Saturday, December 31, 2011
RUIDO
Correo enviado a la dirección del programa ARS SONORA tras la emisión del monográfico dedicado a Phill Niblock y la música drone (20 de marzo de 2010):
"Llevan ustedes más de media hora emitiendo un sonido constante y mantenido, invariable y obsesivo, enloquecedor y de locos, que es un auténtico esperpento de RUIDO de los que se persiguen por atentar contra el art. 45 de la Constitución (que tanto trabajo nos costó, por cierto –a nosotros, no a ustedes–, que fuese incluido)…
Y, para mayor atentado, recomiendan ¡’subir el volumen al máximo’!. ¿A qué juegan ustedes?
No contentos con esto, cuando ha terminado ese ruido realmente demoníaco, torturante, extraído de los tormentos chinos o hitlerianos, lo han substituido por ¡otro! de la mismas características, para completar su ¡hora! de emisión.
¿Es ésta la Radio ‘Clásica’ , para contribuir a la difusión cultural de la historia de la música –’música’, es decir, melodías, modulación sonora con estética y atractivo, y no un insoportable RUIDO inmodulado, invariable, impertinente, agresivo, insoportable, infernal, etc. etc.–, que ustedes entienden y que convierten en Radio RUIDO torturante?
¿Dónde está su coeficiente intelectual? ¿O es que ni siquiera lo tienen? ¡Esto es la máxima prostitución que cabe del dinero de los contribuyentes para refocile de locos y arribistas de tres al cuarto!.
¡Esto es radio TORMENTO!
Y, encima, también cambian la auténtica música por CONVERSACIONES de los torturadores de turno… ¿Es que no saben ustedes que una de las mejores y fundamentales funciones de una Radio ‘Clásica’ es el servir de acompañamiento, consuelo, relajación y satisfacción de los dolientes de todo tipo y orden?
Ustedes parecen ser unos nazis que han cambiado las cámaras de gas por esos ruidos insoportables que nos quieren, encima (tomándonos por tontos profundos), pasar por ‘progresía’ de la vanguardia de la ‘música’….
Efectivamente esto es lo que mejor define su ‘progresía’: la destrucción de toda y cualquier la armonía del Universo…
¡Váyanse ustedes a donde se merecen!
********* , Dr. Prof universitario (que ustedes probablemente considerarán poco menos que un deshonor, en comparación con lo que son ustedes mismos…)
Prof Dr ************"
OIR
Friday, December 30, 2011
Thursday, December 29, 2011
Wednesday, December 28, 2011
Tuesday, December 27, 2011
Monday, December 26, 2011
MARK FARROW
Adrian Shaughnessy interviewed Mark Farrow on the occasion of him being voted "the best graphic designer working today" in Creative Review's annual Peer Poll [October 2004 issue]. An extract follows:
AS: Peter Saville has won the Creative Review peer poll of the past two years. Tony Wilson [Factory Records founder] has said that Saville refers to you as the "apprentice", and Wilson also reckons that you are the only person Saville feels threatened by? Is this Wilson myth-making, or is there something in it?
MF: Yeah, I've heard all this. And the story about Saville presenting a sleeve mock up to New Order for Technique, and someone saying to him, 'have you seen Farrow's design for Introspective [Pet Shop Boys album]? It's the same design.' I know all about that. I remember him and Malcolm Garrett coming into a record shop I worked in on Saturday mornings in Manchester. He and Malcolm would buy loads of stuff. And I've said many times that Unknown Pleasures had a huge effect on me. It changed my view about what record covers should be.
I always want to know what Peter's doing, and I rarely dislike what he does. I liked the exhibition and the book. So yes, he's an influence. But am I his apprentice? Well, there are worse people to be apprenticed to, but no, I;m not his apprentice. Besides, I'm a lot more successful than he is [laughs].
AS: Peter Saville has won the Creative Review peer poll of the past two years. Tony Wilson [Factory Records founder] has said that Saville refers to you as the "apprentice", and Wilson also reckons that you are the only person Saville feels threatened by? Is this Wilson myth-making, or is there something in it?
MF: Yeah, I've heard all this. And the story about Saville presenting a sleeve mock up to New Order for Technique, and someone saying to him, 'have you seen Farrow's design for Introspective [Pet Shop Boys album]? It's the same design.' I know all about that. I remember him and Malcolm Garrett coming into a record shop I worked in on Saturday mornings in Manchester. He and Malcolm would buy loads of stuff. And I've said many times that Unknown Pleasures had a huge effect on me. It changed my view about what record covers should be.
