portrait of this blog's author - by Stephen Blackman 2008

Thursday, May 06, 2021

Mike Heron - Call Me Diamond & Singing The Dolphin Through (Still Waters)

 MIKE HERON


From 'Smiling Men With Bad Reputations' still a favourite album and check out Dudu Pukwana on sax

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as it was last listed at £75 and Amazon have it as currently unavailable I guess it 'out of print' as is most all of Mike's work which is little short of criminal but you can smile here 

and get a bad reputation . . . . .


Echo Coming Back - The Best of Mike Heron

Singing The Dolphin Through (Still Waters)

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Singing The Dolphin
Acoustic Guitar – Ulf Ronquist
Backing Vocals – Krysia KocjanLinda Thompson
Bass – Amin Mohammed*
Harmonium – Ron Leahy*
Marimba, Drums – John Gilston
Written-By – Mike Heron 

KATE RUSBY - 'Until Morning'

 UNTIL MORNING

Kate Rusby

Philosophers, Poets and Kings


Kate's website

Kate posted links to this song of hers yesterday and it seems it was written for a friend, Jodie, who tragically never got to hear it.

She says: 

My lovely, beautiful friend would have been 40 today.

✨❤️
I wrote this song for her and I was waiting for the album to be released to surprise her, she didn’t get to hear it.
But I love that her memory lives on, not only in this song but more importantly in her wonderful wee girl who we love and adore.
Kind, gentleness and love to you Jodie. ❤️
Denise and Joe, she was so gorgeous đŸŒˆ☀️✨đŸŒ¸

UNTIL MORNING

In the deepest, darkest hour Where the strongest soul will cower And it feels like it's so long till morning I know your weary head needs rest And we both know you've done your best So I'll hold your hand Until the day comes dawning I know the world's been cruel of late And your heart can't bear the weight And it feels like it's so long till morning But together we are bound So I will keep you safe and sound And I'll hold your hand Until the day comes dawning Don't worry, let the night go drifting by And tomorrow you can fly In the dark night you are lost Counting stars to count the cost And it feels like it's so long till morning So I will catch the moon's bright beams To guide you gently through your dreams And I'll hold your hand Until the day comes dawning When there's stillness all around And your heart's a deafening sound And it feels like it's so long till morning I will stay with you, old friend So you can heal and you can mend And I'll hold your hand Until the day comes dawning Don't worry, let the night go drifting by And tomorrow you will fly Now it's time to make your peace Into the night your fears release And it feels like it's so long till morning And we will claim the night for ours And we won't see the dark for stars And I'll hold your hand Until the day comes dawning Don't worry, let the night go drifting by And tomorrow you will fly And tomorrow you will fly I dedicate this here to to the memory of Kate's friend and to all of us who have lost someone, to my brother, my father and my mother who I miss every day. To my mother and father in law. To my friend Stephen Blackman . . . . . all those we have lost . . . . let me hold your hand until the day comes dawning

Buy 'Philosophers, Poets and Kings' here

Wednesday, May 05, 2021

NEWSROOM: Lucinda Williams, Van Dyke Parks, Lily Allen, Talking Heads,

 ALL THE NEWS THAT FITS

BIG O

NEWSROOM

LUCINDA WILLIAMS, A STROKE SURVIVOR


Speaking in a new interview with Rolling Stone, the 68-year-old singer-songwriter said she spent five weeks in the hospital after a blood clot developed on the right side of her brain in November of last year. A few days before Thanksgiving, Williams was in her bathroom getting ready to take a shower when she had trouble keeping her balance. She stumbled and struggled to stand up straight and couldn't walk. "An ambulance came and got me and we told them not to put the big siren on. We didn't want to alarm the neighbours or anything," she explained. "But they put the siren on."

Williams spent a week in the intensive care unit where doctors discovered a blood clot on the right side of her brain, which affected the left side of her body. She was then transferred to a rehabilitation centre to begin a month-long treatment of therapy. Williams was discharged on December 21 and is now undergoing physical therapy. She now walks with a cane, is unable to play guitar, and has lingering pain in both her left arm and left leg. However, thanks to the lack of brain damage, doctors expect her to make a full recovery.

