Watching a Choreographer Build: Trisha Brown’s Unusual Archive

“In a video recorded in 1989, the choreographer Trisha Brown demonstrates a few restless seconds of movement, as dancers in her studio try to follow along. An arm darts across the torso; the legs appear to slip and catch themselves. It happens fast. As the dancers attempt to do as she does, a viewer can imagine how useful the video would be for anyone learning this material. There’s no easy way to explain what she’s doing; you just have to keep watching. In her decades of dazzling experiments with the body, gravity and momentum, Brown invented movement so complex — so capricious yet precise — it could be hard to remember from one day to the next, let alone years later if the work were to live on. …”
NY Times


1969: The Velvet Underground Live – The Matrix, San Francisco

1969: The Velvet Underground Live is a live album by the Velvet Underground. It was originally released as a double album in September 1974 by Mercury Records. … Spin magazine’s Alternative Record Guide included it in the top 100 alternative albums of all time in 1995. … On October 19, 1969, in the End of Cole Ave. club, Dallas, a fan who happened to be a recording engineer brought along his professional gear; and in November at The Matrix in San Francisco, the band was given permission to use the in-house four-track recording desk. The band were given two-track mixdown tapes from the recordings for reference, but nothing was done with them until 1974, after the band had dissolved and Lou Reed had become well known as a solo artist. …”
**The Quietus – Low Culture 1: The Velvet Underground Live In 1969***
Discogs (Video)
YouTube: What Goes On, Beginning To See The Light, We’re Gonna Have A Real Good Time Together, Sweet Jane

Siouxsie And The Banshees – The Scream [Deluxe Edition]

“… The Scream’s contents were nonetheless compelling, not to mention significantly different from anything previously pigeonholed as simply ‘punk.’ Built upon the bedrock of Morris’ tribal, tom-heavy drums and McKay’s guttural, metallic guitar, ‘Jigsaw Feeling’ and ‘Metal Postcard (Mittageisen)’ were stark and monochromatic; the domestic violence-related ‘Suburban Relapse’ (influenced by Alfred Hitchcock’s Psycho) was brutally harrowing; and even the record’s lone cover version – an eerie deconstruction of The Beatles’ ‘Helter Skelter’ – provided little in the way of respite. Contemporaneous critics, however, unanimously doled out five-star praise, and Sounds enthusiastically proclaimed the record to be ‘the best debut album of the year.’ … Four decades on, its primal power still cuts through loud and clear. …”
‘The Scream’: The Primal Power Of Siouxsie & The Banshees’ Debut Album (Video)
Discogs (Video)