Thursday, April 30, 2009
Tuesday, April 28, 2009
Monday, April 27, 2009
Sunday, April 26, 2009
Thursday, April 23, 2009
Bleecker Street : Simon & Garfunkel
Fog's rollin' in off the East River bank
Like a shroud it covers Bleecker Street
Fills the alleys where men sleep
Hides the shepherd from the sheep
Voices leaking from a sad cafe
Smiling faces try to understand
I saw a shadow touch a shadow's hand
On Bleecker Street
A poet reads his crooked rhyme
Holy, holy is his sacrament
Thirty dollars pays your rent
On Bleecker Street
I heard a church bell softly chime
In a melody sustainin'
It's a long road to Canaan
On Bleecker Street
Bleecker Street
Wednesday, April 22, 2009
Tuesday, April 21, 2009
Sunday, April 19, 2009
Saturday, April 18, 2009
Friday, April 17, 2009
"The Internet Symphony" Global Mash Up
YouTube presents the world premiere of the Tan Dun composition "Internet Symphony, Eroica" as selected and mashed up from thousands of video submissions from around the globe. www.youtube.com/symphony.
Act One: YouTube Symphony Orchestra @ Carnegie Hall
The world's first collaborative online orchestra performed at Carnegie Hall on April 15, 2009. Selected by the YouTube community and several members of the world's most renowned orchestras, the YouTube Symphony Orchestra is made up of over 96 professional and amateur musicians from 30+ countries and territories on six continents and represents 26 different instruments.
Special thanks to the following guest artists:
- Joshua Roman
Act Two: YouTube Symphony Orchestra @ Carnegie Hall
The world's first collaborative online orchestra performed at Carnegie Hall on April 15, 2009. Selected by the YouTube community and several members of the world's most renowned orchestras, the YouTube Symphony Orchestra is made up of over 96 professional and amateur musicians from 30+ countries and territories on six continents and represents 26 different instruments.
Special thanks to the following guest artists:
- Derek Wang, Charlie Liu, Anna Larsen
- Tan Dun
- Gil Shaham
- Yuja Wang and Measha Brueggergosman, appear courtesy Deutsche Grammophon Gesellschaft
- Mason Bates: Preview of Warehouse Medicine from B-Sides (2008, United States. Commissioned by the San
Francisco Symphony. World premiere May 20, 2009
To know more about this wonderful collaboration : http://www.youtube.com/symphony
James Taylor - Never Die Young
We were ring-around-the-rosy children
They were circles around the sun
Never give up, never slow down
Never grow old, never ever die young
Synchronized with the rising moon
Even with the evening star
They were true love written in stone
They were never alone, they were never that far apart
And we who couldnt bear to believe they might make it
We got to close our eyes
Cut up our losses into doable doses
Ration our tears and sighs
You could see them on the street on a saturday night
Everyone used to run them down
Theyre a little too sweet, theyre a little too tight
Not enough tough for this town
We couldnt touch them with a ten-foot pole
No, it didnt seem to rattle at all
They were glued together body and soul
That much more with their backs up against the wall
Oh, hold them up, hold them up
Never do let them fall
Prey to the dust and the rust and the ruin
That names us and claims us and shames us all
I guess it had to happen someday soon
Wasnt nothing to hold them down
They would rise from among us like a big baloon
Take the sky, forsake the ground
Oh, yes, other hearts were broken
Yeah, other dreams ran dry
But our golden ones sail on, sail on
To another land beneath another sky
James Taylor - Copperline
Even the old folks never knew
Why they call it like they do
I was wondering since the age of two
Down on copperline
Copper head, copper beech
Copper kettles sitting side by each
Copper coil, cup O Georgia peach
Down on copperline
Half a mile down to morgan creek
Leaning heavy on the end of the week
Hercules and a hog-nosed snake
Down on copperline
We were down on copperline
One summer night on the copperline
Slip away past supper time
Wood smoke and moonshine
Down on copperline
One time I saw my daddy dance
Watched him moving like a man in a trance
He brought it back from the war in france
Down onto copperline
Branch water and tomato wine
Creosote and turpentine
Sour mash and new moon shine
Down on copperline
Down on copperline
First kiss ever I took
Like a page from a romance book
The sky opened and the earth shook
Down on copperline
Down on copperline
Took a fall from a windy height
I only knew how to hold on tight
And pray for love enough to last all night
Down on copperline
Day breaks and the boys wakes up
And the dog barks and the birds sings
And the sap rises and the angels sigh, yeah
I tried to go back, as if I could
All spec house and plywood
Tore up and tore up good
Down on copperline
It doesnt come as a surprise to me
It doesnt touch my memory
Man Im lifting up and rising free
Down on over copperline
Half a mile down to morgan creek
Im only living for the end of the week
Hercules and a hog-nosed snake
Down on copperline, yeah
Take me down on copperline
Oh, down on copperline
Take me down on copperline
James Taylor - Millworker
Now my grandfather was a sailorHe blew in off the water
My father was a farmer
And I, his only daughter
Took up with a no good millworking man
From Massachusetts
Who dies from too much whiskey
And leaves me these three faces to feed
Millwork ain't easy
Millwork ain't hard
Millwork it ain't nothing
But an awful boring job
I'm waiting (on) a daydream
To take me through the morning
And put me in my coffee break
Where I can have a sandwich
And remember
Then it's me and my machine
For the rest of the morning
(and) the rest of the afternoon
And the rest of my life
Now my mind begins to wander
To the days back on the farm
I can see my father smiling at me
Swinging on his arm
I can hear my granddad's stories
Of the storms out on Lake Eerie
Where vessels and cargos and fortunes
And sailors' lives were lost
(Yeah), but it's my life has been wasted
And I have been the fool
To let this manufacturer
Use my body for a tool
(I'll) ride home every evening
Staring at my hands
Swearing to my sorrow that a young girl
Ought to stand a better chance
So may I work your mills just as long as I am able
And never meet the man whose name is on the label
(it's still)me and my machine
For the rest of the morning
And the rest of the afternoon (and on and on and on...)
for the rest of my life
L'art paléochrétien et byzantin
Les premiers symboles chrétiens apparaissent dans les vastes nécropoles (du gr. nekros, mort et polis, ville) que constituent les catacombes.
Wednesday, April 15, 2009
The Art Gallery of Ontario ; Frank Gehry edition : Photos
Link to the AGO : http://www.ago.net/
New Modernities in a Post-Indian World : http://www.ago.net/remix-new-modernities-post-indian-world
The Canadian collection : http://www.ago.net/canadian-collection/
The Thomson Collection : http://www.ago.net/thomson
Podcast : http://www.ago.net/podcasts
Tuesday, April 14, 2009
Monday, April 13, 2009
Wondering Where the Lions Are
Inspiration for this song is from the Charles Williams novel "The Place Of The Lion"
Charles Williams (UK writer): http://en.wikipedia.org/wiki/Charles_Williams_%28UK_writer%29
Bruce Cockburn : http://www.brucecockburn.com/
Lyrics:
Sun's up, uh huh, looks okay
The world survives into another day
And I'm thinking about eternity
Some kind of ecstasy got a hold on me
I had another dream about lions at the door
They weren't half as frightening as they were before
But I'm thinking about eternity
Some kind of ecstasy got a hold on me
Walls windows trees, waves coming through
You be in me and I'll be in you
Together in eternity
Some kind of ecstasy got a hold on me
Up among the firs where it smells so sweet
Or down in the valley where the river used to be
I got my mind on eternity
Some kind of ecstasy got a hold on me
And I'm wondering where the lions are...
I'm wondering where the lions are...
Huge orange flying boat rises off a lake
Thousand-year-old petroglyphs doing a double take
Pointing a finger at eternity
I'm sitting in the middle of this ecstasy
Young men marching, helmets shining in the sun,
Polished as precise like the brain behind the gun
(Should be!) they got me thinking about eternity
Some kind of ecstasy got a hold on me
And I'm wondering where the lions are...
I'm wondering where the lions are...
Freighters on the nod on the surface of the bay
One of these days we're going to sail away,
going to sail into eternity
some kind of ecstasy got a hold on me
And I'm wondering where the lions are...
I'm wondering where the lions are...
Le petit bal perdu : Short film from Philipp Decouflé
Le petit bal perdu (The little lost ball) comes from a Bourvil's song called : C'était bien (It was good). This short film had won a prize at the Rencontres Internationales du film de Genève in 1995. Choregrapher : Philippe DecoufléInterpretes : Pascale Houbin & Philippe Decouflé
Accordionist : Annie Lacour
Music : C’était bien from Gaby Verlor and Robert Nyel
Singer : André Bourvil
Creation : Philippe Decouflé
Production : Telema, Oïbo, Arcanal
The action takes place in France, just after the war. At that time, life conditions were very precarious and finding milk, vegetables, fruits was not easy. The song describes a couple of lovers in a small ball (dancing musette ball with an accordionist) which had suffered from the war. On a trail of misery people were dancing among debris and rubbles.
The language :
Philippe Decouflé uses a very brilliant modern dance strategy to describe the song. He uses elements of sign language for the deaf associated with mime gestures in paraphrases of redus and riddles of the childhood games and explains the action of the song using two actors sitting at a table while expressing every sentences of the song in a humorist, original, strange and refreshing way. Découflé plays with the words and uses heterogeneous objects in order to describe the action of the song.
