Tosh Berman's Blog, page 153

"Artaud the MOMA" by Jacques Derrida; Translated by Peggy Kamuf & Edited/Afterward by Kaira M. Cabañas (Columbia University Press)

ISBN: 978-0-231-18167-9Antonin Artaud, without a doubt, one of the fascinating figures out of French literature/drama.  Over the years, I have read pretty much everything by and on Artaud.  A very difficult subject matter because he's like a spirit than a human being.   Artaud, the artist/writer, is probably one of the most articulate individuals to describe the essence of his physical/psychological issues.  It seems everything he has done, even as an actor in films, is his porthole to his inner demons.  It's a fascinating match-up of having such a profound thinker like Jacques Derrida commenting on Artaud, his drawings, and also the relationship between having such an artist like Artaud, within the walls of the Museum of Modern Art (MoMA).  Which is the double-whammy in this book, because Derrida also questions the nature of a museum and what role it has in someone like Artaud. 
"Artaud the Moma," which is a pun or wordplay of Artaud's name for himself 'Mômo,' which is French slang for 'fool.'  Derrida's insightful, but a difficult reading of Artaud's drawings is a lecture he gave at MoMA in 1996 during the exhibition "Anton Artaud: Works on Paper."  I read this book in two settings, and it's only 94 pages long. Still, it's like listening to a great Be-Bop jazz musician tearing apart a traditional melody into little pieces, and then building it up again.   On the other hand, writing about Artaud's aesthetic and art is not a straightforward manner.  To write about such an artist one has to force themselves at the entrance of the gate, and work your way out to the backyard exit.  It's a fascinating journey, and Derrida's thoughts on Artaud's insanity as well as his superhuman effort to express himself, not only in the confines of his illness, but also in institutions such as mental hospitals, and there even museums. 

Chris Stamey Musician A Spy in the House of Loud on Tosh Talks

First of all, Chris Stamey, the songwriter, and performer is an essential listening experience. I first heard Chris Stamey when he had his band The Sneakers. I bought the 7" EP at Bomp Records in the San Fernando Valley sometime in 1977. I bought it because the song titles got my attention, for example, "Love's Like a Cuban Crisis" and "Non Sequitur." At the very least this band was literate and witty. Once at home, I became a life-long fan of The Sneakers. The next time, I was reading The New York Rocker, and I recognized the name, Chris Stamey when he started to work with Alex Chilton on his recordings during the post-punk years in New York City. Then like dominos falling, a series of independent records came out with Stamey's participation and solo singles and so forth.

For the majority of the readers here you may have heard his band The dB's, which for many were the ultimate in the power pop era of the very early 1980s. The thing with Stamey is one should never pigeon-hole him in one type of music social or aesthetic group. Besides his genius songwriting abilities, he also had ties in the experimental music world and had (or still has) a deep interest in Minimalist music, which comes through his own 'pop' material time-to-time. Stamey also served as a guest musician for numerous bands, as well as working as a record producer/arranger for others - still, when you associate with Stamey, you are on the side of his brilliance. "A Spy in the House of Loud: New York Songs and Stories" is a remarkable memoir focusing on his life in Manhattan and other parts of the New York state. Him being an observer as well as a participant in the CBGB's punk rock world, as well as the fascinating social world that was happening at that time.

There are plenty of reasons for reading "A Spy in the House of Loud," for example, it's another good personal account of life being a working or struggling musician in New York, as well as a practical how-to-do in that profession. Stamey puts great focus on what it's like working with brilliant musicians like Alex Chilton, Ray Davies (The Kinks), Big Star's Jody Stephens, Rayan Adams, Yo La Tengo, Richard Lloyd (Television, and another musician who wrote a fantastic memoir covering the same era and place), and R.E.M., among others. Although Stamey's work as an artist/songwriter is very melodic, he also has a sincere appreciation for the loud, the wild, and experimental - for instance, groups like the No-Wave band DNA. Stamey creative world is a broad landscape, and his memoir exposes the tensions between the music and the practical everyday existence of getting the dough together for making a record and touring life.

