Author Archives: pau
shift happens
i made this mix to help whoever do whatever, especially work, focus, relax or travel. i tried to play music that was new to me, or a recent favorite.
with love from sunny berlin!
download 320 (1.12G) | download 128 vbr (514.9M)
1. | trois gymnoédies – I & lent et douloureux / the miracle – aldo ciccolini & gabriel tacchino / jeanne lee | 0:00 |
2. | fantasia on nanbu ushi-oi uta – naoharu yamakawa (shakuhachi) & yuji mori (koto) | 3:07 |
3. | visiting song – dorothy carter | 10:35 |
4. | soumanaro – soundioulou sissoko | 12:40 |
5. | christina – depiano & orch. beguen band | 17:25 |
6. | marry me – winston riley | 20:38 |
7. | don’t know – delroy wilson | 22:38 |
8. | jazz semai – koy yolu | 24:40 |
9. | kometostai.aintreallynootherwaytoputitro – knxwledge | 28:27 |
10. | jahara – teebs | 29:38 |
11. | heavy mood – dj shadow | 32:37 |
12. | malkauns – don cherry | 33:56 |
13. | divine mother – cosmic sounds of gandharva | 47:35 |
14. | flower of love – kaygisizlar | 49:32 |
15. | question love answer – adrian orange and her band | 52:18 |
16. | seat in the kingdom – crumb brothers | 57:36 |
17. | mama na mwana (mother and child) – jean bosco mwenda | 1:00:00 |
18. | al ouda el mensiyyi – fairuz | 1:02:56 |
19. | lam phuthay – molam lao | 1:06:02 |
20. | j’ai ecrit ton nom – joseph lacides | 1:12:24 |
21. | part 4 – yatha sidhra | 1:16:15 |
22. | al khadem – el khirani charki | 1:23:05 |
23. | dam maro dum (take another toke) – kronos quartet and asha bhosle | 1:28:20 |
24. | sanjina – orchestre régional de kayes | 1:32:52 |
25. | golden girls – devendra banhart | 1:38:48 |
26. | all the things – traumprinz | 1:40:12 |
27. | tulpa ovi – robag wruhme | 1:49:17 |
28. | space is only noise if you can see – nicolas jaar | 1:53:20 |
29. | lemen yeweshal – alemayehu fanta | 1:58:55 |
30. | rekon – knxwledge | 2:03:26 |
31. | absence heard, presence felt – quantic | 2:05:19 |
32. | medo hane – dawit guebreab | 2:08:17 |
33. | why can’t we live together – timmy thomas | 2:13:36 |
34. | jah works – the gladiators | 2:18:02 |
35. | caution – bob marley and the wailers (mixed by lee scratch perry) | 2:21:22 |
36. | fu manchu – desmond dekker | 2:23:59 |
37. | virgenes del sol – los siderals | 2:27:03 |
38. | our love will still be there – the troggs | 2:29:48 |
39. | insirâf tuwayyari masrâr (my little bird secret charm) – nassima | 2:32:52 |
40. | husenek fa masher (“my love is more than the sweet perfume…”) – abdel karim el kably | 2:39:59 |
41. | family – wildlife freeway | 2:40:34 |
42. | all my trials – nick drake & gabrielle drake | 2:43:49 |
43. | what’ll ya do/what’ll ya say? – michael hurley | 2:45:40 |
44. | asar – morin khuur | 2:50:28 |
45. | lalla maymouna sultan gnawiya – mahmoud guinia | 2:52:53 |
46. | bhairavi – khamisu khan | 2:57:12 |
47. | ghost – the acid | 2:59:47 |
48. | spirit parade – dm stith | 3:03:49 |
49. | bhajan de jugalapriya – lakshmi shankar | 3:06:08 |
50. | track 2 – el khirani charki | 3:10:02 |
51. | eltsuhg ibal lasiti – the daktaris | 3:14:23 |
52. | a woman will do wrong – helene smith | 3:19:23 |
53. | merry go round – the equatics | 3:21:54 |
54. | gisela (lion rock) – fitz gore | 3:24:33 |
55. | drum machine, cello, headwrap – prefuse 73 | 3:30:07 |
56. | catch feelings – c. scott | 3:36:11 |
57. | everything means nothing to me – elliott smith | 3:38:49 |
58. | driving – sibylle baier | 3:41:07 |
59. | awaleen eshqam tu boodi – ahmad zahir | 3:43:33 |
60. | ağıt – yabancilar | 3:48:10 |
61. | krishna krishna – alice coltrane | 3:52:00 |
62. | line extension – oval | 3:57:04 |
63. | nomusa – ndikho xaba & the natives | 3:59:59 |
64. | rest your self – herman chin loy | 4:08:38 |
65. | arise black man – alton ellis | 4:11:27 |
66. | sorrow tears & blood – fela & afrika 70 | 4:14:49 |
67. | declamation pt. 3 – sun ra & his arkestra | 4:24:57 |
