Dial-A-Poem Poets – Big Ego (1978)


“American label set up in 1972 by the poet John Giorno, the earliest releases were exclusively poetry collections of the ‘Dial-A-Poets’ (John Giorno, William S Burroughs, Brion Gysin, Allen Ginsberg, John Cage etc.): ‘In 1961 I was a young poet who hung out with young artists like Andy Warhol, Bob Rauschenberg and Jasper Johns, as well as with members of the Judson Dance Theatre. The use of modern mass media and technologies by these artists made me realize that poetry was 75 years behind painting and sculpture, dance and music. And I thought, if they can do it, why can’t I do it for poetry. Why not try to connect with an audience using all the entertainments of ordinary life: television, the telephone, record albums, etc? It was the poet’s job to invent new venues and make fresh contact with the audience. This inspiration gave rise to Giorno Poetry Systems.’ – John Giorno”
Discogs
Discogs: Various ‎– Big Ego
UbuWeb (Video)

No Wave Cinema


Steve Mass & Diego Cortez.
No wave cinema was an underground filmmaking movement that flourished on the Lower East Side of New York City from about 1976 to 1985. Sponsored by and associated with the artists group Collaborative Projects or ‘Collab’, no wave cinema was a stripped-down style of guerrilla filmmaking that emphasized mood and texture above other concerns — similar to the parallel no wave music movement. This brief movement, also known as New Cinema (after a short-lived screening room on St. Mark’s Place run by several filmmakers on the scene), had a significant impact on underground film. No wave cinema spawned the Cinema of Transgression (Scott B and Beth B, Richard Kern, Nick Zedd, Tessa Hughes-Freeland and others) and a new generation of independent filmmaking in New York (Jim Jarmusch, Tom DiCillo, Steve Buscemi, and Vincent Gallo). … In 2010, French filmmaker Céline Danhier created a documentary film titled Blank City. The film presents an oral history of the no wave cinema and Cinema of Transgression movements through interviews with Jarmusch, Kern, Buscemi, Poe, Seidelman, Ahearn, Zedd, John Waters, Blondie’s Debbie Harry, hip-hop legend Fab 5 Freddy, Thurston Moore of Sonic Youth, and Jack Sargeant. The soundtrack includes music by Patti Smith, Television, Richard Hell & The Voidoids, James Chance and the Contortions, Bush Tetras and Sonic Youth. …”
Wikipedia
Shooting Blanks: A History of No Wave Cinema (Video)

“No Wave 78”

Joy Division – Closer (1980)


“If Unknown Pleasures was Joy Division at their most obsessively, carefully focused, ten songs yet of a piece, Closer was the sprawl, the chaotic explosion that went every direction at once. Who knows what the next path would have been had Ian Curtis not chosen his end? But steer away from the rereading of his every lyric after that date; treat Closer as what everyone else thought it was at first — simply the next album — and Joy Division‘s power just seems to have grown. Martin Hannett was still producing, but seems to have taken as many chances as the band itself throughout — differing mixes, differing atmospheres, new twists and turns define the entirety of Closer, songs suddenly returned in chopped-up, crumpled form, ending on hiss and random notes. Opener ‘Atrocity Exhibition’ was arguably the most fractured thing the band had yet recorded, Bernard Sumner‘s teeth-grinding guitar and Stephen MorrisCan-on-speed drumming making for one heck of a strange start. Keyboards also took the fore more so than ever — the drowned pianos underpinning Curtis‘ shadowy moan on ‘The Eternal,’ the squirrelly lead synth on the energetic but scared-out-of-its-wits ‘Isolation,’ and above all else ‘Decades,’ the album ender of album enders. A long slow crawl down and out, Curtis‘ portrait of lost youth inevitably applied to himself soon after, its sepulchral string-synths are practically a requiem. Songs like ‘Heart and Soul’ and especially the jaw-dropping, wrenching ‘Twenty Four Hours,’ as perfect a demonstration of the tension/release or soft/loud approach as will ever be heard, simply intensify the experience. Joy Division were at the height of their powers on Closer, equaling and arguably bettering the astonishing Unknown Pleasures, that’s how accomplished the four members were. Rock, however defined, rarely seems and sounds so important, so vital, and so impossible to resist or ignore as here.  …”
allmusic
Guardian – My favourite album: Closer by Joy Division
W – Closer
YouTube: Closer (Full Album) 9 videos

why tapes matter


“I’m pretty obsessed with contemporary cassette culture. Over the last few years, countless young and ambitious efforts have adopted the format – sculpting one of the most vibrant contexts of new music I’ve encountered, yet it seems – caught by the object itself (or simply not having a tape deck), people often miss what makes it so special. It feels reductive to mention the all mighty dollar – but it counts, and is generally downplayed in narrative of seminal music. Art is supposed to come first – and it does, but particularly for those of us who have shuffled through a frustrating flux in formats during the last three decades, it has played a significant role. Though everyone has their preferences and reasons, a largely unspoken factor which contributed to the vinyl revival we are currently witnessing, is that for many years (the 90’s and the first half of the 2000’s) LPs were the cheapest way to buy music. …”
the hum