onsdag den 26. april 2017

Hjertet er af gas, ikke benzin!

Altså i titlen på Tristan Tzaras skuespil Le Coeur á gaz har Peter Laugesen gjort opmærksom på i en kommentar. Gaz betyder på fransk ikke benzin, men gas, og my bad! Der sikkert skyldtes en association til 'gasoline' (og Gasolin). Jeg retter nu og opreholder Malinowski-linket, der må sgu være en forbindelse!

Billedresultat for l'eau gaz

mandag den 24. april 2017

Hammannhåb

Selvom jeg har været relativt skuffet over de sidste 2 og en halv nægter jeg at lade være med at glæde mig til Kirsten Hammanns nye, stadigvæk titelløse bog, som hun ligesom sidelæns proklamerer og præsenterer den i sin takketale, da hun fik Søren Gyldendal-Medaljen (OG TILLYKKE MED DEN!), hvor den lyder som et genvisit til hendes mest umulige bog, "poetikken"/"romanen" Bruger De ord i kaffen?, 2001 (den første bog af KH, jeg (med et skrumlet suk) anmeldte):

"I et år har jeg skrevet om at skrive, og hvor meget jeg hader det og ikke kan leve uden. I sidste gennemlæsning skulle jeg igen se i øjnene, hvor dårligt det var, uden interesse for andre, håbløst ... Og så en halv dag senere syntes jeg, det var virkelig godt eller ligefrem blændende. Og næste dag igen græmmede jeg mig. Det er også det, min nye bog handler om: De skift mellem troen på egne evner og den rene selvforagt.
(...)
 Tak for medaljen, som jeg slet ikke kan tillade mig at sammenligne med Matador-Lauras, for hun havde slidt og slæbt og boet på et lille kammer og ofret sit eget liv, vinket farvel på forhånd til mand og børn, hun udrettede noget synligt hver dag, noget nyttigt. Det handler min bog også om - at jeg aldrig arbejder nok, og at flertallet i befolkningen slet ikke betragter det som arbejde eller vigtigt overhovedet - men fint med dem, hvis jeg vil hygge mig med det i fritiden, men staten skal i hvert fald ikke støtte det, og det forstår jeg godt, det har jeg vidst i 25 år, og jeg skammer mig over det næsten hver dag, at jeg ikke er sygeplejerske og hjælper nogle syge mennesker eller lægger asfalt på en vej, som vi alle kan køre på, eller er kok eller bare kogekone som Laura, dag ud og dag ind fra 7 til 19 og langt ud på natten, når der er gæster."

søndag den 23. april 2017

Ivans benzinhjerte (4)

Jeg ved ikke, om det er blevet påpeget af andre, men Ivan Malinowskis nyklassiske, opkørt aggressive digt "Benzinhjertet" (som skoleelever nyligt har skullet skrive dansk stil om, fremgår det af google) fra Åbne digte, 1963, kan da blive nødt til henvise direkte (i sin anderledes direktehed (mere tysk end fransk(/rumænsk) dadaisme dér)) til Tzaras hjerte af gas!

BENZINHJERTET

Forude (naturligvis) døden
I bakspejlet landskab på landskab
Konsumerede marker og byer
Afbrændte piger
Spildprodukter
Brugt tid
Blå os
Gas
Målet en verden af ekskrementer
Enorme køkkenmøddinger
Spørg ikke hvorfor
De forbrænder forældre
Æder lærere og idoler
Grammofonplader
Formgivne billigbøger
Du har også et åndeligt røvhul
Om bremserne er i orden
Er af mindre betydning
Men forstoppelse er en dødssynd
Dit liv er et måltid benzin
Hastigt indtaget
Selvbetjening
Speederen i bund
Et flyttelæs på halvfjerds år
Skal gennem dine pupiller
Du skal drikke en sø
Fordøje syv okser
Tredive tønder skov
I form af aviser
Tygge dig igennem en hel botanik
Platin eller plastic:
Ned skal det
Deraf afhænger
Balancen i naturen
Og den fri verdens fremtid
Spørg ikke hvorfor
Forude
Endnu større marker og markeder
Landskab på landskab
Ganske almindelige
Landskaber
Af uvis varighed
Saksen skjult
Jernbaneoverskæring e.l.
I bakspejlet (naturligvis) lutter ragelse
Du inhalerer livet
Du er og bliver et nåleøje
Og tråden har to ender

Billedresultat for malinowski åbne digte

Davids gashjerte (3)

Da David Bowie optrådte i Saturday Night Live i 1979 var hans kostume inspireret af Sonia Deleunays kostumer til andenopførslen i 1923 af Tzaras Gashjertet, se bare:

bowie-nomi-4

tzara

(påpeget i denne blogpost, der inkluderer en lille tegnefilm om andenopførslen)

Andys gashjerte (2)

Larry Fink Andy Warhol

Andy Warhol som medvirkende i Tzaras  Gashjertet (måske som Næsen?)!

 Er det netop blevet afsløret af Blake Gopnik på art.net :

"THE DAILY PIC (#1778): Ever since Larry Fink’s new book of Warhol shots came out a few weeks ago, there’s been much true talk about how full of elegance and insight they are. Some of them, as it turns out, are also full of information, even more exciting for a Warhol biographer like me.
Today’s Pic is captioned “Fashion Shoot” in the book, but it turns out that it’s more than that. With help from Warhol Museum super-sleuths Matt Wrbican and Greg Pierce, I’ve discovered that what we are looking at in this image is a September 7, 1966 reading of the play The Gas Heart by Dada artist Tristan Tzara, as newly translated by the filmmaker Robert Cordier (he’s at right in this image). Wrbican and Pierce put me on to the play’s flyer (below, from a Time Capsule in the Warhol archives), which mentions a cameo by Warhol but leaves out appearances by his ever-present Superstars Gerard Malanga and Ingrid Superstar, seen in front of Warhol in Fink’s photo. And then a glance I got at Fink’s contact sheets proved to me that it’s the same event, since the “Computer Woman” of the flyer is clearly visible in other shots."
(Photo ©Larry Fink; flyer courtesy the Andy Warhol Museum)

Tristans gashjerte (1)

Le Cœur à gaz (Wiki-opslag her), Tristan Tzaras poetisk gakkede dada-skuespil, første gang opført i Paris 1921 og skandale-opført i 1923 ved dadaismens svanesang, multimedie-showet Le Cœur à barbe (det skæggede hjerte), også i Paris, hvor Andrè Breton, der var i konflikt med blandt andre Tzara, sprang op på scenen og kom i karambolage med både skuespillerne, der havde svært ved at flytte sig på grund af Sonia Deleunays kostumer, og andre dadaister og brækkede armen på en vis Pierre de Massot med sin stok.

Personer:

Mund
Øre
Øje
Næse
Hals
Øjenbryn

Sådan begynder stykket i Michael Benedikts oversættelse, hentet på nettet:


(NARRATOR:)

Act One.
The gas heart ...
(introduce the sound of the gas heart)
walks slowly around, circulating widely;
(Pause while we listen to sound of gas heart walking around,
from left to right and back in the audio field. This sound will
persist throughout the duration of the play.)
At one extreme of that circle stands Neck.
At the opposite extreme stands Nose.
Confronting us.
(which means please place Nose and Neck at extreme left and right)
All of the other characters,
Eye, Mouth, Ear, and Eyebrow
enter and leave as they please.
This is the only and the greatest three-act hoax
of the century;
it will satisfy only industrialized imbeciles who believe
in the existence of men of genius.
The Actors are advised to give this production
the attention due a masterpiece such as Macbeth or Chanticleer,
but to treat the author ---
who is not a genius ---
with no respect and to note the levity
of the script which brings
no technical innovation to the theater.
Eye and Mouth now enter the circle
and Eye begins:
(EYE:)
Statues jewels roasts
Statues jewels roasts
Statues jewels roasts
Statues jewels roasts
Statues jewels roasts
and the wind open to mathematical allusions
cigar pimple nose
cigar pimple nose
cigar pimple nose
cigar pimple nose
cigar pimple nose
cigar pimple nose
he was in love with a stenographer
eyes replaced by motionless navels
mister mygod is an excellent journalist
inflexible yet aquatic a good-morning was drinking in the air
what a sad season
(NARRATOR:)
To which mouth responds:
(MOUTH:)
The conversation is lagging isn't it?
(EYE:)
Yes, isn't it.
(MOUTH:)
Very lagging, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Naturally, isn't it?
(EYE:)
Obviously, isn't it?
(MOUTH:)
Lagging, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Obviously, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Very lagging, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Naturally, isn't it?
(EYE:)
Obviously, isn't it?
(MOUTH:)
Lagging, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Obviously, isn't it?
(EYE:)
Yes, isn't it
Billedresultat for tristan tzara the gas heart

lørdag den 22. april 2017

Lige et til Iggy-rim

Sikke Iggys stemme
kan emme
af den eksistentielle klemme,
hvor han føler sig hjemme
som den slemme, slemme
hvis talent for at væmme
ingen kan tæmme,
ingen kan glemme

Iggy i regnvejr på Solitudevej

AT THE CORNER OF DESPERATE AVENUE
AND LONELINESS ROAD

I fødselsdagsinterview i Rolling Stone er der links to splinternye, tyst og dirrende (og nydende) inderlige sange, "Every Day" og "Loneliness Road", som Iggy har indspillet sammen med en jazz-trio - her nogle bidder fra selve interviewet:

"I was just listening to them in the car in stolen moments at first, and I took a lot more time with this than I normally would. "Every Day" was the one that just kind of flew out of my mouth in little bits. The other ones took more thought – "Gee, how would I structure a melody and phrasing that swings it a little?" I tried to keep everything small, in keeping with the quietude about the tunes.
The house I have [in Miami] on a little river, there's a back door with a washer and dryer and a little old chair that I bought on Fifth Avenue in the Eighties – it's an African chair, one of the oldest possessions I have. I sit there with a boom box and mumble some stuff. For some reason, Third Man Records had sent me a bunch of these little tiny books. Anyway, I wrote these lyrics in little tiny notebooks in very bad handwriting. Just kinda worked 'em up that way – as long as it had the feeling and I'd done the proper planning, so that I wasn't gonna dick around.
So I went in and did them, and they were basically first-take on each one. I was a little surprised at how feeble I sounded on certain parts of it [laughs], but I thought that was OK. You know, I kinda thought that the feeling fit. I thought it was my best effort, and I sent 'em in. I thought about it a couple of weeks, and I thought, just let it be what it is.
(...)
"Every Day," to me, sounded like something that, if he wanted to, Barry White or Donny Hathaway or Teddy Pendergrass could have really wailed on. "Don't Lose Yourself," I thought the music sounded a little Doors-y, and so I tried to sing something a little against it – I was looking for phrasing that would make it swing a little. And "Loneliness Road," I kept thinking of Floyd Cramer and his chord voicings. So I had stuff within me emotionally that I wanted to say, on all three – and then, technically, you're influenced by what the music is. "Every Day" would have sounded really terrible if there were a lot of sophisticated verbal images. Better to me if it's plainspoken. Some of the lines are lines you've heard in other songs or in other ways, like "What you see is what you get."
You alter the cliché, though: You say "What you see is what you're gonna get."
Well, yeah [laughs]. There's a little bit of desire and fidelity kind of mixed in there, and also, you know, a little bit of need for love, which is different from desire. Everybody has that, but there are ways to get around it when you're younger. Then, when you're older, there's not.
The music that you're singing over is full of the little imperfections of jazz. There's a lot of wisdom in it, and it's kind of open and unguarded.
Yes, that's what appealed to me. There's no big, bashing thing or echo trick to hide behind. And then there are little things where it kinda goes on and on, rises and falls, and it's a trio – they were doing what they wanted within their own boundaries. I tried to come in and live in it, basically.
Was that the challenge?
Yes, to get inside it. That's the big one. Listening very, very carefully is an art. Sometimes it's just like cooking an egg – there's steps you gotta do to get to know it – but at other points you've got to do it in a state of extreme enjoyment, almost bliss, to allow something happen, to come out of yourself, to connect with the thing.
For instance, in "Loneliness Road," I noticed, OK, Steve's coming in with the bass line early. Suddenly the soundscape suddenly changes. I thought, "Ooh, that's the place to come in with a certain pickup line." It just matched. I knew that in my register it would be good.
Later in that one, there were bits where they kinda started swangin', a little bit like a show band, and you'll hear me up the ante a little bit and give a little discreet shout once in a while.
(...)
This reflective guy you inhabit on these songs on Loneliness Road – he's a persona. I feel that we've seen him before. What else do you know about that guy?
Yeah, right – they kind of pop out, these guys. I don't really sit around working on them. Well, you know, he's lonesome, a little bit of an airhead, a little bit head-in-the-clouds, maybe. A little bit weary of the game he's in. Yeah, you know. You know. Like so many other people. In a way this started back when I was at the height of the touring machine with the re-formed Stooges, when I wrote a song called "I Want to Go to the Beach." That was a very melancholic song – it's the same guy. I wrote it in that little house with a feeling of hopelessness that I would ever be able to find a place to record it, how would I put it out, where would it find a home. And with a feeling of hopelessness that I would ever overcome that melancholy. But I've made a habit of writing out my pessimism, and it tends to lead to a surprisingly optimistic outcome.
(...)
And then a few years later this guy brought me a bottle of wine to the gig in Lyon. He owns a very nice wine shop in Lyon, and he said, "Every so often I order 25 copies of Apres and I put them on the counter next to the cash register, and they sell out."
Nice!
Yeah! [Laughs] I like being at the wine shop! I like that idea! Yeah! But I look at the albums I've done and I think there's some good in there, and I'm in a fortunate enough area right now to kinda let them all sit, and there are people who will check them all out and enjoy them if I don't deluge them with a bunch of albums. But I like singin'. So I kinda like being a guest. Different position.
I have heard that you are about to turn 70.
[Laughs] Yeah, I keep hearing about it too! I haven't made it yet. I gotta get to Friday.
Tell me something. ... I would guess that for you, 70 is arbitrary: just a number. But I would expect that as a worker, you are looking at the precedents that have been set, scanning around the history of music, looking at singers who got to that exact age and were making great things at that age. Is that true?I haven't really thought about it that way. Maybe I should.
You definitely think prosaically about "what kind of work can I do," "what kind of work would I be comfortable doing," and "what kind of work can I get." But on the other hand, there's this other guy [laughs]. There's this other thing going on. I really like Sleaford Mods, and they have a particularly vicious track called "Chop Chop Chop." I covered it the other day in rehearsal, and I put my own verses in there about the most scathing episodes in my life history.
Anyway, you get a little more circumspect. If you manage to live this long, that's O.K.; you want to live longer, but at the same time you don't want to do that just for the sake of breathing.
But it's really do a little bit here, do a little bit there, and try to be a decent hang."

Billedresultat for iggy pop

Klaus tillykker Iggy

Lynggaard, der selvfølgelig hylder idolet kærligt og præcist i Information OG JEG VED GODT, 80'ER-DIGTERE, AT VERDENS BEDSTE DANSKE IGGY-KONCERT VAR DEN i DADDY'S DANCEHALL I 1977, DA JEG VAR 9 ÅR GAMMEL, MEN ER I IKKE SØDE AT HOLDE KÆFT MED DET ALREADY!

"Under koncerten (i Falconer sidste år LB) fløj mine tanker tilbage til alle de gange ned gennem årene, hvor jeg har stået med åben mund og polypper og betragtet Iggy Pop satse sig selv et hundrede procent på en scene, standhaftigt kaste sig ind i musikken (og ud blandt publikum) som var det en kamp på liv og død med hans senede og hærgede krop som et fuldgyldigt instrument på linje med guitar, bas og trommer. Lige meget hvor dårlige betingelser, han har arbejdet under, har der aldrig været nogen slinger i valsen, ingen halvhjertet indsats for lige at kradse ind til huslejen, ingen ringeagt for de fremmødte, lige meget om der har været tale om få eller mange.
Jeg husker således engang til endnu en jammerlig Midtfyn Festival i de åh så svundne 90' ere, hvor britiske Blur peakede som teenageidoler, og unge piger i stort antal søgte hen til scenen i god tid, for ikke at gå glip af den krammeegnede kvartet (der siden skulle vise sig at være gjort af solidt kunstnerisk stof). De havde så ikke taget højde for, at den for dem givetvis ukendte Iggy Pop lige skulle give en koncert først.
Hans i forvejen store øjne spærredes yderligere op, da han så det foran scenen samlede kuvøseguf og kastede sig ud i en omgang så dødsforagtende akrobatik, at de unge piger skrigende løb bort derfra. Men trods det som tommelfingerregel pauvre fremmøde på Midtfyn til hvad som helst, der ikke befandt sig i midten af midterbanen, gav han et fuldgyldigt show af dimensioner, der fuldstændig tog vejret fra en lille fremmødt skare, som ved selvsyn kunne konstatere, at for denne kunstner er det alt eller intet. Hver gang.
Jeg mødte sammesteds repræsentanten fra Iggy Pops pladeselskab, som fortalte mig, at han havde tilbragt timerne op til koncerten i selskab med en høflig, belæst og lavmælt mand, som en time før showet begyndte at pumpe jern foran et kropsstort spejl og i processen forvandledes fra ydmyge Jim Osterberg til Iggy Pop, rock'n'roll-animal! Men der er som bekendt ikke noget som den allerførste gang. Jo, jeg ved det godt, de fleste store forandringer sker gradvist, men ikke desto mindre står den 19. september 1977 på spillestedet Daddy's Dance Hall som fuldstændig skelsættende for mig. Ikke kun dengang, men som retningsgiver for mit indimellem noget famlende liv lige siden.
Daddy's lå ud mod Jernbanegade i det kompleks, der i dag huser det nedrivningstruede Palads biografkompleks, en spytklat fra min dengang nyerhvervede toværelses med petroleumsovn og gasvandvarmer i køkkenet, og grundet diverse artikler i det engelske musikblad New Musical Express og den David Bowie-producerede lp The Idiot løste jeg billet til begivenheden. Nok de bedste penge jeg nogensinde har givet ud. Daddy's var en rigtig rockklub, propfuld og med kondensvand løbende ned ad væggene og med en rytmegruppe bestående af brødrene Hunt og Tony Sales var det nok det vildeste, mine unge øjne til dato havde bevidnet. Når han ikke faldt om grundet hvad der lignede elektrochokstød, kravlede han rundt på scene og PA og ud blandt og ovenpå publikum, mens han snavede pigerne oppe foran. Og så havde han den flotteste hale påsat lænden, han lignede et fabeldyr på amfetaminer. Han sang tilmed forbløffende godt og missede aldrig et cue."

Billedresultat for iggy pop daddys dancehall

Iggys indflydelser

Iggy i interview med bladet Spin, 1986:

"Records that havde influenced me are: the use of Jim Morrion's voice on the first Doors album, which was a unique way to use the voice at the that time. He was the first person I'm aware of to sing rock'n roll with a full baritone. Up until that time, if you didn't have a high voice, you would sing in a monotone, the way Mich Jagger did 12x15 or Bo Diddley - you'd kinda shout the song. Morrison sounded almost as if he was crooning, yet the background was not sedate. It had a beat, and I found out very quickly I could do that too; Bo Diddley was helping in the call-and-response, the irresisitbility of 'Hey, Bo Diddley, have you heard?' ... 1-2-3 and second line, la-de-da. I used that format with great effect, without having any words planned, in the original Stooges shows ... Chuck Berry was real helpful in the way he'd look around the culture, find a catchphrase, like 'Sweet Little Sixteen', which is what everybody used to say referring to a girl's 16th birthday party, or 'No Particular place To Go', where he talks about seat belts. Finding neat little things in the culture on which to hang a song. The girl in 'Little Quennie' hangs out by the record machine, 'looking like she's on the cover of magazine'.
 Bob Dylan (Bringing It All Back Home and Highway 61 Revisisted) and Lou Reed (the banana album) both influenced me by the wat they used breathy vocals and very efforlessly ride a strong beat beneath it. To me that music sounded like a bunch of little Tartar tribesmen sweeping along the deserts on their ponies, ready to bring savage visitation to all in their path, yet the vocal is almost floating over that. I used that technique on 'I Wanna Be Your Dog' and 'real Cool Time'. 12x5 by The Rolling Stones, for its understatement of any emotional content, There are emotions in the music, but they're kept in their place, so it isn't weeping all over the place. It sounds hrash and tough, yet the beat is steady and nothing's overplayed. Frank Sinatra ('September Of My years') above all others, for the ability to carry the emotions in a song and to get a rise out of me, as a listener, on an emotional level. I felt something strong when that man sang.
  Van Morrison (Them's first album) was a very powerful influence for the wedding of poetry and music and for the way he recycled ckliés like on 'One-two Brown Eyes' - 'Last night I went walking/ I heard somebody talkin'/ Better stop staying out late at night and fly right' is an old shuffle blues phrase, but with Jimmy Page, who did those sessions, playing that strange guitar behind him, and with that hyper beat, it was a new way to use those clichés; that was poetry. Sun Ra, for his ability to use music to take you voyaging; also, Coltrane for that matter - those records opened me up. And Tina Turner, not musicallly, because I'm not a blues shouter, and I don't have a falsetto or a hot scream, but for her stage presentation, the way she never breaks form, almost like a balinese dancer; the hands are up, palms are outward, the feet are always going, and the tension and posture always maintained."

Billedresultat for tina turner stage

Iggy, scenemonster

Billedresultat for iggy pop on stage

Relateret billede

Billedresultat for iggy pop on stage


Billedresultat for iggy pop on stage 

Billedresultat for iggy pop on stage

Billedresultat for iggy pop on stage

Iggy-rim

IGGY
ER POST-MICKEY
MEN PRÆ-ZIGGY

IGGY
ER STICKY,
NÅR HAN GIVER ET HICKEY

IGGY
ER DER KICK I
OG KLIK-KLIK I

JEG & WIKI
VED AT IGGY
ER EN BIGGIE

POP
TILL Y O U  DROP
MED EN KROP
SOM EN CHAMPAGNEPROP
HOP, HOP, HOP
OP
AF DEN KAFFEKOP
SOM EN CIRKUSLOP'
ALDRIG ALDRIG STOP
DEAREST ANTI-FLOP


Relateret billede

fredag den 21. april 2017

TILLYGGI IGGY MED DE 70!



Everything will be alright tonight
Everything will be alright tonight
No one moves
No one talks
No one thinks
No one walks tonight
Tonight
Everyone will be alright tonight
Everyone will be alright tonight
No one moves
No one talks
No one thinks
No one walks tonight
Tonight

I am gonna love you till the end
I will love you till I reach the end
I will love you till I die
I will see you in the sky
Tonight

Apropos silhuetter/skyggeteater/s/h

så skal jeg om et øjeblik se og anmelde den nye film af animatoren og instruktøren Johannes Nyholm, Kæmpen, , der også har signeret det her stykke melankolske magi, Drömmar från skogan, 2009: