Last Seen Blogs
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A concrete garden set in the shape of tree trunks, 20th C.
Rob Michiels
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Sun Ra - Excelsior Mill - also out today, Sun Ra sounding like a whole orchestra on the Wurlitzer pipe organ
The outsized sounds emerging from the Excelsior Mill organ captured here constitute a unique chapter in the Sun Ra story, a dizzying phantasmagoria that offers a whole new view on what Ra could do. It might thrill you; it might unnerve you; it might strum your heartstrings; it might spook the living daylights out of you. Most likely you’ll experience all of the above before the jolting musical jeremiad is done. Pressed on violet vinyl! The CD contains the full uncut show!
When you’re Sun Ra, you don’t need synthesizers to evoke apocalyptic visions and interstellar excursions. You don’t even need a band.
Ra is most widely known for working with various iterations of his Arkestra, but he was no stranger to unaccompanied keyboard expeditions. His discography contains solo piano albums, solo Fender Rhodes records, and solo recordings on conventional organ, the latter going as far back as his home recordings from the 1940s. But none of those instruments ever offered Sun Ra the kind of sonic artillery that waited beneath his fingers and feet when he sat before the keyboards, pedals, and multicolored constellation of tabs controlling the Wurlitzer pipe organ.
Mystic and magisterial, Ra comes off here like a cross between a demonically riffing ‘50s horror movie villain and a futuristic congregation leader delivering the interplanetary gospel. Brassy stabs provide the kind of punctuation that could be graphically rendered as an endless string of exclamation marks in 500-point font. String-like swoops and swirls dance across the top of the carnage, cooling the flames just enough to keep the whole thing from combusting (for a while at least) but never dousing the fiery fury that Ra draws forth from the instrument.
- Jim Allen
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I'm selfish. I want all transfems to live. You might not be happy, but I want you to live. I lack empathy. But I care about your comfort, your dignity, your feelings. I might not know what you're going through. But I support you. I want you to feel comfortable talking, existing, taking up space. It's okay to want to belong, to be selfish, to need validation, to want praise. Don't be ashamed. I love you. Sometimes from afar. Sometimes I wish I didn't love you from so far away. You're doing your best, and so am I. But remember, you're allowed to not do your best. Please, take a break. I want you to live
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The little girl’s sense of secrecy that developed at prepuberty only grows in importance. She closes herself up in fierce solitude: she refuses to reveal to those around her the hidden self that she considers to be her real self and that is in fact an imaginary character: she plays at being a dancer like Tolstoy’s Natasha, or a saint like Marie Leneru, or simply the singular wonder that is herself. There is still an enormous difference between this heroine and the objective face that her parents and friends recognize in her. She is also convinced that she is misunderstood: her relationship with herself becomes even more passionate: she becomes intoxicated with her isolation, feels different, superior, exceptional: she promises that the future will take revenge on the mediocrity of her present life. From this narrow and petty existence she escapes by dreams.
Simone de Beauvoir, The Second Sex
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Maison Martin Margiela autumn/winter 1999 Artisanal White Duvet Coat
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https://lyl.live/episode/an-outline-of-an-inventory-of-some-strictly-audible-things-20
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