15 06 2013

Recent internet image finds












14 06 2013

REMINDER: Just Alap Raga Ensemble Concert, June 15, 9pm, Dream House


The Just Alap Raga Ensemble
Pandit Pran Nath 17th Anniversary Memorial Tribute 

Three Evening Concerts of Raga Darbari in the MELA Dream House
Saturday, June 15, 2013, 9 pm

La Monte Young, voice
Marian Zazeela, voice
Jung Hee Choi, voice
Naren Budhkar, tabla
The Tamburas of Pandit Pran Nath from the Just Dreams CD

MELA Foundation Dream House
275 Church Street, 3rd Floor, between Franklin & White Streets in Tribeca

Admission $36.  MELA Members, Seniors, Student ID, $28.
Limited seating.  Advance reservations recommended.  
Info and reservations:  212-219-3019; mail@melafoundation.org

Three Evening Concerts of Raga Darbari in the contemporary Kirana gharana (style) of North Indian Classical Music will be performed by La Monte Young and Marian Zazeela with The Just Alap Raga Ensemble in a memorial tribute to Pandit Pran Nath on the 17th anniversary of his passing, Saturday evenings, June 1, 8 and 15, 2013 at 9 pm in the MELA Foundation Dream House light environment, 275 Church Street, 3rd Floor. PLEASE NOTE:  To prepare for the scheduled concerts, the Dream House Sound and Light Environment is now closed for the season; it will reopen on September 21, 2013.  From August 15-September 14, MELA will present Jung Hee Choi’s multimedia installation,Ahata Anahata, Manifest Unmanifest VII.

La Monte Young, Marian Zazeela and Jung Hee Choi, voices; with Naren Budhkar, tabla; will be accompanied by The Tamburas of Pandit Pran Nath from the Just Dreams CD.  The Just Alap Raga Ensemble will perform Pandit Pran Nath's special arrangement of "Hazrat Turkaman", a traditional vilampit khayal composition set in Raga Darbari. 
Young considers The Just Alap Raga Ensemble to be one of the most significant creations in the development of his compositional process in that it organically merges the traditions of Western and Hindustani classical musics with the knowledge of acoustical science to embody complementary forms in an encompassing evolutionary statement.  Pandit Pran Nath has said, "Alap is the essence of Raga.  When the drut [faster tempo] begins, the Raga is finished."  With The Just Alap Raga Ensemble, Young applies his own compositional approach to traditional raga performance, form and technique: a pranam (bow) of gratitude in reciprocation for the influence on his music since the mid-fifties of the unique, slow, unmetered, timelessalap, and for one of the most ancient and evolved vocal traditions extant today.  The Ensemble features extended alap sections, sustained vocal and instrumental drones, two- and three-part harmony and counterpoint in just intonation over tamburas.  Young, Zazeela and Choi premiered The Just Alap Raga Ensemble on August 22, 2002 in a memorial tribute to Ustad Hafizullah Khan, the Khalifa of the Kirana Gharana and son of Pandit Pran Nath’s teacher, Ustad Abdul Wahid Khan Sahib. 
In 2009, with deep respect for Pandit Pran Nath’s arrangement of this great composition, "Hazrat Turkaman", Young composed two-part harmony for the ‘sthayi and for the antara. As in his 2003 composition “Raga Sundara” set in Raga Yaman Kalyan, the harmony line for these compositions inRaga Darbari continues the introduction of two-part harmony into Indian classical khayal composition, reinforcing the contribution of this new element into Indian classical music.  The harmony for the ‘sthayi of "Hazrat Turkaman" is dedicated to Jung Hee Choi and was composed as a present on her birthday, November 1, 2009; the harmony for the antara is dedicated to Pandit Pran Nath and was composed on his 91st birthday, November 3, 2009. 

Pandit Pran Nath virtually introduced the vocal tradition of North Indian classical music to the West in 1970.  His 1971 morning performance at Town Hall, New York City, was the first concert of morning ragas to be presented in the U.S.  Subsequently, he introduced and elaborated to Western audiences the concept of performing ragas at the proper time of day by scheduling entire series of concerts at special hours.  Many students and professional musicians came to him in America to learn about the vast system of raga and to improve their musicianship.  In 1972, Pran Nath established his own school in New York City under the direction of his disciples La Monte Young and Marian Zazeela, the Kirana Center for Indian Classical Music, now a project of MELA Foundation.  Over the years Pran Nath performed hundreds of concerts in the West, scores of them in New York City, and in Fall 1993, he inaugurated the MELA Foundation Dream House with three Raga Cycle concerts.  He continued to perform here annually during his remaining years, and on May 12 and 17, 1996, his two concerts of Afternoon and Evening Ragas in the Dream House were his last public performances before he passed away on June 13, 1996. 

Pran Nath's majestic expositions of the slow alap sections of ragas combined with his emphasis on perfect intonation and the clear evocation of mood had a profound impact on Western contemporary composers and performers.  Following Young and Zazeela, minimalist composer Terry Riley became one of his first American disciples.  Fourth-world trumpeter Jon Hassell, jazz all‑stars Don Cherry and Lee Konitz, composers Jon Gibson, Yoshimasa Wada, Rhys Chatham, Michael Harrison and Allaudin Mathieu, Sufi Pir Shabda Kahn, mathematician and composer Christer Hennix, concept artist and violinist Henry Flynt, dancer Simone Forti, and many others took the opportunity to study with the master. 

