean Moriarity himself. The property languished for a couple of decades until 1978 when Brando made Apocolypse Now! with Francis Ford Coppola and Coppola was able to convince Brando to sell the rights and he’d make the movie one day. A contrary story to this currently on Wikipedia is Coppola bought the rights in 1980 from Gus Van Sant, but as Van Sant was only 28 in 1980, and had yet to make his mark in moviemaking, we take this one with a grain of salt. Another story in a newspaper article says Coppola has owned the rights since 1968.
Regardless of what is really true, we do know that Francis Ford Coppola has owned the rights to make the movie for a very long time. And frankly most of us who love the book and Kerouac’s legacy and have been discussing the possibility of a movie for decades took great solace in the fact that the movie was in Coppola's caring hands. He just seemed to be the type of guy who would either make the movie "right" or he wouldn’t make it at all.
Numerous scripts have been written over the years, one by Barry Gifford, one by Russell Banks, one even by Coppola’s son, Roman. None made the cut. The problem seemed to be exactly how you translate the story of On the Road to film.
Then there was the way Francis Coppola wanted to make the film. Rumor had it that Coppola wanted unknown actors, while the studios wanted Johnny Depp, Brad Pitt, Colin Farrell—or some other bankable name, depending on the decade. Coppola wanted black and white and the studios wanted color. Nobody seemed to know which way it was going to shake out and the movie simply never got made.
And then along came The Motorcycle Diaries. Screenwriter Jose Rivera was nominated for an Academy Award. Brazilian directory Walter Salles won accolades as well. Francis Coppola was impressed and figured he may have found his team. After all, The Motorcycle Diaries is about a couple of young guys running around South America on a ‘39 Norton. On the Road is about a couple of young guys running around North America in a ‘49 Hudson. Hmmm...
So, five years ago John Cassady and I met Jose Rivera while we were passing through LA in the Mighty Beatmobile. John and his family subsequently met Walter Salles and many other people involved in the production. They even had dinner with Francis Coppola himself at his winery in Sonoma and drove home with a few bottles of reserve Francis had gifted them.
Along the way it’s been a rough five years. Funding secured, stock markets crashing, recession, money lost, funding lost, investors lost. It looked like the movie might never get made. But then things turned.
The good news is it looks like Francis got his way. IMDB says the movie will indeed be shot in black and white. Now, whether this is strictly traditional black & white like Schindler’s List or possibly some kind of movietone period “black & white” with washed out colors like Saving Private Ryan remains to be seen, but I trust the filmmakers' decisions will effectively enhance the story as opposed to hindering it.
Then there's the casting. Dean Moriarty will be portrayed by Garrett Hedlund who has been in a number of films but never in a lead role. Jack Kerouc will be played by British actor Sam Riley, who received stand up reviews for Control. And LuAnn Henderson (MaryLou) will be played by Kristen Stewart and Carolyn Cassady (Camille) will be played by Kirsten Dunst.
Now, aside from the fact the similar sounding and relatively new names of Kirsten and Kristen is bound to screw up a number of movie reviewers (I’ve been stumbling over them for weeks now—“is it Kristen Stewart or Kirsten Stewart from Into the Wild?”) - I think the idea of focusing on the star power of the female leads is terrific.
The two relatively unknown male leads may be the ones driving the ‘49 Hudson from New York to San Francisco, but it’s likely to be the two young lovelies portraying Neal’s wives who will be driving audiences into the movie theaters. Every teenage girl in America knows the difference between Kirsten and Kristen and they’ll be dragging their boyfriends to the movies to see the star of Twilight and Spiderman’s girlfriend regardless of whether those boys have ever heard of Jack & Neal. Inspired choices, Walter. Congratulations!
Speaking of Walter Salles, he just met with John Allen Cassady in Los Gatos a few weeks ago. He had already emailed Carolyn Cassady to discuss with her the idea of Kirsten Dunst portraying her in the film, and then he and Garrett Hedlund stopped in to see John one day to hear his stories about his dad.
I first met Garrett when he came to the Beat Museum about two or three years ago. He was the first one to be cast and frankly I didn’t talk about it for the longest time because he told me it was under wraps, but he wanted our help in choosing every book and every movie that had a scrap of Neal info in it. He and I spent probably an hour walking around The Beat Museum talking about Neal Cassady the man and Neal the archetype Kerouac created. I found Garrett to be an extremely thoughtful and sensitive guy, very mature and very much in tune with Neal’s place in history. “I may not know a lot about films,” I said, “but I’ve got to believe this is a career-making role.” “I’m aware of that,” Garrett said, “and I’m determined to do it right,”
On The Road. The Movie. After all these years!
Shooting starts in August in Montreal and New Orleans.
- Jerry Cimino
Garrett Hedlund
Neal Cassady
Sam Riley
Jack Kerouac
Kirsten Dunst
Carolyn Cassady
Kristen Stewart
LuAnne Henderson
jeudi 8 juillet 2010
Nelson chan: cover of "political song for michael jackson to sing" video
Nelson Chan just made a video for helen money's cello-centric cover of "political song for michael jackson to sing" written by Mike Watt very long ago:
http://www.youtube.com/watch?v=ZcaR8R1It80
http://www.youtube.com/watch?v=ZcaR8R1It80
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