Sunday, December 13, 2009


Tangerine Dream is a German electronic music group founded in 1967 by Edgar Froese. The band has undergone many personnel changes over the years, with Froese being the only continuous member. Drummer and composer Klaus Schulze was briefly a member of an early lineup, but the most stable version of the group, during their influential mid-1970s period, was as a keyboard trio with Froese, Christopher Franke, and Peter Baumann. Early in the 1980s, Johannes Schmoelling replaced Baumann, and this lineup, too, was stable and extremely productive.

Tangerine Dream's early "Pink Years" albums had a pivotal role in the development of Krautrock. Their "Virgin Years" and later albums became a defining influence in the genre known as New Age music, although the band themselves disliked the term.

Although the group has released numerous studio and live recordings, a substantial number of their fans were introduced to Tangerine Dream by their film soundtracks, which total over sixty and includes Sorcerer, Thief, The Keep, Risky Business, Firestarter, Legend, Near Dark, and Miracle Mile.

Tangerine Dream - History

Edgar Froese arrived in West Berlin in the mid-1960s to study art. He worked as a sculptor and studied under Salvador Dalí, among others. His first band, the R&B-styled The Ones, was gradually dismantled after releasing only one single, and Froese turned to experimentation, playing minor gigs with a variety of musicians. Most of these gigs were in the famous Zodiac nightclub, although Froese's band was also invited to play for his former teacher Dalí. Music was mixed with literature, painting, early forms of multimedia, and more. Only the most outlandish ideas attracted any attention, and Froese summed up this attitude with the phrase: "In the absurd often lies what is artistically possible." As members of the group came and went, the direction of the music continued to be inspired by the Surrealists, and the group came to be called Tangerine Dream, a Surrealistic pun derived from German, where "tree" is "baum" and "dream" is "traum."

Froese was fascinated by technology and skilled in using it to create music. He built instruments and, wherever he went, collected sounds with tape recorders for use in constructing musical works later. His early work with tape loops and other repeating sounds was the obvious precursor to the emerging technology of the sequencer, which Froese quickly adopted.

Most notable of Froese's collaborations was his partnership with Christopher Franke. Franke joined Tanderine Dream in 1970 from the group Agitation Free to replace Klaus Schulze as the drummer, and eventually he became Tangerine Dream's sequencer guru and was responsible for the pulsing rhythmic synthesizer lines that came to define the band's music. Franke left Tangerine Dream due to creative differences with Froese nearly two decades later in 1987; many fans consider this to be the de facto breakup of the band.

Other long-term members of the group included Peter Baumann (1972-1977), who later went on to found the Private Music label, to which the band was signed from 1988 to 1991; Johannes Schmoelling (1980-1985); Paul Haslinger (1986-1990); and, most recently (1990 onwards), Froese's son Jerome. Many fans of the band consider the addition of Jerome to be an abject disaster, and the band's popularity has declined markedly since.

A number of other musicians were also part of Tangerine Dream for shorter periods of time; these include Michael Hoenig (who toured with the band in Australia but never appeared on a recording), Steve Joliffe (flute and vocals on Cyclone and the following tour), Ralf Wadephul (who is credited for one track on Optical Race and toured with the band in support of this album), and, most recently, saxophonist Linda Spa.

The first Tangerine Dream album, Electronic Meditation, was a tape-collage piece, using the technology of the time rather than the synthesized music they later became famous for, and was a collaboration between Froese, Klaus Schulze, and Conrad Schnitzler. Beginning with their second album, Alpha Centauri, the group tended to be a duo or trio of electronic instruments augmented by Froese's guitar, Franke's drums, and sometimes assorted guest musicians. They were particularly heavy users of the Mellotron during this period. Most albums were purely instrumental—two albums that prominently featured lyrics, Cyclone (1978) and Tyger (1987) (the latter featuring poems by William Blake recited over music) were met with disapproval from the fans. While there have occasionally been a few vocals on the band's other releases, such as the track "Kiew Mission" from 1981's Exit, the group only recently returned to featuring vocals in a (currently unfinished) musical trilogy based on Dante's The Divine Comedy.

Tangerine Dream signed to the fledgling Virgin Records in 1973 and soon afterward released the album Phaedra, an eerie soundscape that unexpectedly reached #14 in the United Kingdom album charts and became one of Virgin's first bona-fide hits. Phaedra was the first commercial album to feature sequencers and came to define much more than just the band's own sound. The creation of the album's title track for was something of a fluke; the band was experimenting in the studio with a recently-acquired VCS 3 synthesizer, and the tape happened to be rolling at the time. They kept the results and later added flute and Mellotron performances. The cantankerous VCS 3, like many other early synthesizers, was so sensitive to changes in temperature that its oscillators would drift badly in tuning as the equipment warmed up, and this drift can easily be heard on the final recording.

In the 1980s, the band were early adopters of the new digital technology which revolutionized the sound of the synthesiser. Their technical competence and extensive experience in their early years with self-made instruments and unusual means of creating sounds meant that they were able to exploit this new technology to make music quite unlike anything heard before. To the modern listener, their albums of that period may not seem so exceptional, but only because the technology they adopted at that time is now used almost universally.

Through the 1970s and 1980s the band played many live concerts, which were often improvised and consequently widely bootlegged, and had numerous tours across the world. They were notorious for playing extremely loudly and for a long time. The band released recordings of a fair number of their concerts, and on many of these you can hear the band working out material which would later form the backbone of their studio recordings (for example, Pergamon, which documents a concert given in East Berlin shortly after Johannes Schmoelling joined the group, contains many themes that would appear later on Tangram).

Tangenine Dream's earliest concerts were visually quite dull by modern standards, with three men sitting motionless for hours alongside massive electronic boxes festooned with patch cords and a few flashing lights. Some concerts were even performed in complete darkness! As time went on and technology advanced, the concerts become much more elaborate, with visual effects, lighting, lasers, pyrotechnics, and projected images. By 1977 their North American tour featured full-scale Laserium effects.

After their 1980 East Berlin gig, when they became the first major Western band to perform in a Communist country, Tangerine Dream became very popular behind the Iron Curtain. They were one of the most popular bands in Poland in the early 1980s and even released a double live album of one of their performances there called Poland. Because of the abstract nature of the music—and, arguably, the lack of lyrics—they did not attract censure from the authorities, unlike many other Western bands.

In the 1980s, Tangerine Dream composed scores for more than twenty films. This had been an interest of Froese's since the late 1960s, when he scored an obscure Polish film. Many of these were composed at least partially of reworked material from the band's studio albums or work that was in progress for upcoming albums; see, for example, the resemblance between the track "Igneous" on their stoundtrack for Thief and the track "Thru Metamorphic Rocks" on their studio release Force Majeure. Their first exposure on television came when a track for the upcoming album Le Parc was used as the theme for the television program Streethawk. Upon departing from the group, Christopher Franke continued the soundtrack work, which Froese had ceased to find interesting, founding the Berlin Symphonic Film Orchestra and going on to compose the score for the television science fiction series Babylon 5 and several other television series and films.

In the past, the group has had recording contracts with Virgin, Jive Electro, Private Music, and Miramar, and many of the minor soundtracks were released on Varese Sarabande, but today, Tangerine Dream's albums are generally not available in normal retail channels but are sold mail-order by the band's own record label, TDI.

Edgar Froese has also released a number of solo recordings which are similar in style to Tangerine Dream's work. Also of possible interest to Tangerine Dream fans are the solo work of Christopher Franke, Johannes Schmoelling, Klaus Schulze, Michael Hoenig, and Paul Haslinger.


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Sunday, November 1, 2009

MOON (2009)

Moon is an auspicious debut from Duncan Jones (née Zowie Bowie), a talented new director who happens to be the son of David Bowie.



Wednesday, October 28, 2009

ΕΛΛΗ ΠΑΠΠΑ (1920 - 27 Οκτωβρίου 2009)

Έφυγε από τη ζωή, σήμερα τα ξημερώματα, η δημοσιογράφος, συγγραφέας και μαχήτρια της Αριστεράς Έλλη Παππά, σε ηλικία 89 ετών.
Η Έλλη Παππά (1920 - 27 Οκτωβρίου 2009), ήταν δημοσιογράφος και συγγραφέας, κόρη του Ευάγγελου Παππά και της Μαριάνθης Παπαδοπούλου. Γεννήθηκε στη Σμύρνη το 1920 (η μικρότερη από πέντε παιδιά: Ηρώ, Δέσποινα, Διδώ, Έλλη και Γιώργος). Αδελφή της ήταν η συγγραφέας Διδώ Σωτηρίου. Μετά τη Μικρασιατική Καταστροφή η οικογένεια εγκαταστάθηκε στον Πειραιά. Φοίτησε αρχικά στη φιλοσοφική και στη νομική σχολή του Πανεπιστημίου Αθηνών, χωρίς όμως να ολοκληρώσει τις σπουδές της, λόγω της Κατοχής, ενώ παράλληλα εργαζόταν ως δημοσιογράφος. Εργάστηκε στην παράνομη έκδοση του Ριζοσπάστη μέχρι το 1949, οπότε άρχισε η συνεργασία της με τον Νίκο Πλουμπίδη και από τον Ιούνιο του 1950 με τον Νίκο Μπελογιάννη που έγινε σύντροφός της. Η Έλλη Παππά και ο Νίκος Μπελογιάννης συνελήφθησαν (Δεκέμβριος 1950) και παρέμειναν σε απομόνωση έως την πρώτη δίκη τους (Νοέμβριος 1951).

