So not entirely sure why but TWILIGHTZONE has posted an entire blast of OGWT special from Pete Roberts . . . . . and nothing wrong with that - over an hour of music check it out
Pete says : Featuring Freddie King to ZZ Top.. with Little Feat, John Martyn, New York Dolls, Ozark Mountain Daredevils, Tom Petty and The Heartbreakers, Queen , R.E.M. , Steely Dan, Talking Heads, UFO, Suzanne Vega , Johnny Winter, XTC, John Otway, ZZ Top .
The remainder of my alphabetic post of OGWT . My 'Y' post of Neil Young singing Old Man got blocked .. Apologies from another old man . I replaced it with a performance from John Otway and Wild Willy Barrett ..at request.(sic!) No copyright infringement intended.. All shared from You Tube with very many thanks.. Ps My You Tube channel is not monetized.. and never will be.
Somebody posted this on Tumblr and I thought it worth posting again here . . . .two reasons; it moved me and it features a hero, the much missed Alan Rickman
The skull in the Royal Shakespeare Company's props department has a name on the paperwork...
That name is André Tchaikowsky.
It is not the name he was born with.
He came into the world in Warsaw in 1935 as Robert Andrzej Krauthammer, the son of a Jewish family. He showed musical ability from early childhood, taught piano by his mother from the age of four.
In 1940 the Nazis arrived, and the family were moved into the Warsaw Ghetto. In 1942, when he was seven years old, he was smuggled out. The people who got him out gave him a new identity on forged papers. The papers said his name was Andrzej Czajkowski.
He was sent into hiding with his grandmother. They stayed hidden until 1944, when the Warsaw Uprising swept them up and deposited them in a transit camp, from which they were eventually released.
Robert Krauthammer did not survive the war. Andrzej Czajkowski did.
He went on to study piano, first in Lodz, then Paris, then Warsaw. He won prizes.
He emigrated to England in 1956. He changed the spelling of his name to André Tchaikowsky, the French form, the name by which he would be known for the rest of his life. He became a respected pianist and a passionate composer.
He was obsessed with Shakespeare. When he died of colon cancer in Oxford in 1982 at the age of 46, he left his body to medical research and his skull to the Royal Shakespeare Company, requesting in his will that it be offered for use in theatrical performance.
He never got to see it happen.
The RSC received the skull, dried it on a rooftop for two years, and then placed it in a tissue-lined box in the props department, where it stayed for 26 years. Directors took it out for rehearsals and then put it back. It was too much, they said. Too distracting.
Too real.
In 2008, director Gregory Doran retrieved it for his production of Hamlet starring David Tennant. For months, eight times a week, Tennant stood on stage at the Courtyard Theatre in Stratford-upon-Avon and held the skull aloft during the gravedigger scene. Audiences had no idea whose skull it was.
The image became one of the most reproduced photographs of the production. It ended up on a British postage stamp.
The name on that stamp, on the programmes, on the posters, is André Tchaikowsky.
The skull belongs to a boy who was handed a false identity in a ghetto in 1942 and kept it for the rest of his life and beyond it. Robert Krauthammer wanted to survive.
André Tchaikowsky wanted to play Yorick. In the end, both of them got what they were after.
[despite what fans of photojournalist Martin Parr who passed away this past year may say)
Steele-Perkins had a more gentle and affectionate feel for his subjects not unlike someone who prolly introduced me to Chris’ work, contemporary photographer ‘Photieman’ and fellow alum from what was Leicester Polytechnic Fine Art Dept, my old friend artist/photographer Tom Wood
This is Lady Pink, one of the only female graffiti artists active in the ’80s. Jenny Holzer, famous for her feminist postmodern “Truisms,” designed this shirt and Lady Pink wore it around NYC
Obama and Mamdani sing The Wheels on the Bus with New York preschoolers
Barack Obama met Zohran Mamdani for the first time on Saturday at a childcare centre where the former Democratic US president and the mayor of New York City read to preschoolers and led a sing-along.
just to say if you haven’t already spotted but Speedy has done loads of work on his back catalogue and you won’t believe the range and quality his ROIOS that he has either re-booted or re-made available and you best check as some may disappear in 30-60 days it is frankly ENORMOUS and there is always something for everyone there . . . check it out!
