Weekend links 441

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Red Parrot on the Branch of a Tree (c.1771) by Ito Jakuchu.

• Reporter John Stapleton (later a fixture of BBC TV) visits the Portobello Road offices of British underground newspaper Frendz for newsreel service British Pathé. The date says 1969 but it’s probably 1971 since earlier that year the magazine had changed its name from Friends. Among the unidentified interviewees is Rosie Boycott, later the founder of Britain’s first feminist magazine, Spare Rib, and now Baroness Boycott. She may have predicted the former in 1971 but I doubt she would have expected a seat in the House of Lords.

• At Expanding Mind: Erik Davis talks with martial artist and psilocybin explorer Kilindi Iyi about African martial arts, high dose psilocybin work, African-American psychedelia, Dr. Strange, and the metaphysics of darkness.

Bloom, the generative music app by Brian Eno and Peter Chilvers, is given a tenth-anniversary relaunch this month. The new app will also (finally) be available for Android as well as Apple machines.

Early on, I realized my interest in [William] Burroughs’ work was less to do with the cut-up novels and more with the documented research and investigation of the human condition, technology, control, travel, dreams, drug culture, shamanism, and Hassan-I Sabbah. Books like The Job, The Electronic Revolution and especially, The Third Mind with Brion Gysin were particularly important to me. […] As for integrating Burroughs’ work into the music, it’s not about the history of a literary collaboration, but rather the complete fusion in a praxis of two subjectivities that metamorphosize into a third. From this collusion, a new author emerges—an absent third person, invisible and beyond reach, recording the silence.

From 2017: Bill Laswell in a satisfyingly lengthy interview with Anil Prasad

Secret Satan, 2018: being the annual Strange Flowers “round-up of giftable cultural history with which you can unmistakably signal your degenerate cosmopolitan values”.

• Laurie Spiegel’s second album of electronic music, Unseen Worlds, was never given a proper release in 1990. This situation will be rectified in January.

• Mixes of the week: Secret Thirteen Mix 272 by Paulie Jan, and XLR8R Influences Podcast 12 by Ripperton.

• More Gorey: biographer Mark Dery and design historian Steven Heller discuss Edward Gorey’s life and work.

Rumsey Taylor on Roger Excoffon’s Choc, “the mystery font that took over New York”.

• More Nicolas Roeg: David Thompson on one of Britain’s greatest film directors.

John Waters picks his films of the year.

• RIP Bernardo Bertolucci

In Bloom (1991) by Nirvana | Bloom (2001) by Brian Eno & J. Peter Schwalm | Violet Bloom (2010) by John Foxx

Weekend links 334

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Pixel Forest (2016) by Pipilotti Rist.

• “Think about it: gays, lesbians, bisexuals, and transgender people were almost completely invisible in the movies or on television, or even in newspapers and magazines. It wasn’t until LGBT people started producing their own media that we started to see consistent, positive images. But it would take until very recently for TV and cinema to catch up with what happened in books and magazines decades ago. In other words, nearly all LGBT culture only existed in print or at the bar. So when the queer bookstore disappears, where else can you find 40+ years of LGBT culture? (Hint: it’s not on Netflix.)” Ken White on starting Query Books and republishing classic LGBT literature.

• Related to the above: David Shariatmadari reviews a new edition of Coming Out, Jeffrey Weeks’ history of gay emancipation in the UK; Modern Harmonic is reissuing Love Is A Drag, a collection of “love songs by men, for men”, first released in 1962; Your Daily Male 2017: 52 international artists, 365 pages of full-colour male art; erotic portraits of Yukio Mishima by Eikoh Hosoe.

A Year In The Country revisits The Touchables (1968), a film about four Swinging Sixties girls who live in a huge plastic bubble in the countryside (must be a nightmare in winter); the quartet kidnap a rock star as “a temporary solution to the leisure problem”. Script by Ian La Frenais from a story by David & Donald Cammell. No DVD but it’s on YouTube.

