Thursday, October 30, 2008
Wednesday, October 29, 2008
Extraits de concerts sahariens filmés par Arnaud Contreras et Alissa Descotes-Toyosaki (www.sahara-eliki.org) présentés lors de l'installation "Nocturnes Sahariennes", au coeur du Sahara.
Video du titre Chet Boghassa Album:Amassakoul
Tinariwen (Tamashek: ⵜⵏⵔⵓⵏ "empty places") is a musical band formed in 1982 in Muammar al-Gaddafi's camps of Tuareg rebels. They play in the Tishoumaren ("music of the unemployed") style, and sing mostly in the French and Tamashek languages. Their songs mostly cover the subject of independence for their people from the government of Mali. They are said to be the first Tuareg band to use electric guitars.
Having recorded many albums available on cassette over their eighteen years, the group recorded their first album for the CD format in December 2000; the album was known as The Radio Tisdas Sessions and was their first recording available outside of Africa.
The Western world first took great notice of Tinariwen due to their performance at Le Festival au Désert, a musical festival held in Tin-Essako, Mali, a remote region of the Sahara Desert, in January 2001.
The band released a second album, Amassakoul ("Traveller") in 2004, and played concerts in Europe (where they performed one of the highlights of the 2004 Womad Reading ) and the United States to support the album.
Tinariwen's new album entitled Aman Iman, meaning "Water is Life", was released in February 2007. A 52 minute documentary called Teshumara, or the guitars of the revolution recently played in movie theaters in Europe. It tells the history of the Tuareg rebellion and the role played by Tinariwen in this struggle for freedom. Combined with Amassakoul, it has been released as the CD/DVD combo The Soul Rebel Of African Desert.
They have met great resistance from rock radio and press unable to embrace a non-English speaking act, but have forged a career playing world music festivals. At times, the band feels that their music is underappreciated despite the fact that they have been doing many interviews with the media in recent years.
I am not sure if this is a vision of hell or a brilliant satire but Tex Perkins seems to have really made a record of soft rock 'classics' from the 70s and 80s. After about five minutes of this 'infomercial' I was laughing with the un-comfortability of it all. The Ladyboyz project reminds me a little of Thug, a mad project from the late 80s which Tex led, more performance art than anything else.
Tuesday, October 28, 2008
Ed Kuepper doing a guitar stance I have seen used from Stockholm to Hobart. To think it all began in Brisbane up on the Terrace.
Sir Bob Geldof once said that three bands altered the face of rock music in the 1970s: Sex Pistols, The Ramones and The Saints. History shows that The Saints' debut single (I'm) Stranded predated the debut singles by The Damned, Sex Pistols, The Buzzcocks, The Clash and all their other UK punk rock contemporaries.
I ordered Southern Theory today. The idea that so much academic discourse is dominated by the Northern Hemisphere super-centers of knowledge production is an appealing one. The idea that punk rock began in a run down inner-city semi-squat in Brisbane and not in the metropolis of London in 1977 when Malcolm MacLaren trained up some of the youngsters hanging out in his shop in the shadow of the recently imploded New York Dolls is also an interesting one. If we were to consider this as a historical fact it suits Connells' idea that
Yet the global South does produce knowledge and understanding of society. Through vivid accounts of critics and theorists, Raewyn Connell shows how social theory from the world periphery has power and relevance for understanding our changing world from al-Afghani at the dawn of modern social science, to Raul Prebisch in industrialising Latin America, Ali Shariati in revolutionary Iran, Paulin Hountondji in post-colonial Benin, Veena Das and Ashis Nandy in contemporary India, and many others.
