Lifestyle "1983 Redux Zeitgeist Surf School"

[3KZ is Football]

My Dad told me when I moved back to Melbs in 1979 that I was not to ever go to St Kilda as it was full of bad people doing bad things.

He might have been half right you know…or was that fun people doing fun things? It’s hard to tell with the passage of time.

 

[moginie]

View attachment 1972090

I remember my dad had this one. He tried to make us listen to it. Some year later I sat him down and played him ‘Hateful’ by The Clash, which he explained to me was about drugs. My response was an early 80’s version of “Der Fred”. (An expression I have not used for a long time, possibly since 1974 and never in print).

Pompous and turgid. I've tried to listen to it over the years, but in the end I'd rather listen to "real" classical music.

 

[3KZ is Football]

Pompous and turgid. I've tried to listen to it over the years, but in the end I'd rather listen to "real" classical music.

Yeah, had they been able to listen to Rick Wakeman’s album a few HenryVIII’s wives might have actually requested beheading.

 

[3KZ is Football]

John Keats - To Autumn

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-evesrun;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap'd furrow sound asleep,
Drows'd with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.

Where are the songs of spring? Ay, Where are they?
Think not of them, thou hast thy music too,—
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.

To every album, turn, turn turn, there is a season …

It’s a beautiful autumn day in my world and lots of synapses are firing. This is a personal list, not a definitive attempt, but I got to thinking about the albums that I play more often in a certain season. Over the last forty plus years there is a pattern that I seem to fall into depending on the season. Sometimes it’s about people and places. Sometimes it’s about where my head or heart was at. Anyway, just as some people match wine and cheese, here is my ‘Albums and Seasons’ list.

Spring
The Go-Betweens, Tallulah
Paul Simon, Graceland
The Cure, Head on the Door
Siouxsie and the Banshees, A Kiss in the Dreamhouse
Paul Kelly and the Coloured Girls, Gossip

Summer
Midnight Oil, 10,9,8,7,6,5,4,3,2,1
The Triffids, Born Sandy Devotional
David Bowie, The Rise and Fall of Ziggy Stardust and the Spiders from Mars
BAD, No 10 Upping Street

Autumn
The Smiths, The World Won’t Listen
XTC, Nonesuch
XTC, Skylarking
The Go-Betweens, 16 Lovers Lane
Siouxsie and the Banshees, Hyena

Winter
The Cocteau Twins, Treasure
Simple Minds, New Gold Dream
Echo and the Bunnymen, Ocean Rain
Echo and the Bunnymen, Porcupine
The Fall, The Wonderful and Frightening World Of...
New Order, Power, Corruption & Lies

 

[Pamcake1]

John Keats - To Autumn

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-evesrun;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap'd furrow sound asleep,
Drows'd with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.

Where are the songs of spring? Ay, Where are they?
Think not of them, thou hast thy music too,—
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.

To every album, turn, turn turn, there is a season …

It’s a beautiful autumn day in my world and lots of synapses are firing. This is a personal list, not a definitive attempt, but I got to thinking about the albums that I play more often in a certain season. Over the last forty plus years there is a pattern that I seem to fall into depending on the season. Sometimes it’s about people and places. Sometimes it’s about where my head or heart was at. Anyway, just as some people match wine and cheese, here is my ‘Albums and Seasons’ list.

Spring
The Go-Betweens, Tallulah
Paul Simon, Graceland
The Cure, Head on the Door
Siouxsie and the Banshees, A Kiss in the Dreamhouse
Paul Kelly and the Coloured Girls, Gossip

Summer
Midnight Oil, 10,9,8,7,6,5,4,3,2,1
The Triffids, Born Sandy Devotional
David Bowie, The Rise and Fall of Ziggy Stardust and the Spiders from Mars
BAD, No 10 Upping Street

Autumn
The Smiths, The World Won’t Listen
XTC, Nonesuch
XTC, Skylarking
The Go-Betweens, 16 Lovers Lane
Siouxsie and the Banshees, Hyena

