jim carroll talks aspirin 1991 + Praying Mantis

http://www.youtube.com/watch?v=XVSA4X_wEoE&feature=player_embedded





http://nevergetoutoftheboat.blogspot.com/2009/09/jim-carroll.html

Never Get Out Of The Boat!
9.14.2009

Jim Carroll - Praying Mantis (1991)
Spoken Word From The Late Poet/Singer
Recorded live at St. Mark's Church, NYC. Worth owning just to hear Carroll's "Tiny Tortures" - a wicked recollection of JC's one night as a 17 year old performance artist. Jim Carroll died of a heart attack yesterday, September 13th. (@320)

Fragment: Little N.Y. Ode (0:24)
A Day At The Races (4:23)
Times Square's Cage (2:05)
A Child Growing Up With The Sun (1:54)
Tiny Tortures (11:25)
To The National Endowment Of The Arts (1:48)
Terrorist Trousers (2:36)
Monologue: The Loss Of American Innocence (13:42)
For Elizabeth (2:33)
Sampling Nietzsche (0:33)
Just Visiting (5:51)
Praying Mantis (1:22)
Posted by Willard

Please use link to original blogposting to find download link.

The Cramps tribute in Rock Hardi #38

Patrick Bainée from the Staysick Yahoo group at: http://launch.groups.yahoo.com/group/staysick/ shared this...

Latest issue of French zine Rock Hardi features a kinda Cramps tribute CD, stuff like "Fever" by Dominic Sonic, "Spongebob / Underwater Sun" by Candy Band and an awsome lisergic version of "The Band That Time Forgot" by the Primevals, attached.

Attached too an interview with Mickey Rooney in which he explains why the Primevals chose that song - our man Lindsay brought their attention on that song ...

Get the mag here or at their my space (money transfer, they don't take Paypal)
www.rockhardi. com

http://rockhardi.site.voila.fr/


Rock Hardi # 38
Dossier : Gun Club. Interviews : Dominic Sonic, Serge Clerc, Wayward Gentlewomen, Jack O. Leroy, Kent, The Noisettes, The Micragirls, Non!, Jellyfuzz, Wonky Monkees, Hurly Burlies. Candy Band. The Clash (nouvelle inédite de Jean-Luc Manet). Et toujours les rubriques disques, BD, livres, polars, fanzines... et la compilation CD Grand Prix Vol. 6 avec Dominic Sonic, The Primevals (Cramps Tribute), The Micragirls, Wonky Monkees, Non!, Hurly Burlies, Jack O. Leroy (feat. Kevin K), Candy Band, The Skeptics, Jellyfuzz.
Sortie : 1er septembre 2009.
Le n° + le CD : 7 euros (port compris)

Creative Thievery

"Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent.” - Jim Jarmusch

I stole this from: http://richardkovitch-thedrift.blogspot.com/2009/09/authenticity-is-invaluable.html

Robyn Hitchcock recommends "Cherry Picking Apple Blossom Time"

HwyCDRrev from the VegetableFriends Yahoo group at: http://launch.groups.yahoo.com/group/VegetableFriends/ passes along this little interesting tidbit from Robyn Hitchcock...

Robyn Hitchcock recommends Cherry Picking Apple Blossom Time

David Greenberger meanders around America, lovingly collecting the
life stories of old people like fireflies in a jar. On Cherry Picking Apple
Blossom Time he
visits Milwaukee which, as one elderly resident explains, has the
same number of letters as Wisconsin. Over a smoky grid of blues-funk
and acoustic guitar played by Paul Cebar and his band, David recites
anecdotes and reflections from the Milwaukee senior citizens that he
has interviewed on his recent visits there.

In an America that seems increasingly dominated by amnesia, and the
erosion of its history, it's very heartening - and poignant - to hear
these fragments of lives as they draw to a close. The rootsy tone of
the music - Ry Cooder, Tom Waits, David Byrne and even Beefheart's
Magic Band come to the mind's ear - adds Americana to these tales of
vanishing Midwestern life. Here are the man who cheated at tomato-
growing by hanging a purchased one on a vine; the man who made peace
with his artificial arm and hung shopping bags from it; and the man
in a red shirt who feels like a king. There are exuberant moments,
but the most moving pieces are the elegies: people who gently mourn
their vanished partners - one speaks of his wife as his co-pilot,
another of how he's tried to replace his wife with crossword puzzles.
The matter-of-fact tone that David uses in these vignettes is partly
what makes them so emotional. In 'No Rooms Here' you can hear the
life and memory of the elderly female narrator dissolving as she
speaks. Just as certain as our death is the uncertainty of what
follows - this ambiguity riddles the inhabitants of Cherry Picking
Apple Blossom Time.

The fragments drift by in a meditational parade - the slow shuffle of
people preparing to exit their lives, setting things down, and then
picking them up a few minutes later, trying to weigh everything up
while it's still theirs. Here, in this album, they can dwell a little
longer, and we can hear them until our echoes fade with theirs. I
recommend this record to anybody who cares about people.

- Robyn Hitchcock, September 2009



AVAILABLE HERE: http://duplexplanet.com/giftshop.html

Duplex Planet Giftshop
New CD!

Cherry Picking Apple Blossom Time
David Greenberger with music by Paul Cebar

Monologues by David Greenberger based on his conversations with elderly Milwaukeeans. Music composed and performed by Paul Cebar with Reggie Bordeaux, Bob Jennings, Mac Perkins, John Sieger, Steve Cohen, Mike Kashou, Mark Greenberg, and Juli Wood. Available now!

Cherry Picking Apple Blossom Time will be performed at Milwaukee's historic Pabst Theater on May 13, 2009.

