Podcasts about Tender Buttons

In this episode, Abby interviews Lee Ann Brown, poet and founding editrix of Tender Buttons, about running a small press for 36 years, having Bernadette Mayer as a mentor, setting poems to music, and her own poetry book *In the Laurels Caught*. Together, they present Dickinson's poem 1056, "There is a Zone whose even Years."Recitation begins at 48:251056, "There is a Zone whose even Years"Emily DickinsonThere is a Zone whose even Years No Solstice interrupt --Whose Sun constructs perpetual Noon Whose perfect Seasons wait --Whose Summer set in Summer, till The Centuries of JuneAnd Centuries of August cease And Consciousness -- is Noon.

Words and music - Was können Worte ausdrücken, wo Musik still sein muss, was Musik, wo Worte wie Wörter stumm ... Das Komponisten- und Hörspielmacherduo Milliken und Wiesner umkreist hierzu die Poesie der Moderne. Im Zentrum stehen Prosagedichte aus Gertrude Steins Buch "Tender Buttons" von 1914 sowie Lyrik von William Carlos Williams. Sie hinterfragen amüsant wie sprachspielerisch den von Gefühlen geleiteten Blick auf die Alltagsdinge - von der Vase, dem Wohnzimmer bis zur Obstschale. Und die Musik antwortet über eine Palette von Instrumenten und Stilen, die von Leidenschaften erzählt. Mit: Dagmar Manzel (Deutsche Stimme) Julian Day, Brett Dean, Cathy Milliken, Michael Schiefel und Vanessa Tomlinson (Englische Stimmen) Musikaufnahme: Lutz Glandien Wortaufnahme und Final Mix: Jean Szymczak Komposition: Cathy Milliken Musik-Arrangements und Regie: Dietmar Wiesner Produktion: SWR 2022

En el París de principios del siglo XX, Gertrude Stein fue mucho más que una escritora: fue la anfitriona de los artistas y escritores que definieron la vanguardia. Este episodio explora su vida desde sus años en Estados Unidos hasta su llegada a París, donde su apartamento en la rue de Fleurus se convirtió en el centro de la modernidad artística. Stein, conocida por su estilo literario experimental y su relación de casi 40 años con Alice B. Toklas, desafió las convenciones literarias y sociales de su tiempo. Analizamos cómo su obra, desde Tres vidas hasta Tender Buttons, rompió con las estructuras narrativas tradicionales, y cómo su mecenazgo fue clave en el éxito de figuras como Picasso y Hemingway. Una pionera del modernismo literario y del amor entre mujeres, Stein dejó una huella imborrable en la historia cultural del siglo XX. Las musiquitas, aquí: https://open.spotify.com/playlist/4j1Gl0KfgZxNHWmAMFECvf?si=de1ab7f7ee9f4d23

Canadian artist Corri-Lynn Tetz takes us on an intimate journey through the world of figurative painting, sharing how her grandmother's artistry ignited her passion for painting. From studying at Red Deer College, Emily Carr University, and Concordia University, Corri opens up about navigating the challenges of art school as a figurative painter and the tension woven into her work. She reveals how persistence and a commitment to her artistic vision have been essential, even when her chosen path felt like a "dirty secret." Talking on the heels of her first European solo show in London, Tetz's story is one of resilience and unwavering dedication to her craft.In our discussion, we discuss transforming found images into paintings that challenge the male gaze, with Corri sharing her unique perspective on using more explicit images that emphasize humanity instead of objectification. We touch on her experiences at recent exhibitions like "Tender Buttons" in London and discuss the demanding yet exhilarating task of balancing creative pressures during busy periods. Corri-Lynn reflects on her career's winding roads, offering invaluable advice for budding artists on embracing the uncertainty and financial realities of the artistic journey. Stay tuned for insights and inspiration from an artist dedicated to lifelong exploration and innovation. Connect with us:Madison Beale, HostCroocial, ProductionBe a guest on The Artalogue Podcast

Explorez la vie excentrique et l'héritage artistique de Gertrude Stein, de ses salons parisiens aux rencontres avec Picasso, le tout dans l'écrin du film "Minuit à Paris" de Woody Allen. Une plongée dans le monde fascinant de cette figure majeure de l'avant-garde.Gertrude Stein, poétesse, écrivaine, dramaturge, collectionneuse et intellectuelle féministe, a laissé une empreinte indéniable sur le monde de l'art moderne. Une exposition au Luxembourg met en lumière son rôle central et son influence sur les avant-gardes artistiques à partir des années 1940.Explorez également la vie personnelle de Gertrude, son amour avec Alice B. Toklas, et comment elles ont survécu à la Seconde Guerre mondiale en se réfugiant dans des villages pour échapper à la persécution.Références : Minuit à Paris (2011) - Film de Woody Allen.L'Autobiographie d'Alice B. Toklas - Roman de Gertrude Stein.Tender Buttons (1914) - Recueil de poésie de Gertrude Stein.Exposition Gertrude Stein / Picasso - Musée du Luxembourg, Paris. (2023)Bienvenue dans « Purple Theorie », Là où les questions deviennent féministes , le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore. Bienvenue dans « Purple Theorie", le podcast qui explore les questions de féminisme à travers la culture, l'histoire et bien plus encore.Chaque chronique a pour déclencheur, une scène de film de cinéma, qui nous entraine dans les trajectoires féministes, en abordant des questions culturelles, historiques et philosophiques. Écoutez, partagez et laissez-vous emporter par "Purple Theorie" sur Apple Podcast et Spotify & Co. Préparez-vous à vivre des sensations fortes à chaque épisode !Production: Mikrophonie Emission écrite et réalisée par Marie SuchorskiMusique: Royalty-free music by Slip.stream / https://slip.stream Rejoignez-nous pour une exploration passionnante du féminisme….Instagram : www.instagram.com/purpletheorieSite web : www.purpletheorie.com#purpletheorie #podcast #féminisme #feministe #femme #art #cinema #Mikrophonie#GertrudeStein #ArtModerne #Exposition Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Depuis les premiers collages, il n'est plus étonnant de trouver des objets communs en lieu et place de peintures et de sculptures. Il en est de même en littérature, comme on le voit dans Tender Buttons de Gertrude Stein. Cette conférence reviendra sur les représentations du quotidien dans les productions artistiques bien au-delà du simple effet de rupture ou de la manifestation temporaire d'un art qui vouerait un culte au banal par provocation.

The opening portion of the final section, "Rooms," of Gertrude Stein's Tender Buttons performed with original music. I believe she thought of the poems in Tender Buttons as Cubist poems, and this passage seems to me to be a surprisingly sweet Cubist manifesto.

Welcome to *Tape Op's* DISCussion, where we call our friends and music community notables to talk about their favorite records. For this episode we chat with Alaina Moore and Patrick Riley from Tennis about Braodcast's 2005 release Tender Buttons. Enjoy! Sponsered by AKG-JBL https://www.akg.com

Welcome to Tape Op's DISCussion, where we call our friends and music community notables to talk about their favorite records. For this episode we chat with Alaina Moore and Patrick Riley from Tennis about Braodcast's 2005 release "Tender Buttons". Enjoy! Sponsered by AKG-JBL https://www.akg.com

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen To Print Our January interview is with novelist, essayist, podcaster, teacher and short story writer Jessica Andrews.Jessica's debut novel Saltwater was published by Sceptre in 2019 and won the Portico Prize in 2020. Her second novel Milk Teeth was published last year. Jessica is a contributing editor at Elle Magazine and she writes for The Guardian and for BBC Radio 4 . She teaches creative writing at City University London and co-presents the literary podcast Tender Buttons. The interviewer is Pen to Print team member and Write On! Book Challenger, Rebecca Seaton and she was speaking to Jessica alongside Write On! editor Madeleine White Thank you to Jessica Andrews for being our first interview subject of 2023. You can find out more about Jessica and her work by visiting her website at http://www.jessica-andrews.com/ And you can listen to the podcast that Jessica co-hosts, Tender Buttons here https://anchor.fm/tender-buttons Find out more about our interviewer Rebecca Seaton here https://pentoprint.org/writer-of-the-month-rebecca-seaton/ We're always delighted to read your contributions so if you'd like to see your words in Write on! or hear them on this podcast please get in touch. Please submit to:https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio. This edition has been presented by Tiffany Clare and produced by Chris Gregory. Write On! Audio is an Alternative Stories production for Pen To Print.