Στη φυλακή γεννήθηκε ο γιος τους, Νίκος (Αύγουστος 1951). Ακολούθησε δεύτερη δίκη (Φεβρουάριος 1952). Καταδικάστηκαν σε θάνατο, ο Μπελογιάννης εκτελέστηκε, αλλά η Έλλη όχι, λόγω του βρέφους, και τελικά αποφυλακίστηκε την πρωτοχρονιά του 1964. Εργάστηκε στην ΕΔΑ και από το 1965 ήταν αρθρογράφος και μέλος της συντακτικής επιτροπής της εφημερίδας Δημοκρατική Αλλαγή. Με το πραξικόπημα της 21ης Απριλίου 1967 συνελήφθη και εξορίστηκε στη Γυάρο (αποφυλακίστηκε τον Ιούλιο του 1968, λόγω σοβαρής ασθένειας).
Ως δημοσιογράφος, εργάστηκε στην Εγκυκλοπαίδεια Χάρη Πάτση, στην εφημερίδα Μακεδονία, στο περιοδικό Γυναίκα, στην εφημερίδα Εξπρές και στην εφημερίδα Έθνος. Δραστηριοποιήθηκε στην μεταπολιτευτική ΕΔΑ και στο ΚΚΕ. Λόγω των πολιτικών διώξεων της Έλλης Παππά κατά την περίοδο της Κατοχής και του Εμφυλίου, μεγάλο μέρος του αρχείου της έχει χαθεί. Από την περίοδο της φυλάκισής της σώζεται αλληλογραφία, κείμενα και ενθυμήματα, πολλά από τα οποία φυλάχθηκαν από το γιο της και την αδελφή της Διδώ Σωτηρίου. Σε δεκατρία χρόνια φυλακής, δεν έπαψε να δημιουργεί –κατάλληλα για την εκάστοτε ηλικία του– βιβλία για το παιδί που μεγάλωνε με τη φροντίδα της αδελφής της, Διδώς. Γραμμένα ή διασκευασμένα από την ίδια, ζωγραφισμένα και βιβλιοδετημένα στο χέρι με λεπτομέρεια, τα βιβλία που φιλοτέχνησε για το γιο της η Έλλη Παππά αποτελούν ακραία μορφή αντίστασης στη βαρβαρότητα της φυλάκισης για πολιτικούς λόγους. Το 2002, η Έλλη Παππά εμπιστεύθηκε στο Ελληνικό Λογοτεχνικό και Ιστορικό Αρχείο το σύνολο του αρχείου της, που, ταξινομημένο πλέον, προστίθεται στις διαθέσιμες πηγές της μεταπολεμικής ιστορίας.Πραγματοποίησε μελέτες για την αρχαία ελληνική φιλοσοφία, όπως «Ο Πλάτωνας στην εποχή μας» και η «Σπουδή στο θέμα της Ελευθερίας - Η έννοια της ελευθερίας στον προσωκρατικό υλισμό», και μελέτες για τον μαρξισμό και τον λενινισμό, όπως ο «Μύθος και ιδεολογία στη ρωσική επανάσταση -οδοιπορικό από το ρωσικό αγροτικό λαϊκισμό στο λαϊκισμό του Στάλιν» και «Ο Λένιν χωρίς λογοκρισία και εκτός μαυσωλείου».

Τα τελευταία πολιτικά βιβλία της, τα οποία κυκλοφόρησαν το 2006, είναι τα «Αποχαιρετισμός στον αιώνα μου» (εκδόσεις Κέδρος) και «Μακιαβέλι ή Μαρξ» (εκδόσεις Αγρα). Το αρχείο της Έλλης Παππά φυλάσσεται στο Ελληνικό Λογοτεχνικό και Ιστορικό Αρχείο (Ε.Λ.Ι.Α).
ΣΧΕΤΙΚΟ ΥΛΙΚΟ Νίκος Μπελογιάννης. Ο άνθρωπος με το γαρύφαλλο, σκίτσο Pablo Picasso

The Man With The Carnation(1980) "Ο ΑΝΘΡΩΠΟΣ ΜΕ ΤΟ ΓΑΡΥΦΑΛΛΟ"(MOVIE)

…Οι ατέλειωτοι μήνες στα μπουντρούμια-πηγάδια της Ασφάλειας -το δικό μου κατασκότεινο, του Νίκου με φώς νύχτα-μέρα- με την απίθανη αλληλογραφία μας και τον κώδικα του βήχα, οι δύο δίκες στα στρατοδικεία όπου δίναμε μαζί τις μάχες μας, είναι πια ένα “ευτυχισμένο” παρελθόν. Εδώ, στη φυλακή της Καλλιθέας, στα μπουντρούμια της απομόνωσης, έχουμε μόνο τις θανατικές καταδίκες μας, αλλά και τις καθημερινές στιγμές στο προαύλιο, όταν μπορούμε να μιλήσουμε. Ο Νίκος είναι στενοχωρημένος με τη “χλιαρότητα” με την οποία αντιμετωπίζουν τη δική μας θέση οι βουλευτές της ΕΔΑ: “Θα ήμουν εγώ βουλευτής και θα είχα ανθρώπους μας στη δική μας θέση και θα καθόμουν έτσι; Μωρέ θα κατέβαινα με τηλεβόα στη Σταδίου!”, μου είπε κάποια στιγμή.

Οι αιτήσεις χάριτος απορρίφθηκαν, τα μέτρα στην απομόνωση έγιναν πιο σκληρά, όλα έδειχναν πως ήμασταν κοντά στο τέρμα, όταν ήρθε ο αρχιφύλακας, μας έβγαλε τον Νίκο κι εμένα στο διάδρομο και μας έδειξε μια εφημερίδα. “Σωθήκατε!”, μας είπε χαρούμενος, και μας έδωσε την εφημερίδα που κρατούσε. Ήταν η εφημερίδα με το γράμμα του Πλουμπίδη, ύστατη προσπάθεια να σωθεί ο Νίκος. Το άλλο πρωί ήρθε και πάλι ο αρχιφύλακας με μια εφημερίδα, μας έβγαλε στο διάδρομο και: “δεν καταλαβαίνω, κάτι συμβαίνει εδώ, το Κόμμα σας λέει πως το γράμμα του Πλουμπίδη είναι πλαστό!…”. Διαβάσαμε την ανακοίνωση, κοίταξα το Νίκο, με κοίταξε, “τί είναι αυτό;”, του λέω. Δίστασε λίγο, κι ύστερα: “Έ, δεν καταλαβαίνεις, αν είναι κάποιος να πάει, ας είμαι εγώ. Ας μην είμαστε κι οι δυο”. Ήξερα πως κάτι έκρυβε αυτή η αινιγματική εξήγηση. Την αποκρυπτογράφησα όταν ήρθε η ώρα της. Εκείνη τη στιγμή, διαβάζοντας την “καταγγελία”, το μόνο που ακούσαμε, πολύ πριν ακουστεί το απόσπασμα, ήταν το “πυρ!”…

Λίγες μέρες νωρίτερα, σε ένα γράμμα του από εκείνα που ανταλλάσσαμε και στην Καλλιθέα συμπληρώνοντας όσα δεν είχαμε προλάβει να πούμε στις σύντομες συναντήσεις μας τα μεσημέρια στο προαύλιο, μου έγραφε: “…μα φαίνεται πως το βιβλίο θα κλείσει πριν φτάσουμε στο τέλος. Και ποτέ άλλοτε όσο τώρα δεν ήθελα να ζήσεις τουλάχιστον εσύ. Να ζήσεις για τον Βίκτωρα. Να ζήσεις και για την εκδίκηση. Αυτό θα είναι αύριο η μεγαλύτερη προσφορά στη μνήμη μου”.

Αυτά ήταν τα τελευταία του λόγια και την ώρα του οριστικού χωρισμού: “Όχι, πρέπει να ζήσεις. Για το παιδί. Για την εκδίκηση”. Έζησα -όπως το ήθελε. Για την εκδίκηση -έκανα ό,τι μπορούσα. Με το λόγο και την πένα. Όπως εκείνος το εννοούσε.

*της Έλλης Παππά, “Ο Σύντροφος που περιμέναμε”

Tuesday, October 6, 2009

Mercedes Soza

Haydée Mercedes Sosa, known as La Negra, (July 9, 1935 – October 4, 2009) was anArgentine singer who was and remains immensely popular throughout Latin America and internationally. With her roots in Argentine folk music, Sosa became one of the preeminent exponents of nueva canción. She gave voice to songs written by both Brazilians and Cubans. She was best known as the "voice of the voiceless ones". Sosa performed in venues such as the Lincoln Center in New York City, the Théâtre Mogador in Paris and the Sistine Chapel in Vatican City, as well as sell-out shows in New York's Carnegie Hall and the Roman Coliseum during her final decade of life. Her career spanned four decades and she has been the recipient of several Grammy awards and nominations, including three nominations which will be decided posthumously. She served as an ambassador for UNICEF.

