"Blind Joe Death was kind of John Fahey’s alter ego. He wanted to put out records under a different name and pretend he was an old obscure bluesman. He was obsessed with collecting these old obscure records that informed his American primitive style and he went on these quests down South to look for old 78 records with a couple of friends of his. Eventually they found this artist Skip James and rejuvenated his career. James wasn’t in music at all any more and he was someone they revered. Fahey was steeped in this whole mythology of his early period of these recording heroes that weren’t on television, weren’t on the magazines and you only saw them if you happened to be in Mississippi where they lived or the rare places they travelled to and I think he really longed to be one of those guys.
So when Fahey started being serious about making his records his idea was “I’m going to make this record, I’m going to call it Blind Joe Death” and this was a totally obscure idea, “I’m going to slip it into bins at record shops and at thrift stores and people will find it and ten or fifteen years from now they’ll say I wonder what happened to Blind Joe Death?”
It’s an obscure task from the very beginning, it’s not like he’s shooting for fame and fortune and Top Of The Pops, it’s almost the opposite of that. He’s shooting for obscurity, for this blissful obscurity that he was relating to. Self-mythologizing but in a way that’s so deep down. It’s not self-mythologizing like whoever does that these days, like Nick Cave or whoever, like somebody who is doing it on a big scale where a lot of people are reading about it, this is like Fahey’s self-mythologizing himself out of existence almost, hoping that 20 years later 5 people will have this record in their collection, ‘cos that’s the kind of guy he was, a guy that would make a record only 5 other people would have.
The original Blind Joe Death was released on only 100 copies and Fahey was developing this style that wasn’t beholden to the pop music of the day or anything like that. He was obviously listening to a lot of different stuff but he was formulating this thing that was really his own basically. It proved really influential to a certain class of people, certainly everybody that was involved in either folk music, or later on folk turning into pop music, or a lot of the people from Sonic Youth’s generation that kind of went back to it.
Fahey was really an antecedent in a way because he was playing in open tunings and playing a lot of stuff that didn’t fit any easy categorisation. Then later on he was doing tape manipulated pieces and adding sounds he recorded from tapes into his acoustic finger-picking stuff and obviously much later he was playing this really weirdo electro distorted music and ploughing his own row in a sense.
I came across him really early for a strange reason and it was for another record that I was going to put on the list, which was a record by Leo Kottke that Fahey put out. Leo Kottke is a much more popular person in the same vein as John Fahey and his early records were on Fahey’s label and he rose to quite a bit more popularity. He’s mostly an instrumental guitar player. He’s a lightning fast, super technical finger-picker with a lot of open tunings and his first record was called Six And Twelve String Guitar – it’s all instrumentals and it was one of the very first records on Fahey’s Takoma label. Somehow I came into that record very early, it’s got a weird black and white woodcut on the cover with an armadillo or something and it’s an amazing record. And after that record I started getting interested in this label Takoma and Fahey’s records were the next ones I found on it and then I realised that it was basically Fahey’s.
Then later, especially when Jim O’Rourke was in Sonic Youth, because he was so tied in with Fahey, we got even more into Fahey at that point. Fahey was also making these primitive artworks. We used a piece of his on the front cover of Sonic Youth’s The Eternal and I collected a bunch of stuff.
A couple of years before he died I managed to do a short tour with him, just a duo tour where we were both playing solo sets and we travelled around in a car for a week or so and he was making all these drawings on the road and I managed to get a couple off him. I’ve got a lot of his work at this point. He just was a very singular character and I think that’s what makes his music so beautiful that he just had his own agenda. He wasn’t kow-towing to the mores of the day or what people expected of their recording artist. He played the game for a little while and then said “oh fuck it”, got fat and weird and just kept doing his thing."
Helsinki Headnod Convention is a Jazz/Spoken Word band. Not too long ago, they released their debut EP, entitled, “Eargasms for Short-Sighted Post-Truth Era People”.
WHO’S MAKING YOU?
Mellow and subtle. This jazzy tune poses a series of interesting questions.
At the end of the day, it’s you and only you. You keep trying to place the blame on somebody else but it’s you. Also, you and only you are can make you or break you.
OUR TIME IS NOW
This 30 seconds clip tells listeners that their time is now. Also, it’s short, representing that time is short on earth and it shouldn’t be taken for granted.
SORROW AND PAIN
A mixture of Negro Spiritual mixed with Blues and elements of ‘60s Soul.
The black and white video shows an African-American woman walking in the evening. Also, a vehicle with its headlights on approaches and a Caucasian cop parks it.
The following scene shows the woman running away while the cop, dressed as a terrorist, is chasing her with a lit smoke screen in his hand.
The courageous woman falls to the ground, grabs a handful of snow, and throws it in her attacker’s face. Momentarily, it blinds him and she gets up and runs away.
But she can’t see where she’s going because of the smoke. Then, she’s confronted by another Caucasian man, dressed in riot gear. Also, he’s walking towards her while her other attacker is gaining ground behind her.
In the end, while snow is falling and visibility is blurry, the rioter beats the woman with the stick in his hand.
The suggestive video implies that those who are supposed to protect and serve urban communities contain an uncertain amount of national terrorists within their organizations.
Also, some things from the past have changed, but on the other hand, some things have remained the same.
SOLIDARITY
Mellow and smooth. One minute and 13 seconds of conscious therapy, which begins with a calming voice, “We glorify war when we should glorify peace.”
The title is a unity campaign that binds people together as one. Also, its aim is social change within a racist power structure.
DOWN ON BENDED KNEE
The poem is based on Colin Kaepernick’s epic gesture of bending his knee during the National Anthem to protest social injustices happening in urban communities. Also, it speaks on reasons humanity, equality, civility, decency, justice, and other rights.
ANOTHER DAY IN PARADISE
An instrument plays in solitude against a vacant backdrop, where paradise is imagined as an ordinary day in hell, where being cautious is the best way to proceed.
Also, a story is told about a woman who is begging on the street, but the man she is seeking help from doesn’t even acknowledge her.
She calls out to a man on the street, “Sir, can you help me. It’s cold and I have nowhere to sleep. Is there somewhere you can tell me?”
He walks on doesn’t look back. He pretends he can’t hear her. Starts to whistle as he crosses the street. Seems embarrassed to be there.
This story paints a perfect picture of people frowning down on the have-nots, who oftentimes get overlooked while seeking monetary help or begging for information in public.
THE BIGGER PICTURE
With so many points of views to look from, what’s really the bigger picture?
The artist raps, “Watch me step it up. Cape blowing in the wind standing tough. Can’t give up.”
The song implies what’s necessary to see the bigger picture. One must have the courage to not get blown away by the world-wind and its influences.
Also, it implies taking a step up, by elevating your mind, body, and soul. Only then, will you be able to see the bigger picture, which is quite an exquisite view?
HUMAN KINDNESS
Beings with a jazzy fiesta of affectionate sounds perfumed with love. It depicts the hustle and bustle of an inner-city boulevard. It’s fast-paced and warm like the blood flowing in our veins.
CONCLUSION
“Eargasms for Short-Sighted Post-Truth Era People” is an undiluted audible ear drop solution, perfumed with nostalgia. It’s revolutionary but its non-violence approach in combating social inequality is highly effective.
Director Quentin Tarantino is well known for his language and excessive violence-based movies. All one needs to do is look at some of his earlier works such as Reservoir Dogs or Pulp Fiction to really get an understanding of how over-the-top they really can be. So, when I saw the initial previews for his latest dramatic comedy Once Upon a Time in Hollywood, I wasn’t sure what to expect. This only fueled the expectation and interest I had going into the film.
Once Upon a Time in Hollywood takes place in 1969 near the end of the golden age of Hollywood. Rick Dalton (Leonardo DiCaprio) is an aging star of Westerns trying to desperately remain relevant in a world that considers those even in their 30’s as ancient, much like the black and white film common even to that day. His stuntman and best friend Cliff Booth (Brad Pitt) is happy to go along for the ride. More of an assistant and better known as the man who got away with killing his own wife, Cliff is content with his role in the world and isn’t looking for the next big break.
You can’t have a Hollywood story in 1969 without involving one of the most brutal murders of the time, that of Sharon Tate (Margot Robbie) and the now infamous Charles Manson and his “family”. A dark cloud that would leave a lasting mark on Hollywood itself. Their presence reminds us of the chilling reality to the evil that is lurking just outside the amazing set pieces and bright lights of the city itself.
Brad Pitt and Leonardo DiCaprio do a phenomenal job as one would expect. It’s always interesting to watch a movie where the actor is portraying another character in an entirely different movie and Leonardo delivers in spades. Brad Pitt brings his usual lovable charm to the otherwise tough persona as Cliff, the dog loving, Bruce Lee ass kicking sidekick. The chemistry between the two is undeniable, displaying both touching and comedic undertones throughout. It’s almost surreal to think that they are portraying characters that do represent themselves in the real world. It’s hard not to make the comparison of Brad and Leo to their onscreen characters, as aging stars wondering what the future holds for them.
Tarantino does a marvelous job of transporting his viewers back to 1969. Everything from episodes of old television shows, to advertisements on the street envelop the viewers in the tie-dyed/hippy reality of what the 60’s was. It’s hard not to be impressed with the cinematography that has been so lavishly recreated before us. The streets, the cars, even the film itself all take their cues from the time period. Car scenes are shot with laughably fake backdrops at times to remind us exactly the types of effects that went into filming back in the day. It’s a mix of old school and new school filming that takes you from one reality and places you in another. Tarantino does his best to make the audience more than spectators to what is developing on screen and instead as active participants.
Once Upon a Time in Hollywood is a fairytale of sorts, of what made Hollywood so special back in the 60’s. It lacks much of the brutal nature that has become second nature to Tarantino films, and those who are going to see it for its brutality will likely be very disappointed. It’s a film that is incredibly difficult to talk about without spoilers, because outside the general plot synopsis the viewer is left with more questions than answers. The film is long, coming in at two hours and forty minutes, and there are scenes that tend to drag on a little longer than necessary. Thankfully though, Tarantino has weaved a story of what was and what could have been, if Rick and Cliff both had existed…Once Upon a Time in Hollywood.
4 out of 5 stars
I read these books because a friend of mine suggested them and she enjoyed them very much. I really like Sarah Rees Brennan style, it is funny and engaging and I really couldn't put these books down. However the end of this trilogy makes me angry, there are so many problems with it that I don't know where to start. I apologise in advance for the mistakes in this review, I am not a native speaker so please be patient.
The Disney happy ending: I don't want to comment the fact that everyone gets paired off here, but what about the magicians? In this book the magicians are evil, they kill people, they are addicted to power, the lousy solution they found through Jamie it's not solid. What happens when Jamie dies? When Nick dies? It can last for 50-60 years, what then? This magicians are not vampires that can drink animal blood, they are addicts that need to kill people in order to have power, this solution is just temporary and I cannot see another way to make it happens afterwards, unless they start to sacrifice babies that is even worse. Moreover they unleash 2 demons on Earth (the most irresponsible and incoherent thing they can do after 3 books of saying how they are pure evil) and the only explanation we get is "winning a war comes with a price"
Diversity: the way diversity is treated in this book is ridiculous. She throws in some black or gay character, family problems, a past of abuses and then she uses them to makes the white rich kids shine. I will talk about Sin in a minute, but what about Seb? He could have been such a precious character instead you see him as bully, then as the magicians' pet, then he gets to date the boy he always loved in secret, after he bullied him for years, just because he's the only gay character still available
All that is wrong with Sin:
The Character: Sin is a strong teenage girl who had a tough life but she has always worked hard to achieve her goal: become the leader of a place that she loves deeply, understands deeply and where she spent her entire life. And when a tourist threats to get the position instead, she is the first to recognise that this girl who has been at the Goblin Market 4 times is better than her in everything. Sin doesn't simply fail, she surrenders to the fact that Mae's is better than her and she just let her have the Market. Sin, that should be the main character of the third book, stays a secondary character with no development other than getting rid of a stupid superstition about limping guys and getting a boyfriend.
Point of view: although I enjoyed Sin's POV far more than Mae's, I can't see the reason of this choice. The previous POV where of main characters who were actually living the situation and acting in the situation. In here Sin, instead of becoming a main character, spends more than half of the book overhearing conversations (with her supernatural hearing) and following Mae's plans. Again, it seems they wanted to show off about the diversity inside this book and instead it results in a joke. Alan's POV, or Jamie's, would have been so much better.
All that is wrong with Mae:
I am not a fan of Mae, I couldn't stand her form the beginning. I don't want to get started on this because I could talk about it for hours but to summarise my opinion, I think that author wanted to go for a character very much like Hermione but much more popular and cool. The problem is that Hermione, even though she is smart and talented, succeeds in everything she does because she works very hard to get there she sacrifice herself for a greater cause, and she has flow and doubts as every teenager. Mae succeeds in everything without any particular reason, she is just lucky and most of the time she doesn't deserve what she gets.
Last but not lest: COULD YOU EXPLAIN HOW ON EARTH A DEMON AND A HUMAN GIRL GET TOGETHER?????
I love children's picture books. They're so much fun and usually so lighthearted. When I had the opportunity to review Don't Drink the Pink by B.C.R. Fegan, I jumped at the chance. This book sounded like it would be a fun one! I ended up liking it a lot.
At the beginning of Don't Drink the Pink, we're introduced to Madeline on her first birthday where her Grandpa Gilderberry gives her a box of potions telling her not to drink the pink. On every birthday up to her fourteenth, she is allowed to have one potion as long as it isn't pink. These potions give Madeline special abilities. On her fifteenth birthday, Madeline is allowed to finally drink the pink potion. You'll just have to see what happens when Madeline finally is allowed to drink the pink potion. Just be sure to have your tissues ready because it is touching.
The plot for Don't Drink the Pink is definitely entertaining and sure to have children guessing at which ability Madeline will have next. It'll also keep children wondering if and when Madeline can drink the pink potion as well as what will happen when she does. This book uses rhyming language with the last word on every other sentence. I believe this makes the book more fun and will hold a child's attention more. One thing to note, a family member does die in the book which can be quite heavy for a small child. Don't Drink the Pink doesn't go into detail about the death. The wording just mentions that this certain character passed away. I do understand why the author included the death, but it does take away from the lightheartedness of the story. However, Don't Drink the Pink is a lovely story, and that shouldn't be a deal breaker.
Madeline and her grandfather are such sweet lovable characters. It was so endearing to see how close they were. I could feel the love between them coming off the pages. I just wanted to hug them both!
As for the illustrations, I read Don't Drink the Pink on my Kindle Paperwhite, so they were all in black and white which was a shame. The illustrations were drawn very well and were very adorable. The pictures were drawn in a way that a child would love. I just wish I could have had color to the illustrations because I bet with the colors, the illustrations look even more amazing! Another unfortunate circumstance of not being able to have colored illustrations on my Kindle was that my 4 year old wasn't as entertained. However, had we have had colored illustrations, I'm sure he would have loved this story! Kudos to Lenny Wen for his talent when it came to illustrating Don't Drink the Pink. He is definitely talented!
Overall, despite the mention of a character's passing, Don't Drink the Pink is a sweet story. The rhyming is fantastic, and it has a story line that will hold a child's and adult's attention. I would definitely recommend Don't Drink the Pink by B.C.R. Fegan to adults and children between the ages of 3 through 7 although older children may like this book as well.
--
(A special thank you to TaleBlade Press for providing me with an eBook of Don't Drink the Pink by B.C.R. Fegan in exchange for an honest and unbiased review.)
Rate It