He did the soundtrack to Office Baroque (1977) but that’s not on YouTube.
There is, however, a fine selection of his recordings by Sub Rosa Records on YouTube.
Once again it is clear that electronic popular music (Telex) and electronic art music (Stordeur) are miles apart. That there is no overlap in audience nor in historiography between the likes of art music electronic music practitioners such as Stordeur and counterparts such as Telex who work in the popular idiom.
Onaje Allan Gumbs was an American pianist, best-known for having played with the fine fleur of American jazz.
As I prefer all roads to lead to Rome, and Rome is my book, the death of Onaje Allan Gumbs must inevitably lead to Strata-East Records, more specifically to Charles Sullivan’s album Genesis (1974) on which mister Gumbs played piano.
I cannot remember if it was Gus Van Sant’s video “A Thanksgiving Prayer” (1991) or his film Drugstore Cowboy (1989) which visually introduced me to Burroughs.
Today, I learn that “A Thanksgiving Prayer” was a promotional video to Dead City Radio.
In the documentary Words of Advice: William S. Burroughs on the Road (2007) there is an interview with Willner on the making of Dead City Radio at 1:07:40 and the recording of of a “Thanksgiving Prayer” is at 1:11:23, sadly without the Gus Van Sant footage.
“We still have a chance to be cruel. But if we are not cruel today, all is lost.”
What exactly does he mean by being cruel?:
“End Third World aid and asylum for refugees, so millions die. Try mandatory abortions for those with two children. And then find some way to get rid of the extra billions of people. With 2.5 times more humans than earth can support, another world war, he says, would be ‘a happy occasion for the planet.’ Living alone in primitive style here without running water or car, the fisherman likes to compare humanity to a sinking ship with 100 passengers and a lifeboat that can only hold 10. ‘Those who hate life try to pull more people on board and drown everybody. Those who love and respect life use axes to chop off the extra hands hanging on the gunwale.'”
“In His Solitude” (1994)
Next to this there is “Humanflood”, a four-page text of his hand featured in Apocalypse Culture II (2000) which I have been unable to identify.
And then there is his book Can Life Prevail? (2011), a translation of Voisiko elämä voittaa (2004), is still in print.
The metaphor of the lifeboat [above] was probably taken from the 1974 essay “Living on a Lifeboat” by Garrett Hardin, an essay which was the basis for what has become known as lifeboat ethics.
Bill Withers was an American singer-songwriter known for songs such as “Lean on Me”, “Use Me” and “Ain’t No Sunshine”.
I give you “Who Is He (And What Is He to You)?” (1972) because it’s one of the best adultery songs ever with the unforgettable opening lines:
A man we passed just tried to stare me down And when I looked at you You looked at the ground
While researching this death, I came across a rather smart piece of music criticism by the American author Robert Christgau (born 1942):
“Withers sang for a black nouveau middle class that didn’t yet understand how precarious its status was. Warm, raunchy, secular, common, he never strove for Ashford & Simpson-style sophistication, which hardly rendered him immune to the temptations of sudden wealth—cross-class attraction is what gives ‘Use Me’ its kick. He didn’t accept that there had to be winners and losers, that fellowship was a luxury the newly successful couldn’t afford.