#look de bouk

[ozkar-krapo]

V/A

"Rencontres du 1er Type (Un Magasin de Nouveautés)"

(cassette. Intra Musiquès. 1986) [FR]

[glitter-and-be-gay]

I think this is a "yes and" situation. I fundamentally agree that art education is deliberately gatekept and undermined, that the general public doesn't know very much about art history and it would be immensely beneficial if this knowledge was more widely available. God knows I would go absolutely insane for an entire room with pigment samples and their usages. Jackson's often posts reels about it, but they're not a museum, they're an art's supply company which...... yeah, I realise the irony. There is a beautiful little collection of pigments at the Deutsches Museum in Munich with dye samples of wool, but no paintings. The Deutsches Museum is, of course, a science museum, and this is in the Chemistry section. In short, I am a nerd who's passionate about every part of the process of creating art and crafts, and also about art interpretation through a historically informed lens. We absolutely need art communicators.

That said, I think this approach should be complementary to art appreciation and to imply it's necessary for someone to know any of this in order to enjoy their visit to an art exhibition misses the point. The enjoyment of art is not about knowledge. Knowledge will undoubtedly enrich your experience and add layers to its meaning. But what is meant by "abstract art brings to you what you bring to it" is that you should feel something. What you bring is your lived experience. If someone who doesn't know anything about Duchamp's Fountain looks at it and feels repulsed, confused and indignant, that is experiencing it. Maybe they'll look up what the point of the damned thing was afterwards or maybe they won't, but the fundamental point of art is the feeling something part.

When I go to an art museum I tend to look up where the pieces I want to see are in advance. Because of the autism. And yet, once I get there, while keeping in mind where I want to go, I wander and I take in the exhibit, and I approach things that catch my eye. I go to an art museum to be enchanted. And I inevitably discover an artist that I knew nothing about because a certain artwork of theirs made me feel something. And I stare at it for a while, and I write down the name of the artist, and afterwards I make a point of looking up information about them and the rest of their work. Again, because of the autism. But that part is not necessary. I do it because I enjoy it. The important part is seeing something that moves you, something that speaks to your individual experience of life. And sometimes that's a portrait of a little dog by Charles van den Eycken you see on your Tumblr dashboard, or a sculpture by Bouke de Vries. And you don't need to know anything about when, why or how they were created for you to have an emotional reaction to them.

This is also something that has infiltrated art creation. People think they need to be "good at it" for anything to be artistically valuable, when the only point of creating your own art is to express yourself.

This mentality comes into play as well when we're confronted with art we simply don't like. This is particularly relevant to modern art. It's wonderful to be able to appreciate artwork for its historical significance, or for the complexity of the techniques used that are only noticeable to the trained artist's eye, but time is finite, we can only know so much, and if a piece of artwork doesn't call to you, you are under no obligation to learn about it in order to gain appreciation for it. There's artwork out there that would change your life if only you had context for it before you saw it, but the circumstances leading to learning about it in advance are out of your control. You can, however, always work backwards to learn more about a piece to which you felt an immediate connection. Whether a piece of artwork is historically relevant is much less important to me than whether I like it. Going into an art museum in order to find things you like should be at the heart of it.

As an aside, if anybody wants to learn more about art history, Crash Course just came out with an ongoing playlist taught by Sarah Urist Green, art museum curator and wife to local tumblrina @sizzlingsandwichperfection-blog.

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

[vlkphoto]

Homeland, Blue and White

Sculpture at Peabody Essex museum, Salem, MA.

BOUKE DE VRIES Born 1960, the Netherlands Homeland, Blue and White, 2015 17th- and 18th-century Asian porcelain and Dutch delftware fragments Tin-glazed earthenware was serious business for Dutch potters, who could not figure out how to replicate Asian porcelain. This locally produced ceramic looked like porcelain but cost less and sold well. By the 1650s tin-glazed earthenware was made primarily in Delft, hence the name "delftware." This map by Dutch artist and ceramics conservator Bouke de Vries visualizes the porcelain craze that swept the Netherlands in the 1600s. Fragments of porcelain and delftware cover every bit of the country, reflecting ceramics' importance in the Netherlands and the mania it fueled.

[diaryofamaniac]

Look De Bouk – Le Monde Entier Moins Le Monde Entier Sans Vous（2003）

　太陽から見た地球の永劫不変、今日もよろしく回っているようで、天と地だけ真実なのは間違いなさそうだ。死ぬまでの間どうせなら表示は楽しもうと笑おうと親しみから楽器を演奏し、自然を出現させるような月下に集う音楽会。この世界を探検し鮮明な郷愁の足音が残されている。1980年代RIOにも参加していたLook De Bouk、仏のレンヌのレーベルIn-Poly-Sonsから。

[merzbow-derek]

POST-SCRIPTUM 715

AGITATION FRITE 2 : C’EST LA VIE D’UN COLLECTIF AUTOGÉRÉ

Agitation Frite 1, Témoignages de l’underground français est donc sorti chez Lenka lente. Un second volume est en préparation. La forme en est la même : un peu moins d’une quarantaine d’entretiens dont la plupart, cette fois, sont inédits. On en trouvera ici des extraits, régulièrement. Par exemple, Denis Tagu (Toupidek Limonade, Hellbore, Look de Bouk, In-Poly-Sons)...

