#Produced in 1973

[ducktalk]

[todayinhiphophistory]

Today in Hip Hop History:

Pimp C of UGK was born December 29, 1973

[berlinnelity]

quite literally obsessed with goncharov and quite literally frustrated because it doesn’t exist 

[purplespacekitty]

every now and then, the spirit of angsty rock musicals possesses me and I descend into a cycle of listening to, watching, acting out, talking about and singing Jesus Christ Superstar for about 2 weeks straight. during this time period, the falsettos of Ted Neeley and Ian Gillan, masterful ad libs of Carl Anderson, sorrowful balladic notes of Yvonne Elliman and all those who came before and after them consume my every waking thought. I become compelled to listen to every version of “Heaven On Their Minds” and “Gethsemane (I Only Want to Say)” I can find, even the ones recorded with shitty iPhone cameras and mics. my voice goes hoarse singing along with Judas’ lament over blood money and Simon’s overenthusiastic powerpoint to Jesus about how great he is. I obsess over how cunty Judas’, Herod’s, Caiaphas’ and Pilate’s outfits are by production. I weep over the kiss of betrayal as Judas and Jesus are separated for the last time. I learn new stuff about the singers and productions every time.

I soak up the inevitable poetic tragedy of it all and then I go back to our regularly scheduled programming.

[littlequeenies]

Red Necklace with Medals

Here we can see John Lennon wearing a red necklace with some pendant medals at Capitol Studio, March 9, 1973 (released by John Lennon Estate).

On October 6, 1973 May Pang is wearing the same necklace on her date with John at Caesar's Palace in Las Vegas.

We can see John wearing it again for the Jim Stacy benefit on March 24, 1974:

We don't know the details of this photo, but it's May in the 1980s wearing the same necklace...

Was it a gift from John to May? (most possible case)

Was it a gift from May to John and she got it back after their break-up or his murder? (She was working for the Lennons since 1971; we can see him actually wearing it at on the One to One concert in 1972 and she was there; she claims they saw each other after 1975 as lovers several times).

Does the necklace itself has any meaning? Is is of Asian, Chinese, Buddhist origin?

So many questions, but very interesting in any case. If any of you know the details feel free to comment/reblog the post or send us a message and we will update the info! :)

[yourdailyqueer]

Peeter Rebane

Gender: Male

Sexuality: Gay

DOB: 24 April 1973  

Ethnicity: White - Estonian

Occupation: Director, producer, entrepreneur, activist

Note: Producer of the 2002 Eurovision Song Contest

[james-fun-in-the-sunderland]

goncharov (1973) is a movie zach made up to make york mad with how committed he is to the bit

[mariocki]

Brian Croucher stars as the mysterious Gordon in The Jensen Code (ATV, 1973). Is he a secret service man? A traitor? Or just a potholing good time boy?

Although shot and transmitted in colour, the series master tapes were wiped and it now exists as black and white copies, barring an incomplete and damaged print of episode six.

[amazingspidermans]

wait hear me out... jegulus goncharov au...

[not-my-circuss]

Honestly, I've been seeing a LOT of Katya hate and I can't fucking take it anymore, I HAVE to give my two cents.

Katya is flawed, of course, the whole fucking polycule is, because that is the human experience. To be flawed, and to meet others who share your pain and find solace in them. Katya was obviously meant to be with Sofia, but I believe she TRULY loved Goncharov anyway. In a soul mates that shouldn't have added romance way.

And this is what makes Katya's betrayal SO heartbreaking, and SO infuriating. Because they clearly love each other, and shouldn't that be enough? But Katya had been put through enough, she felt trapped in this prison of her own(and mainly her husband's) making. She was made to put on this farce, day after day, it is the EPITOME of the female performance.

When Katya sells out Goncharov, its out of desperation. She sees it as the only way out. The only way out of the marriage, the only way out of this life, the only way out of the Patriarchal Expectations placed on her in everyday life. And we see this, when Katya ultimately escapes (to be with Sofia? Or perhaps another lesbian lover? I like to think she disappeared to Brazil like she always wanted.) and Goncharov doesn't. She has been set free to live her life, and Goncharov remains separated from Andrey, still crushed under society's(the government's) expectations of the Male Performance.