In this special episode of Tender Buttons — the last of Season 2 — we share a live conversation between Jessica Andrews and Samantha Walton, recorded at the launch of Jessica's new novel Milk Teeth at Storysmith Books in Bristol. Milk Teeth follows the story of a girl grows up in the north-east of England amid scarcity, precarity and a toxic culture of bodily shame, certain that she must make herself ever smaller to be loved. Years later, living in tiny rented rooms and working in noisy bars across London and Paris, she fights to create her own life. She meets someone who cracks her open and offers her a new way to experience the world. But when he invites her to join him in Barcelona, the promise of pleasure and care makes her uneasy. In the shimmering heat of the Mediterranean, she faces the possibility of a different existence, and must choose what to hold on to from her past. How do we learn to take up space? Why might we deny ourselves good things? Milk Teeth is a story of desire and the body, shame and joy. 'Milk Teeth spills over with care, truth and desire. Andrews makes the case for a life lived abundantly and ardently, full of sensation and pleasure, risk and safety' Yara Rodrigues Fowler' References Milk Teeth by Jessica Andrews (Sceptre: 2022) Saltwater by Jessica Andrews (Sceptre 2019) Melissa Febos, Body Work (Manchester University Press: 2022)- and you can listen to our recent episode with Melissa here Samantha Walton Everybody Needs Beauty (Bloomsbury: 2021)- check out our previous episode with Samantha here Helene Cixous, The Laugh of the Medusa Eimear McBride, The Lesser Bohemians (Faber: 2016) Andrea Ashworth, Once in a House on Fire (Picador: 2014) Kim Ji-young, Born 1982 (Scribner: 2020)

Tender Buttons is @akash-bansal; a multidisciplinary writer, filmmaker, DJ and programmer based between Toronto and Montreal. Over the past 8 years they have hosted radio residencies on the Lot Radio, n10as, TRP and CHRY. Since 2016, they have co-hosted Pillow Talk, a quarterly experimental dance music event that seeks to build new artists communities through multi-sensory dance parties. They previously worked for esteemed label Séance Centre and helped book Toronto's favorite listening room– The Little Jerry. Currently they are working on a screenplay about labour and the feeling of being alive. Say hi: akashbansal10@gmail.com ** Live mix aired on n10.as on July 8, 2022

In this episode, we chat to Lola Olufemi about the radical potential of imagination. We speak about the relationship between theory and lived experience and how to deconstruct linear narratives of history and time. We talk about the possibilites language and art can bring to political movements and revolutionary ideas, as well as their limitations. We discuss how to move beyond the trappings of crisis and the importance of re-discovering play, both in writing and in our communities. We explore the role of collaboration within art and the reconfiguration of history as a kind of process which is constantly being re-made, through ancestral connection and the reanimation of archives. References: A FLY Girls' Guide to University by Lola Olufemi, Odelia Younge, Waithera Sebatindira, Suhaiymah Manzoor-Khan Feminism Interrupted by Lola Olufemi Experiments in Imagining Otherwise by Lola Olufemi Poetics of Relation by Edouard Glissant Dialogic Imagination by Mikhail Bakhtin June Jordan bell hooks Olive Morris As a Tender Buttons listener you can get 10% discount on Lola's work at Storysmith Books. Listen to the episode for more details and then head to our page on the Storysmith website: storysmithbooks.com/tenderbuttons

In our first episode of Season Two, we chat to the inimitable Max Porter about pushing the limits of language, the role of art in ritual and collective experience and a search for joy within the mundane. We discuss the relationship between novel and stage, as well as the dichotomies of guilt and shame, care and kindness and humour as a form of resilience in a changing world. We talk about Max's desire to 'capture the pulse of feeling' in his book The Death of Francis Bacon and explore how to reinstate ritual in the ways we relate to landscape and the nonhuman world. We talk about writing as a mode of time travel and mourning as a kind of love. As a Tender Buttons listener you can get 10% discount on Max's work at Storysmith Books. Listen to the episode for more details and then head to our page on the Storysmith website: storysmithbooks.com/tenderbuttons REFERENCES: Time Lived Without its Flow by Denise Riley Grief is the Thing with Feathers by Max Porter Lanny by Max Porter The Death of Francis Bacon by Max Porter

Das Komponistenduo Milliken und Wiesner umkreist Gertrude Steins Gedichtband „Tender Buttons“ über eine Palette von musikalischen Stilen, die nicht zuletzt von Erotik und Leidenschaft erzählen. | Mit: Deutsche Stimme und Gesang: Dagmar Manzel | Englische Stimmen und Gesang: Julian Day, Brett Dean, Cathy Milliken, Michael Schiefel und Vanessa Tomlinson | Komposition: Cathy Milliken | Arrangements und Regie: Dietmar Wiesner | Produktion: SWR 2021 - Ursendung

In this final episode of 2021 and our first season we chat to poet and academic Samantha Walton about democratising nature and landscape writing; green deprivation and the policing of green spaces and the dangers of individualised neoliberal 'nature cures', as discussed in her recent book Everybody Needs Beauty: In Search of the Nature Cure (Bloomsbury: 2021). We speak about the need to carve out space for grief amongst the climate crisis, how to emasculate mountain literature via Nan Shepherd and the space that poetry allows for articulating ambiguity and discomfort, as found in Samantha's hallucinatory poetic sequence Bad Moon (SPAM Press: 2020). As a Tender Buttons listener you can get 10% discount on Samantha's book at Storysmith Books, listen in for more details and then head to our page on the Storysmith website: storysmithbooks.com/tenderbuttons References: Everybody Needs Beauty: In Search of the Nature Cure (Bloomsbury:2021) Bad Moon (SPAM Press: 2020) Self-Heal (Boiler-House Press: 2018) The Living Mountain by Nan Shepherd (Canongate) Samantha is also co-editor of Bristol-based small press SAD Press, whose work you can check out here.

In this episode, we chat to author Jo Hamya about her brilliant novel, Three Rooms. We discuss her subversion of the bildungsroman narrative in order to interrogate the myth of linear progress and what it means to grow up in the wake of Blairism and the 2007-8 financial crash. We speak about the ways in which people might live in proximity to the upper echelons of society and yet never truly enter privileged spaces as a consequence of class, gender, race and politics. Through the lens of Brexit, Trump, Grenfell and the housing crisis, amidst soaring wealth inequality, Jo addresses the myth of meritocracy in contemporary Britain and interrogates the effects of social media upon our psyches. We chat about the notion of patriotism, the commodification of protest, the struggle to take up space in the modern metropolis and what it really means to inhabit a room of one's own in contemporary Britain. References: Three Rooms by Jo Hamya Outline trilogy by Rachel Cusk As a Tender Buttons listener you can get 10% discount on Jo's book at Storysmith Books, listen in for more details and then head to our page on the Storysmith website: storysmithbooks.com/tenderbuttons Our theme music is a sample from Flotation by Ben Vince from his album The Purge.