EXTRAIT...

Il ressort des entretiens menés dans le premier volume d'Agitation Frite une sorte de tronc commun en matière de musiques influentes, que l'on pourrait presque résumer à l'école de Canterbury, à la mouvance Rock In Opposition, voire au free jazz américain et à l’européenne. Ces musiques ont-elles été, pour toi aussi, déterminantes ?

Oui, elles l’ont été pour moi aussi. Je pense que la réponse à cette question est « générationnelle », d'où la notion de tronc commun aux personnes interviewées, qui ont dû naître entre 1950 et 1965. J'avais 18-20 ans lorsque j'ai découvert « ces » musiques autour de Rock in Opposition (qui se terminait) et de la soi-disant école de Canterbury.

Ce qui est remarquable dans le « mouvement » RIO, au-delà des musiques auxquelles on adhère ou non, c'est la vie d'un collectif autogéré, avec un réseau de groupes européens organisant des tournées dans leur pays pour leurs collègues, la création de leurs propres labels, d’un réseau de vente par correspondance, de disquaires indépendants, avec en toile de fond une approche politique de la situation des artistes qui peuvent (doivent ?) prendre en main leur métier. Ce qu'Albert Marcœur a d'ailleurs fait plus tard en rachetant tous les droits de ses albums. En France, c'est Dominique Diebold qui a joué un rôle important dans ce réseau en tant qu'organisateur de concerts (festivals), fondateur de revues musicales (Notes) et producteur de disques (AAA puis AYAA). Gérard Nguyen a aussi travaillé sur ces musiques avec la revue Atem et le label associé à ce dernier. Cette notion de réseau me manque aujourd’hui, mais probablement parce que je suis « en dehors » des réseaux existants impliquant la jeune génération des 20-25 ans.

Personnellement, le free jazz m'a moins touché (on est ici dans le subjectif total, et c'est tant mieux). Par contre, en parallèle de RIO et Canterbury, les Residents m'ont beaucoup marqué en matière de do it yourself, avec les approximations, les folies sous-jacentes (en acceptant l'approximation, on peut pousser à l'extrême l'expérimentation), avec aussi une décomplexation à créer, à mettre en forme ses délires musicaux. Je sais qu'Alain De Filippis (de ma génération) a « osé » faire de la musique après l'écoute des Residents (l'album Eskimo, je crois) : « On a le droit de faire des sons avec d'autres sons » s'est-il dit alors.

Plus de trente ans après, je peux analyser ce qu'il me reste de ces « bâtisseurs » de mes goûts musicaux : le sérieux de Henry Cow a parfois du mal à passer, et la dérive « arty » des Residents ne m'intéresse pas. Robert Wyatt a longtemps su garder sa charge émotionnelle très forte, de The End Of An Ear à Dondestan. Mes trois albums fondateurs seraient Henry Cow Live, le premier disque de ce double-LP, Rock Bottom de Robert Wyatt (pas très original) et Not Available des Residents. Je me souviens encore de la première écoute que j'ai faite de ces albums, et des sensations fortes (très) qu'ils m'ont procuré.

Dominique Diebold, que tu évoques notamment en qualité de producteur de disques, a sorti la première cassette du groupe Toupidek Limonade, en 1984 je crois. Comment est mis sur pied le groupe ? D'où vient-il ?

L’histoire de Toupidek limonade commence par celle d’Hellebore, un groupe « Rock In Opposition ». C’est Antoine Gindt (guitare), Daniel Koskowitz (batterie) et Jean Caël (basse) qui ont monté ce groupe lorsqu’ils étaient lycéens. Je les ai rejoints assez rapidement aux claviers, puis Alain Casari est venu avec son saxophone alto. Après plusieurs années (tournées, concerts et album sorti chez AYAA), le groupe s’est arrêté pour cause d’intérêts divergents, et d’orientations personnelles (études, travail) devenues incompatibles avec un groupe exigeant (musique complexe, nécessitant du travail car de plus en plus composée).

