Yes, this track is really from 1979!
It comes from her debut album, Pressed Color, which was produced by Michel Esteban and released on his acclaimed New York no-wave label, ZE Records.
Yes, this track is really from 1979!
It comes from her debut album, Pressed Color, which was produced by Michel Esteban and released on his acclaimed New York no-wave label, ZE Records.
Sometimes you fight for the world
Sometimes you fight for yourself
(Off the experimental collective’s eponymous album, released on Virgin in 1979, with vocals by Vivien Goldman.)
Chet Baker (tp) Enrico Pieranunzi (pf) Charlie Haden (b) Billy Higgins (ds )
Recorded in Rome, Italy, November 11 & 12, 1987
Soul Note
Time flies
time crawls
like an insect
up and down the walls
The light pours out of me
the light pours out of me
The conspiracy
of silence ought
to revolutionise
my thought
The light pours out of me …
The cold light of day
pours out of me
leaving me black
and so healthy
The light pours out of me …
It jerks out of me
like blood
in this still life
heart beats up love
The light pours out of me …
And it ain’t me that’s gonna leave.
Cover of Sparks’ 1970s hit, from Through the Looking Glass (Polydor, 1987).
An excerpt from a 2007 interview with Ani DiFranco where she speaks about life as a teenager, anger, rape and exploitation, and on finding the tools to stand up for yourself in a world where you don’t feel respected. If you want to watch the whole interview, there are 5 parts on Youtube.
“If you have an innocent heart you can’t recognise those who do not.”
Miley Cyrus recently claimed that her controversial video for Wrecking Ball was inspired by Sinéad O’Connor’s Nothing Compares 2 U. Hounded by journalists for her opinion, O’Connor felt compelled to respond, posting a strongly worded yet compassionate public letter warning Cyrus against allowing herself to be exploited. This is the full text, published on www.sineadoconnor.com.
Dear Miley,
I wasn’t going to write this letter, but today i’ve been dodging phone calls from various newspapers who wished me to remark upon your having said in Rolling Stone your Wrecking Ball video was designed to be similar to the one for Nothing Compares … So this is what I need to say … And it is said in the spirit of motherliness and with love.
I am extremely concerned for you that those around you have led you to believe, or encouraged you in your own belief, that it is in any way ‘cool’ to be naked and licking sledgehammers in your videos. It is in fact the case that you will obscure your talent by allowing yourself to be pimped, whether its the music business or yourself doing the pimping.
Nothing but harm will come in the long run, from allowing yourself to be exploited, and it is absolutely NOT in ANY way an empowerment of yourself or any other young women, for you to send across the message that you are to be valued (even by you) more for your sexual appeal than your obvious talent. I am happy to hear I am somewhat of a role model for you and I hope that because of that you will pay close attention to what I am telling you.
The music business doesn’t give a shit about you, or any of us. They will prostitute you for all you are worth, and cleverly make you think its what YOU wanted … and when you end up in rehab as a result of being prostituted, ‘they’ will be sunning themselves on their yachts in Antigua, which they bought by selling your body and you will find yourself very alone.
None of the men ogling you give a shit about you either, do not be fooled. Many’s the woman mistook lust for love. If they want you sexually that doesn’t mean they give a fuck about you. All the more true when you unwittingly give the impression you don’t give much of a fuck about yourself. And when you employ people who give the impression they don’t give much of a fuck about you either. No one who cares about you could support your being pimped … and that includes you yourself.
Yes, I’m suggesting you don’t care for yourself. That has to change. You ought be protected as a precious young lady by anyone in your employ and anyone around you, including you. This is a dangerous world. We don’t encourage our daughters to walk around naked in it because it makes them prey for animals and less than animals, a distressing majority of whom work in the music industry and it’s associated media.
You are worth more than your body or your sexual appeal. The world of showbiz doesn’t see things that way, they like things to be seen the other way, whether they are magazines who want you on their cover, or whatever … Don’t be under any illusions … ALL of them want you because they’re making money off your youth and your beauty … which they could not do except for the fact your youth makes you blind to the evils of show business. If you have an innocent heart you can’t recognise those who do not.
I repeat, you have enough talent that you don’t need to let the music business make a prostitute of you. You shouldn’t let them make a fool of you either. Don’t think for a moment that any of them give a flying fuck about you. They’re there for the money… we’re there for the music. It has always been that way and it will always be that way. The sooner a young lady gets to know that, the sooner she can be REALLY in control.
You also said in Rolling Stone that your look is based on mine. The look I chose, I chose on purpose at a time when my record company were encouraging me to do what you have done. I felt I would rather be judged on my talent and not my looks. I am happy that I made that choice, not least because I do not find myself on the proverbial rag heap now that I am almost 47 yrs of age … which unfortunately many female artists who have based their image around their sexuality, end up on when they reach middle age.