Charles Bukowski, William Burroughs, and the Computer

"...Linda signed Bukowski up for a computer class & he went willingly, demonstrating his eagerness to master the new technology. A short time later, Bukowski characteristically claimed that he had a secret, foolproof system for dealing with his computer’s many shutdowns & malfunctions, much like he had a system at the racetrack..."

http://realitystudio.org/bibliographic-bunker/charles-bukowski-william-burroughs-and-the-computer/

RealityStudio
(A William S. Burroughs Community)

Reports from the Bibliographic Bunker
Jed Birmingham on William S. Burroughs Collecting

16-bit Intel 8088 chip

with an Apple Macintosh
you can’t run Radio Shack programs
in its disc drive.
nor can a Commodore 64
drive read a file
you have created on an
IBM Personal Computer.
both Kaypro and Osborne computers use
the CP/M operating system
but can’t read each other’s
handwriting
for they format (write
on) discs in different
ways.
the Tandy 2000 runs MS-DOS but
can’t use most programs produced for
the IBM Personal Computer
unless certain
bits and bytes are
altered
but the wind still blows over
Savannah
and in the Spring
the turkey buzzard struts and
flounces before his
hens.
– Charles Bukowski

Charles Bukowski and the Computer

On Christmas Day, 1990, Charles Bukowski received a Macintosh IIsi computer and a laser printer from his wife, Linda. The computer utilized the 6.0.7 operating system and was installed with the MacWrite II word processing program. By January 18 of the next year, the computer was up and running and so, after a brief period of fumbling and stumbling, was Bukowski. His output of poems doubled in 1991. In letters he remarked that he had more poems than outlets to send them to. The fact that several books of new poems appeared in the years following Bukowski’s death in 1994 can partially be attributed to this amazing burst of creative energy late in life. The Macintosh IIsi helped to enable this creative explosion.
Flying in the face of the adage “You can’t teach an old dog new tricks,” Bukowski kept an open mind about new technologies. Although he wondered if Dostoevsky would have ever used a computer or if he would lose his soul as a writer, Bukowski quickly realized the substantial benefits of the Macintosh and wondered how he ever wrote without one, considering the typewriter archaic. In correspondence, Bukowski championed his computer to friends, stating that they would never regret getting one for themselves. Linda signed Bukowski up for a computer class, and he went willingly, demonstrating his eagerness to master the new technology. A short time later, Bukowski characteristically claimed that he had a secret, foolproof system for dealing with his computer’s many shutdowns and malfunctions, much like he had a system at the racetrack.

In general Bukowski kept abreast of new innovations that would further his writing. In a letter to John Martin, his Black Sparrow publisher, Bukowski mentioned the availability of a technology (the Internet) that would allow him to send poems instantly. The speed and ease of new technologies amazed, excited, and inspired him. When he first got a fax machine, Bukowski immediately wrote Martin a fax poem. In late 1992, Bruce Kijewski approached Bukowski with the idea of electronic books. Bukowski was intrigued. He wrote back, “Yes, you have a strange project: electronic books. It might be the future as more and more people find that the computer is such a magic thing: time-saver, charmer, energizer.” Bukowski’s open-mindedness in old age is refreshing, when you consider all the aging writers who fall back and rely on the familiar, be it in technologies of writing or actual writing style. But there are still reservations and a sense of nostalgia. The same letter to Kijewski continues, “But, still, when [the electronic book] comes I will still miss the old fashioned book.” Despite such statements, it is clear that Bukowski was a writer not afraid of, or pessimistic about, the future.

Bukowski’s embrace of new technology should not surprise me, but it always does. Putting aside the transgressive nature of Bukowski’s subject matter, part of me considers him a conservative poet. On the level of poetics, he rarely impresses me as particularly innovative. For example he never experimented with the page as a field, a technique that I have a weakness for. In addition, his use of poetic form and the line seems rather simple and direct. Yet this was not always so. The poems from the 1960s used a much longer and freer line that incorporated elements of surrealism. There is a playfulness of language in these poems. Bukowski gets drunk on words and the joys of putting them together. This excess gets stripped down later in his career. I tend to see this as a lack of innovation, but it is not; it is an adaptation and, in fact, addresses Bukowski’s intense concern with the line. Bukowski as he got older sought a simpler, more direct poem and used a shorter line. I should think of William Carlos Williams, Louis Zukofsky, or HD when I see Bukowski’s later poems with their four to five word lines. As with new technology, Bukowski possessed an open mind with all manner of writing styles and techniques. He would try anything once. For a brief period in the later 1960s, Bukowski, at the urging of Carl Weissner, addressed the cut-up and flirted with the idea in a few poems. A great letter from the period parodies the cut-up, even though the cut-ups probably came from Bukowski’s imagination rather than the scissors.

I do not want to suggest that Bukowski was pioneer or a radical in his use of the computer. He is no Michael Joyce, to mention a pioneer in the field, and his work never did incorporate the possibilities of, nor test the boundaries of, digital technology, like the more innovative literature of this nature. In fact, Bukowski readily admitted that he used the computer as a typewriter. He marveled at basic capabilities such as formatting, fonts, and spell check. Yet there is more to Bukowski’s relationship with computer than that. In a letter to Ivan Suvanjieff on February 20,, 1992, Bukowski set out in some detail his thoughts on the computer and writing. He writes, “One editor writes me an almost snarling letter. ‘All a computer does is allow you to correct the composition of your work!’ This man understands nothing.” Pound, Olson, and Zukofsky demonstrated the value of the typewriter in composition so this ability on the computer is no small matter, as are fonts and the like, but for Bukowski, the computer actually altered how he felt about and approached his writing. In the same letter he writes, “There is something about seeing your words on a screen before you that makes you send the word with a better bite, sighted in closer to the target. I know a computer can’t make a writer but I think it makes a writer better. Simplicity in writing and simplicity in getting it down, hot and real.” He continues, “When this computer is in the shop and I go back to the electric, it’s like trying to break rock with a hammer. Of course, the essence of writing is there but you have to wait on it, it doesn’t leap from the gut as quickly, you begin to trail your thoughts — your thoughts are ahead of your fingers which are trying to catch up. It causes a block of sorts indeed.” Bukowski directly links the ease of writing on the computer with his later, simpler style. One might think that a computer would lead to a longer line, an increased verbiage, not with Bukowski. The ease of the delete / edit functions was as important as the ability to get one’s thoughts down quickly. In addition, the visual aspect of the screen and the feel of writing on a computer influenced the form of Bukowski’s later poetry.
Bukowski also incorporated the computer as a metaphor in his later writing. From early 1991 to his death in 1994, computers and the act of writing on one appeared repeatedly. In The Captain is Out to Lunch and the Sailors Have Taken over the Ship, R. Crumb provided an illustration of Bukowski sitting in front of his Macintosh. The caption reads, “Old writer puts on sweater, sits down, leers into the computer screen and writes about life. How holy can we get?” Clearly, the computer re-energized Bukowski and gave him new life as a writer. Yet much of Bukowski’s late writing was about old age and death. The computer fit into this. In poems, letters, and in The Captain, Bukowski chronicled his struggles with the computer. The shutdowns, the lost poems, the time at the shop for repairs. This mirrored Bukowski’s own health problems and trips to the hospital. The computer represented the writer in old age. The computer and the digital revolution also suggest the end of the book and of print. As a result, the computer spelled the death of the traditional author, a fact that must have struck Bukowski as he faced death himself. Yet all was not doom and gloom as the computer (old age and death) also provides the material and means for new poems. So the computer also represents the old writer’s creative impulse. In the four letters collected in Reach for the Sun for 1994, two mention the computer. In Bukowski’s late writing, the computer simultaneously symbolized the persistent creativity and eventual death of the aging writer.

