J’avais vu #stop_making_sense lors de sa sortie en salle et je n’en avais pas gardé un souvenir impérissable.
Mais en le visionnant aujourd’hui, je suis quand même scotché !
#talking_heads
J’avais vu #stop_making_sense lors de sa sortie en salle et je n’en avais pas gardé un souvenir impérissable.
Mais en le visionnant aujourd’hui, je suis quand même scotché !
Est-ce qu’on a déjà mentionné l’importance de Tina Weymouth, la bassiste des Talking Heads?
▻https://www.youtube.com/watch?v=DJfn22UTlsA
▻https://www.youtube.com/watch?v=mXw0UBf8tkA
The Genius of Tina Weymouth: Breaking Down the Style of Talking Heads and Tom Tom Club’s Basslines
▻http://www.openculture.com/2018/07/genius-tina-weymouth-breaking-style-talking-heads-tom-tom-clubs-basslin
j’écoute parfois la version remastérisée de Stop Making Sense
▻https://www.discogs.com/Talking-Heads-Stop-Making-Sense/release/6010307
l’original date de 1984 mais avant cela il y a eu des tensions au sein du groupe, à partir de « Remain in light » (1980) où David Byrne a commencé à prendre la grosse tête. Bien aidé par son comparse Brian Eno, les autres membres de Talking Heads ont bien failli ne pas être crédités pour cet album. Grand bien leur fasse car s’est à la même époque, 1981, que Tina et son mari, Chris Frantz monte Tom Tom Club :
▻https://www.discogs.com/artist/48404-Tom-Tom-Club
▻http://tomtomclub.com
▻https://www.youtube.com/watch?time_continue=92&v=UcqaCVCHgMc&feature=emb_logo
En version acoustique sur NPR Tiny Desk
▻https://www.youtube.com/watch?v=mKJG57qnYdc
No Talking Just head
▻https://www.youtube.com/playlist?list=OLAK5uy_keVdaRAfcSixdCAX8C4kmzpsveeYnPfGo
The Iconic Urinal & Work of Art, “Fountain,” Wasn’t Created by Marcel Duchamp But by the Pioneering Dada Artist Elsa von Freytag-Loringhoven | Open Culture
▻http://www.openculture.com/2018/07/the-iconic-urinal-work-of-art-fountain-wasnt-created-by-marcel-duchamp.
The truth first emerged in a letter from Duchamp to his sister—discovered in 1982 and dated April 11th, 1917, a few days before the exhibit in which Fountain first appeared—in which he “wrote that a female friend using a male alias had sent it in for the New York exhibition.” The name, “Richard Mutt,” was a pseudonym chosen by Freytag-Loringhoven, who was living in Philadelphia at the time and whom Duchamp knew well, once pronouncing that "she is not a Futurist. She is the future.” (See her Portrait of Marcel Duchamp, above, in a 1920 photograph by Charles Sheeler.)
Why did she never claim Fountain as her own? “She never had the chance,” notes See All This. The urinal was rejected by the exhibition organizers (Duchamp resigned from their board in protest), and it was probably, subsequently thrown away; nothing remained but a photograph by Alfred Stieglitz. Von Freytag-Loringhoven died ten years later in 1927.
It was only in 1935 that surrealist André Breton brought attention back to Fountain, attributing it to Duchamp, who accepted authorship and began to commission replicas. The 1917 piece “was destined to become one of the most iconic works of modern art. In 2004, some five hundred artists and art experts heralded Fountain as the most influential piece of modern art, even leaving Picasso’s Les Demoiselles d’Avignon behind.”