Monday, October 27, 2008
Mihály Csíkszentmihályi (pronounced [ˈmihaːj tʃiːkˈsɛntmihaːji]) (born September 29, 1934, in Fiume, Italy - now Croatia) is a Hungarian psychology professor, who emigrated to the United States at the age of 22. Now he is at Claremont Graduate University in Claremont, California and is the former head of the department of psychology at the University of Chicago and of the department of sociology and anthropology at Lake Forest College. He is noted for his work in the study of happiness, creativity, subjective well-being, and fun, but is best known as the architect of the notion of flow and for his years of research and writing on the topic. He is the author of many books and over 120 articles or book chapters. Martin Seligman, former president of the American Psychological Association, described Csikszentmihalyi as the world's leading researcher on positive psychology. He is one of the most widely cited psychologists today, in a variety of fields related to psychology and business.
He received his B.A. in 1960 and his Ph.D. in 1965, both from the University of Chicago. He is the father of MIT Media Lab associate professor Christopher Csíkszentmihályi and University of Wisconsin at Madison professor of philosophical and religious traditions of China and East Asia, Mark Csíkszentmihályi.
Sunday, October 26, 2008
From the Martin Scorsese flim,The Blues Feel Like Going Home
Ali Ibrahim “Farka” Touré (October 31, 1939 – March 7, 2006) was a Malian singer and guitarist, and one of the African continent’s most internationally renowned musicians. His music is widely regarded as representing a point of intersection of traditional Malian music and its North American cousin, the blues. The belief that the latter is historically derived from the former is reflected in Martin Scorsese’s often quoted characterization of Touré’s tradition as constituting "the DNA of the blues". Touré was ranked number 76 on Rolling Stone's list of "The 100 Greatest Guitarists of All Time."
Live : Ali Farka Toure : Festival in the Desert : 2003
He was born in 1939 in the village of Kanau on the banks of the Niger River, in the cercle of Gourma Rharous in the northwestern Malian region of Tombouctou, and his family moved to the nearby village of Niafunké when he was still an infant. He was the tenth son of his mother but the only one to survive past infancy. “The name I was given was Ali Ibrahim, but it’s a custom in Africa to give a child a strange nickname if you have had other children who have died,” Touré was quoted as saying in a biography on his Record Label, World Circuit Records. His nickname, “Farka”, chosen by his parents, means “donkey”, an animal admired for its tenacity and stubbornness. “Let me make one thing clear. I’m the donkey that nobody climbs on!” He was descended from the ancient military force known as the Arma, and was ethnically tied to the Songrai (Songhai) and Peul peoples of northern Mali.
As the first African bluesman to achieve widespread popularity on his home continent, Touré was often known as “the African John Lee Hooker”. Musically, the many superpositions of guitars and rhythms in his music were similar to John Lee Hooker’s hypnotic blues style. He usually sang in one of several African languages, mostly Songhay, Fulfulde, Tamasheq or Bambara as on his breakthrough album, Ali Farka Touré, which established his reputation in the world music community. 1994’s Talking Timbuktu, a collaboration with Ry Cooder, sold promisingly well in western markets but was followed by a hiatus from releases in America and Europe. He reappeared in 1999 with the release of Niafunké, a more traditional album focusing on African rhythms and beats. Touré was the mentor and uncle of popular Malian musician Afel Bocoum.
Some of Ali Farka Touré’s songs and tunes have been used in different programmes, films and documentaries . For instance, his guitar riff on the song “Diaraby,” from the album Talking Timbuktu, was selected for the Geo-quiz segment of The World PRI-BBC program, and was retained by popular demand when put to a vote of the listeners. This song is likewise used in 1998 as a soundtrack for the film L’Assedio (Besieged) by the Italian director Bernardo Bertolucci. His songs Cinquante six, Goye Kur and Hawa Dolo from the album The Source are also used as a soundtrack in the French film Fin août, début septembre (Late August, Early September) directed in 1998 by Olivier Assayas.
In 2004 Touré became mayor of Niafunké and spent his own money grading the roads, putting in sewer canals and fuelling a generator that provided the impoverished town with electricity.