68. | here comes the family – family of percussion & archie shepp | 4:35:50 |
69. | bring out the best – ohbliv | 4:43:26 |
70. | thanks vision – toro y moi | 4:47:03 |
71. | sunset in golden horn – mogollar | 4:50:46 |
72. | hebebeb (zrag) – noura mint seymali | 4:54:51 |
73. | a man is like a tree – albert ayler | 4:57:55 |
74. | war is over – joe gibbs & the professionals | 5:02:21 |
75. | 2 anotha – dibia$e | 5:06:02 |
76. | giant steps – john coltrane | 5:08:17 |
77. | saya temokoto – boubacar traore | 5:12:57 |
78. | manha de carnaval – antonio carlos jobim & luis bonfa | 5:17:27 |
79. | raga jhinjhoti – shivkumar sharma / hariprasad chaurasia | 5:20:24 |
80. | sahara – baligh hamdi & magid khan | 5:29:27 |
81. | mi parcela – la sirga soundtrack | 5:34:07 |
82. | reason or rhyme – bryan ferry orchestra | 5:38:07 |
83. | god bless the child – billie holiday | 5:42:19 |
84. | sheftha ghir b-nedhra – hamid zahir | 5:45:10 |
85. | norvis junior – norv style beat | 5:57:06 |
86. | mokeru mufinu – batucadeiras de rincon | 5:59:46 |
87. | timbales y bongo – mongo santamaría | 6:02:21 |
88. | roda da samba – afro brazilian rhythm band | 6:09:30 |
89. | five for paul – max roach | 6:11:28 |
90. | maddalam keli – ritual percussion of kerala | 6:17:31 |
91. | a quality of seven (mridangam) – zakir hussain | 6:27:33 |
92. | blue anthem – terry riley | 6:31:03 |
93. | no drums – tim hecker | 6:34:23 |
94. | hichki – dhodhe khan | 6:37:42 |
95. | who you are – pearl jam | 6:41:38 |
96. | play with fire – takkhalha | 6:45:21 |
97. | universal spiritual revolt – tyrone washington | 6:47:28 |
98. | ngillatun – traditional songs of the mapuche indians | 6:55:42 |
99. | lamai nyaljor – ritual music for the tibetan monks | 6:57:36 |
100. | kwaku baah – ma haba | 7:03:02 |
101. | grass dance song – pat kennedy, clyde heavy runner, kenneth old person & aloysious weaselhead | 7:06:42 |
102. | te na ko mai ra te atua (and the lord says) – ‘Inano Cultural Arts Theatre, Teau Glassie | 7:10:30 |
103. | stroudwater, psalm 46 vv 1 & 2 – Donald MacLeod & Congregation | 7:13:29 |
104. | gün ola devran döne – fikret kizilok | 7:16:52 |
105. | mwashah – hamza el din | 7:19:41 |
106. | dilerim sen (rast sarki) – udi hrant kenkulian | 7:23:18 |
107. | splits are parted – amen dunes | 7:26:11 |
108. | raga kalavati – shankar jaikishan & rais khan | 7:29:54 |
109. | djoukou – stanley murphy & les grands colombias du peuple | 7:33:59 |
110. | it’ll all be over – supreme jubilees | 7:43:20 |
111. | neverending math equation – sun kil moon | 7:46:13 |
112. | karen – the go-betweens | 7:49:00 |
113. | spanish bee – the brian jonestown massacre | 7:53:03 |
114. | shâh batha’i – yâru maliri | 7:56:33 |
115. | el dzair – cheikha remitti | 8:05:11 |
116. | syria: bedouin song and dance – deben bhattacharya | 8:12:00 |
117. | vinaayagaa – kunnakkudi vaidhyanathan | 8:14:19 |
people
bowls and vessels
thought forms
life
queen in my pictures
people
what does it mean to mean what it does?
over
is is is done.
time versus stories
freedom throughout the universe!
i started with nothing
the future is in the past
i hear your voice reflected in a glass and it sounds like it is inside of me
thomas mapfumo
abate the state
divine mothers
secret secretions
rastafari voices
lakes
moi, un noir
dance space
heavy rain in the trees
carnival of cultures
A.C.A.B.
happy 40 july
why quit social media?
is is
Is Is is a codex of collage that intends to semiotically explains our current human paradigm through employing symbols of various traditions to challenge the dominant capitalist narrative of freedom through object oriented mechanized progress, instead reinforcing that we are all emancipators of ourselves. Is Is questions the nature of reality and consciousness, reminding us that to be human is to be aware of being alive—of being a being—within time and space.
