Weekend links 529

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Naruto Whirlpool, Awa Province, from the series Views of Famous Places in the Sixty-Odd Provinces (c. 1853) by Hiroshige.

• Eric Margolis: “Yukio Mishima may have gone out in an inglorious blaze in 1970, but three of his previously untranslated works have been released in the English-speaking world in the last two years, with another on the way.” The forthcoming novel is Mishima’s only venture into science fiction (!), A Beautiful Star. The book was filmed by Daihachi Yoshida in 2017.

• “[Ace in the Hole] did well in Europe but not here, perhaps because Americans expected a cocktail and felt I was giving them a shot of vinegar instead.” Billy Wilder discussing his career with Charles Higham in 1967.

• Mixes of the week: All these things invisible by The Ephemeral Man, and Secret Thirteen Mix 306 by Yogev Freilichman.

“So I got a phone number for Vangelis, he was living in Paris and I went there and called him up. He said (affects a gruff Greek accent) ‘Hello’, I said, ‘My name’s Jon Anderson’. He said ‘What?’ I said, ‘I’m in a band called Yes’, he said, ‘Are you a singer? Well, come over’, so I went over. There was this big guy with a long kaftan on and a bow and arrow around his shoulder. I got into his palatial apartment near the Champs-Élysées and there’s quite a long hallway down to his living room, and there’s a little old man there sitting by the TV. Vangelis takes out his bow and sends this arrow down the hallway and it goes right through the window, because the window was open. I said, ‘Vangelis, you could have killed somebody’, he said, ‘Oh, don’t worry, I’m Greek’. I said, ‘I know you’re Greek, but come on’.”

Jon Anderson talking to Duncan Seaman about his first encounters with Vangelis

Tarot cards though the ages; examples from a new book on the subject published by Taschen.

The Suspended Vocation again: Ryan Ruby on Pierre Klossowski, “Brilliant Brother of Balthus”.

• Secret Sound podcast #17 is devoted to The Galaxy of Turiya aka Alice Coltrane.

• At Dennis Cooper’s: Shaye Saint John Day.

Kenneth Anger smiles!

Make Me Smile (Come Up And See Me) (1975) by Steve Harley and Cockney Rebel | Uncertain Smile (1983) by The The | Fleeting Smile (1988) by Roger Eno

Weekend links 502

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The Byrds (1967) by Wes Wilson.

• RIP Wes Wilson, one of the first of the San Francisco psychedelic poster artists of the 1960s, and also one of the more visible thanks to the popularity of his compressed type designs, some of which were derived from a style developed by Alfred Roller for the Vienna Secession circa 1900. When Playboy magazine wanted a cover that reflected the psychedelic art trend in late 1967 it was Wilson they called. Related: Wes Wilson’s posters at Wolfgang’s.

• “In the ’70s, New Age music offered listeners, trapped in the urban rat-race, audio capsules of pastoral peace to transform their homes into havens. Today the Internet and social media form a kind of post-geographic urban space, an immaterial city of information whose hustle ‘n bustle is even more wearing and deleterious to our equilibrium.” 2010–19: Back To The Garden: The Return Of Ambient And New Age by Simon Reynolds.

• “This pointed-finger symbol goes by many names: mutton fist, printer’s fist, bishop’s fist, pointer, hand director, indicule, or most unimaginatively as ‘a hand’. Scholarly consensus has pretty much settled on the word ‘manicule’, from the Latin maniculum, meaning ‘little hand’.” John Boardley on the typographic history of the pointing hand.

Tales Of Purple Sally (1973) by Alex. All instruments by Alex Wiska apart from bass by Holger Czukay, and drums by Jaki Liebzeit. The latter pair also produced the album. Related: Jah Wobble talking to Duncan Seaman about working with Czukay and Liebeziet.

• “On Jan 25, 2020, tired of negative film lists on Twitter, I asked people for ‘obscure [or] underseen films you adore and think more people should know about.’ This was the result.”

Flash Of The Spirit by Jon Hassell & Farafina “hails from a time when the possibilities of music seemed less well-defined, and borders felt more open,” says Geeta Dayal.

The Art Of Computer Designing: A Black and White Approach (1993) by Osamu Sato. There’s more of Sato’s print work at the Internet Archive.

• At the Morgan Library: Jean-Jacques Lequeu: Visionary Architect. Drawings from the Bibliothèque nationale de France.

• New from Strange Attractor: Inferno: The Trash Project: Volume One by Ken Hollings.

• At Dennis Cooper’s: Storm de Hirsch Day.

Celeste by Roger Eno & Brian Eno.

Ben Watt‘s favourite music.

The Inferno (1968) by The Inferno | Inferno (1990) by Jah Wobble’s Invaders Of The Heart | Inferno (1993) by Miranda Sex Garden

Weekend links 476

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Man’s body dish for Sashimi under the cherry blossom (2005) by Ryoko Kimura.

• Godley & Creme’s Consequences (1977) is reissued this month on CD and vinyl. Originally a three-disc concept album with a theme of climate disaster and the natural world’s revenge on humanity, Consequences was released at a time when punk and prog rock were fighting for the attention of music listeners. 1977 wasn’t the end of prog by any means (many of the vilified bands had some of their greatest successes at this time) but Godley & Creme’s transition from the smart pop songs of 10cc to extended instrumental suites was abrupt, and their concept, such as it was, lacked the drama and accessibility of Jeff Wayne’s The War of the Worlds, even with the addition of Peter Cook providing a multi-voice comic narrative between the musical pieces. (Kevin Godley ruefully referred to the album in later years as Con Sequences.) The album flopped, and has been a cult item ever since.

