- sensationelest fra Gyldendals program ind i september (ud over Hagens White Girl 2 og Aburas' agitprop-monolog og (omsider ny) Ina Merete Schmidt-roman i maj og juni og ny Laugesen-samling (Traveling) og CIA RINNE-SAMLING (L'usage du mot) i august og september)
Ursula Andkjær Olsen
Krisehæfterne.
Pandoras æske. Atlantissyndromet
Kristehæfterne er Ursula Andkjær Olsens første roman, en historie om de globale kriser og de helt lokale, om at lukke op for fortiden og dens mønstre, om at have tabt den og ønske at huske den, eller føle sig hjemsøgt af den og prøve at slippe fri. Om at forsøge at kaste liner ind i en endnu ukendt fremtid.
September
(bortset fra den imponerende flade, uursulaske reklametekst!)
(hardcore-flimrende uddrag i det nye nummer af Victor B. Andersens Maskinfabrik
Peter Højrup
Til stranden
På den tyrkiske ø Tenedos holder tre gamle kollektivvenner ferie. Linn og Hermann har deres tre børn med. Ib er alene, men optaget af stedets kok, mens Betty, som dene eneste udenforstående, venter på sin noget ældre kæreste. Ernst, der også engang var en ubrydelig del af kollektivet. Alle venter de, mens de skiftevis har forbitrede og håbefulde tanker om sig selv og hinanden. Peter Højrup dissekerer i Til stranden mentalt kærligheden, litteraturen og alle menneskers grimme sider. Bogen hudfletter også ferietilstanden, fællesskabet og det mere ordinære liv.
August
(kan godt lide "hudfletter også" - for jo åbenbart sådan cirka alting!)
(og som proklamere på blogpost om romanfremskridt (omtalt i Bogholderi-note i fredagens WA Bøger))
Martin Larsen
Parasitsonetterne
Med inspiration fra Inger Christensen beskriver Martin Larsen et system af sonetter, der danner sig selv i det uendelige. han undersøger netværksstrukturer mellem digte og viser skønheden i dise. Forfatteren har selv kodet algoritmerne og ønsker med projektet at opløse polariteten mellem poesi og poetik
(må han få sit ønske opfyldt!)
lørdag den 29. april 2017
fredag den 28. april 2017
Livsvarig som yngst
(kommentartråd under Peter Adolphsens link til Kunstfond-begrundelse for livsvarigt til Ursula Andkjær)
Comments
Jeppe Krogsgaard Christensen 'Og nu er den unge forfatter for
sit arbejde blevet tildelt Statens Kunstfonds hædersydelse.' 47 er ingen
alder, men ligefrem ung?
Peter Adolphsen UAO er evigt ung!
Jeppe Krogsgaard Christensen sandt. men hvad rolle spiller alder i denne sammenhæng?
Peter Adolphsen Jeg gætter på at man vil signalere, at hun er relativt ung for en hædersydelsesmodtager at være.
Lars Bukdahl og
heller ikke den der yngst har fået, men den yngste blandt dem der lige
nu får - næstyngst: Katrine Guldager fra 1966, og så er der en del
65'ere og 64'ere
Peter Adolphsen Ved du hvem der så yngst har fået?
Lars Bukdahl det
kræver lige lidt mere research og kunstfondens liste går ikke helt
tilbage - men UAO er den første der er født i 70'erne (nov. 1970)
Lars Bukdahl Naja Aidt fik det i 2005, da hun var 41
Lars Bukdahl Thomas Boberg også 41 i 2001
Lars Bukdahl Pia Juul 38 i 2000 !
Lars Bukdahl Astrid Saalbach 41 1996
Lars Bukdahl SUT 39 1995 !
Jeppe Krogsgaard Christensen def.
af ung fra den danske ordbog: 'som befinder sig på stadiet hvor man
ikke længere er barn, men hvor man stadig udvikles eller er
færdigudviklet for ret kort tid siden om menneske (eller dyr).'
Lars Bukdahl Marianne Larsen 37 1988 ! ! !
Lars Bukdahl Peter Laugesen 41 1983
Lars Bukdahl Kirsten Thorup 40 1982
Peter Adolphsen Jeg er en såkker for den slags statistik (rekorden ligger foreløbig hos Marianne Larsen)
Lars Bukdahl HENRIK NORDBRANDT 35 1980
Lars Bukdahl Svend Åge Madsen 40 1979
Lars Bukdahl Ergo er Nordbrandt den der yngst har fået af forfattere der lever (som er dem, der er på Kunstfondens liste)!
