Nicole Mitchell /Black Earth Ensemble - 2005 12th Guelph Jazz Fest ( not in CD ).Wonderful live of one of the great flute

Nicole Mitchell & Black Earth Ensemble 

12th Guelph Jazz Festival, St George’s Church, Mitchell Hall

Guelph, Ontario, Canada; September 9, 2005. 

Very good audience recording.Anthony Braxton had once described Nicole Mitchell as “the greatest flute player I have ever heard, bar none.”Composer, flutist, and AACM (Association for the Advancement of Creative Music) Vice-President Nicole Mitchell leads this large ensemble, featuring some of the most exciting soloists from the new generation of Chicago jazz, through her eclectic, rhythmically exciting pieces. Her writing deftly integrates thumping percussion, Latin grooves, subtle string arrangements, tight ensemble passages, collective improvisation, and much more. As a soloist, Mitchell extends the range of her instrument by vocalizing in a manner reminiscent of the great Rahsaan Roland Kirk. Underlying it all, her music, captured on Afrika Rising (Dreamtime), is invested with a spiritual conviction through which all of its sources - “avant garde,” popular or vernacular - are synthesized as means of musical expression. In the spirit of the great bands throughout the history of the Association for the Advancement of Creative Musicians, Nicole Mitchell & Black Earth Ensemble look beyond the dogmatic definition of musical style and convention in search of a more direct way by which to communicate with their audiences. - Programme Notes00:00 Cause And Effect 14:20 14:20 Untitled/Jam 2:24 16:44 Episodes Of An Obscure Life 9:59 26:43 Improvisation 8:45 35:28 Wondrous Birth 13:21 48:49 Take Refuge 11:10 59:59 Navigator 4:14 


Nicole Mitchell - flute

David Boykin - reeds

Jeff Parker - guitar
Chad Taylor - drums

Josh Abrams - bass

Thanks to the person who shared this show on the net in 2005.Picture by Brad Walseth, posted at criticalimprov.com - Thanks!

Nicole Mitchell ‎– Mandorla Awakening II: Emerging Worlds ( 2017 )

one masterpiece of one of the great actual musicians

• Bass, Shamisen, Taiko – Tatsu Aoki
• Cello, Banjo – Tomeka Reid
• Electric Guitar, Oud, Theremin – Alex Wing
• Engineer – Caleb Willitz
• Flute, Electronics, Composed By, Arranged By, Lyrics By – Nicole Mitchell
• Layout – Leticia Arioli (2)
• Mixed By – Dorian Gehring
• Percussion – Jovia Armstrong
• Shakuhachi – Kojiro Umezaki
• Violin – Renée Baker
• Vocals – avery r young*
• 
  

Mandorla Awakening: Emerging Worlds is a recording of the world premiere performed at the Museum of Contemporary Arts in Chicago on May 2, 2015, as part of the Creative Music Summit.

https://jazzrightnow.com/2017/05/08/interview-nicole-mitchell/

by Cisco Bradley

Flutist, composer, and educator Nicole Mitchell is one of the foremost creative musicians of the twenty-first century. Most well-known as the bandleader of the Black Earth Ensemble, she has established herself on the cutting edge through a series of innovative and forward-looking records. Her latest release, Mandorla Awakening II, was released on May 5. In this interview, Nicole discusses her emergence on the Chicago scene, the inspiration of Octavia Butler, and the new record, among other things.

Interview at Astro Diner (6th Avenue, NYC), March 27, 2017

Cisco Bradley:           How did you feel that Chicago nurtured you as an aspiring musician back when you were first emerging?

Nicole Mitchell:       I think Chicago has been very central to my artistic development for many reasons. Before I moved to Chicago, I didn’t feel a sense of connection with community and I especially didn’t feel a sense of support as an artist. And Chicago really provided a very holistic, nurturing environment. I finally was just a person — not someone who was looked at in some kind of strange way and also it was the first place I found artists with similar vision.

I say this because I’m from Syracuse, New York but halfway through my childhood I moved to Orange County, California, and it was a very racially hostile environment and a cultural desert also on top of that. I left California as a young person and I went to Oberlin for college, where I had some positive experiences, but when I came to Chicago it had a lot of meaning for me personally because my mother was from there.

The times I spent in Chicago growing up were like the best times of my childhood. Because my mother had died when I was a teenager I had a kind of romanticism about connecting to my other family there and to be where she was from so I could connect with some experiences that she had while she was there.

So all of that together with a really vital, vibrant artistic community in Chicago made it very important. My first way of connecting with people was playing in the street. So playing on the street was where I met a lot of the musicians from the Association for the Advancement of Creative Musicians (AACM) and I eventually came into that circle where I found a lot of mentorship and also other musicians my age to play with.

Cisco Bradley:           Had you been pretty aware of what Chicago had to offer before you got there?

Nicole Mitchell:       No. I actually was going there mostly because of the positive experiences I had as a child. Ever since my childhood I felt it was kind of a cultural mecca because it’s such a large Black community that diversity within the community is embraced. So if you don’t have a stereotypical experience in terms of your black experience, it’s no big deal. When you are in,like,a white college or something like that, then there’s all kinds of pressure and other impacts on you and it’s not a normal experience with other black students or with the white students.  But in a large black community like Chicago, you can have a more normalized experience which, for some reason, I never could have before that.

Cisco Bradley:           You became a member and eventually president of AACM. Were there specific people in that organization that mentored you or had a deep impact?

Nicole Mitchell:       Definitely. I would start with Maia, who is someone that is not as well-known but who is an amazing composer and multi-instrumentalist who came out of what I would call the Phil Cohran school. She was one of the first musicians I met and we bonded immediately, playing together and developing ideas and concepts for starting a group.

So SAMANA was an all-woman ensemble and it started out as myself, Maia and Shanta Nurullah. Shanta and myself were brought into the AACM by Maia. And so that’s how actually I came into the membership. SAMANA became the first all women ensemble in the AACM. I arrived in Chicago in 1990, SAMANA began in ‘92 and I became a member of AACM in ’95.