Avec Jean Caël, nous avons eu envie de monter un groupe plus léger, surtout dans l’esprit, laissant place à la spontanéité, à une certaine folie, et à une anarchie (au sens « pas de censure »). Nous avons fait appel alors à Kwettap Ieuw (chant et percussions) que je venais de croiser à Reims et qui jouait déjà dans Look de Bouk. Le répertoire s’est ainsi monté, et nous avons pu enregistrer en quatre pistes à bande au Centre Culturel André Malraux de Vandœuvre-lès-Nancy pour sortir la cassette (Il y a des nuits, en rappel du titre de l’album d’Hellebore intitulé Il y a des jours). Nous n’avons fait que deux concerts dont une mémorable misérable première partie de Skeleton Crew ! Chris Cutler s’était alors exprimé en disant « very eccentric », ce qui reste un beau compliment pour nous. Nous avions un igloo en carton (bricolé par notre ami Daniel Koskowitz) sur scène, et un monstre caché à l’intérieur avec un micro. L’un des monstres a été Mick Hobbs, du groupe The Work. Depuis, nous n’avons cessé d’enregistrer des albums, et tout dernièrement nous avons donné un concert à Rennes, après plus de trente ans, en faisant appel à Bernard Odot, un ancien musicien de Look de Bouk.

Faut-il décrire la musique ? Peut-être quelques mots-clés comme Satie, rigolo, Dada, loufoque, chansons, intimité, émotions et inuits…

Quelques précisions s'il te plaît : à propos d’Hellebore, n'est-ce pas une cassette en premier lieu, avant l'enregistrement de..., ..., ...

[junkomori]

My Botany series are on display at Sotheby's in London. The image showing here is the one I made last year. The first four works from the same series were collected by Silver Trust for No.10 Downing Street in 2016. I developed the idea came from visual impact of the house itself when I visited. Black brick exterior wall with white frames of windows and doors, the famous black door (looks ancient, but apparently super high-tech!), and the checkered floor, etc etc... This Black and White theme was catalyst to combine silver and steel in one piece of object with my research on old botanical drawings from various historical houses in UK. More information here from @adrian_sassoon_gallery Showroom / The London Edit 28th September - 6 November 2020 Open daily 10.00am - 5.00pm We are delighted to welcome you to @sothebys New Bond Street galleries for a stunning display of works from our international artists. Visitors to the space will enter via a door dressed in a specially-created design by the celebrated Dutch artist Bouke de Vries, whose arresting ‘exploded’ artworks–all made from fragments of broken, antique ceramics–will be peppered throughout the display, providing leitmotif for the installation. De Vries’ creations will be offered alongside further striking ceramics, glass and silverware by leading makers, Kate Malone MBE, Hitomi Hosono, Felicity Aylieff, Hiroshi Suzuki, Michael Eden and Junko Mori. Their work will be presented alongside exceptional jewels, watches, fine art and design, selected by Sotheby’s specialists. Credit: Tristan Fewings / Getty Images for Sotheby’s — #adriansassoongallery #sothebys#adriansassoon #artcollector#felicityaylieff #vase #katemalone#boukedevries #junkomori#hiroshisuzuki #katemalone #fineart#artauction #contemporaryart#ceramics #decorativeart #art#exhibition⠀ https://www.instagram.com/p/CF_99jNnFnd/?igshid=1jgkafqj1pb26

[les-proliferations-malignes]

Festival des Musiques Innovatrices / Saint-Etienne (1987-2014)

1ère édition / Maison de la Culture et de la Communication de Saint-Etienne, du 1 au 5 décembre 1987 : Pierre Bastien - Hans Reichel - David Moss - Didier Malherbe / Youval Micenmacher - Jean-Claude Asselin & Le Bugnazourdin - Look De Bouk - Chris Newman & Janet Smith - Daunik Lazro / Michel Doneda / Ninh Le Quan - Gestalt et Jive - Steve Beresford - Jan Steele & The Ziz! Quartet

RIP Hans Reichel

[hmgn3]

