Friday, July 6, 2007

My Diary July 6, 2007

I had a strange dream this morning that a friend of mine took over a record store and held everyone hostage. My 'take' on the whole thing was 'wow, why is he doing that?' The record store is also a place that I dream about, but it doesn't actually exist. It's weird how detailed dreams are, especially on locations that are only in your head. I am not sure but I think the store is based on Aarons Record Store when it was located on Melrose Avenue.



I also have a made-up newsstand that I dream about time-to-time. That after many years I realized is based on the newsstand in Farmer's Market on 3rd Street. I rarely ever dream of actual places. For instance I have no memory of dreams taking place in my studio or home. Nor at work.





I am going to go over the inventory of my father's (Wallace Berman) artwork this morning. We are going to make choices regarding the solo show that will take place in Paris next year. It makes me nervous to go into my past in such an intense manner. But then again, I have been revisiting the past via my memoir, the Semina Culture exhibition and so forth. I am happy that I am involved with TamTam Books, which deals with someone else (Boris Vian's) life and times. But as I mentioned I feel that my Father and Vian run in the same circles, just in a different country and culture. But one that mirrors each other.



Paul Knobloch mentions that there is always a double in Vian's work, and I see things in that light. The people I publish I really see a lot of myself in their work. It is not an obsessive weird issue with me, but there are strains of Vian, Gainsbourg and Debord that runs through me in various ways.

I think very shortly I will see some artwork for Vian's "To Hell With the Ugly." I am going to have this book illustrated and I am extremely excited about this. So is Paul. I feel that this is the right thing to do. Great things are ahead.

Tuesday, July 3, 2007

Jean-Sol Partre = Jean-Paul Sartre



For all of you Jean-Sol Partre fans you may want to check out the new book release by Jean-Paul Sartre. As you know, Boris Vian in ‘Foam of the Daze’ has a hysterical scene where Partre gives a lecture where a lot of crazy things took place. Well, you now be happy to know that the incident that Vian based his fantasy is now out. The actual speech that Sartre gave in Paris 1945 is called “Existentialism is a Humanism.” A must for you who collect everything by Vian ….and Sartre as well.

Sunday, June 24, 2007

Our Song Selection for the BORIS VIAN SALON at City Lights Books

As promised, here are the recordings (on a cd-r) that will be given out to people who purchase a Boris Vian title at City Lights Bookstore this coming Thursday June 28. Only 30 were made - and it's first come first serve. Most of the recordings are very rare.

The song list:

Boris Vian night at City Lights 6/28/2007


1) J' Suis Snob............. Boris Vian (Live)

2) Les joyeux bouchers.............Boris Vian

3) J'suis Un Monstre De Perversite...............Belle du Berry

4) La Valse Jeune...................... Philippe Clay

5) Les Jouex Bouchers...... Les Garçons

6) Duke Ellington, Boris Vian et Maurice Culaz (a radio conversation between Vian and Duke Ellington)

7) Dada Strain ........... Boris Vian

8) Fais-Moi Mal Johnny........Magalie Noel

9) Le Temps Passe "Reflets D'ombre"........ Magalie Noel

10) Blues de Memphis...... Alain Goraguer (soundtrack to J’irai cracher sur vos tombs)

11) Générique..............Alain Goraguer (soundtrack to J’irai cracher sur vos tombs)

12) Théme d'amour........Alain Goraguer (soundtrack to J’irai cracher sur vos tombs)

13)Théme de Liz.............Alain Goraguer (soundtrack to J'irai cracher sur vos tombes)

14) Blues de Memphis.......Alain Goraguer (soundtrack to J'irai cracher sur vos tombes)

15) Surprise-partie au bord de l'eau.......Alain Goraguer (soundtrack to J'irai cracher sur vos tombes)

