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.
The Grateful Dead performing China Cat Sunflower Jam - I Know You Rider on their Europe '72 tour in Copenhagen, Denmark. At that time people were confused about this sixties' band. Were they a country, cowboy band? A psychedelic band? A neo-folk band with rock pretensions? Or were they the sometimes jazzy, almost slick band. Or just a bunch of aging hippies. Aesthetic identity was a problem.
Europe '72 was a triple live album; an ambitious one as it presented new songs, two long jams, a reworking of their old songs and interpretations of traditional or classic songs. It is in the middle of a period of creativity that started with Live/Dead (1970) and ended, four years later, after seven albums and various solo projects that was one of the most sustained periods of creativity for any sixties' rock band.
It was around this time that the process of the band being overlooked and underrated by the rock press (Dave Marsh, Robert Christgau, Greil Marcus, Lester Bangs) got underway. What was dismissed was the ensemble playing in the very extended improvisational pieces often in an unusual form-of-jazz format.
| Posted by Gary Sauer-Thompson at 6:24 AM | Permalink
