John Berger reads from Mahmoud Darwish’s poem ‘MURAL'

One of my very great heroes, John Berger (author of profoundly effecting books in my library ‘G’ a novel and the revolutionary ‘Ways of Seeing’) reading a poem here called ‘Mural’ by Mahmoud Darwish

May close the day with this . . . . 

In this clip, John Berger reads Mahmoud Darwish’s moving poem ‘Mural’, which he himself translated along with Rema Hammami. The full video is almost 5 mins long and you can watch it on YouTube.

There are so many beautiful lines that Darwish addresses to Death in this poem:

“You’ll be the noble hunter who doesn’t kill the gazelle whilst it’s drinking”

“have you time to check out my poem?”

“You are defeated death, by the arts”

“You are defeated by the songs of the land of two rivers”

“an eternity escaped through your cracks”

“wait here while I pack my bag 

I am glad the algorithm is working to my advantage here and a fuller piece (though still only an excerpt it seems) is here below:

Linda Ronstadt - 1976-11-03 - Los Angeles, CA (FM) | so many roads | Speedy

 Linda Ronstadt - 1976-11-03 - Los Angeles, CA (FM)

Linda Ronstadt
1976-11-03 
Universal Amphitheatre 
Los Angeles, CA
FM Broadcast

01. That'll Be The Day 
02. Love Has No Pride 
03. Silver Threads And Golden Needles 
04. Willin' 
05. It Doesn't Matter Anymore 
06. When Will I Be Loved
07. Crazy 
08. Lo Siento Mi Vida 
09. Love Is A Rose 
10. Hasten Down The Wind 
11. Band Intros 
12. You're No Good 
13. Heat Wave 
14. Crowd 
15. Heart Like A Wheel 
16. Crowd 
17. Desperado 
18. Someone To Lay Down Beside Me

Speedy says

1976: In August 1976, Linda Ronstadt released the album Hasten Down The Wind, which became her 3rd straight million selling disc, making her the first female artist in history to accomplish that feat. The album also earned Linda her second of a record 10 Grammy Awards for Best Female Pop Vocal Performance The album was different from 1974's Heart Like A Wheel and 1975's Prisoner In Disguise in that she chose to showcase new songwriters as opposed to country rock tunes. The title track, for example was written by then up and coming songwriter Warren Zevon. One of the most famous tracks from the album, Someone To Lay Down Beside Me, was composed by the then little known Karla Bonoff. The album received huge critical acclaim, and also spent several weeks in the top 3 on the Billboard charts. Ronstadt went on tour later that year in support of the album, and this soundboard captures her a half century ago today, November 3, 1976, in Los Angeles!

Meanwhile that same year . . . . 

Linda Ronstadt - Blue Bayou (1976) Offenbach, Germany

Linda Ronstadt - Someone To Lay Down Beside Me (1976) Offenbach, Germany

John Lee Hooker With The Groundhogs – Hooker & The Hogs (May and June of 1965) 2003 | Urbanaspirines

John Lee Hooker With The Groundhogs – Hooker & The Hogs 

(May and June of 1965) 2003

an exceptional not to say uniquely weird blues marriage of the Master with a journeyman Brit Blues Band . . . . . legendary historic item from Kostas at URBANASPIRINES Brits went banging on about his grouping for years after ‘65

 

A KOSTAS SPECIAL re-issue

Kostas says: 

JOHN LEE HOOKER

American blues singer-songwriter and guitarist.
Born: August 22, 1912 in Tutwiler, Tallahatchie County, Mississippi, USA.
Died: June 21, 2001 in Los Altos, California, USA. 

THE GROUNDHOGS

Groundhogs were an English blues and progressive rock band founded in late 1963. They touredextensively in the 1960s, achieved prominence in the early 1970s, and continued sporadically into the 21st century. 

McPhee and the Groundhogs' most important musical legacy, this 1965 set of Hooker and the Hogs has an unusual history. Tony McPhee and the Groundhogs first played with John Lee Hooker in June of 1964, when John Mayall & the Bluesbreakers were unable to fulfill a commitment to back Hooker on the final week of his British tour. 

                  

The Clientele // The Violet Hour . . . new voices new sounds | HERBERG DE KELDER

Do I know these? . . . . don’t think I do . . . . .  this THIS is why I do what I do . . (What? wander aimlessly around t’interwebbiemcthingamabob!?  - ED) YES YES YES!!