Considering the importance of the computer to Bukowski’s later work and creative process, I wonder if his computer, hard drives, and disks were sent to the Huntington Library with the rest of his archive. Again the level of study directed at Bukowski’s computer would not be on the same level as, say, a Michael Joyce, but a familiarity with a Macintosh IIsi, the 6.0.7 operating system, and MacWrite II would provide insight into Bukowski’s working habits and the resulting output. Given the creative charge Bukowski felt facing the black computer screen, a scholar would be well served experiencing the same working environment. Did Bukowski tailor his poems to the screen? Was the journal / diary aspect of The Captain derived from the computer in any way? How did Bukowski edit on the computer? Did his writing process differ from his use of the typewriter or his writing by hand? Bukowski mentioned experimenting with fonts and formatting. Did he keep any of these efforts and what was the extent of this practice? How did he format his blank “page” on the screen?

As Bukowski’s letters and other writing of the early 1990s show, he was aware of the importance of these questions. Take the poem “16 Bit Intel 8088 Chip.” Here, the incompatibility of computers is contrasted with the harmony of nature. The themes of rebirth, death and the poet in old age are all present as with much of Bukowski’s writing addressing the computer. Yet the poem also touches on a central dilemma for the contemporary librarian and archivist. How do you store and make sense of all the different computer technologies that proliferate in the digital age? The poem also hints at the transitory nature of computer technology. Like microfiche, tape cassettes and CDs, computer operating systems change rapidly and deteriorate. Unlike paper, unlike the traditional, soon to be “obsolete” book. Despite the changing technology, writers and artists will still create, but how is a librarian to keep track of this output and keep it available ten, fifty, a hundred years from now?

As a generation of baby-boom writers approach the completion of their creative careers, these are becoming central questions for today’s librarians. Currently, the University of Texas Library has 37 author archives that contain computer technology. This number is going to explode in the next decade. Famously, the computers of Ralph Ellison proved a major obstacle in piecing together the thousands of pages of draft of his never-completed follow-up to Invisible Man. Ellison used several different computers with different operating systems to store his drafts.

When I was briefly in graduate school, I was required to be fluent in a foreign language. This was a major roadblock for me. Today, a mastery of computers, their operating systems, their languages, and how they work is becoming mandatory for scholars and librarians. They need to be computer programmers and designers as well as experts on bibliographic matters. The questions this technology raises are numerous. How do you create electronic versions of texts? What are the standards and critical approaches to these texts? How are various electronic drafts to be approached and prioritized? What are the ethics of digging into a writer’s personal computer? What is a writer’s obligation to save drafts and email? Such questions are just the tip of the iceberg.

Kyle Schlesinger, my co-editor on Mimeo Mimeo, sent me a link to the work of Matthew G. Kirchenbaum, an Associate Professor of English at the University of Maryland. He and other forward-looking academics are addressing these questions. Jerome McGann, as I have mentioned before, is one of the pioneers in this respect. His work on the Rossetti Project and with IVANHOE shows what is possible as well as the endless possibilities. I also mentioned in my Beat Critics article about the desire to create an electronic version of On the Road complete with Kerouac’s revisions and scholarly commentary. As Beat criticism moves away from definitions and canon formation, it will have to address many technological questions. Kirchenbaum and others are mapping this field. The white paper, Approaches to Managing and Collecting Born-Digital Literary Materials for Scholarly Use, is a case in point.


William Burroughs and the Computer

This takes me to the William Burroughs archive at the Berg. The index of the archive was just posted on the Berg’s website. It makes for fascinating reading. The breadth of the archive is immense and intimidating. Quite possibly, the traditional book may not be the best manner to present the contents of this archive to the public. For example, maybe an electronic Naked Lunch along the lines of the electronic Melville described in John Bryant’s paper on On the Road is what is needed. Thus, making sense of the Burroughs archive may require a solid knowledge of computers and computer design.
That said, none of the items in the Burroughs archive are born digital, i.e., they were not initially created on a computer or by other digital means. Burroughs used a typewriter or wrote by hand. Everything Lost highlights the incredible set of challenges that results from holograph manuscripts while also showing how modern technology can suggest solutions to these problems. While I have heard mention that Burroughs possessed a computer in Lawrence, I have never seen evidence that he utilized it in his creative process. The Berg shows no computers, disks, hard drives or print outs. This makes sense given that the collection dated from 1951 to 1972, but I am unaware of such items elsewhere, such as Ohio State University. I have never seen an original Burroughs manuscript, such as a laser printout, that shows his work was ever born digital. I believe Last Words was handwritten in a journal. Somebody correct me if I am wrong here.