In The Hindustan Times (2003), Shanta Serbjeet Singh wrote:
            “[Young and Zazeela] would create works like the “Just Alap Raga Ensemble” which would amaze musicians of the caliber of Bhimsen Joshi, Pandit Jasraj or the Gundecha brothers were they to hear it.  In fact I wish they would hear it and savour their own legacy of Indian classical music in two new ways, one, by way of the Youngs’ immense sadhna and two, by way of the fact that today the great art of Hindustani Shastriya sangeet has actually become so much a part of the world of music.  Did not the ancients say: Vasudeva Kumutbhakam—the world is a family?  A work like “Just Alap Raga Ensemble” actually proves it.” 

The 2005 article, “Tales Of Exemplary Guru Bhakti / Pran Nath, La Monte Young and Marian Zazeela,” in "The Eye," quarterly magazine of SPIC MACAY (Society for the Promotion of Indian Classical Music and Culture Amongst Youth), notes that: 
            “He [Young] is a master of Hindustani classical music.  … La Monte Young and Marian Zazeela, founders of the MELA Foundation Dream House in New York are responsible for having single-handedly introduced vocal Hindustani classical music to America.  In 1970 when they brought renowned master vocalist Pandit Pran Nath of the Kirana Gharana to the U.S. and became his first Western disciples, studying with him for twenty-six years in the traditional gurukula manner of living with the guru, Americans and Westerners only had a nodding acquaintance with Indian music, that too, only instrumental music through the performing tours of Pandit Ravi Shankar.  Also some introduction to Indian rhythm techniques through the charismatic playing of Pandit Chatur Lal, the tabla player who always accompanied Ravi Shankar through the sixties.  But the deep, unfathomable intricacies of Khayal Gayaki and of the whole cosmos of Alap were totally unknown to them.  Indeed, as his many American shishyas,most of them practicing musicians themselves, would say later, even unimaginable. … Young and Zazeela, who taught the Kirana style and performed with Pandit Pran Nath since 1970 in hundreds of concerts in India, Iran, Europe and the United States, have continued their Guru’s work in the most exemplary manner.  In June 2002, shortly before he died, Khalifa Hafizullah Khan Sahib, Ustad Wahid Khan Sahib’s son and a great sarangi master, conferred on Young the title of Khan Sahib.”    

American Music, Winter 2009, reviewed the Ensemble's March performance at the Guggenheim Museum:
            “After the introductory alap, the musicians initially presented the text of the composition proper in traditional monophonic fashion against the drone. Later on, however, the ensemble revealed its most striking innovation: in another bold deviation from traditional North Indian monophony, they rendered the composition in two-part harmony.  ...in the context of raga performance, this harmonization, combined with the ethereal polytonal quality of Raga Yaman, lent the ensemble a breathtakingly lush quality with each return of the refrain."

In his LA Times Blog, critic Mark Swed wrote of the Ensemble's performance of the Maha Mrityunjaya Mantra in Raga Sindh Bhairavi: 
            "Frankly, what made me drop everything and fly to New York at the last minute for the [Merce Cunningham] memorial was the announcement of the music lineup, which was a once-in-a-life-time gathering. La Monte Young, the otherworldly inventor of Minimalism, began the program singing a welcoming raga with Marian Zazeela and Jung Hee Choi, which was pure vibratory magic."

Concert admission is $36 / $28 MELA members; seniors; students with ID.  Limited seating.  Advance reservations recommended.  For further information and reservations, email mail@melafoundation.org.


MELA's programs are made possible with public funds from the New York State Council on the Arts, a State Agency, and generous contributions from individuals and MELA Members.  
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05 06 2013
05 06 2013

First glimpse of psychedelic summer '013 in Paris playlist 5th June













Enjoying first days of what will hopefully be a very psychedelic summer in Paris with the following rex & flix

Kuni Kawachi & Flower Travellin' Band "Kirikyogen" LP (1970)
Jimi Hendrix "Hendrix In The West" CD (1972)
Far Out "Nihonjin" LP (1973)
BB King "Indianola Mississippi Seeds" CD (1970)
Bernard Parmegianni "De Natura Sonorum" LP (2013 reissue)
Annette Peacock "The Perfect Release" LP
Tormentor "7th Day of Doom" LP (1987/2013 reissue)
Hot Lunch LP (2012)
Vulcano "Tales from the Black Book" LP (2012)

"Sibera Mon Amour" Slava Ross (2011)
"A Man Escaped" Robert Bresson (1956)
"The Naked Island" Kaneto Shindo (1960)
05 06 2013

Emilie Ding opening in Paris tomorrow night


Blue Monday
Une proposition d’Arlène Berceliot Courtin Best regards
avec Laëtitia Badaut Haussmann, Emilie Ding, David Malek, Christian Mayer.

Vernissage : Jeudi 6 juin 2013 de 18h00 à 21h00
Une personne à l'entrée vous guidera vers le lieu.
Exposition du 07 au 16 juin 2013 
Ouvert tous les jours de 14h à 18h
Accès au lieu en appelant le 09 66 95 61 83
Moins Un
71 bd Richard Lenoir
75011 Paris
Avec le soutien de la Mairie du 11è et du Goethe Institute, Paris

04 06 2013

1936 Soviet Newsreel - Noginsk Record Plant

Gramophone records production began in the Moscow Region town of Noginsk in 1934, when the USSR biggest record plant was organized there. Tha place for it were pre-revolutionary ex-textile factory buildings erected by the Morozov merchant family. 

This newsreel illustrates the production process there. The text reads: 

"It's quite easy to obtain (or to wind up) a portable gramophone, but it' much harder to get records for it. You see now how they are made at the Noginsk plant. Here millions of records are produced. This quantity, however, does not cover the needs of the Stakhanov's country in music and gaiety. More records, comrades from Noginsk!"

