Weekend links 607

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Jerry (1931) by Paul Cadmus.

• “I wanted to photograph naked young men as opulently and as attentively as those professional ladies appearing in Playboy-type magazines.” RIP James Bidgood, photographer and director of no-budget gay-porn classic Pink Narcissus. Also in the obituary notices this week: Monica Vitti and John Appleton, composer of electronic music and inventor of the Synclavier sampling keyboard.

• “…the Sola Busca deck is limited in its use for divinatory purposes today, and yet, since its enigmatic imagery irresistibly invites decoding, the deck nonetheless beckons twenty-first century cartomancers into a game of high imagination.” Kevin Dann on the mysteries of the world’s oldest complete Tarot deck.

• “This Missouri company still makes cassette tapes, and they are flying off the factory floor.” Jennifer Billock reports.

He attended to his own talent, not in the interest of bombast or self-aggrandisement, but rather like a faithful watchman. He had the fixity of the great and therefore no need of vanity. He estimated that three shillings would be a reasonable price for Ulysses. A tiresome book, he admitted. At the same time he was dogged by fear that the printing house would be burnt down or that some untoward catastrophe would happen. He assisted Miss Beach in wrapping the copies, he autographed the deluxe editions, he wrote to influential people, he hawked packages to the post office. He knew that the illustrati would change their minds many a time before settling down to a final opinion and that many another would know as much about it as the parliamentary side of his arse.

Edna O’Brien on James Joyce

• At Wormwoodiana: Mark Valentine on The Secret Glory by Arthur Machen, another novel now in its centenary year.

• At Aquarium Drunkard: It Is Not My Music, (1978) an hour-long Swedish TV documentary about Don Cherry.

• At Bandcamp: The transportive psychedelia of Moon Glyph records.

• Mix of the week: Fact Mix 844 by A Psychic Yes.

• Steven Heller’s font of the month is Show.

• At Dennis Cooper’s: Guitar.

Mumblin’ Guitar (1960) by Bo Diddley | Electric Guitar (1979) by Talking Heads | Impossible Guitar (1982) by Phil Manzanera

No tears for the creatures of the night

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No Tears (1978): A song and 12″ EP by Tuxedomoon. Sleeve design by Winston Tong.

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• An artwork from 2005 by Will Munro.

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• A make-up portfolio from 2012 by Belinda Betz. Photographer : Erwin Tirta. Model : Jesy Love. Make-Up Artist (Special Effects) : Belinda Betz.

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• A badge design at Zazzle.

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A Pinterest page. Tags: dracula, isabelle adjani, vampires, werewolves, witchcraft, francisco goya, edward gorey, joanna lumley.

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• A club night in St Gallen, Switzerland.

Previously on { feuilleton }
Blaine L. Reininger: An American Friend
Tuxedomoon: some queer connections
Made To Measure
Subterranean Modern: The Residents, Chrome, MX-80 Sound and Tuxedomoon
Tuxedomoon on La Edad de Oro, 1983
Tuxedomoon designs by Patrick Roques
Pink Narcissus: James Bidgood and Tuxedomoon

Blaine L. Reininger: An American Friend

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Blaine L. Reininger, Tuxedomoon co-founder, singer, violinist and composer, is profiled in this 50-minute documentary made by George Skevas for Paraskinio, a Greek television series. Tuxedomoon have long been popular in Europe, and seem to have struck a particular chord in Greece. These days Reininger is something of a star over there, a fact which surprises him still but which has no doubt helped with Tuxedomoon’s fortunes in recent years.

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Skevas’s film comprises a long biographical interview with Reininger, relating his progress from childhood in Colorado, and the formation of Tuxedomoon in San Francisco, to the group’s inadvertent exile in Europe. There a wealth of historical film footage throughout, some of which is familiar from the official Tuxedomoon DVDs but other clips are exclusive to this programme. Among the notable pieces for me were a glimpse of Winston Tong’s pre-Tuxedomoon puppet performances, a performance by the band on Andy Warhol’s Interview TV show, and shots of the recording of the Desire album in London. Few bands from the 1970s have been this diligent in documenting their activities on film and video. In addition to discovering why Reininger’s first solo album is called Broken Fingers, you also get to see some scenes from the Ghost Sonata film/performance, an ambitious project that I’d known about for years but didn’t get to see until it was released on the 30th anniversary box set in 2007.

Previously on { feuilleton }
Tuxedomoon: some queer connections
Made To Measure
Subterranean Modern: The Residents, Chrome, MX-80 Sound and Tuxedomoon
Tuxedomoon on La Edad de Oro, 1983
Tuxedomoon designs by Patrick Roques
Pink Narcissus: James Bidgood and Tuxedomoon

Tuxedomoon: some queer connections

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UK poster insert by Patrick Roques for Desire (1981).

Yes, more Tuxedomoon: there’s a lot to explore. It’s always a pleasure when something that you enjoy one medium connects to things that interest you elsewhere. From the outset Tuxedomoon have had more than their share of connections to gay culture—to writers especially—but it’s more of an ongoing conversation than any kind of proselytising concern. This post teases out those connections some of which I hadn’t spotted myself until I started delving deeper.

The Angels of Light: Not the Michael Gira group but an earlier band of musicians and performers in San Francisco in the early 1970s. The Angels of Light formed out of performance troupe The Cockettes following a split between those who wanted to charge admission for their shows, and those who wanted to keep things free to all. Among the troupe there was Steven Brown, soon to be a founding member of Tuxedomoon:

The group began as an offshoot of The Angels of Light, ‘a “family” of dedicated artists who sang, danced, painted and sewed for the Free Theater’, says Steve Brown. ‘I was lucky to be part of the Angels—I fell for a bearded transvestite in the show and moved in with him at the Angels’ commune. Gay or bi men and women who were themselves works of art, extravagant in dress and behaviour, disciples of Artaud and Wilde and Julian Beck [of the Living Theater] … we lived together in a big Victorian house … pooled all our disability cheques each month, ate communally … and used the rest of the funds to produce lavish theatrical productions—never charging a dime to the public. This is what theatre was meant to be: a Dionysian rite of lights and music and chaos and Eros.’