The driving force behind the nueva canción movement, singer Mercedes Sosa was born and raised in Tucumán, Argentina, beginning her performing career at age 15 after taking top honors in a radio station amateur competition. A rich, expressive vocalist and a gifted interpreter, Sosa was dubbed "the voice of the silent majority" for her choice of overtly political material, and alongside artists including Violetta Parra and Atahualpa Yupanqui she spearheaded the rise of the so-called "nueva canción" movement, which heralded the emergence of protest music across Argentina and Chile during the 1960s. The movement was crippled in 1973 by the CIA-sponsored coup which ousted democratically-elected Chilean President Salvador Allende; with her repertoire of songs championing human rights and democracy, Sosa was viewed as a serious threat by the military regime which assumed power, and in 1975 she was arrested during a live performance which also resulted in the incarceration of many audience members. Death threats forced her to leave Argentina in 1979, and she remained in exile for three years, finally returning with a triumphant comeback performance in February 1982. Sosa recorded prolifically in the years to follow. In fall 2000, Sosa won a Grammy for Best Folk Album for Misa Criolla at the first annual Latin Grammy Awards. Jason Ankeny, All Music Guide


Monday, October 5, 2009

Greek Legislative Elections 2009 (the results)


The following table shows the tallies with all the votes counted.

Summary of the 4 October 2009 Greek Parliament election results
Parties Leaders Votes % +/– Seats +/–

Panhellenic Socialist Movement George Papandreou 3,011,521 43.92 +5.82 160 +58

New Democracy Kostas Karamanlis 2,295,318 33.48 −8.38 91 −61

Communist Party Aleka Papariga 517,062 7.54 −0.61 21 −1

Popular Orthodox Rally Georgios Karatzaferis 386,063 5.63 +1.83 15 +5

Coalition of the Radical Left Alexis Tsipras 315,501 4.60 −0.44 13 −1

Ecologist Greens Six-member committee 173,388 2.53 +1.48 0

Democratic Revival Stelios Papathemelis 30,837 0.45 −0.35 0

Anticapitalist Left Cooperation for the Overthrow D. Desillas, et al. 24,733 0.36 +0.04 0

Greek Ecologists Dimosthenis Vergis 20,019 0.29 +0.27 0

Popular Union-Chrysi Avyi Nikolaos Michaloliakos 19,636 0.29 0

Union of Centrists Vassilis Leventis 18,278 0.27 −0.02 0

Koinonia Emmanouil Voloudakis 10,681 0.16 0

Communist Party (Marxist-Leninist) Gr. Konstantopoulos, et al. 10,213 0.15 −0.10 0

Democrats M. Meletopoulos 7,611 0.11 0

Marxist-Leninist Communist Party Antonis Papadopoulos, et al. 5,504 0.08 −0.03 0

Workers Revolutionary Party Sabetai Matsas 4,536 0.07 0

Organization for the Reconstruction of the Communist Party of Greece Ilias Zafiropoulos, et al. 1,651 0.02 −0.01 0

I Give Away Land, I Give Away Debts - Panagrarian Labour Movement of Greece M. Tzalazidis 1,376 0.02 0

Smoking Groups for Art and Artistic Creation Nikos Louvros 1,355 0.02 0

Light – Truth – Justice Konstantinos Melissourgos 867 0.01 ±0 0

Independents 277 0.00 ±0 0

Regional Urban Development Nikolaos Kolitis 8 0.00 0

Friends of Man K. Stamoulis 8 0.00 0

Old Republic A. Daskalopoulos 3 0.00 0
Valid votes 6,855,530 97.36
Invalid votes 143,586 2.04
Blank votes 42,454 0.60
Totals 7,041,570 100.00 300
Electorate and turnout 9,929,440 70.92
Source: Ministry of the Interior, Public Administration, and Decentralization, with 20,911 (99.88%) of 20,937 total precincts reporting as of Oct. 5, 5:37 PM,_2009

Wednesday, September 2, 2009

4′33″ (JOHN CAGE)

4′33″ (pronounced Four minutes, thirty-three seconds or, as the composer himself referred to it, Four, thirty-three is a three-movement composition by American avant-garde composer John Cage (1912–1992). It was composed in 1952 for any instrument (or combination of instruments), and the score instructs the performer not to play the instrument during the entire duration of the piece throughout the three movements (the first being thirty seconds, the second being two minutes and twenty-three seconds, and the third being one minute and forty seconds). Although commonly perceived as "four minutes thirty-three seconds of silence", the piece actually consists of the sounds of the environment that the listeners hear while it is performed. Over the years, 4′33″ became Cage's most famous and most controversial composition. Conceived around 1947–1948, while the composer was working on Sonatas and Interludes, 4′33″ became for Cage the epitome of his idea that any sounds constitute, or may constitute, music. It was also a reflection of the influence of Zen Buddhism, which Cage studied since the late forties. In a 1982 interview, and on numerous other occasions, Cage stated that 4′33″ was, in his opinion, his most important work.

Versions of the score

Several versions of the score exist: The original Woodstock manuscript (August 1952): conventional notation, dedicated to David Tudor. This manuscript is currently lost. Tudor's attempt at re-creating the original score is reproduced in Fetterman 1996, 74.The Kremen manuscript (1953): graphic, space-time notation, dedicated to Irwin Kremen. The movements of the piece are rendered as space between long vertical lines; a tempo indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds. Edition Peters No. 6777a.The so-called First Tacet Edition: a typewritten score, lists the three movements using Roman numbers, with the word "TACET" underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by (any) instrumentalist or combination of instrumentalists and last any length of time." Edition Peters No. 6777 (out of print).The so-called Second Tacet Edition: same as the First, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript. Edition Peters No. 6777 (i.e. it carries the same catalogue number as the first Tacet Edition) Additionally, a facsimile, reduced in size, of the Kremen manuscript, appeared in July 1967 in Source. There is some discrepancy between the lengths of individual movements specified in different versions of the score. The Woodstock printed program specifies the lengths 30″, 2′23″ and 1′40″, as does the Kremen manuscript, and presumably the original manuscript had the same indications. However, in the First Tacet Edition Cage writes that at the premiere the timings were 33″, 2′40″ and 1′20″. In the Second Tacet Edition he adds that after the premier a copy has been made for Irwin Kremen, in which the timelengths of the movements were 30″, 2′23″ and 1′40″. The causes of this discrepancy is not currently understood, the original manuscript being still lost.

*Blixa Bargeld, Einstürzende Neubauten, got inspired by John Cage 4'33'' and wrote 'Silence is sexy'

4′33″ No. 2

In 1962, Cage wrote 0'00", which is also referred to as 4'33" No. 2. The directions originally consisted of one sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence.

The second performance added four new qualifications to the directions: "the performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition.


In late 1989, three years before his death, Cage revisited the idea of 4′33″ one last time. He composed One3, the full title of which is One3 = 4′33″ (0′00″) +G clef . As in all number pieces, "One" refers to the number of performers required. The score instructs the performer to build a sound system in the concert hall, so that the "the whole hall is on the edge of feedback, without actually feeding back." The content of the piece is the electronically amplified sound of the hall and the audience.

Tuesday, August 18, 2009

blogDieSi 1 is out for summer

Poros island
photo taken by Harry Leventis
painting by Pamela Jane Rogers
Poros island(Greece)
-Paralion Astros (Greece)

Nafplio The castle of Bourtzi (Greece)
Epidaurus Theatre
-Methana, volcano (Greece)

Ermioni (Greece)

Friday, July 17, 2009

Fela Anikulapo Kuti

Fela Anikulapo Kuti (15 October, 1938 – 2 August, 1997), or simply Fela, was a Nigerian multi-instrumentalist musician and composer, pioneer of afrobeat music, human rights activist, and political maverick. HMV ranked him #46 on a list of the top-100 most influential musicians of the 20th century.

Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria, to a middle-class family. His mother, Funmilayo Ransome-Kuti, the first Nigerian woman to drive a car, was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school principal, was the first president of the Nigerian Union of Teachers. His brothers, Dr. Beko Ransome-Kuti and Olikoye Ransome-Kuti both medical doctors, are well known in Nigeria.

Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there he formed the band Koola Lobitos, playing a style of music that he would later call afrobeat. The style was a fusion of African jazz and funk with West African highlife. In 1961, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. In 1969, Fela took the band to the United States. While there, Fela discovered the Black Power movement through Sandra Smith (now Izsadore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria ’70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the US without work permits. The band then performed a quick recording session in Los Angeles that would later be released as The ’69 Los Angeles Sessions.

