{"id":15335,"date":"2014-06-29T02:16:33","date_gmt":"2014-06-29T01:16:33","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15335"},"modified":"2014-06-29T02:20:26","modified_gmt":"2014-06-29T01:20:26","slug":"weekend-links-214","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/06\/29\/weekend-links-214\/","title":{"rendered":"Weekend links 214"},"content":{"rendered":"

\"\/sfsound.jpg\"<\/a><\/p>\n

San Francisco Sound (1967). Art by Wallace Studio, Seattle.<\/em><\/p>\n

\u2022 RIP gay porn pioneer Peter de Rome<\/a>. BUTT posted de Rome’s surprisingly daring Underground<\/em><\/a> (1972), a film in which two men have an unfaked sexual encounter on a New York subway train. That film and others are available on the BFI’s DVD collection<\/a>. Related: Brian Robinson<\/a> remembers a director of films whose supporters included Andy Warhol, William Burroughs and John Gielgud.<\/p>\n

\u2022 “My stuff is implicitly critical of television as it is now,\u201d explains Jonathan [Meades], \u201cTelevision used not to be as openly moronic as it has become…” A lengthy and typically pugnacious Meades interview with Remy Dean<\/a>.<\/p>\n

\u2022 Thurston Moore<\/a> remembers the Burroughs-themed Nova Convention<\/em> staged in New York in 1978. William Burroughs 100\u2014Nova Convention<\/em><\/a> is a retrospective exhibition running at Red Gallery, London, next month.<\/p>\n

How are we expected to take seriously\u2026any work which appears to have engaged less than the whole passionate attention of its author? To be fobbed off, at the last, with something which we feel to be less true than the author knew it to be, challenges the importance of the whole art of writing, and instead of enlarging the bounds of our experience, it leaves them where they are.<\/p>\n

Katherine Mansfield<\/a> was also a book reviewer.<\/em><\/p><\/blockquote>\n

\u2022 JG Ballard’s Crash<\/em> is reissued in August by Fourth Estate with an introduction by Zadie Smith. There’s a tantalising extract from the intro at the NYRB<\/a> or you can read the whole thing if you’re a subscriber.<\/p>\n

\u2022 \u201cBetween 1959 & 1980 Shirley Collins<\/a> changed the course of folk music in England & America. Thirty years after disappearing, she\u2019s back.\u201d<\/p>\n

\u2022 Photos by Anne Billson<\/a> of one of the more attractive Parisian arcades. Related (in a\u00a0fl\u00e2neur<\/em> sense): Christina Scholz<\/a>‘s Vancouver d\u00e9rive.<\/p>\n

\u2022 “Why did Borges hate soccer?” asks Shaj Matthew<\/a>. Related: George Orwell<\/a> on the same subject.<\/p>\n

\u2022 Mixes of the week: FACT mix 447 by Forest Swords<\/a>, and Programme 13 from Radio Belbury<\/a>.<\/p>\n

\u2022 At Dangerous Minds: Roland Topor<\/a>\u2019s cheerfully violent illustrations from Les Masochistes<\/em>.<\/p>\n

\u2022 Rainy Day Psychedelia: Ben Marks<\/a> on Seattle\u2019s neglected 1960s poster scene.<\/p>\n

\u2022 Strange Flowers looks at Oskar Schlemmer<\/a>‘s Triadic Ballet designs.<\/p>\n

\u2022 A Journey to Avebury: Stewart Lee interviews Julian Cope<\/a>.<\/p>\n

\u2022 It’s All Over Now<\/em><\/a> (1963) by The Valentinos featuring Bobby Womack | It’s All Over Now<\/em><\/a> (1964) by The Rolling Stones | It’s All Over Now<\/em><\/a> (1974) by Ry Cooder<\/p>\n","protected":false},"excerpt":{"rendered":"

San Francisco Sound (1967). Art by Wallace Studio, Seattle. \u2022 RIP gay porn pioneer Peter de Rome. BUTT posted de Rome’s surprisingly daring Underground (1972), a film in which two men have an unfaked sexual encounter on a New York subway train. That film and others are available on the BFI’s DVD collection. Related: Brian … Continue reading “Weekend links 214”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,2,42,27,28,56,4,7,5,3,12,14,17,19],"tags":[1543,4179,3319,6188,6190,6184,4973,6187,395,137,6191,4059,1483,2857,4650,3693,3503,6185,896,1748,6186,5350,3142,2419,176,6189,993,6183,1190,5371],"class_list":["post-15335","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-borges","category-burroughs","category-dance","category-design","category-film","category-gay","category-music","category-photography","category-politics","category-psychedelia","category-television","tag-andy-warhol","tag-anne-billson","tag-belbury-poly","tag-ben-marks","tag-bobby-womack","tag-brian-robinson","tag-christina-scholz","tag-forest-swords","tag-george-orwell","tag-jg-ballard","tag-john-gielgud","tag-jonathan-meades","tag-jorge-luis-borges","tag-julian-cope","tag-katherine-mansfield","tag-oskar-schlemmer","tag-peter-de-rome","tag-remy-dean","tag-roland-topor","tag-ry-cooder","tag-shaj-matthew","tag-shirley-collins","tag-stewart-lee","tag-strange-flowers","tag-the-rolling-stones","tag-the-valentinos","tag-thurston-moore","tag-wallace-studio","tag-william-burroughs","tag-zadie-smith"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3Zl","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15335","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=15335"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15335\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15335"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15335"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}