"A urinal. A signature. With those two things, Marcel Duchamp ignited a firestorm of debate and discourse in theartworld that is still in no danger of stopping a literal century after Fountain debuted at the inaugural exhibition of the Society of Independent Artists in New York City.
Once you put aside the initial grossness of the fact that it’s, y’know, a literal urinal,(sic?) the controversy of Fountain comes from the fact that it’s a mirror. One forcing you to reflect on what gets to be called art and why. After all, many people still think that Fountain is an act of arrogance and hubris. After all, what gives Duchamp the right to slap his name on any old shite and call it art? It’s a fine question. Yet if it’s asked of one piece of art, should it not be asked of all pieces of art ever?
After all, it might be that labelling something “art” is an inherently arrogant practise. What’s more, it may be ok to do that, especially if some twat like me comes along and rolls their eyes at a Hockney masterwork as nothing more than lifeless images rendered in colourful goop. The thing that people who want to be artists do when they don’t have the talent to be musicians. You might also say that Fountain is a troll, that Duchamp is laughing at everyone, myself included, for seeing everyone lose their minds over a literal pisspot.
Yet what a lot of people don’t realise is that Fountain wasn’t released in a vacuum. In fact, quite the opposite, it was one of a series of what Duchamp called his Readymades, found items that he decided were, in fact, art. It wasn’t even the first in this series, by the time Fountain pissed in everyone’s breakfast cereal of choice, he’d been planning these pranks for three years and actively exhibiting them for two, the whole idea for the Readymades coming together in 1914 with one simple idea.
That idea being that Duchamp had a bottle rack in his studio that wasn’t seeing much action.
(Credits:Marcel Duchamp / photo Alfred Stieglitz - yes THAT Alfred Stieglitz O’Keefe’s lover)
What inspired the Readymades of Duchamp?
Yeah, it really was as simple as that – Duchamp bought a bottle rack from a market in 1914 and kept it in his studio for a few months, and he then found that he wasn’t using it anywhere near as much as he thought he would, yet he did appreciate the object as a sculpture, which got him thinking about the artistic merit of everyday objects, leading him to the first Readymade sculpture, a snow shovel with its title In Advance of the Broken Arm painted on it, along with Duchamp’s signature.
This never found its way out of Duchamp’s studio, the same as the next three installations in the Readymades series, a chimney ventilator, a steel dog grooming comb and a typewriter cover. All presented exactly the way they were found, save for a small signature from Duchamp. By 1916, Duchamp intended to honour the original object that inspired this series by asking his sister to paint “(from) Marcel Duchamp” on that original bottle rack in a letter to her. However, ironically enough, she’d already chucked it out.
The year afterwards, Fountain shocked the art world to its core, and despite the controversy, Duchamp still continued*his Readymades series. In fact, the Readymade that followed Fountain was arguably the best prank of the lot. Trap (Trebuchet) was installed near the entrance of the Bourgeois Art Gallery and went completely unnoticed for its entire time there. This was because the piece was a coat rack. It didn’t even have his signature on it.
Perhaps this is a sign that Duchamp knew that this was more than just a prank. Perhaps he knew that this was less an artistic movement and more a way of seeing the world, that art is everywhere we look if we choose to see it. One that no less a figure than Andy Warhol would swear by in his epoch-defining work in the 1950s and 1960s.
A pretty amazing legacy for a troll, right?"
Marcel Duchamp | HOW TO SEE “Readymades” with MoMA curator Ann Temkin
Still in the public domain and in the minds of the audience stands testament to Marcel Duchamp and his iconic most daring works. Will wrestles (admittedly not very hard here) with the search for meaning and good on him! Not entirely sure about the Warholian connection but as a mini thesis needing more work and examination, I would leave that to Will and his audience to explore deeper
I studied Duchamp at college under the tutelage of renowned Historian Fred Orton and composer Gavin Bryars as I am won’t to remind folk at every given opportunity and I specialised in looking at the work of Picabia and Man Ray writing papers on both but the bulk of the study was Duchampian! Such a happy time . . . .