The musical style performed by Fela Kuti is called Afrobeat, which is essentially a fusion of jazz, funk, psychedelic rock, and traditional West African chants and rhythms. As Iwedi Ojinmah points out in his Article "Baba is Dead - Long Live Baba," Afrobeat also borrows heavily from the native "tinker pan" African-style percussion that Kuti acquired while studying in Ghana with Hugh Masakela, under the uncanny Hedzoleh Soundz. Afrobeat is also characterized by having vocals, and musical structure, along with jazzy, funky horn sections. The endless groove is also used, in which a base rhythm of drums, shekere, muted guitar, and bass guitar are repeated throughout the song. His band was notable for featuring two baritone saxophones, whereas most groups using this instrument only use one. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip-hop. Some elements often present in Fela's music are the call-and-response within the chorus and figurative but simple lyrics. Fela's songs were almost always over 10 minutes in length, some reaching the 20- or even 30-minute marks, while some unreleased tracks would last up to 45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside of Africa. His songs were mostly sung in Nigerian pidgin, although he also performed a few songs in the Yoruba language. Fela's main instruments were the saxophone and the keyboards, but he also played the trumpet, guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa. Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the Underground Spiritual Game. Fela attempted making a movie but lost all the materials to the fire that was set to his house by the military government in power.

The American Black Power movement influenced Fela's political views. He was also a supporter of Pan-Africanism and socialism, and called for a united, democratic African republic. He was a fierce supporter of human rights, and many of his songs are direct attacks against dictatorships, specifically the militaristic governments of Nigeria in the 1970s and 1980s. He was also a social commentator, and he criticized his fellow Africans (especially the upper class) for betraying traditional African culture. The African culture he believed in also included having many wives (polygyny) and the Kalakuta Republic was formed in part as a polygamist colony. He defended his stance on polygyny with the words "A man goes for many women in the first place. Like in Europe, when a man is married, when the wife is sleeping, he goes out and fucks around. He should bring the women in the house, man, to live with him, and stop running around the streets!" His views towards women are characterised by some as misogynist, with songs like "Mattress" typically cited as evidence In a more complex example, he mocks the aspiration of African women to European standards of ladyhood while extolling the values of the market woman in his song "Lady." It should be noted, though, that Fela was very open when it came to sex, as he portrayed in some of his songs, such as "Open and Close" and "Na Poi."

Bypassing editorial censorship in Nigeria's predominantly state controlled press, Kuti began in the 1970s buying advertising space in daily and weekly newspapers such as The Daily Times and The Punch in order to run outspoken political columns.Published throughout the 1970s and early 1980s under the title Chief Priest Say, these columns were essentially extensions of Kuti's famous Yabi Sessions—consciousness-raising word-sound rituals, with himself as chief priest, conducted at his Lagos nightclub. Organized around a militantly Afrocentric rendering of history and the essence of black beauty, Chief Priest Say focused on the role of cultural hegemony in the continuing subjugation of Africans. Kuti addressed a number of topics, from explosive denunciations of the Nigerian Government's criminal behavior; Islam and Christianity's exploitive nature, and evil multinationals; to deconstructions of Western medicine, Black Muslims, sex, pollution, and poverty. Chief Priest Say was cancelled, first by Daily Times then by Punch, ostensibly due to non-payment, but many commentators have speculated that the paper's respective editors were placed under increasingly violent pressure to stop publication.

Fela and sons' links

Picture gallery of Fela Kuti’s Queens


Sunday, July 12, 2009


On July 3, the Hellenic Telecommunications Organization (OTE) - in alliance with fascistic dregs of the Popular Orthodox Rally (LAOS)
and its months-long Parliamentary questioning regarding the established functioning of both Athens and Patras Indymedia - dispatched an extrajudicial
summons to the National Network for Research and Technology (EDET). In the summons, our ‘national’ telecommunications provider revokes the contract
it has signed with the company in question regarding the administration of fiber optics as concerns the National Technical University of Athens.
As it states: ‘…the subject of the contract under discussion…is OTE’s providing EDET with fiber optic network implementation services,
OTE granting EDET the right of use of the network’s fiber optics for 15 years, also providing maintenance services for the fiber optic network for 15 years,
in accordance with this contract’s specific terms.’ With the rationale that the company is not fulfilling the contract’s agreements with OTE’s German bosses
, since the network is being used by third parties without ‘research’ or ‘educational’ purposes - as determined by the Government in line with the far-right
– they threaten to take all ‘justified’ legal measures if EDET does not comply with the necessary(?) actions within 5 days.
The attack against Athens and Patras Indymedia cannot be viewed apart from the Establishment’s methodical suppression (following the recent December events)
against the broad opposition Movement that has managed to create fissures in the social fabric and public sphere acting ‘from below’, and that imposes
its presence on the social scene on its own terms. Initially, the police state took to the streets following the Establishment’s ‘advice’ and exhortations
to break up occupied areas. Towards this end, attacks (both legislative and actual) were ordered against the Movement’s working-class sectors.
The cherry on the cake of suppression is the mass pogrom against immigrants that has been underway in the city center since June.
It is not, thus, an isolated attack upon two sites of alternative information. Supreme Court of Appeal Former Chief-prosecutor Sanidas has also assisted
in this in his recent consultative ‘gift’ to his bosses regarding the revocation of privacy for blogs and sites, and the emerging curtailment of
free movement of ideas on the Internet. In hitting Indymedia, the authorities hit an entire network of independent communications and their
concerted effort at alternative information. Alternative information is our only communicative weapon in this combative front, the only channel for
social issues that attempt to define reality using dialectical terms rather than force.
In all societies, people are involved in the production and exchange of information and symbols. From the non-verbal to mediated communications,
people’s sociability is engineered by the production, propagation and administration of information – simply stated, the communications between themselves.
The latter, furthermore, could be considered as both cause and effect of the community and people’s innate tendency to rally around social frameworks.
The continuously increasing need of socialization and communications has given rise to Mass Media’s emergence and development.
It is this that contributed and continues to contribute to the formation of the ‘public sphere’.
The Internet is the most recent means of mass communications. It is the most recent variable in the formation of this public sphere.
In Internet communities, a radical renegotiation of the public sphere is taking place. In ever-greater numbers, people are addressing themselves
to such kinds of communities – and this cannot be viewed apart from contemporary society’s speed of production, which limits the time and space
of social gatherings. Ultimately, communications are internationalized on a wide scale, as both time and space have been negated.
Thus we are led to a cockeyed reformation of the public sphere and to the creation of a place of public dialogue (the Internet) –
where communicative and dialectical ‘gagging’ of socially excluded sections of the international community necessitates the creation
of a new class of technologically privileged administrators of communications. Taking the lead in the Establishment’s effort is their
‘most stable relation’ OTE. This is the same company that was bought out by the German Deutsche Telekom (that last year caused enormous
scandal in Germany over its widespread telephone surveillance and subsequent violation of communications privacy) – and which was mixed up
in the mire of recent scandals and corruption, see Siemens, kick-backs and C41 system ‘supervision’ (not that we expected otherwise from those who
control the country’s telecommunications). Let them close OTE, therefore, and clean the place of their putrid stench – not Indymedia.
The moves to silence Athens and Patras Indymedia do not intimidate us. One way or another, alternatives exist for their continued functioning.
Despite this, we can place it within a wider communications and essential war that the State and political and economic authorities have declared
against society. To the contrary, rather than intimidating us with this recent action, bourgeois democracy and its crutches (business and political)
have demonstrated how very much they fear a Movement that has, for some time, rejected truce in the social-class war.
A multi-formed and broad Movement that – upon terms of equality, anti-hierarchy and collectives - tries to reshape social reality from below,
whose dynamic is not constrained by barricades erected in fiber optics, but will demolish them, – and which will become tangible in the streets and
through everyday direct action. Whatever bourgeois rights you may institute that you may then trample upon, such as the wretched ‘right to information’
at issue, the broad opposition Movement will continue to administer itself and defend itself as it, and it alone, chooses.
Participants in alternative information, in solidarity

Collectives of and

for further information

-στα ελληνικά

Monday, July 6, 2009

The Last Drive

The Last Drive is a Greek garage revival rock group which formed in 1983 and broke up in 1995. In January 2007, the band announced on their website that they got together again for some gigs. They are regarded by many as the most important Greek rock group of the 80's and one of the most important and influential groups of Greek rock history.
In 1986 they released their full-length LP album, called Underworld Shakedown, which caused a sensation both for its content and the quality of production (by the Drive themselves) which was unusually high for the standards of the independent scene of that time. The LP contained covers of garage standards like Misirlou and Night of the phantom, as well as their own material.
Their LP Blood Nirvana, which was released in 1990, marked the change in their sound, a fact that let down some of their hardcore garage fans and ended their cooperation with Music Maniac. At this time they were considered a part of the "explosion" of the hard rock/indie Greek scene that took part during the early 90's. Thus, they started becoming widely popular among rock fans in Greece, and on the same year they were voted "band of the year" by the readers of the leading music magazine, Pop & Rock.
The Last Drive - Blue moon - LIVE @ 14ο Αντιρατσιστικό Φεστιβάλ στο Πάρκο Ειρήνης στο Ρέντη, στις 3 Ιουλίου 2009. --- Blue moon (1986 - Underworld Shakedown LP) Blue moon