Also, Ed Wilkerson was a really amazing mentor. He’s one of my favorite composers and he’s still out there in Chicago improvising and performing. If you look at his 8 Bold Souls projects you’ll see he really is within the lineage of Duke Ellington.

Ernest Dawkins is the current president of AACM. I spent some time playing in his large ensemble, the Live The Spirit band, in the late ‘90s. I also came up with other members like David Boykin, who I’ve worked with a lot together. We’re like peers, but I learned a lot playing his music. He became a member shortly after I did.

And then George Lewis, Anthony Braxton, Wadada Leo Smith have really been a big impact in addition to Roscoe Mitchell and Arveeayl Ra. Hamid Drake was like a big brother and he opened a lot of doors for me and we started Indigo Trio. The strongest thing about the membership is this idea of supporting each other in your original ideas even if you don’t agree on what those ideas are. So you have such a diversity of aesthetics and concepts but everyone, you know, supports each other. So I think that’s what makes it rare.

Cisco Bradley:           I wanted to talk to you about your Black Earth Ensemble particularly because it’s been your longest running project and you’ve accomplished so much with that. You describe it as a celebration of the African American cultural legacy. The music embraces the ancient past and paints vision of a positive future and that the music is the weaving of swing, blues, avant garde jazz, bebop, African rhythms, Eastern modes and Western classical sounds – an incredible list of things. I wonder if we could unpack that a bit and talk about the cultural legacy that you feel like you’re contributing to; Afro-futurism and the continuum of past, present, and future.

Nicole Mitchell:       Black Earth Ensemble, I can’t believe 2018 will be our 20thanniversary! So I’m really excited about that. It was my first group that I put together and has been the longest standing.

I wanted it to be flexible, because no matter what the project was I wanted to be able to change instrumentation. So the group changes in size and instrumentation depending on the project. 

But what’s also important, is that there’s not that many “jazz” groups where you have not only a woman bandleader but you have a gender balance within the group and you also have a multi-generational membership of the group. I like working with other badass women musicians in BEE like Renee Baker, Tomeka Reid, Jovia Armstrong, Ugochi, Mankwe Ndosi and others. That’s important to me.

And, also, I see BEE as making a contribution to contemporary African American culture, in terms of art.  A long time ago, I worked at Third World Press. I spent 13 years working there. It’s the oldest African American book publishing company in the country, and I spent time reading manuscripts when they were coming in and I discovered that there are really three kinds of Black art in terms of how people approach it.

One is reflective where they focus on helping us to remember very important things because our history is constantly being re-written by someone else or ignored. So if you’re not assertive in retelling a history that’s not considered mainstream, it’s not going to be remembered.

Then I would say the majority of black artists are focused on the present in kind of showing us what we’re looking at and giving us a big picture of how things are and maybe what needs to be changed — a kind of social commentary.

And then the last group of artists, which is the smallest group, are visionary and they try to give us more of a vision of what things can be so that we can move forward into it. And I would say there are starting to be more artists in this category now more than ever, though if you look back, it’s always been the smallest group of people. And that’s the group that I’ve been aiming to contribute to in terms of my sense of identity as an artist. So that means, in a way, kind of putting those three things together, which I think the Art Ensemble of Chicago and Sun Ra define really well:  the concept of ancient to future.

And now we have this really huge  focus on this concept of Afro-futurism that’s happening in the last five or ten years, even though there have been artists with those ideas for decades more, you know, but now it has a name and people are focusing on it.

Cisco Bradley:           It’s such a commanding list of influences you are weaving together. Can you talk about your creative process?

Nicole Mitchell:       Some people have a very linear approach or an anecdotal way of doing their music. I prefer to embrace a lot of things. I call it a spherical approach, to reach from all different sides rather than one single direction that I’m going.

But then there’s always the risk of people saying, “Well, then do you have direction? Do you have a style? Do you have an approach? Or do you just kind of go all over the place?” So I can be guilty of people seeing what I’m doing that way.

Cisco Bradley:           What’s your response to that?

Nicole Mitchell:       I would say music is supposed to be fun so why would I limit myself? Endless possibilities is my mantra for creativity. The idea is that you can create something familiar and bridge that with the unknown. Why limit yourself?

Cisco Bradley:           You talk about presenting a positive, healthy and culturally aware image of African Americans. How have you been doing that?

Nicole Mitchell:       I deal with some dystopic themes sometimes, in terms of Xenogenesis, for example, but there is always a sense of self-determination and resilience that’s always expressed in my music. That’s the best way that I exemplify that.

Also, there is still a lot of segregation in music. If you look at me as an artist, you could see that I’m aware of the impact of cultural collaboration. You see that I work with a lot of different people, different projects, but it’s important to me to always challenge myself and to be inspired by new experiences, which means working with different people all the time. You’re not going to look at me as an artist and then see oh, she only plays with white people or oh, she only plays with Black people, you’re going to see me working with a lot of different people.

But it’s still important to me that I’m going to cover material that speaks directly to the Black community but still has meaning for anyone else that experiences it. And, I’m going to do that through working with the musicians I work with and through the projects that I choose to focus on. I see that as being holistic, dealing with well-being for myself and expressing well-being to everyone else. A lot of people who think they are conscious  and progressive have a lot of blind spots in terms of that.

Cisco Bradley:           I know what you mean. I witness this all the time. I’m amazed at how primitive the discussions are sometimes that I have with people about issues of representation. Just basic.

Nicole Mitchell:       And how is it that someone can consider themselves supportive of egalitarianism and all this stuff but then they don’t ever work with artists of color or women? I don’t really get that.

(Octavia Butler; Photo by Tansy Rayner Roberts)

Cisco Bradley:           You have engaged directly with science fiction writer Octavia Butler. When did you first come across Octavia’s work?

Nicole Mitchell:       When I was a teenager. I grew up in an unusual household. My parents were part of a very small community of African American’s who were into new age thinking. They were into meditation and yoga. My Dad was a big sci-fi Trekkie fan and talked about UFOs all the time. My Mom was a self-taught artist but she would be making paintings of multiple suns setting across the landscape as if it was from another planet … or Black women holding their children sitting on Jupiter or something like that. And then the Octavia Butler books were right there on the shelf so I discovered them pretty early.

