January 22, 2011
mY l'iL dOGMEAT iPad (sEA oF sHOES - pALM bEACH)
mY l'iL dOGMEAT iPad (sEA oF sHOES - pALM bEACH)
IT lipreads WHEN YOU Scratch IT!
mY l'iL dOGMEAT iPad (sEA oF sHOES - pALM bEACH) IT lipreads WHEN YOU Scratch IT!
mY l'iL dOGMEAT iPad (sEA oF sHOES - pALM bEACH)
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mY l'iL dOGMEAT iPad (sEA oF sHOES - pALM bEACH) IT lipreads WHEN YOU Scratch IT! mY l'iL dOGMEAT iPad (sEA oF sHOES - pALM bEACH) IT lipreads WHEN YOU Scratch IT! mY l'iL dOGMEAT iPad (sEA oF sHOES - pALM bEACH) My Dogmeat iPad (Palm Beach)is Pad NEW Protection for the padded Dooley Coverall Harbin ...... Read MORE » on Dogmeat
6 MP3s Alex Chilton - Take Me Home And Make Me Like It! + Bangkok via Favorite Blog: Probe is Turning-on the People)
Take Me Home And Make Me Like It
The Singer Not The Song
Take Me Home And Make Me Like It
Summertime Blues
Can't Seem To Make You Mine
Bangkok
Take Me Home And Make Me Like It
| session 293 -- LXC '78 |  | |
| artist: title | notes | file size |
| Ork EP: 1. Free Again 2. The Singer Not The Song 3. Take Me Home And Make Me Like It 4. All Of The Time 5. Summertime Blues Lust/Unlust 45: | simulated recreations: 1-5. Singer Not The Song EP (Ork 81978, 1978); pr. John [sic] Tiven 6. Lust/Unlust 1250, 1978; wr. & pr. Chilton courtesy GS & MGS obits by: Robert Gordon Jeff Breeze click pix to enlarge (incl. backsides) | 27.7 |
JON TIVEN, THE MAN AND THE MYTH!![[YANKEES.jpg]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIgL7YLLLskEtpOvI6Ae33X0DMoM3FbeISNP1ffdYI83vxBvdt4P2boIhUgZRuymxXKTTq-inKDfhTJVpJiCuy1bCcaafNgjaYDhXQGqNkXfu7GD7RlqYFxij_JRH5dqV3vjQQ/s1600/YANKEES.jpg)
Y'know, I never really understood why there was a whole lotta venom and general animosity directed towards the noted rock critic, fanzine editor, producer and music-maker Jon Tiven throughout the years, even continuing well into these very days long after you would have thought any controversy associated with the man would have fizzled out to the point of oblivion. And of course it's true that perhaps there could have been some anger directed at the man regarding certain opinions directed towards a number of musical acts that some of us may have disagreed with, but that's (at least on the surface) no reason for anybody to call for the man's head like they have. I mean, look at Lenny Kaye who is one of my all-time fave rockscribes, and true he was one of the big champions of such things as garage band rock and its twisted child punk, but even a casual reader of CAVALIER can tell you about the times he would be praising to the rafters everyone from the Grateful Dead to JAMES TAYLOR and yet I never saw anyone comin' for him with the pitchforks and torches! Let's face it, none of the explanations that various rockscribes in the know (Bernard Kugel, Byron Coley...) really explain just why Tiven has been given such a bum rap lo these many years!And I'm still not comprehendo as to eggsactly what that big feud between Tiven and TEENAGE WASTELAND GAZETTEer Adny Shernoff was all about, and true I've heard stories about how it was a "rich Jew/poor Jew" sorta enmity (sounds like a seventies miniseries!) and somethingorother about a review Tiven wrote that really got Shernoff's Irish in an uproar but let's just say that in typical LOST IN SPACE fashion I do not compute! And howzbout the time when Tiven went to visit noted bigtime rock writer and then-NEW HAVEN ROCK PRESS contributor Richard Meltzer and his then-galpal Roni Hoffman at their En Why See apartment and after that not only would Meltzer not want to have anything to do with the guy, but he continually started berating the Subject in Question whenever he had the opportunity whether it be in his review of Paul Williams' DAS ENERGI in the pages of FUSION, or who could forget Meltzer's letter to Shernoff's own fanzine where we're all let in on the dirty deal behind this meeting which resulted in Tiven only managing to take one bowel movement during the time and not flushing the commode (mechanism was broke...you hadda reach into the tank to pull the chain which Tiven was unaware of), but Meltzer describing the contents of the bowl which, besides his detailing the size and color of the doody in question, we are told contained nary a shred of toilet paper! Of course, insult was added to injury by Shernoff's response regarding how maybe Tiven had either used his hand, or "in an economy move" eaten the toilet paper and how in the more fashionable areas of New Haven it is the duty of the maid to wipe the hineys of family members. (And strange as it may seem, occasionally Meltzer would still be listed amongst the masthead as a "contributing editor" well into the last year of NHRP's run! Go figure!!!)And there's also the story about how Alex Chilton had threatened Tiven with a serious thrashing after the latter did somethingorother to offend the former Box Top