NO SLEEP TILL BEIRUT: A conversation with ALAN BISHOP, by Brandon Stosuy (Arthur, 2005)

Illustration by Paul Pope

Originally published in Arthur No. 18 (Sept. 2005)…

No Sleep Till Beirut
ALAN BISHOP of Sun City Girls speaks with Brandon Stosuy about terrorism, travel, clueless Americans and curating the cut-up world music collages of his Sublime Frequencies label.

Caffeine and nicotine are Alan Bishop’s self-professed main vices. “Resting is an obstacle,” he says. “My cat Napoleon taught me how to take 15-minute naps, and when I drive down the highway late at night and feel drowsy, I narrow it down to a three-second nap. When I awake, and realize I survived again, I’m energized for hours.”

Given the range and breadth of his creative output over the last two decades, Bishop’s admission that he’s a self-taught low-to-no-dozer makes a lot of sense. For years, his main occupation has been as a prolific musician and composer. Sun City Girls, a trio he formed in Sun City, Arizona in 1983 with his brother (Sir) Richard Bishop and Charles Gocher, have released 40-plus albums of startling originality: a vast catalog of world music fusion and cheeky agitprop, Eastern music and blissed-out raga. (Two classics are 1990’s Torch of the Mystics, an impressive Spaghetti-Eastern wrangling of sound, like some kind of cowpoke-infused Bombay pop; and 1996’s 330,000 Crossdressers from Beyond the Rig Veda which is, among other things, a Gamelan drone marathon.) Bishop’s also had his hand in non-SCG projects like Uncle Jim and Alvarius B: in fact, a new Uncle Jim LP Superstars of Greenwich Meantime is due out any moment on the Kentucky-based Black Velvet Fuckere label, and a new Alvarius B LP Blood Operatives of the Barium Sunset, will be out on in October on the Sun Cirty Girls’ own Abduction label, which Bishop runs.

As if that weren’t enough, in October 2003, the 45-year-old started a new label with his brother (Sir) Richard and filmmaker Hisham Mayet in a collective quest to document and distribute the music of distant cultures that so fascinates them; Sublime Frequencies, they explain, is “dedicated to acquiring and exposing obscure sights and sounds from modern and traditional urban and rural frontiers via film and video, field recordings, radio and short wave transmissions, international folk and pop music, sound anomalies.” So far, Sublime Frequencies has released nearly two dozen CDs, from Radio Phnom Pehn‘s schizophrenic Cambodian metal/jingle remixed cut-ups to the juicy pop histrionics of Molam: Thai Country Groove to the on-the-road brilliance of Streets of Lhasa, which was recorded by Zhang Jian of the Beijing-based sound collective fm3. Meanwhile, Mayet, has filmed three DVDs of live performances by unknown musical geniuses based in countries like Syria, Thailand and Niger for SF, and has finished a fourth, Niger: Magic and Ecstasy in the Sahel. The fall finds three new SF CDs, two of which focus on members of the so-called Axis of Evil, Iraq and North Korea. Per usual, the names are as colorful as the sounds collected: Choubi Choubi!-Folk and Pop Sounds from Iraq; Radio Pyongyang: Commie Funk and Agit Pop from the Hermit Kingdom; and Guitars of the Golden triangle: Folk and pop music of Myanmar (Burma) Vol. 2. Sublime Frequencies’ ragtag contributing cast also includes micro-noisemaker Robert Millis of Climax Golden Twins and Bay Area Porest/Mono Pause/Neung Phak maestro, Mark Gergis; Gergis is the second most prolific SF contributor after Bishop, and is the mind behind the aforementioned Iraqi compilation as well as I Remember Syria’s double-album cut-up of field recordings, radio excerpts, and “lost” cassette pieces.

Sublime Frequencies isn’t your average world music label—in place of the in-depth documentation of records on labels like Lonely Planet, Smithsonian or Hamonia Mundi are reader-baiting sentences like “the equator runs through only ten countries on earth and I bet that you cannot name them all without consulting a map” and elliptical, beatnik-style prose-rants in which the compilers relay brief anecdotes and impressions of their travels. Bishop, the Kerouac of the crew, keeps a running journal related to the project.