20-July 散財記録

02(thu) ・Mac Miller / Circles (2020, CD) ・Drake / Views (2016, used CD) ・Hauschka / Salon Des Amateurs (2011, used CD) ・Kiruna / Tarasarus (2007, used CD) ・Ole Theill / Ole Theill (2002, used CD) ・Mice Parade / Ramda (1999, used CD) ・Berger / Garagenjazz (1998, used CD) 03(fri) ・Diggs Duke / Offering for Anxious (2014, used CD) ・Dick El Demasiado / Sin Pues Nada (2006, used CD) ・dj klock / human essence (2002, used CD) ・Marvin Pontiac / The Legendary Marvin Pontiac Greatest Hits (1999, used CD) ・Serge Gainsbourg / Vu De L'Extérieur (1973, used CD) 04(sat) ・サボテン / レッツ・サティー！ (1992, CD-R) 05(sun) ・Connan Mockasin / Forever Dolphin Love (2011, used 2CD) ・Agitation Free / River of Return (1999, used CD) ・Guru Guru / Moshi Moshi (1997, used CD) ・Look de Bouk / Bec et Ongles (1990, used CD) ・The Cravats / The Cravats in Toytown (1980, used 2CD) ・Vivencia / Mi Cuarto (1973, used CD) ・Brigitte Fontaine / Comme à la Radio (1969, used CD) 07(tue) ・SAGOSAID / Long Thinking (2020, cassette) ・Blood Orange / Freetown Sound (2016, used CD) ・Wolfram / Atol Drone ± (2012, used CD) ・Tin Hat / The Sad Machinery of Spring (2007, used CD) ・Latin Playboys / Dose (1999, used CD) ・Tony! Toni! Toné! / House of Music (1996, used CD) 09(thu) ・Anguish / Anguish (2018, LP) ・QN / New Country (2012, used CD) ・Banco Del Mutuo Soccorso / Io Sono Nato Libero (1973, used CD) 11(sat) ・The Internet / Feel Good (2013, used CD) ・MellowHype / Numbers (2012, used CD) ・The Internet / Purple Naked Ladies (2011, used CD) 16(thu) ・山本精一 / CAFÉ BRAIN (2020, CD) ・TERUOKI MISHINA / OFF SEASON (2012, used CD) ・Axel Krygier / Pesebre (2009, used CD) ・Eiji Mitomi / Futuredays (2003, used CD) 18(sat) ・Bruno Spoerri / Glückskugel (2006, used CD) 19(sun) ・Lilacs & Champagne / Lilacs & Champagne (2012, used CD) ・Radiosonde / Radiosonde (2010, used CD) ・Flying Rhythms / Flying Rhythms (2004, used CD) ・Mocky / In Mesopotamia (2001, used CD) ・Earth & Fire Orchestra / Frames (1988, used CD) ・Minimal Compact / Deadly Weapons (1984, used CD) 21(tue) ・Vicktor Taiwò / Joy Comes in Spirit (2018, used CD) ・Kryshe / March of the Mysterious (2017, used CD) ・Mammal Hands / Floa (2016, used CD) ・Peaking Lights / 936 (2011, used CD) ・Domenico + 2 / Sincerely Hot (2002, used CD) ・Pavement / Shady Lane (1997, used CD) ・Gary Peacock & Bill Frisell / Just So Happens (1994, used CD) 24(fri) ・Blues Control / Valley Tangents (2012, used CD) ・Gil Scott-Heron & Jamie xx / We're New Here (2011, used CD) ・Yann Tiersen & Shannon Wright / Yann Tiersen & Shannon Wright (2004, used CD)

[vstranslations]

ALL OFF - Tomodachi - Lyrics

song (spotify) Japanese/Romaji/English lyrics under the cut

桜の下影並べて 同じ日々を歩いて来たよね 街並みは変わるけど 変わらないのは近すぎた2人の距離

さびれた駅前の店で 恋人の不満聞いて 分かったような顔でうなずくけど ふと手が触れ合うそんな日を僕はずっと

また夏が巡っても 夕陽に見る夢は別々のまま 少しだけ陽に焼けた あなたのその肩をそっと抱けたなら 今更hey la la言えないけど ホントは死ぬ程愛してるの

ありきたりな暮らしの中 月が照らす2人の足跡 僕はまだ夢見るけど 夜空の下伸びる影は一つのまま

大袈裟に笑うクセも 寂しそうに流す涙も 変わってないかなあ 変わってほしくないなあ 届かないメールをいつまでも待つ僕は

また秋が巡ったら 燃えるような紅葉また咲くのかな 少しだけ間の抜けたあなたの横顔を眺めていたら 何故だろうhey la laいつの間にか あなたの事愛してたの

いつか冬が来たら その手の冷たさをそっと感じてみたい 少しだけ暖めたポケットは今でも待ちぼうけ

いくつ春が来たら あなたの事忘れられるのかな 今更hey la la届かないけど きっと死ぬまで愛してるよ

--

Sakura no shita kage narabete onaji hibi o aruite kita yo ne machi nami wa kawaru kedo kawaranai no wa chikasugita futari no kyori

Sabireta eki mae no mise de koibito no fuman kiite wakatta you na egao de unasuku kedo futo te ga fure au sonna hi o boku wa zutto

Mata natsu ga megutte mo yuuhi ni miru yume wa betsu betsu no mama sukoshi dake hi ni yaketa anata no sono kata o sotto daketa nara ima sara – hey, la la – ienai kedo honto wa shinu hodo aishiteru no

Ari kitarina kurashi no naka tsuki ga terasu futari no ashiato boku wa mada yume miru kedo yozora no shita nobiru kage wa hitotsu no mama

Oogesa ni warau kuse mo sabishisou ni nagasu namida mo kawattenai kanaa kawatte hoshikunai naa todokanai meeru o itsumade mo matsu boku wa