03 06 2013

Jimmy Page piece "Rock Magic" by William Burroughs (Crawdaddy Magazine June 1975)







Rock Magic 
by William Burroughs 

    When I was first asked to write an article on the Led Zeppelin group, to be based on attending a concert and talking with Jimmy Page, I was not sure i could do it, not being sufficiently knowledgeable about music to attempt anything in the way of musical criticism or even evaluation.  I decided simply to attend the concert and talk with Jimmy Page and let the article develop.  If you consider ant set of data without a preconceived viewpoint, then a viewpoint will emerge from the data. 
    My first impression was of the audience, as we streamed through one security line after another -- a river of youth looking curiously like a single organism: one well behaved clean-looking middle-class kid.  The security guards seemed to be cool and well trained, ushering gatecrashers out with a minimum of fuss.    We were channeled smoothly into our seats in the thirteenth row.  Over a relaxed dinner before the concert, a Crawdaddy companion had said he had a feeling that something bad could happen at this concert.  I pointed out that it always can when you get that many people together--like at bullfights where you buy a straw hat at the door to protect you from bottles and other missiles.  I was displacing  possible danger to a Mexican border town where the matador barely escaped with his life and several spectators were killed.  It's known as "clearing the path." 
    So there we sat. I decline earplugs; I am used to loud drum and horn music from Morocco, and it always has, if skillfully performed, an exhilarating and energizing effect on me. As the performance got underway I experienced this musical exhilaration, which was all the more pleasant for being easily controlled, and I knew then that, nothing bad was going to happen. This was a safe, friendly area -- but at the same time highly charged. There was a palpable interchange of energy between the performers and the audience which was never frantic or jagged. The special effects were handled well and not overdone. 
    A few special effects are much better than too many. I can see the laser beams cutting dry ice smoke, which drew an appreciative cheer from the audience. Jimmy Page's number with, the broken guitar strings came across with a real impact, as did John Bonham's drum solo and the lyrics delivered with unfailing vitality by Robert Plant. The performers were doing their best, and it was very good, The last number, Stairway to Heaven, where the audience all lit matches and there was a scattering of sparklers here and there, found the audience well behaved and joyous, creating the atmosphere of a high school Christmas play. All in all a good show, neither low nor insipid, eaving the concert hall was like getting off a jet plane. 
    I summarized my impressions after the concert in a few notes to serve as a basis for my talk with Jimmy Page: "The essential ingredient for any successful rock group is energy -- the ability to give out energy, to receive energy from the audience, and to give it back to the audience. A rock concert is in fact a rite involving the evocation and transmutation of energy. Rock stars may be compared to priests, a theme that was treated in Peter Watkin's film Privilege. In that film a rock star was manipulated by reactionary forces to set up a state religion, this scenario seems unlikely. I think a rock group singing political slogans would leave its audience at the door. 
    "The Led Zeppelin show depends heavily on volume, repetition, and drums. It bears some resemblance to the trance music found in Morocco, which is magical in origin and purpose -- that is, concerned with the evocation and control of spiritual forces. In Morocco, musicians are also magicians. Gnaoua music is used to drive out evil spirits. The music of Joujouka evokes the God Pan, Pan God of Panic, representing the real magical forces that sweep away the spurious. It is to be remembered that the origin of all the arts -- music, painting, and writing -- is magical and evocative; and that magic is always used to obtain some definite result. In the Led Zeppelin concert, the result aimed at would seem to be the creation of energy in the performers and in the audience. For such magic to succeed, it must tap the sources of magical energy, and this can be dangerous."

