streptos music

click on the link to open video page

http://current.com/entertainment/music/89891932_detroits-underground-resistance.htm

Bad Brains – Attitude (audio only)

audio from http://www.archive.org/details/BadBrains

lyrics

ATTITUDE

Don’t care what they may say
we got that attitude.
Don’t care what they may do
we got that attitude.
Hey, we got that PMA (positive mental attitude).
Hey we got the PMA.

Don’t care what they may do
we got that attitude.
Don’t care what they may say
we got that attitude.
Hey, we got that PMA
Hey we got the PMA.

We’ve got that attitude
hey,We’ve got that attitude

Don’t care what they may say
we got that attitude.
Don’t care what they may do
we got that attitude.
Now.

Audio dalla ristampa dell’LP del 1966 The Sensational Guitars of Dan and Dale (Sun Ra  and The Blues Project) Batman and Robin (Tifton catalog#: 78002).

Un rinrgaziamento particolare a WJM e Matpogo di Burp enterprise per avermi iniziato alla musica di Sun Ra negli anni 90.

buon ascolto

your friendly neighborhood THX 1138

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source http://blog.wfmu.org/freeform/2006/02/sun_ra_and_the_.html

Sun Ra and The Blues Project Do Batman and Robin (MP3s)

In 1966, a toy company in Newark, New Jersey released a children’s record called Batman and Robin to cash in on the popular Adam West TV series of the same name. The music on the LP was credited to “The Sensational Guitars of Dan and Dale,” but in fact the band was one of the greatest uncredited session combos of all time, including the core of Sun Ra’s Arkestra and Al Kooper’s Blues Project. To keep the music licensing fees to a minimum, all the tracks were based on public domain items like Chopin’s Polonaise Op. 53, the horn theme from Tchaikovsky’s Fifth Symphony and the love theme from Romeo and Juliet, and generic rock riffs. It’s all instrumental, with the exception of Robin’s Theme (MP3), featuring an uncredited vocalist who I hope some reader will be able identify. More info on the Italian boot reissue of this record here.

————————————————————————————-

side A

Batman Theme

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Batman’s Batmorang

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Batman and Robin Over The Roofs

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The Penguin Chase

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Flight of the Batman

—

Joker is Wild

————————————————————————————-

side B

Robin’s Theme

—

Penguin’s Umbrella

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Batman and Robin Swing

—

Batmobile Wheels

—

The Riddler’s Retreat

—

The Bat Cave

http://www.youtube.com/watch?v=pMdaMME5W44

Sonic Youth – SYR 9 – Thème d’Alice

from the new Sonic Youth album
Simon Werner A Desparu (original enregistrement sonore)

info — http://www.sonicyouth.com/

Sound Art?

From the early 1980s on there have been an increasing number of exhibitions at visual arts institutions that have focused on sound. By 1995 they had become almost an art fad. These exhibitions often include a subset (sometimes even all…) of the following: music, kinetic sculpture, instruments activated by the wind or played by the public, conceptual art, sound effects, recorded readings of prose or poetry, visual artworks which also make sound, paintings of musical instruments, musical automatons, film, video, technological demonstrations, acoustic re-enactments, interactive computer programs which produce sound, etc. In short, ‘Sound Art’ seems to be a category which can include anything which has or makes sound and even, in some cases, things which don’t. Sometimes these ‘Sound Art’ exhibitions do not make the mistake of including absolutely everything under the sun, but then most often what is selected is simply music or a diverse collection of musics with a new name. This is cowardly. When faced with musical conservatism at the beginning of the last century, the composer Edgard Varèse responded by proposing to broaden the definition of music to include all organized sound. John Cage went further and included silence. Now even in the aftermath of the timid ‘forever Mozart decades’ in music, our response surely cannot be to put our heads in the sand and call what is essentially new music something else – ‘Sound Art’. I think we need to question whether or not ‘Sound Art’ constitutes a new art form. The first question, perhaps, is why we think we need a new name for these things which we already have very good names for. Is it because their collection reveals a previously unremarked commonality? Let’s examine the term. It is made up of two words. The first is sound. If we look at the examples above, although most make or have sound of some sort, it is often not the most important part of what they are – almost every activity in the world has an aural component. The second word is art. The implication here is that they are not arts in the sense of crafts, but fine art. Clearly regardless of the individual worth of these various things, a number of them simply have little to do with art. It’s as if perfectly capable curators in the visual arts suddenly lose their equilibrium at the mention of the word sound. These same people who would all ridicule a new art form called, say, ‘Steel Art’ which was composed of steel sculpture combined with steel guitar music along with anything else with steel in it, somehow have no trouble at all swallowing ‘Sound Art’. In art, the medium is not often the message. If there is a valid reason for classifying and naming things in culture, certainly it is for the refinement of distinctions. Aesthetic experience lies in the area of fine distinctions, not the destruction of distinctions for promotion of activities with their least common denominator, in this case sound. Much of what has been called ‘Sound Art’ has not much to do with either sound or art. With our now unbounded means to shape sound, there are, of course, an infinite number of possibilities to cultivate the vast potential of this medium in ways which do go beyond the limits of music and, in fact, to develop new art forms. When this becomes a reality, though, we will have to invent new words for them. ‘Sound Art’ has been consumed.

Max Neuhaus, ‘Sound Art?’, in Volume: Bed of Sound (New York: P.S. 1, 2000) n.p.

installation by French artist Céleste Boursier-Mougenot