FINALLY AVAILABLE: “PARADISE NOW: The Living Theatre in Amerika” DVD

UPDATE MARCH 26, 2013: Remaining stock of this dvd available from Secretly Canadian distribution. Click here for ordering info.


“Life, revolution and theater are three words for the same thing:
an unconditional NO to the present society.” – Julian Beck (Living Theatre)

“Paradise Now … more relevant now because we’re closer
to now than we ever have been.” – Hanon Reznikov (Living Theatre)

Arthur Magazine proudly presents PARADISE NOW: The Living Theatre in Amerika DVD — a fulminating art-meets-life installation brought to you in collaboration with The Living Theatre, The Ira Cohen Akashic Project and Saturnalia Media Rites of the Dreamweapon featuring rare, never-before-distributed films and a bacchanal of revolutionary multimedia documents from The Living Theatre’s historic and influential ’68-’69 American tour.

LIMITED EDITION OF 1,000 – AVAILABLE NOW NOW NOW NOW NOW

CLICK HERE FOR ORDER INFO

JIM HENSON RARETIES night at CineFamily TONIGHT (Tues)

Tues March 18 @ 8pm and 10pm

Jim Henson’s Commercials & Experiments

An exclusive screening selected from muppets, music & magic: Jim Henson’s legacy

A mind-blowing collection of shorts, crazy commercials, and other rarities from the Henson vault. Highlights include: an industrial film for Wilson’s Meat that must be seen to be believed, commercials featuring the LaChoy Dragon, a full-body character that caused Frank Oz to swear off doing any others, animation utilizing techniques ranging from stop-motion to early computer animation, excerpts from The Cube and Youth 68, the two episodes Jim and company created for NBC’s Experiment in Television, and a 35mm print of Time Piece, an Academy Award nominated 8-minute masterpiece that showcases Henson’s talent for making music out of everyday sounds.”

Tickets – $12/ $8 for members
Cinefamily at Silent Movie Theatre
611 N Fairfax Avenue
Los Angeles, CA 90036
323-655-2510

Sorry about the fish

The New York Times – March 17, 2008

Chinook Salmon Vanish Without a Trace

By FELICITY BARRINGER

SACRAMENTO — Where did they go?

The Chinook salmon that swim upstream to spawn in the fall, the most robust run in the Sacramento River, have disappeared. The almost complete collapse of the richest and most dependable source of Chinook salmon south of Alaska left gloomy fisheries experts struggling for reliable explanations — and coming up dry.

Whatever the cause, there was widespread agreement among those attending a five-day meeting of the Pacific Fisheries Management Council here last week that the regional $150 million fishery, which usually opens for the four-month season on May 1, is almost certain to remain closed this year from northern Oregon to the Mexican border. A final decision on salmon fishing in the area is expected next month.

As a result, Chinook, or king salmon, the most prized species of Pacific wild salmon, will be hard to come by until the Alaskan season opens in July. Even then, wild Chinook are likely to be very expensive in markets and restaurants nationwide.

“It’s unprecedented that this fishery is in this kind of shape,” said Donald McIsaac, executive director of the council, which is organized under the auspices of the Commerce Department.

Fishermen think the Sacramento River was mismanaged in 2005, when this year’s fish first migrated downriver. Perhaps, they say, federal and state water managers drained too much water or drained at the wrong time to serve the state’s powerful agricultural interests and cities in arid Southern California. The fishermen think the fish were left susceptible to disease, or to predators, or to being sucked into diversion pumps and left to die in irrigation canals.

But federal and state fishery managers and biologists point to the highly unusual ocean conditions in 2005, which may have left the fingerling salmon with little or none of the rich nourishment provided by the normal upwelling currents near the shore.

The life cycle of these fall run Chinook salmon takes them from their birth and early weeks in cold river waters through a downstream migration that deposits them in the San Francisco Bay when they are a few inches long, and then as their bodies adapt to saltwater through a migration out into the ocean, where they live until they return to spawn, usually three years later.

One species of Sacramento salmon, the winter run Chinook, is protected under the Endangered Species Act. But their meager numbers have held steady and appear to be unaffected by whatever ails the fall Chinook.

So what happened? As Dave Bitts, a fisherman based in Eureka in Northern California, sees it, the variables are simple. “To survive, there are two things a salmon needs,” he said. “To eat. And not to be eaten.”

Fragmentary evidence about salmon mortality in the Sacramento River in recent years, as well as more robust but still inconclusive data about ocean conditions in 2005, indicates that the fall Chinook smolts, or baby fish, of 2005 may have lost out on both counts. But biologists, fishermen and fishery managers all emphasize that no one yet knows anything for sure.

Bill Petersen, an oceanographer with the National Oceanic and Atmospheric Administration’s research center in Newport, Ore., said other stocks of anadromous Pacific fish — those that migrate from freshwater to saltwater and back — had been anemic this year, leading him to suspect ocean changes.

After studying changes in the once-predictable pattern of the Northern Pacific climate, Mr. Petersen found that in 2005 the currents that rise from the deeper ocean, bringing with them nutrients like phytoplankton and krill, were out of sync. “Upwelling usually starts in April and goes until September,” he said. “In 2005, it didn’t start until July.”

Mr. Petersen’s hypothesis about the salmon is that “the fish that went to sea in 2005 died a few weeks after getting to the ocean” because there was nothing to eat. A couple of years earlier, when the oceans were in a cold-weather cycle, the opposite happened — the upwelling was very rich. The smolts of that year were later part of the largest run of fall Chinook ever recorded.

But, Mr. Petersen added, many factors may have contributed to the loss of this season’s fish.

Bruce MacFarlane, another NOAA researcher who is based in Santa Cruz, has started a three-year experiment tagging young salmon — though not from the fall Chinook run — to determine how many of those released from the large Coleman hatchery, 335 miles from the Sacramento River’s mouth, make it to the Golden Gate Bridge. According to the first year’s data, only 4 of 200 reached the bridge.

Mr. MacFarlane said it was possible that a diversion dam on the upper part of the river, around Redding and Red Bluff, created calm and deep waters that are “a haven for predators,” particularly the pike minnow.

Farther downstream, he said, young salmon may fall prey to striped bass. There are also tens of thousands of pipes, large and small, attached to pumping stations that divert water.

Jeff McCracken, a spokesman for the federal Bureau of Reclamation, which is among the major managers of water in the Sacramento River delta, said that in the last 18 years, significant precautions have been taken to keep fish from being taken out of the river through the pipes.

“We’ve got 90 percent of those diversions now screened,” Mr. McCracken said. He added that two upstream dams had been removed and that the removal of others was planned. At the diversion dam in Red Bluff, he said, “we’ve opened the gates eight months a year to allow unimpeded fish passage.”

Bureau of Reclamation records show that annual diversions of water in 2005 were about 8 percent above the 12-year average, while diversions in June, the month the young Chinook smolts would have headed downriver, were roughly on par with what they had been in the mid-1990s.

Peter Dygert, a NOAA representative on the fisheries council, said, “My opinion is that we won’t have a definitive answer that clearly indicates this or that is the cause of the decline.”

Carolyn Marshall contributed reporting.

Bring Me the Head of Ubu Roi

ubu.jpg

Ubu Roi by Alfred Jarry.

Now here’s a marriage made in heaven (or hell, depending on your point of view): Pere Ubu plus the Brothers Quay presenting Alfred Jarry’s 1896 classic of proto-surrealist theatre, Ubu Roi. I hope someone’s filming this given that there’s no guarantee I’ll be able to get down there to see it. Pere Ubu’s David Thomas has this to say about collaborations:

Well, it’s pretty simple. If someone wants to work with me then they have the right stuff. Working with me is guaranteed career endangerment, not to be undertaken lightly. I had no idea of who the Quays were. Everybody else seems to know but I don’t watch films, tv or video unless a space ship or baseball is involved. The Quays don’t involve themselves with either. So how am I supposed to know? I don’t make the Rules. I obey. We met. We talked. We immediately understood each other and the project and how it all would fit together. I don’t trust visual information of any kind. The Quays were clearly men who were capable of taming the Eye Beast. I told them I’d be delighted to stay out of their way and let them get on with doing what they feel most. They sent me pictures. They were, as I knew they must be, perfect. No space ships. Or baseball. But perfect nevertheless. Only people who don’t understand need to talk. We have no need of talking. Talking is for the weak, the uncertain… and girls. Ha-ha! (I mean it.) We are men who stand in the moment and can deliver the goods. So down to the process: Only work with people who are Masters, and who Understand. If you choose to work with such people then don’t get in their way unless they appear to be set on a course that will break The Rules. Don’t make up the Rules. Don’t work with people who feel the need to talk to you. Don’t work with children or animals. Don’t run into the furniture.

Details from the press release follow and I feel the need to make a point of order: the famous first word of the play, “Merdre!”, doesn’t mean “shitter” as mentioned below. Rather, it’s an untranslatable combination of the French words for “shit” and “murder” which Cyril Connolly rendered unsatisfactorily as “Pschitt!” in his 1968 translation with Simon Watson Taylor.

Pere Ubu and the Brothers Quay present the WORLD PREMIERE of Bring Me The Head Of Ubu Roi

In two specially created performances for Southbank Centre’s ETHER 08 festival, expressionist avant-garage band Pere Ubu presents the world premiere of Bring Me The Head of Ubu Roi, an adaptation of Ubu Roi (King Ubu), Alfred Jarry’s landmark 1896 play that inspired the band’s name and is widely seen as the precursor to the Absurdist, Dada and Surrealist art movements.

At the heart of Jarry’s original production was the use of various performance media, and Pere Ubu’s show reflects this with a unique visual staging by the enigmatic Brothers Quay, featuring intriguing stop-motion animation, projections and imaginative stage designs. Singer David Thomas will feature as Père Ubu, partnering Sarah-Jane Morris (ex-Communards) in the role of Mère Ubu, and the production includes an original music score by the band Pere Ubu and 10 new songs. Gagarin, aka London-based former Ludus, Nico and John Cale drummer Graham Dowdall, will contribute minimal electronic soundscapes.

quays.jpg

The Brothers Quay.

With this part music, part spoken word, part animated production on the stage of the Queen Elizabeth Hall, David Thomas of Pere Ubu realises a dream he has had since being turned on to Alfred Jarry as a 16-year-old high school student in Cleveland, Ohio.

David Thomas said: “Jarry’s ideas resonated with feelings I had about the use of abstract, concrete and synthesised sound in the narrative architecture of rock music, all tools to engage the imagination of the listener when detailing the picture told by the music and lyrics.”

thomas.jpg

David Thomas.

Ubu Roi is a play for the mind and imagination. It is a drama of ideas and grotesqueries, and a fusion of several disparate and incongruous elements. It shocked early audiences with its blend of grotesque absurdity, wild humour and coarse language. At the premiere in 1896, the very first word of Ubu Roi (‘merdre’, translated as ‘shitter’) provoked a riot amongst the audience and fist fights broke out in the orchestra. Alfred Jarry’s plays in general were widely and wildly hated for their vulgarity, brutality, low comedy and complete lack of literary finish, and his work revealed a lack of respect for royalty, religion and society that prompted some to see his output as the theatrical equivalent of an anarchist bomb attack and an act of political subversion.

jarry.jpg

Alfred Jarry with his weapons and bicycles, somewhere in the 1890s.

Prior to the Friday performance, there’s a free event in the Front Room at Queen Elizabeth Hall, entitled ‘Pataphysics in Sound. This specially curated musical journey through the history of ’pataphysics, the science of imaginary solutions, celebrates the genius of Alfred Jarry, creator of Ubu Roi and literary madman, time-travelling, absinthe-drinking, pistol-toting, and cycling maniac.

Bring Me The Head of Ubu Roi is presented at the Southbank Centre, Queen Elizabeth Hall, Thursday 24 and Friday 25 April 2008.

Via { feuilleton } par Monsieur Coulthart.


LIVE FROM THE MELLOW CAPITAL OF THE UNIVERSE: Molly Frances & Mark Frohman of Arthur Magazine at SXSW

Mark & Molly go to Austin and wait in line on your behalf…

Even the Thai Restaurants Are Featuring a Showcase: Day 4, featuring chipmunk-voiced twins doing Carter Family covers, Lightspeed Champion, Health, Wizardz, Psychic Ills, No Age, White Rainbow, The Sian Alice Group and The Carbonas…

At 3am, the bridge bounces beneath us: Day 3, featuring Nero’s Day at Disneyland, Hard Place, Cut Copy, unmentionable band, Cool Kids, No Age, Crystal Antlers…

A Taste of Sky: Day 2, featuring El Chilito’s, J Mascis, Silje Nes, These New Puritans, Bowerbirds, Mika Miko, Howlin Rain, kid bikers at the 9th street jumps, Half Japanese, The Mae Shi…

Live From the Mellow Capital of the Universe: Chuy’s Mexican restaurant, Levi’s protesters, Jeremy Jay, The Kills, two dudes on top of some kind of booth, Headdress and a concert curated by Steve Reich…


More on how the Net is destroying the Fourth Estate

Journalism Net Effect Defies Expectation

By THE ASSOCIATED PRESS
Published: March 16, 2008

Filed at 4:33 p.m. ET

NEW YORK (AP) — The Internet has profoundly changed journalism, but not necessarily in ways that were predicted even a few years ago, a study on the industry released Sunday found.

It was believed at one point that the Net would democratize the media, offering many new voices, stories and perspectives. Yet the news agenda actually seems to be narrowing, with many Web sites primarily packaging news that is produced elsewhere, according to the Project for Excellence in Journalism’s annual State of the News Media report.

Two stories — the war in Iraq and the 2008 presidential election campaign — represented more than a quarter of the stories in newspapers, on television and online last year, the project found.

Take away Iraq, Iran and Pakistan, and news from all of the other countries in the world combined filled up less than 6 percent of the American news hole, the project said.

The news side of the business is dynamic, but the growing ability of news consumers to find what they want without being distracted by advertising is what’s making the industry go through some tough times.

Although the audience for traditional news is maintaining itself, the staff for any of these news organizations tend to be shrinking,” said Tom Rosenstiel, the project’s director.

In another unexpected finding, citizen-created Web sites and blogs are actually far less welcoming to outside commentary than the so-called mainstream media, the report said.


Eddie Ruscha opening in L.A. TONIGHT (Sat) at High Energy Constructs in Chinatown

THIS IS IT!
Eddie Ruscha
March 15th – April 26th, 2008
Opening Reception: Saturday, March 15th, 7 – 9 PM
Special Musical Meltdown: Friday, April 25th, 8:30 PM

HIGH ENERGY CONSTRUCTS
990 N. Hill Street, Suite 180
Los Angeles, CA 90012

“HIGH ENERGY CONSTRUCTS is pleased to present THIS IS IT! an exhibition of new works by Eddie Ruscha. In his debut solo-exhibition Ruscha follows a zeitgeistian impulse to address the age-old notion of the apocalypse, offering paintings on canvas, works on paper, and a sound installation. The exhibition features a large-scale apocalyptic landscape painting of bleakness and grandeur, as well as a variety of small prismatic portraits of skulls that together form a large pyramid. The work teeters on the verge of installation, as rainbow colors of yarn shoot out of an all seeing eye. The works on paper illustrate a 1960s Roll Royce as the symbolically decadent, yet grim chariot of Armageddon rendered with romance and innuendo. The sculptural quality of sound, as a final, and conceptual component to the exhibition bridges the artist’s engagements with different disciplines, as an accomplished visual artist, musician and DJ. The presence of sound functions as a physical and sensuous enabler for Ruscha’s melding cosmic environment. Drawing inspiration from doomsday cults, science fiction, psychedelic counterculture and stoner fantasies, Ruscha’s hallucinatory and idiosyncratic layering and panoptical colors of enthusiasm hint at a deep resonance to embrace and transcend western civilization’s concerns and crises regarding the psychology of today’s ever-growing endtime industry. Echoed in the expressive nature of his work, Ruscha projects a magnificent transformation (positive, negative, and ambiguous) onto the mythical and intuitive end of the world.

About the artist:

“Eddie Ruscha is a Los Angeles-based artist and musician. He has exhibited his work at China Art Objects, Los Angeles, CA, Galerie Loevenbruck, Paris, The London Institute Gallery, London, New Image Art, Los Angeles, CA, and most recently in ONE FOOT HIGH AND RISING, a group show curated by Pentti Monkkonen, at The Balmoral, Venice, CA. Ruscha has performed musically in many Los Angeles bands such as Medicine, Maids Of Gravity, Future Pigeon, Sneeze Mist and Dada Munchamonkey.

“HIGH ENERGY CONSTRUCTS is an exhibition and performance venue in Los Angeles’ Chinatown (est. February 2006). The name HIGH ENERGY CONSTRUCTS is borrowed from the poet Charles Olson’s famed essay/manifesto ‘Projective Verse’ wherein Olson demands that the poem should be at all points a HIGH ENERGY CONSTRUCT and an energy discharge. This choice marks an attempt to apply Olson’s HIGH ENERGY demand to any given space, form, medium, or being. For more information on Charles Olson visit:
http://wings.buffalo.edu/epc/authors/olson

For more information on this exhibition please call 323.227.7920 or email: info@highenergyconstructs.com
Gallery hours: Thursday, Friday, and Saturday, 11 AM – 6 PM
highenergyconstructs.com