In this episode, we talk to Bristol City Poet Caleb Parkin about taxonomies, ecophrastic poems and the historical exclusion of LGBTQIA+ people from environmental movements and access to nature. We chat about the way our sense of 'nature' is always mediated through culture and the need for irreverence and irony to offset the self-righteousness that can be associated with climate activism. We discuss how queer perspectives can alter the conversation around climate justice and the need for us to sit with uncertainty and unknowingness. Caleb's dazzling, slippery poetry collection - This Fruiting Body - is out now from Nine Arches Press. As a Tender Buttons listener you can get 10% discount on Caleb's book at Storysmith Books, listen in for more details and then head to our page on the Storysmith website: storysmithbooks.com/tenderbuttons References This Fruiting Body by Caleb Parkin Wasted Rainbow by Caleb Parkin Nicole Seymour Timothy Morton Strangers by Rebecca Tamás Emergent Strategy by adrienne maree brown Hiddenness, Uncertainty, Surprise by Jane Hirshfield Our theme music is a sample from Flotation by Ben Vince from his album The Purge.

In today's episode we chat to the brilliant Nikesh Shukla about his recent fatherhood memoir Brown Baby. We talk about how to navigate racism and sexism while raising children, the ways in which grief distorts time, subverting the traditional memoir form, representation within publishing, the radical history of Bristol, finding joy and hope in a difficult world and how to contribute to political change in our everyday lives. REFERENCES Brown Baby by Nikesh Shukla Run, Riot by Nikesh Shukla Coconut Unlimited by Nikesh Shukla The One Who Wrote Destiny by Nikesh Shukla The Boxer by Nikesh Shukla The Good Immigrant edited by Nikesh Shukla Rife: Twenty-One Stories from Britain's Youth edited by Nikesh Shukla What is Race? Who Are Racists? And Why Does Skin Colour Matter? by Nikesh Shukla and Clare Heuchan Brown Baby Podcast Nikesh's Writing Tips Newsletter The Good Literary Agency As a Tender Buttons listener you can get 10% discount on Nikesh's books at Storysmith Books, listen in for more details and then head to our page on the Storysmith website: storysmithbooks.com/tenderbuttons

In this episode, we chat to novelist, memoirist and academic Jenn Ashworth, about her new novel Ghosted (Sceptre: 2021), a brilliant, unconventional blend of crime fiction and horror to find a form that can hold grief, loss and the myriad of ways in which people can go missing. We speak about the complexity and multi-layered dimensions of working class identities, from work to family to notions of belonging, as well as the challenges of writing trauma in both fiction and non-fiction. As a Tender Buttons listener you can get 10% discount on Jenn's books at Storysmith Books, listen in for more details and then head to our page on the Storysmith website: storysmithbooks.com/tenderbuttons References Ghosted by Jenn Ashworth (Sceptre: 2021) Notes Made While Falling by Jenn Ashworth (Goldsmiths: 2019)

The complete audiobook is available for purchase at Kobo: https://www.kobo.com/au/en/audiobook/tender-buttons-33 Tender Buttons By Gertrude Stein Narrated by Amy Soakes Gertrude Stein's work flourished in a world which was finding bold new ways of expressing itself. Forms like Impressionism, cubism, expressionism and other non-representational styles were developed that provoked and challenged the observer (as well as the established art world). What avant-garde artists did with paint and ink, Gertrude Stein did with words – dispensing with conventions of grammar and clarity, she gave free rein to word play and the musicality of sounds, without regard to their meaning or relationships. For Stein, words were as colours on a palette or as chords in a piece of music. In Tender Buttons, she combines words with a blatant disregard of rule and regulation, indulging in a free-association response to the images in front of her. Written in 1914, Tender Buttons is a prime example of Gertrude's unique vision and her imaginative response to a brave new world of art on the cusp of reinventing itself.

In this episode we chat to writer Kerri ní Dochartaigh about her new book Thin Places (Canongate) and its powerful weaving of memoir, history, Irish folklore, language and nature writing. We discuss her childhood growing up in Derry amidst the Troubles, the necessity of expanding our kinship with the non-human world and the ways in which a new generation of writers of landscape are blazing open the field. You can find Kerri's book at storysmithbooks.com/tenderbuttons. As a Tender Buttons listener you can also get 10% discount, listen in for more details on this... Episode References Manchán Mangan, Thirty-Two Worlds for Field: Lost Words of the Irish Landscape (Gill:2020) The Willowherb Review, edited by Jessica J. Lee (whose most recent book, 'Two Trees Make a Forest' is here) Robin Wall Kimmerer, Braiding Sweetgrass (Penguin, 2020) Kerri's Pocket Guide to Nature Writing with Spread the Word Lauret Savoy, Trace: History, Race and the American Landscape (Catapult: 2015) Nina Mingya Powles, Small Bodies of Water is forthcoming August 2021 (Canongate) Rebecca Tamás, Strangers: Essays on the Human and Non-Human (Makina Books: 2020) BBC documentary ‘Tidal Sense’ with Signe Lidén

004 In the first of our Bristol-based episodes, we speak to graphic novelist, musician, educator and all-round local legend Joff Winterhart about the poetry of the mundane, the hinterlands of suburbs and industrial estates, crises in contemporary masculinity and Joff's use of the graphic form. Joff's graphic novels are Days of the Bagnold Summer (2012) and Driving Short Distances ( 2017). You can find both of Joff's books at storysmithbooks.com/tenderbuttons. As a Tender Buttons listener you can purchase Joff's books with 10% discount, have a listen for more details on this... Joff's band Bucky can be found here: https://buckytheband.bandcamp.com/ Other References: Lynda Barry's comics are One! Hundred! Demons! (2002), What It Is (2008) and Cruddy (1999) (amongst many others)

Gertrude Stein is remembered as a novelist, playwright, poet, and, art collector –– and the hostess of a Paris salon that gathered the cream of interwar modernism, including Picasso, Hemingway, Fitzgerald, and Matisse. A semi-open lesbian, her books include Q.E.D., one of the earliest English-language lesbian novels, and Tender Buttons, a book of poems full of allusion to lesbian sexuality. But in the last years of her life, as a Jew living in Nazi-occupied France, Stein sustained her lifestyle as an art collector and ensured her safety through the protection of powerful Vichy government officials – part of a pattern of involvement in far-right, antisemitic, and fascist politics.  ----more---- SOURCES: Johnston, Georgia. The Formation of 20th-Century Queer Autobiography: Reading Vita Sackville-West, Virginia Woolf, Hilda Doolittle, and Gertrude Stein. Palgrave Macmillan US, 2007. Malcolm, Janet. “Gertrude Stein’s War.” The New Yorker. June 2, 2003. https://www.newyorker.com/magazine/2003/06/02/gertrude-steins-war. Pavloska, Susanna. Modern Primitives: Race and Language in Gertrude Stein, Ernest Hemingway, and Zora Neale Hurston. New York: Routledge, 1999. Stein, Gertrude. Tender Buttons. Reissue edition. Mineola, N.Y: Dover Publications, 1997. ———. The Autobiography of Alice B. Toklas. Reissue edition. New York: Vintage, 1990. Wineapple, Brenda. Sister Brother: Gertrude and Leo Stein. Lincoln: Combined Academic Publishing, 2008.   Our intro music is Arpeggia Colorix by Yann Terrien, downloaded from WFMU's Free Music Archive and distributed under a Creative Commons Attribution-ShareAlike License. Our outro music is by DJ Michaeloswell Graphicsdesigner.

