Have you got your Ultraviolet bag yet ?
woensdag 25 november 2009
maandag 23 november 2009
I got a problem..Elvis died on me
'Out Of The Blue' is one of the most haunting and disturbing movies ever made. It is Dennis Hopper's true masterpiece. While nowhere near as well known as the pop culture landmark 'Easy Rider', this is easily a much more important and accomplished work. Filmed in Canada during the period when Hopper was still persona non grata in Hollywood, he may have been out of control in front of the screen (the movie features one of his legendary unhinged performances), but he certainly was fully in control behind the scenes.
Hopper plays Don Barnes, a trucker released from prison who attempts to piece his life and family together while battling the bottle and the repercussions of a tragedy, which still festers like an open wound. His wife Kathy (Sharon Farrell - 'The Stunt Man') is scraping by as a waitress, and is shooting smack and fooling around with his former "best friend" Charlie (Don Gordon - 'The Mack'), a slimy piece of work. The Barnes teenage daughter Cebe (Linda Manz in an unforgettable and star-making role) is running wild, obsessed with Elvis, punk rock and CB radio. The Barnes are doomed. The viewer may not know exactly what is going to happen to this dysfunctional bunch, but it doesn't take Einstein to figure out it ain't gonna be pretty! However the ending is still unexpected and devastating. You'll never forget it.
'Out of the Blue',simply so stunning we had to name our first issue after it.
Howl
"I saw the best minds of my generation destroyed by
madness, starving hysterical naked,
dragging themselves through the negro streets at dawn
looking for an angry fix,
angelheaded hipsters burning for the ancient heavenly
connection to the starry dynamo
in the machinery of night..."
Allen Ginsberg
Ultraviolet is a very happy camper to be sold in the legendary City
Lights bookshop in San Francisco. Home of the Beats.
The boy who never grew old
Our Out of The Blue (Into the Black) issue is dedicated to Anno Birkin.
Poet and musician Anno Birkin was killed in a car crash in 2001, alongside two members of his band Kicksjoydarkness. Although merely twenty years old , he left behind an impressive creative legacy of 57 recorded songs, twenty hours of mini disk and over 1200 poems and lyrics scattered on pieces of paper, in notebooks and on walls everywhere. Thanks to the massive cataloging effort of his father Andrew Birkin we now all have the privilige of being privy to Anno's thoughts, words and music. As Bruce Robinson so aptly puts in the foreword to Anno's Collection of poetry 'Who Said The Race Was Over', : "Anno didn't need death to be brilliant. Death isn't part of the judgement. "
Find out all about the importance of being Anno at www.anno.co.uk
The King is gone but he's not forgotten.
Listen to Kicksjoydarkness ' majestic songs here.
Ian Svenonius
Read in Ultraviolet Magazine: Ian Svenonius essay 'on downloading'.
It would be unwise to start up anything relevant without including Ian Svenonius as he sets the scene, always. Quite the lo-fi multitasker , Svenonius is not only the unique 'voice' of challenging bands as Nation of Ulysses, The Make Up and Weird War, but puts the same kind of style, substance and swagger into his side activities as indie talkshow host , sociologist, writer and dj extraordinaire.
He sets the scene,always . He is probably also the only revolutionary referred to as 'sassy'. To cut a long story short, Ian Svenonius is exactly the kind of person you would let have the last word of your magazine.
© Photo/ Adam Miller -Chromatics
Do yourself a favour and watch all of his Soft Focus shows on VBS. They are Something Else.
Why don't we space out with David Lynch
Read in Ultraviolet Magazine: 'There's a fish in the Percolator'- David Lynch
David Lynch wants you to keep your eye on the doughnut, not the hole.
Relax.
Close those eyes.
Take a deep breath and sit down for the life changing capabilities of Transcendental Meditation.
"Fifty years ago, people were saying, "Everything's speeding up." Twenty years ago, they were still saying, "Everything's speeding up." It always seems that way. And it seems even more so now. It's crazy. When you watch a lot of TV and read a lot of magazines, it can seem like the whole world is passing you by.
When I was making "Eraserhead," which took five years to complete, I thought I was dead. I thought the world would be so different before it was over. I told myself, Here I am, locked in this thing. I can't finish it. The world is leaving me behind. I had stopped listening to music, and I never watched TV anyway. I didn't want to hear stories about what was going on, because hearing these things felt like dying.