The Last Drive - Misirlou - LIVE @ 14ο Αντιρατσιστικό Φεστιβάλ στο Πάρκο Ειρήνης στο Ρέντη, στις 3 Ιουλίου 2009


The Last Drive - Underworld Shakedown(Hitch Hyke 1986)
Password: PVAcblog

The Last Drive - Blood Nirvana(Hitch Hyke 1990)
part 1 part 2
Password: PVAcblog
Heavy Liquid (Happy Crasher Records 2009)

Thursday, June 18, 2009


Cluster is a German experimental musical group who influenced the development of contemporary popular electronic and ambient music. They have recorded albums in a wide variety of styles ranging from experimental music to progressive rock, all of which had an avant-garde edge. Cluster has been active since 1971, releasing a total of 13 albums. Musician, writer and rock historian Julian Cope places three Cluster albums in his Krautrock Top 50 and "The Wire" places Cluster's self-titled debut album in their "One Hundred Records That Set The World On Fire". After a decade long hiatus Cluster reunited in April, 2007. They were selected to perform on June 15, 2007 at the opening of documenta 12, a major exhibition of modern and contemporary art held every five years in Kassel, Germany. In late 2007 Cluster performed at concerts across Europe and will return to the United States for the first time since their 1996 First Encounter tour in 2008.
Cluster and Eno (1977)-

Sunday, May 3, 2009

The Art of Field Recording

Field recording

is the term used for any recording produced outside of a recording studio. Field recordings can be either of two varieties. Field recording of natural sounds, also called Phonography (a term chosen to illustrate its similarities to photography), was originally employed as a documentary adjunct to research work in the field and foley work for film. With the availability of high-quality portable recording equipment, it has subsequently become an evocative art in itself. Both processed and natural phonographic recordings (such as the Environments series) are available. Field recordings can also refer to on-site recordings of musicians, such as those pioneered by John Lomax, Nonesuch Records and Vanguard Records, where the use of a recording studio for these recordings is impractical.


Field recording often involves the capture of ambient noises that are low level and complex, in response the requirement from the field recordist has often pushed the technical limits of recording equipment, that is, demanding low noise and extended frequency response in a portable, battery powered unit. For this reason field recordists have favoured high quality, usually professional, recorders, microphones and microphone pre-amplifiers. The history of the equipment used in this area closely tracks the development of professional portable audio recording technology.

Field recording experienced a rapid increase in popularity during the early 1960s with the introduction of high quality portable recording equipment (such the Uher and Nagra portable reel-to-reel decks). The arrival of the DAT (Digital Audio Tape) in the 1980's introduced a new level of audio recording fidelity with extended frequency response and low self noise. Amongst these technologies, other popular means for field recording have included the analog cassette (CAC), the DCC (Digital Compact Cassette), and the MiniDisc. Today the latest generation of recorders in use are completely digital (hard disk/Flash) based. Techniques have developed to include creative placement of microphones (including contact microphones & hydrophones for example), diffusion of captured sounds and highly individual approaches from recordists.Music

The use of field recordings was in the avant-garde, musique concrete, experimental, and more recently ambient was evident almost from the birth of recording technology. Most note worthy for pioneering the conceptual and theoretical framework with art music that most openly embraced the use of raw sound material and field recordings was Pierre Schaeffer who was developing musique concrete as early as 1940. Field recordings are now common source material for a range of musical results from contemporary musique concrete compositions to film soundtracks, video game soundtracks, and effects.
download an excellent piece of Field Recording Music

examples of french field recordings

Saturday, May 2, 2009

Peter Watkins

Peter Watkins (born 29 October 1935) is an English film and television director. He was born in Norbiton, Surrey, lived in Sweden, Canada and Lithuania for many years, and now lives in France. He is one of the pioneers of docudrama.


La Commune (Paris, 1871) by Peter Watkins torrent
The Paris Commune of 1871 - a brief historical background

The Pressure of Time, the Look at the Camera, and the Boundary in the Films of Peter Watkins
By Chris Fujiwara

The War Game(1965)

Monday, April 6, 2009

Waltz with Bashir (2008)

Sunday, March 22, 2009



Νεολιθικὴ νυχτωδία στὴν Κρονστάνδη

Τραυλίζοντας οἰκουμένη καθὼς
ἡ πραγματικότητα χωλαίνει κι ὅπως
ἀσπροφωλιάζει ἡ λευτεριὰ στὸν ἄστοργο πάγο
περικαλιόμαστε τὴ σώτειρα τήξη.

(Νὰ ἰδοῦμε ἂν ἡ ἄνοιξη θὰ συνδράμει τὰ ὄνειρά μας.)

Ἕνας ναύτης: Τὸ μυαλὸ πῶς μαλακώνει στὰ Οὐράλια;
Ἕνας ἄλλος ναύτης: Τί θέλεις νὰ πεῖς; Δὲν κατάλαβα.

μουχλιάζει τὸ τηλέφωνο, εὐδαιμονία


Νοστάλγησα τὰ ὀρυχτὰ τὴν ἄφωνη
θηλαστική μου ἱερότητα
κι ἀνατρέχω στὸν ὕπνο ποὺ μὲ σῴζει
εἶναι ὁ πρόχειρος θάνατος
ἕνα κλούβιο ρολόι
χωρὶς τὰ πρὶν καὶ χωρὶς τὰ μετὰ
δὲν ᾖρθα δὲ φεύγω θὰ σταματήσω.

- Ἡ ἐξουσία εἶναι τῆς Ἱστορίας ἡ εὐκοιλιότητα.
- Στὸ χωριό μου τὴ λένε γλεντοκώλα.


- Φθέγγομαι τρόμο. Καὶ ἐπιτέλους τί νομίζεις πῶς εἶναι
τὰ ἰδανικά; Εἶναι ὅπως ἀλευρώνουμε τὰ ψάρια πρὶν
ἀπὸ τὸ τηγάνισμα.


Δούλα τοῦ φωτὸς πεταλούδα, φτερὰ καὶ χνούδι
σὲ ἐξωφρένεια!
Ὁ ἔκλυτος Δίας κρατεῖ κεραυνοὺς ἀναφαίρετους
δίχως ἀκόμη πυροδότηση
χορταίνοντας ὅραση βλακείας
καθεζόμενος ὑπεράνω πάσης κοσμολογίας.
Κ᾿ ἡ μούρη τῶν ἀλόγων τοῦ Φαέθοντα ἔναντι τοῦ
κενοῦ με ἄφρη κοσμικῆς ὕλης.
Ἀσθενοφόρο γρήγορα γιὰ τὸν βασιλέα Λήρ!
Εὐωδιάζουμε ἀπὸ τρέλα.
Δὲν πιάνουν τὰ φρένα,
χανόμαστε στὴ διαιρετότητα τοῦ Ζήνωνα.


Ἡ Ἄννα (ποὺ πλησιάζει): Τί νέα ἔχουμε ἂπ τὴν πραγματικότητα;


Νικολάι: Φοβᾶμαι, σύντροφε. Καὶ ἡ ἐπίθεση ἐπίκειται.
Ὁ Λένιν ἔχει ἐμπλακεῖ στὴ μοῖρα.

- Πανάκριβα ραφτικά.


- Οὐτοπία.
- Μὰ ὅμως ἀναιρέσαμε τὸ δάσος.
- Βροχὲς μανάδες ... Ἄραχλε!

Νὰ καὶ ὁ τρισάθλιος ἥλιος. Μιὰ χλεμπόνα
στ᾿ οὐρανοῦ τὸ κατεστημένο.


- Μὲ σφίγγει μία ἀλήθεια, τῆς παραδίνομαι. Μὲ σφίγγει μία
ἄλλη, κι αὐτηνῆς τῆς παραδίνομαι. Διατρέχοντας τοῦ μυαλοῦ
τὴν ὠμότητα. Λέω αἷμα τοῦ ψύλλου κι ἀμέσως
ὀσφραίνομαι ρούμι.

- Παραδέρνεις. Ἀλλὰ ἐμένα τὰ μάτια μου διεκδικοῦσαν ἑνότητα
ὀπτικῆς, ἐκκένωση τραγῳδίας. Οὐδέποτε ὑπέφερα τὶς
ἀντιφάσεις. Ἀμφὶ καὶ ρέπω, ὄχι!

- Χρεμετίζεις φαντασία.

[Τὴν ἡμέρα ἐκείνη γεννήθηκα μόνος μου, δὲν εἶχα βιολογικὸ
προηγούμενο. Σούρθηκα στὴν τρώγλη τῆς ἁπλῆς ἀριθμητικῆς.
Ἐκεῖ διαλάμποντας ἐνωτίστηκα κόκαλα.]

Ὑπερφίαλο φῶς ἰσχνότητα τοῦ ἔρωτα!
Τί νᾶν τὰ λέμε. Αὐτοψυχίατρος εἶναι ὁ ποιητὴς
μὲ καθαρὸ οἰνόπνευμα.
Κυρίως θὰ λεγᾳ θεοσταγὴς καὶ προ-ἰοῦσα σφῆκα.
Θὰ γαλαζώσει πάλι.

- Μὰ εἶναι κι ὁ ἄλλος ἔρωτας, ὁ γενετήσιος.

