William Faulkner’s
Nobel Prize SpeechStockholm, December 10, 1950
William Faulkner officially earned the Nobel Prize in Literature for the year 1949, but he did not receive it until the following year, because the Nobel Prize committee could not reach a consensus in 1949. Hence, two Nobel prizes were awarded in 1950, for the prior year and for the present one. The speech Faulkner delivered was not immediately intelligible to his listeners, both because of Faulkner’s southern dialect and because the microphone was too distant from his mouth, but when it was printed in newspapers the following day, it was immediately hailed as one of the most significant addresses ever delivered at a Nobel ceremony.
The text below is reprinted from Essays, Speeches, and Public Letters, which differs from the speech he actually delivered at the cermony. To hear a studio recording of Faulkner reading the (revised) speech, please visit this page. Also worth visiting is this page on the 1949 literature award from the Nobel Foundation, which features an audio recording of his live presentation of the speech, which unfortunately ends before the conclusion of the speech.. (This is apparently the same audio used for the first video featured below.)
Nobel Prize Videos
These videos were posted to YouTube. The first has only the still photo of Faulkner accepting the award, but it does include nearly three minutes of audio of Faulkner delivering the speech at the ceremony. The second video is a documentary featuring scenes from the ceremony, but not the speech itself. (It also happens to be in Swedish.) Click here for more information about the documentary (and another link to the video.)
I feel that this award was not made to me as a man, but to my work — a life’s work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.
Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.
He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.
Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.
May 1, 2009
William Faulkner [Stockholm, December 10, 1950]
April 30, 2009
LARA STONE SMOKING with ZOMBIE [DOLCE & GABBANA: Steven Klein - 'Fiction Noir']
Italian designers Domenico Dolce and Stefano Gabbana once again tapped Steven Klein to shoot their spring-summer 2009 campaign.
Portraiture in the past has been regarded as a documentation of a person but for me it is a documentation of the encounter between myself and the subject. It is not meant to reveal them, nor is it meant to subject them to an X-ray; it is a departure from that. I am more interested in the alchemical reaction that occurs when elements are brought together in a space.Not so much a collaboration between photographer and subject, more a scientific experiment - the studio becomes a lab. For me the portrait is not psychological either. It is atomic. Atoms change their electrical charge continuously, and the more challenging the shoot, the greater the chance of this charge. Yes, I do begin with an idea, a series of ideas that link together logically. But logic is often superseded by events beyond my control.Art starts as a means of control but the atoms that compose us can spin in a different direction. When you see Madonna in a series of these images, she is neither a perfected icon nor is she revealed – instead she remains ambiguous. I feel the obsession with celebrities is for the most part based on a tired need to know oneself through the other, and perhaps the concept of knowing oneself is all deluded.There is a desire to link photography with painting. My background is painting and I feel there is no connection between the two. It is as if the camera is linked to a sin, producing a bastard art form that we feel we must link to the past in order to give it credentials. I don't want those credentials. I have no need to apologize for photography. My archives exist only for sound business reasons; otherwise my work would be disposable. And there lies the contradiction, for I am a private person not an exhibitionist, I am a person who lives for the future, not the past; I am standing behind a camera in order that I can extend myself in front of it.
Alex Chilton + Yo La Tengo: Femme Fatale [Maxwell's 12/7/07] what is that, samba?
Performed live at Maxwell's in Hoboken, NJ, on the 4th night of Hanukkah, 12/7/07
April 29, 2009
William Eggleston: Foundation Cartier pour l'art contemporain [4 April - 21 June, 2009 Paris]
William Eggleston
Foundation Cartier pour l'art contemporain
[4 April - 21 June, 2009 Paris]
William Eggleston, born in 1939 in Memphis, is one of the most important contemporary American photographers. From the 1970s onwards, his work has significantly contributed to the recognition of color photography as an artistic medium. Eggleston has published his work extensively, and it has been shown in many major exhibitions around the world. He continues to live and work in Memphis, and travels considerably for photographic projects.
