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FRANK LLOYD WRIGHT, THE MIKE WALLACE INTERVIEW, 1957

The Mike Wallace Interview
Frank Lloyd Wright
9/1/57 and 9/28/57

This interview was recorded in two parts. Frank Lloyd Wright, one of the greatest architects of the 20th century, talks to Wallace about religion, war, mercy killing, art, critics, his mile-high skyscraper, America’s youth, sex, morality, politics, nature, and death.

“In 1957, when Frank Lloyd Wright was 90 years old and in New York to supervise construction of his final masterpiece, the Guggenheim Museum, Mike Wallace invited him to be a guest on the television show “The Mike Wallace Interview.” Their conversation was so compelling that Wallace invited Wright back for a second appearance.

Rarely has a figure of such historic importance been so admiringly yet revealingly captured. In these two free-wheeling interviews, Wright speaks out about his own work and about architecture in general–topics one might expect him to cover. Then he goes on to express his iconoclastic views on a wide range of social and cultural topics. Guided by Wallace’s questioning, America’s greatest architect emerges as a wise, idealistic, nonconformist, and uniquely self-confident man.”-liner notes, The Mike Wallace Interviews

JOHN BERGER: WAYS OF SEEING – considering the hidden ideologies of art, complete BBC series, episodes 1-4

Episode 1 of 4

 

Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created by writer John Berger and producer Mike Dibb. Berger’s scripts were also adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark’s Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.~1 Continue reading JOHN BERGER: WAYS OF SEEING – considering the hidden ideologies of art, complete BBC series, episodes 1-4

MORTON FELDMAN :: FOR PHILIP GUSTON – S.E.M Ensemble, 2000, 285 minutes

Composer Morton Feldman’s epic, 4.5 hour long piece dedicated to his friend Philip Guston hovers in place, shimmering like a slowly revolving mobile, its langorous harmonies hanging in mid-air as they gradually evaporate. The piece was written in 1984, in memoriam to Philip Guston, who passed away in 1980. Feldman and Philip Guston were best friends until 1970, when the painter’s sudden switch back from abstract expressionism to representational painting appalled the composer so much that the two men remained estranged until Guston’s death 10 years later. For Philip Guston is one of the longest of Feldman’s serenely expansive late scores. Continue reading MORTON FELDMAN :: FOR PHILIP GUSTON – S.E.M Ensemble, 2000, 285 minutes

BUD POWELL: a time-lapse of a life via song performances

 

 

Bud Powell is remembered as the father of modern jazz piano. Breaking away from the popular style of stride piano, Bud innovated new techniques and a new sound which melded with the bebop that Charlie Parker and Dizzy Gillespie had invented; he approached the piano in almost the same way that Charlie Parker did the alto saxophone. Continue reading BUD POWELL: a time-lapse of a life via song performances

ROSCOE HOLCOMB :: I AIN’T GOT NO SUGAR BABY NOW

Roscoe Holcomb, (born as Roscoe Halcomb, September 5, 1912 – died February 1, 1981) was an American singer, banjo player, and guitarist from Daisy, Kentucky. A prominent figure in Appalachian folk music, Holcomb was the inspiration for the term “high, lonesome sound,” coined by folklorist and friend John Cohen. The “high lonesome sound” term is now used to describe bluegrass singing, although Holcomb was not, strictly speaking, a bluegrass performer.

“Bob Dylan stated, “Roscoe Holcomb has a certain untamed sense of control, which makes him one of the best.” Eric Clapton called Holcomb “my favorite [country] musician.” Holcomb’s white-knuckle performances reflect a time before radio told musicians how to play, and these recordings make other music seem watered-down in comparison. His high, tense voice inspired the term “high lonesome sound.” Self-accompanied on banjo, fiddle, guitar, or harmonica, these songs express the hard life he lived and the tradition in which he was raised.” -Smithsonian Folkways, recording notes,http://www.folkways.si.edu/roscoe-holcomb/i-aint-got-no-sugar-baby-now/old-time/music/track/smithsonian

 

Continue reading ROSCOE HOLCOMB :: I AIN’T GOT NO SUGAR BABY NOW