#he did an interview with like rolling stone or something about his biography | Explore Tumblr Posts and Blogs

words-for-holland · 4 years

Text

The Songs in Our Life: It’s Not a Date

Pairing: Tom Holland x Reader

Summary: Y/N & Tom learn more about each other on their night out together...but remember it’s not a date.

Inspired by: I Wanna Know You - Hannah Montana & David Archuleta

Album Description | Track 1 | Track 2 |

Waiting. It’s the action of staying where you are to delaying something until a certain time has come or something happens.

For instance, Y/N and Tom were due for a date at 5:40pm, and the wait was almost unbearable for them. Not that it was ever an official date....but the idea of seeing each other again the very same day brought a feeling of excitement. Something that neither had felt in a very long time. Seconds, minutes, and the remaining hours passed. Y/N had clocked out of work, shoved her laptop in her bag, and made her way down to lobby to meet Tom. As she approached the area, her steps slowed and ultimately stopping in her tracks. Seeing Tom, casually waiting brought a new found feeling. She smiled at him, already thinking about the possibilities of the if’s and’s & wants in her future, but immediately shook out the thought.

“C’mon Y/N it’s way too early to be thinking like this. You haven't even gone on a date with him yet and you're already thinking about a future. Jesus.” Y/N muttered to herself, verbally smacking some common sense into her brain.

As she continued to walk towards Tom, he looked up to meet her eyes and started walking to her direction. “Fancy seeing you here, darling.” he greeted with that boyish smile. He offered his hands, gesturing to allow him to carry her bag, but Y/N simply shook her head and declined the offer. “It’s okay. I got it.”

“Are you sure?” he asked.

“Of course, but would it be okay if we stopped by my apartment to drop this off?” Y/N replied to him. “I really don't want to be carrying this around while I blow your mind with the best food in the city.”

Tom hadn’t replied to Y/N’s question, he was too busy thinking about..well...her. In his mind, he would have been more bold and responded to her question like ‘Aw, here I was hoping you were just going to invite me in to stay there and I can show you a really good time’. Or ‘Nothing blows my mind more than you’.

Instead what came out was “Yeah, sure that’s fine.” he smiled back, mentally slapping himself for not being able to pull off something smoother.

“Okay, let’s go. It’s not that far.” Y/N lead the way, with Tom following behind. There it was. That awkward-but-not-so-awkward tension coming up as the two walked in silence to Y/N’s apartment. Both knew it wasn’t an official date, so why was it hard to just strike a conversation? Y//N and Tom fought with their inner conscious as they tried to figure out how to make the first move. It was then when both Tom and Y/N, took a deep breath and said out loud their questions the same time.

They laughed at their failed attempts to strike a proper conversation, and tried to make it better by saying “You first.” in unison and then “No you.”

Tom gestured to Y/N to speak first. “So how was your press interview? Did you get in trouble for being late?” Y/N asked as they continued to walk the streets of 34th Avenue.

Tom looked at Y/N’s way, recollecting their first meet up. Indeed Tom was extremely late, but if he hadn’t been he wouldn’t be in this position right now with her. “Yeah it went well. I just got in a little bit of trouble, but it’s okay. Sometimes you’ve got to live a little dangerously.” he winked, which made Y/N’s cheeks display the most delicate shade of pink. “What about you? How was work?”

Y/N shrugged at his question. “Can’t complain. Im still new to the company, but the projects are fun and everyone’s welcoming and a pleasure to work with. Just hoping I dont mess it up.”

“Im sure you won’t. You dont seem to be that type.” Tom responds truthfully.

Y/N looks at him and smiles. “Oh? And what type do I seem to be?” She challenges him, but before he could speak, they make it to Y/N’s apartment.

She jiggles the key in and opens the door for Tom, allowing him to enter first. The first thing that catches his eyes are the cream colored walls and soft blue furniture accents. Papers are piled up on a table, and pictures of Y/N with her friends and family placed decoratively on the walls. Candles were lit and the T.V. was softly playing in the background. “Wow...this is really cozy.” Tom reacts, intaking the surrounding. “Though I must say I usually get invited inside the house on the second date.” He laughs at his sorry joke.

Thankfully Y/N’s sense of humor was extremely easy tonplease, and she laughed along with him, playfully hitting his shoulder. “Oh stop, I told you I need to set my stuff down. I —”

“Hey Y/N I was wondering what—” Y/N’s roomate and best friend comes in to the living room seeing a rare sighting of Y/N with a man. “Oh...I didnt know we had company.” She smiles, trying her best to contain her excitement for her best friend.

“Oh right.” Y/N closes her eyes briefly in hopes that her best friend doesnt embarrass her. “Um Tom this is Kaitlyn, she’s my best friend and roomate. Kaitlyn this is Tom H—”

“Believe me. I know who you are.” Kaitlyn smiles widely. “It’s...wow..a surprise really. Nice to meet you.”

“And it’s a pleasure to meet you.” Tom greets back shaking her hand.

“So are you two like...” Kaitlyn gestures as she squiches her hands together. “On a date?”

Both Y/N’s and Tom’s eyes widen, both of their cheeks turning a deep shade of pink. They knew it wasnt such a bad thing to consider, them being on a date and getting romantic. But they just met, neither wanted to risk the chance of screwing it up. “Of course not. I was just planning to show Tom around the city, since he’s not from here.”

Tom would be lying if he said his heart didnt drop just a little, but he wasnt going to let that show. Even though he wanted it to be so much more than a hang out. “Yeah, I figured why not....since we’re friends.” There it goes again..that awkward silence.

“Uh huh. Im sure you both will enjoy your friendly hangout. Y/N knows all the best places to eat.”

“I wouldnt doubt it.” Tom smiles.

“And we should get going...uhh Kaitlyn you’re welcome to join us if you want?” Y/N interjects as she and Tom get ready to go out.

“Oh. It’s fine! You two go out. Im good here.” Kaitlyn rejects and winks at Y/N.

Y/N rolls her eyes as she leads Tom out. Not far from her home, the two make it to Chelea’s Market, where they indulge in all things Italian. From the flavorful pasta, to the fresh steamy focaccia bread that comes right out of the stone oven. It was Y/N’s go-to place to impress anyone visiting. The food was great and the scenery outside was beautiful.

While the food was incredible, Tom’s prescence was where the real magic came to play. She could only imagine what hanging out with a celebrity would be like, but Tom was another story.

She took in how engaged he was with her stories about growing up in a small town in New Jersey with her family, how Kaitlyn and two other friends had stayed together since they were 6, and how her life had felt so barred until she moved here in the city, feeling free for the first time ever.

He was interested in all of it. Tom’s eyes looked at her with endearment, and his smile grew the more he heard about her most heart touching memories, his laugh becoming more robust and joyus when she told him a funny memory. He was falling for her, even though he didnt want to admit it just yet. While he got a good chunk of her life, he wanted to know more.

Y/N on the other hand, wanted to turn the tables. “So what about you?” She asked, as they both made their way to the High Line, warm latte in hand.

“What do you mean?” He questions back, displaying a coy smile.

“C’mon you know what I mean. What’s your story? And when I mean story I dont mean how you got famous.” Y/N explains as they continue walking.

Tom looked down at the ground, thinking. He couldnt remember the last time a stranger wiuld ask about his life, and not just the story about his career. “Well, I have 3 younger brothers. A set of twins named Sam and Harry and a younger brother name Paddy but we like to call him Padster. I lived with my best mate Harrison for 4 years. Love sports but golfing all time has to be my favorite. Ironically, Im terrified of spiders and I hate cheese.”

Y/N took in his 5 minute biography, and thought about how genuine he was. Just like she did, Tom gave stories about his brothers and best friend, and the more he talked the real he felt to Y/N. Their friendship was blossoming and in this moment nothing felt out of place. “Wow, you hate cheese?! Cheese is single-handely the best creation on this planet. I feel sorry for the girl that had to deal with that.” Y/N stopped her tracks, realizing what she just slipped in. She didnt mean to mention about a potential girlfriend he did or didnt have, it just...happened.

“Haha Im sure she doesn’t mind. She doesnt particulary like cheese either.” He plays along, but Y/N’s spirit started to lower. So there was a girl after all. She should have known.

“Oh, so there is a girl. Isnt there?” She speaks in a monotone.

“Of course! Tessa shes been with me for awile. Cheeky little dog, but I love her so much.” Tom laughs as he takes a sip of his coffee.

Y/N shook her head as she caught on his words. Dog? Upon realization, she shook her head looking down at the ground hiding her embarrassment.

“Sorry. I had to.” He continued to laugh, “but your face and attitude was priceless. Its almost as if you we’re jealous or soemthing.”

“What?! Me jealous?! Please.” Y/N tried miserably to play off.

“C’mon I saw those lips purse and that cute nose scrunch. You looked wee bit jealous.” Tom stated as he lifted her chin to meet his eyes. The moment was tense and silent but not akward. They took in each others features, lips getting closer, eyes slowly closing until... “It’s getting late.”Y/N whispered. Both let down by the moment being ruined.

Tom pulled away with a look of disappointment. “Yeah...you’re right. I’ll walk you back? My hotel is not far from your place.” He offered.

“Of course it’s not. It’s the tri-state area. Everything here is 30 minutes or less.” She jokes, trying to lighten the mood. “I would like that a lot.”

They continued to walk back home, side by side with light conversations. Almost forgetting their almost-kiss on their unofficial date. As they reached the steps of Y/N’s apartment. The two bid their farewell.

“Well I had a lot of fun tonight. Thank you Y/N.” Tom said smiling at her as he held her hand.

“Likewise. I cant remember the last time I had this much fun.” Y/N admits, hoping that this wouldnt be the first and last time she’d see him. “Maybe we can do this again?” She bravely suggests.

“I’d love that. See you soon, darling.” With that he kissed her goodbye on the cheek as he made his way to the hotel, but not until he made sure, Y/N got inside safely.

Proceed to Track 3.

Taglist (Send an ask or message to be added):

@horanxholland @peterspideyy @stan-ish230403 @averyfosterthoughts @eridanuswave @greatpizzascissorstaco

#tom holland #tom holland imagine #tom holland x reader #peter parker #peter parker imagine #peter parker x reader

76 notes · View notes

kreekey · 4 years

Note

examples of people being racist toward yoko unintentionally: 1- calling her a weird stalker when they glorify/don't mind the many white fangirls who used to stalk the Beatles. 2- spreading misinformation that she lost custody of her daughter when in fact she'd won against her white crazy ex despite everything NOT in favour of her 3- bashing her for using John's glasses on the album cover she worked with John on, when they would've praised the artistry and bold statement if she was a white woman

Hey sorry I got around to answering your ask so late! You make a lot of really interesting points and I rarely hear people consider that.

1 - reminds me of a Tumblr post I saw about an obsessive Beatlemaniac stalker and people were like “me” or “bless her” haha. Definitely different when they can interpret Yoko’s actions as “stalking”. And your point also reminds me of this quote, which isn’t about fangirls but still somewhat kinda related.

“Like Yoko when she met John, Linda was a divorced woman with a daughter when she met Paul mere months later. There are stories similar to those about Yoko of her “scheming” to meet and marry Paul. In the same way that Yoko is said to have joked prior to meeting him that she was “going to marry John Lennon,” Linda joked like any woman with a celebrity crush about how she was “going to marry Paul McCartney.” (Bob Spitz notes both in his book The Beatles. Guess which one he thought was conniving, and which one he thought was adorable.)... Was it the lucky fact that Linda got the scene a few months later than Yoko, or was it her whiteness?“

And I don’t have the answer if it was Yoko’s race that made her such a target, but it’s something interesting to consider and note. [And I’ll clarify this, I'm pretty sure Yoko didn't know about the Beatles until she became face to face with one, like she wasn't a fan who got lucky enough to meet her idol. In the David Frost interview and the 1971 Rolling Stone interview, John noted that Yoko didn't know him when they met, and Yoko Ono: Collector of Skies by Neil Beram says this on their meeting: "She was about as familiar with John's work as he was with hers. "I was an underground person, and such an artistic snob," she said later. "I knew about The Beatles, of course... but I wasn't interested in them." Just about the only thing she could recall about them was the drummer Ringo Starr's first name, because ringo means "apple" in Japanese.”] Also, and this definitely wasn’t stalking, but I posted a quote from Bob Spitz’ biography where he writes along the lines of

“[Linda] always insisted that she was going to marry Paul McCartney,” [Nat Weiss] recalls, “even before she met him”... It was no accident that Linda Eastman veered into his aura. She’d taken a few polite shots of Ringo and George before “zeroing in on Paul,”... Linda had come dressed to kill. Most days she played the typical rock chick, decked out in rumpled jeans and a T-shirt, with little or no makeup and unwashed hair. But today her hair had been carefully blow-dried so that it fell perfectly forward in wing points at her chin. And she was dressed in an expensive double-breasted striped barbershop jacket arranged just so over a sheer black sweater, with a miniskirt that flattered her gorgeous legs. When she squatted down – not so subtly, in what must have been a rehearsed gesture – in front of Paul for an intimate chat, he had trouble keeping his eyes from wandering below-decks...

, and some people commented that it appeared kinda predatory/pre-planned (reminds me of some criticism of Francie Schwartz’s meeting with Paul), but overall cute and everything. At the time I wondered how people would react if Yoko did that to John lol. No way of knowing, just a thought. And also, I know Yoko sent him Grapefruit and little instructions often, I think that’s usually what people cite as the stalking, that she tried to ensnare him with it. Again quoting Yoko Ono: Collector of Skies,

For a time Yoko kept in touch with John by mailing him daily instructions-she called this Dance Event-that said things like "Dance" and "Watch all the lights until dawn" and "I'm a cloud. Watch for me in the sky." John found the instructions as perplexing as he found them intriguing.

And quoting this interview (in which she also asserts that “each and every occasion she visited John at Kenwood, it was at his invitation.”),

Despite the popular theory that Yoko was frantically inventing schemes to snare the wealthy Beatle, she was struggling with problems in her marriage [with Tony Cox] and also working hard to establish her career in the UK. Arriving in London in September 1966 to perform at the ‘Destruction In Art Symposium’, Yoko was already respected as an avant-garde artist and performer in New York, where she was allied to the Fluxus movement. She had a trained musical background, and had recently been involved in the improvisational music favoured by her peer group. She had also compiled a book of conceptual and instructional pieces called Grapefruit, and printed up a limited edition.

Yoko distributed copies to a number of influential people during 1966-’67. And John Lennon was one of the recipients. This has since been interpreted as one of various ruses on Yoko’s part to enchant Lennon.

She retorts: “There was a myth that I sent Grapefruit to him… how I wanted to trap him. It was a printed, published book. I had an orange carton of them, a lot of it. I would be giving it to critics. It was that sort of thing. He wasn’t the only one who got it.”

And by then, John had already eagerly offered to sponsor one of her shows, I think he was genuinely interested in her work. I don’t think John was actually threatened by these notes or felt he was harassed, especially since he made the jump to invite her over while his wife was away (and Yoko just thought it was a party!). He once referred to Yoko “someone that could turn me on to a million things” in the Lennon Remembers interview, he admired her art. And I know he said to Cyn that the letters were just junk from another one of those weird artists, but c’mon, what do you think John would say to his wife regarding the woman he’s romantically interested in? I don’t think it would’ve been fully truthful IMO, especially considering when John said that he nearly invited Yoko to India around that time because he liked her so.

2 is very true. Tony himself tried to make it seem like Yoko and John were crazy heroin druggies, and that's the case he tried to make (and that’s what he tried to tell Kyoko, that he was “saving” her from drug obsessed occultists). But, Yoko had gone “cold turkey” (ala the song) off heroin in 1969. This was 2 years before she won full custody in 1971.

Although neither parent had been awarded sole custody of the child, Mr. Cox became increasingly reluctant to let Yoko and her new husband spend time with Kyoko, and finally refused to permit it at all. For a year before the Lennons came to America, they had been chasing Mr. Cox and Kyoko around Europe. In Majorca, Spain, the Lennons caught up with them and spirited Kyoko off to their hotel; but Mr. Cox called the police, and a Spanish court gave the child back to him. The incident added to his fear that the Lennons wanted to take her away from him for good.

Soon after the Lennons arrived in New York, they went to the United States Virgin Islands, to the same court where Yoko had been divorced, and that court awarded her permanent custody of her daughter.

But, Tony then took Kyoko to Texas (hiding/kidnapping her) which was in violation of that court order. Then more custody battle due to Tony’s stubbornness and evasiveness, but yes, Yoko did win custody then despite everything (even though John was very threatened by Tony lol, to the point he disallowed Yoko to visit him alone in order to discuss co-parenting when that was an option and suggested kidnapping Kyoko. But then again Tony was also kinda crazy. Seriously though IMO Yoko really tried gallantly to have Kyoko in her life, and the loss hurt her. To hear people try to spin it as Yoko being the monster in the situation through misinformation is unfortunate.)