At one time, I actually thought of building a small figure of the charac-ter Henry, maybe eight inches tall, and constructing a small set out of cardboard, and just stop-motioning him through and finishing it. That was the only way I could figure doing it, because I didn't have any money.
Then, one night, my younger brother and my father sat me down in a kind of dark living room. My brother is very responsible, as is my father. They had a little chat with me. It almost broke my heart, because they said I should get a job and forget "Eraserhead." I had a little girl, and I should be responsible and get a job.
Well, I did get a job: I delivered the Wall Street Journal, and I made fifty dollars a week. I would save up enough to shoot a scene and I eventu-ally finished the whole thing. And I started meditating. Jack Nance, the actor who played Henry, waited three years for me, holding this thought of Henry, keeping it alive. There's a scene in which Jack's character is on one side of a door, and it wasn't until a year and a half later that we filmed him coming through the other side of the door. I wondered, how could this happen? How could it hang together for so long? But Jack waited and held the character.
There's an expression: "Keep your eye on the doughnut, not on the hole." If you keep your eye on the doughnut and do your work, that's all you can control. You can't control any of what's out there, outside yourself. But you can get inside and do the best you can do.
The world isn't going to pass you by. There's no guarantee that meditation or delivering the Wall Street Journal is going to make you a success. But with focus and with meditation -- although the events of your outer life may stay the same -- the way you go through these events changes and gets so much better.
(From "Catching the Big Fish: Meditation, Consciousness, and Creativity," recently published by Tarcher Penguin.)
Asparagus, an horticultural ballet
"Asking an artist to talk about his work is like asking a plant to discuss horticulture "
- Jean Cocteau
Pil and Galia Kollective are not a band.
They are a boy+girl duo who reside in London and are fond of Post-Marxist theory , knitting, baking and countercultural mythmaking.
Their latest work is a one off live performance piece inspired by rumour and myth.
In the late seventies War Pierogi (later of obscure New Yersey minimal synth band XEX) composed the interdisciplinary ballet while still a student. No documentatin of the piece esxists but Pil and Galia have become fascinated by the work , alongside another work Oscar Schlemmer's Triadic Ballet .They felt the ballet needed to be staged and chose Karl Marx Das Kapital as an arbitrary structure to dictate the movements while Canadian genius weirdoes Les Georges Leningrad provide the beats.
We can only but salute artists who make us feel like intellectuals while we're watching a bunch of vegetables hop around.
asparagus , an horticultural ballet by pil and galia kollectiv
Ultraviolet Magazine | MySpace Video
- Jean Cocteau
Pil and Galia Kollective are not a band.
They are a boy+girl duo who reside in London and are fond of Post-Marxist theory , knitting, baking and countercultural mythmaking.
Their latest work is a one off live performance piece inspired by rumour and myth.
In the late seventies War Pierogi (later of obscure New Yersey minimal synth band XEX) composed the interdisciplinary ballet while still a student. No documentatin of the piece esxists but Pil and Galia have become fascinated by the work , alongside another work Oscar Schlemmer's Triadic Ballet .They felt the ballet needed to be staged and chose Karl Marx Das Kapital as an arbitrary structure to dictate the movements while Canadian genius weirdoes Les Georges Leningrad provide the beats.
We can only but salute artists who make us feel like intellectuals while we're watching a bunch of vegetables hop around.
asparagus , an horticultural ballet by pil and galia kollectiv
Ultraviolet Magazine | MySpace Video
The Lazy Ones
I wanna have a shop /
I'd do it s fine
I wanna have a shop/
I'd call it the lazy ones
but then I think about the rent
one day I see business rates !
Catalan siblings Diego and Natalia were sadly seperated at birth. They found each other again in London and now even share pinnumbers. It's a bit of a White Stripes story, be it with better accents. These fierce Spaniards run a shop we are crazy about. Lazy specialities include illustrated t-shirts( handmade by Natalia), designed dresses, a cute vintage selection and lazy shoes. Quite a few celebs have stopped by the lazy mansion over the years and Nat and Diego have some fond memories of Pete Doherty choosing a dress for Kate and actually paying for it. THe name of the shop comes from a musical project Nat and Diego created where they recorded an 8 track album without playing a single intrument. The joke was to highlight this by being called the Lazy ones. They have their own clothing line , Demoines, that is available at Topshop or through their website.