Chronic sleep-deprivation collides with another early midweek recording session and a few rounds of Clickbait Roulette™. Patents were proposed. Goof-abouts were gathered. News headline veils were lifted. Typhoon "Barbie" was on its way as well.General RecommendationsJD's recommendation: The Three-Body Problem by Liu Cixin 刘慈欣 (@liu_cixin)JNM's recommendation: Broadcast (in general) - Tender Buttons (more specifically)Further Reading, Viewing, ListeningReadInformation about the 2019 film VivariumCircuit bending is "the creative, chance-based customization of the circuits within electronic devices such as low-voltage, battery-powered guitar effects, children's toys and digital synthesizers to create new musical or visual instruments and sound generators."Clickbait Roulette™ articles—KFC suspends its famous slogan over COVID-19—Nudes, prudes and swingers. Famed resort adapts to the pandemic era—This is Amsterdam's answer to the problem of 'wild peeing'—Apple apologizes after another app store controversy—Uncovering the eye-opening truth about Andy Warhol's past—Mayor Slaps Back at John Oliver with sewage plant renamingCuckoos are brood parasites ViewTruly Repulsive KFC "Finger Lickin' Good!" Ad From March 2020 (COVID-19 very much existed then, you fuckers.)This terrible and bizarre monetization of trendy "mindfulness" by KFCAndy Warhol - "Kiss" / / "Empire" The Velvet Underground and NicoListenTrueAnon - "The only non-pedophile podcast focused on uncovering the truth of the Epstein conspiracy." Locationless LocationsHeat Death of the Universe - @heatdeathpodJD Newland - @jdnewlandJoshua Nomen-Mutatio - @ImbalancingActPlease send all Letters of Derision, Indifference, Inquiry, Mild Elation, et cetera to:heatdeathoftheuniversepodcast@gmail.comEvery show-related link is corralled and available here.Outro MusicBroadcast"Goodbye Girls"Tender Buttons

More episodes: https://bit.ly/3fsuFSr Shock World Service 093: An Ode To Selling Out (DC FSLMan) 5/4/2020 Dublin, Ireland 1. Selling Out Intro 2. Genesis P-Orridge & Cotton Ferox - Interlude 1: Slipping Away [2004] Technically under the name Thee Majesty along with Cotton Ferox, Interlude is a moody soundtrack with Genesis' creepy vocals throughout. Its from the 2004 album Wordship. 3. The Danse Society - There Is No Shame In Death [1981] Based out of Barnsley in the UK, The Danse Society(later to be known with little or to no success as Johnny In The Clouds) were a post-punk/goth band with synthy undertones. Their first single "There Is No Shame In Death" in particular is an excellent example of the early 80's British post-punk wave! 4. Bourbonese Qualk - Freefall [1983] Experimental & industrial sounds from the Southport, UK group's 1983 album Laughing Afternoon, which got reissued on Mannequin last year. Gives your brain a few minutes to adjust before the next few tracks. 6. Robert Turman - Way Down [1987] After being in NON with noise artist Boyd Rice in the late 1970's. San Diego's Robert Turman went on to make several solo albums dating up to very recently. Way Down is the 2nd of these & is a mixture of a post-punk & distortion loop. 7. To Live & Shave In L.A. - Bad Couple [2019/1992] Released last year on American noise/punk label Hanson, run by Aaron Dilloway. Bad Couple is one of four 1992 recordings by To Live & Shave In L.A. featured on the split with Tom Smith, Spatters Of A Royal Sperm. Think noisy guitar, distorted vocals & tape noises. 8. Black Phlegm - Movement Five [1989] Definitely the first track ever in the history of this mix series to include a power drill. Late 80's experimental noise. Calling it DIY would be an understatement. 9. Selling Out 10. Rexy - (Don't) Turn Me Away [1980] Originally a collaboration by Vic Martin who went on to play keyboard for The Eurythmics & Chris Burne from The Rivvits. Rexy a project named after the talking styled front singer. The band had a couple of singles & 1 album to very little success, but this track over the years has become somewhat of a cult classic having been re-issued a few times over the years. 10. Essendon Airport - B52 [2011/1981] Essendon Airport is an Australian post-punk/experimental band formed in 1978. Their only album Palimpsest came out in 1981. The CD re-release of it in 2011 included an extra CD of what I'm assuming were album off-cuts that includes B52. A loopy post-punk & tapey instrumental with some haunty machine sounds thrown in the background for good measure. 11. The Fall - Who Makes The Nazis? [1985] Originally from Hip Priest And Kamerads in 1985, I have no idea when this recording of this track actually is cause its from that big Peel sessions boxset. The track kinda feels like its just a jam and they are letting Mark E.Smith say whatever alongside some jaunty guitar and drums. 12. Sonic Youth - Créme Brûlèe [1992] I spent more time writing all this than I did recording the mix. Créme Brûlèe is of course the outro track of the now very somewhat famous 1992 Sonic Youth album Dirty. The track features some minimal guitar and distortion with Kim Gordon's intoxicated sounding vocals overlapped beautifully. 13. Broadcast - Tears In The Typing PooL [2005] Such a great album. Tears In The Typing Pool is a strumming guitar to some relaxing synths and beautiful vocals. It features on the band's 2005 album Tender Buttons which came out on Warp Records and has become a cult classic over the years. The band came to an end in 2011 when front singer Trish Keenan passed away. 14. Selling Out Conclusion

Tender Buttons joined the Local Roots team in the JOY 94.9 studios to play four of their tracks live for you. Tender Buttons are a 4-piece alternative dream-pop band from Footscray, Melbourne, bringing together dream-pop, […] http://media.rawvoice.com/joy_localroots/p/joy.org.au/localroots/wp-content/uploads/sites/400/2020/04/TenderButtons.mp3 Podcast: Play in new window | Download (Duration: 46:29 — 63.8MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Jam Session: Tender Buttons appeared first on Local Roots.

In this episode Scarlett and Morgan go over Broadcast's slightly obscure gem of an album "Tender Buttons". giving a track by track run through of the album like we did with Billie Eilish.

After a little break we return with a dip into the multifaceted musings of poet, playwright, novelist, art collector and Modernist salon extraordinaire, Gertrude Stein. Intro and background 00.00 Tender Buttons by Gertrude Stein 21.31 Analysis 29.53 Niall Wanders Off On One....Woooo!!! 52.05

For our 1930s episode, situated as it is between Mrs. Dalloway in the 1920s and Under the Volcano in the 40s, we decided to linger in the shadow of Modernism awhile longer. But rather than read an emblematic novel from the decade, we wanted instead to think about Modernism's impact on poetry. Where did it come from, in what ways did it break with traditional poetic forms, and to what extent can its effects still be felt on poetry today? We were lucky to be joined by the poet and academic Emma Catherine Perry, who previously came on the podcast to discuss Claudia Rankine's Citizen, and who graciously acted as our guide through this dense thicket. Some of the poems that come up in the course of this conversation include: Tender Buttons by Gertrude Stein The Cantos of Ezra Pound The Waste Land by T.S. Eliot The Book of the Dead by Muriel Rukeyser Paterson by William Carlos Williams On Being Numerous by George Poppen It was a fascinating and illuminating experience, and we are immensely grateful to Emma for the opportunity to talk about these poems in depth. Next up: the return in a few weeks of the NBA regular season and Malcolm Lowry's Under the Volcano.

Jordan is joined by Jessicca + Rachel, half of Melbourne based Etherial, Electronic, Indie, Pop group, Tender Buttons to chat about their newest EP, “Of Course We Still Love You”. As well as Love Shack Studios, […] http://media.rawvoice.com/joy_homophonics/p/joy.org.au/homophonics/wp-content/uploads/sites/432/2019/09/Homophonics-16-09-2019.mp3 Podcast: Play in new window | Download (Duration: 54:37 — 50.0MB) Subscribe or Follow Us: Apple Podcasts | Android | Google Podcasts | Spotify | RSS The post Tender Buttons appeared first on Homophonics.

