All shook up: Three generations of Presleys hit London's popular nightclub | Mail OnlineElvis Presley's grandson takes mother Lisa Marie and granny Priscilla out clubbing in London
By Dominique Hines
We're used to seeing Britain's young royals frequenting London's trendiest nightclubs. But it was Hollywood royalty that partied in the capital last night.Three generations of Presleys headed to Prince William and Harry's favourite party spot Mahiki and partied until the early hours.
Elvis's daughter Lisa Marie, ex wife Priscilla and lookalike grandson Benjamin chose the Mayfair venue for their family night out.
Rock royalty: Elvis Presley's daughter Lisa Marie and grandson Benjamin partied at London's Mahiki last night
Spitting image: The 17-year-old, who looks similar to his famous grandfather, is hoping to launch a solo music career
After a night of heady partying until 3am Lisa Marie, who gave birth to twins last October, looked far from impressed when she exited the venue to a swarm of paparazzi photographers waiting outside.
Lisa swiftly followed in the footsteps of her former husband, the late Michael Jackson, by covering her face with her scarf and a large pair of shades.
But Priscilla, 63, looked as alert and glowing as ever proving that she could still keep up with a club filled with revelers half her age.
All shook up: The trio, which included Elvis's former wife Priscilla, stayed
out until 3amBenjamin, 17, seemed to take the whole circus of attention in his stride, which will perhaps come in handy soon.
He is rumoured to have signed a $5 million five album deal.
When Benjamin was recently asked about the album at the Inspiration Awards for Women, at Cadogan Hall in Belgravia, he said: 'The music will be nothing like Elvis, nothing like him at all.'
His mother, 41, who married his father, Danny Keough, a musician, when she was 20 and divorced him in 1994, is also trying to jump start her solo career.
Going the distance: Priscilla, 63, showed she could keep up with revelers
half her ageLisa Marie is now married to fourth husband, Michael Lockwood, a guitarist and music producer, has enlisted the help of Sheffield musician Richard Hawley to relaunch her music career.
She made a surprise appearance on stage during Hawley's concert at the 02 Shepherd's Bush Empire in London earlier this month.
The two have embarked on a songwriting partnership in which Lisa Marie writes the lyrics and Hawley the music.
They performed their first song Weary - a lilting rock ballad with Lisa Marie on vocals and Hawley on guitar.
October 14, 2009
All shook up: Three generations of Presleys hit London's popular nightclub | Mail Online
Sainkho Namtchylak :U B U W E B : SERIOUSLY BEST THING I'VE EVER HEARD
U B U W E B :: Sainkho Namtchylak
Sainkho Namtchylak | UbuWeb Ethnopoetics
1.Night Birds 7:05
2.
3.
4.
5.
6.Long Continuum 3:39
Sainkho Namtchylak emerged into the world of European performance art and sound poetry in the late 1980s/early 1990s, but the roots of the work are in the Republic of Tuva (South Siberia, Russia), where she was born in 1957 and where she got first training as vocalist and folk singer. While studying music at the Gnesinsky Institute in Moscow, she mastered various vocal techniques of traditional [Tuvan] throat [singing] and Western principles of overtone music. In 1989 she started collaborating with Russian representatives of new jazz and experimental music. "[Her] unique manner, combining ancient throat vocal techniques and modern techniques of sound production, traditional and avant-garde, allows her listeners to plunge into the most up-to-date area of musical environment." (N. Dmitriev, director of the Cultural Center "Dom," Moscow). At the same time she has been an active presence in poetry venues and festivals throughout the world.Sainkho Namtchylak currently lives and works between Vienna and Moscow.
Information assembled from Dmitry Bulatov’s Electronic Museum of Lingua-Acoustic Space, http://ncca.smufsa.nu/pr_sonorus.php3.