16) La Valse Jaune.......Annick Cisaruk

16) La Java Des Bombes Atomiques...........Andre Popp

Saturday, June 23, 2007

TamTam Books’ Event at City Lights Bookstore: Boris Vian Salon

Boris Vian Salon
Thursday, June 28th, 7 pm

Boris Vian Salon
with Tosh Berman and Boris Vian translator Paul Knobloch



Join City Lights and Tam Tam Books in celebrating an evening of readings and discussion revolving around the life and work of Boris Vian. Vian was a French writer, poet, singer, and musician who’s works were often highly controversial and who’s performance of jazz songs gained the admiration of many famous personalities. He is the author of I Spit On Your Graves, Foam of Daze, Autumn in Peking, as well as several other books. He was also the French translator of Raymond Chandler. Tosh Berman, publisher of Tam Tam Books, and Vian translator Paul Knobloch will present an evening of readings, recorded music, and lively discussion about this enigmatic figure in the world of French literature and pop culture. We will explore the realms of jazz, dark nightclubs, alcohol, the pleasure of sexual encounters, the first sting of love, the beauty of destruction, transgressive writings, and much more. For these are the things that Boris Vian was made of.

Tosh will also be making a limited edition CD-R of rare Boris Vian recordings to be given out to those who purchase a Boris Vian book during the event. First come first serve. Very limited edition. 30 copies and that’s that!

261 Columbus Avenue at Broadway, San Francisco, CA 94133
Phone: (415) 362-8193

Tuesday, May 29, 2007

TamTam Books’ Tosh Berman in New York City for "Wallace Berman Photographs"





WALLACE BERMAN: PHOTOGRAPHS LAUNCH AT SPOONBILL & SUGARTOWN

For your editorial consideration Contact: Molly Cain
212--627-1999 x203 mcain@dapinc.com

EVENT DATE: Tuesday, June 19th, 2007 at 7 pm

WHAT: The new book Wallace Berman: Photographs will be discussed by Wallace’s son Tosh Berman; film footage and outtakes from Wallace Berman's film "Aleph" will be screened. See details below.

WHERE: Spoonbill & Sugartown, Booksellers
Located in Williamsburg, Brooklyn on Bedford Avenue between North 4th and North 5th Streets

Admittance is free and open to the public. Wine will be served.

Tosh Berman, son of the artist and photographer Wallace Berman, will discuss the stories behind the photographs of his late father, recently published by D.A.P. and RoseGallery, in Wallace Berman: Photographs. Tosh Berman will also read excerpts from his own memoir, My Struggle, that reference the period during which these photographs were taken. Film footage and outtakes from Wallace Berman's film "Aleph", recently preserved by the Film Anthology in New York City, will be screened before and during the evening’s talks and readings.

ABOUT THE BOOK…

Wallace Berman: Photographs
Edited and introduction by Kristine McKenna and Lorraine Wild
Published by RoseGallery, Los Angeles

The quintessential visual artist of the Beat generation, Wallace Berman's influence has continued to radiate throughout the American art scene and in our popular culture since the 1950s. As an artist, Berman worked in relative obscurity up until his premature death, at the age of 50, in 1976. Since then, however, interest in his work, and recognition of its importance, have steadily increased. The subject of the recent—and highly lauded—traveling exhibition and accompanying catalogue, Semina Culture: Wallace Berman & His Circle, he was the central and binding figure in a diverse community of artists, poets, actors and musicians, and was revered for his wisdom as well as his achievements as an artist, publisher and filmmaker. However, until the 1999 discovery of an archive of his photographic negatives, very few people have known that Berman was also an extremely accomplished photographer. He documented the West Coast Beat culture of the 1950s, the first stirrings of the hippie culture that took root in the canyons of Southern California in the 60s and the diverse cast of characters who passed through his famously creative world with amazing intimacy and candor. Berman's photographs are gathered here for the first time ever.