Stamey comes off in his book as a terrific guy, who cares about the music community and has a broadly educated response to music listening and music making. That said, I think Stamey's records and music is an essential listening experience. In other words, Stamey is the real deal. I'm a fan of his music. As well as this half-memoir and half-instructional book. - Tosh Berman, Tosh Talks

"Tosh: Growing Up in Wallace Berman's World" by Tosh Berman

The triumphs and tragedies of growing up as the son of a famous Beat artist.
Tosh is a memoir of growing up as the son of an enigmatic, much-admired, hermetic, and ruthlessly bohemian artist during the waning years of the Beat Generation and the heyday of hippie counterculture. A critical figure in the history of postwar American culture, Tosh Berman's father, Wallace Berman, was known as the "father of assemblage art," and was the creator of the legendary mail-art publication Semina. Wallace Berman and his wife, famed beauty and artist's muse Shirley Berman, raised Tosh between Los Angeles and San Francisco, and their home life was a heady atmosphere of art, music, and literature, with local and international luminaries regularly passing through.
Tosh’s unconventional childhood and peculiar journey to adulthood feature an array of famous characters, from George Herms and Marcel Duchamp, to Michael McClure and William S. Burroughs, to Dennis Hopper and Dean Stockwell, to the Rolling Stones, Neil Young, and Toni Basil.
Tosh takes an unflinching look at the triumphs and tragedies of his unusual upbringing by an artistic genius with all-too-human frailties, against a backdrop that includes The T.A.M.I. Show, Sgt. Pepper’s Lonely Hearts Club Band, Easy Rider, and more. With a preface by actress/writer Amber Tamblyn (daughter of Wallace’s friend, actor Russ Tamblyn), Tosh is a self-portrait taken at the crossroads of popular culture and the avant-garde. The index of names included represents a who’s who of mid-century American—and international—culture.

Praise for Tosh:
"This book is sublime: vertiginous, melancholy, highly amusing!"—Johan Kugelberg, Boo-Hooray

Publisher City Lights Publishers
Format PaperbackNb of pages 226 p. ISBN-10 0872867609ISBN-13 9780872867604
To order from City Lights:  http://www.citylights.com/book/?GCOI=87286100746120&fa=description

Duncan Hannah Artist 20th Century Boy on Tosh Talks

http://tamtambooks-tosh.blogspot.com/... to read the review.

"20TH CENTURY BOY: Notebooks of the Seventies" by Duncan Hannah (Knopf)

ISBN: 9781524733391
Although a few years older than me, and the fact that we never met, until I had him sign his book at a public event, I feel somehow I know Duncan Hannah. I first discovered his artwork through Dennis Cooper's fantastic blog, and his paintings just spoke to me directly. First of all, I have a thing for illustrations from the mid-century, especially drawings from the various titles of the Hardy Boys, and somehow Hannah's work reminds me of that type of work. But done on a plane that's serious art but still humorous. In that blog I saw various photographs of Hannah, and it struck me as a dandy who lived in harsh circumstances, yet, kept his chin up and his hair marvelously cut. His sense of style and some of the artwork reminded me of this dandy art duo David McDermott and Peter McGough, who not only dressed from the past but also their artwork went back to the 1920s or even earlier. But their work has a contemporary edge, just like Hannah's paintings. I should have been surprised, but reading Hannah's book, he was or is a friend of McDermott.
Still, this is not imitation, but the meeting of the minds at work here. Hannah was born straight and foppish. It's in his nature and this is why his notebooks of the crazed 1970s in New York City is so thrilling. In essence, he has character, or I should say, if I were a movie producer, he has that "It" quality. The reason why I feel like I know or should know him is that it's uncanny we have the same taste in literature and music. I know, because he lists all his listening and reading material on a regular basis in this book. Which is not tedious to read, but essential to know, because his taste is very much what is Duncan Hannah. The fact he paints portraits of his literary and cinematic heroes is another self-expression. I suspect that these works are self-portraits more than anything else. And I say that not as a criticism, but as praise.

