viernes, 30 de marzo de 2012

Pionera Spiegel, del olvido a las multisalas

Soul Clap - "The Clapping Song"

Voodoo Funk & Lagos Disco Inferno

Gigantes: Taylor & Brotzmann



El primer Haring

Before the monotony kicked in: Untitled, 1978


martes, 27 de marzo de 2012

Dr.John presenta "Locked Down"

With the help of Black Keys maestro Dan Auerbach, Dr. John has created his greatest record of the past few decades: Locked Down, out April 3 on Nonesuch Records.
The Brooklyn Academy of Music will be hosting the New Orleans legend from March 29 through April 14, with three separate concert series.

Dr. John’s full schedule at BAM:
March 29-31 • “A Louis Armstrong Tribute” • an homage to the great Louis Armstrong by Dr. John and his collaborators.
April 5-7 • “Locked Down” • the first time Dr. John, Auerbach, and their handpicked band will perform songs from the new album of the same name.
April 12-14 • “Funky But It’s Nu Awlins” • an all-out funk-infused night of New Orleans music featuring key players from the Crescent City including the Blind Boys of Alabama.

Locked Down

Locked Down cover art
Click tracks with speaker icon to listen

1Locked Down4:59
3Big Shot3:49
4Ice Age4:24
6Kingdom of Izzness3:36
7You Lie4:45
9My Children, My Angels5:09
10God's So Good

Allen Iverson, rimas para "La Respuesta"

Publicado en la nueva revista digital DxT:

[Verse 1]
When you come from nothing and turn it into a fortune
The people around you all want their portion
A couple Mercedes, a couple of Porsches
The bitches are shiesty so a couple abortions
Hoes gets slimey, they all like oysters
The media picking at you they all like vultures
And you on the pedestal, you gotta stay focused
Every move you make, it represents your culture
You wanna be normal, but that life’s over
Now you on TV, magazines and posters
Your represent gangstas, you represent soldiers
And they can’t stand you, why cause you not Oprah
And you got tattoos, your hair corn rolled up
And they like “oh my” and you like “so what”
The world is cool but one thing it showed us
Whatever don’t kill us only makes us more tough
[Verse 2]
In search of fame, at sanity’s cost
You a household name, but all privacy lost
You make a mistake, they hang you up on a cross
All of a sudden they forgot who you are
They forgot about all the times you hustled and fall
Please show me a king thats never suffered a loss
Or show me a man that never suffered a scar
And I’ll show you a man thats never given his all
I’ll show you man thats never given his heart
From becoming a monster, it’s all ya fault
You can’t be a gentleman when you swimming with sharks
Shit, when you wanna be Superman, who gonna be Clarke Kent
Pour out my heart until I wind up heartless
Tryna become a father without having a father
They here when you ride then celebrate when you fall
But throughout it all, I just ball

John Thompson, su mítica toalla, y "The Awnser" - Those were the days...

"Pimpin' Ain't Easy"


 "The world could do with a few more David Toops and a few less Paul Morleys..."

Toop of the pops … music writer David Toop

Back 2 The Future: Las Ocho Lineas Temporales

"On The Street": Arbus (Amy), definiendo los 80, foto a foto.

The collision of downtown '80s fashion and music vibrates through the fascinating new documentary, On the Street, screening on Monday at the LES (Lower East Side) Film Festival, which runs through March 18. The perfect embodiment of the LES Festival's hip, indie, downtown spirit,On The Street chronicles photographer Amy Arbus' eponymous fashion column for The Village Voice from 1980-90. Every six weeks, Arbus walked the streets of the East Village, Soho and Lower East Side, photographing the stylemakers, scenesters, and trendsetters.

"I would get a release and phone number from them. When they were chosen to be in the paper, I would call them afterwards and do a short interview on the phone. I would ask them what they were dressed for, why they had chosen that outfit," Arbus tells Interview. (One example? "This was a going-to-the-deli look," explains nightlife impresario Susanne Bartsch.)

When Arbus was sorting through 500 portraits to compile her 2006 book, On The Street, she wondered what her subjects were doing now and tracked many down through Susanne Bartsch. The film is a breathtaking mash-up of Arbus' original black-and-white photos—some of which we've been lucky enough to collect in the slideshow above—current interviews with her subjects, and rare archival color photos of the streets, clubs, and galleries of the '80s East Village.

"Susanne Bartsch's parties were hotspots for the androgynous, uptown/downtown/Berlin drug addicts, drag queens, killers, and perverts," says performance and cabaret artist, Joey Arias (Mermaids on Heroin), whom Arbus says she saw sing Billie Holiday in drag. Arias also performed on early bills with the woman who would become the Queen of Pop, Madonna. "Madonna wasn't famous then. The photo was taken in 1983, at St. Mark's Place and Second Avenue," Arbus says. "That was literally the first review of her first big single, which I think was "Holiday." Nobody knew who she was yet. And she was still using her last name. I'd heard she lived on the floor of her recording studio at the time; that's gossip."

