Yearly Archives: 2009

RIP Eddie Bo (1930 – 2009)

RIP Eddie Bo.

RIP Eddie Bo

Edwin Joseph Bocage (“Eddie Bo”) (September 20, 1930March 18, 2009) was an American singer and one of the last New Orleans junker-style pianists. Schooled in jazz, he was known for his blues, soul and funk recordings, compositions, productions and arrangements.

[Youtube=http://www.youtube.com/watch?v=ANoc-TghlWM]

“From This Day On”

He debuted on Ace Records in 1955 and released more single records than anyone else in New Orleans other than Fats Domino.

His song “Hook & Sling” was featured on the breakbeat compilation “Ultimate Breaks and Beats” and on the rare groove compilation Rare Grooves Vol. 1.

Rare groove is an umbrella term that refers to relatively obscure and hard-to-find jazz-funk, funk and soul, soul jazz and jazz-fusion tracks from the 1970s. Originally coined by Kiss FM DJ Norman Jay in 1985 through his show The Original Rare Groove Show, ‘rare groove’ tracks have been influential on the musical genres of hip hop, techno, house, breakbeat, jungle and others.

Zizek @60

Slavoj Žižek @60

Zizek in The Birds by you.

Slavoj Zizek inserts himself into The Birds in this promotional image for The Pervert’s Guide to Cinema.

Slavoj Žižek (born 21 March 1949) is a Slovenian sociologist, contemporary philosopher, filmosopher and cultural critic.

I’ve been drawn to Žižek since the early days of the internet, perhaps making my way to him via Gilles Deleuze, my first philosophy/internet love. My interest peaked in 2006 when he released The Pervert’s Guide to Cinema in which he celebrated his brand of psychoanalytical film theory based on horror films and psychological thrillers. Last summer I spent about 3 continuous hours “getting” Žižek only to find out that Žižek’s entire work is the endeavour to use Lacan as a tool to reactualize German idealism using the Lacanian concepts of the Imaginary, the Symbolic and the Real (see Zizek and the German idealists).

If I had my way, I would organize the David Bordwell vs Slavoj Žižek Celebrity Deathmatch.

Discussing the Divine Comedy with Dante

Discussing the Divine Comedy with Dante

Discussing the Divine Comedy with Dante is a painting by Dai Dudu, Li Tiezi, and Zhang An depicting 103 cultural icons. It was released without credits on the internet in 2006 as a kind of painterly mystification and became an internet phenomenon in early 2009.

The painting’s antecedents are Disputation of the Holy Sacrament (1508/1509) and The School of Athens (1509/1510) or The Parnassus all by Raphael. Here[1] is a list with all the visual sources.

At first I thought it was uninteresting kitsch and had way too many political figures to be of interest of me. But then I thought this work might make it into the list of  works of art in the collective unconscious. Besides, due too its large presence of Chinese celebrities, it can easily be regarded as an example of 21st century Chinocentrism. And I like to believe that China is the only World Power to challenge Pax Americana as we’ve known it for the last sixty years.

List of celebrities include mostly figures from the political realm, sourced here[2].