Peter Adolphsen Og vi har Nordbrandt i front!
Peter Adolphsen Note:
Ikke at det betyder så meget, de er alle fremragende forfattere - det
er bare sjovt at se sligt opgjort. Tak til talmester Lars Bukdahl
Peter Adolphsen Spørgsmål, nu vi er i denne afdeling: Inger Christensen er den eneste, der nogensinde har fået det tre-årige to gange, ikke?
Martin Bastkjær Haha,
det har jeg aldrig hørt om før, men det lyder da meget passende. For
min skyld kunne hun også godt have fået det en tredje gang.
Lars Bukdahl Ved
jeg ikke, men TS Høeg har fået det både som forfatter og musiker og
Amalie Smith fik det i år som halvt forfatter halvt billedkunstner
Charlotte Christina Inuk Hoff Vagn Lundbye :-/
Charlotte Christina Inuk Hoff undskyld den mærkelige smiley. Kunstfondens tre-årige to gange, begge som forfatter tror jeg
Pia Juul Jeg tror også Nordbrandt 2 gange. Tror.
Peter H. Olesen Per Kirkeby har fået det treårige som billedkunstner og som forfatter.
Lars Bukdahl Og for nu at komplicere regnestykket, debutår kan også inddrages, og Ursula var en sen debutant, 30 år ung i 2000 ... !
Lars Bukdahl Og
suverænt længst har Cecil Bødker fået hædersydelse, siden 1965 (vældigt
spring op til SÅM m.fl. der har fået siden 1979), må hun få det længe
endnu
Etiketter:
det livsvarige,
Henrik Nordbrandt,
Marianne Larsen,
Pia Juul
Ursula livsvarig og international
Ursula Andkjær Olsen har - TILLYKKE! - fået Statens Kunstfonds livsvarige hæderslegat, hvilket hun for længst har fortjent for sin knusende originale digtekunst - her er første halvdel af den velbegrundende begrundelse:
Det er på tide, at Ursula bliver lige så international som Inger C var, og meget passende er Det 3. årtusindes hjerte netop udkommet på engelsk som Third-Millennium Heart, oversat af Katrine Øgaard Jensen. Eksempler på den henrevne oversættelse kan læses i net-tidsskriftet Asymptote, her et par klip:
"the planet of spiderweb created when I rub my fingers against
each other
and the planets of spiderweb created when everyone rubs everyone's
are uniform.
We hand each other planets and spiderwebs in caring and non-caring
tethered to larger and larger webs of caring and non-caring.
We catch fish, while life rides off
between our fingers.
Like women riding men.
I give away my third-millennium heart, I send it into orbit and get it
back tenfold, it grows via the babel effect
tenfold, tenfold, tenfold
so much
complicated being
I'll never be able to get it back in, it's towering up, it's
pouring out over the vault of life, founding
my towers and cities.
My life is hanging by long threads from the sky: a spindle apparatus that keeps it
in place, in an upright position in my chest. When oceans rise in the throat, life's
anchoring is threatened.
The judge says all rise, and the big blue courtroom gets up and swallows
humans, animals, gods
or even hearts
complicated beings
unless I pull the organs out of my rib cage, playpen, and
send them into orbit."'
"Ursula Andkjær Olsen har siden sin debut med ”Lulus
sange og taler” i 2000 udgivet en række meget roste, dybt originale og
stilskabende digtbøger. Få digtere, om nogen, har fornyet dansk lyrik i
det 21. århundrede som Ursula Andkjær Olsen. Det er sket gennem en
efterhånden betydelig række af udgivelser, som alle har holdt et meget
højt niveau. Fornyelsen består ikke mindst i, at hun skriver på afstand
af en lyrisk tradition, hvor hun lader forskellige typer af stemmer og
sprog indgå i musikalsk inspirerede kompositioner i boglange digte.
Den sidste del af karakteristikken gælder især de
bøger, som udkom igennem nullerne, de vidtspændende stemme-kompositioner
”Atlas over huller i verden” (2003), ”Ægteskabet mellem vejen og
udvejen” (2005), ”Skønheden hænger på træerne” (2006) og ”Havet er en
scene” (2008). I disse flerstemmige værker forhandles identiteten i en
konstant og kritisk konfrontation med kultur og samfund og i et poetisk
rum, hvor intet emne er for stort eller for småt. Ursula Andkjær Olsens
poesi handler, som hendes forgænger Inger Christensens, om alt. Den
bestræber sig på at skabe et sprog, som kan tale med om det hele uden at
miste temperament og kant.
