i’m out to find a man who looks like me
to give him my name and my wife and my son,
my books and my debts.
i’m going looking for someone to give him my soul,
my fate, my death.
with what pleasure i’d do it,
with what tenderness i’d leave myself in his hands!
Created and published by the Edison Manufacturing Co., 1894
Performer: Annie Oakley.
Camera: William Heise.
Filmed November 1, 1894, in Thomas Edison’s Black Maria studio.
From Archive.org:
Annie Oakley was probably the most famous marksman/woman in the world when this short clip was produced in Edison’s Black Maria studio in West Orange, New Jersey. Barely five feet tall, Annie was always associated with the wild west, although she was born in 1860 as Phoebe Ann Oakley Mozee (or Moses) in Darke County, Ohio. Nevertheless, she was a staple in the Buffalo Bill Wild West Show and similar wild west companies. Because of her diminutive stature, she was billed as “Little Sure Shot.”
The man assisting her is this appearance is probably her husband, Frank E. Butler. Annie had outshot Butler (a famous dead-eye marksman himself) in a shooting contest in the 1880s. Instead of nursing his bruised ego because he had been throughly outgunned by a woman, Butler fell in love, married Little Sure Shot, and became her manager.
Theirs was a solid and happy marriage that lasted 44 years, and when Annie died on November 3, 1926, at age 66, a heartbroken Butler followed her to the grave 18 days later.
Baby Huey (born James Ramey, August 17, 1944 – October 28, 1970) was an American rock and soul singer, born in Richmond, Indiana. He was the frontman for the band Baby Huey & The Babysitters, whose single LP for Curtom Records in 1971 was influential in the development of hip hop music. Unfortunately, a fatal heart attack prevented him from seeing the release of the disc.
This is my favourite off the album:
Montage from film footage: Fingered and The Right Side of my Brain, attributed to Richard Kern, starring Lydia Lunch.
Music: “Cesspool Called History” (Lydia’s reciting over a version of the jazz standard, “Harlem Nocturne”), from the Lydia Lunch album, Hangover Hotel (self-released in 2001).
This version of the traditional song originally penned by J H McNaughton during the American Civil War was recorded by Jolie Holland for her Escondida album in 2004:
Here is the first known recorded version, by Buell Kazee, in 1928:
Today marks 95 years since the end of World War 1.
From the 1979 album The Bridge.
“Recording Info: This album was recorded at home on 8 track equipment, provided for us by Industrial Records. It was produced in two weeks dating 18th June to 2nd July. All blips, clicks & unseemly noises were generated by refrigerators & other domestic appliances & are intrinsic to the music. Special Thanks to Throbbing Gristle for their help & encouragement throughout.”
Dan-Ah Kim – Scatter (2013)
Check out more of Dan-Ah Kim’s surreal work HERE.
Happy birthday, Joni. An orchestral live performance in 2000 of her song that was first released in 1969.
(Thanks to Debbie Pryor for sharing this today.)
There is no man… however wise, who has not at some period of his youth said things, or lived in a way the consciousness of which is so unpleasant to him in later life that he would gladly, if he could, expunge it from his memory. And yet he ought not entirely to regret it, because he cannot be certain that he has indeed become a wise man—so far as it is possible for any of us to be wise—unless he has passed through all the fatuous or unwholesome incarnations by which that ultimate stage must be preceded.
I know that there are young fellows, the sons and grandsons of famous men, whose masters have instilled into them nobility of mind and moral refinement in their schooldays. They have, perhaps, when they look back upon their past lives, nothing to retract; they can, if they choose, publish a signed account of everything they have ever said or done; but they are poor creatures, feeble descendants of doctrinaires, and their wisdom is negative and sterile.
We are not provided with wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can take for us, an effort which no one can spare us, for our wisdom is the point of view from which we come at last to regard the world. The lives that you admire, the attitudes that seem noble to you, are not the result of training at home, by a father, or by masters at school, they have sprung from beginnings of a very different order, by reaction from the influence of everything evil or commonplace that prevailed around them. They represent a struggle and a victory.