As far back as the mid-1960s, Burroughs was aware of the possibilities of the computer and computer-generated poetry. In Insect Trust Gazette, Burroughs’ work appears alongside an early computer poem. In his interview with Conrad Knickerbocker in Paris Review, he stated that he had yet to experiment with the computer, but thought that such literature was valid and interesting, if it stood on its own merit. Yet as time passed — again, as far as I know — Burroughs never experimented with the computer. On one level this makes sense given the fact that Burroughs was well advanced in age and set in his ways by the time the personal computer was generally available. You might say you can’t teach an old dog new tricks, but Bukowski proves that you, in fact, can.

Part of me has always found it weird that Burroughs was not more involved in the Internet and computers. It seems right up his alley. His work has often been connected to cyberpunk fiction as an early influence. His writing is routinely described as a form of hypertext (”You can cut into Naked Lunch at any intersection point”). One might think Burroughs would be curious to explore this aspect of his work further, given the hype surrounding hypertext in the early 1990s. Burroughs readily embraced the technologies of film, tape, and painting into his creative process, so he was open to new media and mediums. The idea of the Composite City and Interzone seem, as critics have noted, to have a particular affinity to hypertext and the Internet. The free-flowing and interconnected nature of the City draws many comparisons to the Web. I tend to link Interzone and the Composite City with Borges’ concept of the Tower of Babel and the all-inclusive library. The idea of an endless novel and a digital archive seem Burroughsian to me. Burroughs, computers, and the Internet seem a match made in, if not heaven, cyberspace.

In 1994, Wired announced the imminent launch of an official Burroughs website in conjunction with Timothy Leary. It never came off. The venture proved to be largely an example of financial speculation, rather than a creative enterprise. The presence of Leary cements this fact for me. From psychedelics to cyberspace, Leary was more P.T. Barnum than anything else. He was a promoter and a popularizer rather than a true astronaut of inner- or cyberspace. Leary was not a creator. Yet this idea of a website with Burroughs’ input continues to fascinate. What would Burroughs have done with an Ian Sommerville-type collaborator who knew the nuts and bolts of computers and the Internet, was aware of their philosophical and cultural implications, and also possessed a desire to expand the medium creatively? Like many on the forum at RealityStudio, I wonder what if? It was not to be.
Maybe the lack of born-digital material in Burroughs’ archives can be simply explained by the fact that the digital age had passed him by in his old age. An interview from 1987 suggests as much. On the question of Burroughs’ involvement with word processors, he answers, “No, I’m very poor with any mechanical contrivances. I don’t know how a typewriter works, for example. I can use it, but I don’t know how it works. Right now, word processors seem just too complicated to get into. I guess they would be helpful, save a great deal of time, undoubtedly, but at this point the effort involved in learning how to use them just doesn’t seem worthwhile.”

But there might be more to Burroughs’ less than enthusiastic attitude toward computers than that. By the 1990s, Burroughs had largely left writing behind and was exploring painting more fully. He clearly still burned with the desire to create. The process of painting excited Burroughs, particularly the use of the hand and gesture. In an interview with Klaus Maek in 1990, Burroughs states, “When I started painting, I said, I will have to see with my hands and I just let my hands do it. And my hands, sometimes they know.” The cut-up was a similar physical process. Burroughs needed that direct confrontation with his materials in order to create. He wrote in Naked Lunch: “There is only one thing a writer can write about: what is in front of his senses at the moment of writing.” Painting provided a slightly different intimacy and immediacy. Burroughs states, “For one thing when you are writing you can’t help but know what you’re writing about because it’s right there in front of you, but I never know what I’m painting until I am finished. I sometimes paint with my eyes closed because I see with my hands when I paint. In a sense, painting is easier than writing because you just let your hands do it…” Possibly, the blank computer screen provided too much distance to interest and to inspire Burroughs. As I mentioned Bukowski felt the opposite: the computer got him directly into the writing.

Looking through Burroughs’ archive suggests another roadblock to the computer. The archive clearly demonstrates how intimately Burroughs dealt with the materials of print culture. Burroughs was particularly fascinated by that epitome of mass print culture: the newspaper as well as magazines and journals. Bukowski was interested in the little magazine and underground paper solely as outlets for his work. In contrast, Burroughs sought to detourn mass print culture and turn it back on itself. How mass print culture operated, disseminated, and influenced public opinion intrigued Burroughs. He was also intensely involved with the materiality of print. The printed word was an object to be manipulated. The cut-up and his use of collage in scrapbooks highlight this. Writing on a computer lacks this materiality. Of course this is not true as data recovery makes clear. Even a deleted document leaves a trace burned into the hard drive. Yet the immediacy of the typewriter biting into paper is not there, to say nothing of the pleasure of the act of handwriting. Cutting and pasting digitally lacks the obvious physical effort of scissors and glue. We come back to Burroughs’ pleasure in the tactile.

Nostalgia plays a large role in Burroughs’ work. For all of Burroughs’ claims of embracing the future, moving towards the space age (”We are here to go!”), he felt strongly the pull of the past. He looked back fondly at silent films of the 1920s and the same holds true for the print culture of bygone days like boy’s weeklies. The digital age supposedly spells the death of print. Clearly the newspaper as Burroughs knew it is, if not dying, in a profound period of change. Burroughs would have felt that loss keenly. The age of the electronic book and the Internet may have been a world that Burroughs predicted but it seems, looking at his archive and his interest in painting, to have been a world he chose not to get involved in and maybe, creatively, could not embrace. For the most part, Burroughs approached the digital age with what he ultimately sought and demanded in his writing, silence.

Written by Jed Birmingham and published by RealityStudio on 10 September 2009.

The Sidewinders - "The Flight of the Bumblebee"

http://powerpop.blogspot.com/2009/08/quick-henry-flit-part-deux.html

"From the summer of 1972, please enjoy perhaps unjustly forgotten NYC proto-glam rock punks The Sidewinders and their surf guitar/raga version of Nicolai Rimsky-Korsakoff's immortal "Theme From The Green Hornet," a/k/a "The Flight of the Bumblebee."
...Incidentally, the reason these guys are even a footnote to rock history is that the album was a) produced by the great Lenny Kaye, of Patti Smith Group fame; b) it featured Andy Paley, who would later collaborate with Brian Wilson and do lots of other interesting stuff..."

