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DWG20102017 - "Architettonica - Out There" Series -
90x110cm © Fabio Barilari
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martedì 20 febbraio 2018
Architettonica - Out There #4
venerdì 9 febbraio 2018
Street Fightin' Man
Everywhere I hear the sound of marching, charging feet, boy
'Cause summer's here and the time is right for fighting in the street, boy
Well what can a poor boy do
Except to sing for a rock 'n' roll band
'Cause in sleepy London town
There's just no place for a street fighting man
No
'Cause summer's here and the time is right for fighting in the street, boy
Well what can a poor boy do
Except to sing for a rock 'n' roll band
'Cause in sleepy London town
There's just no place for a street fighting man
No
Hey! Think the time is right for a palace revolution
'Cause where I live the game to play is compromise solution
Well, then what can a poor boy do
Except to sing for a rock 'n' roll band
'Cause in sleepy London town
There's just no place for a street fighting man
No
'Cause where I live the game to play is compromise solution
Well, then what can a poor boy do
Except to sing for a rock 'n' roll band
'Cause in sleepy London town
There's just no place for a street fighting man
No
Hey! Said my name is called disturbance
I'll shout and scream, I'll kill the king, I'll rail at all his servants
Well, what can a poor boy do
Except to sing for a rock 'n' roll band
'Cause in sleepy London town
There's just no place for a street fighting man
No
I'll shout and scream, I'll kill the king, I'll rail at all his servants
Well, what can a poor boy do
Except to sing for a rock 'n' roll band
'Cause in sleepy London town
There's just no place for a street fighting man
No
Jagger/Richards
Originally titled and recorded as "Did Everyone Pay Their Dues?", containing the same music but very different lyrics, "Street Fighting Man" is known as one of Jagger and Richards' most politically inclined works to date.
Jagger allegedly wrote it about Tariq Ali after he attended a 1968 anti-war rally at London's US embassy, during which mounted police attempted to control a crowd of 25,000.
He also found inspiration in the rising violence among student rioters on Paris' Left Bank, the precursor to a period of civil unrest in May 1968.
On the writing, Jagger said in a 1995 interview in Rolling Stone, Yeah, it was a direct inspiration, because by contrast,
London was very quiet...It was a very strange time in France. But not only in France but also in America,
because of the Vietnam War and these endless disruptions ... I
thought it was a very good thing at the time. There was all this violence going
on. 
Watts said in 2003,
"Street Fighting Man" was recorded on Keith's
cassette with a 1930s toy drum kit called a London Jazz Kit Set, which I bought
in an antiques shop, and which I've still got at home. It came in a little
suitcase, and there were wire brackets you put the drums in; they were like
small tambourines with no jangles... The snare drum was fantastic because it
had a really thin skin with a snare right underneath, but only two strands of
gut... Keith loved playing with the early cassette machines because they would
overload, and when they overload they sounded fantastic, although you weren't
meant to do that. We usually played in one of the bedrooms on tour. Keith would
be sitting on a cushion playing a guitar and the tiny kit was a way of getting
close to him. The drums were really loud compared to the acoustic guitar and
the pitch of them would go right through the sound. You'd always have a great
backbeat.
On the recording process itself, Richards remembered,
The basic track of that was done on a mono cassette with
very distorted overrecording, on a Phillips with no limiters. Brian is playing
sitar, it twangs away. He's holding notes that wouldn't come through if you had
a board, you wouldn't be able to fit it in. But on a cassette if you just move
the people, it does. Cut in the studio and then put on a tape. Started putting
percussion and bass on it. That
was really an electronic track, up in the realms.
Street Fighting Man, è uscita nel 1968 e quest'anno compie 50 anni
giovedì 25 gennaio 2018
SYNSPECIES
SYNSPECIES by Elías Merino and Tadej Droljc from synspecies on Vimeo.
SYNSPECIES is a new audiovisual project by Elías Merino and Tadej Droljc. This teaser was made from different excerpts of the full
performance.
Audiovisual performance/installation
Flexible dimensions
[Electroacoustic sound and computer-generated video
2x channel audio
4K video]
SYNSPECIES is an audiovisual project created by Elías Merino
and Tadej Droljc. It's inspired by virtual ecologies - unstable morphological
spaces that emerge from an interaction of co-existing unrelated non-human
entities with the void.
SYNSPECIES are multi-scaled audiovisual objects that are
cross pollinating, mutating, adopting and fighting for their space and
existence. They co-create a world of unreal physicality that is constantly
kneaded by violent forces. Their existence appears to us as fractured narratives
in the perceptual phenomena that resemble a chain of synchronised chaos.
The project feed on tangles made by computer-based code and
analogue signals. They originate from Stockholm’s EMS Buchla and Serge modular
systems, algorithmic sound and 3D geometry synthesis. The vivid abstract
architectures of SYNSPECIES fluctuate in an ambiguous pulsating time
hybridising and shaping new spaces confined in a perpetual disintegration
process
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