{"id":20141,"date":"2020-10-24T20:18:52","date_gmt":"2020-10-24T19:18:52","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=20141"},"modified":"2020-10-24T20:18:52","modified_gmt":"2020-10-24T19:18:52","slug":"weekend-links-540","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2020\/10\/24\/weekend-links-540\/","title":{"rendered":"Weekend links 540"},"content":{"rendered":"

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

A century before William Burroughs: The Wild Boys of London<\/a> (1866). No author credited.<\/em><\/p>\n

\u2022 “Acid, nudity and sci-fi nightmares: why Hawkwind were the radicals of 1970s rock.” I like a headline guaranteed to upset old punks, even though many old punks had been Hawkwind fans. As noted last week, Joe Banks’ Hawkwind: Days of the Underground<\/em> is now officially in print, hence this substantial Guardian<\/em> feature<\/a> in which the author reprises his core thesis. Mathew Lyons<\/a> reviewed the book for The Quietus.<\/p>\n

\u2022 “Roy Ayers and Fela Kuti each explored Pan-Africanism and diasporic solidarity their own way before their meeting in 1979.” John Morrison<\/a> on the Roy Ayers and Fela Kuti collaboration, Music Of Many Colours<\/em>.<\/p>\n

\u2022 “In 1938, Joan Harrison read a galley of Daphne Du Maurier’s masterpiece. She wouldn’t rest until she had the rights to adapt it.” Christina Lane<\/a> on Rebecca<\/em> at 80, and the women behind the Hitchcock classic.<\/p>\n

Each page features a distinct moment, seen from one perspective on the front, and from a diametrically opposed angle on the back, occasionally pivoting, for instance, between interior and exterior spaces. This organizing principle is complicated by the fact that a given image might be a depiction of the physical environment surrounding the camera or, at other times, a photograph of a photograph. Midway through, the scene is inverted such that the volume must be turned upside-down to be looked at right-side up. The result is an elegant, disorienting study in simultaneity that allows the viewer to enter the work from either end.<\/p>\n

Cover to Cover (1975), a book by Michael Snow<\/a>, has been republished by Light Industry and Primary Information<\/em><\/p><\/blockquote>\n

\u2022 At Public Domain Review: The Uncertain Heavens\u2014Christiaan Huygens\u2019 Ideas of Extraterrestrial Life by Hugh Aldersey-Williams<\/a>.<\/p>\n

\u2022 Penny Dreadfuls and Murder Broadsides: John Boardley<\/a> explores the early days of pulp fiction and what he calls “murder fonts”.<\/p>\n

\u2022 The lesbian partnership that changed literature: Emma Garman<\/a> on Jane Heap, Margaret C. Anderson and The Little Review<\/em>.<\/p>\n

\u2022 The 10th Tom of Finland Emerging Artist Competition<\/a> is now open to entries. (Titter ye not.)<\/p>\n

\u2022 Death Barge Life: Colin Fleming<\/a> on Gericault’s grim masterpiece, The Raft of the Medusa<\/em>.<\/p>\n

\u2022 At Dennis Cooper’s: Spotlight on\u2026The Grand Grimoire: The Red Dragon<\/em><\/a> (1702).<\/p>\n

\u2022 Music To Be Murdered By<\/a><\/em> (1958) Jeff Alexander With Alfred Hitchcock | Murder Boy<\/a><\/em> (1991) by Rain Parade | Murder In The Red Barn<\/a><\/em> (1992) by Tom Waits<\/p>\n","protected":false},"excerpt":{"rendered":"

A century before William Burroughs: The Wild Boys of London (1866). No author credited. \u2022 “Acid, nudity and sci-fi nightmares: why Hawkwind were the radicals of 1970s rock.” I like a headline guaranteed to upset old punks, even though many old punks had been Hawkwind fans. As noted last week, Joe Banks’ Hawkwind: Days of … Continue reading “Weekend links 540”<\/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_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: Weekend links 540","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":[2,42,4,5,3,16,44,12,13,10],"tags":[416,10986,10985,4401,5436,3109,10623,1569,222,10987,10988,10990,10984,3718,7423,10983,10989,10981,3764,8185,10982,6261,4488,2194,2425,1190],"class_list":["post-20141","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-design","category-gay","category-music","category-occult","category-painting","category-photography","category-science","category-typography","tag-alfred-hitchcock","tag-christiaan-huygens","tag-christina-lane","tag-colin-fleming","tag-daphne-du-maurier","tag-dennis-cooper","tag-emma-garman","tag-fela-kuti","tag-hawkwind","tag-hugh-aldersey-williams","tag-jane-heap","tag-jeff-alexander","tag-joan-harrison","tag-joe-banks","tag-john-boardley","tag-john-morrison","tag-margaret-c-anderson","tag-mathew-lyons","tag-michael-snow","tag-rain-parade","tag-roy-ayers","tag-the-wild-boys","tag-theodore-gericault","tag-tom-of-finland","tag-tom-waits","tag-william-burroughs"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5eR","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20141","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=20141"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/20141\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=20141"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=20141"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=20141"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}