From: Lost Rivers
FMP, CD 42, 1992
RELATED RESOURCES:
Tuvan Throat Singing on UbuWeb Ethnopoetics
Sainkho Namtchylak in UbuWeb Film
Glossolalia: Speaking In Tongues :: U B U W E B
U B U W E B :: Glossolalia: Speaking In Tongues
1. Glossolalia: Speaking In Tongues, 8:32
Glossolalia: Speaking In Tongues
The phenomenon as such traces back to early Christian accounts of spontaneous eruptions of old and new languages among Galilean disciples of the new religion. That practices resembling glossolalia or "speaking in tongues" have something like a global distribution is by now quite clear, as is their relation to the work of poets and of other lattterday avantgardists. Folkloric recoveries, as far back as the nineteenth century, began to reveal forms of languaging – as incantations, spells, etc.—that were later to influence and confirm experimental attempts to break through the limitations of conventional syntax and meaning. Among the essential modernists, the Russian Futurist Velimir Khlebnikov made the most direct connection to the Christian practice of "tongues." In A Night in Gallicia, he appropriated elements from a previously collected pair of wordless northern Russian incantations – a form of "magic words" ("the sacred language of paganism") that he also tied to the Orthodox use of Old Slavonic and the Catholic use of Latin, as languages like his own experimental zaum that were or had become, literally, "beyond understanding." And in the same vein, Hugo Ball, about the first performance of his wordless poems: "That was when I noticed that my voice, as if I had no choice, was taking on the cadence of a priestly lamentation, like the chanting of the mass in catholic churches east and west. I don’t know how the idea came to me, but I started to chant the vowel sequences like church recitative. … And then the lights went out and I was carried off the stage, my body bathed in sweat and like a magic bishop."
In the present instance, the work presented is a collage of religious performances recorded in Oklahoma in the 1980s. It should be noted that the sounding of the glossolalia is not simply ecstatic or spontaneous but can be deliberately practiced and refined. Like any complex act of poetry.
Addendum. "And when the day of Pentecost was fully come, they were all with one accord in one place. / And suddenly there came a sound from heaven as of a rushing mighty wind, and it filled all the house where they were sitting. / And there appeared unto them cloven tongues like as of fire, and it sat upon each of them. / And they were all filled with the Holy Ghost, and began to speak with other rongues, as the Spirit gave them utterance." (The Acts of the Apostles, 2:1-4)
E T H N O P O E T I C S :: D I S C O U R S E S
E T H N O P O E T I C S :: D I S C O U R S E S
Tristan Tzara
A Note On Negro Poetry (1918)
"I don’t even want to know that there were men before me" (Descartes), but some essential & simple laws, pathetic & muffled fermentation of a solid earth.
To fix on the point where the forces have accumulated, from whence the formulated sense springs, the invisible radiance of substance, the natural relation, but hidden and just, naively, without explanation.
To round off and regulate into shapes, into constructs, the images according to their weight, color and matter; or to map the arrangements of the values, the material and lasting densities, subordinating nothing to them. Classification of the comic operas sanctioned by the aesthetic of accessories. (O, my drawer number ABSOLUTE.)
I abhor to enter a house where the balconies, the "ornaments", are carefully stuck to the wall. Yet the sun, the stars continue to vibrate and hum freely in space, but I loathe to identify the explanatory hypotheses (asphyxiant probable) with the principle of life, activity, certainty.
The crocodile hatches the future life, rain falls for the vegetal silence, one isn't a creator by analogy. The beauty of the satellites – the teaching of light – will satisfy us, for we are God only for the country of our knowledge, in the laws according to which we live experience on this earth, on both sides of our equator, inside our borders. Perfect example of the infinite we can control: the sphere.
To round off and regulate into shapes, into constructs, the images according to their weight, color and matter; or to map the arrangements of the values, the material and lasting densities through personal decision and the unswerving firmness of sensibility, comprehension adequate to the matter transformed, close to the veins and rubbing against them in the pain for the present, definite joy. One creates an organism when the elements are ready for life. Poetry lives first of all for the functions of dance, religion, music and work.
-- Translated by Pierre Joris