With the verb s'appeler : (to name something), he uses the second sense of the word (to call someone). In the word s'appelait, he uses the pronunciation of pel wich sounds like pelle (shovel) and the end of the word which is lait (milk). That's why you see a phone, some shovels and milk bottles. You have to be a french born user to completely taste the flavor of the humor used in this short film which exploits the roots of each words and expressions.
I must admit that this film is a masterpiece of language and expression analysis while we see the objects of the basic necessities of the after war period in France. It takes a lot of complicity, coordination and artistry between the two actors.
It also tenderly critics the odd behaviors and patterns of lovers when they are cut from the outside world around them while in mutual contemplation.
This short film is a masterpiece of complicity. This is also a caricature of the young lovers universe. It also shows human love into a time where life was not easy but people could find love in simplicity. The aesthetic is very simple, no artifacts are used without a profound symbolic sense.
The song is :
C'était tout juste après la guerre, Dans un petit bal qu'avait souffert. Sur une piste de misère, Y'en avait deux, à découvert. Parmi les gravats ils dansaient Dans ce petit bal qui s'appelait… Qui s'appelait… qui s'appelait… qui s'appelait…
{Refrain:}
Non je ne me souviens plus du nom du bal perdu. Ce dont je me souviens ce sont ces amoureux Qui ne regardaient rien autour d'eux. Y'avait tant d'insouciance Dans leurs gestes émus, Alors quelle importance Le nom du bal perdu ? Non je ne me souviens plus du nom du bal perdu. Ce dont je me souviens c'est qu'ils étaient heureux Les yeux au fond des yeux. Et c'était bien… Et c'était bien…
Ils buvaient dans le même verre, Toujours sans se quitter des yeux. Ils faisaient la même prière, D'être toujours, toujours heureux.
Parmi les gravats ils souriaient Dans ce petit bal qui s'appelait… Qui s'appelait… qui s'appelait…
qui s'appelait…
{Refrain}
Et puis quand l'accordéoniste S'est arrêté, ils sont partis. Le soir tombait dessus la piste, Sur les gravats et sur ma vie. Il était redevenu tout triste Ce petit bal qui s'appelait, Qui s'appelait… qui s'appelait… qui s'appelait…
Non je ne me souviens plus du nom du bal perdu. Ce dont je me souviens ce sont ces amoureux Qui ne regardaient rien autour d'eux. Y'avait tant de lumière, Avec eux dans la rue, Alors la belle affaire Le nom du bal perdu. Non je ne me souviens plus du nom du bal perdu. C'est qu'on était heureux Les yeux au fond des yeux. Et c'était bien…
Translation of the song :
It was just after the war, in a small ball wich had suffered. On a trail of misery, They were two, uncovered. Among the rubbles they were dancing in this little ball wich was called ... called ... called ...
(Refrain:)
No, I can’t remember the name of the lost ball. What I remember are those two lovers who were watching anything around them. There was so much unconsciousness in their emotional gesture, then how important is the name of the the lost ball No, I can’t remember the name of the lost ball. What I remember is that they were happy looking eye to eye. And it was good ... And it was good.
They used to drink from the same glass, Always without leaving eyesight. They did the same prayer, to always be happy.
Among the rubble they were smiling in this little ball wich was called ... called ... called ..
(Refrain)
And then when accordionist stopped, they left. The night was falling over the track, on the rubble and on my life. It became very sad this little ball which was called ... called ... called ..
No, I can’t remember the name of the lost ball. What I remember are those two lovers who were watching anything around them. There was so much light with them on the street So who cares in front of so much beauty for the name of the lost ball. No, I can’t remember the name of the lost ball. What I remember is that they were happy looking eye to eye. And it was good ... And it was good.
Philippe Decouflé :
Philippe Decouflé (born Neuilly-sur-Seine, October 22, 1961) is a French choreographer, dancer, mime artist, and theatre director. As a child he travelled extensively around Lebanon and Morocco, before learned his skills as a teenager at the Annie Fratellini Ecole du Cirque and the Marceau Mime School. While frequenting Parisienne nightclubs he discovered and was attracted to contemporary dance, and he eventually moved to the Centre National de la Danse Contemporaine in Angers to study under choreographer Alwin Nicolais. After briefly working as a solo dancer, he formed the Découflé Company of Arts in Bagnolet in 1983, moving it to a former electrical works in the Parisienne suburb of Saint-Denis in 1995.