Mata aki ga meguttara moeru you na momiji mata saku no kana sukoshi dake ma no nuketa anata no yokogao o nagameteitara naze darou – hey, la la – itsu no ma ni ka anata no koto aishiteta no

Itsuka fuyu ga kitara sono te no tsumetasa o sotto kanjite mitai sukoshi dake atatameta poketto wa ima demo machi bouke

Ikutsu  haru ga kitara anata no koto wasurerareru no kana ima sara – hey, la la – todokanai kedo kitto shinu made aishiteru yo

 --

Under the sakura, the shadows are lined up; I’ve been walking through the same days Though the townscape changes, what won’t change is the distance between 2 people who were too close

At the deserted shop in front of the station, I heard a couple’s complaints and nodded as if I understood them, but I’ll always remember such days when our hands suddenly touched

Even if summer comes around again, the dream I see in the sunset remains separate I was slightly burned in the sunlight If I could put my arm around your shoulders… Though – hey, la la – I can’t say it at this point, I really do love you to death

In our ordinary lives, the moon shines on our footsteps, but I’m still in a dream Under the night sky, my elongated shadow remains as one

Your habit of laughing loudly, and the lonesome tears you shed too, I wonder if that hasn’t changed I don’t want you to change that I’ll wait forever for a text that will never reach you

When fall comes around again, I wonder if the fiery fall colors will bloom again If I were to look at your idiotic face for just a little while… Why? – hey, la la – When exactly had I come to love you?

If the winter one day comes, I’d like to softly feel the coolness of your hands Even now, my slightly warmed pockets are still waiting in vain

After how many springs pass will I be able to forget about you? Though – hey, la la – it won’t reach you at this point, I’m sure I’ll love you until I die

[sidlyrics]

Ringo ame

Letra / Lyrics: Mao Música / Music: Shinji

林檎飴

夜が朝に平伏す時のその色に　重ねた14ｍｍの青い煙

季節はずれ　林檎飴を欲しがるような 子供を見る目　冷めた目が好きでした。

振り向かせるためにしたこと　費やした時間などに比べれば 鳴らない電話　待ちぼうけ　辛くはないのでしょうけど

欲を言えば　少しの優しさいらない　分かれる時のそれに次を期待

浮いて沈む　私だけが　居なくなれば その先にも後にも　残らない

この部屋には　思い出にさえないものが溢れてるから 寂しいけれど離れます　寂しさを越える愛しさ　怖かった

少し寒くなってきたから　林檎飴が欲しくなっただけ 後づけでいいから理由　涙の理由

この部屋には　思い出にさえなれないものが溢れてるから 寂しいけれど離れます　寂しさを越える愛しさ　愛しさ越えられぬ　あなた

Ringo ame

yoru ga asa ni hirefusu toki no sono iro ni　kasaneta 14mm (juushin miri) no aoi kemuri

kisetsu hazure　ringo ame wo hoshigaru you na kodomo wo miru me　sameta me ga suki deshita.

furi mukaseru tame ni shita koto　tsuyashita jikan na do ni kuraberaba naranai denwa　machi bouke　tsuraku wa nai no deshou kedo

yoku wo iieba　sukoshi no yasashisa iranai　wakareru toki no sore ni tsugi wo kitai

uite shizumu　watashi dake ga　inaku nareba sono saki ni mo ato ni mo　nokoranai

kono heya ni wa　omoide ni saenarenai mono ga afureteru kara sabishii keredo hanaremasu　sabishisa wo koeru itoshisa　kowakatta

sukoshi samuku nattekita kara　ringo ame ga hoshiku natta dake ato dzuke de ii kara riyuu　namida no wake

kono heya ni wa　omoide ni saenarenai mono ga afureteru kara sabishii keredo hanaremasu　sabishisa wo koeru itoshisa　itoshisa koerarenu　anata

Candy apple

The colour of the moment at which night prostrates itself before morning is overlapped with blue smoke from a 14mm

I liked your eyes, your cold eyes when you look at children Who seem like they're yearning for out-of-season candied apples

As compared to the time and such spent on things I did to make you turn back, I guess waiting in vain with the silent telephone isn't painful, but...

If I voice my desires, I don't need small kindnesses; anticipating what comes next at the moment of parting

Floating and sinking, if I alone cease to exist Nothing will remain then nor ever after

This room is overflowing with things that won't even become memories, so I'm leaving although I'm lonely; frightened by love that surpasses loneliness

Since it has become a little cold, I've simply started to yearn for candied apples Because it's fine if the reason's written in a postscript, a tearful reason

This room is overflowing with things that won't even become memories, so Although I'm lonely, I'm leaving love that surpasses loneliness, and you who can't get over love

Manzana de caramelo

El color del momento en el que la noche se acuesta antes de la mañana se superpone con el humo azul de un 14mm.