Episode 7 of Northern Static is a discussion and listening session with Toronto-based bassist and composer Rob Clutton. Recorded in October 2017. Links: https://www.robclutton.com https://robclutton.bandcamp.com Musical Examples: Rob Clutton - “Overtaken By The Hounds of Reason”, from Dubious Pleasures (2005) Leo Kottke - “Mr. Fonebone”, from The Essential Leo Kottke Collection, Universal Music Group (1991) Dave Holland Quartet - “Four Winds”, from Conference of the Birds, ECM Records (1973) Rob Clutton Band - “Cranberry Bog”, from Tender Buttons (2000) Oregon - “Poesia”, from Winter Light, Universal Music Group (1974) Rob Clutton - “Formal Garden”, from Dubious Pleasures (2005) The Cluttertones - “Leeways, Pt. 3”, from Leeways (2018) Drumheller - “Porch”, from Wives (2007)

Often when an artist who isn't a conventional DJ curates a mix, the result is a refreshing selection that doesn’t attempt to make the listener move or engage, but simply sit back and listen. Especially so, in the case of Goa-based singer-songwriter Aditi Veena aka Ditty, who exhibits intimacy and ingenuousness as fundamental features in her music. Consequently, her mix for Wild City comes as an invitation to dig into her personal influences and pleasures. The mix kicks off with ‘Picture a Vacuum’, the opening track to Kate Tempest’s Mercury Prize-nominated ‘Let Them Eat Chaos’. The spoken word piece harkens to Ditty’s own album opener ‘Food City’ from her recently released ‘Poetry Ceylon’. Paying little attention to the process of mixing itself, Ditty instead focuses on building a dynamic listening experience through her selections – catching us off-guard as she follows up her 2017 mellow lo-fi work on ‘Maybe’ (ft. Jayant Manchanda aka Deadcat) with the hard rap of Saul William’s ‘Horn Of The Click-Bike’. Further in the mix, Ditty provides a cinematic narrative of emotions with the hopeful melancholia of Sonnymoon’s ‘Just Before Dawn’ preceding the victorious indie electronica of Broadcast’s ‘Tender Buttons’. Just like with mix-opener ‘Picture a Vacuum’, Sun Kil Moon’s ‘I Watched The Film Song Remains The Same’, with its plucked-guitar-backed storytelling, gives an insight into the inspiration behind the creation of ‘Poetry Ceylon’. Ditty concludes her mix by extending courtesy to Dhruv Bhola aka Bowls (who provided the arrangements on her latest album) by featuring his track ‘W.I.G.F.Y’ off his debut EP ‘Shed Winter’. Further information and tracklist: http://www.thewildcity.com/mixes/13445-wild-city-mix-174-ditty

杭州工艺美术博物馆新展「女神的装备」近日开幕。婉莹分别采访了策展人之一许潇笑和两位一同观展的朋友，三人讲诉各有不同。感谢 btr 和米罗帮助完成本期特别片尾曲。 如果您喜欢《博物志》，请考虑成为《博物志》的会员支持我们。 微店：博物志 淘宝店：小黄鱼水产 Youtube 频道：muséelogue Bilibili 频道：博物志 婉莹瞎唱的电报频道 相关链接 杭州工艺美术博物馆微信公众号 本次展览的另一名策展人宋振熙的微博 艺术家童垚 冯琳的《绝望的主妇》 裴丽《艺术家应该漂亮》：削骨、隆鼻、隆胸，手术台上的痛苦转瞬即逝 Janine Antoni, Tender Buttons 程然《幻狸录》 吴俊勇《美杜莎的房间》 btr 的公众号《意思意思》 米罗的网易云音乐主页 Support 博物志

杭州工艺美术博物馆新展「女神的装备」近日开幕。婉莹分别采访了策展人之一许潇笑和两位一同观展的朋友，三人讲诉各有不同。感谢 btr 和米罗帮助完成本期特别片尾曲。 如果您喜欢《博物志》，请考虑成为《博物志》的会员支持我们。 微店：博物志 淘宝店：小黄鱼水产 Youtube 频道：muséelogue Bilibili 频道：博物志 婉莹瞎唱的电报频道 相关链接 杭州工艺美术博物馆微信公众号 本次展览的另一名策展人宋振熙的微博 艺术家童垚 冯琳的《绝望的主妇》 裴丽《艺术家应该漂亮》：削骨、隆鼻、隆胸，手术台上的痛苦转瞬即逝 Janine Antoni, Tender Buttons 程然《幻狸录》 吴俊勇《美杜莎的房间》 btr 的公众号《意思意思》 米罗的网易云音乐主页 Support 博物志

Our opening salvo takes us to Sleepy Hollow NY where Gandalf Murphy and his band of Slambovians hold center court while "Living With God"...from there a visit with a "Good Shepherd" via the Jefferson Airplane airways lands us in Tennessee via Mississippi Fred McDowell and "Kokomo Me, Baby"...remember MFMcDowell does not play no R&R! Finishing off the 1st set of music is Tito & his Tarantulas warning of the hazards of going out late at night "After Dark". Set 2 has a raucous celebration of "Saturday Morning" via Mark Oliver Everett a.k.a. The EELS...but a reminder from Pops Staples has humbled us via "Gotta Serve Somebody". Finishing up a short set with "Struttin' Down Main Street" with a very righteous slide guitar from Ry Cooder and a band he recorded this record with called FUSION... Set 3 has the listeners "Driving The View" from one of the bastard children of the shotgun wedding called Uncle Tupelo....SON VOLT. Sixpence None The Richer "Waiting On The Sun" [I'm a fan.....don't judge me for it...I like catchy pop songs...] Billie Holiday gets remixed and reimagined by Nicodemous & Zeb so she's not "Traveling Alone"...and a reminder from Willie DeVille…"Time Has Come Today" finishes out the 3rd offering from your humble host... 4th and last set of music: The Bob Seger System lets everyone know he's "Ramblin' Gamblin' Man".....from the "polarity correct" version of XTC's SKYLARKING "Earn Enough For Us" gets a spin...apparently Andy Partridge and producer Todd Rundgren clashed frequently whilst recording quite possibly the best work of XTC and when The Wizard A True Star submitted his final mix he had the mixing desk hooked up with a reversed polarity which resulted in a great LP but the rhythm section was nowhere to be found! Well it's been released as a double 45 rpm Polarity Corrected offering and I must say it's spectacular! Oh yeah you heard "Earn Enough For Us". Finishing up is a band from the UK called BROADCAST and "I Found The F" from TENDER BUTTONS..... That's if for this week....I'm feelin' the love so I'll be back next week....have a great day! Mickster