Ønsket om at indforskrive alle livsniveauer i en
intellektuelt årvågen, men samtidig stærkt kropslig konfrontation med
verden, er ekstra tydelig i de to seneste digtbøger, ”Det 3. årtusindes
hjerte” (2012) og ”Udgående fartøj” (2015). Her er flerstemmigheden
afløst af en mere ensporet og afsporet stemme, som synes drevet af
affekter, af sorg og vrede ikke mindst, som spænder over alle registre
fra det allermest private til det globalt politiske, og hvis eksistens
er stykket sammen af et netværk af relationer - ikke mindst magt- og
kønsrelationer. Det er bøger, som kører på vekslende intensiteter, bøger
der, musikalsk talt, er mere præget af dynamik end harmonik. Især ”Det
3. årtusindes hjerte” må allerede regnes for et hovedværk i de seneste
tiårs danske litteratur."
Det er på tide, at Ursula bliver lige så international som Inger C var, og meget passende er Det 3. årtusindes hjerte netop udkommet på engelsk som Third-Millennium Heart, oversat af Katrine Øgaard Jensen. Eksempler på den henrevne oversættelse kan læses i net-tidsskriftet Asymptote, her et par klip:
"the planet of spiderweb created when I rub my fingers against
each other
and the planets of spiderweb created when everyone rubs everyone's
are uniform.
We hand each other planets and spiderwebs in caring and non-caring
tethered to larger and larger webs of caring and non-caring.
We catch fish, while life rides off
between our fingers.
Like women riding men.
*
I give away my third-millennium heart, I send it into orbit and get it
back tenfold, it grows via the babel effect
tenfold, tenfold, tenfold
so much
complicated being
I'll never be able to get it back in, it's towering up, it's
pouring out over the vault of life, founding
my towers and cities.
*
My life is hanging by long threads from the sky: a spindle apparatus that keeps it
in place, in an upright position in my chest. When oceans rise in the throat, life's
anchoring is threatened.
The judge says all rise, and the big blue courtroom gets up and swallows
humans, animals, gods
or even hearts
complicated beings
unless I pull the organs out of my rib cage, playpen, and
send them into orbit."'
Abstrakt monokel
Hans Arp (der er manden, der holder Tristans højre ben i billede nr. 8 i blogposten nedenfor):
Configuration. Portrait de Tristan Tzara, 1916
Configuration. Portrait de Tristan Tzara, 1916
torsdag den 27. april 2017
onsdag den 26. april 2017
Hjertet er af gas, ikke benzin!
Altså i titlen på Tristan Tzaras skuespil Le Coeur á gaz har Peter Laugesen gjort opmærksom på i en kommentar. Gaz betyder på fransk ikke benzin, men gas, og my bad! Der sikkert skyldtes en association til 'gasoline' (og Gasolin). Jeg retter nu og opreholder Malinowski-linket, der må sgu være en forbindelse!
Etiketter:
benzinhjertet,
Gashjertet,
Le Coeur á gaz,
Peter Laugesen,
Tristan Tzara
mandag den 24. april 2017
Hammannhåb
Selvom jeg har været relativt skuffet over de sidste 2 og en halv nægter jeg at lade være med at glæde mig til Kirsten Hammanns nye, stadigvæk titelløse bog, som hun ligesom sidelæns proklamerer og præsenterer den i sin takketale, da hun fik Søren Gyldendal-Medaljen (OG TILLYKKE MED DEN!), hvor den lyder som et genvisit til hendes mest umulige bog, "poetikken"/"romanen" Bruger De ord i kaffen?, 2001 (den første bog af KH, jeg (med et skrumlet suk) anmeldte):
"I et år har jeg skrevet om at skrive, og hvor meget jeg hader det og ikke kan leve uden. I sidste gennemlæsning skulle jeg igen se i øjnene, hvor dårligt det var, uden interesse for andre, håbløst ... Og så en halv dag senere syntes jeg, det var virkelig godt eller ligefrem blændende. Og næste dag igen græmmede jeg mig. Det er også det, min nye bog handler om: De skift mellem troen på egne evner og den rene selvforagt.
(...)
Tak for medaljen, som jeg slet ikke kan tillade mig at sammenligne med Matador-Lauras, for hun havde slidt og slæbt og boet på et lille kammer og ofret sit eget liv, vinket farvel på forhånd til mand og børn, hun udrettede noget synligt hver dag, noget nyttigt. Det handler min bog også om - at jeg aldrig arbejder nok, og at flertallet i befolkningen slet ikke betragter det som arbejde eller vigtigt overhovedet - men fint med dem, hvis jeg vil hygge mig med det i fritiden, men staten skal i hvert fald ikke støtte det, og det forstår jeg godt, det har jeg vidst i 25 år, og jeg skammer mig over det næsten hver dag, at jeg ikke er sygeplejerske og hjælper nogle syge mennesker eller lægger asfalt på en vej, som vi alle kan køre på, eller er kok eller bare kogekone som Laura, dag ud og dag ind fra 7 til 19 og langt ud på natten, når der er gæster."