Winter
The Cocteau Twins, Treasure
Simple Minds, New Gold Dream
Echo and the Bunnymen, Ocean Rain
Echo and the Bunnymen, Porcupine
The Fall, The Wonderful and Frightening World Of...
New Order, Power, Corruption & Lies

Kimba's Seasonal Song Sommelier Master List no less.
I have bolded the albums that I own on vinyl and blued the albums I have on casette.
Duplicates on CD's.
Having never thought about a seasonal listing I am stumped to come up with one.
I have the 20 or so albums that sit beside the stereo that are go to's, the rest are in alphabetical order in the cabinet and then there are the three racks (those plastic 4 division things from the 70's) now in date order.
Which reminds me I haven't finished the project started here on compilations (Will I ever have the space to get back to that. Will my OCD leanings of being thorough and not having things left undone prevail. Am I an octopus with oodles of time to squander. All questions that remain to be seen answered.)
Lists? How would I put things into a list like that when I'm not that linear...more of a venn diagram or a branch and twig configuration. Or would I put up a list of decades or functional attachments.
The interesting thing to me in recalling favourite albums, is when I played them in the studio with what I was working on at the time, that would best locate the signifiers.
The glimpse I gave you all of 'central control station' in my studio at the time shows the studio stereo, the box of singles to the left and the top of the stack of albums on the floor lower left. Critical infrastructure, the stereo 'portable' and well travelled.
Here is a snap shot rather than a list.
Date: July-Nov 1989, Studio location: Monash University Fine Art School Churchill Campus, Gippsland.
Three albums that I took with me and flogged to death were The Smiths, The Queen is Dead, Gipsy Kings, Gipsy Kings & Paul Kelly's, Gossip.
The studio was a bare white stand alone box of a 70's idea, with high strip windows on two sides with a view of gum trees and sky. It was winter and there was no heating and I worked on hand- colouring some of the last of those big monotypes and transitioning to Charcoal drawings.
It was a very weird time, capped off with the linked project of being test dummy for the inaugural Victorian 'Art in Public Places' project at the Welshpool Ferry one day of the week.
I stayed 3 nights of the week in the provided worn out 3 bedroom, barely furnished ex-Housing Commission house in Churchill, commuting back to my life in Melbs on the weekends and teaching 1/2 a day a week at RMIT on Friday mornings.
Strange time, strange place, strange 3 album combo.

 

[Pamcake1]

Just back from a flying visit to Camberwell Market where I scored the below.
The original first issue Hunters & Collectors 'Jaws of Life'.
Note the inner sleave lyrics and the Capital letters of the last line, that's what the designer GC thought of 'Mushroom' as a record company.
I did think that when I posted before about this album that I hadn't remembered it as having the cover that I found on the net and I was right (Google the trickster again).
It wasn't cheap and the seller didn't know it, because he asked me if they were a Melbourne band.
I said where are you from, he said here, that's when I looked up at him and went uh huh born in the 80's. Yep.
I knew it what I call a 'narrow-caster' in the music dept. He then tried on a bit of puffery about record selling. Man, he is on my friend Michal's stall, he is a blow in, I have done this sideline for the past 30 years on and off...I let him tell me what he has to and then go the haggle, which I am always nice about, I'll give someone a fair price, none of this offer them half, insulting as that is, a fair price but more than I would normally pay as it's the first time I've seen a 1st ed. copy for sale.

Anyway once I have washed it I will play it. I do wash all my records if they are secondhand when they first arrive here, carefully with warm water and dishwashing detergent, then it's just a matter of using the Encel brush when they are dropped on the platter. I bought 4 other records which were 2 x very cheap and 2 x friends discount cheap.