3 is hypothetical, but I do speculate that if Yoko was white, the attitude toward her would’ve been different. Sean said, “It’s intense how racist the world is. If my mother had looked like Debbie Harry, I really think the reaction would have been different.” (X) Yoko’s former partner, Sam Havadtoy, also touched on this in an interview from 1990:

Q: ...No matter what Yoko does, she’s frequently the victim of a bad press. Any idea why?

Havadtoy: After John’s death, newspapers wrote that Yoko was this selfish person hoarding John’s memory, controlling it, not willing to share it with his fans. So after two years, she puts out 200 hours of film footage and a record and they say she’s exploiting John’s memory. She can’t win.

Q: Why not?

Havadtoy: Racism. If she were blond-haired and blue-eyed, nobody would have blamed her for breaking up the Beatles. They were the darlings of the universe; she was an outsider, an Oriental, an avant-garde artist--easy to pick on. When John married Yoko, the British press wrote: “At least he will have clean laundry.” And it’s still happening. America is infatuated with Japan-bashing.

And I do think Season Of Glass was a memory thing, I posted about it here: X.

And yes, I think that much of Yoko’s criticism/legacy was rooted in that initial reaction, which was pretty sexist and racist. But I think that influence can still be felt today, in ways that aren’t obvious. And like you said, unintentional. (Before anyone gets mad, if you dislike or hate Yoko that doesn't automatically make you racist lol. But the narrative built around her might’ve influenced your opinion of her, and the narrative was kinda rooted in a racist mentality. So that’s why and re-interpreting her in a fresh light is necessary).

#sorry I know i've said something like that last paragraph many times but just to clarify y'know #yoko ono #the beatles fandom #asks #answers #long post #it got longer than i expected sorry!!#also anon sorry i left your ask unanswered so long!! hope you see this <3 #retrospective

40 notes · View notes

tropicaldruid · 4 years

Text

The Survivor’s Guide To Leaving Your Birth Religion Part 2: Deal with The Devil.

So if you’ve done the reading assignment I gave in the first installment, you’ve read a good bit of repetitive stuff at this point, and hopefully taken away a few key things, namely that Heaven and Hell as modern western concepts are, well, modern. If you are coming out of a messianic religion, odds are good that Hell showed up at exactly the same time the messiah arrived to save us from it. I mean, convenient, right?

That’s right, we were stoning the gays for millenia without there even being a Hell for them to go to! Back in those days the afterlife in most faiths was reserved for kings or great warriors, the common folk didn’t even have a place to go. Except maybe in someone’s afterworldly entourage. But I digress.

If you haven’t already arrived at the same conclusions about the devil, let’s take a moment now to pick that concept apart.

I almost didn’t give The Devil a section because it kinda goes hand in hand with Hell, but there’s so much extra abuse attached to this concept. While Hell is used to threaten you into submission, The Devil is there to invalidate any sort of agency you may feel you have.

You have ideas that disagree with accepted Dogma? That’s The Devil deceiving you. You have found a different god to worship? Goodness, he looks just like The Devil.

These are just two of several common tools of religious abuse still being used. Just recently I heard an acquaintance state matter-of-factly that a mutual friend was a Devil Worshipper. I happen to know this is not the case as I have held rituals with said friend and that simply wasn’t on the agenda. But my acquaintance knows this, and this accusation stemmed less from fact than from literal brainwashing.

“That god is not My God and therefore it is The Devil.” is such a toxic attitude to take, it’s a way of completely invalidating another person’s religion and with it their sense of community and morality, without actually applying any critical thought to the situation. It’s a way of marginalizing and othering someone in lieu of discussing their beliefs in earnest. But this history of abuse has left a paper trail that we can follow backwards as we unwind this otherworldly boogeyman. Here, I’m going to refer you to Episode 4 of DruidCast. Professor Ronald Hutton gives a really great talk entitled “The History of the Pagan Horned God” that ties into this topic heavily. Also episode 28 features “The Horned God: an Unofficial Biography” performed by Damh the Bard that I recommend listening to. Also in that episode is an interview with Roland Rotherham that will tie into part 3 of this guide. Professor Hutton mentions the Devil’s appearance changing as the dominant religion spread into areas with different gods, and it’s right there in the record. One thing that is universal among humankind is religious artwork, and depictions of The Devil abound in the historical record, a google image search can produce thousands of examples to sort through, and you can literally see the differences evolve along the way.

And much like Hell, The Devil is a concept looking desperately for a sense of belonging within modern theologies that don’t really have a place for it. Who is this Guy? Satan? Lucifer? Hades? Is Hell Hades? Where did this sudden Hellenic flare come from? Was he a snake, or an ibis? Is he the ruler ofThe Dead Place, or The Bad Place, or just one of it’s most famous inhabitants? Throw all of these into a cauldron with a bunch of scriptural contradictions and a dash of Zoroastrianism and ta-dah! A Devil, or is it The Devil? Even that isn’t settled.

As we have discovered by reading the mythologies of those who developed near the roots of our own spiritual lineage, these people were all copying off of each others’ notes, constantly. Tribal victories were seen as both signs of Divine favor and Divine supremacy. Basically “I won this because My God loves me and is stronger than your idol” Military might became conflated with Righteousness, just look at the horrific acts that people boastfully give themselves credit for in their own mythologies, in the aftermath of battles. Murder of men, enslavement and rape of women and children, and it’s all good, because our God led us to victory.

Over time, weaker gods became False Gods became Devils. Meanwhile the dominant culture absorbed new cultures and with them, enough of their religion to sway those who had difficulty assimilating. Check out how many Saints used to be local pagan deities or mythological kings or warlords. Hey, The Devil can only be so many things apparently, so some of the competition had to be handled differently. After hundreds of generations of religions cheating off of each other’s notes, they don’t know what they believe. But this boogeyman that is The Devil and his Bad Place are really effective at deflecting a certain level of scrutiny, and incentivizing compliance, so we’ll keep em. All manner of plagues upon humanity are said to be his doing, from the heliocentric view of the solar system, to modern medicine. Women’s suffrage, integration, same sex marriage, left-handedness. Rock and Roll music, the existence of dinosaurs, Literacy among the laity. Pokemon.

Great deceptions upon mankind by the Great Deceiver to unravel the moral fabric of society and bring about the End of Days, the lot of ‘em.

At least they were once upon a time.

So yeah, there’s a huge disconnect from anything resembling critical thought when Devil Worship or any similar concept are brought into the conversation. Another thing to watch for is how quickly the accusation gets flipped around when those in authority are found doing wrong. Suddenly the Great Deceiver tempting you with hellfire, becomes the Scapegoat who’s really to blame for any transgression. If you still have friends or family who adhere strictly to your BR, you may face accusations and rhetoric like what’s been discussed. If that’s the case, I’m sorry. It’s little comfort right now but the people saying these things to you are afraid. Afraid to look at their own beliefs for fear of drawing the same conclusions. Afraid of looking at your new ones for fear of finding something valid. Fear of the discomfort those possibilities bring, and so the lash out with the only defensive tool they feel they have. You don’t need to argue your point in these cases, and in fact I’d suggest that trying to do so would be a futile act. If that person were interested in having an honest discussion, they wouldn’t have started from that position. And frankly it’s not something you need to defend to anyone, or need anyone to agree with you or your motives. You don’t actually need anyone’s permission to leave an abusive situation. Having lived in abusive situations, I know how important discretion can be, living in the closet for any reason feels suffocating and unbearable. But for however much discretion you must show outwardly, nobody can police your thoughts, nobody objectively has the ability or the right to judge you as Good or Evil. Period.

Your homework for this installment is to check out the Druidcast episodes mentioned earlier, and research The Devil, Satan, Lucifer and any other relevant figures on Wikipedia, read the source articles and learn about how these concepts have evolved and been employed through history.

#Survivor's Guide #Leaving Your Birth Religion #Apostasy #Mythology #Devil #Satan

3 notes · View notes

thecoleopterawithana · 5 years

Text

Knowing That Love Is To Share

It’s common knowledge within the Beatles fandom that those four Liverpool lads were an acquisitive bunch. And who could blame them, having grown amidst the financial insecurity of a war-torn Liverpool? Even John Lennon, who had inarguably the most comfortable upbringing of them all (middle rather than working-class) didn’t hide his thirst for wealth. In 1963, he was singing this out in their cover of ‘Money (That’s What I Want)’.

John coveted so much the freedom and power afforded by money that he even had dreams about it.

[I once had] one really big one about thousands of half-crowns all around me, and finding lots of money in old houses and just as much of the stuff as you could carry. I could never carry enough. I used to put it in my pockets and in my hands and in sacks, only I could still never carry as much as I wanted.

— John Lennon, interviewed by Alan Smith for New Musical Express: Beatle dreams (22 July 1966).

Curiously, in an early example of John and Paul “sharing in each other’s minds”, John had this dream of finding riches around the time he met Paul, who himself had an incredibly similar one.

The teenage Paul McCartney would love the idea of fame. That’s what he was trying to do, that was the dream. But it’s funny – life gives you minor premonitions. You don’t think of them as premonitions until the dream comes true and then you think, ‘Hey, I wonder if that was a sign.’ I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. I’d dreamt that before but I’d never found anything other than an old tin can. But in this dream, I found a gold coin. I kept digging and I found another. And another. The next day I told John about this amazing dream I’d had and he said, ‘That’s funny, I had the same dream.’ So both of us had this dream of finding this treasure. And I suppose you could say it came true.

— Paul McCartney, The Big Issue: Letter to my younger self (16 February 2012).

Of course, the love for the craft itself was there, but they never hid the thrill they got from being able to finally write their wealth into existence.

Somebody said to me, ‘But the Beatles were anti-materialistic.’ That’s a huge myth. John and I literally used to sit down and say, ‘Now let’s write a swimming pool.’ We said it out of innocence. Out of normal, fucking working-class glee that we were able to write a ‘swimming pool.’ For the first time in our lives, we could actually do something and earn money.

— Paul McCartney, interviewed by David Fricke for Rolling Stone (8 February 1990).

I introduce this – their love of money – because it might have made them avaricious when they finally got it. That’s not what happened.

I'll give you all I've got to give If you say you love me, too I may not have a lot to give But what I've got I'll give to you I don't care too much for money Money can't buy me love

— ‘Can’t Buy Me Love’ (1964)

Paul – used to making ends meet from early on – grew up to be fairly money-conscious. This kind of preoccupations had always been on his mind, especially since his mother (who was the main provider for the family) had died.

Being able to get by is a big deal for him.

That’s why I am always overwhelmed by the sweetness of his wonderment at John’s generosity. It is one of my most treasured facets of their relationship.

One day we walked into a sweet shop, and John bought some chocolate. He said, ‘would you like half?’ I said, ‘Wow, you’re willing to share your chocolate with me?’ What a dude! [laughs] The things that stay most in my memory are the smallest things, the ordinary things.

— Paul McCartney, interviewed for Readers Digest (November 2005).

And as good as this quote is, it omits the true significance of this episode. Paul reveals just how much it meant to him in private company.

[Bono’s] like, a student of the Beatles. He’s read every book on the Beatles. He’s seen every bit of film. There’s nothing he doesn’t know. So when Paul stops and says ‘That’s where it happened,’ Bono’s like, ‘That’s where what happened?’ because he thinks he knows everything. And Paul says, ‘That’s where the Beatles started. That’s where John gave me half his chocolate bar.’ And now Bono’s like, ‘What chocolate bar? I’ve never heard of any chocolate bar.’ And Paul says, ‘John had a chocolate bar, and he shared it with me. And he didn’t give me some of his chocolate bar. He didn’t give me a square of his chocolate bar. He didn’t give me a quarter of his chocolate bar. He gave me half of his chocolate bar. And that’s why the Beatles started right there.’

— Matt Damon, interviewed by Tom Junod for Esquire (8 July 2013).

“That’s why the Beatles started.”

I’ve seen it emphasised how Paul was drawn to John because he was impressed by his powerful charisma, his biting wit, his rough teddy looks. But Paul himself has stated over and over that what attracted him to John – what won him over in the end – was the underlying softness. It was the humour and intelligence, yes. But it was also that John’s favourite songs were “Close Your Eyes” (1933) and “Little White Lies” (1930). It was the fact that John gave him not a bit, not a square, not a quarter, but half of his chocolate bar.

I may not have a lot to give but what I've got I'll give to you

These giving gestures would continue on other treasured episodes, like the ‘61 Paris Trip.

And Paul and I also did the same thing, once. We just cancelled. We’d made it, in Liverpool. We were making good money, for those days. I can’t remember what it was – maybe a couple of hundred dollars a week – but enough that you’d have a little extra. You’d have it in your back pocket. And Paul and I just— A relative of mine gave me a hundred pounds, for my birthday, which I’d never seen that much money in me life. Paul and I just cancelled all the engagements, and left for Paris… And George was furious because he needed the money – to work, you know. But that was another time when the group was in debate as whether it would exist or not.

— John Lennon, interviewed by Elliot Mintz (1 January 1976).

John and I went on a trip for his twenty-first birthday. John was from a very middle-class family, which really impressed me because everyone else was from working-class families. To us, John was upper class. His relatives were teachers, dentists, even someone up in Edinburgh in the BBC. It's ironic, he was always very 'fuck you!' and he wrote the song Working Class Hero – in fact, he wasn't at all working class. Anyway, one of John's relatives gave him £100 I would be impressed. And I was his mate, enough said? 'Let's go on holiday.' 'You mean me too? With the hundred quid? Great! I'm part of this windfall.'

[...]

We’d never been there before. We were a bit tired so we checked into a little hotel for the night, intending to go off hitchhiking the next morning. Of course, it was too nice a bed after having hitched so we said, ‘We’ll stay a little longer,’ then we thought, ‘God, Spain is a long way, and we’d have to work to get down there.’ We ended up staying the week in Paris – John was funding it all with his hundred quid.

— Paul McCartney, in The Beatles Anthology (1995).

One night, they went to a concert by France’s only rock'n'roll star, Johnny Hallyday, paying an astronomical seven shillings and sixpence (35p) each for seats at L'Olympia theatre, little dreaming they themselves would soon top the bill there.

— On John and Paul’s trip to Paris. In Philip Norman’s Paul McCartney: The Biography.

Of course, Paul also gave what he could, and that rendered the gift extra special.

JOHN: Paul got me a wimpy [a hamburger] and a coke for my 21st.

PAUL: Mind you, that was back in ‘39!

JOHN: I know! (laughter)

PAUL: (jokingly) They were more expensive.

— Sydney press conference (11 June 1964).

And even later in 1966, despite being extremely hurt by Paul’s extramarital forays into film score composition, John still offered his financial support.

I copped money for ‘Family Way’, the film music that Paul wrote while I was out of the country making How I Won The War. I said to Paul, ‘You’d better keep that,’ and he said ‘Don’t be soft.’ It’s the concept - we inspire each other. We write how we write because of each other. Paul was there for five or ten years and I wouldn’t write like I write now if it weren’t for Paul, and he wouldn’t write like he does if it weren’t for me.

— John Lennon, interviewed by BP Fallon for the Melody Maker (1969).

While they were bound by name (and even before any official contracts were signed) Lennon/McCartney did live by “what’s mine is yours”, everything they created shared 50/50.

As Paul would put it in their beloved “Here There and Everywhere” – Paul’s favourite out of all his songs and the one John favoured most of all out of all the songs he’d heard since he’d been in the scene, as of 1966 – they knew that love is to share.

And even when the sharing stopped, the love continued.

#the beatles #John Lennon #Paul McCartney #McLennon #knowing that love is to share #That attracted me to him #I don't care too much for money #frankly i miss paris #here there and everywhere #the person I actually picked as my partner #macca #johnny #my stuff #meta #(I think about this to make myself happy sometimes when the angst becomes too much...)

206 notes · View notes

class-wom · 4 years

Link

Little Richard, a founding father of rock and roll whose fervent shrieks, flamboyant garb, and joyful, gender-bending persona embodied the spirit and sound of that new art form, died Saturday. He was 87. The musician’s son, Danny Penniman, confirmed the pioneer’s death to Rolling Stone, but said the cause of death was unknown.

Starting with “Tutti Frutti” in 1956, Little Richard cut a series of unstoppable hits – “Long Tall Sally” and “Rip It Up” that same year, “Lucille” in 1957, and “Good Golly Miss Molly” in 1958 – driven by his simple, pumping piano, gospel-influenced vocal exclamations and sexually charged (often gibberish) lyrics. “I heard Little Richard and Jerry Lee Lewis, and that was it,” Elton John told Rolling Stone in 1973. “I didn’t ever want to be anything else. I’m more of a Little Richard stylist than a Jerry Lee Lewis, I think. Jerry Lee is a very intricate piano player and very skillful, but Little Richard is more of a pounder.”