"I et år har jeg skrevet om at skrive, og hvor meget jeg hader det og ikke kan leve uden. I sidste gennemlæsning skulle jeg igen se i øjnene, hvor dårligt det var, uden interesse for andre, håbløst ... Og så en halv dag senere syntes jeg, det var virkelig godt eller ligefrem blændende. Og næste dag igen græmmede jeg mig. Det er også det, min nye bog handler om: De skift mellem troen på egne evner og den rene selvforagt.
(...)
Tak for medaljen, som jeg slet ikke kan tillade mig at sammenligne med Matador-Lauras, for hun havde slidt og slæbt og boet på et lille kammer og ofret sit eget liv, vinket farvel på forhånd til mand og børn, hun udrettede noget synligt hver dag, noget nyttigt. Det handler min bog også om - at jeg aldrig arbejder nok, og at flertallet i befolkningen slet ikke betragter det som arbejde eller vigtigt overhovedet - men fint med dem, hvis jeg vil hygge mig med det i fritiden, men staten skal i hvert fald ikke støtte det, og det forstår jeg godt, det har jeg vidst i 25 år, og jeg skammer mig over det næsten hver dag, at jeg ikke er sygeplejerske og hjælper nogle syge mennesker eller lægger asfalt på en vej, som vi alle kan køre på, eller er kok eller bare kogekone som Laura, dag ud og dag ind fra 7 til 19 og langt ud på natten, når der er gæster."
Etiketter:
Bruger De ord i kaffen?,
forventninger,
Kirsten Hammann
søndag den 23. april 2017
Ivans benzinhjerte (4)
Jeg ved ikke, om det er blevet påpeget af andre, men Ivan Malinowskis nyklassiske, opkørt aggressive digt "Benzinhjertet" (som skoleelever nyligt har skullet skrive dansk stil om, fremgår det af google) fra Åbne digte, 1963, kan da blive nødt til henvise direkte (i sin anderledes direktehed (mere tysk end fransk(/rumænsk) dadaisme dér)) til Tzaras hjerte af gas!
BENZINHJERTET
BENZINHJERTET
Forude (naturligvis) døden
I bakspejlet landskab på landskab
Konsumerede marker og byer
Afbrændte piger
Spildprodukter
Brugt tid
Blå os
Gas
Målet en verden af ekskrementer
Enorme køkkenmøddinger
Spørg ikke hvorfor
De forbrænder forældre
Æder lærere og idoler
Grammofonplader
Formgivne billigbøger
Du har også et åndeligt røvhul
Om bremserne er i orden
Er af mindre betydning
Men forstoppelse er en dødssynd
Dit liv er et måltid benzin
Hastigt indtaget
Selvbetjening
Speederen i bund
Et flyttelæs på halvfjerds år
Skal gennem dine pupiller
Du skal drikke en sø
Fordøje syv okser
Tredive tønder skov
I form af aviser
Tygge dig igennem en hel botanik
Platin eller plastic:
Ned skal det
Deraf afhænger
Balancen i naturen
Og den fri verdens fremtid
Spørg ikke hvorfor
Forude
Endnu større marker og markeder
Landskab på landskab
Ganske almindelige
Landskaber
Af uvis varighed
Saksen skjult
Jernbaneoverskæring e.l.
I bakspejlet (naturligvis) lutter ragelse
Du inhalerer livet
Du er og bliver et nåleøje
Og tråden har to ender
I bakspejlet landskab på landskab
Konsumerede marker og byer
Afbrændte piger
Spildprodukter
Brugt tid
Blå os
Gas
Målet en verden af ekskrementer
Enorme køkkenmøddinger
Spørg ikke hvorfor
De forbrænder forældre
Æder lærere og idoler
Grammofonplader
Formgivne billigbøger
Du har også et åndeligt røvhul
Om bremserne er i orden
Er af mindre betydning
Men forstoppelse er en dødssynd
Dit liv er et måltid benzin
Hastigt indtaget
Selvbetjening
Speederen i bund
Et flyttelæs på halvfjerds år
Skal gennem dine pupiller
Du skal drikke en sø
Fordøje syv okser
Tredive tønder skov
I form af aviser
Tygge dig igennem en hel botanik
Platin eller plastic:
Ned skal det
Deraf afhænger
Balancen i naturen
Og den fri verdens fremtid
Spørg ikke hvorfor
Forude
Endnu større marker og markeder
Landskab på landskab
Ganske almindelige
Landskaber
Af uvis varighed
Saksen skjult
Jernbaneoverskæring e.l.