1. Socrates 2. Cui Jian 3. Vladimir Lenin 4. Prince Charles 5. Ramses or King Solomon or Sinuhe of Egypt 6. Bill Clinton 7. Peter the Great 8. Charles de Gaulle 9. Margaret Thatcher 10. Ulysses S. Grant 18. Bill Clinton 11. Bruce Lee 12. Winston Churchill 13. Raphael Sanzio or Matisse 14. Robert Oppenheimer 15. Elvis Presley 16. William Shakespeare 17. Wolfgang Amadeus Mozart 18. Genghis Kahn 19. Napoleon Bonaparte 20. Che Guevara 21. Fidel Castro 22. Marlon Brando 23. Lao zi or Hokusai 24. Marilyn Monroe 25. Yassar Arafat 26. Julius Caesar 27. Mike Tyson 28. George W. Bush 29. Luciano Pavarotti 30. Salvador Dali 31. Empress CiXi 32. Liu Xiang 33. Kofi Annan 34. Prince Charles 35. Ariel Sharon 36. Ho Chi Minh or Qi Baishi 37. Osama Bin Laden 38. Qin Shi Huang 39. Mikhail Gorbachev 40. Mother Teresa 41. Song Qingling 42. Otto Von Bismarck 43. Saint Peter or Rabindranath Tagore 44. Li ZhenSheng 45. Voltaire 46. Hu Jintao 47. Dante Alighieri or Julius Caesar 48. Pu-Yi or Dai Dudu 49. Saloth Sar 50. Yi Sun-Sin or Yue Fei 51. Michelangelo 52. Hideki Tojo or Hiro Hito 53. Michael Jordan 54. Dwight Eisenhower or John Calvin Coolidge 55. Corneliu Baba 56. Claude Monet 57. Mahatma Ghandi 58. Vincent Van Gogh 59. Henri de Toulouse-Lautrec 60. Marcel Duchamp 61. Confucius 62. Noah 63. Li Bai or Caravaggio 64. Mao Zhedong 65. Johann Wolfgang von Goethe 66. Zhou Enlai 67. Marie Curie 68. Abraham Lincoln 69. Pablo Picasso 70. Steven Spielberg 71. Friedrich Nietzsche 72. Karl Marx 73. Leonardo Da Vinci 74. Joseph Stalin 75. Queen Elizabeth II 76. Lu Xun 77. José de San Martín 78. Deng Xiaoping 79. Sun Yat-Sen 80. Theodore Roosevelt or George Custer or Maxim Gorky or Philippe Pétain 81. Saddam Hussein 82. Benito Mussolini 83. Adolf Hitler 84. Guan Yu 85. Pelé 86. Bill Gates 87. Audrey Hepburn 88. Ludwig Van Beethoven or Chopin 89. Charlie Chaplin 90. Henry Ford 91. Lei Feng 92. Victor Babeş or Norman Bethune 93. Mike Tyson 94. Sigmund Freud 95. Erich Honecker 96. Vladimir Putin 97. Lewis Caroll 98. Shirley Temple 99. Chang Kai Chek 100. Leo Tolstoy 101. Albert Einstein 102. Ernest Hemingway 103. Franklin Roosevelt 104. Woman from photograph by Cartier Bresson or Mother Teresa 105. Dolly (the cloned sheep)

Nothing is true, everything is permitted

Grafitti subversion of the original phrase, from the photostream of Paul Neve

A post[1] by Valter on Lev Shestov’s influence on Georges Bataille leads me again to the aphorism Nothing is True, Everything is Permitted. I think I’ve known this phrase from my Wired days, but first absorbed it consciously last summer while reading Burroughs’s excellent Cities of the Red Night.

Research of the last hour:

“Nothing is true, all is permitted”: so said I to myself. Into the coldest water did I plunge with head and heart. Ah, how oft did I stand there naked on that account, like a red crab!Thus Spoke Zarathustra

Nothing is True, Everything is Permitted” is the famous aphorism attributed to Hassan i Sabbah.

The aphorism was first used by Friedrich Nietzsche in his 1880s work Thus Spoke Zarathustra (original German Nichts ist wahr, Alles ist erlaubt). Like Crowley‘s “‘Do what thou wilt’ shall be the whole of the law“, this phrase is often interpreted in its most literal sense to mean that objective reality does not exist (see relativism) and therefore that free will is unlimited. However, “Nothing is True and Everything is Permitted” is more widely interpreted to mean “there is no such thing as an objective truth outside of our perception; therefore, all things are true and possible”. It is a basic tenet in chaos magic and a core concept in discordianism and pirate utopias.

The aphorism is mentioned in the 1938 novel Alamut and in William Burroughs’s novel Cities of the Red Night. It is used as a credo on Axiom, Bill Laswell’s record label and alluded to in the title of Isis’s album In the Absence of Truth. Brion Gysin‘s biography is titled Nothing Is True – Everything Is Permitted: The Life of Brion Gysin.

P. S. Surya notes in his biography of Bataille that the phrase “nothing is true” originates with Dostoevski. There could be some truth in that since Dostoevski was born 20 years before Nietzsche.

“Sex Without Stress” is WMC #288

http://www.youtube.com/watch?v=6OtuZjBc_H0

Sex Without Stress” by the Au Pairs

It’s been a while since I’ve done one of these. As I explained, I now do music on Facebook almost exclusively (join me there at Jan Geerinck with a brief note).

It’s been so long that I need to explain what WMC stands for: World music classics is an ongoing series of World Music Classics.

It had been a while since I’d heard “Sex Without Stress” by the Au Pairs.

Sex Without Stress” is a musical composition by the British post-punk band the Au Pairs first released in 1982. It was also released on their album Sense and Sensuality. The song is also featured on Stepping Out of Line: The Anthology.

From the lyrics:

“Would you like to express
your sex without stress?
Would you like to discover
physical conversations of different kinds?”