She said, "I do, like, walking, with the cane and they watch me and see how well I'm doing. And then I have to do hand and arm exercises. It's really about regaining my strength and mobility, and range of motion. That's what they work with me on."

She added: "The main thing is I can still sing. I'm singing my ass off, so that hasn't been affected. Can't keep me down for too long."


 
 NEW VAN DYKE PARKS

'Van Dyke Parks Orchestrates VerĂ³nica Valerio: Only in America' teams the musical iconoclast with singer-songwriter-harpist VerĂ³nica Valerio for a new, four-song EP. It merges the sensibilities of the Mississippi-born hero of California music with the Veracruz, Mexico native to create a miniature suite that very much reflects the times in which we're living. Valerio reached out to Parks to initiate the pairing. Valerio, who studied music in Veracruz and New York, reflects in the press release, "Two years ago, I wrote Van Dyke because he is a sincere person, a selfless communicator, polite, a fighter and great artist." Parks returns the compliments: "Her music got me out of the hall of mirrors of pop culture which is unavoidable as we turn on a radio or television. This was my exit... the record I wanted to do with this girl in quarantine! Never met her. But I have a longstanding love for Hispanic music - I think it's the moment to be part of the 'browning of America': crossing the aisle, learning the lingo. It has idiomatic value, a supreme unimportance to the value of profit." Parks orchestrated all of the music; Valerio sings in Spanish. Klaus Voormann has provided the striking cover artwork for Van Dyke Parks Orchestrates VerĂ³nica Valerio: Only in America. Due on June 11 from BMG/Modern Recordings in vinyl and digital formats.


What we are (mostly) listening to . . . . . . .   


  Lily Allen - Seattle 2007
Click here for the tracks:




  Talking Heads - Paris 1979
Click here for the tracks:


Lily LDN 2007 Glastonbury

Alfie!










Tuesday, May 04, 2021

Approaching Bob Dylan's 80th Birthday - Aquarium Drunkard



This is hilarious! Great addition from Aquarium Drunkard

Strike Another Match :: Dylan Translated

Bob Dylan turns 80 years young this month … so let’s get the celebration started with something a little on the bizarre side. This mix gathers a selection of vintage Dylan covers with lyrics translated into Greek, Italian, French, Dutch, Spanish and more. Ranging from the mid-1960s to late 1970s, it’s a sweet (if occasionally disorienting) listen, as these singers attempt to force Bob into new linguistic zones.


Weil Ich Dich Liebe (Wigwam) – Drafi Deutscher / Ti Mangerei (If Not For You) – Astrud Gilberto / Cauchemar Psychomoteur (Motorpsycho Nightmare) – Hugues Aufray / Sei Come Sei (Lay Lady Lay) – Giusy Balatresi / O Paliatsos Ki O Listis (All Along The Watchtower) – Savvopoulos Dionysis / Er Komen Andere Tijden (The Times They Are-A Changin’) – Boudewijn De Groot / Si Tu Dois Partir (If You Gotta Go, Go Now) – Fairport Convention / Come Una Pietra Che Rotola (Like A Rolling Stone) – Gianni Pettenati / I Bin’s Ned (It Ain’t Me Babe) – Wolfgang Ambros / Avventura a Durango (Romance in Durango) – Fabrizio de Andre / LĂ¥t Mej Va’ – De’ E’ Bra (Don’t Think Twice, It’s Alright) – Lill Lindfors / Elle M’Appartient (She Belongs To Me) – Long Chris / Men Bara Om Min Alskade Väntar (Tomorrow Is A Long Time) – Nationalteatern / Die Antwort Weiss Ganz Allein Der Wind (Blowing In The Wind) – Marlene Dietrich

Amy MacDonald - home performance - "Bridges"

 AMY MACDONALD

Amy from her sofa!

"BRIDGES!"