I bakspejlet (naturligvis) lutter ragelse
Du inhalerer livet
Du er og bliver et nåleøje
Og tråden har to ender
Etiketter:
benzinhjertet,
Gashjertet,
Ivan Malinowski,
Le Coeur á gaz,
Tristan Tzara
Davids gashjerte (3)
Da David Bowie optrådte i Saturday Night Live i 1979 var hans kostume inspireret af Sonia Deleunays kostumer til andenopførslen i 1923 af Tzaras Gashjertet, se bare:
(påpeget i denne blogpost, der inkluderer en lille tegnefilm om andenopførslen)
(påpeget i denne blogpost, der inkluderer en lille tegnefilm om andenopførslen)
Etiketter:
David Bowie,
Gashjertet,
Le Coeur á gaz,
Sonia Deleunay,
Tristan Tzara
Andys gashjerte (2)
Andy Warhol som medvirkende i Tzaras Gashjertet (måske som Næsen?)!
Er det netop blevet afsløret af Blake Gopnik på art.net :
"THE DAILY PIC (#1778): Ever since Larry Fink’s new book of Warhol shots came out a few weeks ago, there’s been much true talk about how full of elegance and insight they are. Some of them, as it turns out, are also full of information, even more exciting for a Warhol biographer like me.
Today’s Pic is captioned “Fashion Shoot” in the book, but it turns out that it’s more than that. With help from Warhol Museum super-sleuths Matt Wrbican and Greg Pierce, I’ve discovered that what we are looking at in this image is a September 7, 1966 reading of the play The Gas Heart by Dada artist Tristan Tzara, as newly translated by the filmmaker Robert Cordier (he’s at right in this image). Wrbican and Pierce put me on to the play’s flyer (below, from a Time Capsule in the Warhol archives), which mentions a cameo by Warhol but leaves out appearances by his ever-present Superstars Gerard Malanga and Ingrid Superstar, seen in front of Warhol in Fink’s photo. And then a glance I got at Fink’s contact sheets proved to me that it’s the same event, since the “Computer Woman” of the flyer is clearly visible in other shots."
(Photo ©Larry Fink; flyer courtesy the Andy Warhol Museum)
Etiketter:
Andy Warhol,
Gashjertet,
Le Coeur á gaz,
Tristan Tzara
Tristans gashjerte (1)
Le Cœur à gaz (Wiki-opslag her), Tristan Tzaras poetisk gakkede dada-skuespil, første gang opført i Paris 1921 og skandale-opført i 1923 ved dadaismens svanesang, multimedie-showet Le Cœur à barbe (det skæggede hjerte), også i Paris, hvor Andrè Breton, der var i konflikt med blandt andre Tzara, sprang op på scenen og kom i karambolage med både skuespillerne, der havde svært ved at flytte sig på grund af Sonia Deleunays kostumer, og andre dadaister og brækkede armen på en vis Pierre de Massot med sin stok.
Personer:
Mund
Øre
Øje
Næse
Hals
Øjenbryn
Sådan begynder stykket i Michael Benedikts oversættelse, hentet på nettet:
Act One.
Personer:
Mund
Øre
Øje
Næse
Hals
Øjenbryn
Sådan begynder stykket i Michael Benedikts oversættelse, hentet på nettet:
(NARRATOR:)
Act One.
The gas heart ...
(introduce the sound of the gas heart)
walks slowly around, circulating widely;
(Pause while we listen to sound of gas heart walking around,
from left to right and back in the audio field. This sound will
persist throughout the duration of the play.)
At one extreme of that circle stands Neck.
At the opposite extreme stands Nose.
Confronting us.
(which means please place Nose and Neck at extreme left and right)
All of the other characters,
Eye, Mouth, Ear, and Eyebrow
enter and leave as they please.
This is the only and the greatest three-act hoax
of the century;
it will satisfy only industrialized imbeciles who believe
in the existence of men of genius.
The Actors are advised to give this production
the attention due a masterpiece such as Macbeth or Chanticleer,
but to treat the author ---
who is not a genius ---
with no respect and to note the levity
of the script which brings
no technical innovation to the theater.
