Children Underground

This modern tale ventures below the streets of Bucharest, Romania, to introduce us to five members of a "family" of orphaned, abandoned or runaway children living in the Piata Victoriei subway station. Ranging in age from nine to the mid-teens, the children beg and steal to buy food and Aurolac, which they sniff to get high. ...more

HERE

The first discovered footage of Robbie Basho live

"Cathedrals Et Fleur De Lis" and "Kowaka De'amour" on KQED TV (1971)

Thanks to Robbiebasho.com and Bernard for uploading to youtube!

BEAM 2012

BEAM is a high-tech music weekender, a playground of homemade instruments and sonic installations, where you can listen to, watch and learn how to create your own physically living electronic music. BEAM was devised by Artistic Director Sarah Nicolls to explore the potential physicality of electronic music. The focus on electronic music being created LIVE is explored through a programme of performances, demonstrations, installations and workshops. BEAM brings together a global audience of artists, researchers, DiY electronics builders and enthusiasts, from beginners to veterans.

Some highlights:



Marco Donnarumma will be teaching how to build and use his performance driven bio-sensing contact mic apparatus, which you get to keep it at the end of the workshop.



In the visual tradition of Len Lye (see previous post) yet harnessing the aural aggression of live noise performance (just as compatriot Justice Yeldham does), artist Sally Golding employs in her practice "torchlight printed sound film, hacked sonic devices, motorised colour filters, stroboscopic light, refracting lenses and physical interference... warping the output of the projector’s light and sound into a hypnotic and frantic field of colour, form and noise fuzz."



Without the aid of the usual sound software, and commencing with only a blank TextEdit document and JITLib, four piece laptop group Benoît & the Mandelbrots "harness the process of writing software in real-time, expressing sonic structures as live source code."

BEAM takes place 22 - 24 June 2012 at Brunel University, Uxbridge.

FULL PROGRAMME

LEN LYE

In 1935 Len Lye was the first person to make a film without a camera, not in an effort to be innovative or particularly different, but simply because he couldn't afford to pay for a camera as well as the film. So he painted directly on the film, in full colour, treating it like a moving painting. He even scored the films with his own jazz compositions, improvising both elements as he worked, one influencing the other in equal measures. In time he became friends with Hans Richter, Georgia O’Keefe and Le Corbusier, they supported his experimentation in virtually every art discipline that occurred to him, perpetually furthering his obsession with ‘pure figures in motion.’ He made some of the earliest and significant kinetic sculptures in the early 60's. He wrote poetry and philosophy throughout his entire life. Later on he continued to push the boundaries of film, with ‘scratch’ films such as the incredible Free Radicals (1958).

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WIKI

Realness

To judge from popular-press reviews that greeted its release, Jennie Livingston's film Paris Is Burning (Off-White Productions, 1991) has left a significant number of its viewers pleasantly surprised. What surprises them is not only what was widely registered as Livingston's intrepidness in venturing among the black and Latino habitués of Harlem's drag-ball scene, which the film portrays, but also—and more significantly—the actvities of the film's subjects themselves, particularly their precise replication (in the context of the ball's regimented competitions) of the styles and behaviors of a range of social types recognizable from daily life, from mass-media productions, or from both. John Howell, commenting in 1989 on rough-cut footage from what was then Livingston's work-in-progress, gives a fairly typical account of contestants' achievement of such "Realness," as it is called in the ball context:

"In costume and poise, these artificial Yalies and businessmen would be utterly indistinguishable from the "real thing" on the campus or in the office. Similarly, any general would salute troops who paraded with the spit-and-polish panache of the voguers who impersonate marines. Every detail is duplicated to the minutest degree, from body language to personality, from clothing to accessories (briefcases, American Express cards, plane tickets, and Wall Street Journals for the businessmen, letter sweaters and textbooks for the students)."

from Private Affairs: Critical Ventures in the Culture of Social Relations
 By Phillip Brian Harper