The Interview
    I felt that these considerations could form the basis of my talk with Jimmy Page, which I hoped would not take the form of an interview. There is something just basically wrong about the whole interview format. Someone sticks a mike in your face and says, "Mr. Page, would you care to talk about your interest in occult practices? Would you describe yourself as a believer in this sort of thing?" Even an intelligent mike-in-the-face question tends to evoke a guarded mike-in-the-face answer. As soon as Jimmy Page walked into my loft downtown, I saw that it wasn't going to be that way. 
    We started talking over a cup of tea and found we have friends in common: the real estate agent who negotiated Jimmy Page's purchase of the Aleister Crowley house on Loch Ness, John Michel, the flying saucer and pyramid expert. Donald Camel, who worked on Performance; Kenneth Anger, and the Jaggers, Mick and Chris. The subject of magic came up in connection with Aleister Crowley and Kenneth Anger' film Lucifer Rising, for which Jimmy Page did the sound track. 
    Since the word "magic" tends to cause confused thinking, I would like to say exactly what I mean by "magic" and the magical interpretation of so - called reality. The underlying assumption of magic is the assertion of will as the primary moving force in this universe -- the deep conviction that nothing happens unless somebody or some being wills it to happen. To me this has always seemed self -- evident. A chair does not move unless someone moves it. Neither does your physical body, which is composed of much the same materials, move unless you will it to move. Walking across the room is a magical operation. From the viewpoint of magic, no death, no illness, no misfortune, accident, war, or riot is accidental. There are no accidents in the world of magic. And will is another word for animate energy. Rock stars are juggling fissionable material that could blow up at any time . . . "The soccer scores are coming in from the Capital ... one must pretend an interest," drawled the dandified Commandante, safe in the pages of my book, and as another rock star said to me, " You sit on your ass writing -- I could be torn to pieces by my fans, like Orpheus." 
    I found Jimmy Page equally aware of the risks involved in handling the Fissionable material of the mass unconscious. I took on a valence I learned years ago from two Life -- Time reporters -- one keeps telling you these horrific stories: "Now old Burns was dragged out of the truck and skinned alive by the mob, and when we got there with the cameras the bloody thing was still squirming there like a worm . . . " while the other half of the team is snapping pictures CLICK CLICK CLICK to record your reactions -- so over dinner at Mexican Gardens I told Jimmy the story of the big soccer riot in Lima, Peru in 1964. 
    We are ushered into the arena as VIP's, in the style made famous by Triumph of the Will. Martial music -- long vistas -- the statuesque police with their dogs on leads -- the crowd surging in a sultry menacing electricity palpable in. the air -- grey clouds over Lima -- people glance up uneasily ... the last time it rained in Lima was the year of the great earthquake, when whole towns were swallowed by landslides. A cop is beating and kicking someone as he shoves him back towards the exit. Oh lucky man. The dogs growl ominously. The game is tense. Tied until the end of the last quarter, and then the stunning decision: a goal that would have won the game for Peru is disqualified by the Uruguayan referee. A howl of rage from the crowd, and then a huge black known as La Bomba, who has started three previous soccer riots and already has twenty-three notches on his bomb, vaults down into the arena. A wave of fans follows The Bomb -- the Uruguayan referee scrambles off with the agility of a rat or an evil spirit -- the police release tear gas and unleash their snarling dogs, hysterical with fear and rage and maddened by the tear gas. And then a sound like falling mountains, as a few drops of rain begin to fall. 
    The crowd tears an Alsatian dog to pieces -- a policeman is strangled with his tie, another hurled fifty feet down from the top of the stadium ... bodies piled up ten feet deep at the exits. The soccer scores are coming in from the Capital ... 306 ... 318 . . 352 . . . "I didn't know how bad it was until rain started to fall," said a survivor. You see, it never rains in Lima, or almost never, and when it does it's worse than seeing mules foaling in the public street ... trampled ruptured bodies piled in heaps ... 
    "You know, Jimmy," I said: "The crowd surges forward, a heavy piece of equipment falls on the crowd, ' security goes mad, and then . . . a sound like failing mountains . . ." CLICK CLICK CLICK; Jimmy Page did not bat an eye. 
    "Yes, I've thought about that. We all have. The important thing is maintain a balance. The kids come to get far out with the music. It's our job to see they have a good time and no trouble." 
    And remember the rock group called Storm? Playing a dance 
hall in Switzerland ... fire ... exits locked ... thirty-seven people dead including all the performers. Now any performer who has never thought about fire and panic just doesn't think. The best way to keep something bad from happening is to see it ahead of time, and you can't see it if you refuse to face the possibility. The bad vibes in that dance hall must have been really heavy. If the performers had been sensitive and alert, they would have checked to be sure the exits were unlocked. 
Previously, over two fingers of whiskey in my Franklin Stree digs, I had told Page about Major Bruce MacMannaway, healer and psychic who lives in Scotland. The Major discovered his healing abilities in World War II when his regiment was cut off without medical supplies and the Major started laying on his hands . . . "Well Major, I think it's a load of ballocks but I'l try anything." And it turns out the Major is a walking hypo. His psychic abilities were so highly regarded by the Admiralty that he was called in to locate sunken submarines, and he never once missed. 
    I attended a group meditation seminar with the Major. It turned out to be the Indian rope trick. Before the session the Major told us something of the potential power in group meditation. He had seen it lift a six-hundred-pound church organ five feet in the air. I had no reason to doubt this, since he was obviously incapable of falsification. In the session, after one preliminary relaxation exercises, the Major asked us to ee a column of light in the center of the room and then took us up through the light to a plateau where we met nice friendly people: the stairway to heaven in fact. I mean we were really there. 
    I turned to Jimmy Page: "Of course we are dealing here with meditation -- the deliberate induction of a trance state in a few people under the hands of an old master. This would seem on the surface to have little in common with a rock concert, but the underlying force is the same: human energy and its potential concentration." I pointed out that the moment when the stairway to heaven becomes something actually possible for the audience, would also be the moment of greatest danger. Jimmy expressed himself as well aware of the power in mass concentration, aware of the dangers involved, and of the skill and balance needed to avoid them ... rather like driving a load of nitroglycerine.
    "There is a responsibility to the audience," he said. "We don't want anything bad to happen to these kids?we don't want to release anything we can't handle." We talked about magic and A leister Crowley. Jimmy said that Crowley has been maligned as a black magician, whereas magic is neither white nor black, good nor bad -- it is simply alive with what it is; the real thing, what people really feel and want and are. I pointed out that this "either/or" straitjacket had been imposed by Christianity when all magic became black magic; that scientists took over from the Church, and Western man has been stifled in a non-magical universe known as "the way things are." Rock music can be seen as one attempt to break out of this dead soulless universe and reassert the universe of magic. 
    Jimmy told me that Aleister Crowley's house has very good vibes for anyone who is relaxed and receptive. At one time the house had also been the scene of a vast chicken swindle indirectly involving George Sanders, the movie actor, Who was able to clear himself of any criminal charges. Sanders committed suicide in Barcelona, and we both remembered his farewell note to the world: "I leave you to this sweet cesspool." 