Wallace Berman: Photographs, Published by RoseGallery, Los Angeles and D.A.P./ Distributed Art Publishers,
Distributed by D.A.P./Distributed Art Publishers, Inc., ISBN: 9781933045610, Price: $50.00

D.A.P. 155 6th Avenue, Fl. 2, New York City, 10013

Thursday, May 3, 2007

Translation of AUTUMN IN PEKING by Boris Vian; as well as Brigitte Bardot




Paul Knobloch, my faithful brilliant translator did an amazing presentation last night at Cal Long Beach. Basically he showed examples of his work and compared it with the original French text by Boris Vian. In detail, he talked about word choice, and how to deal with various phrases in Vian's work. Translating Vian is very very difficult. Due to Vian's play with words and images. As you can gather I am very much impressed with Paul's presentation and his work for me. Remarkable!

Finding the right person for the right job is also a skill, and lately I have been really good at it. Paul and I connected to not only our love for Vian's work, but also a love for Vian's time and Paris circ. late 40's and early 50's.

For me it is amazing to throw one self into another era to study the lives and the works of its citizens. To be a great translator you have to be a fantastic writer. There is no way around it. You can't cheat on this. Also one has to get into the head of the writer you are translating. And not only that, but you also have to be aware of the situations and particular desires of that era or time that the book was written.

My small role last night was to give a brief introduction to the world of TamTam Books. I told the audience (mostly academic teachers or their students) that I first became involved in TamTam due to my first trip to the cinema with my Dad.



He took me to see Roger Vadim's "And God Created Woman" with Brigitte Bardot. It is without hesitation that I can say Bardot was the most important woman (besides my Mother) in my life. I feel seeing Bardot on a big screen set me for life. Therefore lead me to a life as a publisher and a lover of French pop culture. It has been an adventure of sorts, and as the years pass, the passion gets more intense.

Tuesday, May 1, 2007

Jacques Tati film festival in Los Angeles





Jacques Tati is one of m all time favorite filmmakers....No, let me take that back. He is my favorite everything. There will be a retrospecstive of his work at the Aero Theater in Santa Monica, and if you don't see it, then you are a loser. It is that simple.

At the Aero Theatre
1328 Montana Ave
Santa Monica, CA 90403




Tickets are available on www.fandango.com or 2 hours before the screening at the Aero Theatre Box Office.





Wednesday, May 2 - 7:30 PM
In 70mm! PLAYTIME, 1967, Janus Films, 126 min. Dir. Jacques Tati. Another chance to see the fully restored Jacques Tati masterpiece PLAYTIME, which was conceived originally as a 70mm viewing experience, then lost for over 30 years (there were only 35mm prints left of a cut version), and finally rescued by Tati's daughter Sophie Tatischeff and Jerome Deschamps. Monsieur Hulot must contact an American official in Paris, but he gets lost in a stylish maze of modern architecture filled with the latest technical gadgets. Caught in a tourist invasion, Hulot roams around Paris with a group of American tourists, causing chaos in his usual manner. Gilles Deleuze concisely states that in PLAYTIME Tati "spreads Mr. Hulots everywhere, forms and breaks up groups, joins and separates characters, in a kind of modern ballet." A "ballet" Noël Burch would famously proclaim "not only begs for multiple viewings, but demands to be seen from several different seats in the auditorium." The star of the film: the city built by Tati and called Tativille/Taticity. From surprise to surprise, it’s an exquisite and divine experience! François Truffaut, writing to Jacques Tati about PLAYTIME, said simply, "A film from another planet." In French and English. Also playing May 6.