singer (I think it had something to do with the appropriation of Chilton's Ork Records EP tapes and reissuing them with overdubs...memory's kinda hazy on this 'un!) plus a few other things that have been flying about but hey, if anything all of these stories I've heard about Tiven, perhaps because of how vague they are this long after de-facto, not-so-surprisingly enough tend to make me want to sympathize with the man himself! Now I'm sure this is something that would surely arouse the ire of a Tiven-hater such as Bill Shute, but the way I look at it is here's a man who not only created the first real rock & roll fanzine (NEW HAVEN ROCK PRESS which predated WHO PUT THE BOMP! by almost a year, and I dunno if the original CRAWDADDY and MOJO NAVAGATOR could be considered true fanzine-y reads per-se) which helped him springboard to a career as a rock journalist in bigtime publications such as FUSION and ROLLING STONE and who can hate this modern-day Horatio Alger for doing just what a whole generationfulla fanzine upstarts only wish they coulda! Plus, like all of the cool rock writers of the day Tiven also had his own late-seventies punk band (OK, powerpop but we're talkin' "punk" as a strict blow against the established AM/FM-dolt-cum-cover band mentality of the day) so mebbe we should give him just a wee bit of slack for once???But still the slings and arrow come, and frankly for a guy who hadda dodge more'n a few of those things myself it's kinda like I even have a strange sorta affinity for Tiven. Maybe I'll know better when the comments start rolling in telling me about all the horror stories surrounding the man or maybe not, but for now I gotta say that I'm gonna rah-rah for the guy if only for the fact that he unleashed a long line of NEW HAVEN ROCK PRESS fanzines which do make for advanced rock reading as well as an album by his late-seventies group the Yankees, an act that although nowhere as attention-grabbing as a lotta what was coming outta the garages of USA (and elsewhere) back in the late-seventies sure comes off sweet and smooth a good three decades later! And how often can you say that about a good portion of similar-minded pop-rock of a late-seventies variety? (Well, it's not like I'm exactly an expert on the wide range of power-popping music so maybe I should refrain from that previous statement until I at least slip on my old Pezband album and give it another go 'round.)Naturally it was that recent arrival of those long-anticipated fanzines at my door and into my life (the one that yielded that boffo SPOONFUL which was reviewed earlier this week!) that got me on my current NEW HAVEN ROCK PRESS kick. Now I've been familiar with the mag before, and in fact I already own about five other issues of this mag which include a good hefty portion of writings from the likes of Meltzer (on Yoko Ono, and I'm surprised that she didn't sue!), Tosches (including the ish where he actually printed Ono's phone number, and there's even an article in an early-seventies CREEM about the time Brian Cullman or one of their lesser-knowns actually got her number from this NHRP, called her up and played a bitta accordian music for the lass!) and Greg Shaw. I don't have the ish which included an actual Fillmore East poster because those go for magnifico bucks these days, but at least I got the one with the free movie and that's gotta account for something!
Download now or listen on posterous
Download now or listen on posterous
Download now or listen on posterous
Download now or listen on posterous
Take Me Home And Make Me Like It Free Again The Singer Not The Song Take Me Home And Make Me Like It Summertime Blues Can't Seem To Make You Mine Bangkok Take Me Home And Make Me Like It JON TIVEN, THE MAN AND THE MYTH! Y'know, I never really understood why there was a whole lotta venom and ...... Read MORE » on Dogmeat
William Eggleston *Just whose RED CEILING was that anyway? Paris Review
William Eggleston
*Just whose RED CEILING was that anyway?
Paris Review
William Eggleston: For Now
November 16, 2010 | by Michael Almereyda
William Eggleston, 1970. Photographer unknown.
William Eggleston's color photographs are among the most widely viewed, and widely admired, in the medium. But I wanted to survey Eggleston's unseen, unpublished work-his B-sides, bootlegs, unreleased tracks-and to that end I made five trips to Memphis in the course of a year, rummaging through roughly 35,000 digital scans archived by the Eggleston Artistic Trust. The intention was to come up with a book of images rescued from near oblivion. The resulting selection-necessarily partial, narrow, subjective-favors pictures of people, many of them the photographer's blood relatives and close friends, a few of which appear below. When I reviewed an early layout with Bill, he was pleased to be confronted with images he'd clean forgotten about, and he provided considered commentary.