Although he never hit the top 10 again after 1958, Little Richard’s influence was massive. The Beatles recorded several of his songs, including “Long Tall Sally,” and Paul McCartney’s singing on those tracks – and the Beatles’ own “I’m Down” – paid tribute to Little Richard’s shredded-throat style. His songs became part of the rock and roll canon, covered over the decades by everyone from the Everly Brothers, the Kinks, and Creedence Clearwater Revival to Elvis Costello and the Scorpions.

Little Richard’s stage persona – his pompadours, androgynous makeup and glass-bead shirts – also set the standard for rock and roll showmanship; Prince, to cite one obvious example, owed a sizable debt to the musician. “Prince is the Little Richard of his generation,” Richard told Joan Rivers in 1989 before looking at the camera and addressing Prince. “I was wearing purple before you was wearing it!”

Born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, he was one of 12 children and grew up around uncles who were preachers. “I was born in the slums. My daddy sold whiskey, bootleg whiskey,” he told Rolling Stone in 1970. Although he sang in a nearby church, his father Bud wasn’t supportive of his son’s music and accused him of being gay, resulting in Penniman leaving home at 13 and moving in with a white family in Macon. But music stayed with him: One of his boyhood friends was Otis Redding, and Penniman heard R&B, blues and country while working at a concession stand at the Macon City Auditorium.

After performing at the Tick Tock Club in Macon and winning a local talent show, Penniman landed his first record deal, with RCA, in 1951. (He became “Little Richard” when he about 15 years old, when the R&B and blues worlds were filled with acts like Little Esther and Little Milton; he had also grown tired with people mispronouncing his last name as “Penny-man.”) He learned his distinctive piano style from Esquerita, a South Carolina singer and pianist who also wore his hair in a high black pompadour.

For the next five years, Little Richard’s career advanced only fitfully; fairly tame, conventional singles he cut for RCA and other labels didn’t chart. “When I first came along, I never heard any rock & roll,” he told Rolling Stone in 1990. “When I started singing [rock & roll], I sang it a long time before I presented it to the public because I was afraid they wouldn’t like it. I never heard nobody do it, and I was scared.”

By 1956, he was washing dishes at the Greyhound bus station in Macon (a job he had first taken a few years earlier after his father was murdered and Little Richard had to support his family). By then, only one track he’d cut, “Little Richard’s Boogie,” hinted at the musical tornado to come. “I put that little thing in it,” he told Rolling Stone in 1970 of the way he tweaked with his gospel roots. “I always did have that thing, but I didn’t know what to do with the thing I had.”

During this low point, he sent a tape with a rough version of a bawdy novelty song called “Tutti Frutti” to Specialty Records in Chicago. He came up with the song’s famed chorus — “a wop bob alu bob a wop bam boom” — while bored washing dishes. (He also wrote “Long Tall Sally” and “Good Golly Miss Molly” while working that same job.)

By coincidence, label owner and producer Art Rupe was in search of a lead singer for some tracks he wanted to cut in New Orleans, and Penniman’s howling delivery fit the bill. In September 1955, the musician cut a lyrically cleaned-up version of “Tutti Frutti,” which became his first hit, peaking at 17 on the pop chart. “’Tutti Frutti really started the races being together,” he told Rolling Stone in 1990. “From the git-go, my music was accepted by whites.”

Its followup, “Long Tall Sally,” hit Number Six, becoming his the highest-placing hit of his career. For just over a year, the musician released one relentless and arresting smash after another. From “Long Tall Sally” to “Slippin’ and Slidin,’” Little Richard’s hits – a glorious mix of boogie, gospel, and jump blues, produced by Robert “Bumps” Blackwell — sounded like he never stood still. With his trademark pompadour and makeup (which he once said he started wearing so that he would be less “threatening” while playing white clubs), he was instantly on the level of Elvis Presley, Jerry Lee Lewis and other early rock icons, complete with rabid fans and mobbed concerts. “That’s what the kids in America were excited about,” he told Rolling Stone in 1970. “They don’t want the falsehood — they want the truth.”

As with Presley, Lewis and other contemporaries, Penniman also was cast in early rock and roll movies like Don’t Knock the Rock (1956) and The Girl Can’t Help It (1957). In a sign of how segregated the music business and radio were at the time, though, Pat Boone’s milquetoast covers of “Tutti Frutti” and “Long Tall Sally,” both also released in 1956, charted as well if not higher than Richard’s own versions. (“Boone’s “Tutti Frutti” hit Number 12, surpassing Little Richard’s by nine slots.) Penniman later told Rolling Stone that he made sure to sing “Long Tall Sally” faster than “Tutti Frutti” so that Boone couldn’t copy him as much.

But then the hits stopped, by his own choice. After what he interpreted as signs – a plane engine that seemed to be on fire and a dream about the end of the world and his own damnation – Penniman gave up music in 1957 and began attending the Alabama Bible school Oakwood College, where he was eventually ordained a minister. When he finally cut another album, in 1959, the result was a gospel set called God Is Real.

His gospel music career floundering, Little Richard returned to secular rock in 1964. Although none of the albums and singles he cut over the next decade for a variety of labels sold well, he was welcomed back by a new generation of rockers like the Rolling Stones and Bob Dylan (who used to play Little Richard songs on the piano when he was a kid). When Little Richard played the Star-Club in Hamburg in 1964, the opening act was none other than the Beatles. “We used to stand backstage at Hamburg’s Star-Club and watch Little Richard play,” John Lennon said later. “He used to read from the Bible backstage and just to hear him talk we’d sit around and listen. I still love him and he’s one of the greatest.”

By the 1970s, Little Richard was making a respectable living on the rock oldies circuit, immortalized in a searing, sweaty performance in the 1973 documentary Let the Good Times Roll. During this time, he also became addicted to marijuana and cocaine while, at the same time, returning to his gospel roots.

Little Richard also dismantled sexual stereotypes in rock & roll, even if he confused many of his fans along the way. During his teen years and into his early rock stardom, his stereotypical flamboyant personality made some speculate about his sexuality, even if he never publicly announced he was out. But that flamboyance didn’t derail his career. In a 1984 biography, The Life and Times of Little Richard, written with his cooperation, he denounced homosexuality as “contagious … It’s not something you’re born with.” (Eleven years later, he said in an interview with Penthouse that he had been “gay all my life.”) Later in life, he described himself as “omnisexual,” attracted to both men and women. But during an interview with the Christian-tied Three Angels Broadcasting Group in 2017, he suddenly denounced gay and trans lifestyles: “God, Jesus, He made men, men, he made women, women, you know? And you’ve got to live the way God wants you to live. So much unnatural affection. So much of people just doing everything and don’t think about God.”

Yet none of that craziness damaged his mystique or legend. In the 1980s, he appeared in movies like Down and Out in Beverly Hills and in TV shows like Full House and Miami Vice. In 1986, he was one of the 10 original inductees into the Rock and Roll Hall of Fame, and in 1993, he was awarded a Lifetime Achievement Award at the Grammys. His last known recording was in 2010, when he cut a song for a tribute album to gospel singer Dottie Rambo.

In the years before his death, Little Richard, who was by then based in Los Angeles, still performed periodically. Onstage, though, the physicality of old was gone: Thanks to hip replacement surgery in 2009, he could only perform sitting down at his piano. But his rock and roll spirit never left him. “I’m sorry I can’t do it like it’s supposed to be done,” he told one audience in 2012. After the audience screamed back in encouragement, he said – with a very Little Richard squeal — “Oh, you gonna make me scream like a white girl!”

#Little Richard #RIP

3 notes · View notes

chiseler · 5 years

Text

Nick Tosches’ Final Interview

On Sunday, October 20th, 2019, three days before his seventieth birthday, Nick Tosches died in his TriBeCa apartment. As of this writing, no cause of death has been specified. It represents an Immeasurable loss to the world of literature. The below, conducted this past July, was the last full interview Tosches ever gave.

***

In Where Dead Voices Gather, his peripatetic 2001 anti-biography of minstrel singer Emmett Miller, Nick Tosches wrote: “The deeper we seek, the more we descend from knowledge to mystery, which is the only place where true wisdom abides.” It’s an apt summation of Tosches’ own life and work.

Journalist, poet, novelist, biographer and historian Nick Tosches has been called the last of our literary outlaws, thanks in part to his reputation as a hardboiled character with a history of personal excesses. But he’s far more than that—he’s one of those writers other writers wish they could be. He’s seen it all first-hand, moved in some of the most dangerous circles on earth, and is blessed with the genius to put it down with a sharp elegance that’s earned him a seat in the Pantheon.

Born in 1949, Tosches was raised in the working class neighborhoods of Newark and Jersey City, where his father ran a bar. Despite barely finishing high school, he fell into the writing game at nineteen, shortly after relocating to New York. He quickly earned a reputation as a brilliant music journalist, writing for Rolling Stone and authoring Country: The Twisted Roots of Rock ’N Roll (1977), the Jerry Lee Lewis biography Hellfire (1982) and Unsung Heroes of Rock ’N Roll (1984). After that he staked out his own territory, exploring and illuminating the deeply-shadowed corners of the culture and the human spirit. He’s written biographies of sinister Italian financier Michele Sindona, Sonny Liston, Dean Martin and near-mythical crime boss Arnold Rothstein. He’s published poetry and books about opium. His debut novel, Cut Numbers (1988) focused on the numbers racket, and his most recent, Under Tiberius (2015) presented Jesus as a con artist with a good p.r. man.

While often citing Faulkner, Charles Olsen, Dante and the Greeks as his primary literary influences, over the past fifty years Tosches’ own style has evolved from the flash and swagger of his early music writing into a singular and inimitable prose which blends the two-fisted nihilism of the crime pulps with an elegant and lyrical formalism. Like Joyce, Tosches takes clear joy in the measured, poetic flow of language, and like Dostoevsky, his writing, regardless of the topic at hand, wrestles with the Big Issues: Good and Evil, Truth and Falsehood, the Sacred and the Profane, and our pathetic place in a universe gone mad.

For years now, Tosches’ official bio has stated he “lives in what used to be New York.” It only makes sense then that we would meet amid the tangled web of tiny sidestreets that make up SoHo at what remains one of the last bars in New York where we could smoke. Tosches, now sixty-nine, smoked a cigar and drank a bottle of forty-year-old tawny port as we discussed his work, publishing, religion, the Internet, this godforsaken city, fear, and how a confirmed heretic goes about obtaining Vatican credentials.

Jim Knipfel: When I initially contacted you about an interview last year, my first question was going to be about retirement. You’d been hinting for awhile, at least since Me and the Devil in 2012, that you planned to retire from writing at sixty-five. And since Under Tiberius came out, there’d been silence. But shortly after I got in touch, we had to put things on hold because you’d started working on a new project. As you put it then, “I find myself becoming lost again in the cursed woods of words and writing.”

Nick Tosches: It is unlike any other project. I am indulging myself, knowing nobody has paid me money up front. Is it a project? Yeah, I guess anything that’s not come to a recognizable fruition is a project. So yeah. I do consider the actual writing of books to be behind me.

JK: Did thinking about retirement have anything to do with what we’ll generously call the dispiriting nature of contemporary publishing?

NT: Oh, very much so. Very much.

JK: There’s a remarkable section in the middle of In The Hand of Dante, it just comes out of nowhere, in which you launch into this frontal attack on what’s become of the industry. I went back and read it again last week, and it’s so beautiful and so perfect, and as I was reading I couldn’t help but think, “Who the hell else could get away with this?” Dropping a very personal screed like that in the middle of a novel? And a novel released by a major publisher, in this case Little, Brown. Was there any kind of reaction from your editor?

NT: Okay, is this the same passage where I talk about all these people with fat asses?

JK: Yeah, that’s part of it.

NT: Okay, my agent at the time, Russ Galen, said he heard from {Michael} Pietsch, the editor who’s now the Chief Executive Officer of North America. And the moment he became so, he went from being my lifelong friend to “yeah, I heard of him.” He complained about the fat ass comment, and my agent told him, “If you go for a walk with Nick Tosches, you might get rained on.” Apart from that, no. And I have to say, he considers that one of his favorite novels, ever. When I tried to get the rights back because of a movie deal, he said “no I won’t do that.” I said “Why?” And he said because it was one of his favorite books. So no, there was no real backlash. A lot of comments like your own. A lot of people saying “Boy, that was great.”

JK: As we both know, marketing departments make all the editorial decisions at publishing houses nowadays, and over the years you must have driven them nuts. There’s no easy label to slap on you. You hear there’s a new Nick Tosches book coming out, it could be a novel, it could be poetry, it could be a biography or history or anything at all. I’m trying to imagine all these marketing people sitting around asking, “So what’s our targeted demographic for The Last Opium Den?”

NT: I just set out to do what I wanted to do. If they wanted to cling to the delusion that they could somehow control sales or predict the future of taste, fine, let them go ahead and do it. I’ve always found it’s the books that gather the attention, they just try to coordinate things. All they’re doing is covering their own jobs. If they can wrangle you an interview with Modern Farming, well, there’s something to put on a list they hand out at one of their meetings… They’re all illiterate. Thirty years ago there was still a sense of independence among publishers. Now they’re just vestigial remnants that mean nothing because they’re all owned by these huge media conglomerates.

JK: To whom publishing is irrelevant.

NT: Right. It’s all just a joke.

JK: I guess what matters is that the people who read you will read whatever you put out. If you put out a book of cake decorating tips, I’d be the first in line to buy it. Actually I’d love to see what you could do with Nick’s Best Cakes Ever, right? It’s something to consider.

NT: Maybe not that particular instance, but what you have so kindly referred to as my current project, which is very…eccentric. It’s the herd of my obsessions that will not remain corralled as I intended.

JK: What brought you back to writing? You’ve said in the past that writing is a very tough habit to kick.

NT: Well, what brought me back? I have no idea. Maybe just actual, utter, desperate boredom. There was none of this Romantic need to express myself. Just a lot of little obsessions, that’s all. As I said…well, I didn’t say this at all. There’s nothing at stake. There’s no money, there’s not going to be any money. There’s no one I need to give a second thought of offending or pleasing. But that having been said, I’m taking as much care with it as I have with everything else. I’ve always thought of myself as the only editor. And having had the good fortune to work with good titular editors, which means their job consists of perhaps making a suggestion or stating a preference or notifying me that they do not understand certain things, and beyond that leaving it be. As I told one editor,I forget when or where or why, “Why don’t you go write you’re own fuckin’ book and leave mine be?” He had all these great ideas. The best editors are the ones that aren’t frustrated authors.

JK: I was lucky enough to work with two editors like that. One had a nervous breakdown and is out of the business, the other just vanished one day.

NT: Well, you’re fortunate. Not only do most editors, a majority of editors, which are bad editors, like the majority of anything, really. If they don’t interfere with something, and nine times out of ten make it worse, they’re not justifying their jobs. The other thing is, we’re recently at the point where the new type of writers, which are the writers who are willing to do it for free, think the editor’s the chief mark of the whole racket. But it’s not—he’s not, she’s not. Their job is to get you paid and leave you alone. That’s the thing. Now you got pseudo editors, pseudo writers. If you think of a writer such as William Faulkner. Now there’s a guy who just screamed out to be edited. Fortunately the editors were willing to publish him and leave him alone, which is why we have William Faulkner. That was the editor’s great contribution, protecting William Faulkner from that nonsense. People speak about, what’s that phrase applied to Maxwell Perkins? “Editor of Genius.” Well, the genius was you find someone who can write really well, and don’t fuck with ‘em. There’s something to be said about that. It’s to Perkins’ credit.

JK: If I can step back a ways to your early years. You were a streetwise kid who grew up in Jersey City and Newark. Your father discouraged you from reading, but you read anyway. So what was the attraction to books? Or was it simple contrariness on your part because you’d been told to avoid them?

NT: I got lost in them. It was dope before I copped dope. I used to love to drift away, in my mind, my imagination. I loved books. My father was not an anti-book person, but he was the first generation of our family to be born in this country. A working class neighborhood where okay, this guy worked in this factory, and that guy owned a bar, and that guy delivered the mail. Nobody was going any further than this. And I remember my father saying, “These books are gonna put ideas in your head.” I guess I enjoyed that they did. Terrible books, some of them. Terrible books, but it didn’t matter.

JK: You’ve also said that very early on you wanted to be a writer.

NT: Yes.

JK: Or a farmer.

NT: Or a garbage man or an archaeologist. Those were my childhood aspirations.

JK: Considering the environment you were coming out of, three of those seem counterintuitive.