Thursday, May 3 - 7:30 PM
THE BIG DAY (JOUR DE FETE), 1947, Janus Films, 79 min. Jacques Tati’s feature debut as director is a priceless showcase for his comedic talents as he plays a mailman attempting to streamline delivery in his small town. But he soon finds his attempts at modernization and a coincidental Bastille Day celebration don’t mix. Tangible proof that Tati remains -- along with Chaplin, Keaton and the Marx Brothers -- as one of the pantheon comic geniuses of the 20th Century. Originally filmed in Thomson-Color, a tentative French alternative to Technicolor, JOUR DE FÊTE was shot simultaneously in black-and-white as a precaution. Eventually, trouble with the new color process led Tati to release this second, backup version. The film proved a commercial and critical success, yet that didn't stop Tati from returning to the film in the mid-1960’s, re-editing the picture, remixing its soundtrack and even shooting new footage for it. Until a 1995 "restoration" of the film's intended, original color version carried out by Tati's daughter Sophie Tatischeff and cinematographer François Ede, the 1964 JOUR DE FÊTE was the sole version in circulation. Plus, prior to feature film: three rare shorts co-written or directed by Tati, all starring Tati: René Clement’s "Soigne Ta Gauche," 1936, 20 min. Tati’s "School For Postmen" (L’Ecole Des Facteurs), 1947, 18 min. Nicolas Ribowski’s "Evening Classes" (Cour Du Soir), 1967, 30 min.





Friday, May 4 - 7:30 PM

Double Feature:

MON ONCLE, 1958, Janus Films, 110 min. Winner of a Special Jury Prize at the Cannes Film Festival. The New York Times' Vincent Canby once described Jacques Tati's M. Hulot alter-ego as "a kind of fixed point in a view finder with which we are able to put the rest of the world into properly hilarious focus." This is no less true than in Tati's Academy Award-winning MON ONCLE. Following the commercial and critical success of 1953's M. HULOT'S HOLIDAY, Tati set Hulot packing for the suburbs. Rendering Le Corbusier's proclamation that a house is "a machine for living in" literally, Tati's Hulot bumbles through modernity's "gadgeted and pushbuttoned realms," to use New York Times critic Bosley Crowther's apt description of the factory floor and the family home. There Hulot commiserates with his young nephew on the awkward and always comic affects of modernism – such as lawn paths that wind like couture runways or oval windows that resemble cartoon eyes peeping down on visitors. Though Tati would make the claim in a 1968 Cahiers du Cinema interview that he "went a little astray with MON ONCLE" it remains one of his most beloved films.



MR. HULOT’S HOLIDAY (LES VACANCES DE MONSIEUR HULOT), 1953, Janus Films, 85 min. Dir. Jacques Tati. Tati’s first film as Monsieur Hulot, one of cinema's great comic personas, finds the irascible Frenchman going to a resort town for a vacation and chaos predictably ensues. A warm and whimsical hymn to the joys of life and the funny little things continually happening around us we often fail to notice. Both films in French with English subtitles.





Saturday, May 5 - 7:30 PM

Ultra-Rare Double Feature:

TRAFFIC, 1971, Janus Films, 96 min. Jacques Tati reinstates M. Hulot as a protagonist, returning to the bucolic charm of his first feature (1949's JOUR DE FETE) and, in the words of Michel Chion, its subsequent "rediscovery of roads, nature, cows, trees, and meadows." Hulot is assigned with escorting a prototype for a ridiculously gadget-addled, super-deluxe camper from its French factory to the International Automobile Show in Amsterdam. Of course, a comic set of obstacles, detours and mishaps sets the caravan reeling. Another one of Tati's astute appreciations of "the odd beauty that can be revealed in the shapes, patterns and colors created by the technology of planned obsolescence." - Vincent Canby, The New York Times


PARADE, 1974, Janus Films, 84 min. Rarely screened, PARADE is likely the least seen of Jacques Tati's works. Freed from the persona and its ancillary mannerism that he had inhabited onscreen for twenty years, Tati returns to the vibrant pantomiming and giddy clowning of his youth as a music-hall star. Shot on video and originally intended for Swedish television, PARADE is described by critic Jonathan Rosenbaum as "deceptively modest and boldly experimental." Called at times a pseudo-documentary, it depicts a circus performing for a small audience on a soundstage. Maintaining TRAFFIC's exploration of close-ups, hidden cameras and the telephoto lens in general, PARADE is likened by Serge Daney to "a luminous trail of colors in an electronic landscape." Tati would never direct another film, much less produce another television program. Yet PARADE remains a fascinating sketch of what Tati on the tube could have been. Plus prior to the feature films: "Forza Bastia 78," 2002, 26 min. Jacques Tati’s lost short rediscovered and edited by his daughter Sophie Tatischeff. Both films in French with English subtitles.