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Cat-Iron

Critical writers on the blues have often disputed the difficult question of whether the "canon" of classic country blues recordings made between 1924 and, say, 1940 really represent the cream of the talent available at the time, or whether in fact those artists who found their way into the Paramount or Genntt recording studios were only the lucky few - the tip one might say of the blues ice-berg floating beneath the sea of white indifference and hostility.
Myself, I am such a believer in the power of the "almighty dollar" that I am convinced that, once the record companies had realized the profits to be made from the country blues singers, whom they had first ignored, they left singulary few stones unturned in their search for any artists with commercial potential.
However, of course, this does not mean that no fish slipped through the net; and names like Fred McDowell and Mance Lipscomb spring easily to mind. In fact, by the late fifties, a number of devoted researchers were combining the Southern country districts continually on the lookout for any folk musicians practising their art in out of the way corners.
In 1958 just such a man, Frederic Ramsay Jr., editor of a jazz magazine, was guided by a local sax-player of his aquaintance to a slum called Buckner's Alley deep in the negro suburbs of Natchez, Mississippi. There he was introduced to the artist whose work you can hear on this album. Known only by his nickname of Cat-Iron, he at first declined to record any blues at all, saying "Since I been converted, I sing the hymns." This he proceeded to do, and with just what fervour you can hear on side two of this record. However, fortunately for us, he later in the afternoon relented and risked damnation to extent of laying down the six folk blues that will delight you on side one.
As far as I know these are the only recordings Cat-Iron ever made, indeed I am afraid I do not even know if he is still alive; but, on this album, his voice stakes his claim for all time to the proud title of Bluesman. Mike Raven, July 1969

Cat-Iron is really William Carradine, and I presume the Cat-Iron comes from the way coloured slurred the name.
According to his wife, Fannie Carradine, who is still living in Buckner's Alley, he was born near Garden City, Mississippi. He died in 1958 and said he was 62 years old.
Apparently his blues singing consisted of songs about the history of Natchez, such as the tornado of 1840 and the dance hall fire in the thirties. He lived near a place called Tin Can Alley and apparently some of his songs were jokes about this. Elenora Gralow



Cat-Iron - Sings Blues And Hymns (Folkways, 1958)

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Blind Video Days (1991)

Spike Jonze's first foray into video was Video Days (after World Industries Rubbish Heap in 1989)—(sic), a twenty-minute-long tape of a skateboarding team named Blind doing tricks in various suburban settings. It's standard stuff shot on a single handheld camera, but Jonze brought something new to the form. The opening sequence shows prepubescent Guy Mariano riding to the Jackson Five's "I Want You Back" -- a bold and ironic departure from the usual hardcore-punk and speed-metal soundtracks found on skate tapes. To get permission to use the song, Jonze convinced his lawyers to tell the Jacksons' copyright administrator he was using it in an anti-drunk-driving film. To justify his claim, he then shot a sequence in which the team's mostly underage members swill booze as they hurtle down a dirt road in a giant blue Lincoln that eventually careens into canyon. NYMag

Blind in Paris

Grave - Grave I (1975)

"Another one of those sacred "heavy progressive" legends! Grave were a band of teenagers that formed in a Brinkum (near Bremen) basement in 1975. With a primitive tape recorder, six tracks were recorded live in the studio (Summer 1975) and released as Grave I in a limited edition of 100 copies. This was plain, straight forward and simple garage rock, like the fast competent rehearsals from your neighbourhood teenage combo. I cannot understand why this has become such a hunted collector's item, and that people are prepared to pay 1,000 DEM for it! But of course, other people have different opinions."

Above is quoted from the book Cosmic Dreams at Play: A Guide to German Progressive and Electronic Rock (1996) which you can download here



(3 more tracks recorded in 1975 were added to a reissue in the early 90's)

Morning Sun
Initations
The Hunter
Ohrwurm
Please Günter Play The Bass
Little Giant
Funky Stadtkommandant
Grave Boogie
Hey Little Lady

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Executions (1995)

Western Colonies (1900 – 1945) – 200,000 Executions
Armenians (1916) – 600,000 Executions
World War I, Military and Civilian – 400,000 Executions
Russian Civil War (1917 – 1919) – 100,000 Executions
Stalin’s Purges (1930′s) – 1,300,000 Executions
Japan/China Occupation (1930′s) – 200,000 Executions
The Holocaust (1941 – 1945) – 6,000,000 Executions
German Third Reich (1933 – 1945) – 1,000,000 Executions
World War II, German Military – 3,500,000 Executions
World War II, Japan Military/Civilian – 1,000,000 Executions
World War II, Soviet Military/Civilian – 1,000,000 Executions
World War II, Allied Military/Civilian – 400,000 Executions
China Civil War (1945 – 1949) – 200,000 Executions
China (1949 – 1995) – 1,500,000 Executions
African post Colonial – 3,000,000 Executions
Middle East Civilian – 600,000 Executions
U.S. Civilian (including lynching, 1900 – 1995) – 20,000 Executions
European Civilian (1900 – 1995) – 100,000 Executions
India/Pakistan Post Colonial – 500,000 Executions
Indonesia 1965 Coup – 500,000 Executions
Vietnam Wars (1954 – 1975) – 200,000 Executions
Cambodia (1975 – 1979) – 1,000,000 Executions
South America Civil & War (1965 – 1995) – 700,000 Executions
Soviet Wars/Invasions (1945 – 1995) – 100,000 Executions
Soviet Internal Gulags (1945 – 1990) – 250,000 Executions
East Timor (1975 – 1995) – 100,000 Executions
Rwanda (1994) – 700,000 Executions
Iran/Iraq War & Kurdish (1975 – 1995) – 200,000 Executions

Philip K. Dick

A Day In The Afterlife (1994)

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WHIRLWIND HARDCORE 1

Video compilation from the '80s.

