“And then — she walked in” Jazz Noir, Dark Jazz, and How Music Tells a Story
Featuring thoughts from Morten Gass of Bohren & der Club of Gore
Consider, for a moment, the following:
The acrid smoke from the last cigarette in my pack wafted up from the dim ember and mingled with a thin misting of steam rising up from the gutter. Each passing pair of headlights that crawled by on the street only briefly illuminated the grimy, rain-slick concrete sidewalk, but it was long enough to confidently take another step in the murky darkness. I reached up with my free hand — the one unencumbered by the the only stress reliever I could rely on anymore — and pulled the corners of my overcoat closer around me. At a guess, I had another handful of blocks before I would pass my apartment building stoop. Being the night that it was, though, meant that I would be passing right on by. After all, I had been hired to find her — and it was nearly midnight.
Pulpy, ridden with time-tested noir tropes, but most importantly, evocative. It’s that kind of writing that birthed an entire genre of film. A Streetcar Named Desire, L.A. Confidential, The French Connection, to name a few.
Jazz noir, however, is predicated on the idea that the music is just as vital of a storytelling component than any fedora-wearing, revolver-packing, grizzled detective with a troubled past....
Not an adaptation of beat writer William S. Burrough's novel but a mix of biography and an interpretation of his drug- induced writing processes combined with elements of his work in this paranoid fantasy about Bill Lee, a writer who accidentally shoots his wife, whose typewriter transforms into a cockroach and who becomes involved in a mysterious plot in North African port called Interzone. Wonderfully bizarre, not unlike Burrough's books....
Naked Lunch (sometimes The Naked Lunch) is a 1959 novel by American writer William S. Burroughs. The book is structured as a series of loosely connected vignettes. Burroughs stated that the chapters are intended to be read in any order. The reader follows the narration of junkie William Lee, who takes on various aliases, from the U.S. to Mexico, eventually to Tangier and the dreamlike Interzone.
The vignettes (which Burroughs called "routines") are drawn from Burroughs' own experiences in these places and his addiction to drugs: heroin, morphine and, while in Tangier, majoun (a strong hashish confection), as well as a German opioid with the brand name Eukodol (oxycodone), of which he wrote frequently.
The novel was included in Time 's "100 Best English-language Novels from 1923 to 2005".[3] In 1991, David Cronenberg directed a film of the same name based on the novel and other Burroughs writings.
Naked Lunch is a 1991 surrealist science fiction drama film co-written and directed by David Cronenberg and starring Peter Weller, Judy Davis, Ian Holm, and Roy Scheider. It is an adaptation of William S. Burroughs' 1959 novel of the same name, and an international co-production of Canada, Britain and Japan.
The film was released on 27 December 1991 in the United States, and 24 April 1992 in the United Kingdom by 20th Century Fox. It received positive reviews from critics, but was a box office bomb, garnering only $2.6 million out of a $17–18 million budget due to a limited release. It won numerous honours, including the National Society of Film Critics Award for Best Director and seven Genie Awards, notably Best Motion Picture. Naked Lunch has since become a cult film, acclaimed for its surrealistic visual and thematic elements.
In this adaptation of William S. Burroughs’s hallucinatory, once-thought-unfilmable novel Naked Lunch, directed by David Cronenberg, a part-time exterminator and full-time drug addict named Bill Lee (Peter Weller) plunges into the nightmarish Interzone, a netherworld of sinister cabals and giant talking bugs. Alternately humorous and grotesque—and always surreal—the film mingles aspects of Burroughs’s novel with incidents from the writer’s own life, resulting in an evocative paranoid fantasy and a self-reflexive investigation into the mysteries of the creative process.
Ко те је шта питао?! Зашто си се уопште умешао?! Никада више да ниси зуцнуо! Да се ниси померио!
Најбоље би било да замислиш да си ова вазна на столу! Јел' ти јасно керамико безвредна, да си барем кристална.. да, није ни битно да ли си он или она...може те и мачка случајно поломити, не би би била велика штета!
Боље би ти било да волиш то пластично цвеће у себи а је ћу те питати... када будем одлучио да те питам!
Who asked you what?! Why did you even get involved?! Without a whisper! Don't move!
Imagine that you are this vase on the table! Is it clear to you that ceramics are worthless, if you were at least crystal... yes, it doesn't even matter if you are him or her... a cat can accidentally break you, it wouldn't be a big pity!
You better love those plastic flowers inside you and I will ask you...when I decide to ask you!
