mercoledì 13 maggio 2009

You Hit Me With a Flower (Warholiana)

John Giorno: Everyone Is A Complete Disappointment John Giorno: Drinking the blood of Every woman's period
From the LP John Giorno & Anne Waldman: "A Kulchur Selection" (1977), GPS 010-011 (2x LP)

Marshall McLuhan (1911-1980) Speaking Freely hosted by Edwin Newman features Marshall McLuhan 4 Jan 1971, Public Broadcasting/N.E.T. "Where would you look for the message in an electric light?" Spend nearly an hour with University of Toronto professor of English, Marshall McLuhan, as he discusses electronic technology, transportation, and communications. Also probing the issues of acoustic and personal space, McLuhan expresses his thoughts about print media and where it's headed. Author of several books including The Medium is the Message, Canadian-born McLuhan was also director of the Center for Culture and Technology at the University of Toronto. Originally aired on PBS-TV, 4 January, 1971 at 8:00 p.m. (Philadelphia, PA area), McLuhan appeared on "Speaking Freely," hosted by NBC's Edwin Newman.

Lezioni di Rock: Lou Reed
Estratti della "Lezione a 33 giri" di Ernesto Assante e Gino Castaldo, tenutasi a Roma, il 10 maggio 2009, presso il Teatro Studio dell'Auditorium, sull'album ''Transformer'' (1972) di Lou Reed : "il rock al suo stato piu' puro, trasgressivo, forte, sorprendente ed elettrico". Il disco e' una straordinaria collezione di classici, da Vicious a Perfect Day, da Satellite of love a Make up, fino ad arrivare a quel Walk on the wild side che per molti anni e' stato il marchio di fabbrica di Reed e della sua musica. Lou Reed non e' solo uno che fa rock, ma e' il rock stesso, rappresentato nel suo lessico fondamentale. E Transformer ne è la massima realizzazione, dopo la rivoluzione inaugurata con i Velvet Underground.

The Nova Convention, NYC December 2, 1978
Terry Southern Vignette of Idealistic Life in South Texas (1:25)William Burroughs Keynote Commentary & Roosevelt After Inauguration (5:52)John Giorno Eating The Sky (13:30)Patti Smith Poem for Jim Morrison & Bumblebee (11:45)William S. Burroughs Benway (3:40)Philip Glass Building (excerpt from Einstein on the Beach) (3:04)Brion Gysin Kick That Habit, Junk Is No Good Baby, Somebody Special, & Blue Baboon (7:06) Music: Can - Oh YeahCan - Mushrooms The Nova Convention, NYCDecember 2, 1978Frank Zappa The Talking Asshole (5:25) William Burroughs from The Gay Gun: This is Kim Carson / Just Like The Collapse of any Currency / The Whole Tamale (13:27)William Burroughs What the Nova Convention is About (2:35)Ed Sanders Hymn to Aphrodite form Sappho (8:50)John Cage Writing for the Second Time Through Finnegans Wake (14:15)Music:Can - halleluhwahCan - Paperhouse The Nova Convention, NYCDecember 2, 1978Anne Waldman Plutonium Ode & Skin Meat Bones (6:35)Laurie Anderson + Julia Heyward Song from America On The Move (12:50)Allen Ginsberg + Peter Orlovsky Punk Rock & Old Pond (13:00)Conversations William Burroughs, Brion Gysin, Timothy Leary, Les Levine, and Robert Anton Wilson (7:10) Music:The Residents - Third Reich'n Roll

Achille Bonito Oliva e Le Stelle di Mario Schifano. Intervista di Ilari Valbonesi in occasione della retrospettiva "Schifano. 1934-1998. Selected works"
Playlist:Le Stelle di Mario Schifano (1967) : Formazione : NELLO MARINI organo, pianoforte, tastiere- URBANO ORLANDI chitarra - GIANDOMENICO CRESCENTINI basso - SERGIO CERRA batteria Playlist ----Lato BMolto alto - 3:14 Susan song - 3:48 E dopo - 2:14 Intervallo - 2:37 Molto lontano (a colori) - 2:50 Lato ALe ultime parole di Brandimante, dall'Orlando Furioso, ospite Peter Hartman e fine (da ascoltarsi con tv accesa, senza volume) - 17:40