• Mixes of the week are still in the Halloween zone: FACT mix 575 by Fenriz, and Resting Lich Face by SeraphicManta.

• War, love and weirdness: Brian Dillon on Powell & Pressburger’s A Matter of Life and Death, 70 years on.

• Bringing back the magic: a conversation with Hope Sandoval & The Warm Inventions.

David Toop listens, finally, to the legendary John Latham recordings of Pink Floyd.

The Synth Sounds of John Carpenter: Halloween, The Fog, Assault on Precinct 13.

• “Creep or craftsman? Hitchcock was both,” says Tom Shone.

The Dazzling Designs for a New York That Never Existed

Photography by Harry Gruyaert

The Untouchables (1959) by Nelson Riddle | The Touchables (All Of Us) (1968) by Nirvana (UK) | The Touchables (1980) by The Human League

Listen to the Colour of Your Dreams: Part Two

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Carnaby Street circa 1967.

Continuing the psychedelic mega-mix based on Jon Savage’s list of “100 mind-expanding masterpieces” (see this post). The second of the six mixes is where British psychedelia is in full swing after shedding its R&B/Mod/Freakbeat origins: what was black-and-white a year before is now blazing colour. There’s much I enjoy about US psychedelic music but I’ve always favoured the British variety. The sound of US psychedelia is less adulterated than its British equivalent, and even the later examples are often little more than country or folks songs with suitably dreamy lyrics. The gravitational mass of The Beatles so overwhelmed the UK scene that the experimentation at Abbey Road was endlessly copied and refined by the younger groups, some of whom—like Pink Floyd and The Pretty Things—were working in the same studio with the same engineers.

It’s the adulteration of the sound that I enjoy, the audacity of recording an orchestra at great expense then feeding the result through a phaser, as Nirvana (UK) did on Rainbow Chaser. (See next week’s mix). The Who’s Armenia In The Sky is an excellent example of studio pyrotechnics. Pete Townshend had complained that some of The Beatles’ arrangements were slight so this song can be regarded as his riposte. At the end of the mix the Fab Four fire back with I Am The Walrus.

Everything here dates from 1967, and as before the listing is roughly chronological bold type indicating the selections from the Savage 100. Given the choice I’d take See Emily Play over Mathilda Mother—the former being a particular favourite—but Savage’s choice works very well as a melodic come-down after the cosmic racket of the Jimi Hendrix Experience. David McWilliams’ one-hit-wonder is an odd choice and not especially psychedelic but once again I defer to Savage’s selection. The Kinks are also notable by their absence although they never adopted any of the studio trickery that might have spoiled their exceptional songwriting.

UK Psychedelia, Part Two by Feuilleton on Mixcloud

The Fairytale — Guess I Was Dreaming (An obscure single that can be taken as being about dreams, drugs or both.)
The Rolling Stones — We Love You
The Small Faces — Itchycoo Park
The Jimi Hendrix Experience — Radio One
The Jimi Hendrix Experience — The Stars That Play With Laughing Sam’s Dice
Pink Floyd — Mathilda Mother
Traffic — Hole In My Shoe (Their other great psychedelic single.)
The Who — Armenia In The Sky (The Savage 100 has Relax but this is much more tripped out with surreal lyrics flying through squalls of backwards guitar.)
The Herd — From The Underworld
Svensk — Dream Magazine
Dantalian’s Chariot — Madman Running Through The Fields
Kaleidoscope (UK) — Flight From Ashiya
The 23rd Turnoff — Michaelangelo
The Hollies — King Midas In Reverse
David McWilliams — The Days Of Pearly Spencer
The Idle Race — Imposters Of Life’s Magazine
Eric Burdon & The Animals — San Franciscan Nights
The Troggs — Love Is All Around
Family — Scene Through The Eye Of A Lens (Savage has Me My Friend from their first album. This substitute is a mini-epic that was their first single.)
The Accent — Red Sky At Night (Their only release, and a song that turns up on many compilations.)
Simon Dupree & The Big Sound — Kites
The Pretty Things — Defecting Grey
Tintern Abbey — Vacuum Cleaner
The Beatles — I Am The Walrus

