WTM #1073: Cocktail Molotov 1968=2008

wReck thiS meSS ~ Radio Patapoe 88.3 http://freeteam.nl/patapoe/
Amsterdam ~ Ethno-Illogical Psycho-Radiographies

16 November 2009 // 16.30-18.30

“We will wreck this world”
• Malcolm McLaren

“on the way to our coiffeurs?”
• WTM ripostes

“In the decor of the spectacle, the eye meets only things and their prices.”
• Situationist grafitti

Thule Ultima > Wild Shores [Instant Music / Taktik]
Situationist International – Part 1 > BBC
FON > 2Kilos&More [Entre3villes / Optical Sound ]
A > Guy Debord & Friends http://www.cddc.vt.edu/sionline/index.html
Driving into Delirium > Malcolm McLaren [Paris / No!Gee]
CSP > 2Kilos&More [Entre3villes / Optical Sound ]
En fait nager, manger, baiser etainsi revenir a la realité > Norscq [Gelatinosa Substancia / Staubgold ]
Faubus2 > Charles Mingus

Commute, work, commute, sleep . . .
• Situationist Grafitti

Cannabis > Serge Gainsbourg [Cannabis / Emarcy Import]
Luv n Haight > Sly & the Family Stone [There’s a Riot Goin’ On / Epic]
Intro Cocktail Molotov [Cocktail Molotov 68 / Le Son Du Maquis]
Things Are Going to Get Better > Small Faces [Cocktail Molotov 68 / Le Son Du Maquis]
Intro Cocktail Molotov [Cocktail Molotov 68 / Le Son Du Maquis]http://www.maquismusic.com/store/en/node/27
Que Sera 1968 > General Charles DeGaulle [Cocktail Molotov 68 / Le Son Du Maquis]
7h du Matin > Jacqueline Taieb [Cocktail Molotov 68 / Le Son Du Maquis]
Nature du Movement du 22 mars > Daniel Cohn-Bendit [Cocktail Molotov 68 / Le Son Du Maquis]
Who do you Love > Quicksilver Messenger Service [Cocktail Molotov 68 / Le Son Du Maquis]
The War Drags On > Donovan [Donovan / Discofoon vinyl]
Sinfonia 1 movement > Luciano Berio / Simon Rattle CBSO
Prologue, August 29, 1968 > Chicago Transit Authority [Chicago Transit Authority / Columbia vinyl]
+ Palomina Station ID > MC Pal
Satisfaction Guaranteed > The Morning Reign [Cocktail Molotov 68 / Le Son Du Maquis]
Occupation de la Sorbonne [Cocktail Molotov 68 / Le Son Du Maquis]
Il Pleut > Brigitte Fontaine [Cocktail Molotov 68 / Le Son Du Maquis]
Stroll On > Yardbirds [Cocktail Molotov 68 / Le Son Du Maquis]
Paris Uprising May 1968 > BBC
Beginnings [exc] > Chicago Transit Authority [Chicago Transit Authority / Columbia vinyl]
Dieu est Negre  > Juliette Greco [Beware of Paris / Cherry Red]
Damn Nam (Ain’t Going to Vietnam) > Leon Thomas & Oliver Nelson [In Berlin / Bluebird/BMG]
La Violence face a la Violence > Daniel Cohn-Bendit [Cocktail Molotov 68 / Le Son Du Maquis]
Run Run Run > Velvet Underground [Cocktail Molotov 68 / Le Son Du Maquis]
Vertebrate Twist > Red Noise [Cocktail Molotov 68 / Le Son Du Maquis]
Music is a Revolutionary Force > John Sinclair et al. [Music is Revolution / Zenta ]
Rational Anthem > Gong [Cocktail Molotov 68 / Le Son Du Maquis]
Drapeau Rouge sur les Barricades / Mirror Mozarts > Red Noise [Cocktail Molotov 68 / Le Son Du Maquis]
Too Fortiche > Pierre Henry [Cocktail Molotov 68 / Le Son Du Maquis]
Star-Spangled Banner / Smashing Amps > Jimi Hendrix [Cocktail Molotov 68 / Le Son Du Maquis]
ZWI > 2Kilos&More [Entre3villes / Optical Sound ]

During my stay in Paris I had a day with Paloma when Nina wasn’t feeling 100% and I think I could impart a sense of Paris [any urban center] beyond its monuments and cliches. So I tried to explain some of the grafitti around by the University and other signals of resistance and insouciance. I told her about the riots that took place in the area around the university and why. I also told her about how artists related to the 1968 protests in lyrics and art and provocation. She just wants to know why people fight each other – she does not even want to contemplate the notion of man killing fellow man yet – and these are difficult questions to answer. Like why the Romans killed Jesus when we were at the Sacré Couer some years ago. At that time I answered he was a man [not a god] of peace and peace is threatening to certain people and interests.