In September 2005, he released the album In the Heart of the Moon, a collaboration with Toumani Diabaté, for which he received a second Grammy award. His last album, Savane, was posthumously released in July 2006. It was received with wide acclaim by professionals and fans alike and has been nominated for a Grammy Award in the category “Best Contemporary World Music Album”. The panel of experts from the World Music Chart Europe (WMCE), a chart voted by the leading World Music specialists around Europe, chose Savane as their Album of the Year 2006, with the album topping the chart for three consecutive months (September to November 2006). The album has also been listed as No. 1 in the influential Metacritic’s “Best Albums of 2006” poll, and No. 5 in their all-time best reviewed albums. Ali Farka Touré has also recently been nominated for the BBC Radio 3 awards 2007.
On 7 March 2006 the Ministry of Culture of Mali announced his death at age 66 in Bamako from bone cancer, against which he had been battling for some time. His record label, World Circuit, said that he recorded several tracks with his son Vieux Farka Touré for Vieux’s debut album which was released in fall, 2006.
Saturday, October 25, 2008
One of the recent sinners to arrive in Hell is Satanya, a beautiful young suicide. The Devil orders her to act as a messenger for him to recruit possible new candidates from earth. In return for her work, she is promised clemency. Lon Chaney Jr. stars as Satan in this three part story based on a collection of episodes from the never-aired TV series No. 13 Demon St. Three macabre tales of terror are featured in this frightful thriller hosted by the incomparable "Mr. D" (Lon Chaney Jr.). A psychotic photographer is faced with a beauty that haunts his pictures and dreams in one tale. A scientist becomes obsessed with a frozen "Ice Princess" that leads to an unfortunate ending in another tale. Finally, a man fears his own death after a visit with a fortune-teller in the last of these horrifying stories
Friday, October 24, 2008
Rick Roderick was born in Abilene, Texas in 1949 and received his B.A. at the University of Texas at Austin. He did post-graduate work at Baylor University and earned his Ph.D. at the University of Texas at Austin. Since 1977, Professor Roderick taught at Baylor University, the University of Texas, Duke University and National University in Los Angeles.
His best topics were Marx and Marxism, Social and Political Philosophy, Critical Theory, 19th-Century Philosophy, and Contemporary Continental Philosophy. He also taught Ethics, Logic, History of Modern Philosophy, Aesthetics, and Existentialism.
He was the recipient of the Oldright Fellowship at the University of Texas and served as associate editor to The Pawn Review and Current Perspectives in Social Theory. Dr. Roderick was the editor of the Baylor Philosophy Journal and a member of the Phi Sigma Tau National Honor Society of Philosophy. He presented more than 25 papers, and published 13 reviews and literary criticisms. He was the author of the book Habermas and the Foundation of Critical Theory (1986) as well as numerous articles in professional journals.
Rick Roderick died in 2002.
Material From Rick Roderick
Lecture Notes and discussion on “Theses on the Philosophy of History” by Walter Benjamin
The self under siege : philosophy in the twentieth century (Torrent)
TTC - Rick Roderick - The Self Under Siege: Philosophy in the 20th Century
The Teaching Company, 1993 - out of print
L01 - The Masters Of Suspicion
L02 - Heidegger And The Rejection Of Humanism
L03 - Sartre And The Roads To Freedom
L04 - Marcuse And One-Dimensional Man
L05 - Habermas And The Fragile Dignity Of Humanity
L06 - Foucault And The Disappearance Of The Human
L07 - Derrida And The Ends Of Man
L08 - Fatal Strategies
Self Under Siege - Guidebook.pdf
VHS rip, XviD 640x432 29.97 fps, mpga 128kb/s 2ch
What happened to Rick Roderick?
Three audio lectures of his I have. All from The Teaching Company, but they are out of print now. If you for some reason think these shouldn't be available for download, please contact me. Unfortunately, the two last lectures in "Philosophy and Human Values" are suffering from quite a bit of "tape noise". I guess it was recorded from a worn tape. If you have these in better quality, sharing them will be rewarded in heaven.