NT: Garbage men got to ride on the side of the truck, and that looked great. Archaeologists, wow. I didn’t know they were spending years just coming up with little splintered shards of urns. Yeah, writer. Writing had a great attraction for me, because writing seemed a great coward’s way out. You can communicate anything while facing a corner, with no one seeing you, no one hearing you, you didn’t have to look anyone in the eye. It’s a great coward’s form of expressing yourself. That coupled with the fact that what I felt a need to express was inchoate. I didn’t even understand what it was I wanted to express. Sometimes I still don’t.

JK: You’ve also said that in your teens you started to listen to country music, which given the time and place also seems counterintuitive.

NT: Did I say my teens? Maybe I was nineteen or twenty. Yeah, I never listened to country music until the jukebox at the place on Park Avenue and West Side Avenue in Jersey City.

JK: It was right around that time, when you were nineteen, twenty, that you published your first story in the music magazine Fusion. Which means we’re right around the fiftieth anniversary of your start in this racket.

NT: Let’s see…that was 1969, so yeah, I guess so. Fifty years ago.

JK: Then for the next fifteen-plus years you wrote mainly about music. You were at Rolling Stone and other magazines, and you put out Country, Hellfire and Unsung Heroes of Rock ’n Roll. So How early on were you thinking about branching out? About writing about the mob, or the Vatican, or anything else that interested you?

NT: Before I ever wrote anything. You have to understand, these so-called rock’n’roll magazines provided two great things. First as an outlet for young writers whose phone calls to The New Yorker would not be accepted. And they all, back then before they caught the capitalist disease, offered complete freedom of speech. So yes, in the course of writing about music you could…or actually, forget about writing about music, because nobody even knew anything about music. We were just fucking around.

JK: I remember an early piece you did for Rolling Stone back in 1971. It was a review of Black Sabbath’s Paranoid album, but all it was was a description of a blasphemous Satanic orgy straight out of De Sade.

NT: Yeah, I remember that one.

JK: It was pretty amazing, and even that early, your writing was several steps beyond everything else that was happening at the time. But from an outsider’s perspective, your first big step away from music journalism was actually a huge fucking leap, and a potentially deadly one. So how do you go from Unsung Heroes of Rock ’N Roll to Power on Earth, about Italian financier Michele Sindona?

NT: After Hellfire, someone wanted to pay me a lot of money to write another biography. But I realized there was absolutely no one on the face of the earth whom I found interesting enough to write about other than Jerry Lee Lewis. I’d caught sort of a glimpse of Sindona on television. My friend Judith suggested “Why don’t you write about him?” But how am I gonna get in touch with a guy like that? And she said I should write him a letter.

JK: He was in prison at that point?

NT: Yes, he was in prison the entire time I knew him, until his death. He died before the book was published. I met him in prison here in New York, then they shipped him back to Italy to be imprisoned, and I went over there.

JK: You were dealing with The Vatican, the mob, and the shadowy world of international high finance. Were there moments while you were working on the book when you found yourself thinking, “What the fuck have I gotten myself into?”

NT: Well, yes, because the story was too immense and too complicated to be told.

JK: Something I’ve always been curious about. Publishing house libel lawyers have been the bane of my existence. Whenever I write non-fiction, they set upon the manuscript like jackals, tearing it apart line-by-line in search of anything that anyone anywhere might conceivably consider suing over. And I wasn’t writing about the likes of Jerry Lee Lewis, Dean Martin, or Michele Sindona.

NT: “Conceivably” is the key word in this country, where anyone can sue anyone without punitive repercussions. That’s the key phrase. What these libel lawyers are also doing above all else is protecting their own jobs.

JK: Were you forced to cut a lot of material for legal reasons?

NT: Yes, including proven, irrefutable facts. So yes I did. And it’s not because it was libelous, but because it was subject to being accused of being libelous. It’s a shame. Some of the things were just outrageous. I once threw a fictive element into a description that involved a black dog. “Well, how do you know there was a black dog there?” I said there probably wasn’t, that it was just creating a mood. “Well, we gotta cut that out.” So what’s offensive about a black dog? It sets a precedent. Misrepresentative facts? Morality? I don’t know. These guys.

JK: I don’t know if this was the case with you as well, but I found out I could write exactly the same thing, and just as honestly, but if I called it a novel instead of nom-fiction. They didn’t touch a word. Didn’t even want to look at it. As it happens, your first novel, Cut Numbers, came out next. Had that been written before Power on Earth?

NT: Let me think for a moment…Well, the order in which my books were published is the order in which they were written. The only putative exception may be Where Dead Voices Gather, because that was written over a span of years with no intention of it being a book. So yeah, Cut Numbers. What year was that?

JK: I think that was 1988. I love that novel. There’s a 1948 John Garfield picture about the numbers racket, Force of Evil.

NT: Yeah, I’ve seen that.

JK: But of course they had to glamorize it, because it was Hollywood and it was John Garfield.

NT: I like John Garfield. Terrible movies, but a great actor.

JK: What I love about Cut Numbers is that it’s so un-glamorous. It’s not The Godfather. It’s very street-level. And I’ve always had the sense it was very autobiographical.

NT: I’ve never written anything that wasn’t autobiographical in some way, shape or form. The world in which Cut Numbers is set was my auto-biographical world. “Auto,” self and “bio,” life. My auto-biographical world. The world I lived in and the world I knew. It’s a world that no longer exists. Like every other aspect of the world I once knew. Except taxes. Which I found is a really great upside to having no income. I’m serious.

JK: Oh. I know all too well.

NT: I mean, but It comes with “Jeeze, I wish I could afford another case of this tawny port.”

JK: A few years later, after Dino, you released your second novel, Trinities. While Cut Numbers took place on a very small scale. Trinities was epic—the story spans the globe and pulls in the mob, the Vatican, high finance. You crammed an awful lot of material in there. It almost feels like a culmination.

NT: I wanted to capture the whole sweep of that vanishing, dying world. It was written during a dark period of my life, and I was drawn to a beautifully profound but unanswerable question, which had first been voiced by a Chinese philosopher—sounds like a joke but it’s true: “What if what man believes is good, God believes is evil?” Or vice versa. And we can go from there, the whole mythology, the concept of the need for God. To what extend is our idea of evil just a device? We don’t want anybody to fuck our wives. So God says thou shalt not covet thy neighbor’s wife. We don’t want to be killed, so thou shalt not kill. It’s a bunch of “don’t do this, because I don’t want to suffer that.” I don’t want to get robbed. I dunno, what the hell. Yeah, this has something to do with Trinities, and I somehow knew as I wrote Trinities I was saying goodbye to a whole world, not because I was leaving it. It was basically half memory, as opposed to present day reality.

JK: I remember when I first read it, recognizing so many locales and situations and characters. At least from the New York scenes. That was right at the cusp, when all these things began disappearing.

NT: Yes, and now it has to such an extent that I walk past all these locales, and it’s a walk among the ghosts. That was a club, now it’s a Korean laundry. This was another place I used to go, now it’s Tibetan handicrafts.

JK: I don’t even recognize the Village anymore. I used to work in the Puck Building at Lafayette and Houston. Landmark building, right? It’s since been gutted completely and turned into some kind of high-end fashion store.

NT: Yeah, it’s all dead.

JK: Now, when Trinities was released, I was astonished to see the publisher was marketing it like a mainstream pop thriller. You even got the mass market paperback with the embossed cover treatment. I love the idea of some middle management type on his way to a convention in Scranton picking it up at the airport thinking he was getting something like Robert Ludlum,, and diving headlong into, well, you.

NT: I can explain why all that was. It was volume. It was the same publisher as Dino. They were happy with Dino. Dino was a great success. I think that was 1992, because that was when my father died. This is now, what, 2019? There has not been a single day where that book has not sold. Not that I could buy a bottle of tawny port with it. So whereas with Cut Numbers I was paid a small amount and eagerly accepted it. Eagerly. In fact it’s one of the few times I told the editor, ran into him at a bar, and said all I want is this, and he said “Nah, that’s not enough, we’ll pay you twice that.” Then Dino was double that. And look, I really want to do this book Trinities and be paid a small fortune for it. They had to say yes. They had to believe this was going to be the next, I dunno. Yeah, mainstream. Most of these things are ancillary and coincidental to the actual writing.

JK: There were a lot of strings dangling at the end of the novel, and I remember reading rumors you were working on a sequel. You don’t seem much the sequel type. So was there any truth to that?

NT: Not that I was aware of. I’m sure that if they’d come back and said, “Well, we pulled it off,” and offered twice that, there would’ve been a sequel. Because I loved that book, so if they were going to offer me more to write more, I would have. I hated saying good bye to that world and the past.

JK: Maybe you’ve noticed this, but the people who read you often tend to make a very sharp distinction between your fiction and your non-fiction, which never made a lot of sense to me. To me they’re a continuum, and any line dividing them is a very porous, fuzzy one. Do you approach them in different ways?

NT: Oh, god. Do I approach them differently? Yes. In a way, I approach the fiction with a sense of unbounded freedom. But parallel to that, that blank page is scarier knowing that there is not a single datum you can place on it that will gain or achieve balance. With non-fiction, I am constrained by truth to a certain extent. That’s also true in fiction. They just use different forms of writing. There are poems that have more cuttingly diligent actuality than most history works. It comes down to wielding words. Tools being appointed with different weights and cutting edges and colors. Words, beautiful words. Without the words, no writing in prose is gonna be worth a damn. Used to be, I get in a cab, and back then cab drivers were from New York, and they’d ask me what I did. Now I don’t think they really know what city they’re in. They know it’s not Bangladesh. But if I told them what I did, it was always, “Oh, I could write a book.” Yeah, you’re gonna write a book. Your life is interesting. So what’re you gonna write about? Great tippers, great fares? Become a reader first. Read the Greeks sometime. I decided next time a cab driver asks me what I do for a living. I’m gonna tell him I’m a plumber. “Oh, my brother-in-law’s a plumber!”

JK: As varied as your published works are, there are two I’ve always been curious about. Two complete anomalies. The first was the Hall and Oates book, Dangerous Dances, which always struck me—and correct me if I’m wromg—as the result of a whopping check for services rendered. And the other. From thirty years later, is Johnny’s First Cigarette. Which is, what would you call it? A children’s book? A young adult book?

NT: Right. Of course they’re many years apart. Okay, Hall and Oates, Dangerous Dances. I knew a woman who was what you’d call a book packager. I owed money to the government. Tommy Mottola, who was at the time the manager of Hall and Oates, wanted a Hall and Oates book. She asked me if I wanted to do it, and I said yeah, but it’s gonna cost this much. And Tommy Mottola, in one of the great moments of literary judgment, was like, “How come he costs more than the other people?” She said something very nice about me. He has got on his desk a paperweight that’s a check for a million dollars in lucite. We weren’t talking nearly that much. So I came up with the title Dangerous Dances. I had never heard a Hall and Oates record. So I met them. It was over the course of a summer. So I did that and made the government happy. That’s one book I try not to espouse. But everyone knows I wrote that, it has my name on it. As I wanted, as my ex-agent says.

Now. Johnny’s Last Cigarette, which as I said was many years later. I don’t even think that was ten years ago.

JK: I think that came out in 2014, between Me and the Devil and Under Tiberius.

NT: I get so sick of all this political correctness. I mean, every man. Every woman was once a child. And there are all these good. Beautiful childhood moments and feelings. Which is the greatest step on earth that we lose. It’s not a nefarious book like Kill Your mother—which may not be a bad idea—but sweet. Why do we rob these kids of the dreaminess of the truth? So Johnny’s first Cigarette, Johnny’s First whatever. I was living in Paris at the time when I wrote that.. I knew a woman who was one of my best translators into French. We put the idea together with a publisher I knew in Marseilles and a wonderful artist-illustrator we found and were so excited about.

To tell you the truth I think the idea of legislating feeling is like…How the fuck do you legislate feeling? And forbidden words. It may have been Aristotle who said, when men fear words, times are dark. You and I have spoken about this. Sometimes we don’t even understand what it is about this or that word. It’s like that joke—a guy goes in for a Rorschach test, and the psychologist tells him. “Has anyone ever told you you have a sexually obsessed mind?” And the guy says, “Well, what about you, showing me all these dirty pictures?” What do these words mean? I don’t know. Why is it a crime to call a black man a crocodile? I have always consciously stood against performing any kind of political correctness. And I have written some long letters to people I felt deserved an explanation of my feelings.

JK: Whenever people get outraged because some comedian cracked an “inappropriate” joke, and they say, “How could he say such a thing?” I always respond, “Well, someone has to, right?”

NT: Yeah. So one book came from the government’s desire to have their share of what I’m making. We’re all government employees. The other was, why can’t I write something that’s soft and sweet with a child’s vocabulary that’s not politically correct?

JK: If Dangerous Dances and Johnny’s First Cigarette were anomalies, I’ve always considered another two of your books companion pieces. Or at least cousins. King of the Jews an Where Dead Voices Gather are both biographies, or maybe anti-biographies, of men about whom very little—or at least very little that’s credible—is known: Arnold Rothstein and Emmett Miller. And that gives you the freedom to run in a thousand directions at once. They’re books made up of detours and parentheticals and digressions, and what we end up with are essentially compact histories of the world with these figures at the center. They strike me as your purest works, and certainly very personal works. More than any of your other books, it’s these two that allow readers to take a peek inside your head. Does that make any sense to you?

NT: Yes, it makes perfect sense. In fact I couldn’t have put it any better myself. This whole myth of what they called the Mafia in the United States—there’s no mafia outside of Sicily. Or called organized crime, was always Italians. The Italians dressed the part, but the Jews made the shirts. It was always an Italian-Jewish consortium. And this Irish mayor wants to play ball? So now it’s Irish. Total equal opportunity. It was basically…Well, Arnold Rothstein was the son of shirt makers. Not only did he control, but he invented what was organized crime in New York. He had the whole political system of New York in his pocket. Emmet Miller was this guy who made these old records that went on to be so influential without his being known. Nobody even knew where or when he was born. The appeal to me was as both an investigator and then to proceed forward with other perspicuities, musings and theories. I never thought of them before as companion works until you mentioned it, but they are.

JK: People have tended to focus on the amount of obsessive research you do. Which is on full display in these books, but what they too often overlook, which is also on full display here, is that you contain a vast storehouse of arcane knowledge. It’s like you’ve fully absorbed everything you’ve ever read, and it just spills out of you. These forgotten histories and unexpected connections.

NT: I’ve always kept very strange notebooks. I still do, except now it’s on the computer. There’s no rhyme or reason to these notebooks, it’s just,”don’t want to forget this one.”

JK: Speaking of research, has your methodology changed in the Internet Age? I’m trying to imagine you working on Under Tiberius and looking up”First Century Judea” on Wikipedia.

NT: The Internet demands master navigation. There are sites which have reproduced great scholarly, as opposed to academic, works. There’s also every lie and untruth brought to you by the Such-and Such Authority of North America. This is what they call themselves. I experienced this within the past week. It was not only complete misinformation, but presented in the shoddiest fashion, such as “Historians agree…” I mean, what historians? I couldn’t find a one of them.

So my methodology. I love Ezra Pound’s phrase, “the luminous detail.” Something you find somewhere or learn somewhere…They don’t even have a card catalog at New York Public Library anymore, let alone books. You want an actual book, they have to bring it in from New Jersey. Who cares anymore? What they care about is who’s in a TV series, and they whip out their Mickey Mouse toys and, “look, there he is!”

JK: I was thinking about this on the way over. You and I both remember a time when if you were looking for a specific record or book or bit of information, you could spend months or years searching, scouring used bookstores an libraries. There was a challenge to it.

NT: It was not just a challenge. It was a whole illuminating process unto itself, because of what you come to by accident. So in looking for one fact or one insight, you would gather an untold amount. That is what it’s about.

JK: Nowadays if I’m looking for, say, a specific edition of a specific book, I take two minutes, go online, and there it is. I hit a button, and it’s mailed to me at my home. Somehow it diminishes the value, as opposed to finally finding something I’d been searching for for years. Nothing has any value anymore.

NT: No, definitely not. When I was living down in Tennessee, all those Sunday drives, guys selling stuff out of their garages. Every once in awhile you hit on something, or find something you didn’t even know existed. Now education on every level, especially on the institutional, but even on a personal level, is diminished. People are getting stupider, and that probably includes myself.

JK: And me too. Now, if I could change course here, you’re a man of many contradictions. Maybe dichotomies is a better term. A streetwise Italian kid who’s a bookworm. A misanthrope who seeks out the company of others. A libertine who is also a highly disciplined, self-educated man of letters. It’s even reflected in your prose—someone who is always swinging between the stars and the gutter. It’s led some people to say there are two Nick Tosches. Is this something you recognize in yourself?

NT: Yes. It’s never been a goal, it’s just…

JK: How you are?