- Τί νὰ σοῦ κάνει αὐτός. Ἂν θέλεις, βάζει λίγα παγάκια στὴ
μελαγχολία μου.


Εἴθε νὰ μὴν ὑπῆρχα
μαβὴς ὁ χτύπος τῆς καρδιᾶς, ἀλητεία.
Κι ἂν εἶπα τὶς προάλλες τὴ ζωὴ ἀντίρρηση τοῦ σκούληκα
δὲν ἔπαψε νὰ φουγαρίζει μέσα μου χαώδης
ἡ ἀπελπισία.
Θὲς τὸ ζῷο θὲς ὁ ἅγιος τίμημα ἡ ἀπουσία.
Κορφόνυχα μὲς στὴ φωτιὰ σὲ ταραχώδη θράκα
χρονάκια μου καὶ χρόνια
ἔκανα ῾γὼ τὸ μπόι μου βλαστοβολώντας ὕψος
χωρὶς νὰ συμβουλεύομαι
κακοὺς ὀνειροκρῖτες καὶ θολὰ μαντεῖα.
Δὲν ἀναμέτρησα κινδύνους, ἀποτεφρώθηκα.
Πίστεψα στὰ χρυσάνθεμα ὁρκίστηκα στὴ χλόη
κι ὅπως ρεκάζει ἐπιστήθιος ἄνεμος ἀπὸ βροχερὰ
στὰ ἐρυθρὰ χαλάσματα τοῦ ἥλιου ξαναφαίνομαι
κι ἀνιστορῶ τὰ ρόδινα νεφρά μου.


Εἴτε στὸν ὕπνο (πὰξ) εἴτε στὴν ἐγρήγορση (κοὰξ) ὀνομάζομαι
γοργὰ μελλοθάνατος.


Θρομβώδη φυλλώματα, συνεσθίομαι
μαζὶ μὲ τ᾿ ἄνθη
διασχίζω τοὺς γάμους τῶν θάμνων
ἀναφλέγοντας τὸ γραφτό μου σὲ ἄναρθρους
κι ἀποτυχίζω τὴν ἀπόγνωση κατακείμενος


Λέω συχνὰ τὰ νεφρά μου θὰ ὑπερισχύσουν.
Ἐν τούτοις μαθητεύω πιὰ συνέχεια σὲ τρόμο
κάθε βράδυ ξαναστοχάζω πὼς ὄχι
δὲ θὰ ξυπνήσω
κάθε πρωὶ ξεριζώνω φλέγματα ὑποφέροντας
μίαν ἄγρια ναυτία ποὺ δὲν ἐξελίσσεται ὁλότελα
κι ἀνατριχιάζω
κάτι νύχτες μὲ ἐθελούσιο μαῦρο κάτι νύχτες
ἀπὸ τεράστια αἱμοχαρῆ φεγγάρια
γιὰ νὰ διαλευκάνω ἐπιτέλους τὰ ἄσπρα μου
μαλλιὰ ὡς τὴ συντέλεια.
Δὲ θυμᾶμαι θυμάρι ποὺ νὰ μὴν ἀνάδωσε πάντοτε
τὴν εὐωδιά του
μὲ ἥλιους ὀρεινοὺς ἀναφωνήματα στὴ μνημοσύνη.
Δὲν ξέρω τί κάνει τὸ συκῶτι μου δὲν ξέρω
τί κάνει ἡ καρδιά μου
μαστίζομαι ἀπὸ ἔνοχη θέαση κι ἀνωφερῆ
χαράζω σύμφωνα καὶ ἐκφέρω φωνήεντα φρίκης.

- Θρησκευτικὴ ὑπόθεση. Κι ὁ χρόνος τώρα δὲν εἶναι
μαγνητοταινία τῆς αἰωνιότητας. Ἀνακρούεται ἐπιστήμη,
κουκιὰ μετρημένα. Μὰ εἶναι ἀμπόρετο νὰ τσιμπήσει κανεὶς
τὴ θάλασσα.
Ἡ Ἱστορία τελικὰ συναναστρέφεται ἀγάλματα.


- Τί ἐστὶ λάμψη;

- Ποιὸς ἀποφάσισε τὰ πτώματά μας;


- Ξέχειλα τὰ ὁράματά μας. Ἐμπλουτισμένοι ἀθανασία.
- Νυμφίοι τῆς ἐλπίδας ἀρουραῖοι.

[Λάμπουμε ὅλοι στὴν Κρονστάνδη. Στὴν πιὸ περήφανη γεωγραφία]


Σὲ βοερὰ μνημόσυνα βορᾶς κι ἀθῴας βαρβαρότητας
μὲ πετεινῶν ἀθλήματα στοὺς χαμηλόκορμους οὐρανοὺς
ὡσότου πιάσουν ἕνα γῦρο οἱ βροχάδες τὰ πρωτόνερα
ὥσπου νὰ ἀνοίξει τῆς χυνοπωριᾶς τὸ κατουροβάρελο.
Θά ῾τανε πέρσι.
Ρεμβώδη νοήματα, τυραγνία τοῦ βῆχα, σκελετὸς ἀπὸ μέσα .....


[Βραδυάζει στὸ κείμενο.
Ἡ κατακρήμνιση τοῦ ἀπογεύματος: ὡριμότητα.]

- Ἂν ἕλιωνε ὁ πάγος, ἂν τοὺς προλάβαινε ἡ Ἄνοιξη ...

........δὲν ἔχει ὅρια ἡ εὐφράδεια τῆς Σταύρωσης
οὔτε τὸ πορτοκαλὶ ποὺ μὲ τύφλωνε
μὰ ἐγὼ τὴ γλῶσσα τὴν ἀποκλήρωσα
δὲ μαζεύω ψυχοχάρτια χαζεύω τὴν ἀγριότητα
οἱ καιόμενες πορφυρὲς δεκαετίες
ἀπὸ ὑδρόγεια νόηση
καὶ ἀναπηδᾷ στὴ χύτρα τοῦ πεπρωμένου
ὁ χόχλακας.
Φεγγάρι μου βγαλμένο μάτι ρεμβάζω σου
τ᾿ ἀσπράδι.


Ἐγὼ λοιπὸν ἔκπληχτος ἀπὸ χέρι διαστέλλω γαλαξίες
κι ἀνατείνομαι ὄνειρος
ἀποβάλλοντας τὸ πραγματικὸ κι ἀναθυμούμενος μόλις
ἐκείνη τὴν ἀρτηρία τοῦ ἀόρατου
τὴν πλεξούδα τοῦ καπνοῦ σὲ ἀνώδυνο ὕψος .
Ἐδῶ ἐπιμένουμε ὅλοι.

- Ἄννα, τί συμβαίνει;

- Ἄρχισε ἡ ἐπίθεση.

- Ἄννα, ἔχε γειά, θὰ πεθάνουμε.

- Νικολάι, σ᾿ ἀγαποῦσα ὁλόκληρη.

- Μίαν ἄλλη φορά, θὰ ξαναγίνει, Ἄννα


διεδίδοτο δὲ ἐκάστῳ καθότι ἂν τὶς χρείαν εἶχεν -




Two seas pursue me: life and death

two currents which, damn them, are in my heart . . .

I am trying to find in my dog-drunk head/second possessive pronoun/intelligence

– can’t be found. I didn’t petrify anything.Lets play the windslet’s sweetly play the damned.

What a sensuously-seasoned infant the poem and poor

Jesuswearing orange stained underwearis hung up every year in spring.

Our art: the ego’s most horrible disguise.


άλλα ποιήματα του Καρούζου


Βιογραφία,βιβλιογραφία και άλλα



Η ποίησις είναι ανάπτυξι στίλβοντος ποδηλάτου. Μέσα της
όλοι μεγαλώνουμε.
Οι δρόμοι είναι λευκοί. Τ' άνθη μιλούν.
Από τα πέταλά τους αναδύονται συχνά

μικρούτσικες παιδίσκες.

Η εκδρομή αυτή δεν έχει τέλος

-Ο Μέγας Ανατολικός

«Μεταλλωρύχοι, ψυχοαναλυταί και ποιηταί της δράσεως και του λόγου, όσοι δεν περιορίζεσθε εις έστω και ωραία φληναφήματα της παρακμής, της "ντεκαντέντζας", χειρώνακτες και πνευματικοί, εργάται απάντων των εγκάτων, σύντροφοι, συνοδοιπόροι, συνερασταί και αδελφοί εν όπλοις...».

Με τα πύρινα αυτά λόγια ο Ανδρέας Εμπειρίκος διακόπτει, στο πιο κρίσιμο σημείο, την αφήγηση του «Μεγάλου Ανατολικού» ­ τη στιγμή που αυτός αντιμετωπίζει τον Κυκλώνα, τη Μεγάλη Δοκιμασία, την απειλή του ναυαγίου ­ για ν' απευθυνθεί σ' εκείνους ακριβώς, που στο έργο τους αναγνωρίζει τις δυνάμεις αντίστασης και άρνησης της παρούσας παρακμής, αλλά και την ταυτότητα του δικού του έργου.