Is Is is composed of 108 pages (54 front / back panels) of paper collage on illustration board. Its images were sourced from secondhand gifts or found materials, most of which was trash. It was conceived and completed over a period of 3 years, between 2012 and 2015, between la crosa (italia), san francisco and berlin.
gate/gate
rite of passage
perhaps the essence of an image’s timelessness relates to the infinity of its nostalgia. nostalgia knows no bounds. rite of passage is a series developed from a 1989 grateful dead documentary entitled ‘love on $14’ that was shot and edited on vhs tape, then transferred to the internet, then saved as a screen capture, projected, and painted. in this way, the incidental moments, those especially laden with infinity, become monuments to timelessness, monuments to the infinity of their nostalgia.
i never attended a grateful dead concert. when i was 14 i was gifted a box of live grateful dead tapes, which hooked me. i would listen to these tapes in secret, as i knew no others with a penchant for the grateful dead. the concert documentary was filmed in east troy, wisconsin at alpine valley. i have attended concerts at alpine valley, but not this one, during which i would have been 7 years old. yet i know the figures and the zen of their pre-internet horizons quite intimately.
each painting is named after a similarly evocative and period sensitive grateful dead song. the documentary may be found here.
the concert series may be heard here: July 17, 1989 July 18, 1989 July 19, 1989white hole
it is not far
cosmos
cosmos, or an orderly and harmonious system, is the title of the third painting in it is not far. it attempts to depict the paradox of attempting to depict something that can’t and doesn’t yet exist. therefore i painted color field and interwoven energetic filaments. cosmos was painted over one and a half years in 3 different cities.
logos
the second painting in the triptych it is not far, logos, is a photo of a paused second generation ipod. unknown artist, unknown album were byproducts of cd-r’s and the beginning of free and wide distribution and memes. they also represent me as the painter of the painting. the duration of the song is 11:11 (there are 7 1’s in the painting) which symbolizes awareness. logos represents the intersection of the divine and language, or ‘the word’, and inherent truth. in this case it is depicted as an antiquated (even in 2006) technological artifact, as the present tense, though real, is necessarily ephemeral. the battery is half full, half empty, and the song is track 1 of 1, one life in one moment. ipods represent personal empowerment and the potential for divine self reflection as an igod.
noos
the series it is not far depicts temporal time in its different incarnations. historic symbolic time is depicted in the first painting in the series, noos.
during a visit to the metropolitan museum of art in new york in the fall of 2005 i felt my first fundamental energetic connection to the fetish and devotional objects on display. this was due to the realization of their language. they spoke in symbols, often favoring animals and simple yet striking designs. around this time i found an $8 copy of shamanism by mircea eliade at a street sale, and synchronistically i happened to possess only $8. i belabored the decision, but purchased eliade’s masterwork. between toronto and montreal i read an account of a shaman, in which they endured an ecstatic trance ritual of fasting and imbibing some type of substance. the shaman awoke in a different world and was made to lie down by a smith. the smith gouged out the shamans eyes, placed them in the furnace, and returned them. he did this with his arms, legs, and various other appendages. when the shaman returned to the tribe he/she was fundamentally different. her/his body had been altered, forged on god’s anvil, and had returned now as a conduit between the spirit world and the tribe.
the flowers depicted are symbolic in both type and number. there are 4 poppies, positioned as the cardinal directions as explained to me by a towa man on an amtrak train whom i met by changing my point of disembarking. after painting i checked his information against the colors popularly accredited to the medicine wheel, and he was slightly off. however, i appreciated this accident as it relates to the happy entropy of oral history. there are 5 pansies, as 5 is the man number (we have 2 arms, 2 legs, and a head). there are 3 lotuses, which symbolize birth and rebirth, and 3 is echoed throughout the painting as the number of divine trinities. there are 3 anemones, which mean ‘of the wind’, and are also the dying god symbol as the painting represents different forms of knowing and the past. there is a single daisy, which symbolizes the innocence of totality, and a single calla lily, which represents me, the artist. calla lilies are now common to me in california, but when i delivered flowers to weddings in wisconsin they were very rare and expensive, and also bruised when touched. they possess a phallic grace, yet render very little scent. 4 horses are depicted, symbolizing the journey and the 4 horsemen of the apocalypse. there is a snake which ferries souls to and from the underworld, and 3 eagles, symbolizing the creator and divine trinities.