James Graham Ballard Back in Shangai
J. G. Ballard(15 November 1930 – 19 April 2009) was an English novelist and short story writer who was a prominent part of the science fiction New Wave movement. His best-known novels are the controversial Crash, an exploration of sexual fetishism connected to automobile accidents, and the loosely autobiographical Empire of the Sun, about his childhood internment by the Japanese during World War II after the invasion and conquest of Shanghai, where Ballard was born in the International Settlement. Both books were adapted into films, by David Cronenberg and Stephen Spielberg respectively.

David Cronenberg on Andy Warhol
1. [listen] WATER IN MILK EXISTS 2. [listen] David Cronenberg - National Velvet, 1963 - Empire, 1964 - Andy Warhol by Robert Mapplethorpe, 1986 3. [listen] David Cronenberg - Troy Diptych, 1962 4. [listen] David Moss, David Cronenberg, Dennis Hopper, Amy Taubin, James Rosenquist - Couch, 1964 5. [listen] David Cronenberg - Red Disaster, 1963 6. [listen] David Cronenberg, Dennis Hopper, James Rosenquist, Amy Taubin - Screen Tests, Selected Participants, 1964-66 7. [listen] David Cronenberg - Elvis I and II, 1963 8. [listen] Elvis Presley - Flaming Star 9. [listen] Dennis Hopper, David Cronenberg, James Rosenquist - Sleep, 1963 10. [listen] David Cronenberg - Foot and Tire, 1963-64 11. [listen] David Cronenberg - Sixteen Jackies, 1964 12. [listen] David Cronenberg, Miriam Davidson - Miriam Davidson, 1965 13. [listen] Mary-Lou Green - Haircut No. 1, late 1963 14. [listen] David Cronenberg - Five Deaths, 1963 15. [listen] David Cronenberg - Kiss, 1963 - Silver Disaster #6, 1963 - Blow Job, early 1964 16. [listen] David Cronenberg - White, 1963 17. [listen] David Cronenberg - Tunafish Disaster, 1963 18. [listen] 18. David Cronenberg - Race Riot 19. [listen] David Cronenberg - Most Wanted Men No. 2, John Victor G., 1964 20. [listen] Amy Taubin, David Cronenberg - Silent Speed, Andy's First Films 21. [listen] David Cronenberg - Underground Filmmaking in the 60s Recorded at The Art Gallery of OntarioFriday, May 19. 2006In July, he is curating an Andy Warhol exhibition at the Art Gallery of Ontario in Toronto. "Andy was making underground films when I was making underground films," the director said. "And I was more inspired by him than by Hollywood. He created himself: He was an outsider, a Slovakian, Catholic, gay, an artist, poor; an outsider in his own family, a triple outsider like Kafka, with his nose pressed against the New York window. And, he became the ultimate insider, the center of his own world, and drew people to him. He became a huge example of the invention of an identity." In fact, a Cronenberg character.Conceived and narrated by renowned filmmaker David Cronenberg to accompany the exhibition Andy Warhol/Supernova:Stars Death and Disasters, 1962-1964. Commentary by David Cronenberg, Mary-Lou Green, Dennis Hopper, David Moos, James Rosenquist and Amy Taubin. David Cronenberg explains the debt he owes to Andy Warhol's bizarre and chillingly prophetic work, Monday September 11, 2006The GuardianEmpire is the classic. It was outrageous - yet somehow it worked. An eight-hour shot of the Empire State Building, it was high concept, not in the Hollywood sense, but the art sense. It's got potency, resonance. Andy even said the Empire State Building was a star. It's so New York, which was the centre of the artistic universe at the time, the 1960s. That's why I decided to begin the Andy Warhol show I am curating with Empire.I can't recall when I first saw a Warhol. I feel as though he was always in my consciousness. I started making films at the same time he did, and the New York underground scene is what influenced me - and that was Andy. He didn't think you needed access to anything to do what he was doing - just grab a camera, do your own thing, and it'll work.Preparing this exhibition, I was initially planning to ignore the films. It seemed too obvious to bring a film-maker in and for him to choose the films. But I didn't have to dig deep to realise it would be a major oversight. Andy started the silk screens, the