Why am I playing May 1968 music in November 2009, 41.5 yrs later? Just because I bought this box CD while in Paris and I always love the street sounds of a righteous riot [on the level of water and bird sounds] but also to examine the whole idea of numerically determined anniversaries and how this remembrance game leads to the consumption of the very revolt being offered up, canceling the instinct I suppose. Are we learning from these contrived sound bites packaged as history? Perhaps. But placed in the correct [what is that?] context of rousing song, of critical analysis, of that delicate balance between intellect and emotion [a bit too much of either leading to spectacle] and so when you walk about Paris you walk that high wire between bourgeois and anti, attracted by the beauty that money has bought but attracted also by the grafitti that questions its hegemony. The streets are the place of dialogue, less an artery of traffic than lines of a kind of concrete and hypothetical text about how we negotiate our egos in the public domain.

What I do sense is that sound in the abstract as a strategy that leads to music can be inspiring without having to spell it out. Some sounds are clearly meant to provoke, awaken,  disturb, reorient, accompany images of resistance as soundtrack and so that is what I have tried to do here. The pop songs included on the Molotov cocktail 68 CD are a mixed bag of fun and frivolous, more like a blast from the past experience than actually enhancing or commenting on the issues or actions that took place in 1968. Some of the inclusions on the double CD are no doubt ironic or just fit on the timeline and marginalize the May 1968 issues or are commentaries on the issues as in fun is a right and distraction is all we have in life to make things relatively pleasing.

So the CM68 CD is dialectically mixed with other material from 1968 [a great year for revolt and even better for the commerce of revolt, but still a special year regardless of how much entertainment media try to spin it their way] such as Guy Debord’s audio work, various documentaries on the Situationists but also Chicago Transit Authority [later known simply as Chicago, a logo that identified a certain kind of pop-rock embroidered with some jazz. Their first is a genuine document made in the heat of the moment [good & bad], inspired by the revolutionary spirit. We also present the UK’s Bob Dylan entry, Donovan, who still sounds good [sonically and you can’t quibble with his message: war is bad] but also John Sinclair’s hippie/yippie dogmatism and some contemporary sounds from 2 Kilos. I mean the effect was massive with even composers like Pierre Henry and Luciano Berio  chiming in with their sounds of resistance and revolt along with the Yardbirds and jazz musicians like Charles Mingus and, here, Leon Thomas. That much of it is rhetoric [empty, presumptuous, or idealistic] does not diminish the fact that “something’s happening here” [Buffalo Springfield] but as Debord let us know, most of us don’t know what to do with it… But many suspected that something was wrong in 1968, really wrong, and I think we are at a similar junction here in 2009. Something is wrong, hugely wrong and it is up to us to make sure that we recognize those who have profited from it going terribly wrong…

Boredom is counterrevolutionary
• Situationist grafitti

The issue that society on every level fails to address when it comes to hooligans, juvenile delinquents, the scourge of society, petty criminality is this: boredom. Everyday life has lost its challenge except in how to avoid boredom but commerce has figured out a way to profit from the anxiety that comes with boredom: play that costs money, games, electronic or at amusement parks or organized sport – all have managed to convert the anxiety of boredom into profit. Extreme sports are everywhere and everywhere we remain bored: watching participating, recovering. Everyone should be bored to learn how to not be bored. By being sold salves, games, activities, and things to avoid boredom is to be doubly bored and poorer later.

Announcement: Destroy All Monsters; show “Hungry For Death” will travel to Space in London, where it will open on Friday January 22nd. As part of the show in Space there will be a Freek Summit on Saturday January 23rd of Edwin “Savage Pencil” Pouncey, John Sinclair, and Cary Loren. OUR FUTURE IS IN THE HANDS OF THESE FREEKS!

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