the tree in the middle is the world tree, a birch tree, and is upside down with its roots in the air. the river in the background is the delta of the ganges, one of india’s sacred rivers, and also symbolizes delta, or change.
collages
[PAUAU]
decoloneyes
i was inspired to create decoloneyes, a cross of the words (and concepts) ‘decolonize’ and ‘eyes’ and pronounced thus, as a result of a trip to the deyoung museum with leslie kneisel. at the end of our excursion, i came upon some inuit snow goggles and was awestruck by their brilliance. i then began to collect scraps of wood from hikes and carve these goggles with my grandfather’s hand tools, later adding bands made of woven canvas strips as a tie-strap. all have been given away as gifts. they work really well, and alarm people. once i was asked if i was wearing a baguette on my face. inuit snow goggles would normally be made of bone but are sometimes fashioned from wood. i’ll make you a custom pair if you contact me. or even better, you can make them yourself!
m3tr0p0lis occupy
campfire jam from madagascar
music is the weapon
wow-pow-wow
i ordered this collection after being recommended it while i was dj’ing some american indian music at the bottom of the hill. i’m thankful to whoever it was that told me about it, these records are fantastic, and in their original shrink wrap from 1972. don’t sleep! i have no idea how many sets they have, but even though they’re mono i highly recommend this collection. and only $50 for 23 records! so far the peyote record is my favorite. if you only want to try one at a time, get that one. american indian music is like tribal house music, except without houses.
the myth of the eternal return
this book by mircea eliade opened up my face. time as a circle, an ouroboros, is an idea that i’ve often returned to, but this work offered a significant cross-reference of cultures that all operated within the framework of time being cyclical rather than linear. if we are to imagine the sun as moving away from some universal center and the planets trailing behind it, not in perfect circles but rather perfect flowing spirals, the linearity and cyclicality of time can be commingled. this book doesn’t state that per se, but that’s where my thinking is at.
fragile fingers
my father-in-law collected stamps as a child. he is persian and lived in iran before the revolution.. this collection of stamps is stunningly beautiful! i love the aesthetic sense many of these stamps display.
le gabon eternel
strange sounds heard worldwide
the antique blacks
but does it float
m.s. subbulakshmi
i absolutely cannot stress enough how amazing and transcendental this concert is. so thankful to bolingo69 for posting. and even more thankful to m.s. subbulakshmi, v.v. subramanyam, t.k. moorthy, v. nagarajan, and t.h. vinayakram.
11 year old understands
this song is dedicated to nature’s god
abaraka guitar band ’77
infinity in solidarity
cali2011
france2011
bot hits
italy2011
the transcendental waterfall
and how should they explain it? by not explaining. thus is it called ‘explaining.’ as a lamp, a cataract, a star in space an illusion, a dewdrop, a bubble a dream, a cloud, a flash of lightning view all created things like this. -Diamond Sutra, Chapter 32the waterfall (or cataract) is a static yet liminal space. an object that is not an object. yes, water falls from one point to another, at a near constant rate, yet the phenomenon of falling water depends on the rate of evapotranspiration and the resolution of drainage and pressure systems. the transcendental waterfall mimics this liminality, acting as both a static space and an energized space captured and frozen in time, much like a photograph of a waterfall. the title ‘the transcendental waterfall’ is borrowed from a john fahey song of the same name. the transcendental waterfall was painted in berlin during the winter of 2010, in a studio without heat. i bicycled there each day over groovy ice and painted until i couldn’t feel my hands any longer, or about 45 minutes. the painting retains this icy energy, this charged yet static silence.