May the bridges I burn light my way
May the ashes get caught in your eyes
May the dust cloud ruin your day
May the rain fall heavy on you now
What's it all to me?
I say the words as I want to hear
I can't sleep until it's said
What's it all to you?
Your lies become your truth
But who believes you in the end?
'Round and 'round we go
I've heard it all before
Will you twist the knife?
'Cause I can't feel it anymore
A bullet to my heart
Lying broken on the floor
Just kick me when I'm down
'Cause that's the man you are
Looking back on things I'd change
Is there anything that I can do or say?
But you always seem to fan the flames
Out of control, there's nowhere left to go
What's it all to me?
I say it as I see it
There's no rest until it's said
What's it all to you?
You don't care for the truth
Your lies will get you
In the end
'Round and 'round we go
I've heard it all before
Will you twist the knife?
'Cause I can't feel it anymore
A bullet to my heart
Lying broken on the floor
Just kick me when I'm down
'Cause that's the man you are
I'm running away from you
It's all I ever do
Trying to find the path that leads me back home
The place I always go
The place you'll never know
You'll never have a hold on me
'Cause nothing's like it used to be
'Round and 'round we go
I've heard it all before
Will you twist the knife?
'Cause I can't feel it anymore
A bullet to my heart
Lying broken on the floor
Just kick me when I'm down
'Cause that's the man you are
Running away from it all
Running away from the world
Running away from our love
Running away from it all
Songwriters: Amy Elizabeth Macdonald / Matt Jones

Version cut
so here's the full version



New album ’The Human Demands’ out now! https://amymacdonald.lnk.to/demandsFA

The Highwaymen - 'Big River'

BIG RIVER

>Johnny Cash< 

The HIGHWAYMEN

Post something once . . . . . . . why not post it again?An all time favourite song

The Blog Nobody Reads . . . . . 'Big River' Johnny Cash




Tina Modotti - Edward Weston - photographers

TINA MODOTTI

 EDWARD WESTON

A Master by another


I adored the work of Edward Weston but it also introduced me to the work of some women who's work I went on to admire at least as much. Not least because of the interest by my dear and much missed colleague at MOMA in Oxford, the then Director's assistant, who went on to curatorship herself, Carol Brown, whose interest in artists like Frida Kahlo and cohorts was an education to me. One of these figures was the legendary and extraordinary figure of Tina Modotti


Edward Weston with his plate camera by Tina Modotti

Modotti was friends with Weston and his wife although was soon to become the former's mistress. She befriended Frida Kahlo and Diego Rivera and in her short life blazed with political awareness  and had an equally vibrant life. The role of mistress was never to suite and she quickly stepped out from under Weston's control and influence. 

Tina Modotti - Walter Lipmann

Tina Modotti


Friends - Kahlo and Modotti

Modotti by Weston

“What is important is to distinguish between good and bad photography,” she once explained. “By good is meant that photography which accepts all the limitations inherent in photographic technique and takes advantage of the possibilities and characteristics the medium offers. By bad photography is mean that which is done, one may say, with a kind of inferiority complex, with no appreciation of what photography itself offers.” 

Born Assunta Adelaide Luigia Modotti Mondini on August 16, 1896 in Udine, Italy, she emigrated to the United States in 1913 to live with her father in San Francisco. Modotti became involved in acting in Los Angeles during the early 1920s, and entered the circles of several artists meeting Trotsky, Sergie Eisenstein and others . In 1923, Modotti and Weston set out for Mexico City, established a photography studio upon arriving, and subsequently joined the Communist Party. Though Weston later returned to his wife in California, Modotti stayed in Mexico and became more involved in radical politics before being exiled in 1931. She stopped producing photographs after this time and in 1939 returned to Mexico under a false name. The artist died on January 4, 1942 in Mexico City, Mexico of congestive heart failure. She was 45