Eye and Mouth now enter the circle
and Eye begins:
(EYE:)
Statues jewels roasts
Statues jewels roasts
Statues jewels roasts
Statues jewels roasts
Statues jewels roasts
and the wind open to mathematical allusions
cigar pimple nose
cigar pimple nose
cigar pimple nose
cigar pimple nose
cigar pimple nose
cigar pimple nose
he was in love with a stenographer
eyes replaced by motionless navels
mister mygod is an excellent journalist
inflexible yet aquatic a good-morning was drinking in the air
what a sad season
(NARRATOR:)
To which mouth responds:
(MOUTH:)
The conversation is lagging isn't it?
(EYE:)
Yes, isn't it.
(MOUTH:)
Very lagging, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Naturally, isn't it?
(EYE:)
Obviously, isn't it?
(MOUTH:)
Lagging, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Obviously, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Very lagging, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Naturally, isn't it?
(EYE:)
Obviously, isn't it?
(MOUTH:)
Lagging, isn't it?
(EYE:)
Yes, isn't it?
(MOUTH:)
Obviously, isn't it?
(EYE:)
Yes, isn't it
Etiketter:
André Breton,
Gashjertet,
Le Coeur á gaz,
Tristan Tzara
lørdag den 22. april 2017
Lige et til Iggy-rim
Sikke Iggys stemme
kan emme
af den eksistentielle klemme,
hvor han føler sig hjemme
som den slemme, slemme
hvis talent for at væmme
ingen kan tæmme,
ingen kan glemme
kan emme
af den eksistentielle klemme,
hvor han føler sig hjemme
som den slemme, slemme
hvis talent for at væmme
ingen kan tæmme,
ingen kan glemme
Iggy i regnvejr på Solitudevej
AT THE CORNER OF DESPERATE AVENUE
AND LONELINESS ROAD
I fødselsdagsinterview i Rolling Stone er der links to splinternye, tyst og dirrende (og nydende) inderlige sange, "Every Day" og "Loneliness Road", som Iggy har indspillet sammen med en jazz-trio - her nogle bidder fra selve interviewet:
"I was just listening to them in the car in stolen moments at first, and I took a lot more time with this than I normally would. "Every Day" was the one that just kind of flew out of my mouth in little bits. The other ones took more thought – "Gee, how would I structure a melody and phrasing that swings it a little?" I tried to keep everything small, in keeping with the quietude about the tunes.
The house I have [in Miami] on a little river, there's a back door with a washer and dryer and a little old chair that I bought on Fifth Avenue in the Eighties – it's an African chair, one of the oldest possessions I have. I sit there with a boom box and mumble some stuff. For some reason, Third Man Records had sent me a bunch of these little tiny books. Anyway, I wrote these lyrics in little tiny notebooks in very bad handwriting. Just kinda worked 'em up that way – as long as it had the feeling and I'd done the proper planning, so that I wasn't gonna dick around.
So I went in and did them, and they were basically first-take on each one. I was a little surprised at how feeble I sounded on certain parts of it [laughs], but I thought that was OK. You know, I kinda thought that the feeling fit. I thought it was my best effort, and I sent 'em in. I thought about it a couple of weeks, and I thought, just let it be what it is.
(...)
"Every Day," to me, sounded like something that, if he wanted to, Barry White or Donny Hathaway or Teddy Pendergrass could have really wailed on. "Don't Lose Yourself," I thought the music sounded a little Doors-y, and so I tried to sing something a little against it – I was looking for phrasing that would make it swing a little. And "Loneliness Road," I kept thinking of Floyd Cramer and his chord voicings. So I had stuff within me emotionally that I wanted to say, on all three – and then, technically, you're influenced by what the music is. "Every Day" would have sounded really terrible if there were a lot of sophisticated verbal images. Better to me if it's plainspoken. Some of the lines are lines you've heard in other songs or in other ways, like "What you see is what you get."
You alter the cliché, though: You say "What you see is what you're gonna get."
Well, yeah [laughs]. There's a little bit of desire and fidelity kind of mixed in there, and also, you know, a little bit of need for love, which is different from desire. Everybody has that, but there are ways to get around it when you're younger. Then, when you're older, there's not.
The music that you're singing over is full of the little imperfections of jazz. There's a lot of wisdom in it, and it's kind of open and unguarded.
Yes, that's what appealed to me. There's no big, bashing thing or echo trick to hide behind. And then there are little things where it kinda goes on and on, rises and falls, and it's a trio – they were doing what they wanted within their own boundaries. I tried to come in and live in it, basically.
Was that the challenge?