Η τριπλή αναφορά στους μεταλλωρύχους, τους ψυχαναλυτές, τους ποιητές του λόγου και της δράσης δίνει τις συντεταγμένες και το στίγμα της εμπειρίκειας ποντοπορίας μέσα στον αιώνα που πέρασε, τη γραμμή πλεύσης του προς την επόμενη Χιλιετία. ΠΕΡΙΣΣΟΤΕΡΗ ΑΝΑΛΥΣΗ


Σαράντα χρόνια και σαράντα πέντε μέρες
Πριν ανοιχθούν οι κάμποι και οργωθούν
Πριν αναβρύσουν εκ βαθέων οι σποράδες
Κ' οι κοραλλένιες συμπληγάδες των νησιών
Πριν γίνει μάτι η συσπείρωσις του σκότους
Κι αλλάξουν λέπια τα θαλάσσια ζωντανά
Βγήκες ορθή σχεδόν γυμνή κ' απροκαλύπτως
Εντός αφάνταστης στιγμής που μας γελούσε
Μικρή παιδίσκη καθώς ύδωρ μιας πηγής.


Η πλάστιγξ κλίνει εκεί που προτιμάμε
Κατά την ερμηνεία που της δίνουμε
Κάθε φορά που επιτυγχάνουμε στα ζάρια.

Και ιδού που επιτυγχάνουμε και πάλι
Αφού τα ζάρια πέσαν στην κοιλιά μιας γυναικός
Μιας γυναικός γυμνής και κοιμωμένης
Κατόπιν κολυμβήσεως στην άμμο.

Αυτη η γυναίκα καθώς λεν οι θρύλοι
Είχε το θάρρος να περάσει μοναχή της
Γυμνή με στέαρ των κολυμβητών στο σώμα
Μια θάλασσα πλατιά και φουσκωμένη
Απο τους στεναγμούς του γλυκασμού πολλών αγγέλων.







Κουβέντα μὲ τὸν Γιορντὰν Γιόφκωφ

ἀπὸ τὴ συλλογὴ Τὰ ἐπικαιρικά, δεύτερη ἔκδοση, Ἀθήνα, ἔκδ. Κέδρος, 1976, σσ. 365-368.

Γιορντάν, γνωρίζω αὐτὸ τὸ φαρδὺ οὐρανὸ τῆς πατρίδας σου ποὺ φιλοξενεῖ τὰ δέντρα,
αὐτὸ τὸ εὔφορο χῶμα, τὸ ἀμερόληπτο καὶ ὑπάκουο
ποὺ ἀνθίζει κάτω ἀπ᾿ τὰ ὁμόφωνα χέρια τοῦ λαοῦ σου.

Αὐτὸν τὸν Ἄγνωστο Χωρικό, ἐσὺ μοῦ τὸν σύστησες, Γιορντὰν Γιόφκωφ,
κι ἂς μὴν ἔχει τώρα τὸ μπαλωμένο ἐκεῖνο πουκάμισο
κι ἂς ἄλλαξε τὸ δισταχτικό του χαμόγελο μ᾿ ἕνα ξεκούμπωτο γέλιο,
-τὰ ἴδια μάτια, τὰ ἴδια χέρια, τὸ ἴδιο κομμάτι ψωμὶ στὸ χρῶμα τῆς καλοσύνης,
τὸ ἴδιο κι αὐτὸς θἄφηνε τὸ ψωμί του ἀνέγγιχτο ἂν ἀρρωστοῦσε τὸ ἄλογό του,
ἐκεῖνο τὸ ἄλογο ποὺ μὲς στὰ μάτια του σπιθίζανε δυὸ φοῦχτες δακρυσμένα ἀστέρια.

Γιορντὰν Γιόφκωφ, νἆσαι ἥσυχος - τὸ Ἄσπρο σου Χελιδόνι
ποὺ ἀναζητοῦσε τὸ χλωμὸ κορίτσι σου μὲ τὶς μακριὲς πλεξοῦδες,
τὄδα νὰ κάθεται στὰ τηλεγραφικὰ σύρματα τῆς Σόφιας
ὅταν μετέδιδαν τὶς εἰδήσεις ἀπ᾿ τὸ Πέμπτο Συνέδριο τῆς Εἰρήνης τοῦ Πλόβντιφ-
εἶχε τὸ σχῆμα τοῦ περιστεριοῦ,
τὸ στῆθος του ἦταν λεῖο κι ὀγκωμένο σὰν τὸ μαστὸ μιᾶς νέας μητέρας
ποὺ θηλάζει στὸ φῶς τὸ πρῶτο παιδί της.

Νἆσαι ἥσυχος, Γιόφκωφ, τ᾿ ἄσπρα χελιδόνια σου
περνοῦν κοπαδιαστὰ πάνω ἀπ᾿ τὴ λίμνη Μπαντζάρεβο
περνοῦν πάνω ἀπὸ τοὺς ὑδατοφράχτες τῆς πατρίδας σου
πάνω ἀπ᾿ τοὺς ριζῶνες, τὰ κριθαροχώραφα, τ᾿ ἀμπέλια,
πάνω ἀπ᾿ τὰ χρυσὰ βουνὰ τοῦ λιναριοῦ καὶ τοῦ σταχυοῦ
πάνω ἀπὸ τ᾿ ἀρωματισμένα βουνὰ τῶν καρπῶν,
κάθονται ὁλόλευκα ἀνάμεσα στὰ κόκκινα τοῦβλα τῶν νέων ἐργατικῶν σπιτιῶν.

Κουβεντιάζουν μὲ τοὺς χτίστες γιὰ τὸ νέο τους πλάνο,
κάθονται στοὺς ὤμους τῶν κολχόζνικων, τοὺς συμβουλεύουν,
τοὺς δείχνουν τὰ σημάδια τοῦ καιροῦ στὶς παλάμες τῶν ἄστρων,
κάθονται στὰ κομπάιν δίπλα στοὺς λιοκαμένους θεριστάδες
προσθέτοντας τὴν εὐγένεια τῆς λευκότητάς τους
στοὺς ἀπέραντους ἀριθμοὺς τῆς μαζικῆς παραγωγῆς.

Πὲς στὸν Ἐλίν-Πελὶν πῶς μπορεῖ νὰ ἐπιστρέψει ὁ Ματβέικο ἀπὸ τὸν Ἄλλο Κόσμο
γιατί καὶ δῶ πολλὲς ταβέρνες κλείσανε κι ἀνοίξανε πολλὰ σχολεῖα
γιατί καὶ δῶ τὰ δέντρα ἀνθίζουν πιὸ καλὰ κι ἀπ᾿ τὸν παράδεισο
κι οἱ φορατζῆδες, πές του, λείψανε.
Κι ἡ γριὰ τοῦ Ματβέικο μπορεῖ ν᾿ ἀλλάξει τὸ μαῦρο τσεμπέρι της
μ᾿ ἕνα μαντήλι κλαδωτὸ καὶ νὰ χορέψει σόπτσκο στὴν πλατεῖα τοῦ κολχὸζ
ἢ νὰ μαζέψει φράουλες κι ἀνθισμένα γέλια.

Γιορντὰν Γιόφκωφ, νἆσαι ἥσυχος - τ᾿ ἄσπρα σου χελιδόνια
κάθονται στὴν αὐλὴ τοῦ Μουσείου τῆς Ἐπανάστασης
ἀνεβαίνουν τὶς σκάλες
κάθονται ἀνάμεσα στὰ σοβαρὰ γένια τοῦ Μπλαγκόβιεφ
ὅπως κάθεται ἡ ἐμπιστοσύνη ἀνάμεσα στὶς ἔγνοιες τῶν ἀγωνιστῶν.

Γιορντὰν Γιόφκωφ, ἕνας ἕλληνας ποιητὴς σοῦ φέρνει νέα ἀπ᾿ τὴν πατρίδα σου
Νἆσαι ἥσυχος, σοῦ λέω, τὸ φῶς μεγαλώνει σὲ καλὰ χέρια,
οἱ φράχτες πέσαν ἀπ᾿ τὰ παλιὰ ἀνάκτορα,
τώρα οἱ ἐργάτες καὶ τὰ ζευγαράκια ἀναπαύονται στὸ Βασιλικὸ Κῆπο -
οἱ φράχτες πέσαν, ἀνάμεσα στὰ χωράφια,
τὸ στέρνο τῆς γῆς πλάτυνε ἀπ᾿ τὶς βαθιὲς ἀνάσες τῆς εὐτυχίας -
οἱ φράχτες πέσαν ἀνάμεσα στὶς ψυχές,
ἔτσι νὰ κάνεις νὰ χαμογελάσεις, σοῦ ἀπαντοῦν χίλια χαμόγελα.