Roderick's lecture on "Theses on the Philosophy of History" by Walter Benjamin
Wednesday, October 22, 2008
It seems that Karl Marx may have actually really understood something with all that writing he did, in the shadow of the recent goings-on in the world's financial markets. One sour commentator writes;
It was inevitable, I suppose, that some of the so-called experts should turn to the philosopher-father of modern communism, Karl Marx, for elucidation as they pick through the wreckage of Western capitalism. After all, didn't the old boy spend most of his life writing big, fat books, such as the notoriously unread Das Kapital, predicting its demise?
In recent weeks, he has been flattered for his prescience, not only in foreseeing the downfall of capitalism, but in accurately identifying, more than 130 years ago, some of the fictitious financial instruments, such as collateralised debt obligations, that brought it undone. SMH
I have read The Eighteenth Brumaire of Louis Bonaparte and that's about it for me and Marx. I do have some desire to read more....time is a problem as most of my time is spent working. Which I suppose is why I should read Marx.
Setlist for Sonic Youth:
WFMU Intro / She Is Not Alone / Bull in the Heather / Silver Rocket / Skip Tracer / The Sprawl / The World Looks Red / Jams Run Free / Hey Joni / Cross the Breeze / The Wonder / Hypertstation / Drunken Butterfly / Making the Nature Scene / Pink Steam / Schizophrenia / 100%.
Monday, October 20, 2008
The start of episode 7 "Artists began to take man-made images as their inspiration..."
Joseph Stella and Stuart Davis. New York City, Brooklyn Bridge
This landmark series (8 one-hour episodes) on modern art was written and presented by Robert Hughes, first broadcast in 1980.
It is currently available for purchase on a 4-DVD set.
Sunday, October 19, 2008
With the amount of bad retrospective music being slapped together by large music labels today in an attempt to revive interest in contemporary pop, one is tempted to just admit that popular music today is shit and just go back to the source until the last major chokes on it own demographics. Lets take a look at an artist who should have lived longer than he did:
Samuel "Magic Sam" Gene Maghett (February 14, 1937 – December 1, 1969) was born in Grenada and learned to play the blues from listening to records by Muddy Waters and Little Walter.
After moving to Chicago, Illinois in 1950, his guitar playing earned bookings at blues clubs in Chicago's West Side. He met his old childhood friend Magic Slim there in 1955, and gave him his nickname. Sam recorded for the Cobra label from 1957 to 1959, recording singles, including "All Your Love" and "Easy Baby." They never appeared on the charts yet they had a profound influence, far beyond Chicago's guitarists and singers. Together with the records of Otis Rush (also a Cobra artist) and Buddy Guy, they made a manifesto for a new kind of blues. Around this time Sam also worked briefly with Homesick James Williamson. Sam gained a following before being drafted into the Army. Not a natural soldier, Sam deserted after a couple of weeks' service and was subsequently caught and sentenced to six months imprisonment. He was given a dishonourable discharge on release, but the experience had undermined his confidence and immediate recordings for Mel London's Chief Records lacked the purpose of their predecessors.
In 1963, he gained national attention for his single "Feelin' Good (We're Gonna Boogie)". After successful touring of the United States, UK and Germany, he was signed to Delmark Records in 1967, where he recorded West Side Soul and Black Magic. He also continued performing live and toured with blues harp player Charlie Musselwhite.
Sam's breakthrough performance was at the Ann Arbor Blues Festival in 1969, which won him many bookings in the United States and Europe. His life and career was cut short when he suddenly died of a heart attack in December of the same year. He was 32 years old. He was buried in the Restvale Cemetery in Alsip, Illinois.
Friday, October 17, 2008
Interview with Karin Bauer author of "Everybody Talks About the Weather... We Don't: The Writings of Ulrike Meinhof"
A depressed Ulrike Meinhof, soon to be the world's most famous female terrorist, is interviewed in her Berlin apartment. For more information, visit www.baader-meinhof.com.
The Baader Meinhof Complex (2008)
Sunday, October 12, 2008
This is part 1 of a 1988 documentary titled 'Brisbane Bands'.
This documentary focuses on the isolation and struggle many Brisbane punk bands had to endure in the face of conservative Brisbane during the 1970's and 1980s.