NT: Yeah. I’ve noticed it, and much to my consternation and displeasure and inconvenience, yeah. But there’s no reward in seeking to explain or justify it.

JK: One of the most intriguing and complex of these is the savage heretic who keeps returning to religious themes, the secrets of the Church and the sacred texts. And of course the devil in one guise or another is lurking through much of your work. Again it’s led some people to argue that since you were raised Catholic, this may represent some kind of striving for redemption. You give any credence to that?

NT: No. Absolutely not.

JK: Yeah, it would seem Under Tiberius would’ve put the kibosh on that idea.

NT: I don’t even consider myself having been raised Catholic, in the modern made-for-TV sense of that phrase. I was told to go to church on Sundays and confession on Saturdays, and I usually went to the candy store instead. I was confirmed, I had communion. To me, it was a much deeper, much more experiential passage when I came to the conclusion that there was no Santa Clause than when I came to the conclusion there was no God. I remember emotionally expressing my suspicions about Santa Claus to my mother. Toward the end of his life, I was talking to my father one day, and I said, “By the way, do you believe in God?” And he said no. I said me neither. And that was about the only real religious conversation we ever had. I think religion, without a doubt since its invention—and God was an invention of man—is a huge indefensible evil force in this world. When people believe in a religion which calls for vengeance upon those whose beliefs are different, it’s not a good sign. Not a good sign.

JK: This is something I’ve been curious about. Two of your novels—In the Hand of Dante and Under Tiberius—are predicated on the idea that you come into possession of manuscripts pilfered from the Vatican library. The library comes up a few other times as well. You write about it in such detail and with an insider’s knowledge. Either I was fooled by your skills as a convincing fiction writer, or you’ve spent your share of time there. And if the latter, how does a heretic like you end up with Vatican credentials?

NT: Okay. You go buy yourself a very beautiful, very important let’s say, leather portfolio with silk ribbon corner stays that keeps the documents there. Then you set about…Well, my friend Jim Merlis’ father-in-law, for instance, won the Nobel Prize in physics right around then. So I went to Jim and said, “Hey Jim, do you suppose you could get your father-in-law to write me a letter of recommendation? I know I never met the man.” Had a tough life, but won the Nobel Prize. Did a beautiful letter for me. I don’t even know that I kept it. You put together five letters that only Jesus Christ could’ve gathered. And he probably couldn’t have because he was unwashed. It was twice as difficult for me, because I had no academic affiliation, not even a college degree. But the Vatican was so nice. There are two libraries. One involves a photo I.D. and the other one doesn’t. They gave me two cards, and they made me a doctor. That’s how you get in. So what do you do once you’re in? They have the greatest retrieval library I’ve ever seen. The people that you meet. One guy was a composer. Wanted to see this exact original musical manuscript because he wanted to make sure of one note that may have changed. So this was all real—I just hallucinated the rest. If you can use a real setting, you’re one step closer to gaining credibility with the person who reads you. I still have my membership cards, though I think they must’ve expired. They were great. You go to a hotel and they ask you to show them photo ID? “Ohhh…”

JK: One of the themes that runs throughout your work is fear. Fear as maybe the most fundamental motivating human emotion.

NT: Any man who thinks he’s a tough guy is either a fool or a liar. Fear is I think one of the fundamental formative elements. And I’m just speaking of myself becoming a writer. Choosing to express yourself with great subtlety in some cases, when what you want to express is so inchoate. But that was a long time ago. I still believed in the great charade. These days I’m just living the lie. But it’s so much better than fear. To convey fear. The more universal the feeling, the easier it is to convey powerful emotions. There was a line in Cut Numbers; “He thought the worst thing a man can think.” Michael Pietsch my editor said, “What is that thing?” And I said “Michael, every person who reads that will have a different idea.” It’s an invocation of the Worst Thing. One woman might read it and think of raping her two-year-old son. Some guy might think of robbing his father. To you or I it might not be that bad a thing, but to that person it’s the Worst Thing.

JK: That’s the magic of reading.

NT: That is the magic of reading. That’s the bottom line. Writing is a two-man job. It takes someone to write it and Someone to read it who’s not yourself.

JK: Exactly. Readers bring what they have to a book, and take away from it what they need, what interpretation has meaning for them.

NT: It’s also possible to write certain very exact phrases and have them be evocative of nothing but a thirst for an answer that the person who wrote them doesn’t know. Readers never give themselves enough credit. Now all the experiential and soulful depths of all our finite wanderings, roaming imaginations and questions thereof are relegated to a Mickey Mouse toy. That’s what I see, people who interact with these toys instead of another person. I don’t care. I was here for the good times.

JK: There’s another idea that’s come up a few times in various forms and various contexts in your work, where you say, in essence, “once you give up hope, life becomes more pleasant,” which is a wonderful twist on Dante.

NT: It’s true!

JK: I know, and I’m in full agreement with you. Hope, faith, belief, are all great destroyers. But I’m wonderinh, when did you come to that conclusion?

NT: A lot of the things I write or think I do put in that notebook I mentioned, and I usually put the date. That was one where I did not put down the date. I do believe it’s true. People say, “never give up hope.” Why the hell not? If you don’t give up hope, it leads you, at a craps table, betting you’re aunt’s car. Where did hope ever get anybody? It’s terrible.

JK: Now, there are two quotes which have appeared and reappeared throughout your work, and I think you know which two I’m talking about. The first is from Pound’s Canto CXX: “I have tried to write Paradise// Do not move/ Let the wind speak/ that is paradise.” And the other’s from the Gospel of Thomas: “If you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you.” As you look at your life and work now, and look back over the last half century, do you think you’re closing in on that point where Pound and Thomas finally come together?

NT: Yes. I never thought of that phrase you choose, “come together,” but yes. They’ve become more and more deeply a part of my consciousness. Yes, every day I pause. And I still hold the 120th Canto to be the final one. It was just one person who insisted no, this is not how he would have ended. Which is why the current modern edition of the Cantos goes two cantos more. There’s this line that is so bad. It’s hilariously bad. The joke of history. The line that Pound was supposed to have written to go beyond that beautiful line was, “Courage, thy name is Olga.” The other of course, the meaning of that line, that line being the one you were referring to, if you bring forth what is within you it will save you, if you do not bring forth it will destroy you. Of a hundred translations from the Coptic, that, to me, is the perfect translation. What is that thing? That’s what everybody wants to know. That’s me. That thing is just the truth of yourself. If you do live in fear, that will destroy you. If I speak the truth, the worst it’s going to do is frighten another. That will save you. That will set you free. Those two things, yes. And there’s another element, if I can add it unsolicited. I’ve noticed this pattern with people such as Pound and people such as Samuel Beckett. The greatest depth, the most majestic wielders of language as a communication form, slowly trail off to silence. Which is what Pound refers to in what I know is the last Canto. Be still. Paradise. Ezra Pound’s own daughter, Mary de Rachewiltz, translated The Cantos into Italian. Her translation had moments when it was an improvement on his phraseology. In Italian, “Non ti muovere” is much better than “be still.” Books, reading, writing, lend themselves to interpretive subtleties which are by no means pointless. What can people get out of an app?

by Jim Knipfel

#Nick Tosches' Final Interview #The Chiseler #Jim Knipfel #Nick Tosches

19 notes · View notes

joemuggs · 5 years

Text

I Don’t Wanna Go

J Mascis is one of the best rock stars ever, I love him so much. I was reminded by this great Rolling Stone interview how great his (incredibly dry) chat is so I dug out this thing I did with him for the late lamented The Word mag in 2007.... actually not sure this ever ran...

FILM/TV: I’ve been watching a lot of DVD TV series, the whole series in one go. Gray’s Anatomy has been good, I like long, long dramas – things like seem like a really long, long, bad movie. I like just the quantity, the fact you can watch it for so long; I can get into just about anything if it’s long enough, if it’s really bad it might take 8 episodes to get into, but I’ll get into it. I started watching Dawson’s Creek recently, having never seen it before; the first series of that was actually really good, but I’m on the second one now and it’s getting horrible quite fast – I don’t know if I can power through another seven seasons or so. The girls all seem to break up with Dawson for absolutely no reason, it’s just not believable, they’re in love one day then the next they want to break up just for drama’s sake. A lot of these long series get horrible as they go on – I’m fed up with the Gilmore Girls which is on its seventh and last series now, and it seems all the talent on the series has been pushed out and the whole thing is just melodramatic and cheesy, where it used to be full of banter, full of people drinking a lot of coffee and talking fast, which is something I really appreciate. Same with The OC this year, it’s got pretty bad – Marissa has died and it’s gone boring. I watched Pan’s Labyrinth and Last King Of Scotland this year – but I was surprised how violent both of them were. I almost wish I’d left before the horrible stuff started – I hate that inevitable violence… I like random violence in movies, non-sequitur violence, slapstick violence, guys losing arms randomly, stuff like that. I loved Grizzly Man, the guy who got eaten by the bear, that guy was just so wild; I love Crumb too, for the same reason: that I like watching people who are crazier than I am. My favourite films are Crumb, Rushmore and Harold & Maude, they all speak to different parts of my life.

BOOKS: I read a lot of rock biographies. All of them, in fact. Just now I was reading the Mick Fleetwood biography – I was really interested to find out about Peter Green and also Stevie Nicks, and about the middle period between those eras. I read a book about the Ramones that their road manager wrote, that was really interesting. I read a lot of kinda spiritual books as well, I like to get different perspectives on what different people are thinking about – recently I’ve read some parts of books by [Amachi] who’s an Indian saint, and Dalai Lama books. I don’t really like it if it’s some yuppie guy who’s decided he’s New Age. I don’t like the New Age, I’m more interested in things that have stood the test of times. I also like Image Guitar Magazine, geeky stuff – I like to know about effects, and see the latest prices of old guitars, just to shock myself. Especially lately it’s really accelerated, a guitar can go from $20,000 to $100,000 in two years in these weird stores that are dedicated to rich people who collect guitars as investments, putting so much money in that they’re afraid to pick it up in case they wipe off a hundred grand in value!

MUSIC: The Fleetwood Mac thing is a big interest for me, I have a thing about the blues kinda rock of the time – Peter Green, Taste, Rory Gallagher, Free, Groundhogs, stuff like that. Dinosaur Jr was always a combining of all the eras we loved, so there was that blues rock, then Beach Boys, Black Sabbath, and from the 80s Birthday Party, Minor Threat, the first Jesus & Mary Chain records, My Bloody Valentine, even REM – these are all things I listen to sometimes, kinda in cycles. For more recent stuff I see a lot of bands play in my town, there’s a scene of all these people playing together, which I see live rather than listening to, a small scene so every show is different, improvisational. MV&EE are a part of that, which is how I came to play the mellotron on their album. Witch, another band I play with, came out of that too, though they’re a bit more Black Sabbath, a bit more song-based than the “free folk” guys like MV&EE. Some of these new metal-influenced bands with drone stuff, that guy from Sunn 0))) for example, are involved with this scene too, and Japanese bands who visit, like Acid Mothers Temple and Boris. Everyone has the same influences, it seems – Black Sabbath, Bert Jansch, Velvet Underground, but the way they combine those have quite different results. It’s still underground, definitely for kids who aren’t fitting in, these are pretty intelligent people, left-wing people, not mainstream at all. I saw Jeffrey Lewis recently, a really funny video of his about Will Oldham, about how all the hip kids on the New York Williamsburg scene are looking for a Jesus figure to give them all the answers. I saw (Smog) solo for the first time the other day, and I was so impressed, he’s funny too, but a great songwrier. Joanna Newsom was following but (Smog) was just in another league. He writes a real pop song.

#dinosaur jr #j mascis #grunge #psychedelia #blues rock #classic rock #metal #\m/

7 notes · View notes

alcalavicci · 5 years

Text

[Jill: I looked at a lot of David Bowie stuff at the library, but couldn't find any reference to Dean Stockwell being with Bowie during the summer of 1975, when Iggy Pop was in the mental hospital (nor could I find Iggy Pop's biography). For that, I will have to wait until I can get a copy of that 'Q' magazine with the David Bowie interview. However, I did find quite a bit printed about Bowie during that time. Apparently he was living in Hollywood, hooked on cocaine, and pretty much going insane himself. A lot of the stories to come out of those days came from just one interviewer: 17 yr. old Cameron Crowe. One author has a theory that Bowie may have been putting on an act for Crowe's benefit. I'll type up the stuff I found. Basically, Bowie sounds paranoid delusional. Like Dennis Hopper. Just what DO Dean and his friends sit around and talk about?? :-)]

[From BOWIE: LOVING THE ALIEN by Christopher Sandford, 1996]

In Spring of 1975 Bowie moved from New York to Los Angeles. Bowie now drifted off into a binge of addiction, diabolism and madness. Bowie himself later admitted that the whole year was a blank, bulk-erased through substance abuse.

[From DAVID BOWIE: LIVING ON THE BRINK, by George Tremlett, 1996]

Readers familiar with other Bowie biographies will know that this period in his life - January 1974 to September 1975 - is treated oddly. There are stories that Bowie drew Black Magic symbols, saw disembodied beings, thought he was the new Messiah, kept bottles of his own urine in a fridge to use in occult rituals, thought a scriptwriter was a CIA agent, suspected The Rolling Stones of talking to him through their record sleeves, saw UFOs coming over every night at 6:15 pm.......and many, many more stories in similar vein.

The trouble with all these stories is that they are written second-hand, based on the writings of 17-year-old Cameron Crowe who managed to break through the Bowie security cordon with a tape recorder and followed him around for several days. Crowe then sold separate narratives to Rolling Stone and Playboy. Other writers have lifted this material without knowing what was true and what was not. Bowie frequently played with interviewers, and I suspect something like that happened to Crowe.

.........[However] Cocaine kept Bowie supercharged, pulling something extra from within, able to keep on working when others flagged. Bowie would veer emotionally, from tears to screams and howls of rage if he thought anyone might have let him down or taken him less seriously than he sometimes takes himself.

........Years later, he said "By the end of the week my whole life would be transferred into this bizarre, nihilistic, fantasy world." Crowe caught him like this, without realizing Bowie was still in control, not necessarily of every faculty, but still watching himself carefully.

.......When the filming schedule [for THE MAN WHO FELL TO EARTH] had to be delayed three months, Bowie accepted that and spent that time fooling around in Hollywood, staying with different friends, while the finances and production details were sorted out. This was the period when Bowie took more cocaine than any other, between late March 1975 when he left for Hollywood and his late June departure for New Mexico to begin work on the film.

......He committed himself totally to the film, with his free days spent visiting Taos, where D. H. Lawrence painted and wrote short stories.

.......A few days before his departure for New Mexico, Bowie found Iggy [Pop], abandoned and destitute, in the Neuropsychiatric Institute at the University of California, Los Angeles. Iggy, a voluntary patient, was being treated for heroin addiction. Bowie visited him every day, forging the closest of all intangible bonds, for Iggy has that same high-tensile manic quality that sometimes comes with extreme intelligence.

[From BOWIE, by Jerry Hopkins, 1985]

Nic Roeg's film, THE MAN WHO FELL TO EARTH, had been delayed until June, giving David three months in which to drift.

.........David recalled some years later that "I was one of those people you see on the streets who suddenly stops and says, 'They're coming! They're coming!' Every day of my life back then I was capable of staying up indefinitely. My chemistry must have been superhuman. I'd stay up for seven or eight days on the trot! The Stones would be absolutely floored by me. They'd see me days later and find out that I hadn't been to bed! It was unreal, absolutely unreal.

"Of course, every day that you stayed up longer - and there's things that you have to do to stay up that long - the impending tiredness and fatigue produces that hallucinogenic state naturally. Well, HALF-naturally. By the end of the week my whole life would be transformed into this bizarre, nihilistic fantasy world of oncoming doom, mythological characters, and imminent totalitarianism.

"I was living in a house with Egyptian decor. It was one of those rent-a-house places, but it appealed to me because I had this more-than-passing interest in Egyptology, mysticism, the Cabala, all this stuff that is inherently misleading in life, a hodge-podge whose crux I've forgotten. But at the time it seemed transparently obvious what the answer to life was. So the house occupied a ritualistic position in my life."

It was during this frenetc period that David let Rolling Stone magazine's seventeen-year-old boy-genius Cameron Crowe follow him around with a tape recorder. The interview he got was staggering in its scope, and during the week or so he followed David he was never bored.

...........Right in the middle of a speech, David would suddenly leap to his feet and rush to a nearby picture window, where he quickly drew the shade. The Rolling Stone interviewer noticed a large Star of David had been inked on the shade, then circled. Underneath was the word AUM.

"I've got to do this," David explained. "I just saw a body fall."

He then rushed to the dresser and lit a black candle, and immediately blew it out to leave a thin trail of smoke floating upward.