Real empowerment of yourself as a woman would be to in future refuse to exploit your body or your sexuality in order for men to make money from you. I needn’t even ask the question … I’ve been in the business long enough to know that men are making more money than you are from you getting naked. Its really not at all cool. And its sending dangerous signals to other young women. Please in future say no when you are asked to prostitute yourself. Your body is for you and your boyfriend. It isn’t for every spunk-spewing dirtbag on the net, or every greedy record company executive to buy his mistresses diamonds with.
As for the shedding of the Hannah Montana image … whoever is telling you getting naked is the way to do that does absolutely NOT respect your talent, or you as a young lady. Your records are good enough for you not to need any shedding of Hannah Montana. She’s waaaaaaay gone by now … Not because you got naked but because you make great records.
Whether we like it or not, us females in the industry are role models and as such we have to be extremely careful what messages we send to other women. The message you keep sending is that its somehow cool to be prostituted … its so not cool Miley … its dangerous. Women are to be valued for so much more than their sexuality. We aren’t merely objects of desire. I would be encouraging you to send healthier messages to your peers … that they and you are worth more than what is currently going on in your career. Kindly fire any motherfucker who hasn’t expressed alarm, because they don’t care about you.
By way of explaining some of the rage that is and will undoubtedly continue to be bubbling out on Fleurmach in the next while: someone very precious to me was ————————————————————————————————————————————————————————————————————————- CENSORED ON DEMAND FOR LEGAL REASONS —————————————————————————————————. And THAT is what makes me the angriest of all. It sends a clear message to her that keeping the peace is more important than honouring her truth. And it is emphatically NOT so.
All the doves that fly past my eyes,
Have a stickiness to their wings,
In the doorway of my demise I stand,
Encased in the whisper you taught me.
HOW DOES IT FEEL? IT FEELS BLIND.
HOW DOES IT FEEL? WELL, IT FEELS FUCKING BLIND.
WHAT HAVE YOU TAUGHT ME? NOTHING.
LOOK WHAT YOU HAVE TAUGHT ME,
YOUR WORLD HAS TAUGHT ME NOTHING.
If you were blind and there was no braille,
There are no boundaries on what I can feel,
If you could see but weren’t taught
That what you saw wasn’t real.
HOW DOES THAT FEEL? IT FEELS BLIND.
HOW DOES THAT FEEL? IT FEELS FUCKIN BLIND.
WHAT HAVE YOU TAUGHT ME? NOTHING.
LOOK AT WHAT YOUR WORLD TEACHES ME, NOTHING.
As a woman I was taught to always be hungry.
Yeah women are well acquainted with thirst.
Yeah, we could eat just about anything.
We’d might even eat your hate up like love.
I EAT YOUR HATE LIKE LOVE, I EAT YOUR HATE LIKE LOVE,
I EAT YOUR HATE LIKE LOVE, I EAT YOUR HATE LIKE LOVE
HOW DOES THAT FEEL? IT FEELS BLIND.
Performed here by the 5.6.7.8s, a Japanese all-female trio who also played it live in a scene from Quentin Tarantino’s Kill Bill 1 (2003), this song was originally released by The Rock-A-Teens in 1959.
“Free your ass and your mind will follow” (with a nod to George Clinton).
What HAS changed since this song came out in 2001 is that you don’t have to go offline to take to the streets anymore. ;)
“Hyper-media-ocrity”
A decade ago, you couldn’t go out in Cape Town on a Friday for about a year without hearing this somewhere (or, as a DJ, being begged to play it by punters). It was HUGE.
Appearing on the performance art/electroclash duo Fischerspooner’s first album #1, “Emerge” was released as a single three times: first in 2001 on International Deejay Gigolo Records then by FS Studios/Ministry of Sound in 2002, and on Capitol in 2003.
I was just reminded of this photo I took a while back.
Off the John Leckie-produced masterpiece of ’90s psychedelia, A Storm in Heaven (Hut/Vernon Yard, 1993). Visual material from Andrei Tarkovsky’s incredible film, Solaris (1972).
I was so in love with this album for so many years, yet I have hardly listened to it in the past decade… It’s hard to figure out why. I don’t think it’s because I tired of it. Listening again now to the full album, I get the very same goosebumps as always. Most likely the reason I haven’t listened to it is because I have it on CD, and I haven’t really listened to CDs in a long time (though I am pretty sure I have it ripped to mp3 somewhere?). Heck, I don’t even own a CD player anymore, except for my old Walkman and the DVD drive in my Windows laptop. More broadly, it’s interesting to think about how different the mix of listening formats is now compared to when this came out, and how the format of a recording affects its consumption… But I think that may be an essay for another day when I’m feeling less spacey!
