water (part_2_of_many)

We can learn a lot from observing animals. Watch a cat or dog. They instinctively know how to stretch. They do it spontaneously, never over stretching, continually and naturally tuning up muscles they will have to use.

Excerpt: pg. 9, 'Stretching', by Bob Anderson w/ illustrations by Jean Anderson. Shelter Publications, Bolinas California. 1980. 

The Congos / Fisherman

radios&books: this is an experimental newsletter aimed at sharing words and sounds. if you have ideas about it, please share. tracks are listed onto their own youtube channels (1,2) and ARCHIVE for review. if you'd to add someone to the list, please do. if you'd like to be removed from this list, just ask. *let's keep expanding the list- if you think someone would dig this, tell them to write to radiosandbooks@gmail.com.

untitled (stone_part_4)

Just Seventy Two I did Suppose 

An Answer false from thence arose, 

I Doubled the Sum of Seventy Two, 

But still I found that would not do, 

I mix'd the Numbers of them both, 

Which shew'd so plain that I'll make Oath, 

Eight hundred leaps the Dog did make, 

and Sixty four, the Hare to take. 

~Benjamin Banneker
(Answer)

Fred McDowell / You've Got to Move

Bo Diddley / Don't Let It Go

Arthur Russel / Arm Around You

Sade / Soldier of Love 

A Plea for Tenderness / Jonathan Richman

Adonis / Do It Properly

(Question)
When fleecy skies have Cloth'd the ground
With a white mantle all around
Then with a grey hound Snowy fair
In milk white fields we Cours'd a Hare
Just in the midst of a Champaign
We set her up, away she ran,
The Hound I think was from her then
Just Thirty leaps or three times ten
Oh it was pleasant to see
How the Hare did run so timorously
But yet so very Swift that I
Did think she did not run but Fly
When the Dog was almost at her heels
She quickly turn'd, and down the fields
She ran again with full Career
And 'gain she turn'd to the place she were
At every turn she gan'd of ground
As many yards as the greyhound
Could leap at thrice, and She did make,
Just Six, if I do not mistake
Four times She Leap'd for the dogs three
But two of the Dogs leaps did agree
With three of hers, nor pray declare
How many leaps he took to Catch the Hare.

(untitled)

How do you know I'm real? I'm not real. I'm just like you. I don't exist in this society.If you did your people wouldn't be seeking equal rights.You're not real. If you were you'd have some status among the nations of the world. I come to you as the myth... 

Sun Ra, from Space is The Place. Excerpt: Sun Ra, The Immeasurable Equation, The collected Poetry and Prose. pp 31

Gimme Shelter (alt take) 

stone (part_2)

But how small is the sum of good writing against the mass of poisonous stuff that finds its way into the history books; for the dead can be stifled by the living./

That's metaphysical./

Never. That of the dead which exists in our imaginations has as much fact as have we ourselves. The premise that serves to fix us fixes also the part of them which we remember./

If history could be that which annihilated all memory of past things from our minds it would be a useful tyranny,/

But since it lives in us practically day by day we should fear it. But if it is, as it may be, a tyranny over the souls of the dead- and also the imaginations of the living- where lies our greatest well of inspiration, our greatest hope of freedom (since the future is totally blank, if not black) we should guard it doubly from the interlopers. 

Excerpt: The Virtue of History, William Carlos Williams. From 'In The American Grain,' New Directions, 1965. pp 188. 

Woody Guthrie / Muleskinner Blues

Charles Simic / Stone (poetry everywhere)

Lee Fields / Honey Dove

August 15th, 2014: Ancient Maya Cities found in the Jungle (submitted link) 

stone (part 1 of many)

Aba, I consecrate my bones. 

Take my soul up and plant it again. 

Your will shall be my hand. 

When I strike you strike. 

My eyes shall see only thee. 

I shall set my brother free. 

Aba, this bone is thy seal. 

Excerpt: Henry Dumas, Ark of Bones. 1974

THE WAILING WAILERS / ROLLING STONE (TAKE 1)

THE WAILING WAILERS / ROLLING STONE (TAKE 2)

ROLLING STONES / THE LAST TIME

JAMES BROWN / MAYBE THE LAST TIME (HOLLYWOOD A-GO-GO)

BOB MARLEY AND THE WAILERS / MY CUP

JAMES BROWN / (my cup) GUESS I'LL HAVE TO CRY

BOB MARLEY AND THE WAILERS / BLACK PROGRESS

JAMES BROWN / I'M BLACK AND I'M PROUD (PLAYBOY AFTER DARK)

LEE PERRY AND THE UPSETTERS / CLOAK AND DAGGER (FULL ALBUM)

NOTE:  I'VE STARTED A NEW TRACK LISTING (ARCHITECTURE&MORTALITY) DUE TO THE EXCITING FACT THAT OUR FIRST PLAYLIST (RADIOS&BOOKS) HAS REACHED THE YOUTUBE 200 TRACK LIMIT. LINKS TO BOTH WILL APPEAR IN ARCHIVE SECTION BELOW.

PEACE! THE0

dog_part_1 (treated this way)

This is the country where I grew up. It was the 1970s. Here, as a child, I gathered, rescued, raised and lost more dogs than I can now recall. I have some of their names: Jack. Jim. Tigger. Apollo. Pandora. Bingo. KaiKai. Jupiter. Pluto. The turnover was so fast there are many more I have forgotten. My dogs died of disease, of being hit by cars, of falling off balconies, generally of life expectancy in the Third World. Sometimes they were lost or stolen. When I was nine Apollo disappeared. For months I scanned the streets during every car journey. One day, a long way from home, on the other side of the city, I saw Apollo. The driver stopped the car. We opened the back door, pulled Apollo inside and drove off at speed. I never found out who had taken him or why; he had not been mistreated. Nor do I know whether we were seen as we effected his rescue. I imagine whatever witnesses there were remained silent for fear of being disbelieved.

Excerpt: "The Last Vet", (<<<link to complete essay) by Aminatta Forna. Granta 109: Work

Dogs, Pink Floyd Demo, Alt Version, Rare (1976)

I wanna be your dog, The Stooges (1969)

Nirvana (The BBC Sessions) complete, untracked (1989) starts at 4:00- excuse the glitch

Play The Version

Not Fade Away, Buddy Holly (1957)

Reel It Back

Not Fade Away, The Rolling Stones (1964)

Again; Play The Version

Not Fade Away >> Goin Down the Road Feelin Bad, The Grateful Dead (4/5/71)

Reel it Back

Goin Down The Road Feelin Bad, Elizabeth Cotten 

untitled (motion_part_3)

"Never show half-finished work." - RBF

Smokey Robinson / Quiet Storm

Bernard Purdie / Black Purd's Theme

Teddy Pendergrass / Close The Door

Dorothy Ashby / The Moving Finger (submitted track) 

Sly & The Family Stone / Babies Makin Babies

Hamilton Bohannon / Stop & Go

James Brown / Body Heat (extended version)

Parliament / My Automobile

play the version:

Smokey Robinson / Cruisin 

reel it back:

D'angelo / Cruisin

THE(0)

untitled (diligence)

i'm so glad that i'm still here / the notations

I grew up bent over 

a chessboard.

I loved the word endgame.

All my cousins looked worried.

It was a small house 

near a Roman graveyard.

Planes and tanks 

shook its windowpanes.

A retired professor of astronomy

taught me how to play.

That must have been 1944.

In the set we were using,

the paint had almost chipped off

the black pieces.

The white king was missing

and had to be substituted for.

I'm told but do not believe

that that summer I witnessed

men hung from telephone poles.

i remember my mother

blindfolding me a lot.

She had a way of tucking my head

suddenly under her overcoat.

In chess too, the professor told me,

the masters play blindfolded, 

the great ones on several boards

at the same time.

Charles Simic. "Prodigy"

smile now, cry later / sunny and the sunliners

play the version: peter tosh / stepping razor

and reel it back: the soulettes / stepping razor >> the letter (by the box tops) version

bonus: the box tops / the letter (live at the bitter end 1967)

untitled (how does it feel)

the crowd at the ball game  

is moved uniformly

by a spirit of uselessness

which delights them -- 

all the exciting detail  

of the chase 

and the escape, the error

the flash of genius -- 

all to no end save beauty 

the eternal--

So in the detail they, the crowd, 

are beautiful

for this

to be warned against

saluted and defied -- 

It is alive, venomous

it smiles grimly

its words cut -- 

The flashy female with her

mother, gets it -- 

The Jew gets it straight -- it

is deadly, terrifying -- 

It is the inquisition, the

Revolution 

It is beauty itself

that lives 

day by day in them

idly -- 

This is 

the power of their faces 

It is summer, it is the solstice

the crowd is

cheering, the crowd is laughing

in detail

permanently, seriously 

without thought

1921 Rutherford, NJ. To No End Save Beauty, by William Carlos Williams. Excerpt: pp 152-153 Lapham's Quarterly, Vol 3, No 3, Summer 2010.

AALIYAH / AALIYAH FULL ALBUM (Aaliyah Article, "Eternal Soul" by Michael Carlos for Wax Poetics)

JACOB MILLER / TOO MUCH IMITATOR + TENEMENT YARD DUBWISE (ARAB)

THEO PARRISH / HOW I FEEL

Rotation

What is the difference between my useless machines and Calder's mobiles? I think it is best to make this clear, for apart from different materials the methods of construction are also quite distinct. They only have two things in common: both are suspended and both gyrate. But there are thousands of suspended objects and always have been, and I might point out that my friend Calder himself had a precursor in Man Ray, who in 1920 made an object on exactly the same principles later used by Calder. 

Except: Bruno Munari, Design As Art. 

DJ Rashad: Everyday of My Life 

change (2) ventilation

play the version:

black sabbath / changes

The fireplace with its two fireboxes, one indoor, one for outdoor entertaining, acts as the hub of the plan. Mrs. Alpha requested that it be laid in flagstone because "on the occasion of picnic parties, with youngsters about, there will probably be continuous traffic from one open air terrace to the other- root beer to be spilled and greasy sandwiches to drip." Coincidentally, a Mrs. George Wilkins- a real client who with her husband purchased a quiet, wooded double lot in South Pasadena in 1947- has the exact same concerns about root beer and greasy sandwiches. And like Mrs. Alpha, it was her "specific wish" that there be a "psychological connection" between the two terraces. So Neutra designed identical breezeways for both women.... The detailing of the house included a little-seen but elegant ventilation strategy in the living and master bedroom, with screened birch panels placed below a row of casement windows. Hinged from the top, they introduced air inside when curtains were drawn. It also allowed the casements to be without screens, which Neutra avoided where possible because they compromised the outdoor view.

Excerpt: Neutra; Complete Works. Barbara Mac Lamprecht. pp 216, Gordon E. and Mary D. Wilkins House, 1949.

reel it back:

charles bradley / changes (cover) 

change

Su Kramer: Magic

Barrington Levy: Many Changes In Life

The vigorous board-marked concrete (beton brut as he called it) was clearly in tune with developments in painting, most obviously the graffiti-inspired art brut of Jean Dubbuffet and the taschisme of Antonio Tapies and others or, at some remove, the dripped canvases of Jackson Pollock or the paint- splattered walls photographed by Aaron Siskind.

Excerpt: pp 216, modernism. by Richard Weston.

John Holt: Stealing Stealing

choice

Maybe packages, not system... carrel... hideout... gauze dividers... acoustically treated hood with a viewport... The Pad is: 1. Japanese screen, 2. Tables, 3. Roller boxes plus accessories.

Excerpt: Nelson's notes. pp 226, George Nelson: The Design of Modern Design. Stanley Abercrombie.

Black Sheep/ The Choice Is Yours

Lord Finesse/ Return of The Funky Man

Ultramagnetic MC's/ Ego Trippin 

Poor Righteous Teachers/ Easy Star

Minds Over Music/ It's Fatal

stack (tower of meaning)

Monday Mary: I Gave my Punk Jacket to Rickie

Variation: The extent to which items of masses differ. Raw materials used in formulas, for instance, may vary in quality from year to year depending on mining level.

Excerpt- Glossary: "A Sculptor's Guide to Tools and Materials" by Bruner Felton 

Electric Sensation: Mary

(how/water/walk)

Tenor Saw- Pumpkin Belly

London handed the lantern up, and Mac set it carefully on the floor, beside the body, so that its light fell on the head. He stood up and faced the crowd. His hands griped the rail. His eyes were wide and white. In front he could see the massed men, eyes shining in the lamplight. Behind the front row, the men were lumped and dark. Mac shivered. He moved his jaws to speak, and seemed to break the frozen jaws loose. His voice was high and monotonous. "This guy didn't want nothing for himself---" he began. His knuckles were white, where he grasped the rail. "Comrades! He didn't want nothing for himself ---"

pp. 313: In Dubious Battle. John Steinbeck, 1936.

Tenor Saw- No Work On Sunday (John Crow (Sleng Teng) Riddim)