— Marcel Proust, from Within a Budding Grove
Edit: new link: http://www.dailymotion.com/video/x22yzbj_flower-travellin-band-1971-satori-full-album_music
Rare 8mm footage of Japanese ’70s psychedelic rock group Flower Travellin’ Band (フラワー・トラベリン・バンド) playing their last show in April 1973 at Maruyama Park in Kyoto, Japan.
“There is no up or down
Your truth is the only master
Death is made by the living
Pain is only intense to you
The sun shines every day
Freedom, freedom…”
Last Saturday…
A Velvet Underground cover, off her beautiful 2000 Covers album on Matador Records.
Rock and Roll Heart traces Lou Reed’s career from the formation of the Velvet Underground to rock icon to his more recent artistic endeavours. Includes lots of rare and vintage footage along with interviews with David Bowie, John Cale, Patti Smith, Thurston Moore, David Byrne, Jim Carroll, Maureen Tucker, Suzanne Vega, Dave Stewart and Philip Glass. Directed by Timothy Greenfield-Sanders for American Masters and screened at the Sundance Film Festival in 1998.
So, so sad to hear Lou is gone. I have no words to begin to describe how influential his work has been to me since I first heard the Velvet Underground at 14.
From Thirteen Tales of Love and Revenge (Lizard King Records, 2007). The Pierces are two sisters, Allison and Catherine Pierce, based in New York.
Album: Jeanne Moreau chante 12 chansons de Cyrus Bassiak (1963). With footage from Tony Richardson’s Mademoiselle (1966).
Je suis indolente, mes yeux sont vagues, vagues, vagues
Et je balance mes hanches vaguement
Mes lèvres remuent, fardées de mots si vagues, vagues
Les passants hésitent en me croisant
Le temps maudit toujours les presse
Le vent si lent pour celle qui attend
Le temps me berce de paresse
Alors je chante sans fin ce vague chant
{Refrain:}
Les jeux de l’amour sont comme les jeux du hasard
Qui rêve de cœur souvent est servi de pique noir
Qui cherche un regard reçoit des rires moqueurs
Les hommes nonchalants me font des signes vagues, vagues
Et me frôlent de l’épaule vaguement
Une étreinte vague entre deux êtres vagues, vagues
C’est un peu renier le néant
Le temps maudit toujours nous presse
Le temps pourtant qui va si lentement
Le temps efface mes caresses
Alors je chante sans fin ce vague chant
{au Refrain}
Et je suis si triste quand les hommes vagues, vagues, vagues
Se reposent dans mes bras vaguement
Vaguement divaguent dans leur sommeil si vague, vague
Quand ils dorment, ils ressemblent aux enfants
Le temps maudit toujours m’oppresse
Le temps qui va son lent balancement
Le temps emporte ma tendresse
Alors je chante sans fin ce vague chant
After the jump, here’s a vaguely crappy semi-automatic translation of the lyrics. It’s a hard song to translate because of the pun on the French word “vague” – wave (the motion), wave (the gesture), vague (indeterminate)…
Continue reading
The final track on the Pierce sisters’ album, You and I (Polydor, 2011).
WARNING: This may be considered very NSFW if you live in the same society that got Petra Collins’ Instagram account deleted.
MissAsssnatch goes naa-na-na naa-na. Hairy Ass Girlpits (2007) by MissAsssnatch – Music credits: “Pistolet Joe” performed by Anna Karina.
Misanthropic Girlpit Petting (2010) by MissAsssnatch – Music credits: “Sleep Alone” performed by Rowland S Howard.
This song is the warmest hug I know. If you need one, here you go…
Sandy Denny on a twelve-string guitar, recorded at home, Byfield Northants, June 1976.
A solo performance by Thelonius Monk of four Ellington tunes: “Satin Doll,” “Sophisticated Lady,” “Caravan” and “Solitude”. Then he plays his own composition “Crepuscule With Nellie,” before joining the Joe Turner Trio in a performance of “Blues for Duke.” These performances are available on the DVD Monk Plays Ellington: Solo Piano in Berlin ’69.
“Don’t play everything (or every time); let some things go by. Some music just imagined. What you don’t play can be more important than what you do.”
Found HERE.
Transcript after the jump. Continue reading
Straight to the bloody point!