The Au Pairs were a post-punk band who formed in Birmingham in 1979. Musically they were very similar to bands such as Ludus, Gang of Four and the Delta 5. That is, the rhythm section was tight and funky (obvious influences were James Brown and Funkadelic), but the guitars were light and “scratchy” (like Subway Sect). All these bands shared a strongly left wing social outlook, but the Au Pairs stood out due to their frontwoman, Lesley Woods, being an outspoken feminist and lesbian: the band were greatly influential in this respect on the riot grrrl movement a decade later. Music historian Gillian G. Gaar noted in her history of women in rock (She’s A Rebel: The History of Women In Rock & Roll) that the band mingled male and female musicians in a revolutionary collaborative way as part of its outspoken explorations of sexual politics.

Introducing Ferenc Pintèr (1931 – 2008)

Ferenc Pinter by you.

Anima Mundi (2004) [source]

Pop. 1280 by Jim Thompson (Italian edition cover by Ferenc Pintèr).

posted by tonto–kidd[3]

Researching Carlo Jacono in my previous post[1] brought me to the work of Ferenc Pintèr.

Ferenc Pintèr (1931 – 2008) was an Italian illustrator and painter. He is best-known for his book cover designs for Mondadori. he also designed tarot decks for Italian publisher Lo Scarabeo.

Digressions:

Pop. 1280 is a novel by Jim Thompson (19061977) first published in 1964. It is a particularly bleak species of American hard-boiled crime fiction, but exhibits experimental flourishes that align it with literary (as opposed to genre) fiction, as well as occasional surrealist episodes. The unreliable narrator as a story-telling device, of which Thompson was particulary fond, is exemplary in this  novel.

Pop. 1280 was made into the French film, Coup de Torchon by Bertrand Tavernier in 1981. In that film, Lucien Cordier (Philippe Noiret) is an ineffectual local constable (see bumbling authority figures in comedy) with a cheating wife and laughable job. He accepts condecension from his superiors and his wife with good humor, as his antisocial personality allows him to tolerate such abuse. However, he soon realizes that he can use his position to gain vengeance with impunity, and he starts to kill everyone who has regarded him as a fool. After numerous trysts and murders, his pathology catches up with him in the film’s climax.

Carlo Jacono @80 and Italian exploitation

Carlo Jacono @80 and Italian exploitation

Segretissimo n° 75 (art cover by Carlo Jacono)

An Italian translation of Malory by American author James Hadley Chase

Cover design by Carlo Jacono

Carlo Jacono (March 17, 1929June 7, 2000) was an Italian illustrator detective novel covers and regular contributor to Mondadori’s gialli and Urania magazine.

A digression into Italian exploitation.

My interest in regional exploitation or pulp culture is that what it tells about the region where it is produced. I am searching for national stereotypes by way of their exploitation culture; regional stereotypes deduced from regional fears and desires (horror and eroticism).

Italian exploitation culture is literature and films in the “low culture” tradition originating from Italy, cultural products which address the prurient interests of its audience. A quick glance at Italian society on the one hand, which its firm anchor in puritan Christianity, and its abundance on the other hand of graphic exploitation material, quickly reveals its double standards.

In print culture there has been giallo fiction, quickly followed by adult comics, the so-called fumetti neri.

But the nature of Italian prurience is most readily revealed in Italian cinema. Genres such as cannibal films, Italian erotica, Italian horror films, giallo films, mondo films, il sexy, spaghetti westerns, sword and sandal films all went a tad further than contemporary products of European exploitation.

Had it not for the world wide web, these maligned genres would probably not have been so widely known, but if you prefer reading books to the internet, here is a list of publications on European exploitation you may enjoy.

André Pieyre de Mandiargues @100

Yesterday would have been André Pieyre de Mandiargues‘s 100th birthday, had he not died in 1991.

Some quick finds:

Les Incongruités Monumentales by André Pieyre de Mandiargues by you.

Les Incongruités monumentales, Robert Laffont, 1948.

The Devil's Kisses, anthology edited by Linda Lovecraft

Featuring his story “The Diamond”Catelogue of Bellmer engravings prefaced by Les Incongruités Monumentales by André Pieyre de Mandiargues

Prefaced by Mandiargues

Le Merveilleux by Les Incongruités Monumentales by André Pieyre de Mandiargues

Arcimboldo le merveilleux, Robert Laffont, 1977.

His story La Marée and the 1967 novel La Marge were both made into film by Polish film director Walerian Borowczyk and it is de Mandiargues’s collection of pornographic items that is featured in Borowczyk’s Une collection particulière . He wrote several prefaces, amongst others to  Pauline Réage‘s Story of O and a catalogue raisonné of Hans Bellmer engravings.