Her work was largely unknown until the 1990s, when a cache of her remarkable photographs was discovered in an Oregon farmhouse. Long overshadowed by her extraordinary life and her relationship with Edward Weston, she was viewed as his muse, rather than as a gifted photographer in her own right. Despite a remarkably short career in photography - just seven years - she created a body of iconic images that confirmed her place in history. By fusing rigorous formalism with a desire to effect social change, she reconceived revolutionary photography through the language of modernism. Her work is now a touchstone in the history of photography, reflecting equally the tenets of modernist photography and the experience of post-revolutionary Mexico. Modotti's photographs continue to inspire many, including many women and activists interested in making a socially and politically relevant art.


by Modotti

Calla Lillies - Tina Modotti




Calla Lily - Modotti 1924-26












Enemies of Science - MG Piety

 Interesting article from Big O via Counterpunch and Information Clearing House

Worth a read . . . . . . . even the comments! Which claim that scientists demand worship which is hysterical given that this is what is expected of religion but hey ho . . . . . . . . as I say worth a read

ENEMIES OF SCIENCE

Who came first? By MG Piety.

There’s been a lot of discussion recently about the threat that enemies of science represent to contemporary American culture. That concern, is well founded. In fact, it is better founded than I believe most people suspect.

Until recently, most victims of the anti-science contagion were religious fundamentalists, or those on the far right of the political spectrum. Recently, however, a more virulent form of the anti-science contagion has appeared. It’s spreading like wildfire and reducing to imbecility even those one would hitherto have counted among the intellectual elite. A case in point Marie McCullough, a science writer for the Philadelphia Inquirer.

McCullough argues that cases of shingles outbreaks in people who had recently received Covid vaccines cannot have been caused by the vaccines as early speculation had suggested (“Shingles is not caused by Covid-19 vaccines. Here’s the science”). “Science,” writes, McCullough, “is littered with post hoc fallacies.” The inference, she argues, from the fact that an outbreak of shingles followed closely upon a Covid vaccine to the conclusion that it was caused by the vaccine is an example of such a fallacy.

Correlation, explains Marie McCullough, is not sufficient for establishing a causal relationship. She compares the inference that shingles might be a side effect of the new Covid vaccines to the infamous post hoc, ergo propter hoc inference that “ because the rooster crows at dawn every day, he makes the sun come up.” 

A post hoc, or more correctly, a post hoc, ergo propter hoc fallacy refers to the inference from the fact that one event followed another event, to the conclusion that the first event caused the second event. More is necessary to support such a conclusion than mere temporal succession. McCullough is right about that. That’s about the only thing she gets right, however, in an otherwise very misleading article that is marred by its own equally egregious informal fallacy.

Correlation, explains McCullough, is not sufficient for establishing a causal relationship. She compares the inference that shingles might be a side effect of the new Covid vaccines to the infamous post hoc, ergo propter hoc inference that “ because the rooster crows at dawn every day, he makes the sun come up.”

Again, McCullough is right that a correlation is not proof of a causal relationship. Failure to prove a causal relationship, however, is not proof that there is no causal relationship. That inference is also a well-known informal fallacy. It’s called the “fallacy of appeal to ignorance,” or argumentum ad ignorantiam.

Again, McCullough is right that a correlation is not proof of a causal relationship. Failure to prove a causal relationship, however, is not proof that there is no causal relationship. That inference is also a well-known informal fallacy. It’s called the “fallacy of appeal to ignorance,” or argumentum ad ignorantiam.

It occurs when someone interprets the failure of an argument to prove its conclusion as proving the opposite conclusion. If you argued, for example, that alcohol has a sedative effect on the basis of the fact that you felt more relaxed after you had a glass of wine, someone could legitimately point out that you had committed a post hoc, ergo propter hoc fallacy. They would commit a fallacy of argumentum ad ignorantiam, however, if they purported, by having exposed the problem with your argument, to have proven that wine does not have a sedative effect.

We know wine has a sedative effect because years of observing changes in behavior of people after consuming alcohol led scientists to assume there was a causal relationship between alcohol consumption and sedation so they set about looking for the causal mechanism responsible for those changes.

That’s the nature of the scientific method. You observe a phenomenon, such as a correlation between two events - for example, alcohol consumption and sedation - come up with various hypotheses concerning what causal mechanisms might be at work there, and then test those hypotheses until you find one that passes the tests.