I wasn't going to buy, I was going to socialise with the regulars I know, briefly flyby visit and I definitely wanted to speak to Michal about 'Old St Kilda' . I think he might be the last one left with the good stories from the 1950-60-70's.
He is at least a decade older than me, his parents were Czech Jewish who migrated at the end of WWII, I'm actually not sure whether Mikhal was born here, I can't remember.
His Father was a half owner of the Blue Danube in Acland St, another club at the bottom of Fitroy st and his Mother owned and operated another restaurant / cabaret club where Toppolino's is now. He said twice that all the furniture in Toppys was once owned by his Mother and they sold it and the building to the Toppolino's owners at the end of the 60's.
The clubs all had secret illegal gambling dens at night and today, he was telling me that before backing onto behind Fitzroy st used to be all these big Victorian boarding houses, he said it was like there was a whole secret other street behind that is now gone. He said all the dossers lived there and it was spooky as a kid, they used to dare each other to run down it.
I said we must have a coffee sometime soon and I'll interview you and voice record it. That would be easy to do as he really knows how to spin a story out and happily talks about it all...way too much for me to remember. He is a funny character and has two entirely different ways of talking. One for the usual and that's when he calls himself Michael and the Michal one where he drops into the old migrant way, that I hardly hear any more, that's the one where you have a universal euro lilt with ultra simplified grammer. He uses it when talking to certain people at the Market, I haven't really heard it a lot since the 70's in Carlton when it was the common generational speaking way of the WWII migrants. He deals in jewelery which is his professional occupation and some fine art. I'm an advisor for him when he has questions about Australian Art/Artists and we both respect each others 'eye for objet' (Franglais that).
This morning briefly, has had a very St Kilda flavour without even going there.

 

[Pamcake1]

Melbourne Calling:

Melbourne Trench Coats. Stitched Assemblages 2007. Copyright of the Artist.

Southern Cross Trench Coat. Melbourne & Environs Trench Coat




Well now I remember where my saved Southern Cross & Continental Matchbooks went.

On Friday at the end of the day I got a missed phone call and then a text from the Melb's Gallerist who owns the 1st Trench above. I rang them back an hour later.
I haven't seen them for 15 or so years, I did show in their gallery for a short while but never joined the stable by choice. Anyway they wanted to know if I would be interested in accepting a commission, to do an Artwork for a family for their gift for one of Melb's richest men's 90th birthday. Daughter had seen my work (the 2nd trench) on the owners walls (a Brockhoff Biscuits scion) and bingo had an idea.

It is difficult to buy a present for someone who has everything and they no doubt have exhausted all gift ideas long ago, the family does support Art & Artists but I've never been in the Gallery milieu that they patronise and I haven't fueled any local spotlighting of what I do, since I concentrated on an off-shore profile and couldn't manage both at the time.
Does the Melb's Art Scene know that I was selected to hang alongside Gilbert & George in a room of our own, in an extensive travelling French/Swiss exhibition called Derrière l'image back in 2000. No and they don't want to know or care and I don't care to trumpet it to them because I hate all that CV puffery and I don't have a Gallery that is or will do it.
(Ok I am doing a little bit of puffery now but it is prescribed by way of illustrating, a few points about how the Art World actually functions.)
Why not; mainly because;
1/ I'm not a bloke and no one in this country has got out of the 'golden boy painter' mythic mode, in fact it is resurgent. 2/I'm not classifiable to them and they have limited imagination when it comes down to it. They are much happier flogging a facsimilie of what they've seen OS...the old prescription art number.
3/I'm not a 'careerist' I'm contrary, I just want to do my work and not waste time schmoozing.
4/ That auto Australian evergreen habitual of thinking you might be wanting a bigger slice of the pie and don't deserve it, might get a big head, might have ideas above ones station, better put a stop to them now, no poppies or oddities here thank you very much.

Anyway back to the phone call, we went through some of the practical details, lead-in timing, framing mechanics, pricing and few other nuts and bolts. They asked me to dig out these two images, as there is little online by design and send them to them. Then I got from them what I call the negs, the ye of little faith afterthought/can't trust an Artist kneejerk...'would I be able to find enough ephemera, do they have enough corporate graphics material to make it exciting'..ah the doubts, the limited imagination of what I can magic up...that's my Art, that's my job, that is what I do. So I have to communicate that..which I did, telling them about the commission I did for the Sydney City Council of the 3 landmarks that hang in their Town Hall office foyer (Opera House, Harbour Bridge & Circular Quay) and how I worked with their archives (Melb's City Council Hello) that doing a corporate representation was a piece of piss easy. And that I have done more than one of these types of commissions with this sort of work.
I booted up my old computer got the images off and emailed them within an hour.