Here they are performing their massive hit 'Omg, I married a horse'
I'd do it s fine
I wanna have a shop/
I'd call it the lazy ones
but then I think about the rent
one day I see business rates !
Catalan siblings Diego and Natalia were sadly seperated at birth. They found each other again in London and now even share pinnumbers. It's a bit of a White Stripes story, be it with better accents. These fierce Spaniards run a shop we are crazy about. Lazy specialities include illustrated t-shirts( handmade by Natalia), designed dresses, a cute vintage selection and lazy shoes. Quite a few celebs have stopped by the lazy mansion over the years and Nat and Diego have some fond memories of Pete Doherty choosing a dress for Kate and actually paying for it. THe name of the shop comes from a musical project Nat and Diego created where they recorded an 8 track album without playing a single intrument. The joke was to highlight this by being called the Lazy ones. They have their own clothing line , Demoines, that is available at Topshop or through their website.
Here they are performing their massive hit 'Omg, I married a horse'
The Gift
In 'The Gift ' Lou Reed show his most black humorous side , depicting romantic obsession and its gruesome consequences.
The song can be found on The Velvet Underground's White Light/White Heat album where it is narrated by John Cale in his best BBC voice.
Now German director Markus Wambganns, one half of Kaliber 16 and musicvideo wiz kid has made his own cinematic version of the song , using Warhol splitscreens. Liars frontman Agnus Andrew stars as the tormented Waldo Jefferson and is backed up by a sweet brunette team composed of Brooke Vermillion ( read our spinderella feature) and Ultraviolet's very own editor in chief, boss and what not , Nessie De Witte. Drummer Julian Gross makes a special appearance as mr.moustache while Aaron Hemphill narrates.
the gift by markus wambsganns
Ultraviolet Magazine | MySpace Video
Monsters in my head
Master of Puppets almost destroyed his dreams, but Daniel Johnston keeps fighting the madness and might finally have defeated Satan this time...... or not ?
Read : 'Monsters in my head'- Interview and drawings by Daniel Johnston in Ultraviolet Magazine.
Picture by Hanne De Wyngaert for UV.
The Velvet Underground and Nico
Read in Ultraviolet Magazine: Jonathan Richman on The Velvet Underground
"The Velvet Underground and Nico is a portrait of the band, recorded during a practice session at the Factory; apparently shot in January 1966, it shows the goup rehearsing for what was probably their opening at the Film-Makers' Cinematheque in February. The music is an instrumental number; Nico, the German singer and actress whom Warhol introduced into the band, sits on a stool and bangs a tambourine, while her son Ari plays on the floor at her feet. The two reels contain a great deal of wild camerawork and psychedelic zooming, which indicates that this film was intended for exhibition, probably in double-screen, behind the Velvet Undergound on stage. It is easy to imagine how this footage might have looked projected in a large, crowded theater in an atmos phere of deafining music, wild dancing, and strobe lighting.
As if to authenticate the film's countercultural status, the second reel documents the arrival of the New York City police during the filming, apparently in response to a telephoned complaint about the noise level at the Factory. After a disarmingly self-conscious cop appears on screen to adjust the amplifier, the rehearsal is stopped, and the camera pulls back to show the deep space of the studio-one of the few documentary of the Factory in Warhol's films-where Warhol is seen talking with the police while the Velvets, Gerard Malanga, Billy Name, and other Factory regulars mill around."
Victor Bockris-.
The Velvet Underground and Nico: A Symphony of Sound (1966) is an Andy Warhol film made at The Factory. It is 67 minutes long and was filmed in 16mm black and white.
:"The Velvet Underground and Nico is a portrait of the band, recorded during a practice session at the Factory; apparently shot in January 1966, it shows the goup rehearsing for what was probably their opening at the Film-Makers' Cinematheque in February. The music is an instrumental number; Nico, the German singer and actress whom Warhol introduced into the band, sits on a stool and bangs a tambourine, while her son Ari plays on the floor at her feet. The two reels contain a great deal of wild camerawork and psychedelic zooming, which indicates that this film was intended for exhibition, probably in double-screen, behind the Velvet Undergound on stage. It is easy to imagine how this footage might have looked projected in a large, crowded theater in an atmos phere of deafining music, wild dancing, and strobe lighting.
