Weekend links 497


Poster by Zdenek Ziegler for Roma (1972), a film by Federico Fellini.

• At Dennis Cooper’s: a short history of Straight to Hell, a long-running fanzine launched by Boyd McDonald in 1971 dedicated to true stories of men having sex with other men. The post gives an idea of the contents but for a deep dive I’d suggest Meat (1994) at the Internet Archive, a collection of the best of the early editions of STH. Related: “Straight to Hell was an immensely popular underground publication. John Waters, William S. Burroughs, and Robert Mapplethorpe were fans; Gore Vidal called it ‘one of the best radical papers in the country.'” Erin Sheehy on Boyd McDonald’s determination to kick against the pricks.

• RIP psychedelic voyager and spiritual guide Richard Alpert/(Baba) Ram Dass. The Alpert/Ram Dass bibliography includes The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead (1964), an acid-trip manual written in collaboration with Timothy Leary and Ralph Metzner from which John Lennon borrowed lines for the lyrics of Tomorrow Never Knows. But the most celebrated Ram Dass volume is Be Here Now (1971), a fixture of countless hippy bookshelves whose first editions were all handmade.

• “An Einstein among Neanderthals”: the tragic prince of LA counterculture. Gabriel Szatan talks to David Lynch, Devo and others about the eccentric songwriter, performer and voice of Lynch’s Lady in the Radiator, Peter Ivers.

• For the forthcoming centenary of Federico Fellini’s birth Stephen Puddicombe offers suggestions for where to begin with the director’s “exuberant extravaganzas”. Related: Samuel Wigley on 8½ films inspired by .

• “I met resident Tony Notarberardino for the first time in 2015 and entering his apartment was like crossing into another dimension.” Collin Miller explores the Chelsea Hotel.

• “More green tea, professor?” The haunted academic, a reading list by Peter Meinertzhagen. Related: Our Haunted Year: 2019 by Swan River Press.

• “30 July, Yorkshire. Thunder, which is somehow old-fashioned.” Alan Bennett’s 2019 diary.

• More acid trips: Joan Harvey on the resurgence of interest in psychedelic drugs.

• At Lithub: Werner Herzog’s prose script for Nosferatu the Vampyre.

Tief gesunken, a new recording by Bohren & Der Club Of Gore.

In Heaven (1979) by Tuxedomoon | Die Nacht Der Himmel (1979) by Popol Vuh | Roma (1981) by Steve Lacy

Weekend links 449


UK poster, 1950. Cocteau’s film receives a UK blu-ray release this week.

• Into the Zone: 4 days inside Chernobyl’s secretive “stalker” subculture by Aram Balakjian. (Again. There’s an implication in Balakjian’s piece that illicit Chernobyl tourism is a new thing even though people have been doing this for a while now.) Related: Jonathan’s visit to the Chernobyl reactor control room, and photos of Soviet-era control rooms (plus a couple of stray American examples).

• “He’s a very interesting author: a disabled, gay writer during the Third Reich…who somehow survived only to be shot by a Red Army patrol days before the end of the war.” At the Edge of the Night (1933) by Friedo Lampe will receive its first English-language publication via Hesperus Press next month.

• “The tradition of the painted still life has been reinvented by contemporary photographers with pictures that pose a puzzle and slow the viewer down,” says Rick Poynor.

• Comic artist Matt Howarth has been writing short reviews of electronic music for many years. Sonic Curiosity is his archive site.

Bauhaus at 100: what it means to me by Norman Foster, Margaret Howell and others.

• RIP Jonas Mekas. Related: a conversation between Jonas Mekas and Jim Jarmusch.

• Beyond the Buzzcocks: Geeta Dayal remembers Pete Shelley‘s electronic side.

• Where to begin with Jean Cocteau: Alex Barrett goes through the mirror.

• Mix of the week: Secret Thirteen Mix 278 by Sarah Louise.

• At Dennis Cooper’s: Jud Yalkut Day.

• Undulating Terrain (1995) by Robert Rich & B. Lustmord | Darkstalker (2000) by Bohren & Der Club Of Gore | Stalker Dub (2012) by John Zorn

Weekend links 437


Rawmarsh Road, Rotherham, 1975 by Peter Watson.

Steel Cathedrals (1985), a composition by David Sylvian (with Ryuichi Sakamoto, Kenny Wheeler, Robert Fripp & others) was originally available only on the cassette release of Sylvian’s Alchemy: An Index Of Possibilities, and a video cassette where the music accompanied views of Japanese industry by Yasuyuki Yamaguchi. The video hasn’t been reissued since but may be viewed here.

• “If, as Arthur C Clarke famously observed, any sufficiently advanced technology is indistinguishable from magic, then can we accept that any sufficiently advanced magic is also indistinguishable from technology?” asks Mark Pilkington.

• “I didn’t like the idea of cartoons as just funny jokes, they had to have some relevant piece of observation in them to do with the society we are living in,” says Ralph Steadman.

I listen to music all the time, and I’ll often seek connections across quite disparate genres of that whatever I’m looking for. Sometimes it’s an aesthetic or a feeling, sometimes a pattern or structure, but it tends to cut across genres. The thing I liked about black metal and doom metal is the slowness and weightiness of it, it’s like deep time but in music. Sunn O))), Xasthur, and other bands captured this black gravity of sound. And they also tend to eschew the traditional vocal-lead guitar set-up, and everything is in the slow-moving wash and texture of sound.

I found that in other genres like noise music (especially Keiji Haino), the European avant-garde with composers like Ligeti, Scelsi, and Dumitrescu, dark ambient artists such as Lustmord or vidnaObmana, and contemporary works like Chihei Hatakeyama’s Too Much Sadness, Rafael Anton Irisarri’s A Fragile Geography, or Christina Vantzou’s No.4. There’s a lot to talk about in terms of music and forms of sorrow or grief, certainly every musical tradition has that—the funeral dirge, requiem, lamentation, or whatever.