Normally I don't lift a finger until I receive 50% up front for commissions but there's no time like the present when the engines of possibilities and imagination get fired up.
The next morning I googled away investigating what's out there for material in the State Library Collections, the Corporate Collection, Australian Ephemera Society and put it all in a file.
Then I did some detective work on the Wiki profile, because it occured to me that this man is not just his corporate holdings and surely the family want a personal mapping of the man. So I put together that conceptual idea for presentation in writing alongside a questionaire of specific dates, details and places that include his imigrant parent's foundational business in Collins st, his wife and children and a few other personal markers that I could use. Topped off with the added clause about assurance of discretion and confidentiality of the material requested.
Then I reiterated my terms, copyright terms and time frame, framing options and the fact that I expect a contract fom the gallery. I can bet you they will be probably not be expecting to produce a proper contract, as that is work and so many galleries do so very little work on correct business practise and think that they can get away with it because Artists are sloppy and ever ripe for exploitation. I do expect something of professional practise if they make 40% on my back and I don't think it's at all a deal breaker and if it is then i don't want to deal anyway. It is a reasonable expectation one would think. This is all the unseen stuff you do if you don't have a support staff to delegate to. The onewoman band song.
Will I get the commission once the Gallerist does the pitch.
I'm pretty sure it's a goer but it also means my clearing the decks, cranking up the engines for the hard slog that it takes, making sure I have all the material sustinence onboard on the domestic front to support the marathon, ignoring certain duties, temporarily dropping some commitments and be willing to fail and do it again, until it is right.
Ah possibilities....on vera.

 

[moginie]

Hope it works out for you and it's a handsome commission.

I love the trenchcoats. Beautiful.

 

[Pamcake1]

Hope it works out for you and it's a handsome commission.

I love the trenchcoats. Beautiful.

Thanks. You probably know how it goes being in a related profession. We will see how the cookie crumbles.

 

[moginie]

Thanks. You probably know how it goes being in a related profession. We will see how the cookie crumbles.

Hope is a four letter word.

Gives and takes so much.

 

[Pamcake1]

Hope is a four letter word.

Gives and takes so much.

Understood, language usage has meaning.
That is one of the lessons in the neuroscience video in these pages.
I have taken note of that and it is why I didn't use that word once in my written piece.
Curious however as to whether it happens or not but it will or it won't and I don't hold my breath waiting.

 

[Pamcake1]

Probably the quintessential pop rendition of wishing and hoping;
(Not a recommended recipe for contemporary times if indeed it ever was, sic.)

 

[Pamcake1]

Interesting and interested when Youtube serves one up the below video as a suggestion.
I watched it and it is a curiousity, to see these two legends when they were young and very out of it, shooting the s**t at 5am in a car on the way somewhere.
Intrigued I started off down the ethernet rabbit hole investigating it.
Here is what I found and where the investigation lead me and an end song a perennial Lennon Ono favourite.

Bob Dylan (25) & John Lennon (26) on 27/5/1966 London
Excerpt from 'Eat the Document'
5am Driving: Tom - Tom Keylock Road manager/ fixer of The Rolling Stones*
Also in Car are Bob-Bob Neuwirth Dylan's friend and road Manager.
D. A. Pennebaker Cameraman.



"NQRW' - Not Quite Right Wiki:
"Bootleg version of Eat the Document include a longer scene featuring Dylan in a limousine with John Lennon in the early hours of 27 May 1966. As Dylan shows signs of fatigue, and may be impaired by alcohol or drugs, Lennon urges him to get a grip on himself: "Do you suffer from sore eyes, groovy forehead, or curly hair? Take Zimdon!...Come, come, boy, it's only a film. Pull yourself together."[4]
Lennon would later recall in an interview with Rolling Stone that he and Dylan were "both in shades, and both on ******* junk, and all these freaks around us... I was nervous as s**t. I was on his territory, that's why I was so nervous."[5][6]"
Ref Wiki