"Don't let me scare the pants off you," David said. "It's only protection. I've been getting a little trouble from the neighbors."

..........By then David moved in with Michael Lippman, and for two months practiced occult rituals that made Lippman's hair stand on end.

He created huge, symbolic sculptures in his bedroom and painted all night in sprints of chemical energy. One sculpture had its vaguely human foot shoved through a world globe, a baby in its misshapen arms, a penis shaped from 3-D Hollywood postcards (a Mickey Mouse pencil sharpener on the end). Others were inflated with a bicycle pump.

Sometimes David disappeared for days. .....................Then in June Jimmy Osterberg [Iggy Pop] failed to show up at the recording studio. David called everywhere without success. Jimmy was his closest friend and David grew even more concerned. Finally he found his friend at the UCLA Neuropsychiatric Institute, a voluntary patient. Over the next several days David visited him.

It was with this warning experience fresh in his mind that David left Los Angeles in June to travel by train to New Mexico for the filming of THE MAN WHO FELL TO EARTH.

..................During the eleven-week shoot David visited some of the local sights, including the Carlsbad Caverns, the opera house in Santa Fe, and a Tibetan monastery near Taos.

#stockwell sassies

2 notes · View notes

troutfishinginmusic · 3 years

Text

Misinformation: Courtney Love claims Mark Lanegan left her out of memoir in now deleted post

In a lengthy Instagram post featuring a photo of Kurt Cobain and Mark Lanegan, who died recently at 57, Courtney Love decries the sexist publishing industry. In the post she says Lanegan’s publisher, Hachette Books, neglected to include her in his memoir Sing Backwards and Weep: A Memoir. The post has since been deleted and replaced by a photo of Courtney and Mark that reads “safe travels lanegan.”

Whatever kernel of truth about the publishing industry being sexist there is, Lanegan did include her in the biography and credits her for getting him to rehab. Giving the benefit of the doubt here, maybe she wasn’t portrayed the way she wanted to be. That’s fair, however the post states:

“You were a good friend to me & Kurt (even if your book wrote out our close friendship out, I’m still baffled & so sad about that. But sigh. “market forces of sexism #. It is what it is....)”

Love is in the memoir. Lanegan even elaborated on this section of the book in an interview with Rolling Stone:

[Rolling Stone] Despite how you felt, you had a lot of people looking out for you. The person who had your back and surprised me the most in your memoir was Courtney Love.

[Lanegan] She was directly involved in saving my life. I had to write about that. I will always carry great guilt about my actions on the day Kurt decided to do what he did, because I willfully ignored him. I had done that because around that time I had become accustomed to trying to avoid being around Courtney. I assumed that she would be there. Also, I was just a fucking shithead who was self-centered and didn’t respond to his friends — even though he would have picked up the phone anytime I called.

Sometime after his death, I remember going into a pawn shop one day, and my friend who ran the place said, “Courtney Love came in here the other day with material about some rehab.” And my immediate response was, “Tell her to shove her fuckin’ rehab.” My attitude was, unless somebody has some money for me or something I can sell or some drugs, I don’t need your help. I was just that kind of recalcitrant shithead drug addict, who’d rather be homeless than accepting anyone’s help.

Later in the interview he says “I owe her a great, great debt that I can never repay.”

Lanegan was the lead singer of grunge luminaries The Screaming Trees. Following the breakup of the Trees, he enjoyed a prolific solo career. He also collaborated with musicians like Isobel Campbell, Greg Dulli, Duke Garwood and Dylan Carlson. He died Feb. 22 at 57 years old.

Lanegan was no stranger to misinformation himself. He initially promoted 5G conspiracy theories about the coronavirus pandemic. Later, he retracted these claims and wrote a book about his experience with COVID.

Love also went on to critique Anthony Kiedis’ biography and mention she is working on a memoir of her own. Maybe in it she will explain what was left out of Lanegan’s book.

As someone who respects Love’s unwavering feminist take on things, in both music and writing, this is disappointing. It plays into the media narrative of her, which has often been overtly sexist. It also maligns a dead person and works to promote the book she’s working on. Not the best look.

UPDATE at 4:13 p.m.: Post was deleted and replaced with a new post of Courtney and Mark together that reads “safe travels lanegan.”

#marklanegan #courtneylove #singbackwardsandweep #misinformation

0 notes

yasbxxgie · 6 years

Photo

The forgotten story of Pure Hell, America’s first black punk band The four-piece lived with the New York Dolls and played with Sid Vicious, but they’ve been largely written out of cultural history

An essential part of learning history is questioning it, asking what has become part of our cultural memory and what might have been left out. When it comes to the history of punk music, there are few bands who have been as overlooked as Pure Hell.

The band’s story began in West Philadelphia in 1974, when four teenagers – lead vocalist Kenny ‘Stinker’ Gordon, bassist Lenny ‘Steel’ Boles, guitarist Preston ‘Chip Wreck’ Morris and drummer Michael ‘Spider’ Sanders, set out to follow in the footsteps of their musical idols. A shared obsession with the sounds of Iggy, Bowie, Cooper, and Hendrix inspired them to create music that was louder, faster and more provocative than even those artists’ most experimental records. Pure Hell’s unique sound led them to New York, where they became characters in a seminal subculture recognised today as punk. As musicians of colour, their contribution to a predominately white underground scene is all the more significant. “We were the first black punk band in the world,” says Boles. “We were the ones who paid the dues for it, we broke the doors down. We were genuinely the first. And we still get no credit for it.”

The title of the ‘first black punk band’ has, in recent years, been informally given to Detroit-based Death, whose music was mostly unheralded at the time but has since been rediscovered and praised for its progressive ideas. But while Death were creating proto-punk music in isolation in the early 1970s, Pure Hell was completely entrenched in the New York City underground scene, living and performing alongside the legends of American punk. Arriving the same month that Patti Smith and Television began their two-month residencies at CBGB and leaving just after Nancy Spungen’s murder, Pure Hell’s active years in the city aligned perfectly with the birth and death of a dynamic chapter of music history. “I don’t want to be remembered just because we were black,” says Kenny Gordon. “I want to be remembered for being a part of the first tier of punk in the 70s.”

Being just 155km from Greenwich Village, Philadelphia was somewhat of a pipeline of New York subculture – Gordon remembers his teenage years at the movie theatre watching John Waters films like Polyester and Pink Flamingos, and hanging out at Artemis, a spot frequented by Philly scenesters like Nancy Spungen and Neon Leon. “I heard (The Rolling Stones’) ‘Satisfaction’ and knew it was the kind of music I wanted to play,” recalls bassist Lenny Boles. “I was too poor to afford instruments, so if someone had one, I would befriend them.”

The quad quickly gained notoriety on their home turf. “Growing up in West Philadelphia, which was all black, we were some of the craziest guys you could have possibly seen walking the streets back then,” says Gordon. “We dressed in drag and wore wigs, basically daring people to bother us. People in the neighbourhood would say, ‘Don’t go into houses with those guys, you may not come out!’”

Pure Hell swan dove into the New York underground scene in 1975, in pursuit of the people, places, and sounds they’d read about for years in the pages of Rock Scene and Cream magazine. The band moved into the Chelsea Hotel, the temporary home of a long list of influential characters, including Bob Dylan, Leonard Cohen, Janis Joplin, Jim Morrison, Edie Sedgwick, Patti Smith, and Robert Mapplethorpe. Their first gig in the city was hosted at Frenzy’s thrift, a storefront on St. Marks place, where guitarist Preston Morris “rather memorably caught the amplifier on fire due to a combination of maximum volume and faulty wires”, says Gordon. Drummer Michael Sanders’ friendship with Neon Leon led the band to the New York Dolls, who were acting as mentors for younger artists like Debbie Harry and Richard Hell at the time. Pure Hell was soon invited to perform for the Dolls in their loft.

“Honestly, we were scared to death of them,” Boles says. “When we walked in, they were all dressed up, smoking joints and watching The Untouchables on TV. Fortunately, we played and blew them away.” Gordon adds: “Underneath their outer appearance, they were just a bunch of guys from Queens. We had the same lingo. We were both really street and really genuine. It’s like, they were white but playing black, and we were just the opposite. We were innovative and they definitely appreciated us for it.”

After being kicked out of the Chelsea for not paying rent, Pure Hell moved into the Dolls’ loft. “Everybody hated us at first. We had a bad reputation because of our association with the New York Dolls, who were doing a lot of dope at the time,” says Boles. “The way we looked, everybody thought we were in a gang. Actually, we used to live in gang territory in West Philly, and people were always trying to get us to join. We never did. And with a name like Pure Hell, people thought we were devil worshippers.”

Gordon adds: “This was New York City, this was punk. People don’t realise it was ruthlessly competitive. It was dog eat dog.” Although they felt that few people were on their side, their kinship with Johnny Thunders led to numerous gigs at Andy Warhol’s haunt, Max’s Kansas City, and Mother’s, a Chelsea gay bar turned punk club, where Blondie first performed. The band was featured in a number of publications, namely Warhol’s own Interview magazine, marking their ‘place’ in a scene cultural influencers.

Despite their growing presence in the underground, Pure Hell still didn’t have a manager. After reading a biography of Jimi Hendrix by Curtis Knight, the singer and frontman of Hendrix’s first band The Squires, Lenny Boles chased down the author’s address and arrived on his doorstep. Boles’ bold act of promotion earned them management from the man credited with Hendrix’s discovery. Kathy Knight, Curtis’s then-partner in life and business, recalls her ex-husband’s first impressions of Pure Hell. “He loved them immediately,” she says. “After Lenny knocked on the door, Curtis brought me to one of the clubs where they were performing on Bleecker Street. Stinker (Kenny Gordon) almost landed in my lap when he did a backflip off the stage. We were so blown away that we put everything we had into them at the time.”

Those who saw Pure Hell in action describe their shows similarly. Gordon’s background in gymnastics gave them an unparalleled stage presence, with choreography that he says he performed “crash dummy style”. Pure Hell’s sound was harsher than their peers and predecessors and is today recognised as proto-hardcore. “We were like four Jimi Hendrixes, and Curtis knew it,” Gordon says. “We aimed for impact, just because we could. A lot of people at the time couldn’t play like Chip, doing Hennessy licks and everything. Not everyone could copy that.”

Curtis and Kathy Knight were so enthusiastic about Pure Hell that they sacrificed three months of rent money for studio sessions. Knight organised Pure Hell’s first European tour in 1978, which resulted in their single “These Boots are Made for Walking” reaching number four in the UK alternative charts. Later, they opened for Sid Vicious at Max’s during his New York residency. It would end up being his last public appearance, and Pure Hell found themselves looped into the media circus surrounding Nancy Spungen’s death. “We were on the second page of the majority of the tabloids, like New Musical Express, Sounds,and Melody Maker,” says Gordon.

But beyond their association with Vicious, Pure Hell’s European tour was a major success in part due to Curtis Knight’s strategic marketing campaign, which sensationalised their race. After arriving, Knight created a big poster with an image of the band taken by legendary rock photographer Bob Gruen in front of Buckingham Palace with the slogan: “From the United States of America, the world’s only black punk band”. Boles was angry at the time. “I said to Curtis, ‘Why do you have to call us a black band?’ Of course, that’s what we were, but we really didn’t think in those terms at the time. People in Europe were curious about the band before we even arrived. They were looking at it like a novelty. They didn’t believe we really existed.”

Boles says the band was “plastered by this campaign”, but were able to reap its fruits while touring Holland and the UK. Landing smack dab in the middle of the London punk scene, Pure Hell were welcomed by a parallel movement that had clearer political convictions and more dynamic cross-cultural discourse. “All the punks listened to reggae,” says Boles. “It was about all rebel music.” Gordon adds that “people, incorrectly, view punk as this angry, white, urban, male genre. Black culture is really the source of punk, and a lot of people don’t recognise it – or don’t want to recognise it.”

Although they eventually felt accepted in New York, and even celebrated in Europe, the legacy of Jim Crow still haunted the industry, where genres remained segregated. “We experienced racism, but didn’t know it at the time,” says Lenny Boles. “We were watching all of these bands around us, with far less talent, get signed. It had us second guessing ourselves, thinking we weren’t good enough. Obviously we were. It was a while before we realised we were getting snubbed.” While their white peers were being cut cheques, Pure Hell found themselves courted by a number of record labels, all of whom insisted they change their music in order to align with racial stereotypes. “Everybody was trying to make us do this Motown thing, saying like, ‘You guys are black so you’ve gotta do something that’s danceable,’” Boles adds. “They kept trying to make us more ‘funky’. Everything we liked had nothing to do with dance music. We were not having it. So we opted not to get signed.”

Integrity and profitability don’t often go hand-in-hand, and Pure Hell’s refusal to comply with the industry’s limitations meant they sacrificed career opportunities. After a second European tour in 1979, the band suffered a fall-out with Knight. A messy legal conflict resulted in Knight flying back to the US alone, with the band’s master tapes in tow. Pure Hell remained in Europe without any of the rights, or access, to their recordings, which Kathy Knight salvaged after her husband attempted to destroy them.

Pure Hell eventually finagled their way back to the US, where they settled in Los Angeles. Although they played historic bills at the Masque (LA’s equivalent to CBGB) with iconic groups like the Germs, the Cramps, and the Dead Boys, Pure Hell lost their momentum. With no management, no record deal, and no access to their recorded output, the band felt the flames of Pure Hell die out. “It was all totally over by 1980,” says Kenny Gordon. “Really, punk died with Nancy’s murder. Everyone was burning the candle from both ends. You had to be extreme to be in those kinds of circles.” Bad Brains’ explosion onto the music scene in the early 80s also left Pure Hell feeling robbed of their title of ‘the first black punk band’. “You know, we took the blow for being black, so why didn’t they give it to us in the end?” Boles asks.

As decades passed and history books were written, Pure Hell’s memory faded to legend. But in the early 2000s, Kathy Knight fatefully decided to auction off Pure Hell’s master tapes on eBay. Their unreleased album Noise Addiction was purchased by an enthusiastic Mike Schneider of Welfare Records. “Mike wanted them so badly he came himself to pick them up,” Knight recalls. Pure Hell’s legacy has also been promoted and protected by hardcore legend Henry Rollins of Black Flag, who tracked down the original acetate of the band’s first single and reissued it on his label 2.13.61, in collaboration with In the Red Records, last year. Rollins first learned of the band’s existence in 1979, after seeing their single at Yesterday & Today Records in Rockville, Maryland, with his friend Ian MacKaye of Minor Threat and Fugazi. He remained on the lookout for traces of the band for over 30 years.

“At auction time, I was able to secure the record,” Rollins says. “I listened to it and was amazed at how good it sounded. I checked in with Kenny (Gordon) and he confirmed it was the only source for the two songs.” Beyond simply highlighting and celebrating the rare black punk bands of the time, Pure Hell held particular significance to Rollins because their urban myth was real. “The rumour was that they had made an album and that it was sitting in a closet,” he says. “Noise Addiction, released in 2006, decades after it had been recorded, is really great. If the album had come out when they made it, that would have been a game changer. I believe (it) would have had a tremendous impact. It’s one of those missed opportunity stories.”

In addition to Rollins, indie talent rep Gina Parker-Lawton ranks as one of Pure Hell’s greatest advocates. Parker-Lawton met drummer Michael Sanders on Sunset Boulevard in the 80s, and counted him as a friend during their overlapping years in LA. It was after she learned of Sanders’ death in 2003 that Parker-Lawton made contact with the other band members and became their publicist. “They were just kind of overlooked in all of the punk history books,” she says. “After learning their story and what they had actually accomplished, by being the first truly all-black punk band, I wanted to ensure they were remembered.” Parker-Lawton has since been advocating for their deserved place in music history, and recently helped secure their induction into the Smithsonian African American Museum of History and Culture. Their induction will be marked by the donation of Sanders’ leather jacket, which he wore on tour in Europe and around LA.

Pure Hell’s story beckons essential questions about the integrity of our cultural memory, reminding us that “history” is written within the constructs of unjust society. “It’s just so important to me that history be correct,” says Parker-Lawton. “Taking the risks that they took, daring to be so different, they were outlaws and true pioneers. When people are that true to their art and that brave, it has to be recognised.” Although their musical careers didn’t necessarily bring wealth or fame, Boles and Gordon describe their years in Pure Hell as paramount. “I had so much fun, it doesn’t matter that I never saw a penny for it,” he says. “For us, it wasn’t about making money. It was about following our hearts and doing exactly what we wanted to do.”

Images:

Pure Hell courtesy of Pure Hell

Pure Hell with Sid Vicious in Melody Maker magazine. Early punk artists often flirted with Nazi symbolism for shock value.