Sunday, May 6 - 7:30 PM
In 70mm! PLAYTIME, 1967, Janus Films, 126 min. Dir. Jacques Tati. [See description May 2 – Aero]





And the above photo is Tati with my all-time favorite band Sparks.

"Paris Noir" by Jacques Yonnet



The "Paris Noir" book I am reading is a very interesting piece of work. Written during the French Occupation, this non-fiction book exposes a sub-culture that was lurking in the shadows of Paris during the early 40's. I am kind of in awe and struck by how there is the straight powerful society/culture and then there are the little mice that organize among themselves to survive their environment. It's a fascinating document!

Sunday, April 29, 2007

Jean-Luc Godard's fantastic "Histoire(s) du cinéma"





Yesterday I spent the late afternoon and night watching Jean-Luc Godard's "Histoire(s) du cinéma," which to put it simply is an amazing piece of work.



The title is correct but they should add Godard's name with the title, because it is cinema history through his eyes and a reading of the great 20th Century art form. I say 20th Century, because I think the cinema is pretty much a dead affair compared to the medium that I was raised up with in the mid-20th Century to now. Moving images now seem to belong to another art form, and I don't think movie houses will last long. Which is both a shame and in another sense an act of murder.




But back to Godard's film or video, it is pretty much a juxtaposition of the horrors of the last Century mixed in with the popular art - and the dialogue between art and 'life.' Godard has a unique way of looking at the world, and his medium of cinema/video is a specific tool to dig out and study the images that are produced outside his work. Images of war, death, destruction, and pornography all play a role in this genius' lab. What he produces from all of this is a deep meditation on how the media reflects on images that are too terrible to comprehend. The fact that he does this with great wit, charm and strong viewpoints is what makes Godard one of the great artists from the 20th Century.



All images above are from Jean-Luc Godard's "Histoire(s) du cinéma" The DVD boxset is out in France. Not sure if there are any English subtitles on the French boxset.

Sunday, April 22, 2007

ICEBERG SLIM by Tosh Berman




What is the definition of ultimate cool? The answer is Iceberg Slim. He was a pimp, drug addict, prisoner, and writer. He's called Iceberg because he never showed any emotion to his whores and low life business associates. He's bad-assed, sexy, straight forward, and a master of inner gender relationships. He could make any woman a slave, and he could pull off the ultimate cons. Iceberg Slim is the man. He is also one of the great American writers. No, not just a great African American writer, but a great writer in any genre, country, or race.

Born as Robert Beck in 1918, he became Iceberg Slim by emulating his ultimate role model - the neighborhood pimp in Chicago circa 1940's. When he saw the Pimps in his neighborhood with their nice clothes, big cars, and foxy hos, he knew that was the life to lead. In quick succession, Iceberg became a Pimp, and a student of con games, and a first-rate psychologist who understood what women wanted in life. What women wanted was to hump (fuck customers AKA tricks) on the streets and give the entire mo to Iceberg. Life was perfect. Unfortunately, Iceberg had an I. Q. of 162. Also he felt a sense of guilt for what he was doing to his women, and specifically - Black women.

He quit the Pimp game when he turned 42, an age which was considered over the hill in that particular occupation. After time spent in prison and a damaging drug addiction, he moved to Los Angeles and took care of his Mom, who was dying. Her death seemed to seal Iceberg’s interest in the straight life. He got a job selling Insecticide – similar to another over-the-hill would-be writer who changed the landscape of modern literature: William S. Burroughs.