Me gustaban tus ojos, tus ojos fríos cuando miras a los niños, que parecían estar deseando unas manzanas de caramelo fuera de temporada.

Comparado con el tiempo y todo aquello gastado en cosas que hice para hacerte volver, supongo que esperar en vano con el silencioso teléfono no es doloroso, pero...

Si doy voz a mis deseos, no necesito pequeños actos de generosidad; previendo lo que sigue al momento de la despedida.

Flotando y hundiéndome, si yo solo dejo de existir ni entonces ni después quedará nada.

Esta habitación está desbordante de cosas que nunca se convertirán en recuerdos, así que me marcho aunque me siento sola; asustada por un amor que sobrepasa la soledad.

Como empieza a hacer un poco de frío, simplemente he empezado a desear manzanas de caramelo. Porque está bien si el motivo está escrito en una posdata, un motivo triste.

Esta habitación está desbordante de cosas que nunca se convertirán en recuerdos, así que, aunque me siento sola, abandonaré un amor que sobrepasa la soledad, y a ti, que no puedes superar este amor.

An older man (because he smokes, "blue smoke from a 14mm") used to date a younger girl (who still likes "childish" things such as candy apples) // Un hombre mayor (porque fuma, "el humo azul de un 14mm") salía con una chica más joven (a la que aún le gustan cosas "infantiles", como las manzanas de caramelo).

Kanji, English: Jpopasia Romaji, español: Reila

[ozkar-krapo]

LOOK DE BOUK

"Lacrimae Rerum"

(LP. Ayaa. 1985) [FR]

[utagoe]

UNICORN Jr.: Mr.8 Lyrics

Kanji, romaji and English translation for Mr.8 by UNICORN Jr.

(kanji source)

夜明けのスクランブル、酩酊[ヨッパ]らった人達が、 穢れたモノを見るように避けてく (そりゃ) お風呂に入れてもらってないから So Bad Smell そんなのわかってるわ でもね、あのヒトは、頬ずりしながら、言ってくれたんだ 「キミの、この匂いが好き」 夢を追いかけた結末が(今だとは) 信じないけど 「もう、戻らない」って言葉に、夜を越せない日もある���ね ロンリー(ロンリー)ロンリー(ロンリー)ロンリネス――――!!! 「なにが」 「できるのかな?」 「おしえて」 Calling my name (俗に)誰でもいいわけないでしょう Calling my name (俗に)特別な人に呼んでもらいたい 雨の日も、風の日も、石を投げられても、待つから 世界の果てまで、ついて行きたい!!!! 待て(ハッ…!!!) 待て(ハッ…!!!) たった、ヒトリの (One!!×3) お手(ハッ…!!!) お手(ハッ…!!!) じっと、信じる (One!!) ドシャ降りスクランブル 面喰(めんくら)った老人が、 残飯(のこ)したモノを、差し出してくれたよ (そりゃ)ご飯を食べてないんだからさ、 So Rumbling 失笑されてもガッつく 月に、吠えてもさ 帰ってこなくて、ジッと、待ち惚(ぼう)け 「キミの、この匂いが好き」 どんな辛苦(ツラ)さも、楽しい命令で(従えば)笑顔が見えた 「でも、大丈夫」って言葉に、首を傾げる日もあるよね ロンリー(ロンリー)ロンリー(ロンリー) ロンリネス―――ー!!!! 「いつも」 「そばにいてほしい」 「だいすき」 Calling my name (いつも)あなたを見つめていたでしょ!? Calling my name (いつも)キツくても我慢しちゃうんだからね 病んでても、眠くても、ナミダ溢れてても、待つから 銅像(おきもの)なんかに、なりたくないよ!!!! ロンリー(ロンリー)ロンリー(ロンリー) ロンリネス――――!!!! 「ごめんなさい」 「すごく」 「ねむいかも」 Calling my name (俗に)誰でもいいわけないでしょう Calling my name (俗に)特別な人に呼んでもらいたい 雨の日も、風の日も、石を投げられても、待つから 世界の果てまで、ついて行きたかった!!!! 待て(ハッ…!!!) 待て(ハッ…!!!!) たった、ヒトリの (One!!×3) お手(ハッ…!!!) お手(ハッ…!!!) じっと、信じる (One!!)

Romaji

yoake no sukuranburu yopparatta hitotachi ga kegareta mono wo miru youni saketeku (sorya) ofuro ni irete morattenai kara So Bad Smell sonna no wakatteru wa

demo ne ano hito wa tsurazuri shinagara itte kuretanda

"kimi no kono nioi ga suki"

yume wo oikaketa kekka ga (ima da to wa) shinjinai kedo "mou modoranai" tte kotoba ni yoru wo kosenai hi mo aru yo ne

ronrī (ronrī) ronrī (ronrī) ronrinesu――――!!!