He has worked for the Lyon Opera Ballet, and choreographed the music video for New Order's True Faith. It won the "Best Music Video" prize at the 1988 BRIT Awards, while his advertisement for Polaroid won a "Silver Lion" prize at the 1989 Venice Film Festival. On the back of these successes, he was selected to choreograph the opening and closing ceremonies of the 1992 Winter Olympics in front of a global television audience of over two billion people, the 50th anniversary Cannes Film Festival in 1997, and a parade for the 2007 Rugby World Cup in Saint-Denis in Paris.
Reference : http://en.wikipedia.org/wiki/Philippe_Decoufl%C3%A9
Compagnie DCA PHILIPPE DECOUFLÉ : http://www.cie-dca.com/dca.html
To know more about the singer André Bourvil : http://en.wikipedia.org/wiki/Bourvil
To know more about Pascale Houbin : http://fr.wikipedia.org/wiki/Pascale_Houbin
and : Cie Non de Nom : http://www.houbin-nondenom.com/
Here is the marvelous old song recreated with Elsa with the magic of modern remastering : http://www.dailymotion.com/video/x1trn2_elsa-bourvil-le-petit-bal-perdu_creation
Ah! vous dirai-je, maman / Variations : Film de Francine Desbiens, 1985, 13 min 36 s
Court métrage d'animation créé sur fond musical des variations de Mozart. La cinéaste nous fait sentir à coups d'ellipses la fuite du temps alors que dans une pièce qui se transforme, se succèdent les générations, répétant les mêmes gestes de la vie. Film sans paroles.
Sunday, April 12, 2009
Goa - Live at Sala Rossa
GOA est une formation de noise pop instinctive qui se situe à l’avant garde de la musique montréalaise. Ils tanguent au point de jonction du rock psychédélique du Pierre Henry des années 70 et des jaillissements créatifs d’une formation comme Animal Collective. C’est une alchimie de voix, de rythmes solidement scandés et de sons aux synthés qui rappellent les explorations aléatoires du jeune Karlheinz Stockhausen. Ils font beaucoup de vacarme distordu et ils cassent littéralement la baraque comme si le jeune Raoul Dugué des années soixante dix trouvait un nouvel écho. Il en résulte un joyeux tintamarre qui fait penser à la réincarnation de l’âme du Stravinsky du Sacre du Printemps dans un piston de Ford modèle T en proie à des délires psychotiques qui le ferait se prendre pour une cloche à vache. Ils sont adorables et je vous encourage à partager leur folie décapante et rafraîchissante pour le cerveau. C’est le seul groupe capable de décongestionner la pie-mère, la dure-mère et l’arachnoïde. GOA is an instinctive pop noise group which is at the forefront of music in Montreal. They are waving at the junction of the psychedelic rock of the Pierre Henry of the seventies and the creative gushes of Animal Collective. This is an alchemy of voice, strong rhythms and chanted noises with synth sounds that recall the random explorations of the young Karlheinz Stockhausen. They do a lot of distorted noise and they literally break the house as if the young Raoul Dugué of the seventies has found a new echo. The result is a joyous racket that sounds like the reincarnation of the soul of the Stravinsky of the Rite of Spring in a piston of Ford Model T in the grip of psychotic delusions that would make him believe thant he is a cow bell. They are adorable and I encourage you to share their stripping madness wich is refreshing for the brain. This is the only group able of relieving the pia mater, dura mater and the arachnoid.
Saturday, April 11, 2009
À travers Chants
À travers chants
Tahani Rached, 2001, 77 min 17 s
Long métrage documentaire sur les membres de l'Ensemble vocal d'Outremont. Un monde peuplé d'êtres étonnants qu'une simple note de musique suffit à transporter de joie . Car ils chantent toujours et partout; sous la douche, au volant et même en cuisinant. Surtout, ils chantent ensemble, hommes et femmes de tous âges et de tous les milieux réunis sous la bannière, rayonnant chaque fois d'un bonheur qui les transfigure. Car la musique est leur âme et leur royaume.
Poème Speak White de Michèle Lalonde
Film de Pierre Falardeau etJulien Poulin, 1980, 6 min 1 s
Court métrage réalisé à partir d’un poème de Michèle Lalonde, créé en 1970 à l’occasion de la première Nuit de la poésie à Montréal. Le texte se déroule sur un montage de photos chocs appuyées d'une trame sonore suggestive, dans un film dénonçant l'impérialisme économique et culturel des classes dominantes.
Lien vers la Nuit de la poésie 27 mars 1970 sur Wikipédia : http://fr.wikipedia.org/wiki/La_Nuit_de_la_po%C3%A9sie_27_mars_1970
Pour visionner certains extraits de la nuit de la poésie du 27 mars 1970 : http://cinemaquebecois.telequebec.tv/#/Films/265/Clips/1211/Default.aspx
Prestation de Georges Dor à la nuit de la poésie :
http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=40392092
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