1988. Enigma Records. Essential.
00:00 Teen Age Riot
06:58 Silver Rocket
10:46 The Sprawl
18:29 ‘Cross the Breeze
25:29 Eric’s Trip
29:18 Total Trash
36:52 Hey Joni
41:14 Providence
43:56 Candle
48:55 Rain King
53:35 Kissability
56:44 Trilogy: a)The Wonder b)Hyperstation c)Eliminator Jr.
A collaboration between Stereolab and UI, covering Brian Eno’s song in 1998.
Laetitia Sadier of Stereolab
![[Juliette Gréco]](https://fleurmach.com/wp-content/uploads/2013/10/juliette-grc3a9co.jpg)
Juliette Gréco
― Nick Hornby, High Fidelity
An incredibly lovely and inspiring comic by Bill Watterson (of Calvin and Hobbes fame).
Excerpted from an article by Martha Kempner, published at RH Reality Check, October 9, 2013 – 12:43 pm
A new study finds that almost one in ten teens and young adults admit to forcing someone into some form of sexual activity. Even more surprising: 50 percent of perpetrators blame the victim for the incident. According to the study, “links between perpetration and violent sexual media are apparent.”
(RobinThickeVevo / YouTube)
A new study funded by the Centers for Disease Control and Prevention and published online in the Journal of the American Medical Association found that one in ten teens said they had coerced another person into some form of sexual activity. In an online survey in 2010 and 2011, researchers asked 1,058 young people ages 14 to 21 whether they had ever “kissed, touched, or done anything sexual with another person when that person did not want you to?” The results surprised even the lead researcher, Michele Ybarra, who told NPR, “I don’t get creeped out very often, but this was wow.”
This intense reaction stems from the fact that 9 percent of teens said they had coerced another person. Specifically, 8 percent said they had kissed or touched someone when they knew that person did not want to, 3 percent said they “got someone to give in to unwilling sex,” 3 percent said they attempted rape, and 2 percent said they actually raped someone. (This adds to more than 9 percent because young people could admit to more than one behavior.)…
… The authors also note that 50 percent of all perpetrators said that the victim was responsible for the sexual violence. Moreover, most perpetrators said no one ever found out about their actions. The authors conclude, “Because victim blaming appears to be common while perpetrators experiencing consequences is not, there is urgent need for high school (and middle school) programs aimed at supporting bystander intervention.”…
… The survey was conducted as part of an ongoing study called Growing Up With Media. In addition to asking about sexual coercion, respondents were asked about the media they watched. The study found that perpetrators tended to report more frequent exposure to media that depicted sexual and violent situations than those who had not coerced another person, but the results were not always statistically significant. Still, the authors conclude:
[L]inks between perpetration and violent sexual media are apparent, suggesting a need to monitor adolescents’ consumption of this material, particularly given today’s media saturation among the adolescent population.
Elizabeth Schroeder, the executive director of Answer, an organization that educates young people about sexuality and trains teachers, agrees that media consumption is part of the problem. She told RH Reality Check, “This study is extremely distressing, but unfortunately, not a surprise. Sexuality education rarely starts before high school, and by then young people have already received very distorted messages about sex, relationships, and boundaries from other sources such as the media, their peers, adults in their lives, and so on.” Schroeder added, “Age-appropriate lessons about relationships need to start in early childhood and continue throughout high school.”
Read the full article HERE.
One of the most overtly disturbing of Phil Spector’s “wall of sound” productions, released in 1962 on Philles Records.
Dave Thompson writes of the single on AllMusic:
“He Hit Me (And It Felt Like A Kiss)” was written by Gerry Goffin and Carole King, after their live-in babysitter Eva Boyd (19-year-old singer Little Eva) returned from a weekend away with her boyfriend, covered in bruises. The boyfriend seemed to have spent the entire weekend hitting the girl but, when questioned about it, the girl didn’t bat an eyelid. He hit her because he loved her. And, in the song, because she deserved it.
It was a brutal song, as any attempt to justify such violence must be, and Spector’s arrangement only amplified its savagery, framing Barbara Alston’s lone vocal amid a sea of caustic strings and funereal drums, while the backing vocals almost trilled their own belief that the boy had done nothing wrong. In more ironic hands (and a more understanding age), “He Hit Me” might have passed at least as satire. But Spector showed no sign of appreciating that, nor did he feel any need to.
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