City homage ... Untitled, Paris series, 2006-2008
At the Cartier Foundation, you enter William Eggleston's new exhibition by descending the stairs into a big red room lit by hanging lampshades and furnished with a large leather sofa, two matching armchairs and a baby grand piano. It is a quintessentially Parisian homage to Eggleston's most famous - and strangest - photograph, Greenwood, Mississippi, 1973, otherwise known as "The Red Ceiling".
Last Wednesday evening, as the last of his photographs and drawings were being hung, Eggleston arrived at the gallery for a walkabout. Thin and dapper in a dark suit and polished Oxfords, he made straight for the baby grand and, oblivious to the flurry of activity around him and, indeed, the photographs in the adjacent gallery, sat down and started playing. For a good five minutes or so, he was utterly absorbed in the music he was making, his long, manicured fingers picking out a series of fitful, often fractured, classical extemporisations. When he finally arose, and placed an unlit cigarette in his mouth, he seemed momentarily startled by the burst of applause from those present, bowing and smiling mischievously like a surprised child.
Eggleston, as his images often attest, is a one-off, an American aristocrat from the Deep South with a wild streak and a singular ability to capture in his colour photographs all the often overlooked beauty, strangeness and intensity of the commonplace. His groundbreaking work from the early 70s, collected in books such as William Eggleston's Guide and The Democratic Forest, confused people at first with its capturing of what might be called the heightened mundane, but he is now regarded as the maverick genius who made colour photography the serious art form it is today. Eggleston is, among other things, a supreme colourist. The saturated intensity of those early photographs has given way to a more muted approach of late, but he retains an unerring ability to render the everyday surprising and sometimes surreal.
As he approaches his 70th birthday, Eggleston has finally turned his "democratic" gaze on Paris, perhaps the city that has been most iconised through photography. Three years ago, the Fondation Cartier commissioned him to photograph the city, which he has been doing ever since on regular extended trips from his native Memphis. "I'm taking over where Atget left off," he tells me, laughing. Eggleston's Paris, though, is perhaps as far away from Atget's Paris - or Cartier-Bresson's Paris or Brassaï's Paris - as one could imagine. It is, in fact, closer to Eggleston's Memphis, in so far as it emerges as a place that is both oddly recognisable and utterly alien. "I approached it and am still approaching it as if it is just anywhere," he says in the exhibition guide. "You're not quite sure: is this Paris, Mexico City, elsewhere?"
With Eggleston, though, it is nearly always elsewhere. And yet, Paris - or Parisness - leaks into these images in the most mundane ways. His image of the Bastille is taken from what looks like a wall mural of the same. Silhouetted, it looks like a mosque, the unreal sky around it covered in a graffiti scrawl. His photograph of the famous brasserie la Rotonde shows it empty and gutted, surrounded by metal shutters, awaiting a makeover. In another image that plays with the visual iconography of the city, he frames a stack of chrome chairs outside a cafe, their purple fabric matching the even more lurid tones of a film poster for Batman, le défi
Eggleston's Paris is a messy, often makeshift place - who else would be drawn to the milky water in a cement mixer? - which could indeed be any early 21st-century city. Graffiti is a recurring motif - on walls, vehicles, windows, billboards. He is drawn, too, to the garish - the hyper-bright colours of a children's funfair ride, the unreal pinks and yellows of neon shop signs. The quotidian sublime is glimpsed too, though, in the mossy green haze of street light reflected on a wet pavement or the familiar blue sky, clear and clean, that appears above buildings and treetops throughout his work. Not for the first time I was left wondering whether Eggleston possesses some innate ability to tap into that soft, opaque, unreal otherworld that the rest of us glimpse only in moments of intoxication or chemical realignment. Is he always elsewhere?