Gertrude Stein förknippas med Paris kulturliv under 1900-talets första hälft. Men det är till hennes säregna poesi och radikala litterära praktik vi ska vända oss för vägledning idag, menar Jesper Olsson. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Klart som gyttja. Så beskrev den amerikanska författaren Gertrude Stein en gång sitt språk. Och utan tvekan hörde Stein till de mest säregna av språkskapare som den litterära modernismen producerade för hundratalet år sedan. Det märkliga är att hennes språk också är glimrande enkelt. Till skillnad från hos en samtida som James Joyce behöver man inte tråla djupen efter innebörder uppsöka ordböcker och encyklopedier på jakt efter arkaismer, latinska citat och tekniska termer. Stein föredrog det vanliga och vardagliga. Saker skulle ske i det öppna, i textens ytskikt. Men där någonstans blir enkelheten också förrädisk. Genom upprepningar, oväntade vägval och utelämnade skiljetecken, förlorar läsaren fotfäste i gyttjan. Det är i syntax och grammatik Stein blir sin egen. Som hon själv konstaterar i diktessän En grammatiker ur How to Write från 1931: Detta är mycket enkel grammatik. Vem för den dit. Detta är inte enkelt för den är inte skolad. / Grammatik. Om vi gråter, gråter han hjälper han inte sig själv som en utan dom. / Grammatik är inte mot segling. Om de inte har bordat en ångare. Det som gör Steins arbeten oavlåtligt fascinerande är just det slags öppenhet som citatet uppvisar vilket delvis hänger ihop med att det inte är en skolad stil eller grammatik. Stein tog sig friheten att bygga om språket från grunden. Inte bara språket, utan skrivandet och läsandet och litteraturen som praktik och händelse. Det var en nödvändig metamorfos som svarade mot en modern erfarenhet. Salongen blev ett ställe där litteratur kunde äga rum vid sidan av den tryckta boken Gertrude Stein föddes 1874, och växte upp i en välbemedlad judisk familj i Kalifornien. Trots att de periodvis vistades i Europa, och trots att hon flyttade till Paris 1903 och blev staden trogen till sin död 1946 var det amerikanska avgörande för hennes livssyn. Det är inte någon tillfällighet att hon inleder sin stora roman The Making of Americans med orden: Det har alltid förefallit mig vara ett sällsynt privilegium, detta att vara amerikan, en verklig amerikan, en vars tradition det tagit knappt 60 år att skapa. Det var denna modernitet som skulle göra det möjligt att på gammal europeisk mark föryngra litteraturen. När Stein var 19 år gammal lämnade hon dock Kalifornien för östkusten, och studier vid Harvarduniversitetet, där hon bland annat utförde experiment kring läsning och minne under filosofen William James översyn. Men trots framgångar och uppmuntran att fortsätta, drog hon vidare till Paris, där brodern Leo befann sig och där de tillsammans skulle bygga upp en imponerande samling av modern konst kring verk av Picasso, Braque, Cezanne och Matisse. Så småningom flyttade Steins blivande livskamrat Alice B Toklas in i syskonens lägenhet på Rue de Fleurus 27 medan Leo lite senare flyttade ut  och modernismens mest ryktbara salong tog form, där inte minst amerikanska författare under decennier skulle avlägga visit och erhålla sin entrébiljett till litteraturens huvudstad. Steins och Toklas salong blev dock inte bara en rastplats för Ezra Pound, Ernest Hemingway och andra, utan etablerade ett slags infrastruktur för litteratur en omständighet som blir tydlig i en fascinerande bok från 2017 med titeln Ett magiskt rum. Salonger i 1920-talets Paris, skriven av Ingrid Svensson. För Stein var detta extra viktigt. Hennes debut Three Lives hade publicerats 1909 och efter vedermödor hade hon 1914 fått diktsamlingen Tender Buttons utgiven. Därefter skulle det dröja innan hon fann nåd hos en förläggare. Egentligen var det först med det publika genombrottet, Alice B Toklas självbiografi (1934), som situationen lättade men än idag saknar man faktiskt en samlad utgåva av hennes verk. Salongen blev ett ställe där litteratur kunde äga rum vid sidan av den tryckta boken här kunde Stein läsa sina verk och få direkt respons. Hon och Toklas startade även det egna förlaget Plain Editions, för att sätta småtryck i cirkulation. Som kritikern och litteraturvetaren Solveig Daugaard framhåller i en ny och skarpsynt studie om mottagandet av Steins verk så utvecklades härmed en medialt komplex miljö för skrivande och läsande, som inte lät sig reduceras till en ståtlig förlagsutgiven bok. Frågan om betydelse är konstant undflyende i Steins texter. De avbildar aldrig rakt av. Innebörd är något som görs och blir till i läsakten inte något som bara finns. Samma komplexitet präglade också Steins texter i sig. Dikterna i Tender Buttons tog intryck av såväl kubismens uppbrutna kompositioner som de collage Picasso och Braque arbetade med. Samlingens mest kända rad lyder följdriktigt: agera som om det inte fanns någon nytta med ett centrum. Fyllda av egensinniga sammansättningar är dikterna ändå rotade i vardagens vanor, vilket rubrikerna på bokens tre delar tydliggör: Föremål, Mat och Rum. Återigen finner vi en kombination av hemvävt och oväntat. Vid sidan av konsten, var filmens bildremsor en viktig impulsgivare, och den kan kopplas till det mest patenterade stildraget hos Stein: upprepningen. Hennes språkliga girlang rose is a rose is a rose is a rose  med rötter hos Shakespeare bland annat är förstås det mest kända exemplet på denna teknik. Samtidigt är raden försåtlig i sin skenbart simpla struktur. Den väcker frågor kring vem och vad, kring saker och namn på saker. Frågan om betydelse är konstant undflyende i Steins texter. De avbildar aldrig rakt av. Innebörd är något som görs och blir till i läsakten inte något som bara finns. Att just rosen-raden framkallade en särskild aura insåg både Stein och Toklas, som bland annat skulle låta brodera den på en duk. Detta tilltag kan betraktas som ännu ett element i den varierade litterära miljö som Daugaard undersöker och som kan bidra till att fördjupa bilden av litteraturen i vår tid i 2000-talets medieekologi; en ekologi där texten bara utgör en aktör vid sidan av uppläsningar, författarintervjuer, sociala medier, blogginlägg, och så vidare. Denna rörelse bort från boken som litteraturens nav är kopplad till Steins speciella sätt att skriva. Upprepningarna och texternas öppenhet skapar en oro kring frågan om mening. Men öppenheten är också inbjudande: den uppmanar till svar och samarbeten. Läsaren blir en medskapare en medskrivare. Kanske är detta nyckeln till att Steins verk från 1950-talet och framåt även om den bredare publiken uteblivit lockat många författare: från John Ashbery till den svenska poeten Ida Börjel och den kanadensiska Nobelpriskandidaten Anne Carson. Under lång tid var Stein kanske främst en fotnot i en litteraturhistoria med manliga protagonister. Hon var konstsamlaren som var kompis med Picasso; som drev salong med Toklas; som bidrog med anekdoter kring det moderna Paris och skänkte sin profil till en postmodern HBTQ-ikonografi. Men idag är situationen annorlunda. Tiden har hunnit i kapp hennes texter. I en period när boken omvandlas, när läsandet och skrivandet flätas samman och blandas framför skärmar och plattor, kan Stein mycket väl vara den poetiskt lustfyllda och kritiska guide genom språk och värld vi behöver. Lika mycket som en Vergilius, Dante eller Joyce. Jesper Olsson, litteraturvetare och kritiker   Litteratur Solveig Daugaard, Im Always Wanting to Collaborate with Someone (Linköping University press 2018, under utgivning). Laura Luise Schultz, Mellem tekst og teater (Köpenhamns Universitet 2009) Gertrude Stein, The Making of Americans (Dalkey Archive Press 1995) En grammatiker, övers. Niclas Nilsson, OEI 14, 2003. "Tender Buttons" (Oxford University Press 2014) "Alice B Toklas Självbiografi", övers Thomas Warburton (Modernista 2017) Ingrid Svensson, Ett magiskt rum. Salonger i 1920-talets Paris (Ellerströms 2017)

"A Substance In A Cushion" by Gertrude Stein read by Geneva Sills. "A Substance In A Cushion" was first published in "Tender Buttons" in 1914 by Claire Marie Editions. A transcript can be found at https://www.poetryfoundation.org/poems/51214/a-substance-in-a-cushion More from Geneva Sills can be found at http://genevasills.net/info/