Ἂν στήνουν τώρα κάποια φράγματα, αὐτὰ εἶναι κεῖνα
ποὺ βάζουνε τὰ ρωμαλέα μπράτσα τοῦ νεροῦ στὴ δούλεψη τοῦ ἀνθρώπου
ποὺ βάζουνε καὶ τὰ λιανὰ δάχτυλα τῶν ρυακιῶν
νὰ κινοῦν τὰ μοτέρ, νὰ στρίβουν τὸ διακόπτη μέσα στὰ πανεπιστήμια
ν᾿ ἀνάβουν τὸν ἠλεκτρικὸ γλόμπο στὴν κάμαρα τοῦ γέρου ἀγρότη ποὺ μαθαίνει γράμματα
ν᾿ ἀνάβουν τὸ φῶς πάνω ἀπ᾿ τὰ χαρτιά μου
ἀπόψε ποὺ σοῦ κουβεντιάζω, Γιορντὰν Γιόφκωφ.

Μάθε ἀκόμη πὼς τὰ βράδια ἡ σκιὰ εἶναι πιὸ μαλακιὰ στὰ χωράφια
οἱ ἀγελάδες ἔχουν πάντοτε τὰ ἴδια ἀγαθὰ μάτια ποὺ γνώρισες
αὐτὰ τὰ μάτια ποὺ εἶναι σὰ δυὸ μικρὰ ἁλώνια καλοσύνης,
μονάχα ποὺ τὸ καστανό τους χρῶμα γύρισε στὸ χρυσαφί,
γιατί εἶναι τώρα πιὸ πολλὰ καὶ πιὸ χρυσὰ τὰ στάχυα ποὺ ἀντιγράφουνε τὰ μάτια τους.
Καὶ τὸ μουγκάνισμά τους μὲς στὸ φλωροκαπνισμένο δεῖλι δὲν εἶναι πιὰ θλιμμένο.
Σαλεύουν ἀργὰ τὴν οὐρά τους χαϊδεύοντας τὰ γόνατα τῆς γαλήνης.
Σηκώνουν τὸ κεφάλι καὶ κοιτάζουν ἕνα ρόδινο σύννεφο.
Ἴσως νὰ ὀσμίζονται τὴ μυρωδιὰ τοῦ σακακιοῦ σου, Γιόφκωφ.

Εἶδα σειρὲς τὰ κάρα νὰ περνοῦν στὴ δημοσιὰ τοῦ Πλόβντιφ
κατάφορτα σανό, σὰν κινητοὶ ναοὶ τῆς γονιμότητας.
Εἶδα γριὲς κολχόζνικες νὰ πίνουν μπύρα στὰ παλάτια τοῦ Μπόροβετς
μὲ τὸ χαράκι τῆς ὀργῆς σβησμένο ἀνάμεσα στὰ φρύδια τους.
Ἕνα χαμόγελο ἔχει ντύσει τὰ βασανισμένα χρόνια τους
ἔτσι ποὺ ντύνει μὲ λουλούδια ἡ ἄνοιξη τὰ μαῦρα βράχια.

Α, κι ἡ σιωπή, Γιορντάν, ποὺ γνώρισες -ἡ δίβουλη κι ἀπέραντη σιωπή-
τὶς νύχτες ποὺ τ᾿ ἀστέρια μπλέκανε τὰ δάχτυλά τους σὲ μιὰ προσευχὴ ἀνεξήγητη,
δὲν εἶναι πιὰ ἡ σιωπὴ σὰν αἴνιγμα
σὰ βῆμα ποὺ δὲν ξέρει ποὺ πηγαίνει
σὰ φόβος ποὺ παραμονεύει καὶ στὶς τέσσερις γωνιὲς τῆς νύχτας
σὰ μιὰ φωνὴ ἀπὸ ἀλλοῦ ποὺ κρύβεται πίσω ἀπ᾿ τὴ ράχη σου
μὲ μιὰ αἰχμηρὴ ἀστραπὴ σὰ μαχαῖρι στὸ χέρι ἑνὸς ἴσκιου -
τώρα ἡ σιωπὴ εἶναι σὰν τὰ ἥμερα μάτια ἑνὸς ζῴου ποὺ σοῦ δίνει τὸ γάλα του
εἶναι ἡ σιγουριὰ τῆς αὐριανῆς δουλειᾶς
ἡ στρογγυλὴ σιγουριὰ τοῦ ψωμιοῦ καὶ τοῦ γέλιου
ἡ σιγουριὰ τοῦ τραγουδιοῦ καὶ τοῦ βιβλίου.

Γιόφκωφ, ἂν εἶδες κάποια ἀδεξιότητα στὸ νέο γέλιο τῶν ἀνθρώπων
ἂν εἶδες κάποια ἀμηχανία στὸ νέο τραγούδι της
εἶναι ἡ ἀδεξιότητα τῆς χαρᾶς ὅταν φορᾶμε καινούρια ροῦχα
ὅταν φορᾶμε καινούρια παπούτσια μία Κυριακὴ κατάφωτη
- κοντοστεκόμαστε λίγο κάτω ἀπ᾿ τὰ δέντρα
νὰ διορθώνουμε ἕνα λουλούδι σ᾿ ἕνα ποτήρι μὲ νερό.

Γι᾿ αὐτὸ σοῦ λέω νἆσαι ἥσυχος - Γιορντὰν Γιόφκωφ.
Ἄλλο δὲν ἔχω νὰ σοῦ πῶ. Α, ναί. Κι ἕνα ἄσπρο χελιδόνι σου
Μεθαύριο θὰ τὸ μεταφέρω στὴν Ἑλλάδα - ἕνα ἄσπρο φῶς
εἰρηνικὸ χαιρετισμὸ ἀπ᾿ τὰ χέρια τῆς πατρίδας σου,
ἕνα ἄσπρο φῶς ποὺ φέγγει ἕνα τοπίο περιστεριών, τριαντάφυλλων καὶ δυνατῶν χεριῶν.

ΒΑΡΝΑ, 25.1.58







Στὸ περιγιάλι τὸ κρυφὸ
κι ἄσπρο σὰν περιστέρι
διψάσαμε τὸ μεσημέρι
μὰ τὸ νερὸ γλυφό.

Πάνω στὴν ἄμμο τὴν ξανθὴ
γράψαμε τ᾿ ὄνομά της
ὡραῖα ποὺ φύσηξεν ὁ μπάτης
καὶ σβήστηκε ἡ γραφή.

Μὲ τί καρδιά, μὲ τί πνοή,
τί πόθους καὶ τί πάθος
πήραμε τὴ ζωή μας· λάθος!
κι ἀλλάξαμε ζωή.


(μελοποίηση: Μίλτος Πασχαλίδης)

Αὐτὸς ὁ ἄνθρωπος πηγαίνει κλαίγοντας
Κανεὶς δὲν ξέρει νὰ πεῖ γιατί
Κάποτε νομίζουν πὼς εἶναι οἱ χαμένες ἀγάπες
Σὰν κι αὐτὲς ποὺ μᾶς βασανίζουνε τόσο
Στὴν ἀκροθαλασσιὰ τὸ καλοκαίρι μὲ τὰ γραμμόφωνα

Οἱ ἄλλοι ἄνθρωποι φροντίζουν τὶς δουλειές τους
Ἀτέλειωτα χαρτιὰ παιδιὰ ποὺ μεγαλώνουν
Γυναῖκες ποὺ γερνοῦνε δύσκολα
Αὐτὸς ἔχει δυὸ μάτια σὰν παπαροῦνες
Σὰν ἀνοιξιάτικες κομμένες παπαροῦνες
Καὶ δυὸ βρυσοῦλες στὶς κόχες τῶν ματιῶν

Πηγαίνει μέσα στοὺς δρόμους ποτὲ δὲν πλαγιάζει
Δρασκελώντας μικρὰ τετράγωνα στὴ ράχη τῆς γῆς
Μηχανὴ μιᾶς ἀπέραντης ὀδύνης
Ποὺ κατάντησε νὰ μὴν ἔχει σημασία

Ἄλλοι τὸν ἄκουσαν νὰ μιλᾶ μοναχὸ καθὼς περνοῦσε
Γιὰ σπασμένους καθρέφτες πρὶν ἀπὸ χρόνια
Γιὰ σπασμένες μορφὲς μέσα στοὺς καθρέφτες
Ποὺ δὲν μπορεῖ νὰ συναρμολογήσει πιὰ κανεὶς
Ἄλλοι τὸν ἄκουσαν νὰ λέει γιὰ τὸν ὕπνο
Εἰκόνες φρίκης στὸ κατώφλι τοῦ ὕπνου
Τὰ πρόσωπα ἀνυπόφορα ἀπὸ τὴ στοργή

Τὸν συνηθίσαμε εἶναι καλοβαλμένος κι ἥσυχος
Μονάχα ποὺ πηγαίνει κλαίγοντας ὁλοένα
Σὰν τὶς ἰτιὲς στὴν ἀκροποταμιὰ ποὺ βλέπεις ἀπ᾿ τὸ τρένο
Ξυπνώντας ἄσχημα κάποια συννεφιασμένη αὐγὴ

Τὸν συνηθίσαμε δὲν ἀντιπροσωπεύει τίποτα
Σὰν ὅλα τὰ πράγματα ποὺ ἔχετε συνηθίσει
Καὶ σᾶς μιλῶ γι᾿ αὐτὸν γιατί δὲ βρίσκω τίποτα
Ποὺ νὰ μὴν τὸ συνηθίσατε