Yes, to get inside it. That's the big one. Listening very, very carefully is an art. Sometimes it's just like cooking an egg – there's steps you gotta do to get to know it – but at other points you've got to do it in a state of extreme enjoyment, almost bliss, to allow something happen, to come out of yourself, to connect with the thing.
For instance, in "Loneliness Road," I noticed, OK, Steve's coming in with the bass line early. Suddenly the soundscape suddenly changes. I thought, "Ooh, that's the place to come in with a certain pickup line." It just matched. I knew that in my register it would be good.
Later in that one, there were bits where they kinda started swangin', a little bit like a show band, and you'll hear me up the ante a little bit and give a little discreet shout once in a while.
(...)
This reflective guy you inhabit on these songs on Loneliness Road – he's a persona. I feel that we've seen him before. What else do you know about that guy?
Yeah, right – they kind of pop out, these guys. I don't really sit around working on them. Well, you know, he's lonesome, a little bit of an airhead, a little bit head-in-the-clouds, maybe. A little bit weary of the game he's in. Yeah, you know. You know. Like so many other people. In a way this started back when I was at the height of the touring machine with the re-formed Stooges, when I wrote a song called "I Want to Go to the Beach." That was a very melancholic song – it's the same guy. I wrote it in that little house with a feeling of hopelessness that I would ever be able to find a place to record it, how would I put it out, where would it find a home. And with a feeling of hopelessness that I would ever overcome that melancholy. But I've made a habit of writing out my pessimism, and it tends to lead to a surprisingly optimistic outcome.
(...)
And then a few years later this guy brought me a bottle of wine to the gig in Lyon. He owns a very nice wine shop in Lyon, and he said, "Every so often I order 25 copies of Apres and I put them on the counter next to the cash register, and they sell out."
Nice!
Yeah! [Laughs] I like being at the wine shop! I like that idea! Yeah! But I look at the albums I've done and I think there's some good in there, and I'm in a fortunate enough area right now to kinda let them all sit, and there are people who will check them all out and enjoy them if I don't deluge them with a bunch of albums. But I like singin'. So I kinda like being a guest. Different position.
I have heard that you are about to turn 70.
[Laughs] Yeah, I keep hearing about it too! I haven't made it yet. I gotta get to Friday.
Tell me something. ... I would guess that for you, 70 is arbitrary: just a number. But I would expect that as a worker, you are looking at the precedents that have been set, scanning around the history of music, looking at singers who got to that exact age and were making great things at that age. Is that true?I haven't really thought about it that way. Maybe I should.
You definitely think prosaically about "what kind of work can I do," "what kind of work would I be comfortable doing," and "what kind of work can I get." But on the other hand, there's this other guy [laughs]. There's this other thing going on. I really like Sleaford Mods, and they have a particularly vicious track called "Chop Chop Chop." I covered it the other day in rehearsal, and I put my own verses in there about the most scathing episodes in my life history.
Anyway, you get a little more circumspect. If you manage to live this long, that's O.K.; you want to live longer, but at the same time you don't want to do that just for the sake of breathing.
But it's really do a little bit here, do a little bit there, and try to be a decent hang."
AND LONELINESS ROAD
I fødselsdagsinterview i Rolling Stone er der links to splinternye, tyst og dirrende (og nydende) inderlige sange, "Every Day" og "Loneliness Road", som Iggy har indspillet sammen med en jazz-trio - her nogle bidder fra selve interviewet:
"I was just listening to them in the car in stolen moments at first, and I took a lot more time with this than I normally would. "Every Day" was the one that just kind of flew out of my mouth in little bits. The other ones took more thought – "Gee, how would I structure a melody and phrasing that swings it a little?" I tried to keep everything small, in keeping with the quietude about the tunes.
The house I have [in Miami] on a little river, there's a back door with a washer and dryer and a little old chair that I bought on Fifth Avenue in the Eighties – it's an African chair, one of the oldest possessions I have. I sit there with a boom box and mumble some stuff. For some reason, Third Man Records had sent me a bunch of these little tiny books. Anyway, I wrote these lyrics in little tiny notebooks in very bad handwriting. Just kinda worked 'em up that way – as long as it had the feeling and I'd done the proper planning, so that I wasn't gonna dick around.
So I went in and did them, and they were basically first-take on each one. I was a little surprised at how feeble I sounded on certain parts of it [laughs], but I thought that was OK. You know, I kinda thought that the feeling fit. I thought it was my best effort, and I sent 'em in. I thought about it a couple of weeks, and I thought, just let it be what it is.
(...)