Listen & download the song here: http://www.divshare.com/download/8158815-d10


By the way, the PowerPopCriminalsBlog download link of The Sidewinders' album mentioned in the original blogposting of this post is not the same band! The real original album cover is below...

Back, after being neglected, images - few, borrowed, good, here, now

From: http://catherinejeanette.tumblr.com/post/176175866/abandoned-library

Abandoned library



From: http://mogadonia.tumblr.com/post/176550507

PARAPHILIA MAGAZINE ISSUE 4 - Cover art by John Coulthard
FEATURING: JOHN COULTHART, ARNAUD LOUMEAU, JIM LOPEZ, MICHAEL K, MICHAEL ROTH, CHRIS BRANDRICK, CLARE GODDEN-ROWLAND, MALCOLM ALCALA, SALENA GODDEN, THOMAS EVANS, GENE GREGORITS, DOLOROSA, A.D. HITCHEN, CHRISTOPHER NOSNIBOR, MAX REEVES, IAN MILLER, RICH FOLLETT, NICK TOSCHES, CHARLES CHRISTIAN, ROBERT AGASUCCI, ELE-BETH LITTLE, ALFRED MURO, DAVID CONWAY, DARIUS JAMES, DESTINY MCKEEVER, STEWART HOME, PATRICK WRIGHT, CRICKET CORLEONE, RICHARD A. MEADE, RICK GRIMES, LITTLE SHIVA, HANK KIRTON, CRAIG WOODS, JAD FAIR, CLAUDIA BELLOCQ, TOM GARRETSON, ANGELA SUZZANNE, RON GARMON, DAVID GIONFRIDDO, KATE MACDONALD, MARY LEARY, CHRIS MORRIS
FREE PDF download here: http://www.paraphiliamagazine.com/magazine.html#issuefour



From: http://tsutpen.blogspot.com/2009/09/artists-in-action-519.html

Artists in Action #519
Badass composer Igor Stravinsky holds a negative view of W.A. Mozart



From: http://trixietreats.tumblr.com/post/178317699/kris-kuksi

Kris Kuksi



From: http://pleasedontsqueezetheshaman.tumblr.com/post/178797046/its-never-too-early-for-organy-porn-oh-yeah

This Mellotron M400 is letting it all hang out in clear lucite.



From: http://janitoroflunacy.tumblr.com/post/179831855/misstugui-thethirdmind-learn-hindi

misstugui:thethirdmind: Learn Hindi.



From: http://juliasegal.tumblr.com/post/180090479





From: http://exclamationmark.tumblr.com/post/180708368/barbara-steele

Barbara Steele



From: http://trixietreats.tumblr.com/post/181271960/european-surrealists-in-1930-front-row-tristan

European surrealists in 1930. Front row: Tristan Tzara, Salvador Dali, Paul Eulard, Max Ernst, Rene Crevel. Back row: Man Ray, Jean Arp, Yves Tanguy, Andre Breton (via Dream Views)



From: http://thesweetestpsychopath.tumblr.com/post/181175885/afogofideas-incredible-japanese-science

Incredible Japanese Science Fiction/Horror Illustrations over at: http://monsterbrains.blogspot.com/



From: http://pleasesirblog.blogspot.com/2009/09/on-road.html





From: http://ajourneyroundmyskull.blogspot.com/2009/09/frolicsome-flowers-of-evil.html

Scans from Frolicsome Flowers - They See the Wonderful "Rajah Rug," story and illustrations by T. Benjamin Faucett (New York: A. L. Burt Company, 1924).
I have not read this book -- and probably never will read it -- but I can't stop staring at the giant bumblebee, the moleman in the mirror, and the creepy-as-fuck flowers. I'm waiting for the other three books to arrive and plan to feature them. I've seen the books listed for between $20 and $300.



From: http://gmtplus9.blogspot.com/2009/09/pistol-packin-mama.html

Al Dexter & His Troopers... Pistol Packin' Mama (1943, OKeh 6708 .mp3 audio 02:47)-download



From: http://retro-troll.tumblr.com/post/182722903/karl-meersman-keith-richards-caricature

Karl_Meersman_Keith_Richards_caricature



From: http://commons.wikimedia.org/wiki/File:Sami_family_1870s.jpg

Sami family in front of their home, albumen print; 21,7 x 17 cm
Unknown photographer.



From: http://janitoroflunacy.tumblr.com/post/182496257/erik-satie-santiago-rusi-ol-1891

Erik Satie ~ Santiago Rusiñol, 1891



From: http://nickdrake.tumblr.com/post/183921918/the-pretty-things

HAAM BENEFIT DAY 2009 & GOOD EGGS & HAAM FIRST ANNUAL BENEFIT

"This is one fine organization & a Godsend to yours truly & many other needy Austin musicians. I'd probably be dead or soon-dead if they hadn't offered me a helping hand. Please be generous with your support." -- T. Tex Edwards

HEALTH ALLIANCE FOR AUSTIN MUSICIANS SUPPORTER NEWS
SPECIAL HAAM BENEFIT DAY EDITION
(a newsletter from HAAM)

www.healthallianceforaustinmusicians.org
www.myhaam.org
www.myspace.com/myhaam
http://www.facebook.com/pages/Austin-TX/Health-Alliance-for-Austin-Musicians/48911101474
http://twitter.com/myhaam


EAT, SHOP, DONATE, AND ENJOY ON THE FOURTH ANNUAL HAAM BENEFIT DAY!


On Tuesday, September 22, join the Health Alliance for Austin Musicians (HAAM) in keeping music in Austin alive and well.