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Untitled (Marcia Hare), early 1970s.
Untitled (Marcia Hare), early 1970s.
"She used to dance onstage with a hippie band called **Insect Trust.
Their music, you could say, was too new for me. You could say I never made the mistake of listening to their music. I was studying Bach at the time. I never made a mistake when I listened to Bach."
§
Untitled (Julian Hohenberg), Algiers, Louisiana, early 1970s.
Untitled (Julian Hohenberg), Algiers, Louisiana, early 1970s.
"A cotton merchant. His fortune soared in the billions. He lost it all at once. His competitors ganged up and brought him down." Hohenberg financed the first dye-transfer portfolio of Eggleston images, 14 Pictures, in 1974. "I don't think he'll ever know how important that was to me."
§
Untitled (T. C. Boring), Greenwood, Mississippi, early 1970s.
Untitled (T. C. Boring), Greenwood, Mississippi, early 1970s.
"He was a dentist. We immediately became best friends. I can't even say why. I'll think about it, and if I come up with anything, you'll be the first to know."
T. C., alone in a graffiti-scrawled room, is the solitary nude in "William Eggleston's Guide" (Museum of Modern Art, New York, 1976). The blood-red ceiling, one of Eggleston's most iconic images, was located under T. C.'s roof in Greenwood, Mississippi, though that home, Bill takes pains to insist, is not the site on view here.
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Untitled (Vernon Richards with William Eggleston III), Memphis, Tennessee, early 1970s.
Richards was "a close friend from childhood, in Sumner, Mississippi." He appears extensively in Eggleston's epic video, Stranded in Canton, and assisted in the taking of flash-lit nightclub portraits during the same period. He's also visible, beardless, in the "Guide," gazing from within a parked car, above two bare feet, crossed at the ankles, braced on the car door.
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Untitled, Windsor Ruins, Mississippi, early 1980s.
Untitled, Windsor Ruins, Mississippi, early 1980s.
This officially designated "art car" was painted by Tom Young, formerly Eggleston's instructor at the University of Mississippi, and was driven in a New Orleans Mardi Gras parade. "He polished it, then painted it, then polished it some more. He spent months on it. He took it very seriously." The columns are the lone surviving remnants of the Windsor Plantation, lost to fire in 1890. "That car's probably the last thing you'd expect to see at that spot."
§
Untitled (Tom Young), early 1980s.
Untitled (Tom Young), early 1980s.
Tom Young is also responsible for supplying young Eggleston with early, oracular advice, commanding him to photograph things around him, even or especially things he hated. From this, Eggleston extracted a credo, transforming hatred to love. His much-quoted remark-"I've been photographing democratically"-offers a measure of this reversal, his all-encompassing embrace and its Whitmanesque reach, whereby nearly every subject caught by his camera becomes part of an overflowing family album.
*"thanks to my A&R Man, Jim Barber for the title from this dregs of curious beauty of an essay on Old Bill. I couldn't have come up with a better title if I tried."
*"thanks to my A&R Man, Jim Barber for the title from this dregs of curious beauty of an essay on Old Bill. I couldn't have come up with a better title if I tried."
**"Insect Trust contained none other than Robert Palmer...NO! NYTimes, Robert Palmer (Music Critic extraordinaire--with an extraordinaire fondess for sleepy juice) on Noise Clarinet...no wonder Bill was not a fan. Although how could you remember with all the quaaludes in the mix in those loagy Stranded in Canton Days of Memphis?!"
**"Insect Trust contained none other than Robert Palmer...NO! NYTimes, Robert Palmer (Music Critic extraordinaire--with an extraordinaire fondess for sleepy juice) on Noise Clarinet...no wonder Bill was not a fan. Although how could you remember with all the quaaludes in the mix in those loagy Stranded in Canton Days of Memphis?!"
William Eggleston is among the most celebrated and influential photographers of the postwar era; the traveling exhibition "William Eggleston: Democratic Camera" is on view at the Los Angeles County Museum of Art through January.
Michael Almereyda's films include Nadja (1994), Hamlet (2000), and William Eggleston in the Real World (2005). This text is excerpted from his afterword to William Eggleston: For Now, which gathers nearly ninety previously unknown Eggleston photographs in one volume and has just been published by Twin Palms.