    I told Jimmy he was lucky to have that house with a monster in the front yard. What about the Loch Ness monster? Jimmy Page thinks it exists. I wondered if it could find enough to eat, and thought this unlikely -- it's not the improbability but the upkeep on monsters that worries me. Did Aleister Crowley have opinions on the subject? He apparently had not expressed himself. 
    We talked about trance music. He had heard the Brian Jones record from recordings made at Joujouka. We discussed the possibility of synthesizing rock music with some of the older forms of trance music that have been developed over centuries to produce powerful, sometimes hypnotic effects on the audience. Such a synthesis would enable the older forms to escape from the mould of folk fore and provide new techniques to rock groups. 
    We talked about the special effects used in the concert., "Sure," he said, "lights, lasers, dry ice are fine -- but you have to keep some balance. The show must carry itself and not rely too heavily on special effects, however spectacular." I brought up the subject of infra?sound, that is, sound pitched below 16 Hertz, the level of human hearing; as ultra-sound is above the level. Professor Gavreau of France developed infra-sound as a military weapon. A powerful infra-sound installation can, he claims, kill everyone in a five-mile radius, knock down walls, and break windows. Infra-sound kills by setting up vibrations within the body so that, as Gavreau puts it, "You can feel all the organs in your body rubbing together." The plans for this device can be obtained from the French Patent Office, and infra-sound generators constructed from inexpensive materials. Needless to say, one is not concerned with military applications/ however unlimited, but with more interesting and useful possibilities, reaching much further than five miles. 
    Infra-sound sets up vibrations in the body and nervous system. Need these vibrations necessarily be harmful or unpleasant? All music played at any volume sets up vibrations in the body and nervous system of the listener. That's why people listen to it. Caruso as you will remember could break a champagne glass across the room. Especially interesting is the possibility of rhythmic pulses of infra-sound; that is, music in infra-sound. You can't hear it, but you can feel it. 
    Jimmy was interested, and I gave him a copy of a newspaper article on infra-sound. It seems that the most deadly range is around 7 Hertz, and when this is turned on even at a low volume, anyone within range is affected. They feel anxious, ill, depressed, and finally exclaim with one voice, "I feel TERRIBLE!" . . . last thing you want at a rock concert. However, around the borders of infra-sound perhaps a safe range can be found. Buddhist mantras act by setting up vibrations in the body. Could this be done in a much more powerful yet safe manner by the use of infra-sound rhythms which could of course be combined with audible music? Perhaps infra-sound could add a new dimension to rock music. 
    Could something be developed comparable to the sonar communication of dolphins, conveying an immediate sonar experience that requires no symbolic translation? I mentioned to Jimmy that I had talked with Dr. Truby, who worked with John Lilly recording dolphins. Dr. Truby is a specialist in interspecies communication, working on a grant from the government -- so that when all our kids are born Venusians we will understand them when they start to talk. I suggested to him that all communication, as we know it, is actually inter-species communication, and that it is kept that way by the nature of verbal and symbolic communication, which must be indirect. 
     Do dolphins have a language? What is a language? I define a language as a communication system in which data are represented by verbal or written symbols-- symbols that are not the objects to which they refer. The word "chair" is not the object itself, the chair. So any such system of communication is always second-hand and symbolic, whereas we can conceive of a form of communication that would be immediate and direct, undercutting the need for symbols. And music certainly comes closer to such direct communication than language. 
    Could musical communication be rendered more precise with infra-sound, thus- bringing the whole of music a second radical step forward? The first step was made when music came out of the dance halls, roadhouses, and night clubs, into Madison Square Garden and Shea Stadium. Rock music appeals to a mass audience, instead of being the province of a relatively few aficionados. Can rock music make another step forward, or is it a self-limiting form, confined by the demands of a mass audience? How much that is radically new can a mass audience safely absorb? We came back to the question of balance. How much new material will be accepted by a mass audience? Can rock music go forward without leaving its fans behind? 
    We talked about Wilhelm Reich's orgone accumulator, and I showed him plans for making this device, which were passed along to me by Reich's daughter. Basically the device is very simple, consisting of iron or steel wool on the inside and organic material on the outside. I think this was a highly important discovery. Recently, a scientist with the National Aeronautics and Space Administration announced an "electrical cell" theory of cancer that is almost identical to Reich's cancer theory put forth 25 years ago. He does not acknowledge any indebtedness to Reich. I showed Jimmy the orgone box I have here, and we agreed that orgone accumulators in pyramid form and/or using magnetized iron could be much more powerful. 
    We talked about the film Performance and the use of cut-up techniques in this film. Now the cut-up method was applied to writing by Brion Gysin in 1959; he said that writing was fifty years behind painting, and applied the montage method to writing. Actually, montage is much closer to the facts of perception than representational painting. If for example you walked through Times Square, and then put on canvas what you had seen, the result would be a montage ... half a person cut in two by a car, reflections from shop windows, fragments of street signs. Antony Balch and I collaborated on a film called Cut-Ups, in which the film was cut into segments and rearranged at random. Nicholas Roeg and Donald Camel saw a screening of the film not long before they made Performance. 
Musical cut-ups have been used by Earl Browne and other modern composers. What distinguishes a cut-up from, say, an edited medley, is that the cut-up is at some point random. For example, if you made a medley by taking thirty seconds from a number of scores and assembling these arbitrary units--that would be a cut-up. Cut-ups often result in more succinct meanings, rather than nonsense. Here for example is a phrase taken from a cut-up of this article: "I can see the laser gate crashers with an appreciative cheer from the 13th row." (Actually a gate-crasher was extricated by security from the row in front of us; an incident I had forgotten until I saw this cut-up.) 
    Over dinner at the Mexican Gardens, I was surprised to hear that Jimmy Page had never heard of Petrillo, who started the first musicians' union and perhaps did more than any other one man to improve the financial position of musicians by protecting copyrights. One wonders whether rock music could have gotten off the ground without Petrillo and the Union, which put musicians in the big money bracket, thereby attracting managers, publicity., and the mass audience. 
    Music, like all the arts, is magical and ceremonial in origin. Can rock music return to these ceremonial roots and take it's fans with it? Can rock music use older forms like Moroccan trance music? There is at present a wide interest among young people in the occult and all means of expanding consciousness. Can rock music appeal directly to this interest? In short, there are a number of disparate tendencies waiting to be synthesized. Can rock music serve as a vehicle for this synthesis? 