"nani ga" "dekiru no kana?" "oshiete"

Calling my name (zoku ni) daredemo ii wake nai deshou Calling my name (zoku ni) tokubetsu na hito ni ukande moraitai

ame no hi mo kaze no hi mo ishi wo nageraretemo matsu kara sekai no hate made tsuite ikitai!!!!

mate (ha...!!!) mate (ha...!!!) tatta hitori no (One!!x3) ote (ha...!!!) ote (ha...!!!) jitto shinjiru (One!!)

doshaburi sukuranburu menkuratta roujin ga nokoshita mono wo sashidashite kuretayo (sorya) gohan wo tabetenain dakara sa So Rumbling shisshou saretemo gattsuku

tsuki ni hoetemo sa kaette konakute jitto machi bouke

"kimi no kono nioi ga suki"

donna tsurasa mo tanoshii unmei de (shitagaeba) egao ga mieta "demo daijoubu" tte kotoba ni michi wo kashigeru hi mo aru yo ne

ronrī (ronrī) ronrī (ronrī) ronrinesu――――!!!

"itsumo" "soba ni ite hoshii" "daisuki"

Calling my name (itsumo) anata wo mitsumeteita desho!? Calling my name (itsumo) kitsukutemo gaman shichaun dakara ne

yandetemo nemukutemo namida afuretetemo matsu kara okimono nanka ni naritakunaiyo!!!!

ronrī (ronrī) ronrī (ronrī) ronrinesu――――!!!

"gomennasai" "sugoku" "nemui kamo"

Calling my name (zoku ni) daredemo ii wake nai deshou Calling my name (zoku ni) tokubetsu na hito ni ukande moraitai

ame no hi mo kaze no hi mo ishi wo nageraretemo matsu kara sekai no hate made tsuite ikitakatta!!!!

mate (ha...!!!) mate (ha...!!!) tatta hitori no (One!!x3) ote (ha...!!!) ote (ha...!!!) jitto shinjiru (One!!)

English

A daybreak's scramble, the drunk people are Avoiding me as if they saw a polluted thing (Well) Because I haven't taken a bath yet, I know I have a so bad smell

But you know, that person said, while pressing their cheeks to mine

"I like the way you smell"

The conclusion to me chasing my dreams, (As of now) I can't believe it But with the words "I won't return anymore", there are days I can't go through the night

Lonely (Lonely) Lonely (Lonely) Loneliness――!

"What can" "I do?" "Tell me"

Calling my name (Commonly) It's not like you're okay with everyone, right? Calling my name (Commonly) I want you to call me your special person

On rainy days, on windy days, and even if I'm thrown stones at, I'll wait I want to follow you until the end of the world!

Wait (Ha...!) Wait (Ha...!) My one and only (One!!) Shake (Ha...!) Shake (Ha...!) I patiently believe (One!!)

A pouring rain's scramble, the confused elders Gave me everything that was left (Well) Because I haven't eaten my meals yet, Even if they laugh at the rumbling, I devour everything

Even if I bark at the moon, you don't come home - I patiently wait in vain

"I like the way you smell"

No matter the hardships, I could see your smiles when I followed your commands There are also days when I tilt my head at the words "But it's okay"

Lonely (Lonely) Lonely (Lonely) Loneliness――!

"I want you to" "Always stay by my side" "I love you"

Calling my name (Always) I've always looked at you, right!? Calling my name (Always) Even if it's difficult, I hold myself back, you know?

Even if I fall ill, feel sleepy or shed tears, I'll wait I don't want to become just an ornament!

Lonely (Lonely) Lonely (Lonely) Loneliness――!

"I'm sorry" "I might be" "Really sleepy"

Calling my name (Commonly) It's not like you're okay with everyone, right? Calling my name (Commonly) I want you to call me your special person

On rainy days, on windy days, and even if I'm thrown stones at, I'll wait I wanted to follow you until the end of the world!

Wait (Ha...!) Wait (Ha...!) My one and only (One!!) Shake (Ha...!) Shake (Ha...!) I patiently believe (One!!)

[lovequotescom]

Couple Quotes : The Jealous Curator /// curated contemporary art /// bouke de vries

Couple Quotes :

The Jealous Curator /// curated contemporary art /// bouke de vries

L’article Couple Quotes : The Jealous Curator /// curated contemporary art /// bouke de vries est apparu en premier sur The Love Quotes | Looking for Love Quotes ? Top rated Quotes Magazine & repository, we provide you with top quotes from around the world.