Within three months Iceberg wrote PIMP. He then went to Holloway House Publishing Company specializing in black literature and culture, and dropped off his manuscript. As they say, the rest is history.



PIMP (1967) is the ultimate look at the whore trade. Iceberg, with his command of the rich language of the black ghetto (there’s a glossary at the end of the book) tears into the rich philosophy of the pimp. A Pimp is not allowed to show emotion to his whores, and Iceberg was the extreme expression- thus earning him a nickname that prefigures rap avatars two decades hence.

According to the Ice, "a pimp is happy when his whores giggle. He knows they are still asleep...All whores have one thing in common just like the chumps humping for the white boss. It thrills 'em when the pimps makes mistakes. They watch and wait for his downfall. A pimp is the loneliest bastard on Earth. He's gotta know his whores. He can't let them know him. He's gotta be God all the way."

All seven of Iceberg's books are great, but in my mind, his one total masterpiece is MAMA BLACK WIDOW. This book written in 1969 is the ultimate crazy melodrama. If you compare his work to a film (and all his books are cinematic in its vivid imagery) I would have to compare it to the works of John Waters or better yet, Ed Wood.

Plot wise, the book is beyond kitsch, but the language and the violence of his images are amazing. How's this for a description:

"The fiend had hacked off her nose to the whitish bone of the
bridge, and her lips had been raggedly slashed away to give the awful visage a grisly blood stained grin. Where her breasts had thrusted, there were blackened stumps." This is one of the nicer moments in MAMA BLACK WIDOW.

The story is about a black homosexual queen whose Mom accidentally kills one of her twin daughters and her unborn baby during a do-it-yourself-with help-from-your-mom-even-though-I-want-my-half-German-white-baby-abortion.

Plus you have the other twin sister, a whore, killed by a sex manic trick, whose date was arranged by a 'white' pimp. Why stop there! The homosexual queen's brother decides to commit revenge for his sister’s murder, and ends up getting life in prison. Oh, and then you have the father, who ends up as a total loser and drunk, or as the main character comments ". My reason for telling my story is not money. I'm doing it for my poor dead Papa and myself and the thousands of black men like him in ghetto torture chambers who have been and will be niggerized and deballed by the white power structure and its thrill-kill police."

Of course, the homosexual queen goes through one bad relationship after another, including a horrible gang rape in prison, and basically tells the tale of being black, gay, and living the poor life in Chicago1946.

The saddest book is THE NAKED SOUL OF ICEBERG SLIM. This collection of essays places him firmly with the black militants of the 60's and 70's. Beck spent his final years lecturing at schools and collages, trying to sway others from the pimp life. He fully embraced the imagery, the passion, and fury of the black movement of the day, but unfortunately, the Black Panthers saw Iceberg Slim as a relic from a horrible, bygone era in Black history.

Iceberg tried to come to terms with his past, yet there was great
sorrow that he can't be part of a movement that reinforced a more positive image of the black man. Ultimately, Robert Beck was full of regret for being Iceberg Slim.

The 'naked soul' had seen what was (and still is) happening to the black world, and he was sick with grief and despair. His way out of that despair, or least his way to express it, was to become a writer.

THE NAKED SOUL OF ICEBERG SLIM is one of the better books by a writer dealing with writing. What he offered was a first-person vantage on an era where blacks had to survive by what one might be called 'questionable' means. One thing that remains clear in all of Iceberg’s books is the need to survive at any cost.

Iceberg Slim sold six million books, mostly in black communities.
What is criminally insane is that his work is not well known in mainstream white America. At the very least his work matches up with the likes of Jim Thompson, David Goodis, and other great 'hardboiled' crime writers.

Iceberg Slim is also the Godfather of Blackplotation. Without
him, there would be no Superfly or Shaft. He also looms over the hip-hop world - not only with his ultra- cool image, but also with the sheer power of his language, which reads like butter melting on a hot toast. Like another Black icon, James Brown, Iceberg was a genius that defined his own era with unique artistry.