As if to authenticate the film's countercultural status, the second reel documents the arrival of the New York City police during the filming, apparently in response to a telephoned complaint about the noise level at the Factory. After a disarmingly self-conscious cop appears on screen to adjust the amplifier, the rehearsal is stopped, and the camera pulls back to show the deep space of the studio-one of the few documentary of the Factory in Warhol's films-where Warhol is seen talking with the police while the Velvets, Gerard Malanga, Billy Name, and other Factory regulars mill around."
Victor Bockris-.
The Blank Generation
I belong to the blank generation and I can take it or leave it each time...
CBGB is commonly credited as the birthplace of American Punk. New York's best known rock sanctuary closed it's doors in 2006 but the smell and echo three decades of rock 'n roll linger on.
Read in Ultraviolet Magazine: 'It was a dump, but it was our dump'
BLANK GENERATION
by Amos Poe
with The New York Dolls, Patti Smith, Ivan Kral, Lenny Kaye, Richard Sohl, Jay Dee Daugherty, Blondie, Talking Heads, Television, Verlaine, Richard Lloyd,Fred Smith, Billy Ficca, Heartbreakers, Richard Hell, Johnny Thunders, Walter Lure, Jerry Nolan, Lizzy Mercier, Joey + DeeDee + Johnny + Tommy Ramone, Debbie Harry, Gary Valentine, Jimmy Destri, Clem Burke, Harry Toledo,Hilly Kristal, David Byrne, Tina Weymouth, Chris Frantz, Chris Stein, Robert Gordon, Jeff Salen, Wayne County, Jayne County, Shirts, Annie Golden, Miamis, Marbles, Harry Toledo, David Johansen, CBGB's New Year party with in-crowd, Lynette Bean, Roberta Bayley, Jane Friedman, Terry Ork, John Cale of Velvet Underground, Max's Kansas City. Film shot 1974-76 by Ivan Kral (former Iggy Pop, Blondie, Patti Smith guitarist) and edited by Amos Poe, www.TheBlankGeneration.com
CBGB is commonly credited as the birthplace of American Punk. New York's best known rock sanctuary closed it's doors in 2006 but the smell and echo three decades of rock 'n roll linger on.
Read in Ultraviolet Magazine: 'It was a dump, but it was our dump'
BLANK GENERATION
by Amos Poe
with The New York Dolls, Patti Smith, Ivan Kral, Lenny Kaye, Richard Sohl, Jay Dee Daugherty, Blondie, Talking Heads, Television, Verlaine, Richard Lloyd,Fred Smith, Billy Ficca, Heartbreakers, Richard Hell, Johnny Thunders, Walter Lure, Jerry Nolan, Lizzy Mercier, Joey + DeeDee + Johnny + Tommy Ramone, Debbie Harry, Gary Valentine, Jimmy Destri, Clem Burke, Harry Toledo,Hilly Kristal, David Byrne, Tina Weymouth, Chris Frantz, Chris Stein, Robert Gordon, Jeff Salen, Wayne County, Jayne County, Shirts, Annie Golden, Miamis, Marbles, Harry Toledo, David Johansen, CBGB's New Year party with in-crowd, Lynette Bean, Roberta Bayley, Jane Friedman, Terry Ork, John Cale of Velvet Underground, Max's Kansas City. Film shot 1974-76 by Ivan Kral (former Iggy Pop, Blondie, Patti Smith guitarist) and edited by Amos Poe, www.TheBlankGeneration.com
Get it on !
Ultraviolet Magazine is available at these fine stores around the galaxy.
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picture ©Matt Irwin
Meet our covergirl
"Some tanning oil, a good book and let's hope nothing happens."We Salute the International Situationists, sa Guy Debord.
Comrades
We got our eyes wide open and are all ready to rock hard and roll easy.
As rebels with a cause ,we at Ultraviolet felt we had to kick our heels and redeem those bleeding revolutionary hearts of ours. In times where the value of good authentic performers is down to the value of the Mexican peso and plastic is preferred over wood, we got bored and craved some wild electricity. So instead of drowning in a vast sea of uniformity and monotony Ultraviolet provides an magazine alternative of the more timeless and sexy kind.
Lets just say we like to break the shackles of chronology and location and take roads less travelled to and we believe that make all the difference. So come boogie with us children…
Ultraviolet Magazine highlights exciting artists that are a little beyond the regular spectrum. We use the same modus operandi as a mixtape, creating a conceptual yet very personal mix of material linked by a theme or mood and always presented in our signature colour.
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