“I write as much as I record,” he says. “I make custom books for each trip. Most are 50-100 pages in length with collage art and photos pasted into the pages. Each book is a different size/style and I always force myself to finish one for each venture.” So far he’s assembled 40 of them, none of them have been published. The mind reels at the unseen treasures lurking within their pages.

Recently Bishop and I conversed at length via email about his current activities. I began by asking him about Crime & Dissonance, a two-disc compilation of work by famed Italian film composer Ennio Morricone slated for release on Mike Patton’s Ipecac label this fall.

Arthur: How did the Morricone project come about? What drew you to Morricone’s work in the first place?
Alan Bishop: I saw The Good, The Bad and The Ugly when I was a kid on TV. The music destroyed me, just the power of it. Since then I’ve been listening, collecting and digesting all of his music. There was a feeling that if I could wear the music as a talisman, I would be indestructible. He worked in so many mediums of sound. He composes everything from romantic orchestral music to full-on speaker-thrashing noise. And along the way, he does almost every style of music that can be named. He is known for the Italian Western themes more than any other style but for those who investigate the massive output of thousands of tracks he’s either composed, co-composed, arranged, or directed, speaking about his work in generalities to educate the unfamiliar is a pointless task. For the compilation, Filippo Salvadori, who runs Runt distributing amongst other things, kept me up to date on what Morricone titles which were available to license for the CDs. It’s a true mess as Morricone has recorded for dozens of labels and licensing tracks from some of them is near impossible, so I was unable to get all the tracks I wanted and had to compromise. Still, it’s a great set. I listen to soundtrack music as music, not as a complementary appendage to the film. So as long as the music moves me, it’s a good soundtrack. Mono-thematic scores usually fail me but Morricone is one who can occasionally make a single theme interesting for the length of an entire soundtrack. La Cosa Buffo and The Investigation of a Citizen Above Suspicion both come to mind.

Can you trace your interest in documenting so-called “world music”?
I traveled around the States a lot when I was a kid, and when I bought a car, I moved from Saginaw, Michigan to Arizona. A cousin had just bought an apartment building in Marbella, Spain and he said we were always welcome to stay for free, so I started saving my money, hustling goods at flea markets. In 1983 I sold all my Jimi Hendrix LPs to get the rest of the cash I needed to fly to Spain. I was 23. Morocco was only a boat ride from Spain and it was cheap to travel around for a few months, so I stayed as long as my money held out. The second day I was there I heard that Joujouka sound of the Raitni chanters echoing from an elusive location in the medina of Tetuan. When some kids saw me trying to find the origin of the music they brought me up some stairway to a room filled with pretty women and four musicians performing for them. It was the remnants of a wedding party and I was the only male guest. The musicians gave me some hash and started playing and I danced with the women awhile and we all sat down and had mint tea and snacks, started discussing world events with the older drummer for an hour or so. That’s the hospitality of the Arab world. No questions asked. Want some food? Drink? Dance? Music? Hashish?

What was the political climate like?
The Polisario Guerilla movement was much more active back then in the Western Sahara and also in Morocco’s cities and countryside. There were checkpoints on all the highways and almost every bus I took from town to town was stopped by military personnel. One time I was on my way back to Essouira from Fes – I was in Fes for a couple of days and was carrying a passport for a guy who left it there, doing him a favor by taking it back for him. Some guy got on the bus and sat next to me in the back. About an hour later we were stopped by the military. The soldiers were checking people on the bus and when they came to the back I kept wondering if they searched me and found that I had two passports including a British one which wasn’t mine, what I’d have to explain, but they didn’t even look at me. They just grabbed the guy who sat next to me and took him off the bus and that was it. Seemed as if they knew who he was. He was escorted to their vehicle at gunpoint, and shoved in the back seat. Our bus was then allowed to leave. Polisario perhaps? A sympathizer with the Polasario? Or just a common petty thief? I’ll never know.

Continue reading

Oct. 25 Autonomedia Jubilee Saint – MAX STIRNER

OCTOBER 25 — MAX STIRNER
Young Hegelian individualist anarchist.
“Whoever will be free must make himself free. Freedom is no fairy gift to fall into a man’s lap. What is freedom? To have the will to be responsible for one’s self.”

OCTOBER 25 HOLIDAYS AND FESTIVALS
Soissons, France: ST. CRISPIN’S DAY cobbler’s procession.
Chadron, Nebraska: UGLY PICKUP truck contest, and UGLY PICKUP QUEEN.