Iceberg Slim died in 1992, from liver failure.

THE BOOKS OF ICEBERG SLIM:

PIMP (1969)
MAMA BLACK WIDOW (1969)
TRICK BABY (1967)
AIRTIGHT WILLIE & ME (1979)
LONG WHITE CON (1977)
DEATH WISH (1977)
THE NAKED SOUL OF ICEBERG SLIM (1971)





All books are available through Holloway House Publishing Co.

RECORDINGS:

REFLECTIONS (1994, Infinite Zero Archive)



-

Wednesday, April 18, 2007

FOAM OF THE DAZE Art Exhibtion in New York City



Marilyn Minter, Unarmed (Pamela Anderson), C-print, 36 x 50 in, 2007.



Georganne Deen, Final Clearance, oil on linen, 20" x 16", 2007

It makes my heart warm to know that there is an art exhibition opening this month called "Foam of the Daze." Here's the info from their press release:

FOR IMMEDIATE RELEASE
OPENING OF SMITH-STEWART
INAUGURAL EXHIBITION: "FOAM OF THE DAZE"
RECEPTION: APRIL 20TH 6-9PM

April 20 – May 20, 2007 HOURS: Wed. – Sat. 12 PM – 6 PM
Artists: Georganne Deen, Kate Gilmore, Alex Hubbard, Ignacio GonzalezLang, Marilyn Minter, Ylva Ogland, Cristina Lei Rodriguez, Mika Rottenberg and Elif Uras

Shaun El C. Leonardo will perform "Self-Portrait Remix” at 7pm opening night.

Amy Smith-Stewart is pleased to announce the opening of SMITH-STEWART. The inaugural exhibition is “FOAM OF THE DAZE,” a group show featuring new work by nine artists.

The exhibition takes its title from Boris Vian’s cult classic “L’Ecume des Jours,” published in France in 1946. “Foam of the Daze” is a surrealistic love story about pretty people and fabulous parties that ends tragically, with a high body count, including a girl who chokes to death on a water lily growing in her lung. Inspired by the book, the show explores the destructive force of glamour, its pleasures and its perils, with works ranging from the figurative to the dreamily abstract.

Amy Smith-Stewart, a former Curator at P.S.1/MoMA (2001-2005) and Curatorial Advisor for Mary Boone (2006), founded SMITH-STEWART. Presently, she serves as a faculty member in the MFA Department at the School of Visual Arts and as a Guest Curator for the Peter Norton Collection.

SMITH-STEWART is located on 53 Stanton Street, between Forsyth and Eldridge Streets. Gallery Hours are Wednesday through Saturday from noon to six. The nearest subway stops are 2nd Avenue/Houston Street on the F and V lines, Grand Street on the B and D lines and Bleecker Street on the 6 line. For more information, please contact the gallery at amy@smith-stewart.com, 917.573.5654. Or visit the website: www.smithstewart.com.

Friday, March 16, 2007

THE DEAD ALL HAVE THE SAME SKIN (1947) by Boris Vian (Vernon Sullivan)




TamTam Books is proud (as usual) to announce the publication of Vernon Sullivan’s (or better known as Boris Vian) masterpiece of noir-gone berserk – “The Dead All Have The Same Skin” (Les morts ont tous la meme peau).

Written one year after the controversial (putting it mildly) “I Spit on Your Graves,” you think Vian would have known better. But no, he decided to do another violent shocker that is ripped out of today’s (or was it all in my head?) headlines. This surreal masterpiece of ‘dark’ writing is about Daniel Parker who is a bouncer in a drink hell bar hole somewhere in New York City (Vian, a French man never been to the States) who is blackmailed by his long lost brother who is black and threatens him to tell the truth about his brother’s racial blood. Parker is not going to take that. His life, by that admission, becomes a tipsy topsey one-way ticket to hell.