Actual Quote From RS Interview:
JL talking about New York.....
“This is the first time I'm really seeing it, because I was always too nervous, I was always the famous Beatle. Dylan showed it to me once on sort of a guided tour around the Village, but I never got any feel of it. I just knew Dylan was New York, and I always sort of wished I'd been there for the experience that Bob got from living around here.
What is the nature of your relationship with Bob?
It's sort of an acquaintance, because we were so nervous whenever we used to meet. It was always under the most nervewracking circumstances, and I know I was always uptight and I know Bobby was. We were together and we spent some time, but I would always be too paranoid or I would be aggressive or vice versa and we didn't really speak. But we spent a lot of time together.
He came to me house, which was Kenwood, can you imagine it, and I didn't know where to put him in this sort of bourgeois home life I was living; I didn't know what to do and things like that. I used to go to his hotel rather, and I loved him, you know, because he wrote some beautiful stuff. I used to love that, his so-called protest things. I like the sound of him, I didn't have to listen to his words, he used to come with his acetate and say "Listen to this, John, and did you hear the words?" I said that doesn't matter, the sound is what counts— the overall thing. I had too many father figures and I liked words, too, so I liked a lot of the stuff he did. You don't have to hear what Bob Dylan's is saying, you just have to hear the way he says it.
Do you see him as a great?
No, I see him as another poet, or as competition. You read my books that were written before I heard of Dylan or read Dylan or anybody, it's the same. I didn't come after Elvis and Dylan, I've been around always. But if I see or meet a great artist, I love 'em. I go fanatical about them for a short period, and then I get over it. If they wear green socks I'm liable to wear green socks for a period too.
When was the last time you saw Bob?
He came to our house with George after the Isle of Wight and when I had written "Cold Turkey."
Ono: And his wife.
Lennon: I was just trying to get him to record. We had just put him on piano for "Cold Turkey" to make a rough tape but his wife was pregnant or something and they left. He's calmed down a lot now.
I just remember before that we were both in shades and both on ******* junk, and all these freaks around us and Ginsberg and all those people. I was anxious as s**t, we were in London, when he came.
You were in that movie with him, that hasn't been released.
I've never seen it but I'd love to see it. I was always so paranoid and Bob said "I want you to be in this film." He just wanted to me to be in the film.
I thought why? What? He's going to put me down; I went all through this terrible thing.
In the film, I'm just blabbing off and commenting all the time, like you do when you're very high or stoned. I had been up all night. We were being smart alecks, it's terrible. But it was his scene, that was the problem for me. It was his movie. I was on his territory, that's why I was so nervous. I was on his session.”

The Rollingstone interview with John Lennon in full:
https://web.archive.org/web/20090625024842/http://www.rollingstone.com/news/story/24946866/

Eat The Document Film Info:

This videoclip is taken from footage of the D A Pennebaker documentary film 'Eat The Document' which was filmed to cover Bob Dylan's 1966 tour of the UK and Europe - but was never released. It's very similar to 'Don't Look Back' from Dylan's tour of the UK in 1965 - shot in black and white - one of the reasons why Dylan himself and the ABC television network vetoed its release in 1967.
It's fairly clear that Bob Dylan is both drunk and stoned in this footage; probably a mixture of cocaine and wine - hence the obnoxious behaviour; probably fuelled, too, by envy towards Lennon's - and the Beatles' success on Dylan's home turf in the USA from 1964 onwards. John Lennon in contrast looks more cool, calm and collected - and the rivalry between the two and Lennon's disdain is clearly evident here. If you also 'reference' Pennebaker's 1965 film of Dylan's tour of the UK in its entirety - you can clearly pick up on a similar theme of disdain felt towards the UK music scene - and probably the UK in general - particularly from Dylan's then manager, Albert Grossman." Ref Wiki