"I remembered her from the gym that we both went to, which defies imagination, because I don't know how either of us was affording a gym membership," Arbus says. "But she used to sit in the dressing room, naked, for the longest time of any of the other women. Just sitting there, while everyone else changed clothes, because she had the best body!"

From the perspective of some 30 years, the interest in '80s downtown culture has soared, resulting in recent documentaries like The Universe of Keith Haring (2008),Jean-Michel Basquiat: The Radiant Child (2010) and The Other F Word (2011). Arbus' photos are now considered priceless documentation of the fashion of that vanished era—a time capsule of vintage '50s and '60s, rockabilly, new wave, mod, punk and self-design mixed with couture Yohji Yamamoto, Comme des Garçons, Jean Paul Gaultier, and Vivienne Westwood. Arbus' own favorite haunts included Andy's Chee-Pees for vintage, Trash and Vaudeville, Fiorucci, Manic Panic, and WE2 (Westwood's Thompson Street boutique). "Fashion was their art form," Arbus notes. "It's almost like dressing became performance art for them."

While the documentary focuses on the fiercely creative fashion, filmmaker John Spellos, who met Arbus when she was teaching a seminar at ICP, widens his lens to explore the deeper issues raised by Arbus' interviews. Spellos does what good journalists do—he follows the story wherever it leads, which, in this case, entails how gentrification, AIDS, drugs, the economy and aging impacted the East Village subculture.

"Documentaries are made in the editing room," Spellos told us. "We got lucky because these are really smart, articulate people who can talk about that time in an intelligent way and really paint that picture. Several gave me all their personal snapshots, which are the color photographs that you see. They gave me thousands of photographs and really wanted to get the story out."

The film implicitly makes the case that enough time has elapsed since the downtown '80s that it now can be evaluated as a revolutionary and aesthetically significant period, not unlike Paris in the 20s. From 1977-87, the neighborhood between 14th Street and Houston, Broadway to Alphabet City, produced Madonna, Jean-Michel Basquiat, Keith Haring, Julian Schnabel, Cindy Sherman, Robert Longo, Kenny Scharf, Jonathan Demme, Spike Lee, Jim Jarmusch, Susan Seidelman, John Lurie, Def Jam, The Talking Heads, Patti Smith, The Ramones, Blondie, Sonic Youth, Anna Sui, Stephen Sprouse, and dozens of other artists. In that context, Arbus' photographs are a time capsule for art historians.

In 1984, Arbus did an exhibition at the Mudd Club, which, like Pyramid, Holiday, Area, Limelight and the Palladium, became de facto curators, not only of music and fashion, but also of visual and performance art. Arbus said she felt on the periphery of the art scene, so interviewing people gave her an opportunity to talk to them. "I don't think they felt I was an outsider, but I did. The photography was my access to them, because I didn't hang out with them at night. I was very curious about them."

She selected her subjects on the street by "instinct really. When I started working for the Voice, which was on spec for no money, they told me that they were looking for a street-fashion photographer. They wanted me to photograph anybody who turned my head or looked unusual. The bar kept raising, as I was doing it year by year, because I was bringing them more outrageous and bizarre combinations of clothing. People were dressing much more punk and out there. So they were disappointed unless I was outdoing myself."

Her subjects frequently navigate the thin line between fabulous and freakish—at times recalling the haunting tone of photographs taken by her mother, Diane Arbus. We asked Arbus what, if any, influence her mother's work had on her own style. "Both my parents started out as fashion photographers, ironically, and I flirted with fashion throughout the '80s and ended up a portrait photographer. It was sort of backwards, because fashion photographers were making a lot more money. But my work has evolved so much since then and is so much more my own. Because I teach, I meet people whose work is much more derivative of hers than mine. So of course I love the comparison, but I finally feel like I have my own voice." 

She said her lasting memory of her mother was that "she used to love to photograph me and I felt it was the most incredible, loving thing for a kid. I loved posing for her. I don't remember a lot of discussion or direction, but she photographed me jumping rope and on the bus and walking down the street. I remember that around the time I turned 13, she stopped photographing me and I was heartbroken. I think I was just at an awkward stage. In the jump rope photo, I was wearing a spring dress, it was very cute and girly and silly, unlike most of the things I wore. I went to Little Red Schoolhouse; we could wear blue jeans before any other girls could. It was unheard of."

