{"id":18378,"date":"2017-07-09T01:10:15","date_gmt":"2017-07-09T00:10:15","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=18378"},"modified":"2017-07-09T01:10:15","modified_gmt":"2017-07-09T00:10:15","slug":"weekend-links-368","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2017\/07\/09\/weekend-links-368\/","title":{"rendered":"Weekend links 368"},"content":{"rendered":"

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

Piazzetta San Marco by Moonlight (no date) by Friedrich Paul Nerly.<\/em><\/p>\n

\u2022 RIP Heathcote Williams (Guardian<\/em> obit<\/a>, NYT<\/em> obit<\/a>): poet, playwright, actor, artist, anarchist, stage magician, and no doubt many other things besides. Being a product of the counter-culture, and one of Britain’s foremost anti-establishment writers (his polemics against the Royal Family were unceasing), Williams was a regular in the early publications produced by my colleagues at Savoy Books; in fact there’s a piece by him <\/em>in The Savoy Book<\/em><\/a> itself. Consequently, Williams always felt like a distant relative even though we never met. Of his many film appearances, which ranged from low-budget independent productions to Hollywood junk, he was ideally cast as Prospero in Derek Jarman’s film of The Tempest<\/em>, and he audaciously steals a scene from Tilda Swinton in Sally Potter’s wonderful Orlando<\/em>. Elsewhere: Jeremy Harding<\/a> on Williams’ run-ins with the gatekeepers, and Why D’Ya Do It?<\/em><\/a>, a song by Marianne Faithfull with lyrics by Williams.<\/p>\n

\u2022 Mixes of the week: Secret Thirteen Mix 226 by Chihei Hatakeyama<\/a>, and SydArthur Festival 2: Summer of Love Edition by Head Heritage<\/a>.<\/p>\n

\u2022 Geeta Dayal<\/a> on composer and musique concr\u00e8te<\/em> pioneer Pierre Henry whose death was also announced this week.<\/p>\n

\u2022 Jonathan Meades<\/a> reviews Vinyl.Album.Cover.Art: The Complete Hipgnosis Catalogue<\/em> by Aubrey Powell.<\/p>\n

\u2022 “Brutal! Vulgar! Dirty!” Polly Stenham<\/a> on Mae West and the gay comedy that shocked 1920s America.<\/p>\n

\u2022 Hannah Devlin<\/a> on religious leaders getting high on psilocybin for science.<\/p>\n

\u2022 At Dennis Cooper’s: Spotlight on…In Transit<\/em> (1969) by Brigid Brophy<\/a>.<\/p>\n

\u2022 At Biblioth\u00e8que Gay: Matelots<\/em> (1935) by Gregorio Prieto<\/a>.<\/p>\n

\u2022 SD Sykes<\/a> on reconsidering Venice, crumbling city.<\/p>\n

\u2022 Letters and Liquor<\/a><\/p>\n

\u2022 This Ain’t The Summer Of Love<\/a><\/em> (1976) by Blue \u00d6yster Cult | Orlando<\/a><\/em> (1996) by Trans Am | Transit<\/a><\/em> (2004) by Fennesz<\/p>\n","protected":false},"excerpt":{"rendered":"

Piazzetta San Marco by Moonlight (no date) by Friedrich Paul Nerly. \u2022 RIP Heathcote Williams (Guardian obit, NYT obit): poet, playwright, actor, artist, anarchist, stage magician, and no doubt many other things besides. Being a product of the counter-culture, and one of Britain’s foremost anti-establishment writers (his polemics against the Royal Family were unceasing), Williams … Continue reading “Weekend links 368”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_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},"jetpack_post_was_ever_published":false},"categories":[8,2,42,4,851,29,7,3,44,46],"tags":[1987,1993,1843,4054,8968,3109,511,8974,8966,1393,4266,8972,8969,1823,430,8967,4059,8971,3305,4967,8970,1080,151,493,1081,8973],"class_list":["post-18378","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-design","category-drugs","category-electronica","category-film","category-music","category-painting","category-theatre","tag-aubrey-powell","tag-bibliotheque-gay","tag-blue-oyster-cult","tag-brigid-brophy","tag-chihei-hatakeyama","tag-dennis-cooper","tag-derek-jarman","tag-fennesz","tag-friedrich-paul-nerly","tag-geeta-dayal","tag-gregorio-prieto","tag-hannah-devlin","tag-head-heritage","tag-heathcote-williams","tag-hipgnosis","tag-jeremy-harding","tag-jonathan-meades","tag-mae-west","tag-marianne-faithfull","tag-pierre-henry","tag-polly-stenham","tag-sally-potter","tag-savoy-books","tag-the-savoy","tag-tilda-swinton","tag-trans-am-group"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4Mq","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18378","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=18378"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18378\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=18378"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=18378"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=18378"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}