"Every Day," to me, sounded like something that, if he wanted to, Barry White or Donny Hathaway or Teddy Pendergrass could have really wailed on. "Don't Lose Yourself," I thought the music sounded a little Doors-y, and so I tried to sing something a little against it – I was looking for phrasing that would make it swing a little. And "Loneliness Road," I kept thinking of Floyd Cramer and his chord voicings. So I had stuff within me emotionally that I wanted to say, on all three – and then, technically, you're influenced by what the music is. "Every Day" would have sounded really terrible if there were a lot of sophisticated verbal images. Better to me if it's plainspoken. Some of the lines are lines you've heard in other songs or in other ways, like "What you see is what you get."
You alter the cliché, though: You say "What you see is what you're gonna get."
Well, yeah [laughs]. There's a little bit of desire and fidelity kind of mixed in there, and also, you know, a little bit of need for love, which is different from desire. Everybody has that, but there are ways to get around it when you're younger. Then, when you're older, there's not.
The music that you're singing over is full of the little imperfections of jazz. There's a lot of wisdom in it, and it's kind of open and unguarded.
Yes, that's what appealed to me. There's no big, bashing thing or echo trick to hide behind. And then there are little things where it kinda goes on and on, rises and falls, and it's a trio – they were doing what they wanted within their own boundaries. I tried to come in and live in it, basically.
Was that the challenge?
Yes, to get inside it. That's the big one. Listening very, very carefully is an art. Sometimes it's just like cooking an egg – there's steps you gotta do to get to know it – but at other points you've got to do it in a state of extreme enjoyment, almost bliss, to allow something happen, to come out of yourself, to connect with the thing.
For instance, in "Loneliness Road," I noticed, OK, Steve's coming in with the bass line early. Suddenly the soundscape suddenly changes. I thought, "Ooh, that's the place to come in with a certain pickup line." It just matched. I knew that in my register it would be good.
Later in that one, there were bits where they kinda started swangin', a little bit like a show band, and you'll hear me up the ante a little bit and give a little discreet shout once in a while.
(...)
This reflective guy you inhabit on these songs on Loneliness Road – he's a persona. I feel that we've seen him before. What else do you know about that guy?
Yeah, right – they kind of pop out, these guys. I don't really sit around working on them. Well, you know, he's lonesome, a little bit of an airhead, a little bit head-in-the-clouds, maybe. A little bit weary of the game he's in. Yeah, you know. You know. Like so many other people. In a way this started back when I was at the height of the touring machine with the re-formed Stooges, when I wrote a song called "I Want to Go to the Beach." That was a very melancholic song – it's the same guy. I wrote it in that little house with a feeling of hopelessness that I would ever be able to find a place to record it, how would I put it out, where would it find a home. And with a feeling of hopelessness that I would ever overcome that melancholy. But I've made a habit of writing out my pessimism, and it tends to lead to a surprisingly optimistic outcome.
(...)
And then a few years later this guy brought me a bottle of wine to the gig in Lyon. He owns a very nice wine shop in Lyon, and he said, "Every so often I order 25 copies of Apres and I put them on the counter next to the cash register, and they sell out."
Nice!
Yeah! [Laughs] I like being at the wine shop! I like that idea! Yeah! But I look at the albums I've done and I think there's some good in there, and I'm in a fortunate enough area right now to kinda let them all sit, and there are people who will check them all out and enjoy them if I don't deluge them with a bunch of albums. But I like singin'. So I kinda like being a guest. Different position.
I have heard that you are about to turn 70.
[Laughs] Yeah, I keep hearing about it too! I haven't made it yet. I gotta get to Friday.
Tell me something. ... I would guess that for you, 70 is arbitrary: just a number. But I would expect that as a worker, you are looking at the precedents that have been set, scanning around the history of music, looking at singers who got to that exact age and were making great things at that age. Is that true?I haven't really thought about it that way. Maybe I should.
You definitely think prosaically about "what kind of work can I do," "what kind of work would I be comfortable doing," and "what kind of work can I get." But on the other hand, there's this other guy [laughs]. There's this other thing going on. I really like Sleaford Mods, and they have a particularly vicious track called "Chop Chop Chop." I covered it the other day in rehearsal, and I put my own verses in there about the most scathing episodes in my life history.
Anyway, you get a little more circumspect. If you manage to live this long, that's O.K.; you want to live longer, but at the same time you don't want to do that just for the sake of breathing.
But it's really do a little bit here, do a little bit there, and try to be a decent hang."
Etiketter:
Iggy Pop,
Loneliness Road,
Solitudevej,
tillykke
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