*Tom Keylock:
Brian Jones
Murder theory[edit]
Theories surrounding Jones's death developed soon afterwards, with associates of the Stones claiming to have information that he was murdered.[71][72] According to rock biographer Philip Norman, "the murder theory would bubble back to the surface every five years or so".[71] In 1993, it was reported that Jones was murdered by Frank Thorogood, a builder who was doing construction work on the property. He was the last person to see Jones alive. Thorogood allegedly confessed the murder to the Rolling Stones' driver Tom Keylock,[73] who later denied this.[74] The Thorogood theory was dramatised in the 2005 film Stoned.[75] Thorogood is alleged to have killed Jones in a fight over money; he had been paid £18,000 for work on Cotchford Farm but he wanted another £6,000.[76] The killing is alleged to have been covered up by senior police officers when they discovered how badly the investigation into Jones's death had been botched by the local police.[76]
In August 2009, Sussex Police decided to conduct a case review of Jones's death for the first time since 1969 after new evidence was handed to them by Scott Jones, an investigative journalist, who had traced many of the people who were at Brian Jones's house the night he died. The journalist had also uncovered unseen police files held at the National Archives. In 2010, following the review, Sussex Police stated it would not be reopening the case. It asserted that "this has been thoroughly reviewed by Sussex Police's Crime Policy and Review Branch, but there is no new evidence to suggest that the coroner's original verdict of 'death by misadventure' was incorrect".[77] Jones's children John and Barbara believe that their father was murdered.[78][79] Barbara appears in the 2019 documentary Rolling Stone: Life and Death of Brian Jones which pushes the theory of the murder.[80][29] Ref; Wiki

Book Reference I have read on this subject:


I believe it is more than likely true that Brian was held underwater and therefore died. This book was very clear on the facts surrounding his death.
The times were dangerous, both because of the self induced harm and the shadey characters that were around the music scene at the time. Don't forget 'Altamont' happened 5 months after Jones's death, which is a case in point about dangerous interactions and circumstances in the Rock Music Biz and especially with the retinue surrounding the Rolling Stones.
Cover ups and information manipulation were par for the course. Using Occam's Razor theory it is more likely true than not. If Jones's children believe it to be true that is yet another reason to consider it so as they would be privy to further information no doubt.

 

[Pamcake1]

Opinion | Art Isn’t Supposed to Make You Comfortable

We live in a complex world. We can’t afford to make art that serves up only simple moral lessons.

www.nytimes.com

".......a peculiar American illness: namely, that we have a profound and dangerous inclination to confuse art with moral instruction, and vice versa."

"We need more narratives that tell us the truth about how complex our world is. We need stories that help us name and accept paradoxes, not ones that erase or ignore them. After all, our experience of living in communities with one another is often much more fluid and changeable than it is rigidly black and white. We have the audiences that we cultivate, and the more we cultivate audiences who believe that the job of art is to instruct instead of investigate, to judge instead of question, to seek easy clarity instead of holding multiple uncertainties, the more we will find ourselves inside a culture defined by rigidity, knee-jerk judgments and incuriosity. In our hair-trigger world of condemnation, division and isolation, art — not moralizing — has never been more crucial."

 

[moginie]

I read the infamous Tony Sanchez book about the Rolling Stones years ago and reread it during covid after reading Anita Pallenburg's biography. It was pretty evident that Sanchez respected Jones and was shattered by his death. But he paints the picture of a man on the downward spiral; he had no place in his band, he was struggling to write music, his dependencies were slowing him down creatively and physically.

No surprise that the police at the time did an incompetent job investigating his death.

 

[moginie]

Opinion | Art Isn’t Supposed to Make You Comfortable

We live in a complex world. We can’t afford to make art that serves up only simple moral lessons.

www.nytimes.com

".......a peculiar American illness: namely, that we have a profound and dangerous inclination to confuse art with moral instruction, and vice versa."

Here's an article that confirms plenty of what I believe is true.

I'm now worried that I'm just seeking stuff to satisfy my own confirmation bias.

 

[3KZ is Football]

The RZSS Campaign has paid off.