film-making and the Death and Disaster series at the same time. Everything influenced everything.By taking photos from Life magazine and newspapers, he was democratising art. He saw everything as having artistic potential. When he picked up a camera, he just shot what was there in front of him: the people he knew, the people who stumbled into his studio. So there was that link between his art and his film-making.Andy saw a great connection between celebrity and death. Although he worshipped celebrities, he was aware that there were different kinds of celebrity, and that celebrity was somehow involved with death. Someone asked him what he was working on when he was doing his celebrity stuff, and he replied: "Death." He only started to work on the Marilyn silk screens after she'd committed suicide.Because of the newspapers, he saw that anyone could be plucked out of obscurity and become famous, but only for that day, for that 15 minutes. Death - some bizarre, strange, spectacular death - would do it. Hence his Tuna Fish Disaster: two women in a suburb of Detroit became front-page news because they had eaten tainted tuna fish sandwiches and died.I've also included Elvis's hit song Flaming Star in my show, to accompany Andy's painting. I was going to sing it myself but we managed to get the rights, so we have Elvis's version. If Andy were around, I would have asked him to sing it. Elvis was a flaming star. It's naive to think Andy wasn't aware of that, and of how dark the movie that featured the song was. It was a western, and westerns could be all kinds of things; every second movie was a western in those days. But Flaming Star is about racism, and everyone dies in it, including Elvis.Andy was a celebraholic. He would go to all the movies and read all the tabloids. He wasn't anti-Hollywood; he loved it. But he had created his own universe in New York and become its star. Being gay, Slovakian and an artist from Pittsburgh, he never felt he could storm Hollywood. So he created his own stars, called them superstars, made his own movies and had his own studio. That's how he dealt with that desire he had to belong, to be immortalised. And there was nothing superficial about his work. It would be easy to dismiss the flowers or soup cans as flippant or ironic, but Andy was never ironic. He said he ate Campbell's tomato soup every day as a child and an adult. It had huge significance for him.Andy was very shy. He didn't like to be touched. He liked to say he was completely asexual, although I don't think that was true. He liked to be among people, but found it difficult. He said the reason he made his first film - Sleep, about a person who was asleep - was so that he didn't have to talk or interact with him. It was his way of working with an inanimate object, because the actor was genuinely sleeping.Andy was doubtless shocked by JFK's death, but there's no way he could have identified with Jack, who was too butch and macho. He would have been with Jackie. She becomes the centre of the anguish of the Kennedy assassination. Those works [the Jackie Kennedy silkscreens] are very emotional. Andy became Jackie in the end. He had a tremendous identification with the people he put in his art. He became Elvis, too, and the electric chair.It's fitting that this show will be running on the fifth anniversary of 9/11. I think Andy would have thought the attacks an obvious thing to do. The assault on symbols, the way they combined death and disaster - what could have been more Warholian? In his era, it would have been the Empire State Building. He would have understood the symbolism; he would have seen that much more than buildings were being attacked. The images of people jumping out of the buildings - he had already done paintings like that. It was a bizarre prophecy. He was very prophetic and accurate in his understanding of America, of commercialism, of capitalism, of its flaws and strengths. Interview by Matthew Hays.
Andy Warhol Supernova: Stars, Deaths and Disasters, 1962-64, curated by David Cronenberg, October 22, 2006

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