J[A-Z]Z / p1ck ( Speak No Evil | Wayne Shorter, 1966

photo & design Reid Miles

Wayne Shorter, Witch Hunt, Speak No Evil, 1966

It was released in June 1966 by Blue Note Records. The music combines elements of hard bop and modal jazz. 
The cover shows Wayne Shorter's first wife, Teruka (Irene) Nakagami, whom he met in 1961.

Wayne Shorter — tenor saxophone
Freddie Hubbard — trumpet
Herbie Hancock — piano
Ron Carter — double bass
Elvin Jones — drums

The rays of dead stars | Villiers de L'Isle-Adam (1886)

The starry sky above Paris, June 21, 1875

“There are even some stars so remote that their light will reach the Earth only when Earth 
itself is a dead planet, as they themselves are dead, so that the living Earth will never be 
visited by that forlorn ray of light, without a living source, without a living destination. 
Often on fine nights when the park of this establishment is vacant, I amuse myself with 
this marvelous instrument (telescope). I go upstairs, walk across the grass, sit on a bench 
in the Avenue of Oaks – and there, in my solitude, I enjoy the pleasure of weighing the 
rays of dead stars.” 

 Villiers de L'Isle-Adam, Tomorrow's Eve, 1886

Daphnis and Chloe | Marc Chagall (1956 - 1961)

Marc Chagall, Winter                                                      Frontispiece, from Daphnis and Chloe             
Marc Chagall, The Little Swallow                                               Marc Chagall, Dorcon's Strategy         
Marc Chagall, Chloe's Judgement, from Daphnis and Chloe, 1961
       Lamon Discovers Daphnis                                                     Daphnis and Lycenion
   Marc Chagall, Daphnis and Gnathon                     Marc Chagall, Beside the Fountain
Marc Chagall, The Nymphs' Cave, 1961
Marc Chagall, Death of Dorcon, 1961
Marc Chagall, Chloe's Kiss                                    Marc Chagall, Philetas's Lesson 
Marc Chagall, Noon, in Summer                                        Marc Chagall, Chloe 
Marc Chagall, Springtime on the Meadow, from Daphnis and Chloe
Marc Chagall, Daphnis's Dream and the Nymphs                                       Marc Chagall,  The Wine Harvest
Marc Chagall, The Orchard
Marc Chagall, Philetas's Orchard
Marc Chagall, The Summer Season, 1961                                     Marc Chagall, Daphnis Discovers Chloe              
Marc Chagall, Sacrifices Made to the Nymphs                                  Marc Chagall, Pan's Banquet
Marc Chagall, Hymen, from Daphnis and Chloe
Marc Chagall Spring, from Daphnis and Chloe, 1961
Marc Chagall, Echo
   Marc Chagall, The Wolf Pit                                    Marc Chagall, The Trampled Flowers
Marc Chagall, Temple and History of Bacchus, 1961
Marc Chagall, Megacles Recognizes His Daughter During the Feast
Marc Chagall, Lamon's and Dryas's Dreams                                            Marc Chagall, Noon, in Summer

Daphnis and Chloe is a pastoral elegy attributed to the Greek poet Longus, dating from the second century A.D. 

Chagall had always been delighted with the tale, which analyzed the simple, mutual passion of two abandoned children who are protected by nymphs and the god Pan. When it was suggested to Chagall by Tériade (1956), the famed Parisian publisher, that he illustrate the fable of Daphnis and Chloe, Chagall began his preparation for the project by making two trips to Greece. While visiting Athens, Delphi, Olympia, Nauplis and Poros, Chagall executed a number of preliminary sketches and gouaches for the series. Falling in love with Greece--its landscape, history and climate--deeply influenced his choice of color and form for the Daphnis and Chloe lithographs. >


Chess Fever | Vsevolod Pudovkin and Nikolai Shpikovsky (1925)

Chess Fever, 1925 silent 
directed by Vsevolod Pudovkin & Nikolai Shpikovsky.
Written by Nikolai Shpikovsky
Cinematography: Anatoli Golovnya