    The broken guitar strings, John Bonham's drum solo, vitality by Robert Plant--when you get that many people to get it, very good. Buy a straw hat at the door--the audience all light matches. Cool well--trained laser beams channelled the audience smoothly. A scattering of sparklers. Danger to a Mexican border town. We start talking over a cup of the mass unconscious--cut to a soccer riot photo in Lima. The Uruguayan referee as another rock star. Sound like failing mountains of the risks involved. It's our job to see trouble and plateau the center of the room--remember the stairway to Switzerland? Fire really there. You can't see it if you refuse--underlying force the same. I mean we were playing a dance hall in heaven at the moment -- when the stairway actually possible for the audience was unlocked. 
Word for Word 
WB: I really, really enjoyed the concert. I think it has quite a lot, really, in common with Moroccan trance music. 
JP: Yes, yes. 
WB: I wonder if you consciously were using any of that. . . . 
JP: Well, yes, there is a little on that particular track, "Kashmir -- a lead bass on that--even though none of.us have been to Kashmir. It's just that we've all been very involved in that sort of music. I'm very involved in ethnic music from all over the world. 
WB: Have you been to Morocco? 
JP: No, I haven't, and it's a very sad admission to make. I've only been to, you know, India and Bangkok and places like that through the Southeast. 
WB: Well, I've never been east of Athens. 
JP: Because during the period when everybody was going through trips over to, you know, Morocco, going down, way down, making their own journeys to Istanbul, I was at art college during that period and then I eventually went straight into music. So I really missed out on all that sort of traveling. But I know musicians that have gone there and actually sat in with the Arabs and played with them. 
WB: Yeah, well, they think of music entirely in magical terms. 
JP: Yes. 
WB: And their music is definitely used for magical purposes. For example, the Gnaoua music is to drive out evil spirits and Joujouka music is invoking the God Pan. Musicians there are all magicians, quite consciously. 
WB: I was thinking of the concentration of mass energy that you get in a pop concert, and if that were, say, channeled in some magical way ... a stairway to heaven ... it could become quite actual. 
JP: Yes, I know. One is so aware of the energies that you are going for, and you could so easily.... I mean, for instance, the other night we played in the Philadelphia Spectrum, which really is a black hole as a concert hall. . . . The security there is the most ugly of anywhere in the States. I saw this incident happen and I was almost physically sick. In fact, if I hadn't been playing the guitar I was playing it would've been over somebody's head. It was a double-neck, which is irreplaceable, really, unless you wait another nine months for them to make another one at Gibson's. 
What had happened, somebody came to the front of the stage to take a picture or something and obviously somebody said, "Be off with you." And he wouldn't go. And then one chap went over the barrier, and then another, and then another and then another, and they all piled on top of . . . you could see the fists coming out . . . on this one solitary person. And they dragged him by his hair and they were kicking him. It was just sickening. Now, what I'm saying is this. . . . Our crowds, the people that come to see us are very orderly. It's not thesort of Alice Cooper style, where you actually try to get them into a state where they've got to go like that, so that you can get reports of this, that and the other. And the wrong word said at that time could've just sparked off the whole thing. 
WB: Yes, there's sort of a balance to be maintained there. 
JP: Yeah, that's right. WB; The audience the other night was very well behaved. 
WB: Have you used the lasers in all of the concerts? 
JP: Over here, yes. 
WB: Very effective. 
JP: I think we should have more of them, don't you? About 30 of them! Do you know they bounced that one off the moon, But it's been condensed . . . it's the very one that they used for the moon. I was quite impressed by that. 
WB: That isn't the kind of machine that would cause any damage. . . . 
JP: Uh, if you look straight into it, yes. 
WB: Yes, but I mean . . . it doesn't burn a hole in . . . 
JP: No.... It's been taken right down. I'm just waiting for the day when you can get the holograms ... get three dimensional. The other thing I wanted to do was the Van de Graaff Generator. You used to see them in the old horror films.... 
WB: oh yes  Frankenstein, and all that.
JP: When we first came over here ... when the draft was really hot and everything ... if you stayed in the country for more than six months, you were eligible for it, they'd drag you straight into the draft. 
WB: I didn't realize that. 
JP: Yeah. 
WB: Oh. I thought you had to be an American citizen. 
JP: No. No no. We almost overstayed our welcome. I was producing and having to work in studios here, and the days coming up to the six month period were just about ... it was just about neck and neck. And I still had a couple more days left and a couple more days to work on this lp. 
WB: Were they right there with the papers? 
JP: Well, not quite. I mean obviously it would have taken some time, but somebody would've been there.... You know, they do keep an eye on people. 
WB: Did you ever hear about something called infra-sound? 
JP: Uh, carry on. 
WB: Well, infra-sound is sound below the level of hearing. And it was developed by someone named Professor Gavreau in France as a military weapon. He had an infra-sound installation that he could turn on and kill everything within five miles. It can also knock down walls and break windows, But it kills by setting up vibrations within the body. Well, what I was wondering was, whether rhythmical music at sort of the borderline of infra-sound could be used to produce rhythms in the 
audience-because, of course, any music with volume will set up these vibrations. That is part of the way the effect is achieved. 
JP: Hmm. 
WB: It's apparently . . . it's not complicated to build these infra-sound things. 
JP: I've heard of this, actually, but not in such a detailed explanation. I've heard that certain frequencies can make you physically ill. 
WB: Yes. Well, this can be fatal. That's.not what your looking for. But it could be used just to set up vibrations. . . . 
JP: Ah hah ... A death ray machine! Of course, when radio first came out they were picketing all the radio stations, weren't they, saying "We don't want these poisonous rays" [laughter], ... Yes, well ... certain notes can break glasses. I mean, opera singers can break glasses with sound, this is true? 
WB: That was one of Caruso's tricks.. 
JP: But it is true? 
WB: Of course. 
JP: I've never seen it done. 
WB: I've never seen it done, but I know that you can do it. 
JP: I want laser notes, that's what I'm after! Cut right through. 
WB: Apparently you can make one of these things out of parts you can buy in a junk yard. It's not a complicated machine to make. And actually the patent . it's patented in France, and according to French law, you can obtain a copy of the patent. For a very small fee. 
JP: Well, you see the thing is, it's hard to know just exactly what is going on, from the stage to the audience.... You can only ... I mean I've never seen the group play, obviously. Because I'm part of it.... I can only see it on celluloid, or hear it. But I know what I see. And this thing about rhythms within the audience, I would say yes. Yes, definitely. And it is . . . Music which involves riffs, anyway, will have a trance-like effect, and it's really like a mantra.... And we've been attacked for that. 
WB: What a mantra does is set up certain vibrations within the body, and this, obviously, does the same thing. Of course, it goes . . . it comes out too far. But I was wondering if on the borderline of infra-sound that possibly some interesting things could be done. 
JP: Ah. 
JP: Last year we were playing [sets] for three hours solid, and physically that was a real. . . .. I mean, when I came back from the last tour I didn't know where I was. I didn't even know where I was going. We ended up in New York and the only thing that I could relate to was the instrument onstage. I just couldn't. . . . I was just totally and completely spaced out. 
WB: How long was that you played recently? That was two hours and a half. 
JP: That was two and a half hours, yes. It used to go for three hours. 
WB: I'd hate to give a three-hour reading . . . . 