One or two of these new images contain echoes of earlier photographs, his own and other peoples. A row of teddy bears in a Parisian shop window recalls the row of dolls on a car bonnet that he shot in Memphis in the early 70s. (It was used on the album cover of Like Flies on Sherbert by Alex Chilton, another Memphis maverick.) A polythene bag packed with used paper cups recalls Robert Frank's photograph of a polythene bag packed with dolls' heads. Eggleston's eye for the heightened mundane may have mellowed of late - there is nothing here as ominous as "The Red Ceiling" or as deathly as, say, his portrait of a pale young woman lying prone on the grass, holding a camera - but he still goes his own way when it comes to composition. He famously only ever photographs a subject once, and his "shotgun" approach whereby a subject is targeted, then shot, accounts for the odd angles and seemingly off-kilter point of view. The shot of a young girl's outstretched leg is pure Eggleston. It is a portrait of sorts - her red shoe, the comic resting on her knee, the sense of childhood reverie caught, too, in that outstretched leg - even though he has done nothing as obvious as training the camera on her face.
At the Fondation Cartier you can also see a series of Eggleston's drawings, busy, colourful abstracts that nod to Kandinsky. They are what they are: involved, often intricate, doodles in pen that seem like spontaneous explorations of colour. Some of them have been placed alongside photographs and sometimes the juxtaposition works. More intriguingly, though, many of the photographs themselves tend towards the abstract in their arrangement of shapes and colours. That suggests that Eggleston, as he enters old age, may have found yet another way of seeing the everyday anew.
For the last three years, American photographer William Eggleston has photographed the city of Paris as part of a commission for the Fondation Cartier pour l’art contemporain.Taken throughout different seasons, these new images by one of the fathers of color photography portray the local and the cosmopolitan, the glamorous and the gritty, the everyday and the extraordinary.This exhibition also provides an exceptional occasion to bring together William Eggleston’s distinctive pictures and his recent paintings, an unknown aspect of his work that has never before been presented to the public.William Eggleston, Paris
A book created specially by William Eggleston on the occasion of the exhibition, which presents his photographs next to his drawings, published for the first time.Fondation Cartier pour l’art contemporain
Paris
Steidl, Göttingen
Hardback, 22 x 28 cm, 184 pages,
70 color photographs,
50 drawings
Steidl, Göttingen
An exceptional limited edition of 100 books in a box set,
numbered and signed by the artist
JEAN PAINLEVE: ɒktəpʊsɪz (SURREALIST MATING) [Yo La Tengo Score: 4PD]
Image via Wikipedia
315 min
Color & Black and White
1.33:1
Jean Painlevé’s “Ten Commandments”
Next week, we release a definitive, three-disc set of the short documentaries of Jean Painlevé (1902–89), the pioneering French scientist-educator-filmmaker (and sometime Dadaist) whose mesmerizing studies of marine life, especially, have been attracting wide audiences and new fans for decades (including the rock band Yo La Tengo, which regularly performs with the films, and whose eight-film score is included on the release). By way of an introduction to this truly unique artist, we present his “Ten Commandments,” originally published in the notes accompanying his touring “Poets of the Documentary” program in 1948. On first glance, they may seem simple enough, but once you’ve watched the films, many more layers of meaning will become evident. On the second commandment, for instance, “one might wonder how scientifically informed nature films can be said to express convictions,” film scholar Scott MacDonald muses in his essay for the release, “but it is precisely Painlevé’s implicit (and sometimes explicit) reasons for selecting the organisms he does and his manner of presenting them that reveal his attitudes.” Among those attitudes seems to be an interest in confronting conventional ideas about gender, MacDonald writes, evident in his films on sea horses (male and female collaborate on child birthing), daphnia (self-reproducing females), starfish (hermaphroditic), and the stunning AceraFantasia.”
