Mandy Martin, Puritjarra 2, 2005. For further information on MANDY MARTIN, refer here: http://www.mandy-martin.com/
If there are diverse kinds of knowledge and ways of knowing place, then we need to learn to value the different ways each of us sees a single place that is significant, but differently so, for each perspective.
adrift on a sea of information at a time when the world's night is a destitute time. In the age of the world's night, the abyss of the world must be endured.
--Adelaide is home. Relaxation is Victor Harbor. I'm a frustrated photographer who has lost his way in life.I have trouble coping in the technological mode of being of our complex digital world.
I thought that I'd link back to this trucking post I couldn't find a good live version on YouTube, but I came across this late version from a revitalised Dead:
I first came across Bertha on the Skull and Roses live album, which I thought was pretty poor. Bertha opened the album and its spirited playing promised much in terms of energy driven by the dynamic bass playing that propelled the material along its path. The promise was not delivered on the album.
This was a transitional period for the Dead, a fallow period between the heights of the classic expression of free-form, improvisational San Francisco psychedelic sound on Live Dead and the classic expression of the return to their American musical roots in American Beauty.
I'd always thought Clapton had snaffled the basic ideas for Layla from Bertha - a song about a Dead studio fan but it appears Layla appeared before Bertha did.
I'd always thought Clapton had snaffled the basic ideas for Layla from Bertha - a song about a Dead studio fan but it appears Layla appeared before Bertha did.