Pure Hell live at Max’s Kansas City

Pure Hell courtesy of Pure Hell

#pure hell #black punk band #black punk bands #punk band #punk bands #rock music #black rock music #music #black music #dazed magazine #interview #Interviews #punk rock #black punk rock

4 notes · View notes

naijastudio · 3 years

Text

Kanye West Biography, Age And Net Worth

Kanye West is a Grammy Award-winning rapper, record producer, and fashion designer who is known for his outspokenness. Kanye West: Who Is He? Kanye West first rose to prominence in the music industry as a producer for well-known acts. With his 2004 debut, College Dropout, he demonstrated his rap ability, and albums like Late Registration (2005), My Beautiful Dark Twisted Fantasy (2010), Yeezus (2013), and Yeezus (2014) confirmed his spot atop the hip hop world (2018). West is a Grammy Award winner who is also noted for his awards show antics, excursions into fashion, and his marriage to Kim Kardashian. Kanye West Life Style And Birth Kanye Omari West was born on June 8, 1977, in Atlanta, Georgia. Ray, his father, was a photojournalist for the Atlanta Journal and a member of the Black Panther Party; he eventually became a Christian counselor. Donda West, West's mother, was a teacher who went on to become a professor of English at Chicago State University and then her son's manager before dying in 2007 at the age of 58 from heart illness following cosmetic surgery. Her death would have a huge impact on West's musical career as well as his personal life. When West was three, Ray and Donda split amicably. Following that, he was reared by his mother in Chicago's middle-class South Shore neighborhood and spent summers with his father. West traveled to China with Donda when he was ten years old, where she taught as part of a university exchange program; he was the only foreigner in his class. West was lured to the South Side's hip-hop scene after returning to Chicago, and he befriended DJ and producer No I.D., who became his mentor. West received a scholarship to study at Chicago's American Academy of Art after graduating from Polaris High School, but he dropped out to pursue music full-time, a move that would later inspire the title of his first solo album. Kanye West Net Worth Net Worth: $6.6 Billion Date of Birth: Jun 8, 1977 (44 years old) Gender: Male Height: 5 ft 8 in (1.73 m) Profession: Record producer, Songwriter, Singer, Actor, Film Producer, Rapper, Businessperson, Screenwriter, Fashion designer, Music Video Director Nationality: United States of America Kanye West Music Career West created a trademark sound known as "chipmunk soul," which features sped-up soul samples, after spending time producing for local musicians. Following that, in 2001, he relocated to New York. He got his big break here, working on the production for Jay-song Z's "This Can't Be Life," which debuted on the album Dynasty: Roc La Familia in 2000. He reinforced his rising fame the following year by producing four songs on Jay Z's The Blueprint, widely regarded as one of the best rap albums of all time. West went on to create for other notable artists including as Mos Def, Talib Kweli, and Ludacris, as well as singers Alicia Keys and Beyoncé. West, on the other hand, was not content to be a sidekick. He aspired to be the main attraction, but found it difficult to be taken seriously as a rapper at first. He begged Roc-A-Fella Records to let him rap, but as co-founder Jay-Z told Time magazine later, "We were all raised as street kids who had to do whatever it took to get by. Then there's Kanye West, who, as far as I'm aware, has never worked a day in his life. I couldn't see how it could possibly work." Other labels reacted in a similar way to West. He said, "I'd leave meetings crying all the time." Damon Dash reluctantly signed West to Roc-A-Fella in 2002, but he did so only to keep him as a producer. West was injured in a head-on vehicle incident while driving home from a recording session in a California studio in October of that year, leaving him with a cracked jaw. With his jaw still wired shut after reconstructive surgery, he wrote and recorded "Through the Wire," a song about the experience.While recuperating in L.A., he wrote the most of the rest of his debut album. However, once the album was finished, it was leaked on the internet. West chose to improve it by revising and rewriting songs and fine-tuning the production, which included the addition of heavier drums, gospel choirs, and strings (he paid for orchestras out of his own pocket). Dropout from College The album was finally published in February 2004 and quickly became a hit, selling 2.6 million copies and propelling West to stardom. The College Dropout defied the gangsta-rap mold, including topics like as consumerism (of which he was critical at the time), racism, higher education, and his religious convictions. "They say you can rap about anything but Jesus," he rapped on the tune "Jesus Walks," "That means weapons, sex, lies, videotapes/But if I talk about God, my album won't get played." The College Dropout reached No. 2 on the Billboard Hot 200 chart, and West garnered ten Grammy nominations, winning three of them, including Best Rap Song and Best Rap Album for "Jesus Walks." West formed his record label, GOOD music — an acronym for Getting Out Our Dreams — with Sony BMG shortly after the album's release. He'd release songs by John Legend, Big Sean, Common, Pusha-T, and others. Registration after the deadline West spent a year and $2 million on his sophomore album, enlisting the help of an orchestra and composer Jon Brion, who had never worked with a rapper before. According to the New York Times, West, the restless bourgeois-creative, wanted to "see how far he might expand" hip hop. The results were outstanding, with Best Rap Album winning again, as well as Best Rap Song for "Diamonds from Sierra Leone" and Best Rap Solo Performance for "Gold Digger," and Best Rap Song for "Diamonds from Sierra Leone." Late Registration premiered at No. 1 on the Billboard Hot 200, a feat West would replicate with each solo album release after that. In Rolling Stone's five-star review of the album, Rob Sheffield stated, "On Late Registration, the Louis Vuitton Don doesn't just want to create pop music — he wants to be pop music." "As a result, he improves his lyrical game, displays his epic production skills, reaches higher, pushes harder, and declares the entire world of music to be hip hop turf." West appeared on an NBC program in September 2005, a month after the release of Late Registration, to collect donations for Hurricane Katrina victims. When he declared live on air that "George Bush doesn't care about Black people," echoing widespread criticism of the president for not visiting the damaged city of New Orleans straight away, he ignited a national media storm - his first, but by no means his last. West's remark enraged Bush, who subsequently described it as a "disgusting moment." Graduation West was motivated to create hip hop more anthemic, to be performed in stadiums and arenas, after traveling with U2 in 2005-2006. He began to incorporate elements of both rock & roll (the Stones, Led Zeppelin, and the Killers) into his music (which originated in his hometown of Chicago). Graduation, his third album, was released on September 11, 2007. It was released on the same day as 50 Cent's album Curtis, in a struggle for hip-soul hop's between the educated showman and the bullet-scarred street thug. But there could only be one winner with Graduation's breakthrough (for hip-hop) palette of layered electronic synthesizers and sloganeering wordplay — "I'm like the fly Malcolm X/Buy any jeans necessary," he sneered on "Good Morning" — West's album went straight to No. 1 after selling 957,000 copies in its first six days. With the music industry wringing its hands over the internet's impact on profit margins, West simply embraced the change with his video for the single "Can't Tell Me Nothing," in which he hired comedian Zach Galifianakis to lip-sync along to the lyrics on an alternate version, resulting in a YouTube viral sensation. The Death of Kanye West Mother West was on top of the world, acclaimed as the musician who had put gangster rap on the verge of extinction. Then catastrophe happened in November 2007. Donda, his adored mother, died of a heart attack after cosmetic surgery. He dedicated a performance of "Hey Mama" to her on his first show after the funeral. West split up with his fiancée, Alexis Phifer, a few months later. 808s & Heartbreak, his next album, was released 12 months after his mother died and was laced with grief, agony, and isolation. West even gave up rapping in favor of singing through an Auto-Tune vocal processor, which gave his voice a robotic tone – a technique that is now commonplace in hip hop. "Hip hop is done for me," he declared after describing the new album as "pop art" (not to be confused with the visual art movement). (It wasn't; he won Grammys for guest raps on Estelle's "American Boy" and TI's "Swagga Like Us" that year.) Kanye West Earnings By Year Follow Money Year Earnings 2007 $17,000,000 2008 $30,000,000 2009 $25,000,000 2010 $12,000,000 2011 $16,000,000 2012 $35,000,000 2013 $20,000,000 2014 $30,000,000 2015 $22,000,000 2016 $18,000,000 2017 $22,000,000 2018 $90,000,000 2019 $100,000,000 2020 $200,000,000 Total: $437,000,000 Taylor Swift's VMA Feud and Diss The fragility of West's mental health was brought into question the following year at the MTV Video Music Awards. He stormed the stage during Taylor Swift's acceptance speech for the Best Female Video award (for "You Belong to Me") at Radio City Music Hall in New York to argue that Beyoncé should have won instead. The reverberations from that moment are still being felt. West apologized, then retracted his apology in a New York Times interview in 2013. By 2015 they had become friends and were even spotted at dinner together. Then in 2016 Kanye rapped on his song "Famous": "I feel like me and Taylor might still have s*x/Why? I made that b**** famous." Swift responded from the stage at the 2016 Grammy Awards, this time unapologetically, with the words: "To all the young women out there, I want to say something: There will be people who try to undermine your success or take credit for your successes along the way... Don't let those folks get in the way." Fashion West took a break from music after the Swift fiasco to focus on fashion. Since 2006, he'd been collaborating with limited-edition sneakers with brands including A Bathing Ape and Nike. To obtain experience, he reportedly interned at Gap in 2009 and later Fendi. In 2011, he debuted his first collection in Paris, however it was critically lambasted. Long Nguyen, style director of Flaunt magazine, sniffed, "You can't just dump some fox fur on a runway and call it luxury." At the show's after-party, West delivered a wounded-sounding address. "Please take it easy," he said. "Please give me the opportunity to mature." After a lackluster response to his second collection a year later, West stated that he would no longer be presenting in Paris. In 2013, he collaborated on a capsule collection with the French label APC, and in October 2015, he struck a $10 million agreement with Adidas, launching his first sportswear collection, Yeezy Season 1, with the brand. The label has received mixed reviews, while Anna Wintour praised his Season 5 collection in February 2017. She told the New York Post, "I really liked it." "A little more attention than we've seen from him before." My Dark Twisted Fantasy West returned to music in November 2010 with his fifth album, a bombastic and towering monument to self-aggrandizement that sounded "like an instant greatest hits," according to Pitchfork. It was a bombastic and towering monument to self-aggrandizement with paranoid celebrity and rampant consumption as the dominant themes: it was a bombastic and towering monument to self-aggrandizement that sounded "like an instant greatest hits" according to Pitchfork It was Kanye West's best and worst all bundled into one: a magnum work that bordered on the insane. It spawned four songs, including "Monster," on which West, Jay Z, and Rick Ross were famously beaten into second place by Nicki Minaj's furious guest verse. In 2011, West and his old sparring partner Jay Z released Watch the Throne, a joint album that delivered seven songs, including "Otis" and "Niggas in Paris," as well as three additional Grammy awards for West and Jay Z. Relationship In 2012, West released Cruel Summer, a compilation album including artists from his GOOD Music label. However, his romance with reality-TV star Kim Kardashian, which began in April, dominated the headlines that year. They married on May 24, 2014, in the medieval Fort di Belvedere in Italy, after West proposed at the AT&T baseball stadium in San Francisco on October 21, 2013. As Kardashian came down the aisle, Andrea Bocelli performed, The designer Rachel Roy, tennis champion Serena Williams, film director Steve McQueen, and music performers Legend, Q-Tip, Rick Rubin, Tyga, and Lana Del Rey were among the visitors. North (born June 15, 2013), Saint (born December 5, 2015), and another daughter are the couple's three children (born via surrogate January 15, 2018). Psalm, the couple's fourth child, was born via surrogate in May 2019. Yeezus West's sixth studio album, Yeezus, was released in June 2013 and had little evidence that the rapper was living a happy life. West had engaged producer Rick Rubin to make sweeping alterations just days before the album's release, thus the sound was aggressive, raw, and almost entirely melody-free. On "I Am a God," which featured the iconic phrase "Hurry up with my stupid croissants," West sounded neurotic and egocentric to the point of bathos. With the exception of the excellent glam-rock-inspired hit "Black Skinhead," West stated the album was a "attack against the commercial," and it certainly included nothing that was radio-friendly (the first of only two singles from the album). Yeezus is the only album by Kanye West to have sold less than one million copies in the United States. Nonetheless, it was highly welcomed by critics, including rock veteran Lou Reed, who told Rolling Stone that "It's as if you're crafting a movie with each tune... The guy is incredibly gifted." Beef on Jimmy Kimmel In September, West and Jimmy Kimmel had a Twitter dispute after the talk-show host ridiculed an interview West had given to the BBC in the United Kingdom. On his show, Jimmy Kimmel hired young actors to recite some of West's more bombastic remarks. West, on the other hand, was not amused. One of a series of outraged tweets said, "Jimmy Kimmel is out of line to try to mimic in any manner the first piece of honest media in years." During his next episode, Kimmel happily read out West's tweets, eliciting more ire from the rapper, who shared a link to a Slate piece headed "Kanye was right." West returned on Jimmy Kimmel Live the following month, and the conversation lasted the most of the broadcast, with multiple free-flowing Kanye monologues covering everything from his career to his thoughts on the paparazzi, Steve Jobs, and Jesus. "I don't know whether you're aware of this, but a lot of people believe you're a jerk," Kimmel said, before complimenting West's portrayal. West had been hurt by Kimmel's characterization of him, as it turned out, because the two had known each other before to the disagreement. "When I'm cooking up a comedic routine," Kimmel said, "regarding a celebrity's feelings is not something that comes to mind." They had cleared the air by the end of the show. More Public Outbursts, Collaboration with Paul McCartney, and Rihanna West made history as the first rapper to collaborate with Paul McCartney, releasing the tune "Four Five Seconds" alongside the Beatles icon and Rihanna at the start of 2015. But a month later, there was yet another award-show snarl, this time at the Grammys, when West protested to Beck winning Best Album. After the ceremony, West remarked, "Beck needs to respect artistry, and he should have presented his trophy to Beyoncé." In an interview with The Sunday Times newspaper in England a few months later, he withdrew his comments. "My image of a gentleman who plays 14 instruments not respecting craftsmanship was incorrect," he admitted. West, along with other artists such as Beyoncé, Jay Z, Rihanna, Madonna, Chris Martin, and Nicki Minaj, was introduced as a co-owner of the music-streaming service Tidal in March. Despite a petition with 135,000 signatures requesting for him to be removed from the lineup, he headlined the Glastonbury festival in the United Kingdom in June. The Life of Pablo Picasso In the lead-up to his seventh album, The Life of Pablo, there was even more controversy. West made headlines before the film's release on February 14, 2016, for a series of inflammatory tweets, including one declaring Bill Cosby, who is on trial for drugging and raping women, to be innocent. He began a feud with Wiz Khalifa, a musician he mistookly believed had ridiculed his wife, Kim Kardashian ("I am your OG and I will be respected as such," West tweeted.). He also expressed regret for appearing to disparage Michael Jordan in his lyrics. West then oddly advised his fans to lobby Facebook founder Mark Zuckerber the day after his album was released. He also expressed regret for appearing to disparage Michael Jordan in his lyrics. West then oddly pushed his fans to lobby Facebook founder Mark Zuckerberg to spend $1 billion in West's "ideas" the day after his album was released. He also claimed to be in debt for $53 million. Thealbum was yet another departure from the norm, as well as a triumph. It has a considerably broader sound than Yeezus, integrating a wide range of sounds, styles, and inspirations, ranging from trap to gospel to Auto-Tune crooning, avant-pop, vintage soul, and dancehall. Frank Ocean, Chance the Rapper, Rihanna, Desiigner, and Kid Cudi were among the guest vocalists. It was West's sixth solo album to debut at No. 1 on the Billboard 200 list in a row. Cancellation of the Tour and Return to the Spotlight West paused a show in Sacramento on November 20, 2016, while on his Saint Pablo Tour, to go on a rambling diatribe about radio playlists, MTV, Barack Obama, Donald Trump, Beyoncé, and Jay Z ( "Call me, Jay Z... I know you've got killers. Please don't shoot them at me "(Imaginative+ paraphrase). He had ranted onstage and proclaimed support for Trump for the second time in a week, and this time it seemed like a public breakdown – he did not finish the act. He canceled the remaining 21 concerts of his tour the next day, citing tiredness, and spent the next eight days in the UCLA Medical Center in Los Angeles. Pusha T, the president of GOOD music, revealed in an interview in February 2017 that West was working on a new album. Rumors about the album's progress persisted, with some stories claiming that the Grammy winner had sought creative inspiration in the Rockies of Jackson Hole, Wyoming. With the announcement that he was authoring a philosophy-themed book, Break the Simulation, in April 2018, West re-entered the news cycle. Days later, he verified the rumors of new material in a rapid-fire sequence of tweets, announcing that he will release two albums in June, the second of which would feature longtime collaborator Kid Cudi. The artist then caused a sensation when his tweets turned to his admiration for President Donald Trump, referring to him as "my brother" and claiming that they shared "dragon energy," even sharing a selfie wearing Trump's "Make America Great Again" cap. West later clarified the situation by adding that he adored Hillary Clinton as well and that he didn't agree with everything the president stated. "I don't agree with anyone except myself 100 percent," he wrote. Read the full article

0 notes

grapevynerendezvous · 4 years

Photo

Cream - Fresh Cream

Cream came about in the summer of 1966, recording their first album, Fresh Cream, from August to November, which was then released in the U.K in December. An altered version of it was released on Atco Records in the U.S. in January 1967. The difference in the versions was that the American version included I Feel Free as opposed to Spoonful on the UK record. In the U.K. the album topped out on the charts at No.6 while in the U.S. Billboard Top 200 it reached No.39. I Feel Free was released in the UK at the same time as the album, hitting No. 11 on the Album Top 40. Prior to this, another non-album song, Wrapping Paper, was the actual first single for the band. It was backed by Cat’s Squirrel, which did end up on the Fresh Cream album. The single, only released in the U.K., reached No.34 on their Top 40. Spoonful was a single off the album in the U.K., with the song split on two sides, failing to make the charts. I Feel Free was the only single released in the U.S. It came later, but failed to reach the Billboard Hot 100, cresting at No,116.