Here are all ten of Painlevé’s filmmaking convictions, practiced over six decades and more than two hundred luminous films:
1. You will not make documentaries if you do not feel the subject.
2. You will refuse to direct a film if your convictions are not expressed.
3. You will not influence the audience by unfair means.
4. You will seek reality without aestheticism or ideological apparatus.
5. You will abandon every special effect that is not justified.
6. Trickery will be of no use unless the audience is your confidant.
7. You will not use clever editing unless it illustrates your good intentions.
8. You will not show monotonous sequences without perfect justification.
9. You will not substitute words for images in any way.
10. You will not be content with “close enough” unless you want to fail spectacularly. (bisexual), which, when mating, “do a kind of ballet during which the cloaks that encircle their bodies fly open, evoking tutus.” Painlevé’s film about these last creatures, notes MacDonald, is “reminiscent of moments from Oskar Fischinger films and from Disney’s
Jean Painlevé(1902-89)
Going Beneath the Surface
Yo La Tengo
The Sounds of Science
[Original Score]
Probably no substantial dimension of film history has been so thoroughly ignored by American film critics, historians, and theorists as the nature film (or wildlife film): These short documentaries of Jean Painlevé (190289), the pioneering French scientist-educator-filmmaker (and sometime Dadaist) whose mesmerizing studies of marine life, especially, have been attracting wide audiences and new fans for decadesSurrealist-influenced dream works that are also serious science.The French filmmaker-scientist-inventor had a decades-spanning career in which he created hundreds of short films on subjects ranging from astronomy to pigeons to, most famously, such marine-life marvels as the sea horse and the octopus.The mesmerizing, utterly unclassifiable science films of Jean Painlevé (1902-89) have to be seen to be believed: delightful, surrealist-influenced dream works that are also serious science. The French filmmaker-scientist-inventor had a decades-spanning career in which he created hundreds of short films.New and improved English subtitle translations from the eight-part television series, "Jean Painlevé: Through His Films"Directed by Denis Derrien and Hélène Hazera
When OCTOPUSES reproduce, males use a specialized arm called a hectocotylus to insert spermatophores (packets of sperm) into the female's mantle cavity.The hectocotylus in benthic octopuses is usually the third right arm. Males die within a few months of mating. In some species, the female octopus can keep the sperm alive inside her for weeks until her eggs are mature. After they have been fertilized, the female lays about 200,000 eggs (this figure dramatically varies between families, genera, species and also individuals). The female hangs these eggs in strings from the ceiling of her lair, or individually attaches them to the substrate depending on the species. The female cares for the eggs, guarding them against predators, and gently blowing currents of water over them so that they get enough oxygen.The female does not eat during the roughly one-month period spent taking care of the unhatched eggs. At around the time the eggs hatch, the mother dies and the young larval octopuses spend a period of time drifting in clouds of plankton, where they feed on copepods, larval crabs and larval starfish until they are ready to sink down to the bottom of the ocean, where the cycle repeats itself. In some deeper dwelling species, the young do not go through this period. This is a dangerous time for the larval octopuses; as they become part of the plankton cloud they are vulnerable to many plankton eaters.
Phylum: Mollusca
Class: Cephalopoda
Subclass: Coleoidea
Superorder: Octopodiformes
Order: Octopoda * Subclass Nautiloidea: nautilus * Subclass Coleoidea o Superorder Decapodiformes: squid, cuttlefish o Superorder Octopodiformes + Order Vampyromorphida: Vampire Squid + Order Octopoda # Genus †Keuppia (incertae sedis) # Genus †Palaeoctopus (incertae sedis) # Genus †Pohlsepia (incertae sedis) # Genus †Proteroctopus (incertae sedis) # Genus †Styletoctopus (incertae sedis) # Suborder Cirrina: finned deep-sea octopus * Family Opisthoteuthidae: umbrella octopus * Family Cirroteuthidae * Family Stauroteuthidae # Suborder Incirrina * Family Amphitretidae: telescope octopus * Family Bolitaenidae: gelatinous octopus * Family Octopodidae: benthic octopus * Family Vitreledonellidae: Glass Octopus * Superfamily Argonautoida o Family Alloposidae: Seven-arm Octopus o Family Argonautidae: argonauts o Family Ocythoidae: Tuberculate Pelagic Octopus o Family Tremoctopodidae: blanket octopus
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April 28, 2009
STEALTH TUBA: SEARCH FOR THE DEVIL'S DOUBLE-PEDDLE "C"-VOICE!