Eugene Thacker listing a few favourite musicians and composers during a discussion with Michael Brooks about Thacker’s new book, Infinite Resignation

• The fourth edition of Wyrd Daze—”The multimedia zine of speculative fiction + extra-ordinary music, art & writing”—is out now.

• The Library of Congress has opened its National Screening Room, an online service for viewing films in the library’s collection.

The London Library discovered some of the books that Bram Stoker used for research when he was writing Dracula.

• “Oscar Wilde’s stock has never been higher,” says John Mullan, reviewing Oscar: A Life by Matthew Sturgis.

• Mixes of the week: RA Podcast 648 by Sarah Davachi, and Secret Thirteen Mix 269 by Sstrom.

• David Lynch directs a video for A Real Indication by Thought Gang.

• “Edward Gorey lived at the ballet,” says his biographer, Mark Dery.

• A new version of Blue Velvet Blues by Acid Mothers Temple.

• Photos of cooling-tower interiors by Reginald Van de Velde.

Aaron Worth on Arthur Machen: “the HG Wells of horror”.

• The Strange World of…Barry Adamson.

Glass And Steel No. 1 (1983) by Marc Barreca | Death Is The Beginning (1996) by Steel | Painless Steel (2000) by Bohren & Der Club Of Gore

Weekend links 432


Tokyo at night, one of a series of watercolours depicting the back streets of the city by Mateusz Urbanowicz.

• “The experience of reading the book is something like watching Dr. Strangelove on one screen, Apocalypse Now on a second screen, and having both feeds interrupted by explicit gay erotica.” Bad Books For Bad People examines William Burroughs’ celebrated YA novel, The Wild Boys. The subject is a perennial one here, explored at length in this post.

• Lindsay Anderson The White Bus (1967), a surreal precursor to If…. and O Lucky Man!, will receive the high-quality BFI reissue treatment as part of the Woodfall Films portmanteau feature, Red, White and Zero.

• The Radiophonic Workshop have composed the score for Possum, a horror film by Matthew Holness. The main title theme is here. The film is released later next month.

Might I have written a sober affair, had I not been under the influence? Perhaps not—I have never needed tramadol to be attended by angels, or to feel demons pricking my feet. But I think of Vincent van Gogh, who looked at the world through the yellowish haze conveyed by digitalis, and grew enraptured by sunflowers and straw chairs, and I think of a glass prism through which a beam of white light passes and is split into a rainbow. What had been a single lucid idea had passed through the drugs I took and been dispersed into a spectrum of colours I had only half foreseen.

Sarah Perry on trying to write while besieged by bodily pain and prescription drugs

• Jacques Tourneur’s masterful MR James adaptation, Night of the Demon (1957), is released on region-free Blu-ray next month by Powerhouse Films.

• Mixes of the week: FACT mix 673 is The Bug presents PRESSURE, and XLR8R Podcast 561 by Zendid.

• The Space Shifters exhibition at the Hayward Gallery, London, messes with Adrian Searle‘s mind.

Gregory Wells on queers, faeries and revolutionaries in the psychedelic movement.

Wide Boys (1977) by Ultravox! | On Demon Wings (2000) by Bohren & Der Club Of Gore | Spoonful (2013) by Robert Plant and the Sensational Space Shifters

Weekend links 377


Holger Czukay by Ursula Kloss, from the cover of Czukay’s Moving Pictures (1993). (The painting is a pastiche of Holbein’s portrait of Georg Gisze.)

• RIP Holger Czukay. The obituaries have emphasised his role as the bass player for Can, of course, but he was just as important to the band as a sound engineer and producer: it was Czukay’s editing skills that shaped many of their extended jams into viable compositions. Post-Can he recorded 20 or so albums by himself or with collaborators, several of which can be counted among the best of all the Can solo works. Geeta Dayal and Jason Gross remembered their encounters with Czukay, while FACT reposted their 2009 interview. Czukay’s final interview was probably last year when he talked to Ian Harrison for Mojo magazine.

For my part, I was astonished when Czukay phoned me out of the blue one day in 1997 to thank me for sending him a video I’d made in the 1980s. This was a scratch production created with two VCRs that set 300 clips from feature films to Hollywood Symphony, the final piece on Czukay’s Movies album. Years later, MTV showed a couple of similar video collages that Czukay had made for Can so I sent a copy of my effort to Spoon Records thinking he might be amused. His public persona was often one of a wacky mad professor but the jokiness was allied to an impressive technical skill and curiosity. Most of our brief conversation was taken up with my answering his questions about my primitive video recording.

• “Every pebble can blow us sky-high”: A reconsideration by J. Hoberman of The Wages of Fear, directed by Henri-Georges Clouzot.

• Dario Argento’s masterpiece of horror cinema, Suspiria, is 40 years old. Martyn Conterio looks at five of its influences.

Mark Korven’s Apprehension Engine: an instrument designed to play the music of nightmares.

• The mystery of the Voynich Manuscript solved at last? Nicholas Gibbs thinks so.

• At Dangerous Minds: The macabre and disturbing sculptures of Emil Melmoth.

Jonathan Meades reviews A Place for All People by Richard Rogers.

• Mix of the week: Secret Thirteen Mix 229 by Erin Arthur.

• The ten creepiest objects in the Wellcome Collection.

Rob Chapman’s essential psychedelia reading list.

It’s Just A Fear (1966) by The Answers | Fear (1992) by Miranda Sex Garden | Constant Fear (2002) Bohren & Der Club Of Gore