Rip it Up and Start Again: Postpunk 1978-1984 by Simon Reynolds

(Special Treatment For The) Family Man (1979): A sombre commentary from the Scream With A View EP on the trial of Dan White, the assassin of Harvey Milk and George Moscone. White’s “special treatment” in court led to a conviction for manslaughter which in turn resulted in San Francisco’s White Night riots in May, 1979.

James Whale (1980): An instrumental on the first Tuxedomoon album, Half-Mute, all sinister electronics and tolling bells as befits a piece named after a director of horror films. Whale’s Bride of Frankenstein (1935) is not only the best of the Universal horror series, it’s also commonly regarded as a subversive examination of marriage and the creation of life from a gay perspective. (Whale’s friends and partner disagreed, however.)

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Cover art by Winston Tong.

Joeboy San Francisco (1981): The Joeboy name was lifted from a piece of San Francisco graffiti to become a name for Tuxedomoon’s DIY philosophy. It’s also a record label name, the name of an early single, and a side project of the group which in 1981 produced Joeboy In Rotterdam / Joeboy San Francisco. The SF side features a collage piece by Winston Tong based on The Wild Boys by William Burroughs, a key inspiration for the band which first surfaces here.

In one piece, the band cites its influences as: “burroughs, bowie, camus, cage, eno, moroder”. Can you say what you admired or drew on vis-à-vis these artists?

William S. Burroughs — ideas concerning use of media — tapes, projections, his radical anti-control politic in general as well as his outspoken gayness. Early on we duplicated on stage one of his early experiments projecting films of faces onto faces.

Simon Reynolds interview with Steven Brown

Continue reading “Tuxedomoon: some queer connections”

Made To Measure

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When you’ve sated yourself on a group’s back catalogue there’s always the solo albums. In the case of Tuxedomoon there are a number of these to choose from, thanks to several of the band members being both multi-instrumentalists and talented songwriters. Some of the more offbeat solo outings may be found among the albums released as part of the Made To Measure series, an offshoot of the excellent Belgian record label, Crammed Discs. Crammed have been Tuxedomoon’s label for some time, and seem increasingly unique in a world where independent labels tend to cater to narrow genres and small, select audiences. Crammed’s roster of artists is extremely eclectic, ranging from the expected Euro-pop and dance releases to a wide range of traditional and contemporary music from around the world.

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Made To Measure Vol. 1 (1984). Painting by Fernand Steven.

From 1984 to 1994 the Made To Measure series released over 30 albums that represent the more esoteric side of an already fairly esoteric label. All of the early releases were numbered, and Tuxedomoon happen to be on the first release, Made To Measure Vol. 1, together with Minimal Compact, Benjamin Lew, and Aksak Maboul. The series title refers to all of the music being “made to measure” some pre-existing work—film, theatre, dance performance, etc—although some of the later releases were simply an excuse to put out new music by an established Crammed artist. In addition to the first release, Tuxedomoon members Blaine L. Reininger, Peter Principle and Steven Brown were regular contributors to subsequent albums. Two of the Steven Brown albums, A Propos D’Un Paysage (MTM 15, 1985) and Douzième Journée: Le Verbe, La Parure, L’Amour (MTM 16, 1988) are marvellous instrumental collaborations with Benjamin Lew that are very different in tone to Tuxedomoon but well worth seeking out. Brown also recorded a soundtrack album, De Doute Et De Grace (MTM 22, 1990), with readings by actress Delphine Seyrig. The series has been discontinued in recent years but the MTM numbering was resurrected for the latest Tuxedomoon album, Pink Narcissus, which is MTM 39.

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Desert Equations: Azax Attra (1986). Photography by Georg Gerster.

I’ve still not heard all of the Made To Measure series, and I don’t like everything I have heard—I have to be in the mood for Hector Zazou’s quirkier moments. Aside from those mentioned above, the notable releases for me would include Desert Equations: Azax Attra (MTM 8, 1986) by Sussan Deyhim (here credited as Deihim) & Richard Horowitz, an album that led me to acquire almost everything Sussan Deyhim has recorded; If Windows They Have (MTM 13, 1986) by Daniel Schell & Karo; Nekonotopia Nekonomania (MTM 29, 1990) by Seigen Ono; Water (MTM 31, 1992) by David Cunningham; Sahara Blue (MTM 32, 1993) by Hector Zazou; Glyph (MTM 37, 1995) by Harold Budd & Hector Zazou. Sahara Blue exemplifies in miniature the eclecticism of Crammed Discs, being a tribute to Arthur Rimbaud featuring (among others) John Cale, Ryuichi Sakamoto, Gérard Depardieu, Khaled, David Sylvian, Bill Laswell, Lisa Gerrard, Sussan Deyhim and Tim Simenon.

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For those wishing to explore further without shelling out on mysterious, unknown quantities, I’d recommend The Made To Measure Résumé (1987), a compilation of tracks from the first 16 MTM releases, and an ideal introduction to the series.

Previously on { feuilleton }
Subterranean Modern: The Residents, Chrome, MX-80 Sound and Tuxedomoon
Tuxedomoon on La Edad de Oro, 1983
Tuxedomoon designs by Patrick Roques
Pink Narcissus: James Bidgood and Tuxedomoon