"Twentieth-Century Boy" is Hannah's journal, and it's not a memoir. It reads like one is experiencing these adventures at the instant it happened, and his reflection is only seconds or hours after the incident. Sexual in nature, and always curious about an adventure, Hannah from the very beginning had or still has high standards. His sexual fun is enticing, and a joy to read, but also his encounters with the great from Bryan Ferry to Bowie to Dali to Warhol to Debbie Harry, and beyond, to the various artists who lived and operated in Lower Manhattan during that era are excellent co-stars in his book.

What's surprising is that he very much led the life of a desperate alcoholic, yet, by his photographs, he didn't look drunk. He was always well-dressed and has an exceptional self-awareness. Perhaps he's blessed. Nevertheless, he's a hero of mine. I don't have a brother, but in my head, he's the older brother to look up to. Praise Duncan Hannah and his book "Twentieth-Century Boy."

"20TH CENTURY BOY: Notebooks of the Seventies" by Duncan Hannah

Although a few years older than me, and the fact that we never met, until I had him sign his book at a public event, I feel somehow I know Duncan Hannah. I first discovered his artwork through Dennis Cooper's fantastic blog, and his paintings just spoke to me directly. First of all, I have a thing for illustrations from the mid-century, especially drawings from the various titles of the Hardy Boys, and somehow Hannah's work reminds me of that type of work. But done on a plane that's serious art but still humorous. In that blog I saw various photographs of Hannah, and it struck me as a dandy who lived in harsh circumstances, yet, kept his chin up and his hair marvelously cut. His sense of style and some of the artwork reminded me of this dandy art duo David McDermott and Peter McGough, who not only dressed from the past but also their artwork went back to the 1920s or even earlier. But their work has a contemporary edge, just like Hannah's paintings. I should have been surprised, but reading Hannah's book, he was or is a friend of McDermott.

Still, this is not imitation, but the meeting of the minds at work here. Hannah was born straight and foppish. It's in his nature and this is why his notebooks of the crazed 1970s in New York City is so thrilling. In essence, he has character, or I should say, if I were a movie producer, he has that "It" quality. The reason why I feel like I know or should know him is that it's uncanny we have the same taste in literature and music. I know, because he lists all his listening and reading material on a regular basis in this book. Which is not tedious to read, but essential to know, because his taste is very much what is Duncan Hannah. The fact he paints portraits of his literary and cinematic heroes is another self-expression. I suspect that these works are self-portraits more than anything else. And I say that not as a criticism, but as praise.

"Twentieth-Century Boy" is Hannah's journal, and it's not a memoir. It reads like one is experiencing these adventures at the instant it happened, and his reflection is only seconds or hours after the incident. Sexual in nature, and always curious about an adventure, Hannah from the very beginning had or still has high standards. His sexual fun is enticing, and a joy to read, but also his encounters with the great from Bryan Ferry to Bowie to Dali to Warhol to Debbie Harry, and beyond, to the various artists who lived and operated in Lower Manhattan during that era are excellent co-stars in his book.

What's surprising is that he very much led the life of a desperate alcoholic, yet, by his photographs, he didn't look drunk. He was always well-dressed and has an exceptional self-awareness. Perhaps he's blessed. Nevertheless, he's a hero of mine. I don't have a brother, but in my head, he's the older brother to look up to. Praise Duncan Hannah and his book "Twentieth-Century Boy."

"A Spy in the House of Loud: New York Songs and Stories" by Chris Stamey (University of Texas Press)

ISBN: 978-1-4773-1622-1 First of all, Chris Stamey, the songwriter, and performer is an essential listening experience.  I first heard Chris Stamey when he had his band The Sneakers. I bought the 7" EP at Bomp Records in the San Fernando Valley sometime in 1977.   I bought it because the song titles got my attention, for example, "Love's Like a Cuban Crisis" and "Non Sequitur."  At the very least this band was literate and witty.   Once at home, I became a life-long fan of The Sneakers.  The next time, I was reading The New York Rocker, and I recognized the name, Chris Stamey when he started to work with Alex Chilton on his recordings during the post-punk years in New York City.  Then like dominos falling, a series of independent records came out with Stamey's participation and solo singles and so forth. 
For the majority of the readers here you may have heard his band The dB's, which for many were the ultimate in the power pop era of the very early 1980s.  The thing with Stamey is one should never pigeon-hole him in one type of music social or aesthetic group.   Besides his genius songwriting abilities, he also had ties in the experimental music world and had (or still has) a deep interest in Minimalist music, which comes through his own 'pop' material time-to-time.  Stamey also served as a guest musician for numerous bands, as well as working as a record producer/arranger for others - still, when you associate with Stamey, you are on the side of his brilliance.   "A Spy in the House of Loud: New York Songs and Stories" is a remarkable memoir focusing on his life in Manhattan and other parts of the New York state. Him being an observer as well as a participant in the CBGB's punk rock world, as well as the fascinating social world that was happening at that time.  
There are plenty of reasons for reading "A Spy in the House of Loud," for example, it's another good personal account of life being a working or struggling musician in New York, as well as a practical how-to-do in that profession.   Stamey puts great focus on what it's like working with brilliant musicians like Alex Chilton, Ray Davies (The Kinks), Big Star's Jody Stephens, Rayan Adams, Yo La Tengo, Richard Lloyd (Television, and another musician who wrote a fantastic memoir covering the same era and place), and R.E.M., among others.   Although Stamey's work as an artist/songwriter is very melodic, he also has a sincere appreciation for the loud, the wild, and experimental - for instance, groups like the No-Wave band DNA.  Stamey creative world is a broad landscape, and his memoir exposes the tensions between the music and the practical everyday existence of getting the dough together for making a record and touring life. 
Stamey comes off in his book as a terrific guy, who cares about the music community and has a broadly educated response to music listening and music making.  That said, I think Stamey's records and music is an essential listening experience.   In other words, Stamey is the real deal.  I'm a fan of his music.  As well as this half-memoir and half-instructional book. 

Thom Andersen in conversation with William E. Jones for "Slow Writing" (Visible Press) at ARTBOOK @ Hauser & Wirth Los Angeles

I have been proudly hustling for this upcoming event at ARTBOOK @ Hauser & Wirth Los Angeles. It's coming up this Sunday at 4p.m. It's will be a chat between the great filmmaker and teacher Thom Andersen and artist/author/historian William E. Jones. The purpose is to promote Thom's excellent (and I mean really excellent) book of essays "Slow Writing" regarding film and the by-products of that culture. Bill is equally a fine thinker/conversationist and the two of them is like that daydream of people choosing dinner guests - either live or dead and it will be the greatest dinner conversation ever. Will, the daydream has come alive! These two would be my choice for the perfect dinner conversation. The event is free, and you get to visit the wonderful galleries that are Hauser & Wirth, as well as the fine restaurant/bar on the premise. A total win-win for a late Sunday afternoon get together. I can't recommend this highly enough. -Tosh Berman

A Tokyo Romance by Ian Buruma on Tosh Talks

Over the years, and especially going back and forth from Japan, I have read many books by fellow Americans and some British citizens on their time spent in Japan. A lot of them are crap. The ones that stand out are the ones that wrote about Japanese cinema and literature. The girls or guys who went there to get a job as an English teacher are usually not that interesting, but alas, those who are devoted to a specific Japanese artist or thinker, then yes I very much enjoy that type of book. There are two writers that I love when they write about Japan - Donald Richie and the other fellow is Ian Buruma.

Buruma wrote a fascinating book called "Behind the Mask," which is an excellent book on some of the darker elements of Japanese literature and the arts. His new book "A Tokyo Romance: A Memoir" accounts for his time spent in Japan to study cinema, but mostly the theater arts of Kara Juro, an avant-garde playwright, with his theater group in Tokyo. Similar to temperament but not precisely in style as Terayama Suiji. Buruma knew both men, and it's his unique point-of-view, due that he was a foreigner, being involved with Kara's theater group. A lot of foreign writers have written about the oddness of one being part of Japanese society, or living in Japan, and finding it alienating. But then again I think that's the nature of the Western fellow or girl. We're raised to be apart than together, and therefore lies the situation of such countries in Asia and elsewhere.

What makes this book unique for me is that I share Buruma's interest in the Japanese arts, and spending time there as well, I can identify in what he writes about, in regards of living there and appreciating the same sort of artists/writers. Also, the book is full of fascinating figures, some know and some entirely new to me. Donald Richie is a writer I know quite well through his writings in various articles (mostly in the Japan Times) as well as reading his books on Japanese cinema. His Journals are without a doubt, the classic work by him. He is a guy who knew everyone from Ozu to Mishima, and also a gay man living in Tokyo. His insights into the Japanese culture, but also his somewhat detached views are excellent observations of life around him. In that sense, he reminds me of Paul Bowles' travel writing. Buruma shares the same interest as Richie, and is also, a fantastic prose writer. His commentary on Richie, who sort of led him through Tokyo when he first arrived, is a fascinating tour of the metropolis. The second personality of interest is the Actress Yamaguchi Yoshiko. She started her career during the war years making a propaganda film in China, where she was identified as a Chinese actress. But alas, no, she's Japanese and eventually went on to star in the American Film "House Of Bamboo" directed by Sam Fuller. The book doesn't mention it, but she was also married to the artist Isamu Noguchi. Yamaguchi eventually became a member of the Japanese parliament for 18 years and had a TV show where she focused on and interviewed such characters as Mao, Idi Amin, and Kim Il-sung.

"A Tokyo Romance" is a book full of fascinating people, and Buruma himself is interesting because he is also an individual who is half-Dutch and half-English, so he's very much a bi-cultural, or maybe at this point, since he lives in New York City now, a tri-cultural figure. With his background, he has an understanding of what it's like to be in a culture that is very singular in focus and design. A classic book on Japan, but also a rare text in English on the world of Terayama and Kara Juro.


-Tosh Berman

"Late Fame" by Arthur Schnitzler / Translated by Alexander Starritt (NYRB)

ISBN: 978-1-68137-084-2There are writers out there who make me feel that I'm wearing a bullseye sweatshirt, and through their writing/work, they make a direct hit on the bullseye.  The great Austrian author and playwright Arthur Schnitzler is one of the writers that get to me on a personal level on a consistent basis through his narratives.  Like Patricia Highsmith, Schnitzler had the ability to get in one's skin, and once placed there, you can't remove the rash.  Not saying he's like a disease, but more of a writer who can look at a system or a social group and understand their dynamics.  In that sense, he also reminds me of Fassbinder the filmmaker.  Still "Late Fame" is a very funny book on a serious subject matter of regret and how one is accepted into a social world. 
The main character is Eduard Saxberger, an office worker, who one time in his youth, wrote a book of poems "Wanderings" that was published and equally forgotten. Decades later, he eventually meets a young poet/writer who is a fan of this one book and invited Saxberger to be part of his (or their) literary group.  So, after an old man who once was a (failed) poet, has another chance into a literary world, seems promising, but alas, life has its many disappointments. 
Both a satire on literary groups in Vienna, as well as how one sees themselves as time goes marching by.  It's very much an older man's piece of literature, and now that I have reached a certain age, I really identify with some aspects of Saxberger's existence.  But don't we all?