William s. burroughs - spare ass annie and other tales
Soft Machine took their name from Burroughs’s novel The Soft Machine as did Dead Fingers Talk, and more than one band has riffed off the title Nova Express .
Previously on Dangerous Minds:
Danny Partridge is the Devil: Welcome to the Partridge Family Temple
‘Santa Claus vs. Satan’ with a festive soundtrack of lite-psyche & bubble gum music
‘Maryjane’: Former teen idol stars in goofy anti-marijuana flick
Teen idol Shaun Cassidy goes new wave, covers Bowie and Talking Heads on Todd Rundgren-produced LP
Open Culture editor Dan Colman scours the web for the best educational media. He finds the free courses and audio books you need, the language lessons & movies you want, and plenty of enlightenment in between.
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'Nelson Algren: The End is Nothing, the Road is All', is an in-depth feature length documentary of one of America's greatest and least understood authors, Nelson Algren. This never before ... See full summary »
" Stuart Pearson Wright's work is masterly and contemporary, as well as slightly unnerving and surreal " Sarah Howgate, contemporary curator, National Portrait Gallery, London
Stuart Pearson Wright (b. 1975) is considered the most gifted portraitist of his generation with twenty-seven paintings in the collection of the National Portrait Gallery
But Wright refers to his own paintings as 'pseudo portraits' presenting as they do a subject's 'inner state' rather than just an accurate record of their outward appearance. (ref: Phaidon's 'Painting Today' 2013: Stuart Pearson Wright: pages 37, 180, 437, 420) .
The works in the new exhibition at Riflemaker, all made within a specially constructed 'blue room' within the artist's studio, offer a view of the human experience. Wright's powers of observation as a reluctant portraitist circumnavigate familiar stereotypes and settings to create genuinely moving and perceptive portraits of real individuals.
An heir to the Burroughs adding machine fortune, Burroughs the novelist hated the despots of Squaresville and the whole world where money makes its fist. This is his greatest book and the template for all the ones that followed. With its fractured account of junkies and assorted urban desperadoes, its fang-baring humor and its sudden excursions into sheer hallucination, it instantly made him the depraved scoutmaster for generations of would-be hipsters. He once said, “My purpose in writing has always been to express human potentials and purposes relevant to the Space Age” — by which he meant addiction and willful extremity, both of which of course have turned out to be virtues in the modern market economy. Like Jean Genet, Burroughs trafficks in the utmost degradations, but he doesn’t go to them looking for unsuspected sources of radiance. He likes them for what they are. His conversations in hell with the Marquis de Sade must be very entertaining.
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