alcools:

Letter from Neal Cassady to Jack Kerouac
alcools:

Letter from Neal Cassady to Jack Kerouac
theparisreview:

Remembering Ray Johnson through his pioneering correspondence art.
theparisreview:

Remembering Ray Johnson through his pioneering correspondence art.

T H R E N O D Y

*********************

myriam gendron

dorothy parker

(via myriamgendron)

davidhudson:

Dorothy Parker, 1924, photographed at the back of Harold Ross’s brownstone.

B I L L   N A C E

+

M Y R I A M   G E N D R O N

South Deerfield, Ma. 07/14

photo : Elisa Ambrogio

(via seminaculture)

fuckyeahsandorclegane:

Maddy Prior & June Tabor “Agincourt Carol” (live)

fuckinrecordreviews:

"When Tabor approaches traditional material in a capella form it can freeze the skin on your face…"
FORCED EXPOSURE #16 1990 page (page 96)
JUNE TABOR review by JIMMY JOHNSON, Editor
Why are we celebrating Jimmy this week? He’s an UNSUNG HERO OF ROCKNROLL WRITING, that’s why.
YouTube is really delivering lately. The linked video below is of June Tabor from 1990 and damn if our faces aren’t frozen! Two violins and June’s beautiful voice and no synths - tho’ we kind of wish Hermann Nitsch would jump out from behind the cathedral doors and douse the crowd in pig’s blood.  Give yourself a treat. You may be in tears by the end of the first song. 

fuckinrecordreviews:

"When Tabor approaches traditional material in a capella form it can freeze the skin on your face…"
FORCED EXPOSURE #16 1990 page (page 96)
JUNE TABOR review by JIMMY JOHNSON, Editor
Why are we celebrating Jimmy this week? He’s an UNSUNG HERO OF ROCKNROLL WRITING, that’s why.
YouTube is really delivering lately. The linked video below is of June Tabor from 1990 and damn if our faces aren’t frozen! Two violins and June’s beautiful voice and no synths - tho’ we kind of wish Hermann Nitsch would jump out from behind the cathedral doors and douse the crowd in pig’s blood.  Give yourself a treat. You may be in tears by the end of the first song. 

fuckinrecordreviews:

"When Tabor approaches traditional material in a capella form it can freeze the skin on your face…"

FORCED EXPOSURE #16 1990 page (page 96)

JUNE TABOR review by JIMMY JOHNSON, Editor

  • YouTube is really delivering lately. The linked video below is of June Tabor from 1990 and damn if our faces aren’t frozen! Two violins and June’s beautiful voice and no synths - tho’ we kind of wish Hermann Nitsch would jump out from behind the cathedral doors and douse the crowd in pig’s blood.  Give yourself a treat. You may be in tears by the end of the first song. 

killerbeesting:

Charles Brittin, Shirley Berman in Eames Rocker, Venice, CA, 1956

lesecretmusical:

Attends, je vois tout près une étoile orpheline
Qui vient dans ta maison pour te parler de moi
Je la connais depuis longtemps c´est ma voisine
Mais sa lumière est illusoire comme moi
Et tu ne me dis rien tu ne dis jamais rien
Mais tu luis dans mon cœur comme luit cette étoile
Avec ses feux perdus dans des lointains chemins
Tu ne dis jamais rien comme font les étoiles.

À Saint-Aubin Sur Mer que je ne connais pas…

Sublime interprétation, vraiment. 

(via bernardcamus)

merzbow-derek:

Joseph Beuys, Democracy is Funny, 1973
Silkscreen on cardstock, with handwritten text
75 x 114.5 cm
Edition: 80 signed and numbered
Publisher: Edition Staeck, Heidelberg
Catalogue Raisonné No.: 68

This screen print depicts the moment, on October 11th, 1972, when Beuys was expelled from the Düsseldorf State Art Academy. It derives from a photograph by Ernst Nanninga, which was enlarged, recoloured and reprinted by the publisher Klaus Staeck. Beuys had taught at the Academy since the early 1960s, and, in 1971, had begun protesting its selective admissions-policy. Declaring education to be a universal human right, he had accepted every applicant rejected by the school’s authorities. As part of this protest action, Beuys and sixteen non-admitted students occupied the offices of the Academy in a bid to force the administration to abolish intake restrictions. While successful on this first occasion, a repeat occupation of the offices the following year was met with a stern response by the school’s administration. The Academy’s director, Eduard Trier, called in the police, at which point Beuys chose to leave the building willingly.1

Nanninga’s photograph depicts the moment of Beuys’s departure. It shows the artist and his students filing out between two ranks of police officers. While the officers look on stone-faced or with scarcely concealed disdain, Beuys is smiling broadly. As if to explain his laughter he has scrawled across the centre of the photograph ‘Democracy is funny’ [Demokratie ist lustig]. But where exactly does the humour lie here? In Beuys’s ability to see the funny side of his provocative actions, which had at this point been continuing for some time? Or with the fact that Trier’s stringent reaction, revealed the Academy to be a less than democratic institution, which for this reason was not to be taken seriously? In either case this multiple amounted to a new provocation on Beuys’s part, which helped to further publicise his cause.

image

“Myriam Gendron’s interpretation of this poem (Solace) - set to Gendron’s guitar and smoked husk of a voice - is out of this world. It can be found on Not So Deep A Well: Myriam Gendron Sings Dorothy Parker (Feeding Tube - 2014) Try Forced Exposure, but low stock level, so move it. …”

— The nice people at fuckingrecordreviews 12/08/14.

(via seminaculture)