And then I had the chance to meet her in 2006 at the Black Writers Conference at Chicago State University.

Cisco Bradley:           Just before she passed?

Nicole Mitchell:       It was. Because I met her and then I decided I wanted to do a project on her and so I actually applied for the Chamber Music America jazz commissioning project.

Literally, the day I put the proposal in the mail was the day she died. I put it in and then I found out like the next day that she died that day, so I committed to definitely do the project. But it’s amazing now how her work is becoming more and more important to people, which I think is great.

Mandorla Awakening II, released on May 5, is coming from my own sci-fi narrative.

Cisco Bradley:           So what are the ideas and narratives you are working with in Mandorla Awakening II?

Nicole Mitchell:       I ask a question, which will take me probably a long time to answer, “What would a technologically advanced society look like that is in tune with nature?”

Growing up as a kid you see movies and read stories and it’s always a dichotomy, good vs. evil, but at some point you realize that truth is not necessarily cut and dry in that way. So Mandorla Awakening II is really about colliding these contrasts. Like looking at what are the overlapping positives between two so-called disparate things.

For example, you have the urban and you have the country, you have earth-based culture that has been going on for thousands of years and systems that are more aligned with nature, not destructive of the environment and earth. And then we have so-called technology in all this but have we really made progress if people aren’t treating each other any better that they were thousands of years ago? Is it really an illusion that we have progress? And what would real progress look like?

Cisco Bradley:           It sounds like a deep record. That’s amazing.

Nicole Mitchell:       I’m hoping this music helps people or inspires people. For example, to ask architects what is green architecture or green technology? How can we actually develop better human interaction where people’s needs are being met but we’re actually treating each other on the big picture more humanely?

If we view human beings as one organism then we’re really just suicidal. When you see war and you see people, even one group killing the other either out of greed, which is mostly the case, you know, something that one group has that the other one wants, or religion, which is easily a rationalization, it’s really just like “humanicide”. It’s really like the human race killing itself. So why are we like that and how do we stop being like that? So that’s what it’s addressing.

I want it to have dialogues between different musical languages in this idea of coexistence vs assimilation. So I have Kojiro Umezaki on shakuhachi. I have Tatsu Aoki on taiko, bass, and shamisen. But then you have Avery Young singing, coming from a gospel background and then you have other musicians, some with classical influence, some with blues influence and how do you coexist with all these ideas?

I try to under-compose rather than over-compose and use graphic scores and a mixture of notated graphic scores so that people have enough space to be themselves, to be authentically who they are but also to get the ideas across that I want to share. So, it is a big experiment. But I think I’ll probably do a lot more with the idea, so it’s kind of the beginning.

Cisco Bradley:           The beginning of a multi-record project?

Nicole Mitchell:       I think so. This is really the second one. The first one was a work in progress which is not released but I’ll probably release it later. Because it’s a completely different storyline that it was based on and it had choreography and video. This one also came with video by Ulysses Jenkins. I’m just releasing the music, but when I perform them live, I use a video as well.

Cisco Bradley:           What do you communicate with the videos?

Nicole Mitchell:       I’ve become fascinated with video and this is my first work in terms of my vision of what I want to do with it. So, it’s a little bit rough but I’m having a lot of fun with it. Ulysses Jenkins created most of the images and I worked as the film director and also edited everything the way I wanted it so…

Cisco Bradley:           Do you ever use movement or dancers or anything like that?

Nicole Mitchell:       Yeah. The first Mandorla Awakening had dance, though it wasn’t documented well. It was just one performance.

Cisco Bradley:           I only ask because William Parker once said to me that when he heard Cecil Taylor’s music, he saw dancers in his mind. I must say I had the same feeling when I first heard your music. I just felt like there was so much movement in it.

I was going to ask what is the latest you have been doing with Black Earth Ensemble?

Nicole Mitchell:       I premiered a commission on April 8 in Chicago. It’s a tribute for Gwendolyn Brooks, another poet. It’s her centennial. There are a lot of events in Chicago celebrating her because she was poet laureate of Illinois and so we premiered a new piece featuring her poems in spoken word.

And I have another project with another poet who just turned 75, Haki Madhubuti, the founder of Third World Press. Third World Press is going to have its 50th anniversary so this will be in their book catalog. Liberation Narratives will bring his poetry to another audience, through music with the Black Earth Ensemble.

Cisco Bradley:           Has that already been debuted?

Nicole Mitchell:       Yes, in Chicago. It will probably be released in September 2017.

Cisco Bradley:           How do you integrate your work with poetry? Does it take a certain kind of creative process?

Nicole Mitchell:       Well, I think I’ve been a poet longer than I’ve been a musician. I’m really excited that I have a new piece that I wrote for the new volume of Arcana that’s coming out. I feel like this is kind of a new chapter for me as an  artist, to start pushing my own writing out more. Incorporating poetry has been very natural to me, even if it’s other people’s poetry.

I think that my music — a lot of times when I’m composing — it starts with narrative, which is maybe why you see dance because there is usually a story behind the song even if it’s not stated or given to the audience. So I’ve embraced this even though I know that for a lot of people this is a very old and outdated in terms of as a way of making music, but I still like it.

Cisco Bradley:           You said you’ve been a poet longer than you’ve been a musician. Have you been writing poetry through the years?

Nicole Mitchell:       I’ve been writing since I was like 11, I think, but I’ve never really published anything.

I mean, if you look at Anthony Braxton’s box set from Iridium, I have a poem in there I think in the liner notes. And I have something that was published in theGiving Birth To Sound: Women In Creative Music that came out last year on Buddy’s Knife.

And, other than that, I don’t think there’s anything out there. I mean I have a 300-page book that I’ve never released.

Cisco Bradley:           So when is that going to happen?

Nicole Mitchell:       I don’t know. I guess when I feel more comfortable about it. I think I’m really self-critical because I didn’t really train to be a writer even though I’ve been writing and, also, I have kind of a rebellion against getting a writing degree.

Cisco Bradley:           As a musician, what was your process for training or learning?

Nicole Mitchell:       Well, I actually studied classical flute. You know, I was focused on that first.

Cisco Bradley:           And you did that at Oberlin?

Nicole Mitchell:       I started at UC San Diego and then I went to Oberlin, then I finished in Chicago. The focus was classical. I didn’t really study jazz, I suppose. I was a jazz major at Oberlin. But, that’s why I left Oberlin because I was the only woman in the whole jazz program. It was the first year of the program and they didn’t know what to do with me. And I constantly told by my teacher, “You’ll never make it anywhere playing jazz flute.” They told me that every week, so I wondered why am I spending all this money doing this? So I left.

Cisco Bradley:           Good for you.

Nicole Mitchell:       So I would say my training was not linear? I guess nothing with me is linear. But, I’ve had some good teachers. I studied composition with John Eaton when he was teaching at University in Chicago. He was a microtonal opera composer who also happened to have a chapter in his life where he performed with Eric Dolphy a lot in Europe. So we clicked really well.

I was a scholar in residence at University of Chicago. I wasn’t a regular student at University in Chicago, but I was allowed to take some classes. So I studied with Eaton and I also played in the orchestra and won the Concerto Competition while I was there. I played the Mozart concerto with the orchestra. I spent five years playing piccolo with the Joffrey Ballet Orchestra and the Chicago Sinfonietta in Chicago before I moved to California.

And I also like studied with James Newton. He had an impact on me as an improviser — direct artistic lineage right there.

Cisco Bradley:           Can you be more specific about what you learned studying with James Newton?

Nicole Mitchell:       A lot of it was intuitive but when we were working he would always make time for us to improvise together. And I think that oral tradition is important, working with someone who is a master. I think that still is a really important aspect of jazz music even though people put more emphasis on going to college because they have a degree, but there is still an oral tradition.

And I was very influenced also by Fred Anderson at the Velvet Lounge in Chicago. Even though I never took a lesson with him, I listened to him rehearse and practice. He talked a lot about the music. He’d come in the afternoon, you’d sit there, and he would play recordings for you and break them down and talk about Charlie Parker and his soloing — stuff like that. So there was a lot of stuff that was happening in the margins.

Cisco Bradley:           So maybe we could talk about Sonic Projections. One of those was a tribute to Fred.

Nicole Mitchell:       Thanks for bringing that up. I think it’s like a sleeper, right? 

Cisco Bradley:           Yeah! I’m curious about your concept for that group and for those specific musicians: Craig Taborn, Chad Taylor, and David Boykin, and I would like to hear you talk about your tribute to Fred.

Nicole Mitchell:       I really believe in that group and I really believe in the music, but that group did not tour at all. The only performances was Vision Festival for the The Secret Escapades of Velvet Anderson and the Chicago Jazz Fest forEmerald Hills. And that’s basically it. So each record literally had one performance. I’m not really sure why that is, because I think it’s some of my strongest music.

Cisco Bradley:           I agree.

Nicole Mitchell:       And then the musicians are absolutely amazing. So I’m not sure what happened with that.

I really love that group because it’s kind of like a New York-Chicago overlap, you know because Chad had his history in Chicago and Craig actually has a history from the Midwest. At the time, Craig and Chad were in New York, David and I were in Chicago and it was really exciting. It was just a really exciting chemistry.

I wanted to face the challenge of not having a bass player, I was really excited about writing without one. So it really exposed Craig’s amazing playing in some wonderful ways. I had a really great time writing for that group. Whereas I under-compose from Mandorla Awakening, I kind of over-composed for them in a lot of ways because I knew they could do it. Whatever I wrote, no matter how hard, they could do it.

Cisco Bradley:           I wish we had more time to talk. Let’s keep in touch and do another interview in the future. Thank you!

Okyerema Asante ‎– Drum Message.( 1977 ) Wonderful album with musics of Oneness Of Juju.Andrea Thomas, Bilal Sunni-Ali, Brian Jackson, Judy Spears, OKYEREMA ASANTE, Plunky Nkabinde...

Okyerema Asante ‎– Drum Message ( 1977 )

https://www.jazzdisco.org/okyerema-asante/catalog/

Okyerema Asante: African Drums, Percussion, Vocals, Chants, Whistles, Bells
Plunky Branch: Soprano Sax, Tenor Sax, Shekere, Vocals, Flute
Muzi Branch: Electric Bass, Shekere
Brian Jackson: Piano
Andrea Thomas: Trap Drums
Judy Spears: Vocals
Iceman Ron Wallace: Vocals
Ras Mel Glover: Electric Guitar
Bilal Suni Ali: Flute
Timothy Hall: Piano, Synthesizer
Sister Tee: Violin
Simbo: Berimbeau, Congas

Recorded June 3, 1976 & September 14, 1977 at Arrest Recording Studios in Washington DC.

Released on Black Fire Records (catalog # BF 19803)

PAUL QUINICHETTE ‎– MOODS ( 1954 ),WONDERFUL ALBUM.SAM MOST,JIMMY JONES,WILLIE RODRIGUEZ,SIR CHARLES THOMPSON,PAUL QUINICHETTE,PAUL CHAMBERS,MANNY OQUENDO,TOMMY LOPEZ,HERBIE MANN,JEROME DARR,BARRY GALBRAITH,AL HALL.

Paul Quinichette ‎– Moods ( 1954 )

Bass – Al Hall (tracks: A1 to A4), Paul Chambers (3) (tracks: B1 to B4)
Bongos – Manny Oquendo (tracks: A1 to A4)
Congas – Tommy Lopez (tracks: A1 to A4)
Drums – Harold Wing (tracks: B1 to B4)
Flute – Herbie Mann (tracks: A1 to A4), Sam Most (tracks: B1 to B4)
Guitar – Barry Galbraith (tracks: B1 to B4)
Piano – Jimmy Jones (3) (tracks: A1 to A4), Sir Charles Thompson (tracks: B1 to B4)
Rhythm Guitar, Guitar [Solo] – Jerome Darr (tracks: B1 to B4)
Tenor Saxophone – Paul Quinichette
Timbales – Willie Rodriguez (tracks: A1 to A4)
Written-By – Quincy Jones (tracks: B1 to B4)

Notas

The jacket back includes photographs of Al Hall and Jimmy Jones at their respective instruments, but their names are not included in the liner notes specifying the performers or what tracks they play on. However, their names are listed on the center labels.

The center labels list the same set of A side performers for both sides, but the liner notes text clearly states a different set of performers for the B side, so that is what was entered here.

Side A recorded November 22, 1954.
Side B recorded November 4, 1954.

La Movida madrileña: repaso extremadamente ácido de los personajes más importantes (y también menos conocidos)

http://www.cineraro.es/articulos/la%20movida.htm

La Movida madrileña:
la Transición requería de modelnos

El artículo publicado en el Blog Conspiración Durrutista Antisionista hace un repaso extremadamente ácido de los personajes más importantes (y también menos conocidos) de la famosa movida madrileña (1979-85). Cineraro.es no se hace responsable de las opiniones expresadas en dicha entrada del blog.

Blog Conspiración Durrutista Antisionista

La Movida madrileña fue un movimiento contracultural (es decir, en contra de la cultura, acuerdense del judaico antiarte ) surgido durante los primeros años de la Transición de la España posfranquista. Como el movimiento jipi fue auspiciado por los servicios de inteligencia, en una época difícil en la que se prefería atontar a la juventud con drogas, música y absurdeces (allá el judío pedófilo Ginsberg llegó al cénit) igual que siempre pero multiplicado por 10 y con pretensiones de todo tipo. Se generalizaría y convertiría muy pronto en la Movida española y se prolongó hasta mediados de los años ochenta, comenzando con el renombrado Concierto homenaje a Canito (1) promovido por los que posteriormente se convirtieron en Los Secretos (2) y teniendo su primer refrendo multitudinario en 1981 con El Concierto de Primavera de la Escuela de Arquitectura.

El momento cumbre de la Movida madrileña fue el 23 de mayo de 1981, cuando los alumnos de la Escuela Técnica Superior de Arquitectura de Madrid de la Universidad Politécnica de Madrid junto a Klub organizaron El Concierto de Primavera. Más de 15.000 personas se dieron cita en dicho acontecimiento histórico, en un festival de más de ocho horas de duración en el que participaron en orden y por sorteo Farenheit 451, Alaska y los Pegamoides, Flash Strato, Los Modelos, Tótem, Rubi y los Casinos, Mamá, Los Secretos y Nacha Pop.

Aparecieron las revistas La Luna (dirigida por el judaico Javier Timermans, marqués de Villapuente, abogado experto en Derecho Nobiliario) y Madrid Me Mata de Oscar Mariné (3), y otras publicaciones financiadas por los ayuntamientos de Madrid y de Vigo (donde también tuvo lugar la conocida como Movida viguesa). Publicaciones como las citadas fueron el baluarte del movimiento, que halló reflejo en algunos programas televisivos como Musical Expréss, Popgrama, La bola de cristal (4), Si yo fuera presidente de Fernando García Tola (5) y La edad de oro (6) de la musa de la movida Paloma Piji-punk Chamorro, y tuvo sus cronistas a Fernando Márquez (7) en fanzines (Kaka de Luxe, La Liviandad del Imperdible, El Corazón del Bosque).

Nacido en Madrid, el movimiento tomó muy pronto una envergadura mucho mayor a nivel sociológico y nacional, extendiéndose miméticamente a otras capitales españolas, con la connivencia y aliento de muchos políticos, principalmente socialistas, entre los que destacaría el entonces alcalde de Madrid, Enrique Tierno Galván (8), que había estudiado profundamente desde un punto de vista sociológico la cultura marginal juvenil (véanse los ensayos contenidos en su obra El miedo a la razón). El apoyo político a esta cultura supuestamente alternativa pretendía mostrar un punto de inflexión entre la sociedad franquista y la nueva sociedad de la democracia. Esta imagen de una España moderna, o cuanto menos abierta a la modernidad, sería utilizada internacionalmente para combatir la imagen negativa que el país había adquirido a lo largo de cuatro décadas de dictadura.

En cine, sobresalió el psoista gayer Pedro Almodóvar con Pepi, Luci, Bom y otras chicas del montón en la que salía la judia Cecilia Roth y una punki Alaska (9) menor de edad meando sobre Carmen Maura.

En literatura, surgida a la palestra el 13 de marzo de 1984 con el debate en la Tertulia de Creadores (Círculo de Bellas Artes de Madrid) Narrativa en la Posmodernidad, en el que participaron el estética-cuantico Gregorio Morales, el oxfordiano y colaborador de EL PAIS Vicente Molina Foix, el dandy Luis Antonio de Villena, Javier Barquín, José Tono Martínez (10), el hijo de un secretario de la Diputación franquista Luis Mateo Díez, el columnista de EL PAIS José Antonio Gabriel y Galán, José Luis Moreno-Ruiz y Ramón Mayrata (11). La mayor parte de ellos —como Gregorio Morales (alma de la Tertulia de Creadores), José Tono Martínez o Ramón Mayrata— eran colaboradores regulares de La Luna. También difundían su mierda Javier Sádaba (12) y su repugnante colega Fernando Savater (UPyD).

Fotografía. Aparte de Alberto García-Alix (encargado de elevar al fachilla lumpenproletariat a objeto artistico y chic), hay que hacer una mención especial para el fotógrafo ‘outsider’ de la movida, pero esencial, Gorka de Duo que fue el único de éstos que fotografió y acompañó al sinvergüenza gayer judio Andy Warhol, así como de Ouka Leele (13)

En moda triunfó la payasil XII marquesa de Castelldosríus, XXIX baronesa de Santa Pau y Grande de España Ágatha Ruiz de la Prada, pareja del pervertido periodista facha Pedro J.

No puedo terminar el post sin hacer mención del estúpido grupo Oviformia, en cuyas filas militaba la hija del ministro socialista del Interior, Fernando Moran (del partido de Tierno Galván, Embajador de España en las Naciones Unidas, eurodiputado y miembro del Club de Roma y tío de la Ministra de Educación y Ciencia entre 2006 y 2009 Mercedes Cabrera Calvo-Sotelo).

Bueno, supongo que me dejo a muchos yonkis pervertidos de esta época. Una generación entera a tomar por culo por culpa de la ingenieria social judeo-yankie y unos ídolos de cartón-piedra que eran hijos de la burguesia y aristocracia franquista. Objetivo: degenerar la sociedad y que no hubiera protesta social.


NOTAS:

(1) La idea de la celebración del concierto surgió de una conversación entre Enrique Urquijo, líder del grupo Tos, embrión de Los Secretos y y José Vegas, programador cultural de la Escuela de Ingenieros de Caminos. La iniciativa fue apoyada sin ambages por el entonces Director de la Escuela,el aristócrata José Antonio Torroja, padre de Ana Torroja, quien poco después se convertiría en vocalista de otro de los grupos emblemáticos de la Movida Madrileña: Mecano

El concierto fue gratuito y las entradas se distribuyeron a través de Radio 2 de Radio Nacional de España, de Onda Dos (Radio España) y Radio Popular FM. El concierto fue retransmitido en directo por la frecuencia modulada de Radio España y por el programa de Televisión española Popgrama, conducido por Carlos Tena y Diego A. Manrique (periodista en el semanario Triunfo, crítico musical en el diario El País y El País Semanal. Desde agosto de 2007 dirige el programa La Madriguera en Radio 1 de Radio Nacional de España. En mayo de 2008 es nombrado director adjunto de Radio 3. Ha sigo galardonado con el Premio Ondas Nacionales de radio en 2001.)

(2) grupo de pijazos en los que estaban los yonkis hermanos Urquijo. Enrique murió de la droga y el consistorio madrileño le puso una calle en el distrito de Vicálvaro. Su hermano Alvaro vive en las Rozas, uno de los barrios mas pijos de España

(3) Diseñador, ilustrador, experto tipógrafo y artista profesional, Oscar Mariné es uno de los mayores comunicadores de la era post-franquista de España. Su obra reconocida internacionalmente incluye diseños icónicos para directores de cine como el insoportable Pedro Almodovar, Alex de la Iglesia, y Julio Medem, músicos como el judio Bruce Springsteen, Psychedelic Furs o Brian Eno, prensa (El Pais, C International Photo Magazine) y gran variedad de marcas (Absolut Vodka, la ex-nazi Hugo Boss, Camper, la judia Loewe etc)
Otros trabajos incluyen: Exposición “Los Trabajadores” de Sebastião Salgado para la Biblioteca Nacional, publicaciones para la Exposición Universal de Sevilla 1991, varios para el ICEX, catálogos de arte para el IVAM, campañas para la Junta de Castilla-La Mancha, gráfica de exposición para el Museo Nacional de Arte Reina Sofía, multitud de proyectos en los últimos 15 años para el Patronato de Turismo de Huelva, lanzamientos para RTVE, exposición para la ONU, y otros muchos proyectos para la SGAE, Caja Madrid, Banco Santander, 40 Principales, Los Aljibes, Paternina, La Ser, Canal+, Conde Naste, El Corte Inglés, Santiago Bernabeu, Pepsi, Tissot, Diseño Interior, Cambio 16, Marie Claire España, Amnistía Internacional…

(4) Dirigido por Lolo Rico,cuyo hijo y guionista del programa es el farsante de izquierdas pro-invasión de Libia Santiago Alba Rico. Dirigido a un publico adolescente, El librovisor era una sección del programa conducida por Alaska, y creada a partir de los guiones de Carlo Frabetti y Carlos Fernández Liria.
Carlos Fernández Liria es un filósofo, escritor, guionista, ensayista y profesor de filosofía español. Al loro con el tipet!
Lector de Sartre desde la adolescencia, se doctoró en Filosofía con una tesis sobre dicho autor en la Universidad Complutense de Madrid que inició bajo la dirección de Gabriel Albiac. (Gran inciso para este menda: Es profesor de filosofía desde 1974 en la Universidad Complutense de Madrid, institución de la que es Catedrático desde 1988. Escribe una columna para el diario ABC y colabora como contertulio en el programa matinal del facha Federico Jiménez Losantos en EsRadio (donde dirigió durante un mes un programa de radio en los comienzos de la cadena) y en el programa de televisión “Los Catedráticos” de la facha Libertad Digital TV. Fue Premio Nacional de Literatura en la modalidad de ensayo en 1988. Ha trabajado para los diarios El País, Diario 16, El Mundo (de cuyo consejo editorial fue miembro) y La Razón, y para la Cadena COPE (en la tertulia del programa “La Mañana” cuando era dirigido por Federico Jiménez Losantos).
En temas de política española se ha alineado frecuentemente con la línea editorial del diario El Mundo, mientras que en política internacional manifestó en su día su apoyo al movimiento antiglobalización y a los movimientos de extrema izquierda, declarándose próximo a los filósofos Louis Althusser (del cual fue alumno), Michel Foucault y el autonomista Toni Negri. Él mismo se ha llegado a definir como un comunista muerto, en el sentido en que es un marxista heterodoxo que reconoce que el socialismo real no esconde sino un sistema totalitario, con el que se muestra en desacuerdo. Sin embargo, retomando la influencia de Negri, él considera que lo importante en la política actual, determinada por la pérdida de poder de los estados-nación frente a las empresas y organismos multinacionales, es la construcción de subjetividades alternativas por parte de la sociedad civil.
Profundo admirador de la cultura judía, es un firme defensor de la legitimidad de la existencia del Estado de Israel y de su política defensiva, considerándolo la única democracia de Oriente Medio. Así, no duda en calificar al actual antisionismo como el nuevo disfraz del antisemitismo de siempre. En relación a ello, en su artículo «Ganó Al Qaeda», publicado al día siguiente de la victoria electoral socialista en las elecciones del 14 de marzo de 2004, criticó duramente la decisión de retirar las tropas españolas de Irak por considerarlo una cesión de España ante el terrorismo islamista. También es conocida su pública oposición a los nacionalismos catalán y vasco.
Ha publicado estudios sobre Spinoza y Pascal, y es también gran conocedor de la vida y obra de Maquiavelo. TOMA CASTAÑA!!!)
Sigamos con Carlos Fernández Liria. Además de su labor docente como profesor de filosofía ha publicado varios libros de ensayo sobre disciplinas como filosofía, antropología y política, además de colaborar en varias revistas y medios de comunicación como Gara, Público, la revista Archipiélago y el sitio de Internet Rebelion.org. (medios de disidencia fabricada)
Formó parte de la candidatura de la trotskista Izquierda Anticapitalista a las Elecciones al Parlamento Europeo del año 2009 con un resultado de 25.243 votos (0,16%), siendo la décima lista más votada en España. Y como viene siendo habitual se le hace publicidad en los medios dejandole montar pitotes defendiendo a Chavez como en la Ser o Antena 3 para aumentar su fama de revolucionario de cara a las masas.