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Jahfet - Grands Pon Grands Live & Direct at YouTube Jamaican reggae and dancehall artist Jahfet, was born January 8 1975 in the parish of St. Mary, the same parish where the Prophet Capleton, Teflon, Ninja Man and many more came from. As a youth Jahfet attended Enfield Primary School before heading to Kingston to attend Papine Comprehensive. After moving around and working in Kingston to the country-side hills of Enfield, Jahfet returned to Content, St. Mary to care for his mother and family.In 2010, Jahfet wrote his first song entitled “Gone to Soon” which he wrote in memory of very close friend and talented DJ Dollar Sign ‘aka’ CD, who was tragically killed earlier that year. The song was very popular within his personal surroundings which led to it being officially released on his cousin record label, Wonder Music!That song led to Jahfet receiving positive encouragement, compliments and interest because of his conscious lyrics, style and sound! So he decided to take on the music business seriously, writing and releasing many more songs such as Real Friends, Jah Mek Mi know Dem, Sky’s De Limit, Don’t Stray, Millionaire and many more with Wonder Music. Jahfet has now cemented himself as a talented Sing-J, song writer and performer. He is now considered by many in his community and the reggae and dancehall music scene to be a star in the making. With his positive, uplifting, jovial and soul soothing songs; plus live performances which is best described as energetic, lively and mesmerizing. There is no doubt that Jahfet is a natural entertainer who is destined for success!His music is relevant to fans of all races, ages and genders. And he credits listening Bob Marley, Luchiano, Garnet Silk, Chronix and Baby Wayne.Bounty Killer has being his main musical inspiration and influences.Jahfet’s Hit entitled ‘So Clean’ was voted best song on the radio show ‘what’s the verdict’ and was awarded with the ‘what’s the verdict’ certificate by Dudley Thomson from Roots FM in Jamaica. Jahfet has performed at various venues in and around England and Jamaica, building his popularity and fan-base.Over the past 3 years he has been working hard performing on stage shows alongside reggae legend Sizzla and St. Mary sensation Teflon, 2014 Positive Vibration Tour of England featuring Luchiano, I-Wayne, Hercules and Ras Omeek. Jerk Fest, Marcus Garvey Birthday celebration at Ire FM, Digicel Pagee in St Mary, and Dean Sturridge Charity Concert in Kingston. Most recently he was main support artiste for 2016 Cultural Fest Tour of England featuring Luchiano, Jah Bouks, Hercules, Ras Omeek and Missionary.Most recent performance includes performing at the Marcus Garvey festival in Jamaica 2017 ,The Ragatta festival Jamaica 2017,Winter Reggae fever in the UK along side Gyptian,Vershon and Gage to name a few performing at places like the 02forum London and a tour to Gambia in December 2017,which leads to Jahfet performing at the independence stadium. Jahfet is now looking forward to future tours of Africa, Europe and the US.His latest songs Joke Ting, Oh what a Day, Hip Hip Hooray, Ghetto Life, Social love ,Weed and Rum, Pretty bad devil and many more will make his debut album a HIT.Jahfet and his management have no doubts about his musical potential and knows the sky is the limit! Check out his songs on all social media and musical outlets such ITunes! ❤️💛💚Uk's Leading Broadcast Station For Reggae & Sound System Culture Artists, Sound Systems, Preserving & Documenting #Reggae SoundSystems Culture For more Quality Vibes Subscribe to our YouTube Channel. https://youtu.be/LQhybYkXerQ

[merzbow-derek]

POST-SCRIPTUM 734

INAUGURER, VERNIR, MÂCHER, DIGÉRER, FUMER, ADMIRER, BOIRE, DANSER, PARAÎTRE, MOQUER, DISPARAÎTRE…

Version couleur (dans le livre elle seront en noir & blanc)de quelques-unes des 45 illustrations à paraître dans le deuxième volume d’Agitation Frite, témoignages de l’underground français, chez Lenka lente, en mai 2018, pour les cinquante ans de Mai 68 ! Entretiens avec Ferdinand Richard, Pascal Bussy, Marc Hurtado, Emmanuelle Parrenin, Raymond Boni, Lionel Fernandez, Denis Tagu, Gilles Yéprémian, François Tusques, Michel Henritzi, Ghédalia Tazartès, Joëlle Léandre, Kapser T. Topelitz, Henri-Jean Enu, Emmanuel Holterbach, Frédéric Acquaviva, Caroline de Bendern… Soit l’histoire du Front de Libération de la Rock-Music, Atem, Fille Qui Mousse, Étant Donnés, Tago Mago, Le Collectif Le Temps des Cerises, Hellebore, Toupidek Limonade, Look de Bouk, Sleaze Art, Sister Iodine, Éliane Radigue, In-Poly-Sons, Tonton Macoute, Henri Chopin, Isidore Isou, Mai 68, Zanzibar, Serge Bard... Avec un cahier critique (Barney Wilen, Cohelmec Ensemble, Workshop de Lyon, Igor Wakhewitch, Horde Catalytique Pour La Fin, Jacques Dudon, Jean-François Pauvros, etc.) en supplément !

Renseignements plus complets, ICI.

[y-nagata-y]

Look de bouk - La couverture du rat