Series of Posters for the Guimarães Jazz Festival 2009
What words would you use to describe 1960s French pop sensation Gigi Gaston? With a growing cult discovering her through the dozens of photos, periodicals, songs and videos assembled by Josh Gosfield, some adjectives describing the chanteuse nicknamed the "Black Flower" include "sultry," "elusive," "scandalous," "murderous" and "misunderstood."
To that you must add the word "fictitious" Gigi Gaston is wholly and entirely a creation of Gosfield, an artist and designer whose exhibition at the Steven Kasher Gallery in Manhattan closes on Wednesday, November 25th after a monthlong run. Not only did he cast Gigi, shoot the period-perfect photos and created the meticulously rendered versions of the covers of actual magazine of the era along with a staggering variety of her record sleeves, he's also responsible for the putative Jean-Luc Godard film short for Gigi's haunting song "Je Suis Perdue," which is presented here for your viewing pleasure.
hat tip http://twitter.com/JakeNYC
Wake up you sleepy head
Put on some clothes, shake up your bed
Put another log on the fire for me
Ive made some breakfast and coffee
Look out my window what do I see
A crack in the sky and a hand reaching down to me
All the nightmares came today
And it looks as though they're here to stay
What are we coming to
No room for me, no fun for you
I think about a world to come
Where the books were found by the golden ones
Written in pain, written in awe
By a puzzled man who questioned
What we were here for
All the strangers came today
And it looks as though they're here to stay
Oh you pretty things (oh you pretty things)
Don't you know you're driving your
Mamas and papas insane
Oh you pretty things (oh you pretty things)
Don't you know you're driving your
Mamas and papas insane
Let me make it plain
You gotta make way for the homo superior
Look at your children
See their faces in golden rays
Don't kid yourself they belong to you
They're the start of a coming race
The earth is a bitch
Weve finished our news
Homo sapiens have outgrown their use
All the strangers came today
And it looks as though they're here to stay
Oh you pretty things (oh you pretty things)
Don't you know you're driving your
Mamas and papas insane
Oh you pretty things (oh you pretty things)
Don't you know you're driving your
Mamas and papas insane
Let me make it plain
You gotta make way for the homo superior
PAINT YOUR TEETH is a live event celebrating experimental literature, music and dance. It's held in Tokyo every two months or so.
PAINT YOUR TEETH 5 Line-up
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-The Annubhava Orchestra
-oninko!
-Steve Finbow
-Melissa Mann
-Sarah MacLeod + Soddy
-Chikanari Shukuka
-the zen stance
-jim²achin[e]
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Sunday, November 22nd @ Gamuso in Asagaya
In 2004, a Newsweek magazine article called Bob Dylan "the most influential cultural figure now alive," and with good reason. He has released more than forty albums in the last four decades, and created some of the most memorable anthems of the twentieth century, classics such as "The Times They Are A-Changin," "Like a Rolling Stone," and "Blowin' in the Wind."
While Dylan's place in the pantheon of American musicians is cemented, there is one question that has confounded music and literary critics for the entirety of Dylan's career: Should Bob Dylan be considered a songwriter or a poet? Dylan was asked that very question at a press conference in 1965, when he famously said, "I think of myself more as a song-and-dance man."
The debate has raged on ever since, and even intensified in 2004, when Internet rumors swirled about Dylan's nomination for a Nobel Prize in Literature, and five well-hyped books were released almost simultaneously: Dylan's Visions of Sin, by Oxford professor of poetry Christopher Ricks, who makes the case for Dylan as a poet; Lyrics: 1962-2001, a collection of Dylan's songs presented in printed form; Chronicles, the first volume of Dylan's memoir; Keys to the Rain, a 724-page Bob Dylan encyclopedia; and Studio A, an anthology about Dylan by such esteemed writers as Allen Ginsberg, Joyce Carol Oates, Rick Moody, and Barry Hannah.
Christopher Ricks, who has also penned books about T. S. Eliot and John Keats, argues that Dylan's lyrics not only qualify as poetry, but that Dylan is among the finest poets of all time, on the same level as Milton, Keats, and Tennyson. He points to Dylan's mastery of rhymes that are often startling and perfectly judged. For example, this pairing from "Idiot Wind," released in 1975:
Idiot wind, blowing like a circle around my skull,
From the Grand Coulee Dam to the Capitol
The metaphorical relation between the head and the head of state, both of them two big domes, and the "idiot wind" blowing out of Washington, D.C., from the mouths of politicians, made this particular lyric the "great disillusioned national rhyme," according to Allen Ginsberg.
"The case for denying Dylan the title of poet could not summarily, if at all, be made good by any open-minded close attention to the words and his ways with them," Ricks wrote in Dylan's Visions of Sin. "The case would need to begin with his medium."
The problem many critics have with calling song lyrics poetry is that songs are only fully realized in performance. It takes the lyrics, music, and voice working in tandem to unpack the power of a song, whereas a poem ideally stands up by itself, on the page, controlling its own timing and internal music. Dylan's lyrics, and most especially his creative rhyme-making, may only work, as critic Ian Hamilton has written, with "Bob's barbed-wire tonsils in support."
It is indisputable, though, that Dylan has been influenced a great deal by poetry. He counts Arthur Rimbaud and Paul Verlaine alongside Woody Guthrie as his most important forebears. He took his stage name, Bob Dylan, from Welsh poet Dylan Thomas (his real name is Robert Allen Zimmerman). He described himself once as a "sixties troubadour," and when he talks about songwriting, he can sometimes sound like a professor of literature: "I can create several orbits that travel and intersect each other and are set up in a metaphysical way."
His work has also veered purposefully into poetry. In 1966, he wrote a book of poems and prose called Tarantula. Many of the liner notes from his 1960s albums were written as epitaphs. And his songwriting is peppered with literary references. Consider, for example, these lyrics from "Desolation Row," released on 1965's Highway 61 Revisited:
Praise be to Nero's Neptune
The Titanic sails at dawn
And everybody's shouting
"Which Side Are You On?"
And Ezra Pound and T. S. Eliot
Fighting in the captain's tower
While calypso singers laugh at them
And fishermen hold flowers
Professor Ricks is not the only scholar who considers Dylan a great American poet. Dylan has been nominated for a Nobel Prize in Literature every year since 1996, and the lyrics to his song "Mr. Tambourine Man" appeared in the Norton Introduction to Literature. (...)
from Bob Dylan: "I'm a poet, and I know it"
via poets.org
hat tip poet's musings
Poet. Lover of academy and porch.