03 06 2013




(click to read)


Differences between magic and art:

It was no easy feat getting in touch with Alan Moore. For a man who’s not afraid to speak his mind, he doesn’t like publicity. But when you get him talking, he has much to say. Moore is one of the most influential living comic-book writers, and his work has defined modern superhero comics in ways that are so enfolded into the industry that it’s hard to parse them anymore. For over thirty years he has put out a continuous stream of comics, from superheroes to Jack the Ripper to erotica. Moore’s reimagining of Swamp Thing in the early 1980s made horror comics their own industry just when publishers had all but given up on a comic subgenre that had once been the cause of the now much-belied Comics Code. His 1986–87 comic Watchmendemythologized superheroes by stripping them of their godlike glamor and morality and showing how damaging and complicated power really is. Moore has also watched as his creations have been torn asunder by the very industry he helped transform. His much-loved comic book The League of Extraordinary Gentlemen is a wonder of pulp, fantasy, intrigue, and politics, but once the movie studios got their hands on the property, it was turned into an example of how not to adapt a comic book.

But Moore, at least by all indications, has put all that behind him, particularly his very public falling-out with DC Comics. He has sworn off the mainstream comic-book publishers, writing only for smaller, independent companies. His output is still prolific. In 2009, Moore started publishing and editing Dodgem Logic, an underground magazine with many of the contributions from locals of his hometown of Northampton, England. He is currently working on Jerusalem, a novel expected to be over five hundred thousand words long, a twelve-issue comic series about H. P. Lovecraft for Avatar Comics, and another tale in the ongoing League of Extraordinary Gentlemenseries. Moore’s comics are not merely fanciful creations but alchemical diagrams that reveal the secrets of his unconscious. Moore believes magic is a grammar—a linguistic, symbolic structure for looking at the world. He has at times described interactions with gods and demons; he insists these entities are not real in the phenomenal sense. They are ideas, but they contain all the power of these gods as if they were real. Moore believes that art and magic are aspects of the same part of human consciousness: the will to create. Magic, for Moore, is not about the material world but the world of the mind. Its only authentic external expression is art. This interview took place by phone.

—Peter Bebergal

01 06 2013

Cameron Jamie at Kunsthalle Zürich, June 2013


Cameron Jamie 

9 JUNE – 18 AUGUST 2013 

Kunsthalle Zürich presents a comprehensive solo exhibition by the American 
artist Cameron Jamie (born in 1969 in Los Angeles), which reveals the wide 
diversity of media he employs in his artistic production. Covering more 
than two decades of activity, the exhibition intertwines early works, such 
as the black and white photographic series Front Lawn Funerals and 
Cemeteries (1984 – ongoing), the installation of the documented performance The 
New Life (1996) and its related cloth/vinyl mask Self-Portrait (1992), with 
very recent ceramic sculptures like Ma Blue (2012) and new ink drawings. 
For the first time, the artist has al- lowed his drawings, sculptures, 
ceramics and objects to be shown in dialogue with his films BB 
(1998–2000), Massage 
the History (2007–2009) and Kranky Klaus (2002–2003), which portray both 
the American and European vernacular and amateur traditions through a 
radical ar- rangement of images and sound. 

The leitmotiv of the exhibition is the mask, a figure that constantly 
surfaces in a variety of Cameron Jamie’s works down through the years. A 
metaphor for the dialectic game of concealing and reveal- ing the 
individual’s identity, the mask stands for the fragile boundary between 
private and social conduct. In his earliest works, the mask was an allegory 
of the persistence of vernacular rituals in urban societies. Cameron 
Jamie's sculptures and ink drawings further develop this motif to explore 
the layers of the body as a territory of analysis and investigation. The 
media of drawing and ceram- ics allow the artist even greater radicalism 
and intimacy in his works, in which both the immediacy and the fragility of 
existential themes are tangible. 