This week on StoryWeb: E.E. Cummings’s book The Enormous Room. While in graduate school at the University of Wisconsin, I was fortunate enough to take a class on literature of the 1920s. Taught by Professor Walter Rideout, the seminar featured both classics from the decade – such as Ernest Hemingway’s In Our Time and F. Scott Fitzgerald’s The Great Gatsby – as well as lesser-known works such as Gertrude Stein’s Tender Buttons and Elizabeth Madox Roberts’s The Time of Man. I was captivated by the many literary works we studied throughout the course of the semester. One piece that completely captured my attention was E.E. Cummings’s autobiographical 1922 book, The Enormous Room. Before this time, e e cummings (with lower-case letters) had been to me “merely” a poet. As lovely and brilliant as his poetry is, I am a lover of prose, of story. (Why else would there be StoryWeb?!) The Enormous Room fit the bill for me. Whether you classify it as a memoir or as an autobiographical novel, it is beautifully written and magnificently illustrated with Cummings’s pen-and-ink drawings. The book tells of Cummings’s experiences as an American prisoner in a French detention camp during World War I. After having delivered a “daring commencement address on modernist artistic innovations” at Harvard University and having thus declared the trajectory of his creative career, Cummings left for France with his college friend John Dos Passos and enlisted in the Norton-Harjes Ambulance Corps. Though he had been raised in a pacifist family (his father, Edward Cummings, was perhaps the best-known Unitarian minister in Boston), Cummings wanted the excitement of being near the front. But things did not play out exactly as Cummings had planned. Through an administrative mix-up, he was not assigned to an ambulance unit for five weeks. Based in Paris while he awaited his assignment, he fell in love with the city and its women and, from all accounts, whiled away his time quite delightfully. Eventually, he did get attached to an ambulance unit, where he befriended another American, William Slater Brown. Known as B. in The Enormous Room, Brown was a pacifist, and in letters back home, both he and Cummings wrote about their pacifist leanings. Both were arrested by the French military “on suspicion of espionage and undesirable activities.” Cummings and Brown ended up at the Dépôt de Triage in La Ferté-Macé in Orne, Normandy. They were imprisoned with other detainees in a large room – which Cummings dubbed “the enormous room.” In the resulting book, Cummings sketches characters, describes the prison barracks and the prison yard, and ultimately details his spiritual triumph over adversity, using John Bunyan’s The Pilgrim’s Progress as his literary model. He does all this with his trademark quirky use of language, enriched here by his liberal use of French phrases, which he intersperses freely into the text. Woven throughout the text are Cummings’s pen-and-ink sketches of prison life and those other prisoners whose quirks and eccentricities he brings to life in words – and images. Cummings ended up spending just three-and-a-half months at the prison camp, and he went on to become a great poet, painter, essayist, author, and playwright. In addition to his prose books, plays, and essays, he wrote approximately 2,900 poems and created numerous paintings and drawings. The Library of American website has an insightful essay on The Enormous Room. Kelsey Osgood’s article on the creation of Cummings’s signature style in The Enormous Room is also helpful. To learn more about Cummings and the rest of his literary career, visit the Poetry Foundation website. A wide variety of resources related to Cummings and his literary creations can be found at the Modern American Poetry website. An excellent article on Cummings and his rebellious legacy can be found at the alumni magazine for his alma mater, Harvard. His biographer, Susan Cheever, describes Cummings and his literary reputation in “The Prince of Patchin Place,” published in Vanity Fair. Poet Billy Collins contributed an article to Slate titled “Is That a Poem? The Case for E.E. Cummings.” If you’re interested in Cummings’s impressive output as a cubist painter, visit the E.E. Cummings Art Gallery. You can learn more about his work as an artist at ArtFixx. A full roster of Cummings links – from literature to art – is available at the E.E. Cummings Society website. Ready to add some of Cummings’s work to your library? Of course, you’ll want to have a copy of The Enormous Room (and you’ll want to make sure it’s the version Cummings intended, complete with his illustrations). If you want to delve into Cummings’s poetry, look no further than e.e. cummings: complete poems, 1904-1962 or, if you want something a bit more abbreviated, check out 100 Selected Poems. Some have said that The Enormous Room is a sophomoric work, not reflective of the mature Cummings. But for me, The Enormous Room is vastly underrated: it is a sheer pleasure to read that most people miss. Yes, it is grim in places – but in its expression of spiritual joy, joy gained after much suffering, and struggle, it is exquisite. In his expression of boundless joy in the very midst of human suffering, Cummings reminds me of Ludwig van Beethoven and his composing of The Ninth Symphony, especially “Ode to Joy.” (See my post on Immortal Beloved, a biopic on Beethoven, to learn more about the transcendent “Ode to Joy” scene.) It has been more than thirty years since I’ve read The Enormous Room, but I still remember the sorrow and the joy Cummings expressed in its pages. I’m so glad Professor Rideout included The Enormous Room in his course on the 1920s. F. Scott Fitzgerald – another American writer who was enamored of Paris – said, "Of all the work by young men who have sprung up since 1920 one book survives—The Enormous Room by e e cummings.” Unfortunately, the book has not survived in the way Fitzgerald thought that it would, but it’s very much a book worth reading. Cummings emerges as a person of great sensitivity: a poet of spiritual wonder shines through. Visit thestoryweb.com/cummings for links to all these resources and to hear Cummings read his poems at the 92nd Street Y in 1949 and at YMHA Poetry Center in New York in 1959. Listen now as I read an excerpt from Chapter 5, “A Group of Portraits,” from The Enormous Room.   With the reader's permission I beg, at this point of my narrative, to indulge in one or two extrinsic observations. In the preceding pages I have described my Pilgrim's Progress from the Slough of Despond, commonly known as Section Sanitaire Vingt-et-Un (then located at Germaine) through the mysteries of Noyon, Gré and Paris to the Porte de Triage de La Ferté Macé, Orne. With the end of my first day as a certified inhabitant of the latter institution a definite progression is brought to a close. Beginning with my second day at La Ferté a new period opens. This period extends to the moment of my departure and includes the discovery of The Delectable Mountains, two of which---The 'Wanderer, and I shall not say the other---have already been sighted. It is like a vast grey box in which are laid helter-skelter a great many toys, each of which is itself completely significant apart from the always unchanging temporal dimension which merely contains it along with the rest. I make this point clear for the benefit of any of my readers who have not had the distinguished privilege of being in jail. To those who have been in jail my meaning is at once apparent; particularly if they have had the highly enlightening experience of being in jail with a perfectly indefinite sentence. How, in such a case, could events occur and be remembered otherwise than as individualities distinct from Time Itself? Or, since one day and the next are the same to such a prisoner, where does Time come in at all? Obviously, once the prisoner is habituated to his environment, once he accepts the fact that speculation as to when he will regain his liberty cannot possibly shorten the hours of his incarceration and may very well drive him into a state of unhappiness (not to say morbidity), events can no longer succeed each other: whatever happens, while it may happen in connection with some other perfectly distinct happening, does not happen in a scale of temporal priorities---each happening is self-sufficient, irrespective of minutes, months and the other treasures of freedom. It is for this reason that I do not purpose to inflict upon the reader a diary of my alternative aliveness and nonexistence at La Ferté---not because such a diary would unutterably bore him, but because the diary or time method is a technique which cannot possibly do justice to timelessness. I shall (on the contrary) lift from their grey box at random certain (to me) more or less astonishing toys; which may or may not please the reader, but whose colours and shapes and textures are a part of that actual Present---without future and past-whereof they alone are cognizant who, so to speak, have submitted to an amputation of the world. I have already stated that La Ferté was a Porte de Triage ---that is to say, a place where suspects of all varieties were herded by le gouvernement français preparatory to their being judged as to their guilt by a Commission. If the Commission found that they were wicked persons, or dangerous persons, or undesirable persons, or puzzling persons, or persons in some way insusceptible of analysis, they were sent from La Ferté to a 'regular' prison, called Précigné, in the province of Sarthe. About Précigné the most awful rumours were spread. It was whispered that it had a huge moat about it, with an infinity of barbed-wire fences thirty feet high, and lights trained on the walls all night to discourage the escape of prisoners. Once in Précigné you were 'in' for good and all, pour la durée de la guerre, which durée was a subject of occasional and dismal speculation---occasional for reasons (as I have mentioned) of mental health; dismal for unreasons of diet, privation, filth, and other trifles. La Ferté was, then, a stepping-stone either to freedom or to Précigné, the chances in the former case being---no speculation here---something less than the now celebrated formula made famous by the 18th amendment. But the excellent and inimitable and altogether benignant French government was not satisfied with its own generosity in presenting one merely with Précigné---beyond that lurked a cauchemar called by the singularly poetic name, Isle de Groix. A man who went to Isle de Groix was done. As the Surveillant said to us all, leaning out of a littlish window, and to me personally upon occasion 'You are not prisoners. Oh, no. No indeed. I should say not. Prisoners are not treated like this. You are lucky.' I had de la chance all right, but that was something which pauvre M. le Surveillant wot altogether not of. As for my fellow-prisoners, I am sorry to say that he was---it seems to my humble personality---quite wrong. For who was eligible to La Ferté? Anyone whom the police could find in the lovely country of France (a) who was not guilty of treason, (b) who could not prove that he was not guilty of treason. By treason I refer to any little annoying habits of independent thought or action which en temps de guerre are put in a hole and covered over, with the somewhat naïve idea that from their cadavers violets will grow whereof the perfume will delight all good men and true and make such worthy citizens forget their sorrows. Fort Leavenworth, for instance, emanates even now a perfume which is utterly delightful to certain Americans. Just how many La Fertés France boasted (and for all I know may still boast) God Himself knows. At least, in that Republic, amnesty has been proclaimed, or so I hear.---But to return to the Surveillant's remark. J'avais de la chance. Because I am by profession a painter and a writer. 'Whereas my very good friends, all of them deeply suspicious characters, most of them traitors, without exception lucky to have the use of their cervical vertebræ, etc., etc., could (with a few exceptions) write not a word and read not a word; neither could they faire la photographie as Monsieur Auguste chucklingly called it (at which I blushed with pleasure): worst of all, the majority of these dark criminals who bad been caught in nefarious plots against the honour of France were totally unable to speak French. Curious thing. Often I pondered the unutterable and inextinguishable wisdom of the police, who---undeterred by facts which would have deceived less astute intelligences into thinking that these men were either too stupid or too simple to be connoisseurs of the art of betrayal---swooped upon their helpless prey with that indescribable courage which is the prerogative of policemen the world over, and bundled same prey into the La Fertés of that mighty nation upon some, at least, of whose public buildings it seems to me that I remember reading Liberté. Egalité. Fraternité. And I wondered that France should have a use for Monsieur Auguste, who had been arrested (because he was a Russian) when his fellow munition workers made la grève, and whose wife wanted him in Paris because she was hungry and because their child was getting to look queer and white. Monsieur Auguste, that desperate ruffian exactly five feet tall who---when he could not keep from crying (one must think about one's wife or even one's child once or twice, I merely presume, if one loves them) 'et ma femme est très gen-tille, elle est fran-çaise et très belle, très, très belle, vrai-ment elle n'est pas comme moi, ---un pe-tit homme laid, ma femme est grande et belle, elle sait bien lire et écrire, vrai-ment; et notre fils ... vous de-vez voir notre pe-tit fils . . .'----used to, start up and cry out, taking B. by one arm and me by the other: 'Al-lons, mes amis! Chan-tons "Quackquackquack."' Whereupon we would join in the following song, which Monsieur Auguste had taught us with great care, and whose renditions gave him unspeakable delight: 'Un canard, déployant ses ailes ..........................................(Quackquackquack) II disait à sa canarde fidèle ..........................................(Quackquackquack) Il chantait (Quackquackquack) Il faisait (Quackquackquack) ....Quand' (spelling mine) 'finirons nos desseins, ..............................Quack. .....................................Quack. ..........................................Quack. .................................................Qua- .........................................................ck.' I suppose I will always puzzle over the ecstasies of That Wonderful Duck. And how Monsieur Auguste, the merest gnome of a man, would bend backwards in absolute laughter at this song's spirited conclusion upon a note so low as to wither us all.    

