lk-47:

Elian’s Theme, Based On a True Story 

Lk-47 pt. II 

jacobwren:

Cover art by Matthew Paladino
Order it here (30% off until August 8th): http://www.bookthug.ca/proddetail.php?prod=201401&cat=25
Interview with Malcolm Sutton for the BookThug blog: http://bookthug.ca/blog/jacob-wren-an-interview-with-malcolm-sutton/
Some of the Jacob Wren book reviews that can be found on the internet: http://radicalcut.blogspot.ca/2012/01/jacob-wren-book-reviews-that-can-be.html

jacobwren:

Cover art by Matthew Paladino

Order it here (30% off until August 8th): http://www.bookthug.ca/proddetail.php?prod=201401&cat=25

Interview with Malcolm Sutton for the BookThug blog: http://bookthug.ca/blog/jacob-wren-an-interview-with-malcolm-sutton/

Some of the Jacob Wren book reviews that can be found on the internet: http://radicalcut.blogspot.ca/2012/01/jacob-wren-book-reviews-that-can-be.html

(via jacobwren)

Lk-47 - F*ck the Summer Up

Eloise Laws - Put A Little Love Into It (When You Do It)

RATKING - Canal (Ad-Rock Remix)

RHODA SCOTT & BARBARA DENNERLEIN together on stage ORGAN SUMMIT 2008

And here we touch on a curious economic accident, the importance of which as a determining condition of art production has never been properly emphasized. In modern life, great works of art generally have been, and I suspect, almost must be, produced in defiance of the tastes and predilections of society at large. The artist, therefore, except in those cases where he possesses inherited means, must be able to live and function on an extremely small sum. He must exist almost as sparrows do, by picking up the crumbs that fall from the rich man’s table. What wonder, then, that periods of artistic creation and impotence are as hard to predict or account for at the weather itself! And yet there is a certain irony in the fact that every civilization is ultimately judged by what of spiritual value it has contributed to the human patrimony. It is only at each present moment that this appears to be of so little consequence as to be negligible.
Roger Fry

Well, the problem I have, and maybe others have too, is that the formalism and the professionalism of the museum-university-festival circuit sometimes keeps you from knowing either who you are, or what you’re really talking about. This is not to say we should close the museums, picket the universities, burn the libraries, or go back to the land or whatever. But it is to say that unconventional and dissenting ideas don’t often come out of established and conventional functions. And when everybody tacitly agrees that culture production can only take place under the beneficent gaze of the market and the state, and on their payrolls, what you get in my opinion is very dull and timid attitudes combined with grotesquely simulated and overblown emotions. Or, from the more ambitious and professional types, you may get hyper-specialized discourses and elaborate aesthetic affects, this sort of highly valorized cultural production which appears irrefutable when it comes out of MIT or MoMA, but still doesn’t seem to be what you’re looking for.


To put it in more theoretical terms, there is no possibility of generating a critical counter-power – or counter-public, or counter-public sphere – when there is no search for relative autonomy, or when the self (autos) no longer even asks the questions of how to make its own law (nomos). So the importance of this kind of project is to use it as a moment of experimentation, not just in the quest for the perfect theory or the perfect procedure, but cosmologically, to rearrange the stars above your head. Such events don’t happen often, the only solution is do-it-yourself. It’s also part of the search for the outside, which has existential necessity. I think I’ve learned the most about art and social theory from counter-summits with lines of teargas-belching cops, and from those kinds of anarchist summer universities where you camp out for a week and have a hard time finding a shower, but also get to cooperate directly with people whose words and gestures aren’t totally dissociated from their bodies and their actions. Well, since those moments I have felt a need to develop more complex discourses and experiments, but hopefully not more conventional and complacent ones…

Brian Holmes

Azealia Banks - Heavy Metal & Reflective

Work your ass off to change the language & dont ever get famous.
Bernadette Mayer, “Experiments” (via fscottfitzgerald)

(via mashatupitsyn)

Jun Miyake - Lillies Of The Valley

But the state of Israel was not created for the salvation of the Jews; it was created for the salvation of the Western interests. This is what is becoming clear (I must say that it was always clear to me). The Palestinians have been paying for the British colonial policy of “divide and rule” and for Europe’s guilty Christian conscience for more than thirty years.
James Baldwin

Charlotte Dada - Don’t Let Me Down (Ghana 1971) - (Beatles Cover)

Today women do not have to face the same difficulties as of old; they can make their influence more widely felt and they are listened to a little more, but a world in which men and women are completely equal is still far from being realized. All my life I have recommended that one must ask questions, take a position, and act upon it.
Thérèse Casgrain, in her autobiography, 1972