[halion-halion-aito]

can't wait until martin scorsese himself finds out abt goncharov (1973) and decides to actually film a goncharov (2023)

[todayinhiphophistory]

Today in Hip Hop History:

Pharrell Williams was born April 5, 1973

[lishenkaaa]

struck with the realisation that we are undergoing the modern version of the creation of the iliad and odyssey (goncharov)

[fredseibertdotcom]

(Originally posted on LinkedIn December 13, 2022)

Side hustle? Actually, a hobby.

   My day job is producing cartoons, the longest of the "five lives" in my official biography. But the pandemic gave me a kind of freedom to revisit some of my past passions. In particular, my life in producing jazz recordings. No commuting to or from work, no breakfasts, lunches or drinks. At least four extra hours a day. Enough time to get into a little trouble. Some would say a side hustle, some would call it a hobby.  

   50 years ago, two friends of mine and I decided to start a record label –Oblivion Records– in the back of a hippie record store one of them owned. We suspended operations four years later, realizing our enthusiasm was no substitute for knowing how to run the business, and it wasn't until the digital music revolution of the 21st Century that I got our six records back into the marketplace where they've performed better than I could have imagined.  

   This year, I actively revived Oblivion with the digital drop of a two hour concert album I recorded in 1973. Composer and pianist Cecil Taylor (1929-2018) is one of the three major avant-garde, free jazz artists –along with John Coltrane and Ornette Coleman– who reinvented one of America's most vital and satisfying art forms. And word just came that the jazz bible DownBeat, will be the first to announce the album as one of the best historical releases of the year (UK's The Wire will follow, as will others*). On behalf of the concert musicians –Cecil Taylor, Andrew Cyrille: percussion, Jimmy Lyons: alto saxophone, Sirone: double bass– I'm honored.  

   Some –many?!– would ask "why?" Why release a 50 year old musical performance? Why release an album of an artists barely anyone has heard of? Why digital only, you make no money?  

   All good questions, I suppose, and my answers won't be entirely satisfying.  

   It's rare in one's life that you could be involved in history. At least, that's true for me. I've had some amazing, groundbreaking experiences in television, animation and streaming video; only time will tell how they fit into culture. But, time has already given a thumbs up judgement on Cecil and I was beyond lucky to have some tiny involvement in it. Over the past half century he went from being barely able to fill a small jazz club to a concert star of the highest caliber. He was a true artist who incorporated modern dance (yes, he also danced at many of his performances), fashion, and a completely unique approach to his instrument, his compositions and his band leading. He appeared across the globe to rapturous audiences –which, due to his steadfast vision, often included grumbling walk outs– and was in demand until he passed away in 2018. Remembrances and reassessments of his life's work followed from all over.  

   Cecil Taylor fit neatly into the Oblivion ethos. In the infinite wisdom of youth and the idealism of the early 1970s, Tom Pomposello, Dick Pennington and I thought the major companies were ignoring talented artists –including Tom– we thought we were worthy. Maybe we could show the world what they were missing. An ad in the back of a local Long Island music rag pointed us in the direction of a record pressing plant a few miles away, we bought a book that described how to design a cover, and edited a live recording of country blues legend Mississippi Fred McDowell to be our first release. More blues, traditional jazz and electronic (soon to be maligned as "fusion"), and Tom's American roots album followed in the next few years. We sold enough McDowells to keep it in print, borrowed money from ourselves and friends for the others, and even had a hit that basically put us down on the mat.  

   All along the way I recorded other jazz artists at my college radio station and one day I was asked if I could find some equipment to record Cecil's hometown "return" to New York City after years as Midwest university professor. You bet! It didn't matter that this was a no-pay gig. Honestly, I had to borrow the cash from my roommate/benefactor/recording assistant Nick Moy for the cab ride downtown, but the chance to work with a world class, world famous artist was more than A-OK for a 23 year old fan. Not for nothing, Cecil had a worldwide rep but this period was only the beginning of his actually becoming a global star.  