I always want to know what Peter's doing, and I rarely dislike what he does. I liked the exhibition and the book. So yes, he's an influence. But am I his apprentice? Well, there are worse people to be apprenticed to, but no, I;m not his apprentice. Besides, I'm a lot more successful than he is [laughs].
GRAPHIC BEAT
Volume 1:
Malcolm Garrett
Contemporary Production
The Designers Republic
Russell Mills
Tadanori Yokoo
Peter Saville
Kenii Ishikawa
David Crow
Hajime Tachibana
David James
Two
Nobuaki Takahashi
Ian Swift
Ken Sakaguchi
Terry Jones
Volume 2:
Neville Brody
MicItaya
Trevor Jackson
Garry Mouat
Yukimasa Okumura
Me Company
Hiroshi Sunto
Jamie Reid
Yasutaka Kato
8vo
Katsu Nagaishi
Nice
Koichi Yoshida
Vaughan Oliver
DOS GAJOS
"Cada tanto aparece, casi en secreto, el disco de un artista o un grupo que a todo el mundo le suena a chino, aunque esté empadronado en alguna parte de España, pero que a pesar de todo, está aquí para quedarse. Nada que ver con los artistas de la corriente dominante, y poco que ver con muchas de las bandas indie que son como otra corriente dominante en un submundo cada vez más subterráneo y segregado de la primera corriente. Suelen tener un discurso diferente para lo que es habitual por estos pagos; y, francamente, da igual si al final son muchos o pocos, somos afortunados por contar con nombres propios irrepetibles en prácticamente el resto del mundo." Rafa Cervera
IBIZA 89
“In these photos you won’t see people texting or tweeting, videoing their mates or posting on Facebook,’ explains Swindells ruefully. “Nobody had mobile phones, and the only person likely to be taking pictures was the club’s own photographer. So there was nothing else to do but live in the moment, enjoy the parties or watch other people having fun while dancing the whole night.”
+ 20 Years of Madness
+ Interview Dave Swindells
+ Interview Dave Swindells
+ Pub Zinema, Ibiza 1989
Friday, December 23, 2011
Thursday, December 22, 2011
Wednesday, December 21, 2011
Tuesday, December 20, 2011
Monday, December 19, 2011
FATIMA AL QADIRI
Al Qadiri collaborated with six artists to create original music videos—these are Kamau Patton, Tabor Robak, Thunder Horse, Sophia Al-Maria, Ryan Trecartin and Rhett LaRue.
Sunday, December 18, 2011
Saturday, December 17, 2011
KAREN AQUA
Karen Aqua (1954-2011) ha sido uno de tantos creadores en la sombra, aún sin reconocer en la mayoria de los casos, de los que se ha nutrido Barrio Sésamo desde su creación. La particularidad de esta artista multidisciplinar que tambien componia y escribía era su fascinante imaginario.
Sus mas de veinte colaboraciones durante la década de los noventa y los dos miles desarrollan temáticas, símbolos y formas que en ningun momento ocultan sus gustos por culturas ancestrales como la maya o la egipcia. Máscaras, animales y símbolos mitológicos son utilizados para hablarnos del alfabeto, los números o conceptos como rápido o deprisa. La música, en la mayoria de los casos, corre a cargo de la Revolutionary Snake Ensemble donde tocaba el saxo Ken Field, su marido.
No lo dejes pasar, esto es algo U N I C O
"Children across the country get up and dance next to their cereal bowls when Sesame Street airs Karen Aqua’s animated segments. It would be hard to stay still as bejeweled Mardi Gras figures jive across the small screen, flashing numbers at the audience, accompanied by...Revolutionary Snake Ensemble—a band that’s led (off-screen) by her saxophone-tooting husband, Ken Field." Barbara Ensor, New York Magazine
+
JOHN AND FAITH HUBLEY
"Moonbird (1959), based on the tape-recorded ramblings of Mark and Ray "Hampy" Hubley In a backyard safari for the mythic moonbird."
"The Hole (1962) uses improvised dialogue from Dizzy Gillespie and George Mathews as a pair of construction workers, one white, one black. Working deep underground, our cartoon heroes begin debating the fate of the world and the possibility of nuclear annihilation...from under the streets of New York."
"The music was taken directly from two tracks- "Spanish Flea" and "Tijuana Taxi"- featured on Herb and The Brass' 1965 album, "Going Places" [the opening excerpt was "Mexican Shuffle", from 1964's "South of the Border"]."
+
Friday, December 16, 2011
Thursday, December 15, 2011
Wednesday, December 14, 2011
AVENTURAS DE KIRLIAN
Fotografías de Alejo Alberdi un día antes de entrar al estudio a grabar el disco de Aventuras de Kirlian.
Tuesday, December 13, 2011
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