Weekend links 245

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First English-language edition of Hard to Be a God, 1973. Cover design by Alan Peckolick.

A group of scientists is sent to the planet Arkanar to help the local civilization, which is in the Medieval phase of its own history, to find the right path to progress. Their task is a difficult one: they cannot interfere violently and in no case can they kill. The scientist Rumata tries to save the local intellectuals from their punishment and cannot avoid taking a position. As if the question were: what would you do in God’s place?

Hard to Be a God is a 170-minute Russian science-fiction film based on a novel by Arkady & Boris Strugatsky, the authors of Roadside Picnic. The film was the magnum opus of director Aleksey German (1938–2013) who died shortly before post-production was complete. German’s wife and son finished the film.

“…the wonder about this exhausting, astonishing film is not that it took so long to make, it’s that it got made at all,” says Gabriel Winslow-Yost; “one of the most consistently disgusting films ever made,” says Glenn Kenny, “…not only an unforgettable individual masterpiece but probably one of the capital-G Great Films.”; “There are no bones to be made about it, Hard to Be a God is a modern masterpiece,” says Matt Thrift.

This pushes all of my cinematic buttons, of course, so now I’m itching to see it. YouTube has trailers, and (if you must) you can also find the entire film without subtitles. I’d rather wait for a disc version. Meanwhile, Chicago Review Press have republished the novel with a new translation by Olena Blumberg and a foreword by Hari Kunzru.

• At the Guardian John Doran recommends new Middle Eastern and North African music; the playlist includes a song from the forthcoming album by Melechesh which features my cover art. At the Quietus this week Doran explored Manchester’s urban wastelands with local musician Julie Campbell aka Lonelady.

• “Research into psychedelics, shut down for decades, is now yielding exciting results,” says Michael Pollan. Related: Ryan Cooper on why the [US] government should be funding mass scientific studies of Ecstasy, magic mushrooms, and LSD, and “Early humans used magic mushrooms, opium“.

Dad combined porn with all manner of genre fiction. He wrote pirate porn, ghost porn, science-fiction porn, vampire porn, historical porn, time-travel porn, secret-agent porn, thriller porn, zombie porn and Atlantis porn. An unpublished Old West novel opens with sex in a barn, featuring a gunslinger called Quiet Smith, without doubt Dad’s greatest character name. By the end of the decade, Dad claimed to have single-handedly raised the quality of American pornography.

Chris Offutt on the prolific writing career of his father, Andrew Jefferson Offutt V

The Sound Repository 2 by Wizards Tell Lies, a free collection of “rare tracks, demos, early and alternative versions” at Bandcamp.

Jennifer Rothwell‘s new fashion collection uses prints based on Harry Clarke’s stained-glass windows.

• Mix of the week: My Body Full Of Stars, an Afrofuturism mix by Oyinboy.

Terry Gilliam’s title sequence for Cry of the Banshee (1970).

Endless Endless: Kraftwerk at Tumblr.

Sehr Kosmisch (1974) by Harmonia | Walky-Talky (1975) by Harmonia | Sometimes In Autumn (1976) by Harmonia 76

Autobahnen

1: Autobahn (1974), an album by Kraftwerk.

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Cover art by Emil Schult.


2: Autobahn (1974), a single by Kraftwerk.

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3: Doppelalbum (1974), a double-disc compilation album by Kraftwerk.

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4: Exceller 8 (1975), a compilation album by Kraftwerk.

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Cover by Grafad.

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5: Autobahn (1979), an animated film by Roger Mainwood.

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6: Autobahn (1980), a compilation album by Kraftwerk.

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7: Possessed (1992), an album by the Balanescu Quartet. Track 3: Autobahn.

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8: Traffic Jam On Autobahn (1993), a Kraftwerk bootleg from a live soundboard recording at Hummingbird, Birmingham, UK, on July 15th 1991.

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9: Autobahn Tour (1998), a Kraftwerk bootleg. The Japanese release of Concert Classics, a live soundboard recording from a concert in Denver, USA on 20th May, 1975.

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10: El Baile Alemán (2000), an album by Señor Coconut Y Su Conjunto. Track 6: Autobahn (Cumbia Merengue).

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11: Dark Side Of The Autobahn (2003), a single by Mordant Music. The Pink Floyd/Kraftwerk/Joy Division collision that the world was waiting for.