Bands: KAFKA PROSESS, ACTIVE MINDS, ATTITUDE, HERESY, CONCRETE SOX, CHAOS UK, EXTREME NOISE TERROR, ARTLESS, LÄRM, NEGAZIONE, ANTITOXIN, SPERMBIRDS, SKEEZICKS, EXTREM, CROWD OF ISOLATED, FEAR OF GOD, RIPCORD, RKL, VERBAL ASSAULT, MESSIAH, EXXOR, EMILS, FLITOX, JAILCELL RECIPES, NIGHTMARE VISIONS, CROW PEOPLE, JOYCE MCKINNEY EXPERIENCE, NOMEANSNO, CHRIST ON PARADE, NONOYESNO, CAPITOL PUNISHMENT, WALTER 11, ELECTRO HIPPIES, NAPALM DEATH, SACRED DENIAL, SATANIC MALFUNCTIONS, UNWANTED YOUTH, LEBERWOHLSTAND, HUMAN ERROR

WHIRLWIND HARDCORE 2

Thanks Degen Erik!

I Ain't With Being Broke

सølγ שаябlɛş: Dark Sweets c90

A mixtape from the great सølγ שаябlɛş blog which was annoyingly removed by the FBI last year...

Cliff Edwards - Night Owl 1933
Zarah Leander - Jag Har Hört I Vindens Sus En Gång [Der Wind Hat Mir Ein Lied Erzählt]
Victor Young - Hebrew Chant
Cab Calloway and His Orchestra - Evenin'
Woody Herman - Marakesh
Amelita Galli-Curci - Russian Nightingale Song
The Kansas City Six - Pagin' The Devil
Henry Hall & The Gleneagles Hotel Band - Home
Sofia Vembo - Konta Sto Nilo
Desi Arnaz - Tabu
Unidentified - Al Chark Records - Nights of Happiness
Nahwand - Fantasi
A. Kostis - Troumba
Nat Shilkret - Bolero
Tak Shindo - Cherry Blossoms
Waldjinah - lgm kr sunda kelapa
Rina Celi Y Su Orquesta - Una Casita
Six Brown Brothers - Peter Gink
Alexander Chevtschenko - Zwei Guitarren
Albalat Y Su Ritmo/ Hermanas Russell - Hoy Es Tu Cumpleaños
Raymond Scott - Moment Whimsical
Rina Ketty - Sombreros et Mantilles
Alice Babs - Den glade vandraren
Abe Schwartz's Orchestra; Dave Tarras - Dem Monastrishter Rebin's Chosid'l
Madame Riviere's Hawaiians - Paahana Hula
Amano Kikuyo - Marie
Kirilofs Russian Balaika Orchestra - Song of the Volga Boatman
Carlos Montoya - La Virgen De La Macarena
Gus Gadinis - Hasapiki Sousta
Harry James - The Flight of the Bumblebee

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Pranks! (1988)

Featuring Mark Pauline – Karen Finley – Joe Coleman – Boyd Rice – Frank Discussion. Five Fabulously Funny Interviews with Fiendishly Flamboyant Pranksters discussing diabolical (& sometimes illegal) deeds. Dazzling deceptions and put-ons from some of the most outrageous artists living today…

Mark Pauline - Founder of machine-mangling Survival Research Laboratories recounts giant billboard "improvements" done in his misspent youth.

Karen Finley - Provocative performance artist: sex, food, death, and butt hairs...

Joe Coleman - New York madman crashes parties with explosives wired to chest... You guess the rest!

Boyd Rice - Presents the First Lady of the United States, Betty Ford, with a skinned sheep's head on a silver platter!

Frank Discussion - Intense leader of seminal punk band Feederz throws dead dog into audience... causes big stink!

RIotously funny. Shocking. Exhilarating. A critique of authoritarian language, society, and robotic behavior. This video will dazzle the brain and inspire the imagination. Directed by Leslie Asako Gladsjo.



http://researchpubs.com/Blog/

Anarchism in America (1983)

"Decentralism and self management are at the heart of the anarchist philosophy. Anarchists pose the question - why should the decisions that affect our lives be made in a remote centralist seat of government, it doesn't make sense? People should administer their own lives not relegate responsibility to somebody else."