Here’s how you can help:

EAT & SHOP at 170 local participating businesses and restaurants, with 5% of your purchase going to HAAM. Download the list of participating businesses and music schedule.
DONATE your spare change to the HAAM Benefit Day donation boxes at each of the music performances. Your donation will be matched dollar for dollar by Topfer Family Foundation.
ENJOY live performances from over 90 local musical acts throughout the day. Download the list of participating businesses and music schedule.
Also,

Forward this message to your friends to let them know how they can help!
Are you on Twitter? Find us at @myhaam and make sure you tweet on September 22 to keep your followers up to date on the HAAM Benefit Day happenings.
On Facebook? Become a fan of Health Alliance for Austin Musicians.
Play Your Part! Come out on Tuesday, September 22nd to support local musicians’ health!

Health Alliance for Austin Musicians was founded in April 2005 when Seton Family of Hospitals and St. David’s Foundation joined forces with The SIMS Foundation to provide medical, dental, and mental health care to the city’s hard-working, uninsured low-income musicians. More than 1,600 member-musicians, most 35 and younger, have been served.

To learn more or to make a donation, visit www.MyHaam.org.


GOOD EGGS & HAAM FIRST ANNUAL BENEFIT

Good Eggs & HAAM, the new outreach group of Health Alliance for Austin Musicians that spreads the word about HAAM and musicians’ health care, hosts a benefit concert in September with Austin-based pop-rock band nelo.

Doors open at 8 p.m., and the music by nelo starts at 9 p.m. Thursday, September 17, at Stubb’s Bar-B-Q, 801 Red River St., on the inside stage. Tickets are $25, on sale now through Frontgate Tickets and www.stubbsaustin.com.

Good Eggs & HAAM members — young professionals passionate about live music, who understand that musicians are a unique and important cultural and economic part of Austin, and who have a desire to give back and support musicians' health care — are inviting their friends and the public to the concert. Proceeds benefit Health Alliance for Austin Musicians.


The Health Alliance for Austin Musicians (HAAM) provides access to affordable health care to Austin’s low-income, uninsured working musicians with a focus on prevention and wellness. Tax-deductible donations can be made on-line at: https://www.austincommunityfoundation.org/?nd=donate_detail&donation_id=18 or by mail with a check payable to Austin Community Foundation/HAAM Fund to PO Box 301496, Austin, TX 78703-0025. HAAM is a special project fund of the Austin Community Foundation.

Peter Green - Black Magic w/Discography

"...Green inspired B. B. King to say, "He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats." Green's playing was marked with a distinctive vibrato and economy of style..."

http://thesweetestpsychopath.tumblr.com/post/182216593/fleetwood-macs-black-magic-woman-7-single-1968

Fleetwood Mac’s Black Magic Woman 7” single 1968

Listen & download Peter Green’s Fleetwood Mac - Black Magic Woman (1968) here:
http://thesweetestpsychopath.tumblr.com/post/182135884/peter-greens-fleetwood-mac-black-magic-woman


Peter Green - founder of the band Fleetwood Mac (on stage 1969)

Green played lead in Peter Bardens’ band, Peter B’s Looners, in 1966. After a three month stint, he had the opportunity to fill in for Eric Clapton in John Mayall & the Bluesbreakers for three gigs. Upon Clapton’s permanent departure not long after, he was hired full-time

Green made his full album debut with the Bluesbreakers with A Hard Road. It featured two compositions by Green, “The Same Way” and “The Supernatural”. The latter was one of Green’s first extended instrumentals, which would soon become a trademark. Like Clapton, whose playing inspired the “Clapton is God” graffiti around London during his time with the Bluesbreakers, Green would earn the nickname “The Green God” for his interpretation of the blues.

In 1967, Green decided to form his own blues band, and left Mayall’s Bluesbreakers after appearing on just one album (just as Clapton had done).

The name of Green’s new band was Fleetwood Mac. Originally billed as “Peter Green’s Fleetwood Mac”; it originated from the band’s rhythm section that comprised Mick Fleetwood and John McVie, both of whom, like Green, had played most recently in Mayall’s band. In the mid 1970s the re-organised band topped the charts with mainstream pop/rock, but initially it was a straight-up blues-rock band playing blues classics and some original material. Green wrote the song “Black Magic Woman” that was later picked up by Santana.



http://en.wikipedia.org/wiki/Peter_Green_(musician)
Peter Green (musician)
From Wikipedia, the free encyclopedia

Peter Green (born Peter Allen Greenbaum, 29 October 1946, in Bethnal Green, London) is a British blues-rock guitarist and founder of the band Fleetwood Mac.
A figurehead in the British blues movement, Green inspired B. B. King to say, "He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats." Eric Clapton and Jimmy Page have both lauded his guitar playing as well. Green's playing was marked with a distinctive vibrato and economy of style. Though he played other guitars, he is best known for deriving a unique tone from his 1959 Gibson Les Paul - a result of the magnet of his guitar's neck pickup being accidentally reversed to produce an 'out of phase' sound. The Les Paul would come to be referred to as Green's "magic guitar" but Green told Guitar Player in 2000 that "I never had a magic one. Mine wasn't magic...It just barely worked."
Green was ranked 38th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time"

Biography

John Mayall's Bluesbreakers
Green played lead in Peter Bardens' band, Peter B's Looners, in 1966. After a three month stint, he had the opportunity to fill in for Eric Clapton in John Mayall & the Bluesbreakers for three gigs. Upon Clapton's permanent departure not long after, he was hired full-time. In an interview with Guitar Player in 2000, Green acknowledged Clapton's influence, stating "I followed him to John Mayall's Bluesbreakers. I loved his playing. At the time he did everything on a Telecaster. It sounded absolutely fabulous."

Green made his full album debut with the Bluesbreakers with A Hard Road. It featured two compositions by Green, "The Same Way" and "The Supernatural". The latter was one of Green's first extended instrumentals, which would soon become a trademark. Like Clapton, whose playing inspired the "Clapton is God" graffiti around London during his time with the Bluesbreakers, Green would earn the nickname "The Green God" for his interpretation of the blues.

In 1967, Green decided to form his own blues band, and left Mayall's Bluesbreakers after appearing on just one album (just as Clapton had done).