• “A word of caution, though. Once you do read it, it’s hard to let it go.” Philip Hoare on Herman Melville and Moby-Dick. Related: William T. Vollmann on how a voyage to French Polynesia set Herman Melville on the course to write Moby-Dick.

Samm Deighan on The “Faraway Forest” in Peter Strickland’s Katalin Varga, The Duke of Burgundy, and The Cobbler’s Lot.

Brian Eno, Roger Eno, and Daniel Lanois discuss the recording of Apollo: Atmospheres & Soundtracks.

John Boardley on the first fashion books, Renaissance pixel fonts and the invention of graph paper.

Melanie Xulu looks back at a time where major labels were releasing witchcraft rituals.

• “Tom Phillips’ A Humument is a completely novel project,” says Rachel Hawley.

John Foster on the evolution of Stereolab’s analogue-inspired record sleeves.

• At Dennis Cooper’s: a history of le Grand Guignol by Agnes Peirron.

Casey Rae on William S. Burroughs and the cult of rock’n’roll.

• An Austin Osman Spare image archive.

Consequences (1965) by John Coltrane | Moby Dick (1969) by Led Zeppelin | Consequence (1995) by Paul Schütze

Weekend links 475

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Femme avec des fleurs (c. 1912) by Romaine Brooks.

• “Boring people tend not to exile themselves to rocky islands, but even among the intriguing personalities we encounter in Capri, some individuals prove more extravagantly memorable than others.” Steve Susoyev reviews Pagan Light: Dreams of Freedom and Beauty in Capri by Jamie James.

• “The Mad “idiots” subverted the comic form into a mainstream ideological weapon, aimed at icons of the left and the right—attacking both McCarthyism and the Beat Generation, Nixon and Kennedy, Hollywood and Madison Avenue.” Jordan Orlando on a world without Mad Magazine.

• RIP Sam Gafford, Paul Krassner and Rutger Hauer. Related to the latter: Hauer’s first role as Floris, the hero of a Dutch TV series directed by Paul Verhoeven.

I cannot tell you what it does to me to hear pre-Stonewall. And even in our literature, even in the art, pre-Stonewall, post-Stonewall. I wrote three books pre-Stonewall and a dozen more post-Stonewall. There’s no demarcation. Gay history is centuries and centuries from the Romans to the Greeks to Oscar Wilde to all kinds of outrages. And those seem to be put back and pre-Stonewall is passive. Post-Stonewall is brave and dignified. I actually have heard things like that. I’ve talked, I’ve lectured and I’ve been invited all the way from Harvard to USC. And I talk about what it was like, what we had to survive.

Look, pre-Stonewall produced Allen Ginsberg, William Burroughs, Oscar Wilde, and I could go on. Post-Stonewall produced Bret Easton Ellis, who jumps out of the closet only now and then and then rushes back in, and Queer Eye for the Straight Guy, where we’re reduced to clowns for straight people. The husband of Mr. Buttigieg, he is so darling talking about the silver he’s going to be choosing for the White House. It embarrasses me, it embarrasses me very much because that’s what people expect a gay man to do, to be very precious, and that’s not what we are. A good solid queen I will protect forever, they are heroes.

A lot of people think that everything stopped, everything, all harassment stopped. Look, it’s still going on. It’s still going on, for god’s sake. The same tactics are often used in a different way.

John Rechy talking to Jason McGahan

• The genius of Barry Adamson: An exclusive interview by Paul Gallagher at Dangerous Minds.

Three hours of the Prophecy Theme from Dune (by Brian Eno with Daniel Lanois & Roger Eno).

Ed Sanders on why pop culture still can’t get enough of Charles Manson.

• Havelock Ellis takes a trip: Mike Jay on peyote among the Aesthetes.

Darren Anderson on why little works of architecture deserve respect.

• Mix of the week: Stephen O’Malley presents / Java / Apr 27 2017.

Phil Hine reviews Folk Horror Revival: Urban Wyrd 1 & 2.

John Waters revisits “The Golden Age of Monkey Art”.

I Must Be Mad (1966) by The Craig | The Day My Pad Went Mad (1982) by John Cooper Clarke | Yesterday, When I Was Mad (1993) by Pet Shop Boys

Weekend links 474

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AS11-40-5877 (1969).

• A minimum of Moon-related links this week because this is a subject I always return to. Previous links to NASA’s photo archives are now redundant after they changed their website but the archive of photos from the Apollo missions are currently hosted on Flickr…while Flickr lasts, anyway. The Albums section features whole film rolls from each of the missions.

• Mixes of the week: Stephen O’Malley presents In Session: Richard Pinhas (a re-posting of a mix from last year), and The Ivy-Strangled Path Vol. XVII by David Colohan.

• Living With The Human Machines: experimental artist Sarah Angliss speaks to Matthew Neale about the cyborgs, dummies and ghosts that populate her work.

• On And On And On: A Guide to Generative Electronic Music. Related: Deconstructing Brian Eno’s Music for Airports.

• At Dennis Cooper’s: Jesse Bransford presents…A List of Grimoires for the Twilight of the Age of the Book.

A Dandy in Aspic exclusive: Paul Gallagher interviewed cult author Derek Marlowe in 1984.

• From Ted Hughes to HG Wells: Jeanette Winterson picks the best books about the Moon.

• Tate acquires vast archive of British surrealist Ithell Colquhoun.

• At Greydogtales: Ten supernatural stories which stay with you.

• Emptyset turn to machine learning on new album Blossoms.

• Paul Grimstad on the absolute originality of Georges Perec.

• Valerie Stivers on cooking with Bruno Schulz.

• Blown out ’77: in the studio with Suicide.

Astronauts on record covers.

Back Side Of The Moon (1991) by The Orb | Moonshot (1999) by Hallucinator | Under The Moon (2019) by Brian Eno with Daniel Lanois & Roger Eno