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12: Autobahn II (no date) by Kraftwerk. A Russian flexi-disc.

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13: Autobahn (2009), an album by Kraftwerk. The remastered release.

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Elsewhere on { feuilleton }
The album covers archive

Previously on { feuilleton }
Ralf and Florian
Reworking Kraftwerk
Autobahn animated
Sleeve craft
Who designed Vertigo #6360 620?
Old music and old technology
Aerodynamik by Kraftwerk

Alphonse Mucha record covers

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Henryk Wieniawski / Alexander Glazunov: Violin Concerto No. 2 In D Minor / Violin Concerto In A Minor (1965); Ida Haendel, Prague Symphony Orchestra, Václav Smetácek. Artwork: Morning Star (1902).

Continuing an occasional series about artists or designers whose work has been used on record sleeves. Note that this is a selection of works by Alphonse Mucha only. Pastiches of the Mucha style are plentiful, and some—like Barney Bubbles’ cover for Space Ritual by Hawkwind—are very familiar, but I’ll leave it to someone else to go looking for those.

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Gypsy (1970) by Gypsy. Artwork: La Plume: Zodiac (1896).

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Dvorák: Slavonic Dances (1993); Czech Philharmonic Orchestra, Václav Talich.

Mucha is one of the most celebrated of all Czech artists so it’s no surprise his work appears on releases from Czech label Supraphon. This is one of a series of orchestral recordings that use a Mucha postage stamp for the cover art.

Continue reading “Alphonse Mucha record covers”

Weekend links 241

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A drawing by Lucille Clerc.

• The usual imbalance of heat versus light this week but Kenan Malik and Teju Cole had some worthwhile things to say. Related: Atlantic illustrators respond to the events of Wednesday. And some history: covers of Charlie Hebdo‘s parent magazine, Hara-Kiri, whose legacy of bad taste and confrontation was overlooked in the rush to express disapproval.

• At The Quietus: Virginie Sélavy, Mark Pilkington and Stephen Thrower of the Miskatonic Institute talk to Mat Colegate about horror old and new. There’s more horror cinema in Mat Colegate’s interview with animator Carla MacKinnon.

• Mixes of the week: Sleepwalkers of the Montgomery Canal by The Geography Trip, and Secret Thirteen Mix 142 by Helena Hauff.

• Jazz legend Julian Priester reflects on his fusion classic Love, Love, Sun Ra, Herbie Hancock, and a lot more.

• “No gays, no blacks, no fat people”: Ryan Gilbey on how film advertising continues to betray filmmakers.

Paul Gorman on the drumheads that Barney Bubbles painted for Hawkwind’s Simon King in 1972.

Massive: Gay Erotic Manga and the Men Who Make It, edited by Anne Ishii & Graham Kolbeins.

NASA’s exoplanet travel bureau wants you to pack your bags.

• The New Humanist on imagining a world without work.

• At Strange Flowers: 15 books for 2015.

Ghosts in the TV

Prologue/Love, Love (1974) by Julian Priester | The Jewel in the Lotus (1974) by Bennie Maupin | Rima (1975) by The Headhunters

Oskar Schlemmer’s Triadic Ballet

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Oskar Schlemmer’s Triadic Ballet of the 1920s is one of the more famous products of the Bauhaus movement, a radical reinvention of the medium which encased the dancers in cumbersome costumes. The outfits and stage designs are familiar from Bauhaus histories but you’re less likely to see an actual performance, something that’s possible with this 30-minute film made in 1970. The ballet is in three acts: yellow, pink and black. Erich Ferstl wrote the music for the filmed reconstruction by Margarete Hasting, the original score by Paul Hindemith being lost.

The ballet has additional interest for me in having influenced part of the Reverbstorm book. Oskar Schlemmer’s Bauhaus logo is reworked in the opening and closing pages together with other Bauhaus-derived graphics, but I also looked at Schlemmer’s ballet costumes when I was planning the final section which required a stylised transformation of Lord Horror. In the end I used a sketch by one of Schlemmer’s pupils, Klaus Barthelmess, for the Horror figure but the Barthelmess drawing was also of a dancer, and is very similar to some of Schlemmer’s designs, especially the silver-headed robot-like figures that appear in the black section of the ballet.

Previously on { feuilleton }
Reverbstorm: Bauhaus Horror