Fleetwood Mac
The name of Green's new band was Fleetwood Mac. Originally billed as "Peter Green's Fleetwood Mac"; it originated from the band's rhythm section that comprised Mick Fleetwood and John McVie, both of whom, like Green, had played most recently in Mayall's band. In the mid 1970s the re-organised band topped the charts with mainstream pop/rock, but initially it was a straight-up blues-rock band playing blues classics and some original material. Green wrote the song "Black Magic Woman" that was later picked up by Santana. Green was the leader of the group throughout its initial period of success in the late 1960s, with hits including "Oh Well", "Man of the World", "The Green Manalishi" and the #1 British chart hit "Albatross". Green remains ambivalent about his songwriting success, telling Guitar Player "Oh, I was never really a songwriter. I was very lucky to get those hits. I shouldn't have been distracted from my fascination with the blues...I have been known to come up with the odd bit, but I'm not all that wild about the big composer credit."

Following the release of "Albatross" and his consequent rise in fame, Green struggled with success and the spotlight. His personality changed drastically after incidences of LSD abuse: he began wearing a robe, grew a beard, and wore a crucifix on his chest. His abuse of LSD may have incited his schizophrenia, much like his contemporary Syd Barrett.

While touring Europe, Green binged on LSD in Munich. In his own words, he "went on a trip, and never came back."

Communard Rainer Langhans mentions in his autobiography that he and Uschi Obermaier met Peter Green in Munich, where they invited him to their "High-Fish-Commune". They were not interested in Peter Green really. They wanted to get in contact with Mick Taylor because they wished to organize a "Bavarian Woodstock." They wanted Jimi Hendrix and The Rolling Stones as leading acts of their Bavarian open air festival. Langhans and Obermaier used the "Green God" to get in contact with the Rolling Stones via Mick Taylor.

Green quit Fleetwood Mac in 1970, performing his final show as a member on 20 May 1970. He recorded a jam session and released it as the album The End of the Game and faded into obscurity, taking on a succession of menial jobs. It was during this period that Green sold his trademark 1959 Sunburst Gibson Les Paul Standard to Irish guitarist Gary Moore and recorded with Bobby Tench's band Gass, on their eponymous album.

Green had a brief reunion with Fleetwood Mac when Jeremy Spencer left the group (Green flew to the USA to help them complete the tour) and he was also an uncredited guest on their 1973 Penguin album on the track "Night Watch". He also appears on the track "Brown Eyes" from 1979's Tusk.

Illness and first re-emergence
Green was diagnosed with schizophrenia, a mental illness commonly characterised by hallucinations and paranoia, and he spent time in psychiatric hospitals undergoing electroconvulsive therapy in the mid-1970s. Many sources attest to his lethargic, trancelike state during this period. In 1977, he was arrested for threatening his accountant, Clifford Davis, with a shotgun, but the exact circumstances are the subject of much speculation, the most popular being that Green wanted Davis to stop sending money to him.After this incident he was sent to a psychiatric institution in London. This was prior to his re-emergence as a recording artist with PVK Records in the late 1970s and early 1980s. He suffered a relapse in 1984 and effectively lived the life of a tramp-like recluse for six years until he was rescued by his brother Len and his wife, going to live with them in Great Yarmouth and regaining some of his former health and strength.

Resurgence
Apart from his solo work in the late 1970s and early 1980s, he contributed to "Rattlesnake Shake" and "Super Brains" on Mick Fleetwood's solo album, The Visitor, and recorded various sessions with a number of other musicians. Despite some attempts by Gibson at a German trade show to start talks about producing a Peter Green signature Les Paul, Peter's instrument of choice at this time was in fact a Gibson 'Howard Roberts' Fusion, very often seen accompanying him on stage in recent years.

A 1990s comeback saw Green form the Peter Green Splinter Group, with the assistance of fellow musicians including Nigel Watson and Cozy Powell. The Splinter Group released nine albums between 1997 and 2004. It was in the latter part of this period that he picked up a black Gibson Les Paul again. Green signed and sold this Les Paul, which had been tweaked for Peter to sound like the famous 'green burst' and is now owned by a UK enthusiast.

A tour was cancelled and recording of a new studio album stopped in early 2004, when Green left the band and moved to Sweden. Shortly thereafter he joined The British Blues All Stars, but their tour in 2005 was also cancelled after the death of saxophonist Dick Heckstall-Smith following a long illness. Green has said that the medication he takes to treat his psychological problems makes it hard for him to concentrate and saps his desire to pick up a guitar.

Green, with a new band "Peter Green and Friends", began playing concerts again in February 2009.. He was also the subject of the BBC 4 documentary "Peter Green. Man of the World", produced by British music impresario Henry Hadaway and broadcast on 8 May 2009. The documentary contained interviews of himself and his former bandmates John McVie, Mick Fleetwood and Jeremy Spencer.

http://en.wikipedia.org/wiki/Peter_Green_discography
Peter Green discography
From Wikipedia, the free encyclopedia

With Fleetwood Mac

Singles
I Believe My Time Ain’t Long / Rambling Pony (1967)
Black Magic Woman / The Sun Is Shining (1968)
Need Your Love So Bad / Stop Messin’ Round (1968)
Albatross / Jigsaw Puzzle Blues (1968)
Man Of The World / Someone’s Gonna Get Their Head Kicked In Tonite (1969)
Oh Well Pt.1 / Oh Well Pt. 2 (1969)
The Green Manalishi / World In Harmony (1970)
B-sides varied from country to country, and reissues often had different B-sides.