Previously on { feuilleton }
Listen to the Colour of Your Dreams: Part One
What Is A Happening?
My White Bicycle
Ogdens’ Nut Gone Flake
Tomorrow Never Knows
The Dukes declare it’s 25 O’Clock!
A splendid time is guaranteed for all

The art of Adolf Hirémy-Hirschl, 1860–1933

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Ahasuerus at the End of the World (1888).

Regular readers will know that I have a fondness for the academic or historical painters of the 19th century if their work is sufficiently grotesque, macabre or fantastical. These paintings by Adolf Hirémy-Hirschl push a number of the relevant buttons, especially Ahasuerus at the End of the World which is so immediately startling I can’t imagine why I’ve not seen it before. Hirémy-Hirschl was a Hungarian who pursued his career in Vienna until he fell out of favour with the arrival of the Secession artists.

The Ahasuerus painting is the stand-out piece here, Ahasuerus being the name of the Wandering Jew who was condemned to walk the earth until Jesus returned. What struck me about this was how uncharacteristic it seems for 1888, with everything rendered in a very hard-edged manner; and that’s before you get to the gratuitous dead woman and the skeletal reaper. This is closer to some of the Russian painters of the period than the academic artists in Paris.

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The Souls of Acheron (1898).

The Souls of Acheron shows a crowd of the newly dead waiting to be ferried across the river Styx. The Tomb of Achilles seems to be about sea-nymphs mourning the dead hero whose mother was also a nymph; mythology aside, it looks like one of the many 19th-century pictures that use a legend as an excuse to paint more naked flesh. Translucent blue material wrapping a body is a recurrent detail in all three paintings.

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The Tomb of Achilles (no date).

Continue reading “The art of Adolf Hirémy-Hirschl, 1860–1933”

Weekend links 149

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It’s not cheap but it’s rather tasty: The Changing Faces of Bowie, a limited print at the V&A shop produced for the forthcoming David Bowie exhibition. One hundred artists and designers were asked to choose or create a Bowie-related type design, the collection being printed on holographic paper. Creative Review looked at some details. Related: Bowie’s new album, The Next Day, is now streaming in full at iTunes.

• Marisa Siegel reviews The Moon & Other Inventions: Poems After Joseph Cornell by Kristina Marie Darling, “a fully enchanting if somewhat mysterious collection of poems, written entirely as footnotes”. BlazeVOX has an extract here.

• “[Clement] Greenberg came round to our house in Camden Square. He started telling Bill what he should do to improve a work. Dad lost patience and kicked him out.” Alex Turbull of 23 Skidoo on sculptor father William Turnbull.

“You get the impression that a lot of these young directors have never gained much experience of life outside their film schools or their video-rental stores.”

Anne Billson met Roman Polanski in 1995 to discuss Death and the Maiden.

• Max Beerbohm’s The Happy Hypocrite, and Ronald Firbank’s Vainglory are available in new print-on-demand and ebook editions from Michael Walmer.

• “Bring Back the Illustrated Book!” says Sam Sacks. Some of us would reply that it never went away but merely remains subject to much unexamined prejudice.

The Forest and The Trees: A blog by Genevieve Kaplan about altered texts and book art by herself and other artists.

The Homosexual Atom Bomb: Sophie Pinkham on gay rights, Soviet Russia and the Cold War.

Who’s Afraid Of The Art Of Zang Tumb Tuum? A blog devoted to the ZTT record label.

• Nigel Kneale’s TV ghost drama, The Stone Tape, is reissued on DVD later this month.

• The drawings of Victor Hugo.

David Bowie at Pinterest.

•  The Man Who Sold The World (1994) by Nirvana | V-2 Schneider (1996) by Philip Glass | ‘Heroes’ (2000) by King Crimson