The Violet Hour

HERBERG DE KELDER

The Clientele // The Violet Hour

terraces that climb like vines towards the moon the five a sides the evening inter-city lights I see your face each time I close my eyes Jude I told you yesterday that I know nothing all my friends are loaded & they smile picking up the pieces from a bleary night away exhaust fumes, magnolias & light Helen in the art-class light yes I guess that if I stay, I'll stay all night & I know that you're not afraid but every time I close my eyes I see your face walking down to Springfield Park uneasy in the haze uneasy in the sunlight & the quiet living life without love in your mother's waiting room minute here by minute it's like dying terraces that climb like vines towards a moon that hangs above another night & streets so filled with echoing you're so tired that you believe in everything so that summer came & went & I became cold yeah I became cold yeah I became cold so that summer came & went & I became cold yeah I became cold ah I became cold

a couple of STONES ROIOs from the Doctor | San Francisco - Candlestick Park SF ’81 & San Diego Jack Murphy Stadium CA 1994 | HEAVY BOOTZ | Dr THC

 Rolling Stones - 1981-10-18 - San Francisco, CA USA

The Rolling Stones
Candlestick Park, San Francisco, CA
1981-10-18

sbd
mp3 @ 320 [322 mb]
sq: EX-

Something Old Something Blue (DAC-002)
artwork included

CD1
01 Take The A Train
02 Under My Thumb
03 When The Whip Comes Down
04 Let's Spend The Night Together
05 Shattered
06 Neighbors
07 Black Limousine
08 Just My Imagination
09 Twenty Flight Rock
10 Let Me Go 
11 Time Is On My Side
12 Beast Of Burden
13 Waiting On A Friend
14 Let It Bleed

CD2
15 You Can't Always Get What You Want
16 Little T & A
17 Tumbling Dice
18 Band Introductions
19 She's So Cold
20 All Down The Line
21 Hang Fire
22 Star Star
23 Miss You
24 Start Me Up
25 Honky Tonk Women
26 Brown Sugar
27 Jumping Jack Flash
28 Satisfaction

tt: 2:19:55

Rolling Stones - 1994-10-17 - San Diego, CA

Rolling Stones
Jack Murphy Stadium, San Diego, CA
1994-10-17

sbd
mp3 @ 320 [300 mb]
sq: EX

Kiss Your Baby (Dandelion DL 085/086)
artwork included

CD1
01 Intro
02 Not Fade Away
03 Tumbling Dice
04 You Got Me Rocking
05 Shattered
06 Rocks Off
07 Sparks Will Fly
08 Satisfaction
09 Beast Of Burden
10 Out Of Tears
11 Doo Doo Doo Doo Doo Heartbreaker
12 Love Is Strong
13 It’s All Over Now
14 I Go Wild

CD2
15 Miss You
16 Band Introduction
17 Honky Tonk Women
18 Before They Make Me Run
19 The Worst
20 Intro
21 Sympathy For The Devil
22 Monkey Man
23 Street Fighting Man
24 Start Me Up 
25 It’s Only Rock’N’Roll
26 Brown Sugar
27 Jumping Jack Flash

tt: 2:10:59

Both soundboards so gotta be worth checking out!

Big Star - Try Again [#1 Record] | HERBERG DE KELDER

Big Star - Try Again [#1 Record]

Try Again

BIG STAR

HERBERG DE KELDER

Big star we know . . . obvs

Howlin’ Wolf - Tail Dragger | jt1674

  . . . this is Howlin’ Wolf’s New Album . . . . he  doesn’t like it! . . . . . . . 

https://www.tumblr.com/jt1674/832444475221688320/howlin-wolf-tail-dragger

DANGEROUS MINDS Even Better Than the Real Thing: Why did Andy Warhol approve of fake art? | Will Howard

 

 Dangerous Minds / Bernard Gotfryd

ART

Even Better Than the Real Thing: Why did Andy Warhol approve of fake art?