TubaMan
8:09
Tuba Man COBALT Brian is a cool cat and this is his Stealth Tuba he made out of plastic Super cool. He is a good friend of mine [1] He has a bet with someone [2] he can ´ play the Double [3] note This video is him showing [4] There will be a re make [5] all you haters ! This Tuba [6] one of a Kind !!!
April 27, 2009
WFMU: Motor/Mouth: Debbie D.: Favorite Truck Drivin' (sic) Songs MP3's (from the bottom up) [MY KINDA POST, MY KINDA ORDER]
Motor/Mouth is a bi-weekly series featuring WFMU staff and their rides. This installment puts Debbie D. Debbie Does WFMUbehind the wheel.
Main form of transportation:1999 Ford Ranger.
Mileage:79.236.
Where did you get it?Macon, GA.
What made you pick it?It had been repossessed and was affordable.
How long have you owned it?9 years.
How much longer will you keep it?Until it has some major repair job needed.
Favorite thing about it:I can hook up my ipod to the radio.
Least favorite thing about it:It has a busted window on the camper top.
Rate your satisfaction level from 1 (least) – 10 (most):10.
What is your dream form of transportation?Ferry.
Anything else you’d like to mention:A few years ago, Rex and Coco and Spazz and I drove out to the Chiller Convention in Jersey. I got ticketed for having Rex and Dave riding in the back without seatbelts.Debbie'sFavorite Truck Driving Songs(from the bottom up)
Jim & JesseDiesel On My Trail
Dave Dudley
Ray King
Russ Meyers
Doyle O'Dell
Del Reeves
Dick Curless
Hylo Brown
Red Sovine
Kitty Wells
Merle Haggard
Red Simpson
Kay Adams
Baron Samedi: SAMEDI, DIFFERENT SHIT! + Sugar Hill: "Voodoo Zombie" [BlaxploitationTrailer] + Samedi: ENERGY DRINK + SAMEDI VIDEO GAME
Baron SamediBaron Samedi is notorious for his outrageous behavior, swearing continuously and making filthy jokes to the other spirits. He is married to another powerful spirit known as Mama Brigitte, but often chases after mortal women.He loves smoking and drinking and is rarely seen without a cigar in his mouth or a glass of rum in his bony fingers. Baron Samedi can usually be found at the crossroad between the worlds of the living and the dead. When someone dies he digs their grave and greets their soul after they have been buried, leading them to the underworld. He also ensures all corpses rot in the ground to stop any soul being brought back as a brainless zombie. The Baron has a legion of spirits under his control. These lesser spirits, all dressed like the Baron and all are as rude and crude as their master. They help carry the dead to the underworld.Samedi is a loa of the dead, along with Baron's numerous other incarnations Baron Cimetière, Baron La Croix, and Baron Kriminel. He is usually depicted with a white top hat, black tuxedo, dark glasses, and cotton plugs in the nostrils, as if to resemble a corpse dressed and prepared for burial in the Haitian style.He has a white, frequently skull-like face (or actually has a skull for a face) and speaks in a nasal voice.He is the head of the Guédé family of Loa, or an aspect of them, or possibly their spiritual father. His wife is the loa Maman Brigitte.He is a sexual loa, frequently represented by phallic symbols and he noted for disruption, obscenity, debauchery, and having a particular fondness for tobacco and rum. Additionally, he is the loa of sex and resurrection, and in the latter capacity he is often called upon for healing by those near or approaching death, as it is only Baron who can accept an individual into the realm of the dead. He is considered a wise judge, and a powerful magician.Baron Samedi is the most famous, and most frightening, of these spirits. A huge skeleton dressed in a dark coat or cape with a top hat and spade, the Baron is the infamous master of the dead who escorts their souls from the graveyard to the underworld. But the Baron does not concern himself with corpses - he can enter the realm of the living and force people to do his terrible bidding.As well as being master of the dead, he is also a giver of life. He can cure any mortal of any disease or wound, if he thinks it is worth while. His powers are especially great when it comes to voodoo curses and black magic. Even if somebody has been inflicted by a hex which brings them to the verge of death, they will not die if the Baron refuses to dig their grave. So long as this mighty spirit keeps them out of the ground they are safe. What he demands in return depends on his mood.Sometimes he is content with his followers wearing black, white or purple clothes or using sacred objects; he may simply ask for a small gift of cigars, rum, black coffee, grilled peanuts or bread. But sometimes the Baron asks for a voodoo ceremony to help him cross over into this world - a high-risk time for anyone wanting his help. Baron Samedi is one of the few Voodoo spirits that can cross from the realm of the dead to the realm of the living without a ritual - but as it is a draining process he rarely does. If he is in a good mood he may grant his followers ever lasting life, but if he is in a bad mood he may dig their graves too soon and bury them alive or bring them back as a mindless zombie. * "Baron Saturday." The Pretty Things. "S.F. Sorrow." Original Masters, 1968. * "Lover Of The Bayou." The Byrds. "Untitled." Columbia Records, 1970. * "James Bond 007: Live and Let Die," 1973. In the film, he at first appears during a party and is assumed to be merely a performer in costume. However, at a later point in the film, he literally rises from a grave as a seemingly unstoppable spirit. Even his 'death' be being trapped in a coffin full of poisonous snakes is contradicted by a scene of him looking at the audience at the very end of the film. * "Baron Samedi" Song 10CC 1974. * "American Gods" by Neil Gaiman, 2001. * "Saints Row 2" Video Game, 2008. One of the gangs is known as the Sons of Samedi. Most wear rastafarian clothes along with their green gang color. Their lieutenant, Mr. Sunshine, fights the player with a voodoo doll and machete and, when defeated, a cutscene is shown where he survives being shot multiple times. * "Witches Abroad" by Terry Pratchett, 1991. * There is a guarana energy drink named Samedi in the description it says "He Passed through the edge of darkness to find a potion more powerful than life. When found, it delivered such intense energy that it is believed to have the strength to awaken the dead." * Sugar Hill (1974 film) Protagonist Diana Hill calls on Baron Zamedi to help her gain revenge on her boyfriend's killers.Sugar Hill
Voodoo Zombie
Blaxploitation TrailerWhen her boyfriend is brutally murdered, after refusing to be shaken down by the local gangsters running their protection racket, Sugar Hill, decides not to get mad, but BAD! Calling upon the help of aged voodoo queen Mama Maitresse, Sugar entreats her to call upon Baron Zamedi, the Lord of the Dead, for help in gaining a gruesome revenge. In exchange for her soul, the Dark Master raises up a zombie army to do her bidding. The bad guys who thought they were getting away clean are about to find out that they're DEAD wrong.SAMEDI ENERGY DRINKSAMEDI VIDEO GAME
Christian Dior: MALCOLM MCLAREN: MADAME BUTTERFLY] Haute Couture - Spring 2007 4PD
Full-length video of the Christian Dior Haute Couture by John Galliano runway for Spring 2007.
Dixie Dynamite: WARREN OATES [70s Grindhouse Trailer for Donna Lethal]
When their moonshiner father is killed by a corrupt deputy, two young girls decide to take over his business and get revenge on the men who had him killed.
Geoffrey Holder: 7-Up Commercial [1980s Fresh from his role in "Annie"]
Fresh from his role in "Annie", Geoffrey is advertising 7-Up!
Geoffrey Holder: 7-UP [1st GH ? Commercial 1971]
1971 7-UP Commercial starring Trinidadian character actor Geoffrey Holder who has also worked as choreographer, dancer, painter, costume designer, singer and voice-over artist. So popular were these ads, 7-UP created a new batch with Geoffrey in the 1980s.