ALSO ON OCTOBER 25 IN HISTORY…
1400 — British poet Geoffrey Chaucer dies, London, England.
1806 — Ego-philosopher Max Stirner born, Bayreuth, Bavaria.
1860 — American Mountain Man Grizzly Adams dies, Charlton, Massachusetts.
1881 — Spanish painter, commie Pablo Picasso born, Málaga, Spain.
1902 — American writer Frank Norris dies, San Francisco, California.
1914 — American poet John Berryman born, McAlester, Oklahoma.
1950 — Tibet invaded by Red China. Dalai Lama flees for India.
1983 — U.S. troops invade Grenada following death of Maurice Bishop.
1984 — Hippie writer Richard Brautigan commits suicide, Bolinas, California.

Excerpted from The 2010 Autonomedia Calendar of Jubilee Saints: Radical Heroes for the New Millennium by James Koehnline and the Autonomedia Collective

AUCTION: Self-portrait by photographer Stacy Kranitz

“Me and my pretend boyfriend #2” by Stacy Kranitz

Photojournalist and Arthur contributor Stacy Kranitz writes:

I have been included in a self-portrait auction: “Face and Figure: A Curated Auction of Self-Portraits,” presented by Daniel Cooney Fine Art & iGavel Auction.

This self-portrait was made while working on a series of images, “The Lurkers” at a dystopian compound in southern Ohio. In the images I fetishize youthful abandon. The project illustrates the photographer’s longing for a lost youth. I use the camera to turn disturbing, vulgar and excessive events into desired activities.

The image, “Me and my pretend boyfriend #2”, reveals part of the process by which I came to get my images. I interact and immerse myself in the activities of the kids that surround me. I do the drugs they hand me and mimic their behavior with a longing to fit in. The self-portrait is evidence of this attempt. It also serves as a nod to the “The Ohio Project” by Nikki S. Lee.

The auction for this image goes thru October 27.

Go here to bid: bid.igavelauctions.com

Stacy Kranitz: http://stacykranitz.com/

Oct. 24 Autonomedia Jubilee Saint—RAFAEL AZCONA FERNÁNDEZ


OCTOBER 24 — RAFAEL AZCONA FERNÁNDEZ
Prolific Spanish surrealist, satirist, screenwriter.

ALSO ON OCTOBER 24 IN HISTORY…
1644 — American colonial reformer William Penn born, London, England.
1868 — Feminist explorer Alexandra David-Neel born, Paris, France.
1911 — Death of lighthouse keeper, feminist Ida B. Lewis, Limerick, Rhode Island.
1926 —Spanish surrealist screenwriter Rafael Azona Fernández born, Logroño.
1940 — So-called 40-hour work-week established in U.S. — Hah!
1955 — Eighteen-day bout of “smog” claims Los Angeles, California.


Above: Alexandra David-Neel in typical Tibetan traveling clothes, 1927.

Excerpted from The 2010 Autonomedia Calendar of Jubilee Saints: Radical Heroes for the New Millennium by James Koehnline and the Autonomedia Collective

A Poem from Mark Strand

Keeping Things Whole
by Mark Strand

In a field
I am the absence
of field.
This is
always the case.
Wherever I am
I am what is missing.

When I walk
I part the air
and always
the air moves in
to fill the spaces
where my body’s been.

We all have reasons
for moving.
I move
to keep things whole.

BACTERIAL INTELLIGENCE

from : http://spectregroup.wordpress.com/2010/10/22/bacterial-intelligence/

Sine Qua Non | Distributed Awareness
http://astrobio.net/interview/2111/bacterial-intelligence
http://miller-mccune.com/science-environment/bacteria-r-us-23628/