Mark Callaghan (GANGgajang/The Riptides), Ed Kuepper (The Saints), Robert Forster (The Go-Betweens) and Ed Wreckage (The Leftovers) speak about growing up in Brisbane during the 1970's and forming bands.
Ed Kuepper reflects on the Saints' classic single '(I'm) Stranded' and the single's promo-video.
This is part 2 of a 1988 documentary titled 'Brisbane Bands'.
Mark Callaghan (GANGgajang/The Riptides), Ed Kuepper (The Saints), Robert Forster (The Go-Betweens) and Ed Wreckage (The Leftovers) speak about growing up in Brisbane and forming bands.
Ed Kuepper reflects on the Saints' success with '(I'm) Stranded' in Britain. Mark Callaghan (the Riptides) and Robert Forster (The Go-Betweens) speak about the impact The Saints had on them. Grant McLennan (The Go-Betweens) tells about how The Go-Betweens began releasing singles on their own Able label.
Part 2 of this documentary also looks at bands like The Riptides, The Go-Betweens, The Leftovers, Tangled Shoelaces, The Sharks and Outer Limits.
The Riptides - Tomorrow's Tears
The Go-Betweens - Le Remick
The Go-Betweens - Your Turn, My Turn
The Riptides - 77 Sunset Strip
This is part 3 of a 1988 documentary titled 'Brisbane Bands'.
Mark Callaghan (the Riptides/GANGjaja) and Mark Dadds (The Sharks) comment on the sound of Brisbane bands.
Lindy Morrison and Robert Forster (both of The Go-Betweens) speak about Queensland police breaking up their gigs and parties and the brutal treatment of protesters against the Bjelke-Petersen government.
Mark Dadds (of The Sharks) reflects on the riots that took place at the Caxton Street Jazz Club and a particular night when the Brisbane task force attacked concert attendees.
This segment also shows footage of many riots and arrests that had happened in Brisbane during the 1970's and 1980's.
Mark Callaghan concludes this segment by speaking about many bands having to leave Brisbane in order to survive and prosper.
Mistery Of Sixes
The Go-Betweens 'Karen'
Razar - Task Force
This is part 4 of a 1988 documentary titled 'Brisbane Bands'.
This segment opens with The Riptides' promo-video for the 1982 single 'Hearts & Flowers', followed by a house party attended by Mark Callaghan (GANGgajang/The Riptides), who reflects on the attitude Brisbane radio had towards many local groups including the Riptides.
Grant Mclennan (The Go-Betweens) furthers his opinion of Brisbane as a place that lacks imagination.
This is part 5 of a 1988 documentary titled 'Brisbane Bands'.
Darren and Greg Atkinson of late 1980's indie-band UPs & Downs comments on the state of the then-current Brisbane music scene and how many bands have to leave the city in order to get work.
Lindy Morrison (The Go-Betweens) also comments on the attitudes that many small town Brisbane bands face when playing to crowds.
Thanks For All The Fish - Smalltown Hicksville
Shadow Factory - Never You Mind
Ups & Downs - The Living Kind
Friday, October 10, 2008
To be perfectly honest I DO NOT RELISH the thought of a United States led by Methuselah McCain and Scary Palin. The world deserves better, but we can't vote...I am not AMERICAN. Maybe you are. Please vote as this is serious.
Wednesday, October 08, 2008
Bus music as journey through late autumn in crowded space. Cramped cockpit of faces in blond wood. Small red shack towns on the edge of tiger forest like green robe draped across the shoulders of the world. Sweden. Early in the century. Back again tomorrow.
Thursday, October 02, 2008
Using numerous examples from the film "Ivan the Terrible" as well as writings and sketches by Eisenstein, a good overview is given of the complex and sometimes purposefully contradictory ways in which Eisenstein used imagery, including his methods of having scenes mirror each other, his use of recurrent motifs, and his employment of the tropes of psychoanalysis. This is a fascinating essay that makes you look at these films in a whole new light.