La Motocyclette by Mandiargues

La Motocyclette

His novella La Motocyclette was the basis for Jack Cardiff‘s The Girl on a Motorcycle. He was also the author of works of non-fiction, such as a photography book devoted to Bomarzo entitled Les Monstres de Bomarzo and a book on Arcimboldo. His stories are collected in Le Musée Noir [The Black Museum] (1946) and Soleil des Loups [The Sun Of The Wolves] (1951).

His book Feu de braise (1959) was published in 1971 in an English translation by April FitzLyon called Blaze of Embers (Calder and Boyars, 1971).

One of his most controversial books is L’Anglais décrit dans le château fermé (1953).

Salute to Bacchus

Today is the feast of the Roman god Bacchus, known by the Greeks as the Greek god Dionysus. In my hometown Sint Niklaas, there used to be a bar called Bacchus. That was in the late seventies and early eighties.

I had to wait until the 1990s and the first issue of Wired Magazine to be properly introduced to Bacchus via Camille Paglia’s interview on her recently published Sexual Personae in which Paglia mentions the Nietzschean dichotomy of Apollonian and Dionysian.

Popular perceptions of Dionysus and Bacchus

Dionysus was seen as the god of everything uncivilized, of the innate wildness of humanity that the Athenians had tried to control. The Dionysia was probably a time to let out their inhibitions through highly emotional tragedies or irreverent comedies. During the pompe there was also an element of role-reversal – lower-class citizens could mock and jeer the upper classes, or women could insult their male relatives. This was known as aischrologia – αἰσχρολογία or tothasmos, a concept also found in the Eleusinian Mysteries.

Bacchus is less wel documented in text, but all the better in painting (Leonardo, Michelangelo, and Caravaggio). His name is connected with bacchanalia, a term in moderate usage today to indicate any drunken feast; drunken revels; as well as binges and orgies, whether literally or figuratively.

Bacchanal by Rubens

Rubens

Bacchanalia

The bacchanalia were wild and mystic festivals of the Roman and Greek god Bacchus. Introduced into Rome from lower Italy by way of Etruria (c. 200 BC), the bacchanalia were originally held in secret and only attended by women.

Bacchanalia by Auguste (Maurice François Giuslain) Léveque  The Bacchanalia were traditionally held on March 16 and March 17

The festivals occurred on three days of the year in a grove near the Aventine Hill, on March 16 and March 17. Later, admission to the rites was extended to men and celebrations took place five times a month. According to Livy, the extension happened in an era when the leader of the Bacchus cult was Paculla Annia.

Cornelis de Vos Triumph of Bacchus

Cornelis de Vos

Paculla Annia

Paculla Annia was a priestess from the southern Italy who, according to Livy, largely changed the rules of Bacchanalias so that regarding nothing as impious or forbidden became the very sum of Bacchuscult. In the rites, men were said to have shrieked out prophecies in an altered state of consciousness with frenzied bodily convulsions. Women, dressed as Bacchantes, with hair dishevelled, would run down to the Tiber with burning torches, plunge them into the water, and take them out again. The rites gradually turned into sexual orgies, particularly among the men, and men who refused to take part were sacrificed. It is said these men were fastened to a machine and taken to hidden caves, where it was claimed they were kidnapped by the gods.

Prohibition by the Roman Senate

The festivities were reported to the Roman Senate which authorized a full investigation. In 186 BC, the Senate passed a strict law (the Senatus consultum de Bacchanalibus) prohibiting the Bacchanalia except under specific circumstances which required the approval of the Senate. Violators were to be executed.

Cecil Taylor @80

Cecil Taylor @80

[Youtube=http://www.youtube.com/watch?v=cP5L8tjnB6w]

Excerpt from Ron Mann‘s 1981Imagine the Sound” documentary.

Cecil Percival Taylor (born March 15 or March 25, 1929 in New York City) is an American pianist and poet.

Along with saxophonist Ornette Coleman, he is generally acknowledged as on of the innovators of free jazz. Taylor’s music is cited by critics, however, as some of the most challenging in jazz, characterized by an extremely energetic, physical approach, producing exceedingly complex improvised sounds, frequently involving tone clusters and intricate polyrhythms. At first listen, his dense and percussive music can be difficult to absorb, and his piano technique has often been likened to drums and percussion rather than to any other pianists, and resembling modern classical music as much as jazz.

See also: free jazz, atonality, avant-garde jazz