Nov. 28th, 2021

jazzy_dave: (Default)
I watched another fascinating Arena arts program on BBC iPlayer. It was called
B. Catling: Where Does It All Come From?

https://www.bbc.co.uk/iplayer/episode/m0011v76/arena-b-catling-where-does-it-all-come-from?xtor=ES-211-[48792_PANUK_DIV_47_IPL_Editorial2021_RET_ABC]-20211127-[bbcfour_arenabcatlingwheredoesitallcomefrom_factualarts]



An eye-popping insight into the extraordinary, late-flourishing career of the maverick artist, teacher, and performer Brian Catling RA, whose unique vision and imagination are celebrated through a shifting narrative of newly restored archive material, exclusive interviews, and specially shot footage.

Brian Catling was born in 1948, a foundling adopted and raised in tenements on the Old Kent Road in postwar south London. He is an internationally exhibited and lauded sculptor and, as B. Catling, the author of The Vorrh Trilogy, a vast work of untrammelled imagination, and the novel Earwig, which provided the inspiration for Lucile Hadzihalilovic’s 2021 film of the same name. Catling is also a professor at the Ruskin School of Drawing and Fine Art at the University of Oxford, a royal academician and a Cholmondeley Award-winning poet. He is also the erstwhile impresario of the legendarily disreputable Cabaret Melancholique and an occasional sinister cinematic presence, both in front of and behind the camera.

Where Does It All Come From is a window into Catling’s world that, like Catling himself, defies categorization. It is shaped through a stitching-together of rediscovered archive material with newly shot interviews, fragments of previously unseen filmworks, interjections and interactions, ghosts and revenants. Important locations in Catling’s life and work – south London and Whitechapel, museums, churches, dives, Gozo, Leipzig, Copenhagen – are interwoven with imaginary landscapes and revisited, explored or recreated. Interviews and long-lost performances are remade and repurposed, seances held, dead or vagrant voices resuscitated. Characters, symbols and strange beings – some of whom then reveal their role and purpose – are glimpsed or merely spoken of, sometimes without explanation. At times, fiction hijacks fact to reveal other, deeper truths.

We see Catling at work, in the past and the present, in public performance, on stage, conjuring uncanny presences in galleries, abandoned rooms and in his studio. His histories are told, including childhood obsessions with outsiders and monsters, the early days of art school and labouring jobs at Truman’s Brewery, becoming an artist, a sculptor and maker of installations, and his decision to retreat from the London art world.

A host of writers, artists, musicians, curators and former students, including actor Ray Winstone recollecting a terrifying encounter in London’s Whitechapel, are also called upon to bear witness to a creative spirit who defies definition and is capable of endless self-reinvention.

Fascinating program.

Also, check out the Delia Derbyshire one -

https://www.bbc.co.uk/iplayer/episode/m000w6tr/arena-delia-derbyshire-the-myths-and-the-legendary-tapes
jazzy_dave: (bookish)

Rutger Bregman "Utopia for Realists: And How We Can Get There" (Bloomsbury)





Utopia For Realists is a Left manifesto. It explores three policies guaranteed to enrage right-wingers: a guaranteed income, a shorter work week, and open borders. Rutger Bregman does it with splendid panache. The book is a totally positive, upbeat read – most unusual for a defensive, defeatist Left. The studies and the facts are all there. Deny them at your peril, he seems to say.

To appreciate and enjoy Utopia For Realists, you must buy into the initial premise that our problem is we can’t come up with anything better than the way things are now. We have run out of goals. We have run out of ideas. We are all about cutting back, servicing less, and ignoring various elephants in the room, like automation overloading us with leisure time. Western society is so wealthy in historic terms that we don’t realize we have reached Utopia. Even at our worst, we are infinitely better off than our forebears. What we need now is a new Utopia to aim for.

Guaranteed income sounds impossibly expensive, but everywhere it has been tried – dozens of places, it has worked spectacularly. For one thing, every dollar spent saves three in less supervision of beneficiaries (eg. Police and court services, pointless workshops, training sessions, and reports on everyone all the time). For another, the poor don’t drink away the income; they hang onto it dearly, measuring it out only as needed for the biggest impact. Poverty is not an attitude; it is a shortage of cash.

Two hundred years ago, we worked 70 hour weeks with no days off. And we were miserable. Today, we can be miserable with 40 hours weeks, two days off, and 2-5 weeks’ vacation. Soon, we must face the reality of 15 hour weeks, because artificial intelligence will pick up where automated looms, assembly lines and robots have left off. We can massage it into a Utopia, or let it destroy our fabric. Our choice, but we need to start acting now.

Borders prevent development and trade. Mexicans used to return from the USA at the rate of 85%. Now they have to stay put. Finding new markets or even just work is enlarged with larger territory. Artificially compartmentalizing everyone is stultifying. Economically, politically, and socially. Passports and visas – a totally artificial construct recently invented, benefitting no one.

Bregman doesn’t get into the self-imposed need for growth, though he does criticize the concepts of GNP/GDP. He says governing by numbers is the last resort of a country that no longer knows what it wants, a country with no vision of utopia.

He ends with sound advice for the Left: stop caving to right-wing dogma. You have access to dramatic facts. Use them. There are gigantic, proven solutions waiting to be implemented if only someone would sponsor them. He points out that the accepted issues of the day, like voting by women, same-sex marriage, and the abolition of slavery were outrageously radical and completely unacceptable just a few years ago. So be impossible and have thick skin.
jazzy_dave: (hip dawg)
A little bit of avant garde fusion to fill the heart with jazz



Horace Tapscott piano
Jesse Sharps soprano and tenor saxophones, flute
Linda Hill piano
Adele Sebastian vocal, flute
Lester Robertson trombone
David Bryant bass
Everett Brown, Jr. drums
Herbert Callies alto clarinet
James Andrews tenor saxophone, bass clarinet
Michael Session alto saxophone
Kafi Larry Roberts flute, soprano saxophone
Archie Johnson trombone
Red Callendar tuba, bass
William Madison percussions, drums
Louis Spears cello, bass
Kamonta Lawrence Polk bass

From " The Call " 1978 Nimbus

Horace Tapscott Conducting The Pan-Afrikan Peoples Arkestra - The Call (1978)



00:00 A1. The Call
08:25 A2. Quagmire Manor At Five A.M.
18:57 B1. Nakatini Suite
28:05 B2. Peyote Song No. III

Recorded Los Angeles CA April 8, 1978, the year I graduated from Art School

dr. π (pi)



enjoy!

❤️
jazzy_dave: (Default)
I am slowly collecting the oeuvre of this fine jazzman and his extended musical family, The Pan African Peoples Arkestra, and members such as Linda Hill and Gary Bias.



Horace Tapscott & The Pan-Afrikan Peoples Arkestra ‎- Live At I.U.C.C. (1979) [Full Album]



Recorded live in February to June 1979 at the Imannuel United Church of Christ, 85th and Holmes, Los Angeles

A Macrame 00:00
B1 Future 20:39
B2 Niossessprahs 31:57
C Village Dance 48:24
D1 L.T.T. 1:14:48
D2 Desert Fairy Princess 1:29:46
D3 Lift Every Voice 1:41:03

Baritone Saxophone – John Williams (tracks: B1 to D2)
Bass – Alan Hines (tracks: A to D2), Roberto Miranda (tracks: B1 to D1)
Drums – Billy Hinton (tracks: B1 to D1)
Engineer [Recording Engineer] – Bruce Bidlack
Flute – Adele Sebastian (tracks: B1 to D2), Aubrey Hart (tracks: B1 to D1)
Liner Notes – Ron Pelletier
Percussion – Daa'oud Woods (tracks: B1 to D2)
Photography – Michael Pruessner
Piano, Co-producer – Horace Tapscott (tracks: A, B1, C, D1, D2)
Producer – Tom Albach
Soprano Saxophone – Billy Harris (tracks: B1 to D1)
Tenor Saxophone – Sabia Matteen (tracks: A to D2)
Trombone – Lester Robertson (tracks: B1 to D2)


ENJOY

In Town

Nov. 28th, 2021 04:04 pm
jazzy_dave: (Default)
I walked into town to have a few beers and get some provisions. I drank a couple of pints at my local pub and then walked down to Tescos for some eggs. I made a mushroom omelet when I arrived back home.

However, I did find that somebody had left an almost brand new jacket in the common room for others to try and take. So I tried it on and it fits. I learn later whilst in the pub, it was Tim from upstairs who originally had the jacket. This is a quality Italian suede leather jacket and is lined inside.



Whilst in the pub I noticed some old Mods park across the street with their Lambrettas and parkas.



On the way to the supermarket, I noticed that the tea cosy gang had decorated the post boxes again. This time somebody had tied a champagne glass as well.



On the way walking home down West Street I noticed a figure in this shop window of furniture products. It was a beautiful cat looking at me and feeling very feline and displaying themselves.



That made my day.
jazzy_dave: (Default)
What’s incredibly cheap and you would pay way more for?

What’s the funniest TV show you’ve ever seen?

What’s the most boring sport, and what would you do to make it more exciting?
jazzy_dave: (Default)
it's Frasier and some of the funniest moments -

Funny Frasier Moments

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