Geoffrey Holder: 7up [BARON SAMEDI: THE UNLOA]
ad for 7up "the uncola" from the 80's, featuring Geoffrey Holder of "Live And Let Die" and "Dr. Doolittle" fame.
Habana Now
A sharpe glimpse into the life and times of present day Afro-Cuban musicians. They share their music and their thoughts about African traditions of Havana.
Güiro for Changó
Agrupación de Güiros El Niño de Atocha
For more info: http://esquinarumbera.blogs...
Santeria - Cuba
Nov 2003
More and more Cubans are turning to the popular religion of Santeria for spiritual guidance.
In the tiny Cuban town of Regla, a woman is throwing a party for her saint. She watches in delight as her 'saint' writhes to the drums, spitting rum at the guests to cleanse their souls. Santeria was bought to Cuba by African slaves and quickly developed into a home-grown religion. Now 80% of the population are thought to believe in it.
Produced by ABC Australia
Distributed by Journeyman Pictures
ELEGUA
CLEVE POZAR'S AFROCUBAN BATAJAZZ GROUP DOING A TRAC FOR ELEGUA.
DARIUS JONES IS ON SAX.
SINGERS:
DAMIAN KATZ
CARRIE MOLAY
KELIN LONG-GAYE
CLEVE POZAR
TA'GALLO RONKO
VIDEO AND GRAPHICS:
K7T DOING THE DO !
Max's Kansas City: Only Extant Footage of MKC [Narrated by David Weisman]
This is b-roll of the only known footage of the inside of Max's Kansas City - legendary 70's New York rock club. Narration is by David Weisman, co-director of Ciao Manhattan.
Cindy Sherman: Transformations (excerpt: artnewyork.org by Paul Tschinkel)
A three minute excerpt from ART/new york program number 58, "CINDY SHERMAN: Transformations (c) 2002" by Paul Tschinkel.
Paul Tschinkel's InnerTube - The Waitresses and The Cramps
Paul Tschinkel's InnerTube, cable public access show, 1981, 1982.
Featuring The Waitresses at Irving Plaza and The Cramps at the Mudd Club.
Noah Creshevsky: Great Performances (1978 tape wizardry music concrete electronica)
Thanks to experimental BBC Radio 3 music shows (think "Mixing It' et al) one can discover some unexpected and thrilling left-field tunes. Around the same time as I was knocked-out by Negativland and plunderphonics, I got my first taste of the mesmerizing Noah Creshevsky. Based in New York and a celebrated figure from the electronic underground, Creshevsky is truly a master of found sounds and tape manipulation. "Great Performances" from 1978 never fails to raise a smile, yet reveals complex, intriguing details with repeated listens.... Accompanying Creshevsky's wondrous creation is a freaky (possibly great?) performance from an unknown 70s German variety show. I don't know where I came across this footage, but the car-mime is done with great relish by the dungaree-wearing hipsters, despite slipping in and out of the added LSD-edit haze.
Top of the Pops Clips [TOTP BBC: 60s and 70s]
A further collection of clips from Top of the Pops in the 60s and 70s.
Nightmail: [SOUNDS LIKE JOHN COOPER CLARKE]
One of my favourite Grierson-era documentaries. Quite ironic given how crap the postal service is these days. Us socialists are trying to campaign against the closure of sorting offices and the privatisation of the industry.
My post now has to travel 35 miles to Wolverhampton to be sorted (after the closure of the local one) to come BACK 35 miles north to be delivered!!