Hello it’s me, it’s me
I want to touch you
It’s me throwing stones from the stars
On your mixed up worldBeen circling round for twenty years
And in that time I’ve seen all the fires and all the liars
I’ve been calling home for twenty years
And in that time I heard the screams rebound to me
While you were making history
LISTEN TO A STORM IN HEAVEN, and dream galaxies…
A demo recorded circa 1968, but only released in 1995 on the album Rolled Gold (label: Dig The Fuzz Records).
A cover of Simon and Garfunkel’s “The Sound of Silence” on Laforêt’s Album 3 (Disques Festival, 1967). The video contains footage from the film, The Graduate (1967), in which this and other Simon and Garfunkel songs feature prominently during pivotal montage scenes.
Beautiful woman, beautiful album.
From Album 3 (Disques Festival, 1967). Beautiful woman, beautiful album.
From Album 3 (Disques Festival, 1967).
From Album 3 (Disques Festival, 1967).
“This is one of those heartwrenching adverts, about funerals or tampons.”
— My mom to me as we’re clearing up after supper and the plaintive strains of a piano waft through from the TV.
Truly happy people seem to have an intuitive grasp of the fact that sustained happiness is not just about doing things that you like. It also requires growth and adventuring beyond the boundaries of your comfort zone. Happy people, are, simply put, curious. In a 2007 study, Todd Kashdan and Colorado State psychologist Michael Steger found that when participants monitored their own daily activities, as well as how they felt, over the course of 21 days, those who frequently felt curious on a given day also experienced the most satisfaction with their life—and engaged in the highest number of happiness-inducing activities, such as expressing gratitude to a colleague or volunteering to help others.
Yet curiosity—that pulsing, eager state of not knowing—is fundamentally an anxious state. When, for instance, psychologist Paul Silvia showed research participants a variety of paintings, calming images by Claude Monet and Claude Lorrain evoked happy feelings, whereas the mysterious, unsettling works by Egon Schiele and Francisco Goya evoked curiosity.
Curiosity, it seems, is largely about exploration—often at the price of momentary happiness. Curious people generally accept the notion that while being uncomfortable and vulnerable is not an easy path, it is the most direct route to becoming stronger and wiser. In fact, a closer look at the study by Kashdan and Steger suggests that curious people invest in activities that cause them discomfort as a springboard to higher psychological peaks.
Of course, there are plenty of instances in life where the best way to increase your satisfaction is to simply do what you know feels good, whether it’s putting your favourite song on the jukebox or making plans to see your best friend. But from time to time, it’s worth seeking out an experience that is novel, complicated, uncertain, or even upsetting—whether that means finally taking the leap and doing karaoke for the first time or hosting a screening of your college friend’s art-house film. The happiest people opt for both so that they can benefit, at various times, from each.

(Image: http://ad-busting.tumblr.com/)
There was too much, always, then too little.
Childhood: sickness.
By the side of the bed I had a little bell —
at the other end of the bell, my mother.
Sickness, gray rain. the dogs slept through it. They slept on the bed,
at the end of it, and it seemed to me they understood
about childhood: best to remain unconscious.
The rain made gray slats on the windows.
I sat with my book, the little bell beside me.
Without hearing a voice, I apprenticed myself to a voice.
Without seeing any sign of the spirit, I determined
to live in the spirit.
The rain faded in and out.
Month after month, in the space of a day.
Things became dreams; dreams became things.
Then I was well; the bell went back to the cupboard.
The rain ended. The dogs stood at the door,
panting to go outside.
I was well, then I was an adult.
And time went on — it was like the rain,
so much, so much, as though it was a weight that couldn’t be moved.
I was a child, half sleeping.
I was sick; I was protected.
And I lived in the world of the spirit,
the world of gray rain,
the lost, the remembered.
Then suddenly the sun was shining.
And time went on, even when there was almost none left.
And the perceived became the remembered,
the remembered, the perceived.
__
From The Seven Ages (Ecco/Harper Collins, 2001)
The “Black Bottom” (aka “Swanee Bottom”) was originally from New Orleans, later worked its way to Georgia and finally New York. Some say the “Black Bottom” was introduced by blues singer Alberta Hunter (which is probably true as many songs & dances were “stolen” and reproduced by someone else). However, it has been reported that the Black Bottom was derived from an earlier and similar dance called the “Echo.” The dance was done all over the South before Perry Bradford wrote his “Original Black Bottom Dance” in 1919.
Simple moves were created by natural movements, like the stomp was to imitate a cow’s feet stuck in mud.
__
The above info is posted below the Youtube video. Read more (a different story) about the supposed origins of this ’20s dance craze HERE, and watch another video from 1927 from the British Pathe archive: