HOUSEKEEPING NOTE

BYRON COLEY, whose work has appeared in every single issue of Arthur ever published, has been named Arthur’s first and only “Senior Writer.”

Now enthroned, he has submitted his first-ever (!?!) cover feature for Arthur: a 10,000-word interview, with 202 sidenotes, that will run in Arthur No. 34, our March 5, 2013.

He will bury us all, and we will like it.

There was a time when this culture was massively interested in something as radical as the Whole Earth Catalog

(via Stephanie Smith…)

In 1968, Stewart Brand founded the Whole Earth Catalog. Brand’s goals were to make a variety of tools accessible to newly dispersed counterculture communities, back-to-the-land households, and innovators in the fields of technology, design, and architecture, and to create a community meeting-place in print. The catalogue quickly developed into a wide-ranging reference for new living spaces, sustainable design, and experimental media and community practices. After only a few years of publication it exploded in popularity, becoming a formidable cultural phenomenon…

Function

Whole Earth Advert

March 1971 back cover

More more MORE!: MOMA.org

“Google Invades”: Rebecca Solnit on Big Tech’s toll on San Francisco [London Review of Books]

A typically great, nuanced (and sad) piece in the London Review of Books by Rebecca Solnit on life in contemporary San Francisco amidst Google/Apple/Facebook corporate nerd-drones, and what they’ve wrought…

7 February 2013

Diary

Rebecca Solnit

The buses roll up to San Francisco’s bus stops in the morning and evening, but they are unmarked, or nearly so, and not for the public. They have no signs or have discreet acronyms on the front windshield, and because they also have no rear doors they ingest and disgorge their passengers slowly, while the brightly lit funky orange public buses wait behind them. The luxury coach passengers ride for free and many take out their laptops and begin their work day on board; there is of course wifi. Most of them are gleaming white, with dark-tinted windows, like limousines, and some days I think of them as the spaceships on which our alien overlords have landed to rule over us.

Other days I think of them as the company buses by which the coal miners get deposited at the minehead, and the work schedule involved would make a pit owner feel at home. Silicon Valley has long been famous for its endless work hours, for sucking in the young for decades of sixty or seventy-hour weeks, and the much celebrated perks on many jobsites – nap rooms, chefs, gyms, laundry – are meant to make spending most of your life at work less hideous. The biotech industry is following the same game plan. There are hundreds of luxury buses serving mega-corporations down the peninsula, but we refer to them in the singular, as the Google Bus, and we – by which I mean people I know, people who’ve lived here a while, and mostly people who don’t work in the industry – talk about them a lot. Parisians probably talked about the Prussian army a lot too, in the day.

My brother says that the first time he saw one unload its riders he thought they were German tourists – neatly dressed, uncool, a little out of place, blinking in the light as they emerged from their pod. The tech workers, many of them new to the region, are mostly white or Asian male nerds in their twenties and thirties; you often hear that to be over fifty in that world is to be a fossil, and the two founders of Google (currently tied for 13th richest person on earth) are not yet forty.

Another friend of mine told me a story about the Apple bus from when he worked for Apple Inc. Once a driver went rogue, dropping off the majority of his passengers as intended at the main Apple campus, and then rolling on towards San Jose instead of stopping at the satellite location, but the passengers were tech people, so withdrawn from direct, abrupt, interventionary communications that they just sat there as he drove many miles past their worksite and eventually dumped them on the street in a slum south of the new power centre of the world. At that point, I think, they called headquarters: another, more obedient bus driver was dispatched. I told the story to another friend and we joked about whether they then texted headquarters to get the email addresses of the people sitting next to them: this is a culture that has created many new ways for us to contact one another and atrophied most of the old ones, notably speaking to the people around you. All these youngish people are on the Google Bus because they want to live in San Francisco, city of promenading and mingling, but they seem as likely to rub these things out as to participate in them.

The Google Bus means so many things…

Continue reading: London Review of Books

The Clash’s 1985 Busking Tour of Britain

Julian Cope directly referenced this little-remembered, hard-to-fathom episode in late Clash history—from the period after Mick Jones had disastrously been removed from the band—with his three-day “Joe Strummer Memorial Busking Tour” in October, 2008. (Check that tour’s impressive itinerary here — then search youtube to see video highlights — there are many).

I’d love to know more about The Clash’s tour (are there any videos? etc). For now, though, there’s this…

From Passion Is a Fashion: The Real Story of The Clash by Pat Gilbert (2004), p 352-3:

In May 1985, [Clash manager] Bernie Rhodes, [manager] Kosmo [Vinyl] and Joe [Strummer] devised the Clash’s last hurrah—a busking tour of Britain. The idea was that the group would assemble at [guitarist] Vince’s flat, leave their wallets on the table and hitch to Nottingham with a few acoustic guitars. They’d then see where the wind would take them. Over the next two-and-a-half weeks, Britain’s provincial towns and cities were thus treated to the extraordinary sight of The Clash popping up under railway bridges and in subways to entertain them with Monkees, Chuck Berry, Eddie Cochran and Cramps songs.

The group kipped on fans’ floors and in cheap B&Bs. They survived on the money thrown into their hats. It was a genuinely exiting and unpredictable experience. Joe described it as ‘the best tour we ever did.’

Paul [Simonon] agrees. ‘It was like starting out fresh again,’ he says. ‘It was great. “We’ll meet you in Glasgow in a week’s time,” and the idea was to leave everything behind other than the guitars. You couldn’t take any money with you. We survived by our wits. It was as exciting as the Anarchy tour, you never knew where you were going next. I remember we were in Leeds, it was 2 a.m., and it was outside this black club, and people were coming out and really digging us. There were two white guys and they were shocked it was us. They said, “Where you staying?” And we said, “We’re not staying anywhere,” so they invited us to stay at their mum’s. The money we made from busking meant we could go further, we didn’t have a plan of where to go next. There was no rules. You didn’t have to be on the so-and-so plane at twelve o’clock.’

DON’T THINK, GO: Today and tomorrow in New York, BRUCE CONNER’S wildly wonderful short films at Anthology, presented in 2 daily evening programs

From Anthology Film Archives:

Bruce Conner (1933-2008) was an artist whose astounding body of trailblazing work across numerous mediums – film, drawing, sculpture, and photography to name just a few – has long been celebrated in cinemas, galleries, classrooms, and museums around the world. A puckish iconoclast who adopted numerous styles and identities over the decades, Conner never worried about audience expectations or settled into one groove. He never stopped being completely unpredictable. To celebrate Anthology’s recently completed restorations of five of Conner’s most seminal films, we present two programs that feature brand-new and pristine prints of key works alongside lesser-screened gems.

10 SECOND FILM, REPORT, COSMIC RAY, MEA CULPA, and AMERICA IS WAITING have been preserved by Anthology Film Archives through the National Film Preservation Foundation’s Avant-Garde Masters Grant program funded by The Film Foundation. CROSSROADS was restored by UCLA Film & Television Archive, and funded by the Conner Family Trust and Michael Kohn Gallery.

Special thanks to Michelle Silva and The Conner Family Trust.

PROGRAM 1:

10 SECOND FILM (1965, 10 sec, 16mm)

COSMIC RAY (1962, 5 min, 16mm)

THE WHITE ROSE (1967, 7 min, 16mm)

BREAKAWAY (1966, 5 min, 16mm)

PAS DE TROIS (1964/2006, 8.5 min, 16mm-to-video. Edited by Bruce Conner.)
A rarely seen document photographed by Dean Stockwell of Conner shooting BREAKAWAY with Toni Basil.

LOOKING FOR MUSHROOMS (1959-67, 3 min, 16mm)

EASTER MORNING RAGA (1966, 10 min, 8mm)
While Conner produced a digital version of this work in 2008, we will be screening an original 8mm film print.

TAKE THE 5:10 TO DREAMLAND (1978, 5 min, 16mm)

VALSE TRISTE (1978, 5 min, 16mm)

HIS EYE IS ON THE SPARROW (2006, 4.5 min, digital video)

Total running time: ca. 60 min.

PROGRAM 2:

10 SECOND FILM (1965, 10 sec, 16mm)

MEA CULPA (1981, 5 min, 16mm)

MONGOLOID (1978, 3.5 min, 16mm)

AMERICA IS WAITING (1981, 3.5 min, 16mm)

REPORT (1963-67, 13 min, 16mm)

CROSSROADS (1976, 36 min, 35mm)

Total running time: ca. 65 min.