Correlations, while they don’t in themselves prove causal relationships, are crucial to science. They are our first indications of causal relationships. We observe a correlation between two events and then proceed to investigate whether there might be a causal relationship.

Correlations, while they don’t in themselves prove causal relationships, are crucial to science. They are our first indications of causal relationships. We observe a correlation between two events and then proceed to investigate whether there might be a causal relationship.

McCullough’s comparison of the inference that shingles might be a side effect of the new Covid vaccines to the inference that a rooster’s crowing makes the sun come up is misleading. There’s no prima facie reason to suppose a relation between animal behavior and the movement of planets. There is a prima facie reason, however, to suppose a relation between a vaccine and a physical ailment. That is, both relate to the body, and, more specifically, both relate to the immune system.

The Covid vaccines, which have received only Emergency Use Authorization, not the standard FDA approval, use novel medical technology that we are only beginning to understand, hence we need to be particularly vigilant in our collection of information concerning possible side effects.

We shouldn’t simply dismiss the possibility of a causal relationship between two events because we can’t immediately confirm what it is. There is no more extreme expression of antipathy toward modern science than that. 

That’s why the Department of Health and Human Services has created VAERS, a website for the reporting of what people may suspect are adverse reactions to these vaccines. Many of what may appear initially to be side effects may turn out, on closer inspection, to be unrelated to the vaccine. We won’t know that, however, for some time to come, hence no physical ailment experienced shortly after receiving the vaccine should be dismissed out of hand.

Finally, while it would be wrong to conclude from a rooster crowing and the sun rising that the former caused the latter, there is a causal relationship between the two. It just goes the other way. That is, it’s the sun rising that causes the rooster to crow. It doesn’t do this directly.

What scientists now believe happens is that the rising and setting of the sun sets the rooster’s internal circadian rhythm to alert the rooster to the approach of dawn. Of course we would never have figured that out if we’d dismissed the correlation between the rooster crowing and the sun coming up as purely “coincidental” in the manner McCullough argues the relation between the Covid vaccine and shingles is.

We shouldn’t simply dismiss the possibility of a causal relationship between two events because we can’t immediately confirm what it is. There is no more extreme expression of antipathy toward modern science than that.

McCullough should know that given that she is a “science writer”. In fact, every educated person in our society should know that.

Note: MG Piety teaches philosophy at Drexel University. She is the editor and translator of Soren Kierkegaard’s Repetition and Philosophical Crumbs. Her latest book is: Ways of Knowing: Kierkegaard’s Pluralist Epistemology. Email her here.

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Monday, May 03, 2021

St Vincent - Daddy's Home

 ST. VINCENT

I think I first came across Annie Clark known more widely as St Vincent through David Byrne



of course she looked kinda weird . . . . . . 


and then saw her on Graham Norton show over here where she introduced herself wearing red plastic 'sexy' gear and claimed she had invented a guitar . . . . . being lighter to carry it would seem . . . . . . 





and I found her interesting and something of a chameleon which is an artistic idea that has always appealed from The Doors and Jim Morrison 'Changeling' to David Bowie presenting differing persona

Then I saw here latest album and something about the title made me feel uncomfortable 

and her almost unrecognisable!




but then last night I found someone had posted these images of her from earlier . . . . . . . 




and she is clearly very beautiful and enjoys the Bowiesque changeling type persona with make-up, hair dye and photoshop (see Byrne collaboration)

I like her!

Los Ageless - St Vincent - Graham Norton Show


I wasn't expecting this . . . . . . . . maybe 


Pre-order/save the new album Daddy's Home, out May 14th: https://lnk.ilovestvincent.com/Daddys... Listen to "Pay Your Way In Pain": https://lnk.ilovestvincent.com/PYWIP A Triple Seven Pictures Production Directed by Bill Benz Produced by Wes Hager Director of Photography by Kyle Pahlow Styled by Avigail Collins Hair by Pamela Neal Makeup by Hinako Nishiguchi Production Design by Stephanie Joens