(5) empezó con la amiga de Mister x, la abriguitos Pilar Miró (madre junto al Balbín, el de La Clave, de un imbecil total que se folla a duquesitas) sin embargo, el éxito y el reconocimiento le llega a partir de 1977 cuando se le ocurre la idea de combinar los talantes de la aristócrata y actual reina de la telebasura Mercedes Milá y la entonces presentadora estrella de Televisión española, Isabel Tenaille, en un programa de entrevistas que marcó una época en la historia de TVE, Dos por dos.

(6) una sucesión de decadentes “artistas” en su mayoria sin ningún tipo de talento jugando a epatar la burguesia gracias a su drogadicción y exabruptos pretenciosamente originales

(7) El Zurdo. Su etapa en solitario se inicia, tras un largo veto mediático por motivos políticos (Fernando había estado vinculado, sin militar, a partidos como Falange Auténtica, Alianza Popular, Partido Demócrata Liberal, FE-JONS, fue secretario juvenil de cultura del CDS y pasó lo que él califica de sarampión abertzale). Fernando pasa por otra época fértil en cuanto a creación de canciones, como compositor a sueldo para el sello de pop ligero moña para gafapastas Siesta. También cabe destacar su fértil amistad con el poeta y personaje de la movida literaria Eduardo Haro Ibars:
hijo del periodista y ensayista Eduardo Haro Tecglen es uno de los más genuinos representantes de esa generación de jóvenes españoles que, de la aventura de la clandestinidad antifranquista, pasan a la de las primeras experiencias con las drogas. Bisexual (precursor del movimiento gay español) y consumidor abusivo de todo tipo de drogas (alcohol, heroína por vía intravenosa, etc), a mediados de la década de los 80 contrajo el sida, que acabaría provocando su prematura muerte en 1988
Durante su adolescencia conoció a personajes como los escritores Paul Bowles, Jane Bowles, William Seward Burroughs y el pintor Francis Bacon en Tánger (Marruecos), donde estos gayers iban para follarse niños.
Su primer libro, editado por Ediciones Júcar en buena medida gracias a la intercesión de su amigo el escritor y traductor gijonés Mariano Antolín Rato, es Gay rock (1974), una obra ensayística sobre el glam rock, género musical en boga por aquellos años, del que derivó el punk, fenómeno que tampoco dejó indiferente a Eduardo, como demuestran artículos como “Punks y punkettes, salid de vuestras alcantarillas”, publicado en el número 839 del semanario antifranquista Triunfo.
Será Haro Ibars, junto con el pijazo chalado Leopoldo María Panero, uno de los primeros poetas españoles que escriban poemas sobre la droga. El llamado “caballo de la muerte” ocupará asimismo un buen número de páginas en ¿De qué van las drogas?, texto de divulgación publicado en 1978, “bastante sensato y periodístico”, según las palabras del propio autor, recogidas en el “Epílogo, epitafio y biografía” de su poemario Empalador
Con anterioridad, mientras colabora en TVE, Diario 16, Liberación y numerosas publicaciones, sus versos son musicalizados por la Orquesta Mondragón (liderada por el folla adolescentes Javier Gurruchaga. Caso Arni) y Gabinete Caligari (esos que iban de SS e iniciaban sus conciertos con el saludo romano y presentandose como fascistas), cuyos miembros acompañaron al escritor en algunas lecturas poéticas antes de saltar a la fama. Es distinguido con el premio Micrófono de Oro concedido por la sala Rock-Ola, referencia obligatoria en el Madrid de aquellos días. Luis Antonio de Villena (otro pijo homosexual decadente, dandy que presentó el programa “Las aceras de enfrente”, en Radio 5 de RNE, dirigido al colectivo LGTB. ) lo hizo protagonista de su novela Madrid ha muerto, que describe la época de la Movida madrileña. Villena fue muy amigo suyo y lo saca sobre todo en su posterior novela “Malditos” con el nombre de Emilio Jordán
Cuando muere de SIDA el 16 de agosto de 1988, uno de sus poemas (“Pecados más dulces que un zapato de raso”) dio lugar a una de las grandes canciones de Gabinete Caligari. Con los futuros miembros de este grupo, siendo todos universitarios a la sazón, a mediados de los setenta Eugenio Haro Yvars (1957-1991), hermano de Eduardo, forma Rigor Mortis, teloneros en 1975 de la mítica banda de La Elipa Burning, en un concierto en la Facultad de Periodismo de la Universidad Complutense de Madrid. Eduardo, que siempre quiso ser una estrella del rock, colaborará con su hermano, Jaime Urrutia, Ferni Presas y Edi Clavo, fusionando la música de éstos con la recitación de su poesía.
Su padre Eduardo Haro Tecglen, columnista y subdirector (1968-1980) de Triunfo. En su labor periodística más temprana escribió artículos a favor del régimen franquista, como la oda al fundador de la Falange, José Antonio Primo de Rivera, “Dies Irae”. Durante sus últimos años escribía la columna visto/oído para el diario El País y un blog, y mantenía la sección diaria barra libre en el programa La Ventana de la Cadena SER. Su pensamiento complejo puede aglutinarse en la idea del “altermundismo pesimista”

(8) En agosto de 1965 fue expulsado de la universidad por apoyar las protestas estudiantiles en contra de la dictadura franquista, junto con los profesores universitarios José Luis López Aranguren y Agustín García Calvo.

José Luis López Aranguren: Estudió con los jesuitas. Durante la guerra civil española (1936-1939) se mantuvo en el bando nacional, se integró en el partido único (FET y de las JONS) y colaboró en la revista Vértice. En la posguerra formó parte del grupo de intelectuales falangistas (entorno de la revista Escorial).Su actividad como informante de las autoridades franquistas sobre el mundo intelectual fue objeto de polémica (un chivato, vamos). Abandonó España y, durante algunos años se trasladó a Los Ángeles, en Estados Unidos, enseñando en las universidades de Berkeley, México y otros centros académicos. premio Príncipe de Asturias de Comunicación y Humanidades en 1995. Se le ha concedido una calle en Madrid y es tío de la periodista Begoña Aranguren Gárate, viuda del aristócrata y actor José Luis de Vilallonga (un tipo que gusta de follarse prostitutas sin brazos ni piernas, lo dice él mismo).

Agustín García Calvo: Fernando Savater fue en los setenta discípulo suyo y planeó elaborar con él una tesis doctoral, que nunca llevó a buen término. Por encargo del primer presidente de la Comunidad de Madrid, Joaquín Leguina, escribió el Himno de la Comunidad. Otros intelectuales españoles interesados en algún momento por el pensamiento de García Calvo son Félix de Azúa (quien ha tomado de él la expresión “medios de formación de masas” y le ha dedicado varias de sus obras poéticas, colaborador habitual de los diarios El País y uno de los quince firmantes de los dos manifiestos (2005 y 2006) de la plataforma política Ciutadans de Catalunya ) y el idiota y anglófilo rey del ficticio Reino de Redonda Javier Marías. En su pensamiento político califica a los paises comunistas y musulmanes como formas más atrasadas de dominio.

Sigamos con Enrique Tierno Galván.En 1966 se traslada a Estados Unidos donde fue profesor en la Universidad de Princeton (1966–1967). Afiliado al PSOE (Partido Socialista Obrero Español) en la clandestinidad, y expulsado después por divergencias doctrinales, al regresar a España, en 1968, funda el Partido Socialista del Interior (PSI), que posteriormente, en 1974, pasó a llamarse Partido Socialista Popular (PSP) pero acabó por integrar su partido en el PSOE, del que fue elegido presidente honorario (abril de 1978).Una vez soltó la muy comentada soplapollez de “¡Rockeros: el que no esté colocado, que se coloque… y al loro!”

(9) petarda retaca activista pro-gayer. friki profesional admiradora del facha de Raphael y del judeo-yonkie de Lou Reed. Resaltar por su asquerosidad la actuación el 29 de marzo en Mónaco, en el habitual, conocido y prestigioso «Baile de la Rosa» que organiza la familia Grimaldi todos los años y que ese año fue dedicado a la movida madrileña y en el que Alaska, junto a Pedro Almodóvar, Bibiana Fernández y Mario Vaquerizo fue cabeza de cartel. También participaba asiduamente en el programa de radio del superfacha Gimenez Losantos y mantiene buenos lazos con el director del periodico de derechas EL MUNDO (un tipo que gusta de beber meados de prostituta en copas de champagne).
Lo último de esta cerda es aparecer junto a su orgullosamente inculto “marido” (cabeza del ridículo grupo de travelos Nancys Rubias) en la deleznable MTV en una suerte de reality donde sacan a relucir al máximo su frivolidad.

(10) entre 1980 y 1981 dirigió el Club de Amigos de la UNESCO, presidido entonces por Joaquín Ruiz-Giménez Cortés (Hijo de Joaquín Ruiz Jiménez (1854-1934), ministro liberal en el gobierno del conde de Romanones y alcalde de Madrid en cuatro ocasiones, Joaquín Ruiz-Giménez Cortés militó desde muy joven entre los estudiantes católicos, de cuya organización fue presidente. En 1961, el general Franco le nombró consejero nacional del Movimiento, Presidente de UNICEF-España,del PSOE)
Ha colaborado en numerosos medios de prensa, incluyendo El País, ABC y revistas culturales españolas y extranjeras. En la actualidad colabora con Revista de Occidente(en la que escribía el agente del imperio británico Bertrand Russell) editada por la Fundación José Ortega y Gasset y Claves de Razón Práctica. Residió en Washington D. C. entre 1987 y 1994, donde dirigió la revista Encounters y ejerció como Asesor Ejecutivo de Programas de la Fundación Spain 92.

(11) ”Miracielos (Muchnik, 2000), emocionante visión de la libertad y la desdicha, que relata las relaciones de una orquesta de refugiados judíos y un guitarrista flamenco, casi un niño, en Cádiz, durante la segunda guerra mundial, donde esperan un barco que no llega.”Puaggggggg!!!!

(12) Se licenció en Filosofía y Letras (sección filosofía) por la Universidad Pontificia de Salamanca. También es licenciado en Teología por la Universidad Gregoriana de Roma. Ha sido profesor en diferentes universidades del mundo como Tübingen (Alemania), Columbia (Nueva York), Oxford y Cambridge (Reino Unido).

(13) sobrina del poeta gayer y pedófilo Jaime Gil de Biedma (detalló encuentros con menores en sus memorias) y prima de la (pongan el adjetivo que les de la gana) de la condesa Esperanza Aguirre.