Tag: Asher Levitas

Weekend links 512

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Cover art by Tim White for Weaveworld (1987) by Clive Barker.

• Another week leading with obituaries but that’s where we are just now. Among others, we had film maker Bruce Baillie, cartoonist Mort Drucker, lesbian/gay rights activist Phyllis Lyon, film director Nobuhiko Obayashi, artist Tim White, and music producer Hal Willner. Related to the last: Hal Willner’s Vanishing, Weird New York.

• Open Door is a new recording by Roly Porter from his forthcoming album, Kistvaen. I designed the CD and vinyl packaging for this one.

• From 1995: Peter Wollen on dandyism, decadence and death in Donald Cammell & Nicolas Roeg’s Performance.

• “Fear, bigotry and misinformation—this reminds me of the 1980s AIDS pandemic,” says Edmund White.

• David Lynch wants you to meditate, maybe make a lamp during self-isolation.

• “Weird tale” by Secret Garden author Frances Hodgson Burnett discovered.

• Behind the iron curtain, the final frontier: Soviet space art in pictures.

• Mix of the week: Secret Thirteen Mix 301 by Asher Levitas.

• At Dennis Cooper’s: Raymond Queneau, Party Animal.

• Oren Ambarchi Archive at Bandcamp.

• Japan’s Tourism Poster Awards.

• Hal Willner produces: Juliet Of The Spirits (1981) by Bill Frisell | Apocalypse (1990) by William S. Burroughs | The Masque Of The Red Death (1997) by Gabriel Byrne

Weekend links 314

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Avebury Kite (2006) by David Alderslade.

• “Klaus Mann, son of Thomas Mann, author of Mephisto, was one of the first in Germany to write gay novels and plays.” Walter Holland reviews Cursed Legacy: The Tragic Life of Klaus Mann by Frederic Spotts.

• The Pale Brown Thing, a shorter/alternate version of Fritz Leiber’s supernatural masterwork, Our Lady of Darkness, is given a limited reprinting by Swan River Press next month.

• “Not only is metal not directly harmful to adolescent minds, as the thinking goes, it may actually be helpful.” Christine Ro on the reappraisal of a once-suspect musical genre.

Something of that tension between past and future is visible in Beardsley’s work. It is the art of a dying era peering, with a mixture of excitement and trepidation, into the next. For all the prancing and bravado, Beardsley’s art was really about finding something in which to believe—and if Beardsley came to believe in anything it was the deep black line. Shading held little interest for Beardsley, and color fascinated him not at all. The black line and white space were all he needed.

Morgan Meis on Aubrey Beardsley

• More of my art for Bruce Sterling’s forthcoming Dieselpunk novella, Pirate Utopia, has been revealed. Tachyon will be publishing the book in November.

• “Secretly, though, I frequent junk shops because I am wishing for some kind of transcendence,” says Luc Sante.

• Mixes of the week: Gizehcast #28 by Christine Ott, and a mix for The Wire by Asher Levitas.

• “It took centuries, but we now know the size of the Universe.” Chris Baraniuk explains.

• Barnbrook Studios creates identity for Kubrick exhibition at Somerset House.

• Watch a haunting video from Subtext Recordings and Eric Holm.

• Folklore Tapes: A Rum Music Special by Joseph Burnett.

• Brion Gysin’s Dreamachine is on sale again.

• Rhys Chatham’s favourite albums.

• A Guide to Occult London

• Skulls and Bones

• Zero Time (1979) by Chrome | Zero-Gravity (1996) by Sidewinder |  Zero Moment (2016) by Contact