{"id":18589,"date":"2018-01-14T02:00:03","date_gmt":"2018-01-14T01:00:03","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=18589"},"modified":"2018-01-14T02:00:03","modified_gmt":"2018-01-14T01:00:03","slug":"weekend-links-395","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2018\/01\/14\/weekend-links-395\/","title":{"rendered":"Weekend links 395"},"content":{"rendered":"

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

Love is a Martyrdom (1965) by Stephanie Godwin. See Joscelyn Godwin’s Flickr pages<\/a> for more.<\/em><\/p>\n

\u2022 David Shire’s synthesizer score<\/a> for Apocalypse Now<\/em> was the first music recorded for the film but was abandoned when Shire was fired due to other commitments. 39 years later, his score has been released by La-La Land Records<\/a>.<\/p>\n

\u2022 Moon Safari<\/em> by “French band” Air was released in the UK on January 16th, 1998. Jeremy Allen<\/a> looks back at an album that was more successful here than elsewhere.<\/p>\n

\u2022 On the occasion of the US publication of Iain Sinclair’s The Last London<\/em>, Geoff Nicholson<\/a> presents an A to Z of the author and his works.<\/p>\n

This is the story of how two artists fell in love with each other, with Kelmscott Manor, and with William Morris, the poet, craftsman, and socialist who had made it his home. As Kelmscott\u2019s first tenants afer the Morris family, Edward and Stephani Scott-Snell rented the historic Oxfordshire house throughout the Second World War. There they created an aesthetic and erotic paradise based on a fantasy land called \u2018Thessyros\u2019, and produced a body of figurative painting unique for its time. Much of this was done under the influence of a legally-obtained drug they called \u2018Starlight\u2019, making many of their paintings\u00a0 early examples of psychedelic art.<\/p>\n

The Starlight Years<\/a> is a book by Joscelyn Godwin about his artist-parents and their strange relationship<\/em><\/p><\/blockquote>\n

\u2022 Mixes of the week: FACT mix 634 by Minor Science<\/a>, Secret Thirteen Mix 243 by Moa Pillar<\/a>, and XLR8R Podcast 524 by Burnt Friedman<\/a>.<\/p>\n

\u2022 At The Smart Set: Marian Calabro<\/a> pays a visit to the Brussels apartment where Ren\u00e9 and Georgette Magritte lived from 1930 to 1954.<\/p>\n

\u2022 Hormone Lemonade<\/em><\/a>, a new album by Cavern Of Anti-Matter, will be released in March. The Quietus<\/a> has a preview.<\/p>\n

\u2022 At the Internet Archive: QZAP, the Queer Zine Archive Project<\/a>; 551 downloadable publications from 1974 to 2015.<\/p>\n

\u2022 At Dennis Cooper’s: Briefly recounting Tim Buckley<\/a>‘s short, inconvenient stylistic trajectory.<\/p>\n

\u2022 Musician and bookseller Richard Bishop<\/a> recommends a handful of rare occult volumes.<\/p>\n

\u2022 At Kickstarter: Arsgang<\/em><\/a>, a short psychological horror film by Harry Edmundson-Cornell.<\/p>\n

\u2022 “A Sloppy Machine, Like Me”: Michael Grasso<\/a> on the history of video synthesizers.<\/p>\n

\u2022 At Flashbak: 27 Snapshots of Manchester in the 1960s<\/a>.<\/p>\n

\u2022 At Strange Flowers<\/a>: 18 books for 2018.<\/p>\n

\u2022 Love Is Strange<\/a><\/em> (1956) by Mickey & Sylvia | Love Is Peace<\/em><\/a> (1970) by Amon D\u00fc\u00fcl | Love Is The Drug<\/em><\/a> (1980) by Grace Jones<\/p>\n","protected":false},"excerpt":{"rendered":"

Love is a Martyrdom (1965) by Stephanie Godwin. See Joscelyn Godwin’s Flickr pages for more. \u2022 David Shire’s synthesizer score for Apocalypse Now was the first music recorded for the film but was abandoned when Shire was fired due to other commitments. 39 years later, his score has been released by La-La Land Records. \u2022 … Continue reading “Weekend links 395”<\/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":[8,2,42,29,7,5,22,43,3,16,44,12,18,19],"tags":[3295,9309,2088,4539,7997,9298,3109,9301,9300,9305,2236,9306,218,9299,9297,517,9304,9307,9308,9302,9303,115,8817,9296,2419,2439,180,1188],"class_list":["post-18589","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-electronica","category-film","category-gay","category-horror","category-magazines","category-music","category-occult","category-painting","category-photography","category-surrealism","category-television","tag-air-group","tag-amon-duul","tag-apocalypse-now","tag-burnt-friedman","tag-cavern-of-anti-matter","tag-david-shire","tag-dennis-cooper","tag-edward-scott-snell","tag-geoff-nicholson","tag-georgette-magritte","tag-grace-jones","tag-harry-edmundson-cornell","tag-iain-sinclair","tag-jeremy-allen","tag-joscelyn-godwin","tag-manchester","tag-marian-calabro","tag-michael-grasso","tag-mickey-sylvia","tag-minor-science","tag-moa-pillar","tag-magritte","tag-richard-bishop","tag-stephanie-godwin","tag-strange-flowers","tag-the-quietus","tag-tim-buckley","tag-william-morris"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4PP","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18589","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=18589"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18589\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=18589"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=18589"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=18589"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}