Anarchism in America is a 1983 documentary, directed by Steven Fischler and Joel Sucher, and produced by Pacific Street Films. The film begins by explaining the filmmakers' interest in anarchism based on their involvement in the group Transcendental Students while in film school at NYU. The film includes interviews with influential anarchists Murray Bookchin, Paul Avrich, Jello Biafra, Mollie Steimer and Karl Hess, and with poet Kenneth Rexroth. It also discusses the Spanish Civil War, the 1917 Revolution, the influence of Emma Goldman and the case of executed anarchists Sacco and Vanzetti.

The film labels anarchism as the only ideology that is staunchly anti-authoritarian, and discusses how anarchist ideals align with the revolutionary, independent spirit of America from rural communities to urban zones.

John Bender

I Don't Remember Now / I Don't Want To Talk About It (1980)

A minimal homemade affair by a fairly obscure man from Cinncinatti... who wasn't played by Judd Nelson in The Breakfast Club.

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Attained from Direct Waves

A trickle of info

Tim Teklife

new and unreleased tracks via Chicago from Rashad, Spinn, Manny, Traxman, Boylan

Download / Video / Mixcloud

DWT

Jamaica Gangdom

If you fight fire with fire you get burn!

Межпланетная революция (1924)

Interplanetary Revolution (Zenon Komissarenko, 1924)

Elephant (1989)

by Alan Clarke

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Creative Technology Institute

When Throbbing Gristle was terminated in 1981 Chris Carter and Cosey Fanni Tutti signed to Rough Trade Records and began recording and performing as CHRIS & COSEY. From the very start they indulgently utilised electronics, sampling, rhythms and Cosey's distinctive vocals, cornet and guitar style. In 1982 they formed their own offshoot record label Conspiracy International for their more experimental recordings and collaborative projects. CTI continues to run alongside CARTER and TUTTI's more accessible work.

Chris & Cosey: CTI – Elemental 7 (1983):



Elemental 7 (1984)

European Rendezvous - CTI Live 1983 (1984)

Metal Messiah (1978)

Billed as the “ultimate space rock spectacle of the 1970’s” The original production first appeared on the Canadian stage in 1975, but was cancelled because of its controversial and shocking subject matter. Producer and author Stephen Zoller, and director Tibor Takacs have since turned the property into an 80-minute feature film.

Throughout the movie, the character of the title haunts the streets of Anywhere City in a trenchcoat and Borsalino hat, as ethereal as his mission — like the Fourth Horseman of the Apocalypse, the rider of the white horse whose purpose is shrouded in mystery. He embodies innocence and Christ-like victimized purity, yet his presence signals an onslaught of frenzied destruction and mindless depravity.

Time, space and mankind itself are manipulated for their ultimate shock values in Metal Messiah. Indeed, it is a film that consumes itself with a self-directed study of power abuse. Rock and roll and fascism coexist in a lifestyle of sex, violence and dark prophesies. Read more

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JIMMY SMACK

OK I know nothing of this fella, never heard of him, that is until I stumbled across a video whilst perusing a YouTube channel I visit fairly regularly called The Hills of Granada which hosts the amazing John Trubee videos, the D.U.I. VHS clips and other mad shit. So, after gorping at the net for an hour or so I found absolutely nothing on this strange character Mr Smack, well apart this post on Dangerous Minds ...which enlightened me to the man a little, so if you can be arsed go read it.

And the point of all this being? Well, I've shamelessly ripped the tracks from the said YouTuber ...if you FLAC snobs don't mind getting dirty?

Smack Kills 12" EP (1982)
Death or Glory EP (1982)
Death Rocks 7" (1983)

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Hermeto Pascoal plays his beard

Folk Music of the Sahara: Among the Tuareg of Libya

Folk music of the Sahara is an intoxicating experience of sight and sound captured among the Tuareg and Libyan people of North Central Africa. Filmed from the perspective of actually being one of the performers, this mind-blowing IN YOUR FACE document captures the spirit of Libyan folklore and the essence of emotion armed with pounding rhythms and wailing vocal choruses. Both men and women are featured here equally as overseers of the hybrid forms of expression where central African traditions collide with the tones and colors of the Arab world creating one of the most unique overviews of Saharan folk music ensemble and dance the outside world has ever witnessed. The diversity of faces is extraordinary, every costume is stunning, and the women are among the most beautiful on earth. If you ever wondered where some of western music’s more exotic ideas originated from ( Sun Ra’s Arkestra/call and response choruses/ trance drumming/ and even some forms of modern hip-hop) this is a great place to start! Sublime Frequencies

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