“Strictly by the numbers, the vast majority — estimated by many scientists at 90 percent — of the cells in what you think of as your body are actually bacteria, not human cells. In fact, most of the life on the planet is probably composed of bacteria. They have been found making a living in Cretaceous-era sediments below the bottom of the ocean and in ice-covered Antarctic lakes, inside volcanoes, miles high in the atmosphere, teeming in the oceans — and within every other life-form on Earth. In a series of recent findings, researchers describe bacteria that communicate in sophisticated ways, take concerted action, influence human physiology, alter human thinking and work together to bioengineer the environment. Emerging knowledge about bacteria suggests that the micro-biosphere is much more like a web, with information of all kinds, including genes, traveling in all directions simultaneously. Microbes also appear to take a much more active role in their own evolution than the so-called “higher” animals. If conditions are favorable, a population of bacteria can double every 20 minutes or so. The primary method most bacteria use is called “conjugation,” a process in which genetic material is transferred between two bacteria that are in contact. It’s as close as they come to sex (although, as far as we know, lacking the romance; it’s more like downloading apps from a website). In principle, every bacterium can exchange genes with every other bacterium on the planet. A side effect of this reality: The notion of separate bacterial species is somewhat shaky, although the term is still in use for lack of a better alternative. Group behavior has now been demonstrated so widely that many microbiologists view bacteria as multicellular organisms, much of whose activity — from gene swapping to swarming to biofilm construction — is mediated by a wide variety of chemical communications. Bacteria use chemicals to talk to each other and to nonbacterial cells as well. In other words, they have “social intelligence.”

In 2007, the NIH began an ambitious program called the Human Microbiome Project, which aims to take a census of all the microorganisms that normally live in and on the human body. Most of these live in the digestive tract, but researchers have also discovered unique populations adapted to the inside of the elbow and the back of the knee. Even the left and right hands have their own distinct biota, and the microbiomes of men and women differ. The import of this distribution of microorganisms is unclear, but its existence reinforces the notion that humans should start thinking of themselves as ecosystems, rather than discrete individuals. Recent research has shown that gut microbes control or influence nutrient supply to the human host, the development of mature intestinal cells and blood vessels, the stimulation and maturation of the immune system, and blood levels of lipids such as cholesterol. They are, therefore, intimately involved in the bodily functions that tend to be out of kilter in modern society: metabolism, cardiovascular processes and defense against disease. Many researchers are coming to view such diseases as manifestations of imbalance in the ecology of the microbes inhabiting the human body. If further evidence bears this out, medicine is about to undergo a profound paradigm shift, and medical treatment could regularly involve kindness to microbes. In a surgical patient being fed by an IV drip, the gut bacteria perceive their sustenance disappearing. A decline in available nutrients alarms them. And surgery triggers the release of stress compounds that bacteria also sense, Alverdy says. Chemotherapy and radiation have similar effects. When threatened, bacteria become defensive, often producing toxins that make the host even sicker. They also tend to speed up their acquisition of and purging of genes when under external selection pressure, of which antibiotics are an obvious and powerful example. Alverdy is finding success in treating patients with a strategy he calls “ecologic neutrality.” In research reported in the August 2008 Surgery, he was able to prevent P. aeruginosa from turning virulent in surgically stressed mice by dosing them with polyethylene glycol, which supplies the bacteria with phosphate, one of their primary needs. “Once they sense there’s plenty of phosphate,” he says, “they figure everybody must be happy here.” The treated mice in his experiments, unlike the controls, did not contract fatal infections. Researchers have found several reasons to believe that bacteria affect the mental health of humans. For one thing, bacteria produce some of the same types of neurotransmitters that regulate the function of the human brain. The human intestine contains a network of neurons, and the gut network routinely communicates with the brain. Gut bacteria affect that communication. “The bugs are talking to each other, and they’re talking to their host, and their host talks back,” Young says. The phrase “gut feeling” is probably, literally true. Even more intriguingly, there have long been hints that some bacteria, including Bifidobacteria commonly found in yogurt, can improve mood. A common soil microbe, Mycobacterium vaccae, has recently been found to cheer up lab mice in experiments by Christopher Lowry.


Yellowstone’s Grand Prismatic Spring’s vivid colours are the result of pigmented bacteria; the colours range from green to red, depending on the amount of chlorophyll the bacteria has, as well as the temperature of the water.

Beyond the universe of bacterial genes recently discovered in the human gut, surveys of marine microbes are producing similarly staggering numbers of genes and species. This spring, J. Craig Venter and co-authors reported that samples of seawater taken near Bermuda yielded 150 new types of bacteria and more than a million previously unknown genes — this in an area of open ocean thought to be low in nutrients and sparsely populated by microorganisms. R. John Parkes studies microbes found in core samples collected by the Ocean Drilling Program from rocks deep below the ocean floor. “For a long time, these deep sediments were thought to be devoid of any life at all,” he says. There’s life down there, all right, but talk about slow metabolism: When Parke analyzed 4.7 million-year-old organic sediment in the Mediterranean, he estimated the average time it took for resident microbes to reproduce by cell division at 120,000 years. And he reported finding living bacteria just over a mile below the seafloor, in sediments 111 million years old and at temperatures of 140 to 212 degrees Fahrenheit. But wherever they live, bacteria can take most of the credit for bringing planetary geology into the service of life. They started working on these processes promptly upon their first emergence, perhaps as early as a mere billion years into Earth’s 4.5-billion-year history. Both the energy-releasing chemical reactions and the assembly of complex organic molecules necessary for life are “an emergent property of microbial life on a planetary scale.” In fact, Falkowski wrote, the genes that enable these processes today “may have been distributed across a common global gene pool, before cellular differentiation and vertical genetic transmission evolved as we know it today.” In other words, bacteria are supreme code monkeys that probably perfected the packages of genes and the regulation necessary to produce just about every form of life, trading genetic information among themselves long before there was anything resembling a eukaryotic cell, let alone the masters of the universe that humans believe humans to be. “They don’t waste things. They’re very efficient, very clever. They keep it simple but very elegant and sophisticated.” Giovannoni stops short of claiming that bacteria are actually thinking. But the litany of bacterial talents does nibble at conventional assumptions about thinking: Bacteria can distinguish “self” from “other,” and between their relatives and strangers; they can sense how big a space they’re in; they can move as a unit; they can produce a wide variety of signaling compounds, including at least one human neurotransmitter; they can also engage in numerous mutually beneficial relationships with their host’s cells. Even more impressive, some bacteria, such as Myxococcus xanthus, practice predation in packs, swarming as a group over prey microbes such as E. coli and dissolving their cell walls.

Marc van Duijn and colleagues point out that the presence of “the basic processes of cognition, such as perception, memory and action” in bacteria can now be “plausibly defended.” And bacteria that have antibiotic-resistance genes advertise the fact, attracting other bacteria shopping for those genes; the latter then emit pheromones to signal their willingness to close the deal. These phenomena, Herbert Levine’s group argues, reveal a capacity for language long considered unique to humans. But this raises the question: Is some nonhuman software organizing the teamwork of all those nonhuman semi-smart robots, aka bacteria? For this would be the truly radical argument: that bacteria — demonstrably integrated deeply and broadly into the entire planet, shaping its geochemistry, creating substrates and chemical processes that support the development of complex organic molecules, regulating the cycling of energy and nutrients both in “higher” organisms and their environments — constitute a kind of distributed awareness encompassing the whole planet. That not only are bacteria in a given local environment busy texting each other like mad, but the entire planet may consist of a giant Microbial World Wide Web. In a more down-to-earth assessment, it is clear that bacteria are not what the general run of humans thought they were, and neither are humans. Bacteria are the sine qua non for life, and the architects of the complexity humans claim for a throne. The grand story of human exceptionalism — the idea that humans are separate from and superior to everything else in the biosphere — has taken a terminal blow from the new knowledge about bacteria. Whether humanity decides to sanctify them in some way or merely admire them and learn what they’re really doing, there’s no going back. And if there’s any hope of rebalancing the chemistry of a biosphere deranged in two short centuries by humans, it very likely lies in peaceful coexistence with the seemingly brilliant, deceptively simple life-forms comprising the domain Bacteria.”

My Top Ten Favorite Psychedelic Folk Songs, by Genesis Breyer P-Orridge (Arthur, 2004)

Published in Arthur No. 13 (Nov., 2004)

My Top Ten Favorite Psychedelic Folk Songs
by Genesis Breyer P-Orridge

I was invited to create a list of my personal FAVORITE music and so I did, for an English newspaper The Independent. I was happy to illustrate how different my taste is to the endless dark mediocrity of current so-called Industrial Music that people seem to assume I would like when I NEVER have!

A note about the number of Incredible String Band songs in the following list: In 1969, I was a member of The Exploding Galaxy kinetic performance troupe in London. Some members left to form Stone Monkey, who danced with the ISB for a while. I had been listening to the Incredible String Band since school. The surrealism and FREEDOM of the lyrics is what continually engages me: the subject matter of absurdity and spirituality combined. I feel the ISB are probably the lyrical geniuses of the ’60s and onwards, far more than the Beatles or Dylan, who become predictable and never really extended the form of the song as an open system in the same way. Once one gets the ISB all the other musics fall into place. These are the true troubadours of the last two centuries. They explore divinity and magick from a lyrical chivalric dimension. Combine this with the interdimensionality and you have works beyond compare. SUBLIME!

Go and explore, there are more stories in the drug mine of British folk than man hath dreamed of and Lewis Carroll hath penned to his own particular blend of paper.

Genesis Breyer P-Orridge
New York City, April 2004

=====

1. “Meet on the Ledge” by Fairport Convention
(from What We Did On Our Holidays, 1968)
When I was at Hull University this song was on the student-picked juke box. The in-joke amongst we flower children/soon-to-be-drop-outs was that when we wanted to score hash from the University dealer we’d put this record on as a buying signal and meet outside by the “hedge.”

2. “When I Get Home” by Pentangle
(from Light Flight compilation double CD, 1971)
This is amazing! Bert Jansch, John Renbourn, Richard Thompson and the crew evoke the most immersive sense of melancholy. I saw all the guitarists individually in the Hall of Residence cafeteria so this always makes me smell gravy and roast potatoes instead of think of alcoholism. A whiskydelic song as Lady Jaye would say.

3. “A Very Cellular Song” by the Incredible String Band
(from The Hangman’s Beautiful Daughter, 1968)
Probably my equal favorite song of all time. Full of whimsy, weirdness, surreal lyrics that insist they are profound when you know they are more likely just found. When it gets to a sequence which describes the feelings of an amoeba you know that you are, after all, in the presence of genius!

4. “Strangely Strange But Oddly Normal” by Dr. Strangely Strange
(from Kip of the Serenes, 1970)
I can’t imagine life without this band. They always bring joy to my heart. Rumor has it the main singer split to become a full-on Zen priest so they only made two albums. Both are total classics of British pre-Raphaelite fairytales. No other people can pull off this nonsense poetry so authentically. The genius Joe Boyd brought them from Eire to record their masterpiece. You do not love words if you cannot love this song which has the silliest chorus ever written.

5. “Sign On My Mind” by Dr. Strangely Strange
(from Heavy Petting, 1970)
I used to have this on vinyl and the cover unfolded as intricately and dadaistically as the music and lyrics. Gnomic hippies peer from insubstantial cut-out trees as we are led a merry frolic into the surprise of a guitar solo by Gary Moore of Thin Lizzy fame! I have seriously considered doing a cover version of this song with The Master Musicians of Jajouka playing the flute parts.

6. “Time Has Told Me” by Nick Drake
(from Five Leaves Left, 1969)
The myth says that Rizzla rolling papers had one paper that said “Five Leaves Left” to warn stoners of impending doom. Of course, I could have chosen ANY song by Nick Drake. The intensity of melancholia drenching the analog tape, the sheer PRESENCE of his voice is an honor to share, as is the raw intimacy with which he describes turmoil, creating confusion in us by delicately flecking every edge of his words with guilty beauty.

7. “My Father Was a Lighthouse Keeper” by the Incredible String Band
(from Earthspan, 1972)
Here I am duty bound to confess I have at least 20 ISB CDs and albums! Never, ever, on any day, in any mood do I feel less than joyous to hear their voices and humor, their grand metaphysics and acid-drenched morality plays. At first I wasn’t sure about this era. L. Ron Hubbard supposedly wanted to guide their parables. But there is something in the violin—as an electric violin player since 1966 myself, I am a sucker for them. Now, I bellow along and feel the sea spray soak my mediaeval hose as I witness a murderous foam.

8. “Translucent Carriages” by Pearls Before Swine
(from Balaklava, 1965)
Tom Rapp is one of the great undiscovered poet songwriters from Eastern USA. Originally on ESP Disc alongside the Fugs and other neo-Beat nutters he occasionally lets slip a seductive lisp. I have never figured out the meaning of this song (which was first played to me by Annie Ryan in Liverpool in a post-acid glow) even though I did record it for the Psychic TV Pagan Day album. Answers on a dog-tag please. He is a lawyer now. Sensible man saw too much of the larval nature of mankind for his own peace of heart.