Arbus attended Berklee School of Music before studying photography at Boston's Museum of Fine Arts. "It wasn't rebellion; it just didn't dawn on me to [do photography] because I felt like it was being done. And when my mom passed away and my father quit photography to take up acting, all of a sudden there was this tremendous loss. And that's when I began photographing. I didn't put an enormous pressure on myself to be great; I just wanted to have an interesting life, like my parents had done before me."


lunes, 26 de marzo de 2012

Oneohtrix remezcla "Koyaanisqatsi" de Philip Glass...

...y su trabajo es directamente archivado, sin intención de editarse -aunque sea por puro morbo comparativo, este Junio podremos escuchar  las remixes que Beck y su gente ( & consideran aptas para  el disco-homenaje al compositor de "Hydrogen Jukebox", "Einstein On The Beach" o "The Photographer"... -
Oneohtrix for The FADER

Sam The Sham, "Cluster 2", Barry/Rota, Love, Bay City Rollers...

...una colección MUY reveladora, Debbie & Chris...


Debbie Harry, Chris Stein, and their record collection.Circa Late-70’s. 

Truth Don't Die: Erich Mühsam

"After breaking his teeth with musket blows; stamping a swastika on his scalp with a red-hot brand; subjecting him to tortures which caused him to be taken into a hospital, even now the fascist hyenas of the Sonninburg concentration camp continue their beastly attacks upon this defenseless man. The last news are really atrocious: the Nazi forced our comrade to dig his own grave and then with a simulated execution made him go through the agony of a doomed man. Although his body has been reduced to a mass of bleeding and tumefied flesh, his spirit is still very high: when his traducers tried to force him to sing the Horst-Wessel-Lied (the Nazi's anthem) he defied their anger by singing the Internationale.

Grinderman - "Evil" (visualizada y remezclada)

No ESE Elmore James

"Soul To Soul", en yiddish... 

domingo, 25 de marzo de 2012

She's A Player

...Es que los periodistas también tienen poco tiempo para comprobar. Hay una cosa que cada vez me gusta más en algunos medios de información, que es el “fact check”. Es decir, uno escribe “en España hay un terrible fraude fiscal que provocan los profesionales, etc.” y al lado tienes uno que se dedica a comprobar: “no, el 76% del fraude fiscal proviene de empresas que facturan más de seis millones de euros. El señor que está trabajando en negro obviamente no paga su parte, pero no es el gran defraudador: el defraudador es la empresa”. Eso es el “fact check”. Cada vez que los políticos o los agentes sociales dicen una cosa, poner al lado “bueno, pues este dato que acaba de decir el señor ministro de tal o el señor de la oposición, es mentira”.

Ego Tripping (Al Estilo Creole)

"I still claim that jazz hasn’t gotten to its peak as yet. I may be the only perfect specimen today in jazz that’s living. I guess I am 100 years ahead of my time. Jazz is a style, not a type of composition." (Jerry Roll Morton, 1938)

Alan Lomax pregunta a Morton sobre Buddy Bolden y su forma de tocar la trompeta:

Oh well, I tell you, Buddy was the most powerful man in the history. Why, Buddy Bolden would play sometimes at most of the rough places. For instance, the Masonic Hall on Perdido and Rampart, which is a very rough section. Sometimes he'd play in the Globe Hall. That's in the downtown section on St. Peter and St. Claude. Very, very rough place. Was very often you could hear of killings on top of killings. It wouldn't make any difference. Many and many a time myself, I went on Saturdays and Sundays and look in the morgue and see eight and ten men that was killed over Saturday night. It was nothing for eight or ten killings on Saturday night. Occasionally, Buddy Bolden used to play in the Jackson Hall, which was a much nicer hall on the corner of Jackson Avenue and Franklin in the Garden District. Occasionally, he would play in the Lincoln Park. Anytime they could get him, that's where they'd have him. That is, any of those halfway rough places. I used to go out to Lincoln Park, myself, when Buddy Bolden was out there, because I used to like to hear him play and outblow everybody. I thought he was good myself. Anytime there was a quiet night in the Lincoln Park, why, little places I used to hang out, a corner—what the boys used to call a hang out corner—on Jackson and South Robertson. It was about ten or twelve miles to the Lincoln Park. Anytime that he had a quiet night, all he did was take his trumpet and turn it towards the city. It was at least about ten or twelve miles from the corner that we hung out. Maybe an affair wasn't so well publicized, so in order to get it publicized in a few seconds, old Buddy would just take his big trumpet and just turn it around towards the city and blow this very tune that I'm talking about. In other words, the tune is "I Thought I Heard Buddy Bolden Say." And the whole town would know that Buddy was there. And in few seconds, why, the parks would start to gettin' filled. It was nothing for Buddy to blow any place that you could hear his horn during those times.

Las sesiones para la Biblioteca del Congreso... asombroso: