Susanne Sundfør – ‘The Silicone Veil’ (via erin)
I’m a larva wrapped in silk;
I am dying in burning flesh
Let me out, let me ache
Let me out, let me ache and itch
Get me out of this suit
I go to a funeral every day
I follow these people around
I follow these people like a rat’s tail
I carry their caskets, I sing them good night
They’re better off without me
Beauty is poisonous
Disruptive
Oh, heaven must be an iron rose
Unfolding…
Oh, let me in, let me out,
let me in, let me out!
This is a retirement
from plumbing the veins of rats and kings;
let the stars be my eyes then
unchain the knuckles and latches-
unbutton my wrists.
My skin so thin you can see black holes within;
my eyes so clear they light up the sky…
and sometimes I’ll bend into the silicone veil
and enter this world again as a ghost.
Beauty is poisonous
Disruptive
Oh, heaven must be an iron rose
Unfolding…
Oh, let me in, let me out,
let me in, let me out!
Let me out! x11
‘easter’ – patti smith group
Patti Smith Group – Easter (1978)
Easter Sunday, we were walking.
Easter Sunday, we were talking.
Isabel, my little one, take my hand. Time has come.
Isabella, all is glowing.
Isabella, all is knowing.
And my heart, Isabella.
And my head, Isabella.
Frederick and Vitalie, savior dwells inside of thee.
Oh, the path leads to the sun. Brother, sister, time has come.
Isabella, all is glowing.
Isabella, all is knowing.
Isabella, we are dying.
Isabella, we are rising.
I am the spring, the holy ground,
the endless seed of mystery,
the thorn, the veil, the face of grace,
the brazen image, the thief of sleep,
the ambassador of dreams, the prince of peace.
I am the sword, the wound, the stain.
Scorned transfigured child of Cain.
I rend, I end, I return.
Again I am the salt, the bitter laugh.
I am the gas in a womb of light, the evening star,
the ball of sight that leads that sheds the tears of Christ
dying and drying as I rise tonight.
Isabella, we are rising.
Isabella, we are rising . . .
—————————————-—————-
EASTER
(la resurrection)
flower and heart are equal. as one unfolds
the other is closing. the fist of charm.
the dance of fathoms. of voids. of veils.
layer after layer. wall after wall. there
is always more. there is always more after.
the scalloped edges of further valour.
the vigil of soldiers. foot and circular.
the waving tremors of empty warriors.
a thorn in the wound of love. of torture.
another immeasurable pain to suffer.
first dealing w/entry into the spirit.
the wall is pierced and the will assaulted
is vaulted. is shimmied into. is fenced.
fencing defending the sheets of the flesh
winding and binding and then to relax.
seconds of suspension in the pass of pain
wailing, exhaling. passed thru the strange.
this is the formula. the force of the father.
the hand that extends. the heart that is bleeding
hard then harder then silent and beating.
in a space warm and glowing. infinite yet dense.
the tune of chain caught then stretched.
the is the communication of the future.
death is a dance. a ballroom. a glove
an extension of total abandon in/love.
-patti smith
HAPPY TUSK EVERYONE!
Fleetwood Mac – Tusk (Original Video) por newcanadian
“Tusk” is a song by Fleetwood Mac from the 1979 double LP of the same name. The song reached #8 on the U.S. charts, #6 in the U.K. and #3 in Australia and Canada. It was one of the first songs to be released using a digital mixdown from an original analog source.
Looking for a title track for the as yet unnamed album, Mick Fleetwood suggested that they take the rehearsal riff that Lindsey Buckingham used for sound-checks. Producers Richard Dashut and Ken Caillat hence created a drum-driven production.
The single was recorded live together with the supporting video at Dodger Stadium (without an audience) in Los Angeles, California in collaboration with the University of Southern California Trojan Marching Band. The performance was also filmed for the song’s music video. John McVie was in Tahiti during the Dodger Stadium recording, but he is represented in the video by a cardboard cutout carried around by Mick Fleetwood and later positioned in the stands with the other band members.
The band’s part would both set a record for the highest number of musicians performing on a single and earn the marching musicians a platinum disc. Lindsey Buckingham, Stevie Nicks and Mick Fleetwood presented it to the Trojan band on October 4, 1980 during a game at the Los Angeles Memorial Coliseum, this time in front of a huge crowd. The song was also performed live during Fleetwood Mac’s concert in 1997 in conjunction with the USC Band.
The single was released with two different picture sleeves in many territories: The first featured the black and white picture of producer/engineer Ken Caillat’s dog Scooter snapping at a trouser leg, the same as that used for the album cover, whilst the second featured a plain cover with the same font as the album cover but without the dog picture. A very limited promotional 12-inch version, featuring mono and stereo versions, was also released to US radio stations.
TUSK like:
nine female country artists on a 1990 all-star tribute to ralph emery (via donald c.)
In this video, nine female country artists (Anne Murray, Jeannie C. Riley, Barbara Fairchild, Jeanne Pruett, Lynn Anderson, Jeannie Seely, Kitty Wells, Patty Loveless and Connie Smith) pay tribute to Ralph Emery on the TV special titled “All-Star Salute to Ralph Emery”. The show was taped at the Grand Ole Opry House on February 7, 1990, and it aired a month later on March 7, 1990.
FUCK YEAH WILLIE NELSON! (via texas monthly)
“I never had a problem with any of it. I’ve known straight and gay people all my life. I can’t tell the difference. People are people where I came from.”
“Absolutely. I never thought of marriage as something only for men and women. But I’d never marry a guy I didn’t like.”
” We’ll look back and say it was crazy that we ever even argued about this.”
READ THE WHOLE STORY HERE!
“life on mars” – barbra streisand
In 1974, Barbra Streisand released a version of the song on her album ButterFly. In a 1976 Playboy interview, Bowie was asked what he thought of her cover: “Bloody awful. Sorry, Barb, but it was atrocious.”
via
sister rosetta tharpe is love (the godmother of rock & roll american masters doc too)
Sister Rosetta Tharpe (1915-1973) was a groundbreaking gospel singer and musician, who paved the way for the popularity of rock ‘n’ roll and influenced Little Richard and Jerry Lee Lewis, among many others.
Tharpe’s biographer, Gayle Wald, found some of the singer’s contemporaries who were willing to talk off the record about her bisexuality; one fellow musician claimed to have walked in on Tharpe and two other women in bed together during her “honeymoon tour” right after her third wedding in 1951.
“SISTER ROSETTA THARPE The Godmother of Rock & Roll” – Produced & Directed by Mick Csaky – International version – 52 mins/2013 from Directors Cut Films on Vimeo.
Wald writes, “The circulation of this and other lore indicated that the gospel world had its own legends of outlaw identities and behaviors: of sissy men and bulldagger women, of philandering evangelists and pilfering prophets, of hypocrites who boozed up backstage before singing in front of the curtain about the virtues of holy living. For homosexuals in her audiences, rumors about Rosetta’s sexuality might have been liberating, an invitation to look for tell-tale signs of affirmation of their own veiled existence.”
Source: Gayle F. Wald, Shout Sister Shout! The Untold Story of Rock-n-Roll Trailblazer Sister Rosetta Tharpe, Beacon Press, 2007.
-Cookie
After the war Decca paired her with Marie Knight, a sanctified shouter with a strong contralto and a more subdued style than Tharpe. In their hit, “Up Above My Head”, Knight provided the response to Tharpe in traditional call and response format, then took the role that would have been assigned to a bass in a male quartet after Tharpe’s solo. It has been reported that it was an “open secret”, in show business circles that Knight and Tharpe were lovers.
with Marie Knight
Frank Ocean in Band of Outsiders
Frank Ocean in Band of Outsiders.
Photographed by Scott Sternberg at the Los Angeles Times Building.
New images drop through Sunday.
the smiths: the pablo cuckoo tape (crazy face manchester 1983) via emily y.
Astonishing newly Unearthed, Very Rare Rehearsal Recording
{Awash with Unusual idiosyncrasies & early lyrics}
Recorded @ Crazy Face, 13~15 Chapel Walks, Manchester.
~
You’ve Got Everything Now
Accept Yourself 04:26
What Difference Does It Make 08:46
Reel Around The Fountain 12:52
These Things Take Time 19:28
I Don’t Owe You Anything 22:37
Hand In Glove 28:06
Handsome Devil 31:04
Miserable Lie 34:11
~
The origins of, ‘The Pablo Cuckoo Tape’ as told by the original ‘Source’ & ‘Up-loader’, ‘bellapintura’ c/o http://www.smithstorrents.co.uk/forum….
SISSYDUDE LOVES: “i’m not in love” – peggy lee (for jeffrey k)
the AWESOME original 10CC version below:
R.I.P. spect STOMPIN’ TOM CONNORS, bitches eh!
PETERBOROUGH, Ont. — Canadian country-folk legend Stompin’ Tom Connors, whose toe-tapping musical spirit and fierce patriotism established him as one of Canada’s strongest cultural icons, has died. He was 77. Connors passed away Wednesday from what a spokesman described as “natural causes.”
Brian Edwards said the musician, rarely seen without his signature black cowboy hat and stomping cowboy boots, knew his health was declining and had penned a message for his fans a few days before his death. In the message posted on his website, Connors says Canada kept him “inspired with it’s beauty, character, and spirit, driving me to keep marching on and devoted to sing about its people and places that make Canada the greatest country in the world.”
Connors is survived by his wife Lena, two sons, two daughters and several grandchildren. Dubbed Stompin’ Tom for his propensity to pound the floor with his left foot during performances, Connors garnered a devoted following through straight-ahead country-folk tunes that drew inspiration from his extensive travels and focused on the everyman.
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