Will Howard

Wed 4 November 2026 10:35, UK

"Andy Warhol was adamant that a replica of a piece of art was just as good as the original. 
As was his way, the icon of New York City cool was so adamant about this that he ruffled a hell of a lot of feathers when the Mona Lisa was exhibited at the Metropolitan Museum of Art in 1963. The da Vinci masterpiece brought the entire museum to a standstill upon arrival, as you can imagine. Several hundred disappointed punters were turned away every day, including many who had made the trip from France to follow the masterwork around the world.

This made Warhol quip that they should have sent an exact replica, and keep exhibiting it at home to ease up on the crowds. That way, everyone would get the chance to look at the piece not as an object whose age, status and price give it value but as an actual piece of art. Does the image itself speak to you? Or is it the sense of occasion that comes from “seeing the Mona Lisa in person” that speaks to you? Now, Warhol was a troll, so there’s a decent chance that he was just pissing people off for the sake of pissing people off but there is something to be said for his line of reasoning.

Art is an industry. A huge one at that. One that takes in billions of dollars across the world and that’s due to the idea of authenticity. Capitalism has found a way of taking the idea that there’s something uniquely special about something an individual worked on and poured their heart and soul into and translated it into a monetary value. Now, putting my nauseating pinko sensibilities to one side, I do think there’s inherent value to that. It’s the same reason that it’s worth lamenting that you’ll never see The Beatles live despite the myriad Beatles tribute acts who probably do a more skilful job playing Beatles songs than the Fabs ever did.

However, should that be a reason to commodify artistic expression? Does that justify the fact that art is now an investment opportunity for the Uber wealthy that us plebs get to gawk at if we’re really well behaved? Yes, Warhol was probably being a troll when he said what he said about the Mona Lisa, but like all effective trolls, there’s a kernel of truth hidden in the centre of what he’s saying. Art should be powerful in and of itself. Going back to the music comparison, is the actual work of art Abbey Road? Or its master tapes?

This was what Warhol was getting by making works of art about cans of soup and bottles of Coca-Cola. People have this idea that by making art about this, Warhol was embracing a John Waters style love of kitsch. That he was celebrating tackiness and falseness as a form of artistic expression and finding new ways for things to be beautiful. While their probably was a little bit of that anarchic spirit in there, I don’t think it’s quite as simple as that.

I think that Warhol genuinely believed that art was, above all, an experience that one felt rather than an object. Thus, everything was art, whether that was a film showing a man’s face while he was getting a blowjob, a can of Campbell’s soup or, yes, an exact replica of the Mona Lisa.

And y’know what? I can’t help but agree with him. "

Mona Lisa by Andy Warhol - The MET 150

Davey Graham - She Moved Through The Fair [Hullabaloo 1963]

 Now I found this funny in that a page at YouTube forbade its colourised version of this guest spot by Davey Graham examining the connection between folk and Indian musical influences and frankly my response is GOOD! Don’t want a “colorized”version of it anyway! Shoot yourselves in the foot by all means but frankly blues.in.colour you do yourself no favours in that  . . . .  

Davey Graham  - She moved through the fair (#DADGAD)

Davey Graham introduction by Rory McEwen on the Hullabaloo show back in 1963.

  

This was the first outing for Davey Graham's new DADGAD tuning - in fact CGCFGC, capo on 2 making it DADGAD (slightly sharp of concert).  

Seated behind him, Martin Carthy on the left and Long John Baldry on the right, both regular guests on the show.  The band watching on stage is Cyril Davies' All-Stars, the residents.

Davy (or Davey) Graham (1940–2008) was a central figure in the British folk revival of the 1960s, blending traditional British and Celtic folk music with blues, jazz, and modal elements from North African, Arabic, and Indian music. His innovative style strongly influenced later folk and rock guitarists, including Bert Jansch, John Renbourn, Paul Simon, and Jimmy Page.

“She Moved Through the Fair” is a traditional Irish ballad whose lyrics suggest that a dead or vanished lover returns in a dreamlike vision. The version commonly known today first appeared in Herbert Hughes’s 1909 collection of Irish folk songs. Its melody is notable for its haunting, modal character.

Graham’s 1963 guitar arrangement is historically important because it used the alternative 'DADGAD tuning', creating rich resonance through open-string drones. Rather than merely accompanying the folk melody, he transformed it into a meditative and improvisatory guitar piece with qualities reminiscent of Indian raga.

Bonnie Raitt from Rick Grenda

 From the F/B page of Rick Grenda

Bonnie Raitt: and a big band