   So we're clear, Cecil's music was never for the faint of heart. An explosive, exacting style, once described by UK writer Val Wilmer as "eighty-eight tuned drums," his seeming random din was already shredding any semblance of "swing" that traditionalists were looking for in their jazz heroes. 

   Cecil released the second half of the concert, which fit neatly on two vinyl sides, on Unit Core, his own label (no other record company would have him at the time) as "Spring of Two Blue-J's." He had little interest in running a company, letting the album go out of print even after Gary Giddins of the Village Voice (one of its few reviewers) praised it as his favorite album of 1974. The first half of the recording sat neglected on my shelf for half a century. It was 90 minutes of sweet and sour cacophony that wouldn't fit neatly on the mediums of the time, and besides I lacked the proper equipment to even listen to it.  

   The digital age and the pandemic changed everything. Now, I could go to YouTube and  learn to use the recording studio built into my Apple computer in 10 minutes. The music could be mastered in the extra hours lock down had gifted me. And since streaming audio has no time limitations I could drop the release -the unreleased first set of the concert, and the original LP performances, more than two hours of music– in its entirety without any annoying fade outs along the way. (By the way, the nothing annoyed Cecil's aging fans and collectors more. Most of them hadn't bothered to figure out how to get their phones to play on their grand music systems.)  

   After I figured that stuff out –I was pretty nervous mixing my first music performances in decades– the rest fell into place pretty quickly. Tunecore, a streaming music distribution service, sent the files across the globe and Bandcamp allowed collectors to buy digital files.  

   Most importantly, my longtime creative colleague Alan Goodman agreed to write the digital liner notes (along with the music, they're available at the Oblivion Records website) and jazz promoter and publicist extraordinaire Lydia Liebman accepted the release for her agency.  

   Alan's extraordinary writing and Lydia's phenomenal efforts spread the story of the Cecil discovery worldwide. While the original LP was virtually ignored in its time, 50 years of global touring and the cultural expansion of an understanding public had its effect. The music was reviewed in dozens of publications around the world, not only in the music press, but in the New York Times, The Wall Street Journal, NPR and all sorts of general interest media. 

"An exhilarating set of Cecil Taylor's Jazz Arrives, 49 years later." Alan Scherstuhl, The New York Times  

"Filling in the Blanks of a Jazz Master's Career." Martin Johnson, The Wall Street Journal  

"The biggest bonus track ever!

"The 100th anniversary of James Joyce’s ‘Ulysses’ has folks thinking about other thorny, dense, syntactically intricate classics, of 20th century modernism across all the arts.       "Cecil Taylor’s best work, his return concert included, belongs on that distinguished list.” Kevin Whitehead, NPR's Fresh Air  

   So back to the "why." Cecil Taylor was a important artist, if not a top-of-the-pops one. My partners and I wanted Oblivion to release artists who were significant, if not particularly popular. I had a chance to make my side hustle, my hobby, mean something. Is there anything more satisfying? Not to me. 

* PS: This just in. All About Jazz, The Quietus and Glide Magazine just named Cecil's "The Complete, Legendary..." in their best albums of 2022.  

[bloopdydooooo]

the funny thing about goncharov is that if it was a real movie i wouldn't have a single scrap of knowledge about it. "when did it come out?" the... 1950s "who directed it?" john. john drohn. "what's it about?" circus performers in thailand

but instead i'll listen to katya's theme and be crying like 'my girl. my girlllllllllllllll' TT-TT

[morepopcornplease]

fake Goncharov fans don’t even realize that Scorsese did NOT direct the 1973 cult classic. he was executive producer. 🤦‍♀️

The actual director is Natted JWHJ0715, and they deserve credit!!!

edit: so many folks mad about me getting “Matteo JWHJ0715”s name wrong 🤣