Cameron Jamie’s perspective on suburban culture, the appropriation of 
vernacular rituals and the persistence of obscure, magical elements in our 
society is both a sympathetic and an analytical one. He has been manifestly 
nurtured by the same kaleidoscopic culture that he portrays. It would be a 
mistake to interpret his fascination with popular activities and behaviour 
as a way of blurring the boundaries between high and low culture. Today, 
pop culture is largely accepted, not only in main- stream cultural 
production but also in prestigious cultural institutions and in academia. 
Instead, Cameron Jamie is interested in marginal realities and amateur 
home-based practices that reveal the hidden face of our society. In 
addition to the theme of the mask, violence is another recurring subject in 
the work of the artist, a violence that appears to feature in every 
activity that the artist observes, from his native Los Angeles to Alpine 
villages in rural Austria. The subtle presence of violence is mostly 
depicted in the film works of Cameron Jamie. In The New Life (1996), the 
artist documents his own staged fight against an impersonator of Michael 
Jackson. In the well-known film BB (1998–2000), the violence is further 
explored as an amateur wrestling show performed in the backyard of a 
suburban home. Equally descriptive is the film Kranky Klaus (2002–2003), 
which portrays the annual ritual of Krampuslauf in Austria. 

Massage the History (2007–2009), his most recent film, offers another view 
of a marginal reality and presents a private performance by amateur dancers 
in their living rooms in Alabama. Yet, it also clearly depicts an 
unconditioned fascination with the poetry and beauty that arises in 
unexpected places. As the dancers move in elegant and explicit ways, 
engaging in a provocative dance with the living-room furniture, the 
underscoring music by Sonic Youth provides a hypnotic soundtrack to the 
film, emphasizing its mesmerizing atmosphere. Music and sound is undeniably 
an essential component of Jamie’s film work; the artist has collaborated 
with musicians like The Melvins and Keiji Haino, for example, who have also 
provided compelling soundscapes for his films. 

The works presented in this extensive exhibition clearly position the 
artist outside the conventional paths of contemporary artistic production 
while also establishing the uniqueness and significance of his practice. 
The two floors of Kunsthalle Zürich have been adapted and arranged to 
exemplify the tension generated by the confrontation between the inside and 
the outside, which is illustrated by the wide-ranging and varied selection 
of the artist’s works. 

The Cameron Jamie exhibition presented at Kunsthalle Zürich will travel to 
additional venues. Fur- ther information will be available on our website. 


A comprehensive catalogue of Cameron Jamie’s exhibition will be published 
by JRP|Ringier Kunstverlag. For additional information and details, please 
visit our homepage. 

Cameron Jamie «Inner Planets», Palmenhaus in the Old Botanical Garden 

Cameron Jamie’s installation «Inner Planets» at Palmenhaus in the Old 
Botanical Garden Zurich comprising 42 clay masks is curated by Lynn Kost 
and held in cooperation with Kunsthalle Zürich and Art in Public Space 
Zurich (KiöR). 1. – 30.6. 
Palmenhaus in the Old Botanical Garden Zurich, Pelikanstrasse 40, 8001 
Zurich (entrance: corner of Talstrasse/Badweg), open: 11am – 3pm daily 


Press Information: Friday, 7.6., 11 am 

Contemporary Art Day, Sunday, 9.6., from 10 am 

10 am: Opening Cameron Jamie «Inner Planets», Palmenhaus in the Old 
Botanical Garden Zurich 11 am – 5 pm: Opening Cameron Jamie at Kunsthalle 
Zürich; Introduction by Beatrix Ruf 

Special guided tour: Thursday, 20.6., 6 pm 

Guided tour on the topic ‘masks’ with Lynn Kost through Cameron Jamie’s 
installation at Palmenhaus and through the exhibition at Kunsthalle Zürich. 
Meeting point: Palmenhaus, Old Botanical Garden Zurich 

Public guided tours (in German) Sunday Tours, 2 pm 

16.6. (Rahel Blättler) / 30.6. (Niels Olsen) / 14.7. (Anna Francke) / 
28.7. (RB) / 11.8. (AF) 

Lunchtime Tours, Wednesday, 12.30 pm 

26.6. (NO) / 17.7. (RB) 

Evening Tours, Thursday, 6.30 pm 

27.6. (NO) / 4.7. (RB) / 25.7. (AF) / 15.8 (NO) 
Please consult the latest information on www.kunsthallezurich.ch 

Further information and images are available on request by telephone +41 44 
272 15 15 or email presse@kunsthallezurich.ch. 

Opening hours 

MO 10.6. 10 AM – 5 PM, HOLIDAYS: 1.8. 10 AM – 5 PM 
[image: page2image43616] 

01 06 2013

Happy Birthday to the memory of Marilyn Monroe “Imperfection is beauty”









From Artsy

She was born Norma Jeane Mortenson, but she left her mark as Marilyn Monroe—the sinuous blonde bombshell who cast a spell on all those she encountered. Among her admirers were Andy Warhol and John F. Kennedy, the latter whom she sang to at his 45th birthday party (watch the video at right and see her song accompanied by his five-foot birthday cake). But today, the birthday wishes all go to Marilyn. “Imperfection is beauty,” she once notoriously said. “Madness is genius and it’s better to be absolutely ridiculous than absolutely boring.”

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