9. “War in Peace” by Alexander “Skip” Spence
(from Oar, 1969)
Skip was a Canadian bass player who switched to drums for the Jefferson Airplane during the acid madness until he was dropped in 1966 for missing a rehearsal! He turned up like a mad penny in Moby Grape next, still erratic and enigmatic. There’s the touch of Syd Barrett tragedy in the implosion and incompleteness of many of his songs. His deranged inspiration sneaks him in as folksy acid.

10. “Ducks on a Pond” by the Incredible String Band
(from Wee Tam and the Big Huge, 1968)
Yes, I know, there are so many others and where DO you draw the psychedelic line? By its very natyre it meanders and has no beginning, edge or point. I wanted to include the Blossom Toes’ “We Are Ever So Clean”; Nirvana’s “All of Us”; anything quirky by Syd Barrett (which means everything he did). Why I even toyed with Kaleidoscope from the USA and Dantalian’s Chariot (whose guitarist went on to play in The Police!!! Oh Andy Summers, ouch!). But “Ducks” is the 1968 masterpiece. A total artwork. A monster that will not shut up or stop spiralling around and around as dumb as a duck and as crazy as a fox complete with “inky scratches everywhere.”


Playlist on Spotify

Oct. 21 Autonomedia Jubilee Saint – ANTE CILIGA


OCTOBER 21 — ANTE CILIGA
Croatian born Left-Communist, anti-Stalinist theorist.

OCTOBER 21 HOLIDAYS AND FESTIVALS
FESTIVAL OF PARLOR SHAMANISM.

ALSO ON OCTOBER 21 IN HISTORY…
1772 — British Romantic poet Samuel Taylor Coleridge born, Devon, England.
1888 — Spiritualist Margaret Fox confesses spirit rappings were a put-on.
1917 — Jazz great Dizzy Gillespie born.
1929 — Utopian novelist Ursula K. LeGuin born.
1967 — Yippies exorcise evil spirits from Pentagon, causing it to visibly levitate.
1969 — American Beat writer Jack Kerouac dies, St. Petersburg, Florida.
1984 — French filmmaker François Truffaut dies.
1992 — Croatian council communist writer, theorist Ante Ciliga dies, Zagreb.

Excerpted from The 2010 Autonomedia Calendar of Jubilee Saints: Radical Heroes for the New Millennium by James Koehnline and the Autonomedia Collective

Nov. 5-21, Turner's Falls, MA: SUN-POWERED MUSIC LANDSCAPE EXPERIENCE

Via http://www.sun-boxes.com/

“Sun Boxes is a solar powered sound installation. It’s comprised of twenty speakers operating independently, each powered by the sun via solar panels. Inside each Sun Box is a PC board that has a recorded guitar note loaded and programmed to play continuously in a loop. These guitar notes collectively make a Bb chord. Because the loops are different in length, once the piece begins they continually overlap and the piece slowly evolves over time.

“Participants are encouraged to walk amongst the speakers, and surround themselves with the piece. Certain speakers will be closer and, therefore, louder so the piece will sound different to different people in different positions throughout the array. Allowing the audience to move around the piece will create a unique experience for everyone. in addition, the participants are encouraged to wander through the speakers, which will alter the composition as they move. Given the option two people will take different paths through the array and hear the composition differently. Sun Boxes is not just one composition, but, many.

“We are all reliant on the sun. It is refreshing to be reminded of this. Our lives have filled up with technology. But we still need the sun and so does Sun Boxes. Karlheinze Stockhausen once said ‘using Short-wave radios in pieces was like improvising with the world.’ Similarly, Sun Boxes is collaborating with the planet and its relation to the sun.

“Come be part of the drone.

“For the first three weekends of November Turners Falls River Culture will present Craig Colorusso’s latest piece Sun Boxes. At three locations, allowing the participants to observe the piece evolve as it moves through the town.

Nov. 5-7 Lawn of the Great Falls Discovery Center, 2 Ave.
Nov. 12-14 Peskeomskut Park, Ave. A + 7th Sts
Nov. 19-21 Lawn at the beginning of the bike path, 1st St

MORE: Turner’s Falls RiverCulture

MORE: http://www.sun-boxes.com/