The idea to develop a new band belonged to drummer Ginger Baker. He had grown tired of playing drums with the Graham Bond Organisation. After going to see Eric Clapton play blues guitar with John Mayall & The Bluesbreakers, Baker ended up giving Clapton a ride home. Ginger proposed that Eric join him in forming a band to which he readily agreed with but with one condition, that they include bassist Jack Bruce. According to Clapton, “Baker was so surprised at the suggestion that he almost crashed the car”. Eric had played with Bruce on a few occasions. They met when Bruce played with The Bluesbreakers in late 1965. They had played a live gig and John Mayall had it recorded and hoped it could be his second album which didn’t happen due to poor recording quality, They had also briefly been a part of a band of studio musicians called Powerhouse and did some recording. Steve Winwood and Paul Jones rounded out that group. During that period Jack Bruce was in the band Manfred Mann and was bassist on their hit single, Pretty Flamingo. Clapton wanted to do something ongoing with Jack after they had played together. Baker and Bruce had also played together when they were two of the co-founders of the Graham Bond Organisation. That had not gone well as they were notorious for quarreling and finally Baker had fired Bruce from the band. Bruce kept showing up until he “was driven away from the band after Baker threatened him at knifepoint”, according to Jack’s interview with John Tobler and Peter Frame. In forming Cream Baker envisioned a collaborative effort with everyone contributing to the music. He and Bruce did try to put their differences aside. As they were organizing and preparing for their first performances, which took place at the end of July ’66, they decided that Jack Bruce would be the lead vocalist with Eric Clapton, who was timid about singing at that time, doing occasional harmonizing. Clapton eventually came around to doing lead vocal on some songs, beginning with Four Until Late on Fresh Cream.

Cream was “the first top group to truly exploit the power trio format” per Richie Unterberger, and also wrote that they “could be viewed as the first rock supergroup to become superstars, although none of the three members were that well-known when the band formed in mid-1966”. The name Cream arose because Baker, Clapton and Bruce were considered the “cream of the crop’” of blues and jazz musicians in the British music scene. They were all considered to be incredible virtuoso instrumentalists. Baker and Bruce were relatively unknown in the wider music arena while “Clapton had the biggest reputation in England. He was all but unknown in the US, having left the Yardbirds before For Your Love hit the American Top Ten”, according to Richie Unterberger in his AllMusic biography of Cream. At first referred to as The Cream, the decision to settle on just Cream coincided with the release of Fresh Cream.

It is interesting to note that Eric Clapton, known as a blues purist, left the The Yardbirds because he didn’t like the commercial direction they were going when they released their first single, For Your Love. John Mayall gladly hired him to play in his band and Clapton continued to make a significant impact in the blues world with The Bluesbreakers. However, he left after the one album together, looking for a less controlling situation and not long after joined up with what became Cream. While the band was definitely blues-based to begin with, other things worked their way in rather quickly. Courtesy of Jack Bruce’s abilities spanning blues, rock and jazz, the band became a unit that would stretch the boundaries of what those genres meant, and play more powerfully and louder than any band up to that time. According to a Colin Fleming article in Rolling Stone, Jack Bruce said, “I thought of Cream as sort of a jazz band, only we never told Eric he was really Ornette Coleman”. Ultimately Cream took its’ place as a band that lead the way toward improvised jams, and on to psychedelic, hard rock and proto-metal styles. While not overly commercial (except in comparably few instances) Cream went beyond merely being a blues-based band. The notable jams that have been recorded with them in places like Winterland and The Fillmore reflected what had occurred in San Francisco with bands like The Grateful Dead during the Acid Tests and beyond. However, as Fleming describes it, “The connection between the mighty beast that was the Cream and the LSD-laced West Coast “softer” bands might seem a tenuous one, but Cream was teaching bands how to think onstage, how to improvise”. While their sometimes “bloated blues jams” were negatively criticized because of their flashiness, virtuosity and showmanship, lacking taste and focus, according to Unterberger, there is no doubt that they laid “the foundation for much blues-rock and hard rock of the 1960s and 1970s”. Meanwhile there is evidence in their studio recorded tracks that they were capable of producing interesting melodic music, in contrast with what happened in their live performances.

I first heard of Cream in spring of 1967. A friend of mine and I went to South Lake Tahoe CA for a training seminar put on by an organization we were in together. We drove to the event in his car,, talking together and listening to a lot of music. It was the first time I ever listened to Radio X and Wolfman Jack. My friend told me about a great new band from England called Cream and spoke of Eric Clapton and the others, none of which I had ever heard about before. Ginger Baker and Jack Bruce were totally unknowns to me while I was familiar with Clapton only because I heard his playing on the first Bluesbreakers album at the record store I would go to. While I didn’t end up getting that record until quite a bit later, the fact that the band and the albums title included “featuring Eric Clapton” was etched in my mind. I didn’t know about his connection with The Yardbirds until later. It wasn’t long after that I started hearing the only cut from Fresh Cream that got airplay on local radio, I’m So Glad. I always assumed it was a single, but as it turned out it was an early example of an album cut being played on top forty stations. As the rest of the decade unfolded this became a more common practice despite the normally tight format of those type of stations. I never got to see Cream perform live, but I have seen Eric Clapton in some of his eventual projects. Jack Bruce went onto a solo career as well as playing with other bands Ginger Baker was busy with various other band projects as well, but I never saw either Bruce or Baker perform.

https://en.wikipedia.org/wiki/Cream_(band)#Formation_(1966)

https://www.rollingstone.com/music/music-features/how-cream-defined-the-rock-power-trio-190712/

https://www.allmusic.com/artist/cream-mn0000112462/biography

A combination that includes songs that appeared on both the original UK and US records plus additional tracks. https://www.youtube.com/watch?v=A1xQRagjuwg

LP33

0 notes

politicsprose · 7 years

Text

2017 Holiday Newsletter

Welcome to the 2017 Politics and Prose Holiday Newsletter. As always, we’re proud to present a selection of some of the year’s most impressive books. Happy holidays to all!

Graphics

Chris Ware’s new collection, Monograph by Chris Ware (Rizzoli), assembles countless strips, pages, magazine covers, sculptures, photographs, and other things into a thorough and astoundingly generous retrospective of the artist’s career. It comes replete with commentary written by Ware himself, who charts his path from RAW to Jimmy Corrigan to Building Stories and beyond. Reading this book is like touring the interior of a vast and seemingly impossible mechanism carved from space metal, while your tour guide chats amiably and bemoans the lack of carpets. There are also individual booklets within the book that you can flip through, and several of his New Yorker covers depicted in their full glory. For any fan of the cartoonist, this is probably the single best purchase you could make this holiday, a blueprint for everything Ware has done over the past few decades. But for artists, this is something even better: Chris Ware opens the door backstage, shows you how he performs the magic tricks, and then gives you a chance to do it yourself. - Adam W.

Art and Artists

The Art Museum, by the editors of Phaidon Press, brings together an astonishing cross-section of work from around the globe and throughout time, reproduced in over 1,600 beautiful color images. The reader can jump from virtual room to virtual room by flipping the pages, or stay in one place for a comprehensive study. This book is perfect for an art lover, a person who wants to learn about art, or someone who loves art but whose feet just can’t take the Smithsonian anymore. A single book doesn’t get more entertaining or informative than this, and finally there is no crowd standing in front of what you want to see. - Bill L.

Women Artists in Paris: 1850-1900 (@yalepress) edited by Laurence Madeline, former curator at the Musée d’Orsay, is a must-own for art lovers, historians, and feminists alike. This stunning exhibition catalogue presents over eighty paintings by thirty-seven different artists. Paris in the late nineteenth century was considered the place for artists to train, and people came from around the world to develop their technique. This catalogue is a testament to the exceptional and varied work produced by the women who journeyed to Paris to pursue their artistic ambitions. These artists fought to achieve recognition at a time when artistic talent and creative genius were thought to be reserved for men, all the while also trying to adhere to the social norms that governed the lives of respectable women. They persevered in the face of rejection and condescension, and created masterful works of art in the process. The scholarly essays that open the book are fascinating and well worth the read, but the catalog of full-page color reproductions that follow are what readers will find irresistible. Here you will encounter works by household names like Mary Cassatt alongside those by artists still waiting to achieve the widespread public recognition they are due, such as Marie Bashkirtseff and Cecilia Beaux. - Alexis J. M.

Projects (@abramsbooks) chronicles forty-four Andy Goldsworthy installations around the world, as they change and evolve with their environments. This book, a companion volume to Goldsworthy’s Ephemeral Works, includes stunning photographs, site maps, and an extensive interview. You’ll find his usual cones and labyrinths made of wood and stone, but unlike his “ephemeral” works, whose construction marked an endpoint, these pieces began life only when Goldsworthy finished them, for they evolve as they are weathered by the seasons. Goldsworthy documents, for example, walls covered in porcelain clay, as they dry, crack and tear away, and enormous slate chambers, enclosing wind-fallen branches, which gradually transform as moss and fungi cover them. He repaves an ancient forest track with rectangular stones and cuts a new path across an Ohio estate, always maintaining 950 feet above sea level. An igloo of woven branches sits inside a pit, accessed through a doorway via steps in a terraced wall. A flowing line of fallen cypress weaves through eucalyptus trees, which overtake a California landscape. But whatever he does in these installations, Goldsworthy invites us to experience nature freshly. This gorgeous, glossy volume will make an extraordinary gift for the art or nature lover in your life. - Amanda H.D.

Rothko: The Color Field Paintings (@chroniclebooks) is a tribute to one of the greatest periods by a single painter in art history. Mark Rothko (1903-1970), one of the leading Abstract Expressionists, pioneered the large, flat fields of solid color that Clement Greenberg dubbed “color field painting.” He worked his way toward them throughout the 1940s, and by 1949 had “arrived,” as his son, Christopher Rothko, says in the Foreword. The artist pursued color fields for the rest of his life, arranging two, three, and four color rectangles in dramatic and shimmering patterns that establish kinetic relationships between the viewer and the canvas. Presenting fifty of Rothko’s iconic paintings in chronological order, this book allows you to watch the artist develop his style and discover what the colors and rectangles could do; you can see the shades deepen, and darken. The volume also allows you to savor the full, luminous power of each composition, giving you the images one by one, with plenty of white space for the colors to breathe. Janet Bishop, curator of painting and sculpture at the San Francisco Museum of Modern Art, provides a commentary on Rothko’s legacy. - Bennard F.

Alexander Calder (1898-1976) was the son and grandson of sculptors, but when he went to school he studied engineering. Later, committing himself to art, he chose painting, like his mother. It took a few years before he accepted his fate and turned to sculpture. This brief period of indecision is the single moment of angst in the life of one of the twentieth century’s most joyful and original modern artists. Inheriting his father’s dexterity as well as his “playful, lively, fantastic” tendencies, Calder (Knopf) dedicated his life to animating the inanimate. In Jed Perl’s lively, affectionate, and thorough account to 1940, Calder’s life was pretty much on track from the start. With the avant-garde “always part” of it, he grew up in the artistic circles of both France and the U.S., a peripatetic life he continued. He was an incorrigible punster (see his work A Merry Can Ballet) and everything he did was infused with humor. Perl traces Calder’s jeux d’esprit from the early portraits and objects he made by bending wire, works that “suggested rapidly executed line drawings leaping into the third dimension,” to the elaborate Cirque Calder that was meant to be performed, not just looked at, and on to his abstractions, which were also a “menagerie…of unexpected forms” in motion, and which Perl, in the spirit of his subject, describes as “motions galumphing, jagged, swishy, swirly.” As playful as they were serious, these mobiles (named by Duchamp) and stabiles (so-called by Jean Arp) revolutionized sculpture, taking a stationary form, making it move, and creating new relationships between the viewer and the art. Perl is tireless in tracing Calder’s influences, which included Miró, Klee, Hélion, Saul Steinberg, Mondrian, Edgar Varèse, Martha Graham, and Malcolm Cowley. All were his friends, and Perl’s engaging, scholarly, and buoyant biography—and its 400-plus photos—makes it easy to see why. - Laurie G.

Among the few things known about Vivian Maier: she was a great photographer. She worked as a nanny. She was born in New York, lived in France from age six to twelve, grew up in a splintered family, spent the last fifty years of her life in Chicago, and left tens of thousands of photos, negatives, slides, and undeveloped rolls of film in storage. Once these surfaced after being auctioned off, their new owners began the myth-making that Pamela Bannos, a professor of photography, both charts and refutes. Her Vivian Maier (Chicago) is a kind of Emily Dickinson of photography; while she roamed the streets relentlessly, she let no one in. Her neighbors thought she was homeless because she spent so much time on a park bench. In lieu of friends to interview, Bannos turned to the photos for clues to Maier’s life. She has studied seemingly every image Maier recorded, and follows in her footsteps from Maier’s first forays with a camera in the early 1950s, in France, through her development as a prodigious street photographer in New York and Chicago, and her travels through Europe, South America, and Asia. Looking at what Maier looked at, Bannos reads these images beautifully, giving insight about Maier’s brilliant sense of composition, her experiments, and her ever-evolving technique. She identifies the cameras Maier used, points out angles, notes lighting and shadows, and traces recurrent themes. She brings the pictures to life so vividly, and is so convincing about what was in Maier’s mind at the moment she framed each shot, that this eloquent photographic interpretation itself becomes a masterful biography of Maier not as an eccentric but as a true artist and an uncommonly independent woman. - Laurie G.

Vermeer Diptych

The ne plus ultra of Vermeer art books, Vermeer in Detail (@abramsbooks) is a conclusive cataloguing of all thirty-two paintings by the master, accompanied by 170 extremely intimate—often full page—magnifications. Satisfyingly, in this one volume is everything the eye can take in from a Vermeer painting, elucidated by a thorough presentation of all the documentation and research we do have about the dismayingly mysterious, historically unreachable Johannes Vermeer. And yet this canonical volume’s greatest asset is the lightness with which author Gary Schwartz wears his learning. An American art historian residing in the Netherlands, Schwartz delivers prose unencumbered by any scholastic staidness or over-certainty, taking an intelligent but lightsome tone wholly befitting Vermeer’s oeuvre (“Dear Reader: it’s every Vermeer scholar for himself on this one,” he avers at one point). The manner in which Schwartz groups his chosen details into chapters is itself a revelation, providing fascinating insight into life in 17th- century Delft, as well as into Vermeer’s technical genius, yet nowhere detracting from the sheer awe of viewing the Old Master at such microscopic proximity. - Lila S.

A fascinating exercise and assay, Traces of Vermeer (@oupacademic) serves as an elucidating technical accompaniment to the broader scope of Vermeer in Detail. Jane Jelley is, first and foremost, a painter. But she has become something of a reconstructive art historian through her engagement with Vermeer and his artistic process. Vermeer’s startling command of light, the snapshot-like quality of his 17th century masterworks, has long baffled even his greatest admirers. It would seem he used a camera obscura as an optic aide, but how exactly Vermeer might have used it—and whether its use in some way detracts from his genius—has been highly controversial. Jelley brings a vast knowledge, and, more importantly, practice, of traditional painting techniques to this discussion: grinding one’s own pigment, preparing canvases, long apprenticeships, third glazes. Through trials in the studio, she proposes a novel suggestion as to how exactly Vermeer could have used a camera obscura lens to arrive at his compositions, plot them onto canvas, and then prepare and layer paint to create his unparalleled works. The process, she maintains, would only further elevate Vermeer’s genius. Jelley’s engaging prose is a boon to both scholars and casual art appreciators. - Lila S.

#books #Holidays #art #artists #vermeer

6 notes · View notes