Reposting this great chat with Rose Elinor Dougall on the occasion of her long-awaited (at least by us) new music, which you can find on her Facebook page. English singer-songwriter Rose Elinor Dougall joins host Jeremy Dylan to explain her love for “Tender Buttons”, the 2005 album from indie electronica band Broadcast. Rose reveals how she discovered the record while still part of The Pippettes, how the superficial differences and deeper similarities influenced the path she's taken as a solo artist, the distinctive Englishness that ties her together with late Broadcast frontwoman Trish Keenan and the dynamic balance between her more organic solo work and her collaborations with Mark Ronson. Listen in the player above or download the episode by clicking here. Subscribe to the podcast in iTunes here or in other podcasting apps by copying/pasting our RSS feed - http://myfavoritealbum.libsyn.com/rss My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album's influence on their own music. Jeremy Dylan is a filmmaker, journalist and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos. If you've got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.

Buy "Tender Buttons", really anywhere, but here you go: http://www.barnesandnoble.com/p/three-lives-and-tender-buttons-gertrude-stein/1100625525/2673239843267?st=PLA&sid=BNB_DRS_Marketplace+Shopping+Professional_00000000&2sid=Google_&sourceId=PLGoP3586&k_clickid=3x3586

Para responder a esta pergunta recorremos à experiência da Sara Moreira, jornalista e para este efeito, participante activa numa rede de trocas que tem por base a moeda ecosol do Porto. O convite foi lançado durante a edição do Future Places e entendemos por isso que está integrado na nossa participação nesta edição. Neste programa, o Pedro Zina apresentou-nos os Broadcast e algumas malhas do album Tender Buttons. The post #98 O que é Economia Solidária? appeared first on DAR.

English singer-songwriter Rose Elinor Dougall joins host Jeremy Dylan to explain her love for "Tender Buttons", the 2005 album from indie electronica Broadcast.   Rose reveals how she discovered the record while still part of The Pippettes, how the superficial differences and deeper similarities influenced the path she's taken as a solo artist, the distinctive Englishness that ties her together with late Broadcast frontwoman Trish Keenan and the dynamic balance between her more organic solo work and her collaborations with Mark Ronson.   Subscribe to the podcast in iTunes here or in other podcasting apps by copying/pasting our RSS feed - http://myfavoritealbum.libsyn.com/rss   My Favorite Album is a podcast unpacking the great works of pop music. Each episode features a different songwriter or musician discussing their favorite album of all time - their history with it, the making of the album, individual songs and the album's influence on their own music.   Jeremy Dylan is a filmmaker and photographer from Sydney, Australia who has worked in the music industry since 2007. He directed the the feature music documentary Jim Lauderdale: The King of Broken Hearts (out now!) and the feature film Benjamin Sniddlegrass and the Cauldron of Penguins, in addition to many commercials and music videos.   If you've got any feedback or suggestions, drop us a line at myfavoritealbumpodcast@gmail.com.

The future of global energy production is shaping up to be one of the most important and complicated issues of our time. From limited traditional fuel sources like oil and coal to newer, cleaner energy like wind, solar and bio-mass, nothing is off the table when it comes to meeting the growing global demand for energy. And while the energy market is increasingly global, the debate over the sustainability of our energy use is rooted in regional geographies, statewide politics and local communities – those affected by discreet projects and those that will be most affected by climate impacts. To shed some light on just how complex and nuanced these energy issues are, we focus on the state of Montana – which shares the largest coal deposits in the U.S. (along with Wyoming), is at the top of ranks in terms of wind generating capacity and is home to one of the largest shale oil deposits in the country. In the third and final episode of our Montana Energy Series, speak with Tom Darin, Western Regional Representative for the American Wind Energy Association – AWEA. Despite Montana's wind generating potential, project developers are wary of building large wind farms where there isn't enough infrastructure and power lines to properly distribute and export clean energy. Darin is working with everyone from policymakers to local farmers to help create a viable wind market that would bring jobs and investments to Montana's economy. [Music: Phillip Aaberg, "Keep Walkin" from Blue West (Sweet Grass, 2005); Broadcast, "Tender Buttons" from Tender Buttons (Warp Records, 2005)]

This week, poetry from the book Tender Buttons by Gertrude Stein.