Chess Fever is a comedy about the Moscow 1925 chess tournament, made by Pudovkin during the pause in the 
filming of Mechanics of the Brain. The film combines acted parts with actual footage from the tournament.

stereosc2pe + | The Blue Sky | Edward Steichen / My Bloody Valentine, 1923-88

Edward Steichen, The Blue Sky, Long Island, N.Y., 1923                                          My Bloody Valentine, You Made Me Realise, 1988 ep >

Ten Rules of Writing | Elmore Leonard (1925 - 2013)

Elmore Leonard,  1956

                                                1. Never open a book with weather.
                                                2. Avoid prologues.
                                                3. Never use a verb other than "said" to carry dialogue.
                                                4. Never use an adverb to modify the verb "said”…he admonished gravely.
                                                5. Keep your exclamation points under control. You are allowed no more than
                                                    two or three per 100,000 words of prose. 
                                                6. Never use the words "suddenly" or "all hell broke loose."
                                                7. Use regional dialect, patois, sparingly.
                                                8. Avoid detailed descriptions of characters.
                                                9. Don't go into great detail describing places and things.
                                               10. Try to leave out the part that readers tend to skip.

                                               My most important rule is one that sums up the 10.

                                                 If it sounds like writing, I rewrite it.

                                                                                                                                                                                                                      Elmore Leonard

Elmore John Leonard, Jr. (1925 – 2013) was a novelist, short story writer, and screenwriter. 
His earliest novels, published in the 1950s, were Westerns, but he went on to specialize in 
crime fiction and suspense thrillers, many of which have been adapted into motion pictures.

Alphabetarion # The transit | Arthur C. Clarke

An annular solar eclipse, March 28, 1922                                     Dadamaino, Volume, 1958
Mia Christopher, Sketchbooks Sept. - Nov. 2013
William de Wiveleslie Abney, The transit of Venus, Luxor, Egypt, 1874                                                 Ant trails observed by scientists, 1882

“Two possibilities exist: either we are alone in the Universe or we are not.
Both are equally terrifying.” 

 Arthur C. Clarke

Nusch | Paul Eluard

Nusch Eluard, Collage, 1936

The sentiments apparent
The lightness of approach
The tresses of caresses.

Without worry or suspicion
Your eyes confide in what they see
Seen by what they gaze at.

Confidence of crystal
Between two mirrors
At night your eyes are lost
To fuse waking to desire. 

Paul Eluard, Nusch

Interzone / Photo-Collages | William S. Burroughs, 1954-1961

Peter Orlovsky at Yosemite (photo by Ginsberg), 1956
Church of St Francis, Morocco, 1956
Michael Portman
Tangiers, top; possibly Ahmed Yacoubi (?), bottom
Burroughs castle steps, Tangiers (photo by Gysin?); Tangiers street scene; Kells Elvins (Ned Rorem?). Sobieszek thought 
it was Elvins based on Burroughs' description, but some favor Rorem, 1954
Kells Elvins, top; two views Tangiers, 1954
Cafe Central (possibly Paul Bowles), top; unidentified street (probably Mexico), bottom; unidentified man on street, bottom right.
Collage by William S. Burroughs, Tangiers 1954-1961

“The photo collage is a way to travel that must be used with skill and precision if we are to arrive […] 
The collage as a flexible hieroglyph language of juxtaposition: A collage makes a statement.”

 William Burroughs (1962)

The collages date to the mid-to-late fifties when Burroughs was living in Tangier and writing what was to become the text of  Naked Lunch.  As such, they offer a uniquely rare portrait of Burroughs' state-of-mind while he was in the midst of creating what was to become one of the seminal works of the Beat movement.

Most obviously, these collages echo Burroughs' famed "cut-up" technique and reflect the influence of long-time collaborator Brion Gysin, whom he would have recently met at the time of these creations.  Perhaps more importantly, however, these works reveal Burroughs in many ways re-creating in visual form the "Interzone" of his early novels, an "imaginary city" which was "a combination of New York, Mexico City, and Tangier" in which he "construct[ed] hallucinatory, interconnected narratives for its numerous characters"

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