From Crater Crescent to Canberra: Mr Squiggle gets a new home at the National Museum of Australia

The original pencil-nosed puppet and objects including fellow puppets, artworks, scripts, costumes and more have become part of the National Historical Collection

www.theguardian.com

 

[Pamcake1]

Postscript; Mr Squiggle:

He inspired children to be creative, now Mr Squiggle is at the National Museum of Australia

The National Museum of Australia has acquired the collection of the puppeteer Norman Hetherington who was behind the iconic television show, Mr Squiggle.

www.abc.net.au

 

[Pamcake1]

The RZSS Campaign has paid off.

From Crater Crescent to Canberra: Mr Squiggle gets a new home at the National Museum of Australia

The original pencil-nosed puppet and objects including fellow puppets, artworks, scripts, costumes and more have become part of the National Historical Collection

www.theguardian.com

Like minds Kimba. I posted before seeing that you had. The RZSS is the vanguard of cultural campaigns!

 

[Pamcake1]

I read the infamous Tony Sanchez book about the Rolling Stones years ago and reread it during covid after reading Anita Pallenburg's biography. It was pretty evident that Sanchez respected Jones and was shattered by his death. But he paints the picture of a man on the downward spiral; he had no place in his band, he was struggling to write music, his dependencies were slowing him down creatively and physically.

No surprise that the police at the time did an incompetent job investigating his death.

Are you refering to this book as infamous? Here is a good round up on it:

Up And Down With The Rolling Stones

Up And Down With The Rolling Stones, by Tony Sanchez October, 1980 Signet Books (original trade paperback edition 1979) In many way...

glorioustrash.blogspot.com

The book for Anita Pallenberg, is it this one:

She's a Rainbow - The Extraordinary Life of Anita Pallenberg - The Black Queen

Buy She's a Rainbow - The Extraordinary Life of Anita Pallenberg - The Black Queen by Simon Wells from your local bookstore. "How Anita came to be ...

constantreader.com.au

The latest is this film on Anita made by Marlon Richards:

‘She enjoyed her power over men’: memoir reveals anarchic life of Rolling Stones’ muse Anita Pallenberg

As a film drawing on Pallenberg’s autobiography opens, her son Marlon Richards talks about life with her and Keith

www.theguardian.com

Vogue's take:

A New Documentary Reveals the Anita Pallenberg You Never Knew

Anita Pallenberg was much more than a pretty face.

www.vogue.com

 

[moginie]

Yes, and yes.

I didn't come away from her biography with a great impression of her. Definitely talented but saddled with an outrageous sense of entitlement.

It just reminded me of the Jarvis Cocker comment; "Nobody ever says (he's) so much better since he's been on drugs..."

 

[3KZ is Football]

New Release.
House of All are all ex-members of The Fall and this is their second album. It is in the same ‘wheelhouse’ as The Fall, but manages, like their first album House of All (2023), to get its own vibe going. I loved last year’s release and this is great too.

Martin Bramah - Vocals, Guitar
Peter Greenway - Guitar
Steve Hanley - Bass
Paul Hanley - Drums, Vocals
Si Wolstencroft - Drums, Vocals

 

[Pamcake1]

Very interesting for two reasons; concepts of fashion as clothes, that I have already touched on and what a good teacher can be like....the first 'influencers'.

The Fashion Influencers of the French Revolution

“Liberty Equality Fashion” explores radical shifts in fashion that embodied the ideas of the French Revolution and the women who led the charge.

www.nytimes.com

 

[Pamcake1]

3KZ is Football This one is for you Kimba.
A reinforcement of the 'benefit of the beat'.
Another RZSS vanguard campaign backed up with relevancy....connecting the dots.

Homelessness Is Especially Hard on Children. Making Music Helps.

Therapists from the Brooklyn Conservatory of Music have found that teaching homeless children to make beats and write songs is a way to heal trauma.

www.nytimes.com

 

[3KZ is Football]

Very interesting for two reasons; concepts of fashion as clothes, that I have already touched on and what a good teacher can be like....the first 'influencers'.

The Fashion Influencers of the French Revolution

“Liberty Equality Fashion” explores radical shifts in fashion that embodied the ideas of the French Revolution and the women who led the charge.

www.nytimes.com

I just love that the most radical and fervent revolutionary class were known as Sans-culottes immediately before and during the French Revolution. Defined by the absence of a type of clothing.