Mister anonimus, stanovnik velegrada, ponovo medju nama – kratke priče”Noć slomljenih strela” Sebastijana Sava Gor-a
Anarhizam se danas modernizovao a urbani buntovnik konformizovao. Svetska revolucija nije uspela, ostalo nam je da sami vodimo svoje bitke a ostao nam je i andergaund (underground). Pred nama je jedan andergraund opredeljen mlađi beogradski pesnik, rok muzičar i pisac, Sebastijan Sava Gor, koji nam u ovoj svojoj seriji kratkih priča pripoveda o urbanizovanim ambijentima Megalopolisa III, megalopolisa nužnosti, za razliku od futurističko-tehnicističkog Megalopolisa I, megalopolisa želje – Metropolisa, Frica Langa (Fritz Lang, 1890-1976), nikad ne ostvarenog, i Megalopolisa II - tepih-urbanizacije iz šezdesetih godina prošlog veka koja je obećavala “posao i stan za svakog”, ali neuspešno, što se kasnije uspostavilo i kao utopija. Andergraund je ovde važan kao jedini nastavak ideja o Svetskoj /modernoj/ revoluciji, nastalih na zdravoj osnovi Spenserovog konzervativnog anarhizma (Herbert Spencer 1820 –1903)sa krilaticom: “The Man versus the State / Čovek protiv države/”, a koji se takođe nikad nije realizovao kao “naivan”. Dok su se u medjuvremenu pojavile ideje o globalizaciji sveta i društvu bez države, ovaj umetnički pravac, mada naizgled globalistički, zapravo je jedini ostao anarho-podrivački i ima za krajnji cilj da podrije sve društvene sisteme, aparature i establišmente, bilo koje vrste, pošto ih smatra za prodate i pokvarene..."
***
Recension for book - Sebastian Sava Gor : “The night of broken arrows”, Belgrade, 2014, short stories about urban man. Text is analysing urban man today, and find, in this short stories, it is quite different from the urban man of Megalopolis I / Metropolis of Fritz Lang - megalopolis of wishes/, and the urban man of Megalopolis II / massive felt-urbanisation from 1960 - urbanisation of disappointment/. Conclusion is that today we have Megwith cult of fun and games/ and that writer fight against that... fight for more nature and more "natural life"/ in yourself, everyday life, love.../
Ko te je šta pitao?! Zašto si se uopšte umešao?! Nikada više da nisi zucnuo! Da se nisi pomerio!
Najbolje bi bilo da zamisliš da si ova vazna na stolu! Jel' ti jasno keramiko bezvredna, da si barem kristalna.. da, nije ni bitno da li si on ili ona...može te i mačka slučajno polomiti, ne bi bi bila velika šteta!
Bolje bi ti bilo da voliš to plastično cveće u sebi a je ću te pitati...kada budem odlučio da te pitam!
Keywords: Spontano Sagorevanje, Puste Želje, Pusti Snovi. Empty Desires, Empty Dreams, Désirs vides, rêves vides, Désirs vides, rêve vide, Kratkih Priča, Une Collection D'histoires Courtes, A Collection of Short Stories, Spontaneous Combustion, Combustion Spontanée, kratka priča, short story, histoire courte, nadrealizam, teatar apsurda. surréalisme théâtredelabsurde theateroftheabsurd iracionalizam avantgarde avangarda irrationalism, irrationalisme, subconscious, subconscient, superconscious, supraconscient, novel, novela knjiga, new book, književnost, literature, literature posts, literatura, comedy, komične priče, smešne,priče, funnystories, surrealism, nadrealizam, crazy story, dark humor, weird story, Спонтано СагоревањеЗбирка Кратких Прича, Збирка Уне Д'хистоирес Цоуртес, Збирка кратких прича, Спонтано сагоревање, Спонтане сагоревања, кратка прича, кратка прича, историја курта, надреализам, театар апсурда. сурреалисме тхеатределабсурде тхеатерофтхеабсурд ирационализам авантгарде авангарда ирационализам, ирационализам, подсвест, подсвесно, надсвесно, суперсвесно, роман, новела књига, нова књига, књижевност, књижевност, књижевни постови, књижевност, комедија, комичне приче, смешне, приче, смешни, приче, смешни, приче луда прича, мрачни хумор, чудна прича, Po Jutru Se Dan Poznaje, In the Morning the Day is Known Spontano Sagorevanje: "Nešto je Puklo" 36 Spontano Sagorevanje: "Časlav Vuk" | Spontaneous Combustion: "Chaslav and Wolf" | Zbirka Kratkih Priča | Savremena Proza EX EX : SYSTEM ERROR Spontano Sagorevanje: "VAZNA" | Spontaneus Combustion: "Vase" | Savremena Proza | Contemporary Prose . kratka priča, short story, histoire courte, nadrealizam, teatar apsurda, surréalisme. théâtre de l'absurde, theater of the absurd, iracionalizam, avantgarde, avangarda, irrationalism, irrationalisme
Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975 by Columbia Records. The album marked Dylan's return to Columbia Records after a two-album stint with Asylum Records. Dylan began recording the album in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in a studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis.
Blood on the Tracks initially received mixed reviews, but has subsequently been acclaimed as one of Dylan's greatest albums by both critics and fans. The songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, has described the songs as "my parents talking". The album is considered an outstanding example of the confessional singer-songwriter's craft, having been called "the truest, most honest account of a love affair from tip to stern ever put down on magnetic tape". In interviews, Dylan has denied that the songs on the album are autobiographical.
Robert Dylan[ (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter, author and visual artist. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning nearly 60 years. Much of his most celebrated work dates from the 1960s, when songs such as "Blowin' in the Wind" (1963) and "The Times They Are a-Changin'" (1964) became anthems for the civil rights and anti-war movements. His lyrics during this period incorporated a range of political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counterculture.
Bob Dylan - Blood on the Tracks - Amazon.com Music
Blood on the Tracks is a seminal breakup album, poetic carnival ride, and staggeringly beautiful collection of songs. This is one of those albums that warrants ...
Harvest is the fourth studio album by Canadian / American musician Neil Young, released in February 1972 on Reprise Records, catalogue number MS 2032. It featured the London Symphony Orchestra on two tracks and vocals by noted guests David Crosby, Graham Nash, Linda Ronstadt, Stephen Stills, and James Taylor. It topped the Billboard 200 album chart for two weeks, and spawned two hit singles, "Old Man", which peaked at No. 31 on the Billboard Hot 100, and "Heart of Gold", which reached No. 1. It was the best-selling album of 1972 in the United States.
Neil Percival Young OC OM (born November 12, 1945) is a Canadian singer-songwriter, musician, and activist. After embarking on a music career in Winnipeg in the 1960s, Young moved to Los Angeles, joining Buffalo Springfield with Stephen Stills, Richie Furay and others. Since the beginning of his solo career with his backing band Crazy Horse, Young has released many critically acclaimed and important albums, such as After the Gold Rush, Everybody Knows This Is Nowhere, and Harvest.
Solaris (Russian: Солярис, tr. Solyaris) is a 1972 Soviet science fiction art film based on Stanisław Lem's 1961 novel of the same name. The film was co-written and directed by Andrei Tarkovsky, and stars Donatas Banionis and Natalya Bondarchuk. The electronic music score was performed by Eduard Artemyev; a composition by J.S. Bach is also employed.
The plot centers on a space station orbiting the fictional planet Solaris, where a scientific mission has stalled because the skeleton crew of three scientists have fallen into emotional crises. Psychologist Kris Kelvin (Banionis) travels to the station in order to evaluate the situation, only to encounter the same mysterious phenomena as the others. The film was Tarkovsky's attempt to bring a new emotional depth to science fiction films; he viewed most western works in the genre as shallow due to their focus on technological invention.
Solaris won the Grand Prix Spécial du Jury at the 1972 Cannes Film Festival and was nominated for the Palme d'Or. It received generally positive reviews from critics. It is often cited as one of the greatest science fiction films in the history of cinema.[7][8] Some of the ideas Tarkovsky expresses in this film are further developed in his film Stalker (1979).
Ground control has been receiving mysterious transmissions from the three remaining residents of the Solaris space station. When cosmonaut and psychologist Kris Kelvin is dispatched to investigate, he experiences the same strange phenomena that afflict the Solaris crew, sending him on a voyage into the darkest recesses of his consciousness. With Solaris, the legendary Russian filmmaker Andrei Tarkovsky created a brilliantly original science-fiction epic that challenges our conceptions about love, truth, and humanity itself.
Psychologist Kris Kelvin is being sent on an interstellar journey to evaluate whether a decades-old space station, positioned over the oceanic planet Solaris, should continue to study it. He spends his last day on Earth with his elderly father and retired pilot Burton. Years earlier Burton had been part of an exploratory team at Solaris but was recalled when he described strange happenings, including seeing a four-meter-tall child on the surface of the water on the planet. These were dismissed as hallucinations by a panel of scientists and military, but now that the remaining crew members are making similarly strange reports, Kris's skills are needed.
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