If that is not enough it also includes a short story by Vian “Dogs, Desire, and Death” which is an erotic tale of a bad girl, a helpless driver, and the need for destruction and sexual release.

And no not even that is not enough; we have a small essay or more like a rant by Vian regarding the history of his first controversial shocker “I Spit on Your Graves.” And not only that, but also a thoughtful and informative introduction by Marc Lapprand.

Translated from the French by Paul Knobloch. Tom Recchion did the design work.

“The Dead All Have The Same Skin” will be released June 5, 2007.

Saturday, March 10, 2007

The New (Old) Exciting Sounds of Les Fleurs de Pavot

Les Fleurs de Pavot is a band from 1968, formed in France by two hippies Groovy Pat from London and Jesus from San Francisco. But no, actually they were an early 60’s French cover band “Bourgeois De Calais” and who their manager JP Rawson suggested that they try Psychedelic pop. The results are the band and album “Les Fleurs de Pavot.” “Les Fleurs de Pavot” is a very good album. It sort of a cross between early Pink Floyd and French Ye-Ye music.



Jean-Pierre Castelain (Zorba) maybe the only well-known member of this band. I don’t know his music or recordings, but he looks interesting.



The album is co-produced by Bernard Estardy and the incredible Jean Claude Vannier. Vannier did the beautiful arrangements for Serge Gainsbourg’s “Histoire de Melody Nelson” and also released a quite remarkable solo record “L’enfant assassin des mouches.”





Saturday, February 17, 2007

TamTam Books’ Presentation of “FOAM OF THE DAZE’ at Book Soup and of course, the Song List

Vian's L'ecume des jours manuscript







Besides my little talk on Boris Vian's classic novel "Foam of the Daze" (L'ecume des jours) at Book Soup on February 28 I will also be handing out free cds to those who attend the event. The music on this CD is a collection of Boris Vian music or recordings that he was involved with. Much of it is very rare. Here is the song list:

1) La Java Des Bombes Atomiques Andre Popp
2) Sermonette Serge Reggiani
3) Je bois Boris Vian
4) Je Bois Serge Reggiani
5) Je Reve Jacques Higelin
6) Nan's Lied Arlette Téphany
7) Dada Strain Boris Vian
8) C'est Le Be-Bop Henri Salvador
9) Ses Baisers Me Grisaient Nana Mouskouri
10) Musique Mécanique Juliette Gréco
11) Cinématographe Moloudji
12)La Valse Jaune Moloudji
13) La Valse Jeune Philippe Clay
14) Ton Parfum Magalie Noël
15) Tin Roof Blues Boris Vian
16) Théme d'amour Alain Goraguer
17) Le Temps Passe Christine Legrand
18)Speak Low Henri Salvador
19) Théme de Liz Alain Goraguer
20) Quand J'aurais Du Vent Dans Mon Crâne Serge Reggiani

Here are some images of the singers:

Serge Reggiani




Philippe Clay




Henri Salador



Juliette Greco



Mouloudji

Friday, February 9, 2007

Publisher Tosh Berman at Book Soup to Present "FOAM OF THE DAZE"



I, Tosh Berman, will present Boris Vian's "Foam of the Daze at Book Soup's brand new book club on February 28th at 7pm. The address is 8818 Sunset Blvd., Los Angeles (or West Hollywood). Phone number is 310-659-3110

What I plan to do is give a talk on the novel, show some visuals (Vian interview in English!) as well as handing out free CD's featuring the music of Vian and his various friends. Totally unique, and totally for you! Then we will turn it over to the attendees to discuss the book and its worth to the 21st Century. Also anyone who purchases this book before Febraury 28, will get 10% off. Me, free cd, and a wonderful novel with 10% off. What can be better?

The two images down below are from the film "L'ecume des jours (Foam of the Daze) made in 1968.



And of course the famous and wonderful 'pianococktail.'