Monte Montgomery

Acabei de achar essa incrível versão de Little Wing, composição do grande Jimi Hendrix, feita por Monte Montgomery, um elétrico-violonista americano, nascido no Alabama em 1966.

O cara toca muito bem, usa seu violão elétrico acompanhado de efeitos típicos de uma guitarra, fazendo um som incrível.

Famed guitarist and songwriter Jimi Hendrix was born in Seattle on this date (Nov 27) in 1942.  He bounced between Vancouver, BC and Seattle during his childhood and attended (but did not graduate) from the latter’s Garfield High School.  Influenced by Chuck Berry, Elvis Presley (whom he saw in concert in Seattle), and countless other rock n roll pioneers during his teens, Hendrix perfected his guitar skills and gained famed in the US and Europe.  The Washingtonian’s first major success came at the 1967 Monterey Pop Festival, but he is perhaps best remembered for his live performance at Woodstock two years later.  He died in London on Sep 18, 1970, and was buried in Greenwood Memorial Cemetery in Renton.  His grave has been a shrine of sorts to Seattle musicians ever since.

Though he was famous for his virtuoso skills on the electric guitar during live concerts, Hendrix had several Top 40 hits stemming from three studio albums: Are You Experienced (1967), Axis: Bold As Love (1967), and Electric Ladyland (1969).

JIMI HENDRIX TOP 40 HITS

• Purple Haze (1967)
• The Wind Cries Mary (1967)
• All Along the Watchtower (1968)
• Crosstown Traffic (1968)
• Stepping Stone (1970)
• Voodoo Child (1970)

“Voodoo Child” a fost declarat, în urma unui sondaj de făcut pe BBC, cel mai tare riff din istoria muzicii. Total de acord. Piesa asta e simplă şi genială. Au preluat-o mulţi, şi ăia de la Guns în “Civil War”, dar niciodată nu se pot ridica la nivelul regelui ţiganilor. Nu sunt şi n-am fost niciodată fan sondaje, experimente şi alte studii de genul chiloţii tetra te scapă de cancerul la colon, însă ăsta a fost exact pe gustul meu, mai ales că în clasament se află multe dintre piesele pe care le ascult de ani buni zilnic. Câteva exemple: “Sweet Child O’ Mine”, “Smoke on the Water”, “Layla”, “Enter Sandman”, “Smells Like Teen Spirit”, dar şi mai noile şi superbele “Plug in Baby” (Muse) şi “Seven Nation Army” (White Stripes). Hai să facem bine să nu fie rău!

   Je n’ai aucune idée de comment (re)commencer mon blog.

   Je devrais me présenter mais je n’arrive jamais à faire court. Je m’appelle Ced, je suis né en 1990 mais j’aurais dû naître à la fin des années 50 et grandir quelques part au Etats-Unis ou en Angleterre pendant les 60’s et les 70’s. Il y a pas si longtemps encore je rêvais d’être à l’image des héros tels que Kurt, Jim, Janis, Ian, Jimi, Sid… J’aime la musique plus que tout, Nirvana, the Doors, David Bowie, the Clash, the Rolling Stones, Joy Division, Lou Reed, Janis Joplin, the Sex Pistols, Hendrix, Pink Floyd, Jefferson Airplane, the Pixies, Sonic Youth, etc, etc. J’écoute à peu prêt tous les styles de musiques, bref vous aurez l’occasion de voir ça tout au long de mon blog.

SPACE ODDITY - David Bowie

   A part la musique j’aime beaucoup le cinéma, (les séries), l’art, voyager, etc… J’aime glander et j’aime par dessus tout avoir “la flemme de…”. J’aime la solitude et j’ai souvent besoin de me sentir seul. J’aime jouer de la batterie. J’aime les lives, les festivals et leurs ambiance.  Je rêve d’aller vivre à Londres quelques temps, d’aller voir les temples Maya au Mexique et de faire le tour du monde. Et enfin je suis le genre personne capable de débarquer dans son lycée pour massacrer tout le monde avec un fusil à pompe. Bon j’estime que c’est tout ce qu’il y à a savoir sur moi, hin, hin. Bon aller je vous laisse avec du Surf Rock  et une video de Godspeed You! Black Emperor.

MARIACHI’S FEVER - Hawaii Samurai

Godspeed You! Black Emperor – Rockets Fall On Rocket Falls

Buddy  Miles foi um cara surpreendente, pois participou da banda do Hendrix (Band of the Gypsys) e também tocou com o Santana. Porém seu trabalho individual é extremamente importante e de muito valor. Vamos falar agora sobre seu disco “Them Changes”, um instrumental com presença forte de vocais excelentes. O baterista aqui participou também no baixo, vocais, teclados, guitarras, além de ser o produtor, arranjador e principal executor das músicas. Viveu até 2008 anos muito bem vividos, até 2005  participou de vários álbuns e teve cerca de 20 discos solo lançados.

O disco “Them Changes” foi lançado em 1970, e ajudou principalmente a definir, descobrir e explorar a fusão entre funk e rock. Buddy Miles era um exímio baterista, um músico poderoso, que manjava muito de blues & ritmo.

As músicas são um passeio por um som versátil e original, que abraça o rock n roll com abordagens r&b e funk. A capa do disco mostra o artista jovem, sentado junto a sua bateria, uma ótima imagem de Miles.

“Heart’s Delight”, contém um naipe de metais em chamas completo com trompete, saxofone tenor, trombone, trompete e até mesmo um funky.

“Dreams” mostra como ele é apoiado por um coro de cantores, e a guitarra + teclado passeiam pelas notas dando uma sutileza à canção. “Uhul!”.

“Paul B. Allen, Omaha, Nebraska,” demonstra um baterista criativo que ele poderia ser, só que um órgão e guitarra mínima aparecem providenciando o devido apoio. A linha de baixo é sensacional!

E que nós continuemos a ter influências tão boas para produzir os nossos sons.

Track list:
01- Them Changes 3:22
02- I Still Love You, Anyway 4:14
03- Heart’s Delight 4:08
04- Dreams 4:53
05- Down by the River 6:22
06- Memphis Train 2:57
07- Paul B. Allen, Omaha, Nebraska 5:33
08- Your Feeling Is Mine 2:13

Ouça!

Purple Haze – Don’t know the location. Seems to be French TV. The provider gives the date as March 2, 1967. Hendrix is wearing the same jacket he wore at the Monterey Pop Festival in June. Above, two photos of Jimi at Monterey (with Brian Jones in second one).

The Wind Cries Mary (Jimi Hendrix)  – Stockholm Sweden – May 24, 1967

Hey Joe - Jimi Hendrix Experience (1967) Offenbach, Germany

In France, 1967, two songs: Hey Joe (Roberts)/Wild Thing(Chip Taylor). Prior to Wild Thing Hendrix does a bit of feedback play. The song also features a quote from Strangers in the Night which Frank Sinatra had a large hit with in ‘66.

Foxy Lady (Jimi Hendrix) – The sixth song of an eleven song set 9 October, 1967  : “Musicorama”, l’Olympia, Paris, France

The Jimi Hendrix and the band he called Gypsy Sun And Rainbows - live at Woodstock, 56:39

The google provider claims that this is the entire set by Jimi Hendrix at Woodstock. But the actual setlist the band played has a different order and is considerably longer.

1. Message To Love
2. Hear My Train A Comin’
3. Spanish Castle Magic
4. Red House
5. Master Mind
6. Here Comes Your Lover Man
7. Foxy Lady
8. Beginning
9. Izabella
10. Gypsy Woman
11. Fire
12. Voodoo Child (slight return)/Stepping Stone
13. Star Spangled Banner
14. Purple Haze
15. Woodstock Improvisation/Villanova Junction
16. Hey Joe

I’ll provide the list of songs in the video when I have time to listen to the whole thing.

Jimi Hendrix: the Uncut Story (2004)

Episode 1: 1942-1961 (51:57)

Episode 2 : 1961-67 (52:24)

Episode 3: 1967-71 (52:12)

Uli John Roth

Ci si può emozionare sino alle lacrime ascoltando il suono di una chitarra? A me è successo. Proprio ora. Non pensavo potesse accadere, eppure è successo. Anche questo è il potere della musica.

Credo che la grandezza di un artista che si esprime senza usare le parole valga doppio perché doppio è il rischio cui si espone: quello di non essere capito e quello, ancora peggiore, di essere frainteso. Difficile usare la musica per comunicare, difficile eppure possibile. Qualcuno ci riesce. Ci riusciva Jimi Hendrix, ci riesce Ritchie Blackmore, ci riesce Brian May e ci riescono tanti altri maestri che hanno formato la sensibilità musicale di chi scrive. Da qualche giorno ne ho scoperto un altro di questi maestri, ancora una volta un protagonista degli anni settanta. Favolosi e terribili quegli anni la cui anima vibra ancora, presente, viva, inquieta. Non va via, forse perché dannata. Benedetta sia quell’anima dannata. Bruci ancora a lungo.

Conoscevo Uli John Roth ma non il suo suono, ero a conoscenza della sua militanza negli Scorpions degli anni d’oro, quelli a cavallo tra il 1973 e il 1978, ricordo di averne sentito parlare per la prima volta nel 1998 in quanto membro di una delle tante incarnazioni del G3 di Joe Satriani. Pensavo, misero e presuntuoso, che fosse uno dei tanti guitar hero che popolano il variegato mondo della musica rock. Quanto sbagliavo! C’è voluto l’entusiasmo di una persona preziosa quanto l’emozione che muove ora le mie mani a farmi scoprire che dietro quel nome si celava un chitarrista geniale e raffinato come pochi. La musica di Uli John Roth è commovente e poetica come una poesia di Alda Merini. Così come commovente e poetica è  la passione di Cecè, lo splendido untore di cui sopra, che mi ha iniziato all’ascolto di Tokyo Tapes in una serata autunnale che farò davvero fatica a dimenticare.

Tra qualche giorno potrò ascoltare dal vivo la poesia musicale di Uli John Roth e, sono sicuro, altre lacrime righeranno il volto invisibile dell’anima mia, e non me ne vogliate se tornerò su questo spazio per parlarvene ancora. Le emozioni sono più belle quando sono condivise. Buona musica a tutti.

Giorgio Castriota

I’ve found a quite unconventional “new” version of the famous “Hey Joe” originally performed by Jimi Hendrix

Here it is:

Typical Michigan garage style!

[mefi]

Taking Woodstock is not what you might expect, but it remains beautifully realistic and  skilfully composed.

After Brokeback Mountain and Lust,Caution, Ang Lee returns with: Taking Woodstock.

There has been a lot of critics towards this film because woodstock left a (sometimes too) precise image in man’s memory. With time, Woodstock has become a symbol of an era when rebellious youth rose up alongside innovative music to defy common thoughts on war and sexual orientation. Today, we remember it as a period of emancipation for the western world, when the hunger for freedom and harmony was at a peak.

This year is the festival’s 40th anniversary but Taking Woodstock is not so much of an hommage as we could have expected. That explains why Hollywood Reporter critic Kirk Honeycutt wrote “it’s a low-wattage film about a high-wattage event, which is somewhat disappointing.”

Sex, drugs and rocknroll are not the main focus in Ang Lee’s film.  Yet I didn’t feel Taking Woodstock was a disapointement. At least, Lee was original enough to surprise his viewers. Taking Woodstock is a comedy with an incredible realistic touch. Emile Hirsh (Into the Wild) is perfect in his role, Imelda Staunton (Vera Drake) is hilarious, and Demetri Martin makes a great debut.

Although you won’t hear Hendrix’ guitar reefs, the atmosphere and moods of the period still feels quite well transcribed. Taking Woodstock might not be an acid trip, but it’s a true life experience on the path of growth and self-awareness.

My verdict: Interesting, funny and worth seeing.

what an existential, theological, depraved mess i am.

my safety has been ripped. torn. pried. shaken. displaced. no more labels. death to labels. labels were my black and white zone of comfort. my identity is not in reformed theology. it is certainly not in a political party. it is in jesus christ. and that’s just where the trouble starts. i have been humbled. i have been stupefied. i have been forced to look in a mirror that i haven’t gazed at in a very long time. there is love, there is confusion. hey, hendrix, is it love or confusion? what can i hold onto with unwavering confidence? what must i let go? ha, letting go…a lot of that has been happening lately. death is letting go. survival is letting go. letting go just seems like floating to me. what is this gravity that lands me here? in this “growth” i feel more distant than ever. i judged my progress by how many answers i had, the precious gifts of revelation that were like spiritual pencil marks on a wall. and now, what is there? how can the depth of my relationship with You be measured? nothing can exist unquestioned, not in my state. i want to believe that is very much okay, but i’m not so sure. faith needs doubt…that is what i have heard. but i have heard much, and little seems to be true these days. i want to think i am moving somewhat forward, even millimeters if that must be my pace, but it takes someone larger than myself to measure such a thing. it takes someone far enough away to hold a ruler stretched out from my birth to death, and no mortal can do such a thing. i can do no such thing. i can do everything through Him who strengthens me? not quite. there are some things that i just. cannot. do. i love You, though i feel like i have no idea how. i promise You, i want to.

am i okay?

Recently, I have been involved in a discussion of note regarding a specific image in a design mockup and concern that one of the people in the mockup was “playing the guitar backwards” and that the image should be changed lest the design face dread scorn and ridicule.

Please note: playing a guitar backwards is a relative thing. I feel I must rally against this claim in that it is discriminatory against those of us who are left-handed.

To wit:

I doubt this backwards guitar-playing was suspect. (Though he did just take a righty Strat and modify it.)

I’m going to assume that there were no nasty letters or phone calls received from worried people that the guy on the left was holding his guitar in the opposite direction from his bandmates. (And bass wasn’t even his preference.)

And for the slightly younger set:

…which might say something about the emotional stability of left-handed people, but whatever.

Things have been moving kinda slow lately in my music world. I suppose that is to be expected, with the other priorities of life taking precedence. I haven’t picked up the axe to write or play anything in several days, and it is starting to grate on me.

But, thankfully, some new music happened the other night in the 12-bar blues vein. It was sweet too – just started pouring out and before I knew it, I had a new song with some cool lyrics.

So, now I have about 3 new tunes that need to be laid down and put up – Four Dead in Five, Waiting and Pocketbook Blues. It has been a combination of fatigue and laziness that is the reason for the delay. It will happen this week though, by Saturday for sure.

Part of the problem is I live in an apartment, and belting doesn’t go over well with the neighbors late at night. If I don’t start early in the evening, I’m usually forced to wait until the weekend when I can get it done during an afternoon session.

This particular song, Pocketbook Blues, was inspired after listening to a Taj Mahal “Best Of” CD. I rolled into work one morning and suddenly was singing the phrase “Ain’t gonna be a slave to the man, baby/The Man’s getting rich off the money I spend…” and it took off from there. I suppose it was born from my natural contempt for consumerism and especially after hearing a story on the radio about credit card companies. Well, what better way to capture the cultural and personal moment than in a blues song bemoaning the state of affairs and one’s pocketbook?

One thing I learned when writing the lyrics…blues lyrics are tough. Mostly because excellent blues lyrics always has a one line clincher at the end of each phrase. Like “Red House”:

If my baby don’t love me no mo’

I know her sister will

Clincher. And usually, they are funny. How can you hear that and not laugh? So, coming up with witty clinchers at the end of each phrase was a challenge, but I think I accomplished it quite well – feel free to keep your disagreement to your damn self.

Well, that’s all I have time for now. Read, listen, move on…

Purple Maze – Jimi Hendrix

Created By Yonatan Frimer

To solve the mazes, find the entrance and exit arrows, and find the path between them without crossing over the dark ink.

More mazes like this one at TeamOfMonkeys.com and InkBlotMazes.com

Want to learn more about Jimi Hendrix, check out the links bellow from wikipedia

Jimi Hendrix

From Wikipedia, the free encyclopedia

Jimi Hendrix
Hendrix live at the Royal Albert Hall, February 18, 1969.
Background information
Birth name	Johnny Allen Hendrix
Born	November 27, 1942(1942-11-27) Seattle, Washington, United States
Died	September 18, 1970 (aged 27) London, England
Genres	Hard rock, blues-rock, acid rock, psychedelic rock, funk rock
Occupations	Musician, songwriter, producer
Instruments	Guitar, vocals, bass
Years active	1963–1970
Labels	RSVP, Track, Barclay, Polydor, Reprise, Capitol, MCA
Associated acts	The Jimi Hendrix Experience, Gypsy Sun and Rainbows, Band of Gypsys, The Isley Brothers, Little Richard, Curtis Knight and the Squires
Website	www.jimihendrix.com
Notable instruments
Fender Stratocaster Gibson Flying V

James Marshall “Jimi” Hendrix (born Johnny Allen Hendrix; November 27, 1942^[1] – September 18, 1970) was an American guitarist, singer and songwriter. He is often considered to be the greatest electric guitarist in the history of rock music by other musicians and commentators in the industry,^[2][3][4] and one of the most important and influential musicians of his era across a range of genres.^[5][6][7] After initial success in Europe, he achieved fame in the United States following his 1967 performance at the Monterey Pop Festival. Later, Hendrix headlined the iconic 1969 Woodstock Festival and the 1970 Isle of Wight Festival. Hendrix often favored raw overdriven amplifiers with high gain and treble and helped develop the previously undesirable technique of guitar amplifier feedback.^[8] Hendrix was one of the musicians who popularized the wah-wah pedal in mainstream rock which he often used to deliver an exaggerated pitch in his solos, particularly with high bends and use of legato based around the pentatonic scale. He was influenced by blues artists such as B.B. King, Muddy Waters, Howlin’ Wolf, Albert King, and Elmore James,^{[9][10][11][12]} rhythm and blues and soul guitarists Curtis Mayfield, Steve Cropper, as well as by some modern jazz.^[13] In 1966, Hendrix, who played and recorded with Little Richard’s band from 1964 to 1965, was quoted as saying, “I want to do with my guitar what Little Richard does with his voice.”^[14]

Carlos Santana has suggested that Hendrix’s music may have been influenced by his partly Native American heritage.^[15] As a record producer, Hendrix also broke new ground in using the recording studio as an extension of his musical ideas. He was one of the first to experiment with stereophonic and phasing effects for rock recording.

Hendrix won many of the most prestigious rock music awards in his lifetime, and has been posthumously awarded many more, including being inducted into the US Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. An English Heritage blue plaque was erected in his name on his former residence at Brook Street, London, in September 1997. A star on the Hollywood Walk of Fame (at 6627 Hollywood Blvd.) was dedicated in 1994. In 2006, his debut US album, Are You Experienced, was inducted into the United States National Recording Registry, and Rolling Stone named Hendrix the top guitarist on its list of the 100 greatest guitarists of all-time in 2003.^[16] He was also the first person inducted into the Native American Music Hall of Fame.

Alva Noto & Ryuichi Sakamoto

Sonic Youth

Jimmi Hendrix

Eric Dolphy

Bardo Pond

Jim O`Rourke

Yoshimi P-We

Buddha Machine II (Sound Machine)

The Black Box (Sound Machine)

Jimmy Giuffre

Download aqui

Aproveitando a deixa sobre o “Triângulo Texano” do post anterior…

O guitarrista e vocalista Johnny Winter foi um IMENSO sucesso no final dos anos 60 e começo dos anos 70. Começou tocando blues (tocando inclusive com Muddy Waters), depois sua música foi se transformando num hard rock psicodélico (sem deixar o blues de vista). Nos anos 80 voltou as origens e lançou diversos discos focados em blues e rock’n'roll, mas nunca fizeram um sucesso parecido com seus discos ferozes dos anos 70. Seus shows eram explosivos e sua figura (um albino alto, vesgo e todo tatuado) inesquecível. Junto com seu irmão Edgar Winter (também alto e albino) lançou vários discos em diversas épocas, sempre acompanhado pelo não menos impressionante guitarrista Rick Derringer (que também merece um post por seu sensacional trabalho solo, em breve, má oe aguarrrrrrhhhhhdemmmmmm). Hoje Winter está em uma cadeira de rodas, vítima de complicações do uso de heroína por muitos anos…

Pra vocês terem uma idéia do poder do cara:

• - Os Rolling Stones compuseram “Silver Train” especialmente para ele
• - John Lennon compôs “Rock’n Roll People” para ele
• - “Um dos maiores guitarristas do mundo, vibrato incrível” (Ritchie Blackmore)
• - “Eu queria aquele som do neck pickup do JW” (Eddie Van Halen, quando do projeto da sua guitarra)
• - “Para mim ele é alguém como Hendrix” (Angus Young)
• - “Como vc faz isso ?!” (Hendrix, vendo Johnny Winter tocar slide)
• - “Um artista que me atira contra a parede ” (Rory Gallagher)

1. Ain’t That a Kidness [do álbum: Johnny Winter And (1970)]
2. Guess I’ll Go Away [do álbum: Johnny Winter And (1970)]
3. Blinded by Love [do álbum: Saints & Sinners (1974)]
4. Rock & Roll People (live) [do álbum: Captured Live! (1976)]
5. Roll With Me [do álbum: John Dawson Winter III (1974)]
6. Still Alive and Well [do álbum: Still Alive and Well (1973)]
7. Bony Moronie [do álbum: Saints & Sinners (1974)]
8. Lucille [do álbum: Still Alive and Well (1973)]
9. I’m Not Sure [do álbum: Second Winter (1969)]

• Formação clássica:
  • Johnny Winter: guitar, vocals
  • Rick Derringer: guitar, vocals
  • Randy Jo Hobbs: bass
  • Randy Zehringer: drums
  • Edgar Winter: keyboards, saxophone

(página dedicada: Musica da Boa (Podcast))

«Sono pronta a cogliere ogni opportunità e ogni cambiamento che mi faccia sentire una donna, una pornostar e un’artista…Lotta Continua, Sasha Grey». Si firma proprio così, la giovane pornostar sul suo visitatissimo myspace. Quale lotta? Forse – come ha dichiarato in conferenza al Tribeca film festival dove in anteprima mondiale è stato presentato The girlfriend Experience – quella per uscire dal mondo dell’hard di cui al momento è una star indiscussa anche solo 21enne. Non è la prima volta che una pornostar finisce a Hollywood ma non sempre viene diretta da un regista premio Oscar.

L’attrice americana è stata voluta da Steven Soderbergh, che passa dall’icona rivoluzionaria del Che (bocciata dal pubblico) a quella dell’adult movie, trasportandola nel ruolo di una escort di nome Christine, una ragazza di 22 anni, bella, magra,esile, bruna (anzi brunette come recitano i tag dei portali porno). Mentre il suo boyfriend fa il personal trainer e guadagna 125 dollari l’ora, Christine ne guadagna 2000 e si adagia sul divano vestita con bustini fetish.

Funzionerà questa doppia vita disciplinata dall’ambiziosa Christine? Ma soprattutto, per Sasha Grey si tratta davvero di una liberazione? Lasciando perdere il luogo comune dell’America terra di mille opportunità, l’esordio hollywoodiano finora è stato l’occasione per dichiarare che è stufa del mondo porno come può esserlo una macchina umana di quella industria dove «il sesso davanti alle telecamere è pura performance, dove ci sono solo io e il mio pubblico» e che vuole vedere «qualcosa di eccitante rispetto a tutto quello che ho fatto finora». Niente di strano, considerate le velleità intellettuali di Sasha Grey che invita a guardare di più Pasolini, che si dispiace di non aver incontrato John Cassavetes, che ama la Nouvelle Vague, Antonioni ed Herzog,  Monte Hellman e Bernardo Bertolucci, Terrence Malick e Louis Malle, David Lynch, Gus van Sant, John Stagliano, e Catherine Breillat, che impazzisce per John Coltrane, Mingus, Joy Division, Bauhaus, Hendrix, «Old Elton John», Bowie, Dylan, Radiohead e l’elettronica di Aphex Twin.

Ma non è una fuga perché a soli 21 anni, Sasha Grey da Sacramento, sui set hardcore da appena tre anni, ancora non è entrata nel cliché dell’attrice porno vissuta e dai mille sacrifici. Ancora lontana da venire una sua biografia sul modello di Jenna Jameson, la regina del porno americano che tre anni fa pubblicò una una storia edificante  ma con bollino in copertina «senza censure», chiedendo alla forma libro di comporre e legittimare a ritroso una via crucis necessaria a ottenere il successo in un’industria di altissimo livello, nel nome però della esclusiva liberazione sessuale delle fantasie maschili. Più che una biografia, un libro di cartone che voleva risultare candido come una certificazione di trasparenza nei buoni propositi, a dispetto del ruolo e dell’immediatezza planetaria del web dove Jenna è accessibile solo a pagamento e punta dritto ai desideri del pubblico.

Eppure anche la Grey ha un’immaginario da allontanare, perchè non è una pornostar qualsiasi: «I giorni delle pornostar complessate e vittime sono finiti, io appartengo a una nuova razza» ha dichiarato al giornale indipendente degli studenti dell’università di Santa Barbara in California. Ma quale razza? La razza di un mercato hardcore sempre più violento, non dietro le quinte ipercompetitive di una carriera come quella di Jenna Jameson, ma direttamente sulle scene dove l’esile Sasha- che fisicamente è lontana dalla Jameson con le sue curve imgombranti e l’aspetto vistoso, prepotente, da calendario- è invece sottomessa e umiliata.

La Grey è l’icona di un immaginario porno che spinge sempre più sull’acceleratore di un sesso estremo, targato Bdsm (bondage, dominazione, sadismo e masochismo) e accelerato nelle dinamiche fisiche, che spezza qualsiasi semplice armonia di coppia restituendo l’immagine di un motore che si ingolfa ogni due metri.

Il passo che l’ha fatta arrivare a Soderbergh non è un pentimento, ma l’evoluzione naturale di una immagine che Sasha ha curato insieme ai set hard: il suo myspace che non può ovviamente riprodurre immagini porno per non violare la policy relativa a ogni account, ci restituisce l’immagine di Sasha come una starlette alternativa, ritratta da Terry Richardson e Rony Alwin, che finisce sul Rolling Stone perchè quel mondo le appartiene, e non semplicemente perchè la ospita. Il cammino della Grey, la ragazza che invece di apparire nuda come altre pornostar nel corso dell’Howard Stern Show, preferisce mostrarsi avvolta in una bandiera palestinese è diverso dalla Jameson, regina scalzata che attende due gemelli da un lottatore, ma non per questo un cammino meno violento.

I thought this was clever.  [Found here.]

Can Head by the same guy who did the classic Potato Hunter.

[Found on Plate O'Shrimp... nice new find by our crack team of webminers.]

Easy Dub Allstars’ reggae version of Pink Floyd’s “Us and Them.”  Nice riddim… [Tip 'o the Tarboosh to "S&Dman" of Blogmocracy.]

And what is Halloween without Oingo Boingo? Danny Elfman’s band was tight and bizarre at the same time.  In 1980 or so, G-off and Bunk sat next to them at Madame Wong’s, buying them rounds and vice versa, without knowing who they were. Great show.

HAPPY HALLOWEEN!

Il y a une légende qui dit:

“… Et après ce morceau, Jimi créa l’homme…”

Clarke, Eric. Ways of Listening: An Ecological Approach to the Perception of Musical Meaning. New York: Oxford University Press, 2005. Print.

Eric Clarke’s Ways of Listening: An Ecological Approach to the Perception of Musical Meaning represents the first positive step towards my better understanding music and song in Ulysses as a function of the senses.  Since Bloom’s presentation of the illuminating concept of “Musemathemetics” in episode 11 (Sirens), I’ve been working with that idea, trying to define and draw the line between music as merely vibration (wavelengths, physics, etc.), and music as telling of nationality, identity, and emotion.

While some considerably long parts of the book, including those dealing with specific songs (when not illustrating a specific principal) such as Hendrix’s “Star Spangled Banner” and Beethoven’s “String Quartet in A Minor,” much of the book was useful.

Clarke defines his ecological approach to the subject in terms which are extremely relevant to the references of music in Ulysses, where the reader is obviously not hearing the music first-hand: “Ecology is the study of organisms in relation to their environment, and the approach to perception presented in this book is characterized as ecological because it takes as its central principle the relationship between a perceiver and its environment” (5).  As the function of song in the text has thus far almost exclusively been an internal (and thus mental) experience, it makes sense that an ecological approach would be an effective lens with which to view the text.

Another key concept was the relationship between the senses and environment, in which it is described that: “Actions lead to, enhance, and direct perception, and are in turn the result of, and response to, perception.  Resonance is not passive: it is a perceiving organism’s active, exploratory engagement with its environment” (19).  This concept has a clear relationship with sense and Bloom in two related ways.  First of all, his reaction to characters such as the blind stripling and the bat, and secondly in his general exploratory thought process.

As a last idea, language also figures into the nature of perception and understanding, where in the face of seemingly large differences, there exists a universality: “Speech also demonstrates another very general characteristic of perception: the environment is usually perceived as comparatively stable despite widespread and continual physical variations.  A native speaker/listener perceives the speech of others as being identifiable and comprehensible despite dramatic differences in the physical signals (vocal range, speed, accent, loudness, etc)” (34).  Although this may be true in practice, the end of Oxen in the Sun (albeit different than audible speech) certainly challenges this notion.

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