in the studio
person
hallowisconseen
post-posts
This note is for you only, not for your wall. “Paul Tyree-Francis still sort of surprised that most here seem to believe that democrats are different than republicans. whoever is in power will still bow to the people, and by people i mean corporations.” Generalizations on any side of the political spectrum are dangerous. Your Mac is made by a corporation. The plane you flew to Germany on was made by, and operated by, corporations. Ditto however you got to/from airport. Your cell phone. The electricity that recharges the phone and computer arguably contribute to global warming. Not all people, politicians, and corporations are bad. No one, nothing is perfect. People who think otherwise should live in a cave and not use any of the benefits of the systems they think are so bad. I am not happy with the election, but we still have freedoms few other countries have. You live in Germany, right? Didn’t the PM or president recently say that there is no room for Muslims there unless they conform to the norms? Then, why are you living there? This note is for you only, not for your wall.this was my response to him:
i agree with you XXXX, but there’s no need for antagonism. facebook is also a corporation, and i know obviously that the corporate world is by now basically inextricable from daily life, that is obvious. everything you stated is true. if you’re even still reading at all, watch this hakim bey video. he is old/wise and a firebrand, and you probably already know about him anyways. still, we need more of him. he is revolutionary (though sometimes he bullshits, but who doesn’t?). [youtube i3HyRtdu1o0] on his advice i will close my facebook account upon the download of all of my data. and by the way, i don’t have a cell phone. all the best, paulmy favorite line from the song ‘this land is your land’, by woody guthrie, is the line that was redacted from the version of the song that we learned as children (thanks to capitalism/democracy/plutocracy/TPTB):
As I went walking I saw a sign there And on the sign it said “No Trespassing.” But on the other side it didn’t say nothing, That side was made for you and me. Nobody living can ever stop me, As I go walking that freedom highway; Nobody living can ever make me turn back This land was made for you and me. In the squares of the city, In the shadow of a steeple; By the relief office, I’d seen my people. As they stood there hungry, I stood there asking, Is this land made for you and me?
spectral alphabet
hip hope
it is not far
noos, 123cm x 123cm, oil on canvas, 2005
\
logos, 123cm x 123cm, oil on canvas, 2006
cosmos, 123cm x 123cm, oil on canvas, 2009
the series it is not far depicts temporal time in its different incarnations. historic symbolic time is depicted in the first painting in the series, noos.
during a visit to the metropolitan museum of art in new york in the fall of 2005 i felt my first fundamental energetic connection to the fetish and devotional objects on display. this was due to the realization of their language. they spoke in symbols, often favoring animals and simple yet striking designs. around this time i found an $8 copy of shamanism by mircea eliade at a street sale, and synchronistically i happened to possess only $8. i belabored the decision, but purchased eliade’s masterwork. between toronto and montreal i read an account of a shaman, in which they endured an ecstatic trance ritual of fasting and imbibing some type of substance. the shaman awoke in a different world and was made to lie down by a smith. the smith gouged out the shamans eyes, placed them in the furnace, and returned them. he did this with his arms, legs, and various other appendages. when the shaman returned to the tribe he/she was fundamentally different. her/his body had been altered, forged on god’s anvil, and had returned now as a conduit between the spirit world and the tribe.
the flowers depicted are symbolic in both type and number. there are 4 poppies, positioned as the cardinal directions as explained to me by a towa man on an amtrak train whom i met by changing my point of disembarking. after painting i checked his information against the colors popularly accredited to the medicine wheel, and he was slightly off. however, i appreciated this accident as it relates to the happy entropy of oral history. there are 5 pansies, as 5 is the man number (we have 2 arms, 2 legs, and a head). there are 3 lotuses, which symbolize birth and rebirth, and 3 is echoed throughout the painting as the number of divine trinities. there are 3 anemones, which mean ‘of the wind’, and are also the dying god symbol as the painting represents different forms of knowing and the past. there is a single daisy, which symbolizes the innocence of totality, and a single calla lily, which represents me, the artist. calla lilies are now common to me in california, but when i delivered flowers to weddings in wisconsin they were very rare and expensive, and also bruised when touched. they possess a phallic grace, yet render very little scent. 4 horses are depicted, symbolizing the journey and the 4 horsemen of the apocalypse. there is a snake which ferries souls to and from the underworld, and 3 eagles, symbolizing the creator and divine trinities.
the tree in the middle is the world tree, a birch tree, and is upside down with its roots in the air. the river in the background is the delta of the ganges, one of india’s sacred rivers, and also symbolizes delta, or change.
the second painting in the triptych, logos, is a photo of a paused second generation ipod. unknown artist, unknown album were byproducts of cd-r’s and the beginning of free and wide distribution and memes. they also represent me as the painter of the painting. the duration of the song is 11:11 (there are 7 1’s in the painting) which symbolizes awareness. logos represents the intersection of the divine and language, or ‘the word’, and inherent truth. in this case it is depicted as an antiquated (even in 2006) technological artifact, as the present tense, though real, is necessarily ephemeral. the battery is half full, half empty, and the song is track 1 of 1, one life in one moment. ipods represent personal empowerment and the potential for divine self reflection as an igod.
cosmos, or an orderly and harmonious system, is the title of the third painting in it is not far. it attempts to depict the paradox of attempting to depict something that can’t and doesn’t yet exist. therefore i painted color field and interwoven energetic filaments. cosmos was painted over one and a half years in 3 different cities.