Albums
Fleetwood Mac (1968)
Mr. Wonderful (1968)
Then Play On (1969)
Penguin (1973) on "Night Watch" (uncredited)
Tusk (1979) on "Brown Eyes" (uncredited)

Compilations
Fleetwood Mac in Chicago/Blues Jam in Chicago, Vols. 1-2 (1969)
English Rose (1969)
The Pious Bird of Good Omen (1969)
Greatest Hits (CBS, 1971)
Greatest Hits (Warner Bros, 1988) 8x Platinum
25 Years - The Chain (1992)
The Complete Blue Horizon Sessions 1967-1969 (1999)
The Best of Peter Green's Fleetwood Mac (2002)
The Very Best of Fleetwood Mac (2002) Platinum
The Essential Fleetwood Mac (2007)

Archival releases
The Original Fleetwood Mac (CBS, 1971)
Live at the Marquee, 1967 (released 1992)
Live at the BBC (released 1995) (UK #48)
Masters: London Live '68 (released 1998)
Live at the Boston Tea Party, Vols. 1-3 recorded Feb 5-7, 1970 (Snapper, 1998-2000)
The Vaudeville Years of Fleetwood Mac: 1968 to 1970 (2 CD) (1998)
Shrine '69 (live 1969, released 1999)
Original Fleetwood Mac: The Blues Years (3 CD) (Castle, 2000)
Show-Biz Blues: 1968 to 1970 Volume 2 (2 CD) (Castle/Sanctuary, 2001)
Jumping at Shadows: The Blues Years (Castle/Sanctuary, 2002)
Men of the World: The Early Years (3 CD) (Sanctuary, 2005)

Solo

Singles
Heavy Heart / No Way Out (1971)
Beasts of Burden / Uganda Woman (1972) with Nigel Watson
Apostle / Tribal Dance (1978)
In the Skies / Proud Pinto (1979)
Walkin' the Road / Woman Don't (1980)
Loser Two Times / Momma Don'tcha Cry (1980)
Give Me Back My Freedom / Lost My Love (1981)
Promised Land / Bizzy Lizzy (1981)
The Clown / Time for Me to Go (1982)
Big Boy Now / Bandit (1983)
B-sides varied from country to country.

Albums
The End of the Game (1970)
In the Skies (1979)
Little Dreamer (1980)
Whatcha Gonna Do? (1981)
White Sky (1982)
Kolors (1983)
A Case for the Blues (as Peter Green's Katmandu) (1984)

Compilations
Blue Guitar (1981)
Legend (1988)
Backtrackin' (1990)
A Rock Legend (1991)
Last Train to San Antone (1992)
Baby When the Sun Goes Down (1992)
Collection (1993)
Rock and Pop Legends (1995)
Green And Guitar (1996)
Bandit (1997)
Blues for Dhyana (1998)
Alone with the Blues (2000)
The Clown (2001)
A Fool No More (2001)
Promised Land (2001)

Splinter Group albums

Peter Green Splinter Group (1997) Snapper Music SARCD 101
The Robert Johnson Songbook (1998)
Soho Session (1998)
Destiny Road (1999) Snapper Music SMACD 817
Hot Foot Powder (2000)
Time Traders (2001)
Me and the Devil (2001) Snapper Music SMBCD 844 (limited edition box set, 3 CDs, 1 of Robert Johnson recordings)
Blues Don't Change (2001)
Reaching The Cold 100 (2003)
The Best Of Peter Green Splinter Group (2006 compilation)

Guest contributions and other groups (albums unless stated otherwise)

With Peter B's Looners
If You Want to Be Happy / Jodrell Blues (1966 single)

With John Mayall
Looking Back / So Many Roads (1966 single)
Sitting in the Rain / Out of Reach (1967 single)
Curly / Rubber Duck (1967 single)
Double Trouble / It Hurts Me Too (1967 single)
Jenny / Picture on the Wall (1967 single)
A Hard Road (1967)
John Mayall's Bluesbreakers with Paul Butterfield (1967 EP)
Living Alone / Walking on Sunset (1968 single)
Blues from Laurel Canyon (1968)
Thru the Years (compilation)
Looking Back (compilation)
Along for the Ride (2003)

With Eddie Boyd
Eddie Boyd and His Blues Band featuring Peter Green (1967)
The Big Boat / Sent for You Yesterday (1968 single)
7936 South Rhodes (1968)

With Duster Bennett
Smiling Like I'm Happy (1968)
Smiling Like I'm Happy / Talk to Me (1969 single)
Bright Lights (1969)
12 Dbs (1970)
Out in the Blue (1995 compilation)
The Complete Blue Horizon Sessions (2005 compilation)

With Gordon Smith
Long Overdue (1968)
Too Long / Funk Pedal (1969 single)

With Otis Spann
Walkin' / Temperature is Rising (98.8F) (1969 single)
The Biggest Thing Since Colossus (1969)
Blues For Hippies/Bloody Murder (1972 EP)

With Brunning Sunflower Blues Band
Trackside Blues (1969)
I Wish You Would (1970)

With Clifford Davis
Man of the World/Before the Beginning (1969 single)
Come On Down and Follow Me/Homework (1970 single)

With Gass
Juju (1970)

With Jeremy Spencer
Jeremy Spencer (1970)

With Peter Bardens
Homage to the God of Light Pt. 1 / Pt. 2 (1970 single)
The Answer (1970)
Write My Name in the Dust: The Anthology (2005 compilation)

With Memphis Slim
Mason Dixon Line / Boogie Woogie (1970 single)
Handy Man / Mason Dixon Line (1970 single)
Blue Memphis (1971)

With B. B. King
B. B. King in London (1971) Green plays on "Caledonia".

With Dave Kelly
Dave Kelly (1971)

With Country Joe McDonald
Hold On It's Coming (1971)

With Toe Fat
2 (1971)

With Richard Kerr
From Now Until Then (1973)

With Duffo
The Disappearing Boy (1980)

With Mick Fleetwood
The Visitor (1981)

With Brian Knight
A Dark Horse (1981)

With SAS Band
SAS Band (1997)

With Dick Heckstall-Smith
Blues and Beyond (2001)

With Chris Coco
Next Wave (2002)

With Peter Gabriel
Up (2003)

Tribute albums
Rattlesnake Guitar: The Music of Peter Green (1995) (Reissued in 2000 as Peter Green Songbook)
TWANG! A Tribute to Hank Marvin and the Shadows (1996) (Song - Midnight)