Michael Flatley's Riverdance: "Thunderstorm" [IT'S CALLED IRISH WOMEN]
"Thunderstorm" from Riverdance show with Michael Flatley
Le Brasier: Ivan Mosjoukine [1923 Surrealism]
Ivan Mosjoukine's 1923 surrealist comedy/romance/detective story. The movie opens with a bizarre nightmare scene, with Mosjoukine playing 4 different roles in succession. ardent 1
"Come On" [Documentary Clip: 1970s NYC New Wave Band ( NYU UNFINISHED FILM PROJECT)]
Brief intro. to the NYC 70s New Wave band
LYDIA LUNCH & Eight Eyed Spy: 'DIDDY WAH DIDDY' + Nick Zedd: 'They Eat Scum' (1979) + HOWIE ZOWIE [Paul Tschinkel's InnerTube: NYC CABLE ACCESS 1983]
Paul Tschinkel's
InnerTube
[Cable Public Access Show]
NYC
1983
Featuring
Howie Zowie
"Middle of the Road"
Eight Eyed Spy
with
Lydia Lunch
"DIDDY WAH DIDDY"
and
Nick Zedd [ZODIAC]
"They Eat Scum"
(1979)
artnewyork
April 26, 2009
KANSAS: "Carry On Wayward Son" [ヤマハ エレクトーン ステージア Fingerworks On Keyboard: YAMAHA ELECTONE STAGEA
Focused to Keyboard by YAMAHA ELECTONE "STAGEA ELS-01C".Carry On Wayward Son by KANSAS.
ヤマハ エレクトーン ステージア KANSAS Carry On Wayward Son カンサス YAMAHA STAGEA
Dear Friends! Welcome to my site. We will know each other...How do we take what movie?
Dear Friends! Welcome to my site. We will know each other...How do we take what movie?
25.4.2009
Dear Friends!
Welcome to my site and what the Internet did good.
So, without rhyme or reason to prepare your own business
with my web site where the output so you need to meet what is
my reason?
Alcohol, drugs, a conference of all the program around
confused, confused memories, live from the site, reading the
interesting events.
No matter who I face in the street after ago smiles greet you.
My sincere against temperature gives courage.
'You do artizliğini well, that' they say.
Then the chat starts.
Gören income, will strike in coming.
Jokes gırla go. Tell these folks, all ages, from the people can not come together now,
turn to each other inside and can not dertleş, not chaff.
Because no time. But when it catches into hunky-dory is a fondness.
Our internet site of that hunky-dory muhabbet yeri
will be the venue.
I will share with you.
We will know each other.
For example, up to this time about me not knowing that no one will be able to learn of my secret life.
How do we take what movie?
I wonder every movie I'll share with you stories.
Movies cue from the odd track from the film, posters, pictures and answers to any questions ...
even a place in your life from any films in a gift you can.
I will share with you my thoughts.
I'll try to give answers to any questions.
From time to time in our hearts open to each other and will dertleş.
Thanks to the people.
Take time to play the film and arrays as revealed when the top is 5 years.
So I was working 5 years, 25 years, I was expecting.Moreover, within this much speed and it really made me worthy.This person's nervous system
and play havoc with the structure
of a mental thing,
and no loss of time to work.
Instead of that time by
reading, writing, speaking very well could.
Seven days, eight days finished. It was the writer I have both players.
Sure, it took a lot from me, took me a lot.
Now I write articles, poems, stories started to write my friends had the time.
Have always considered very plucky heroes in the eyes.
Because the bread out money to the pen were based.
I guess I ran away to work a little easier.
But I have noticed that, no, I did not notice.
Because the time to notice and opportunity to people did not recognize.
And we have come up in future these days, but I am very happy that the film writers of the period,
but did not write one thing about people was really something.
[::]
YYZ: RUSH :11-year-old-girl arranges and plays [ヤマハ エレクトーン ラッシュ]
11-years old girl arranged and played nice! look at her both footwork on baseline.
YYZ RUSH YAMAHA ELECTONE ヤマハ エレクトーン ラッシュ
JFK Assassination on Live Dallas TV
This is what was being shown on TV in Dallas when the news broke. Also an interview with Zapruder before his legendary film was developed.
3D Elvis
3D Elvis done with Lightwave animation software. I am a 3D freelance animator and this was a personal project that took me 2 years of blood, sweat, and tears to complete.