Erenlai - Items filtered by date: Tuesday, 29 June 2010
Wednesday, 30 June 2010 04:40

廉價外勞挽救台灣經濟?

外勞薪資與基本工資脫勾,究竟能提升台灣經濟,還是會侵害外勞人權、殘害本國勞工?

Wednesday, 30 June 2010 04:22

衝突年代尋找和平希望

為紀念利瑪竇逝世四百周年,今年五月上海復旦大學哲學學院宣布成立「徐光啟-利瑪竇文明對話研究中心」(簡稱「利徐學社」)並舉辦「文明對話與全球挑戰」國際論壇。論壇中邀請到全球倫理基金會秘書長施倫索格(Stephan Schlensog)博士進行演講。施倫索格博士特別強調不同宗教與文明間的對話,是尋求共同道德價值觀念的基礎,也是各民族和平共處的先決條件。《人籟》特別刊出施倫索格博士的演講,希望在以文化、宗教為名的殺戮、歧視仍普遍存在的今日,能為讀者帶來不同的啟示。


文明衝突論:自我實現的預言

美國著名政治理論家杭廷頓(Samuel Phillips Huntington)於1993年勾勒了一份未來世界局勢的發展進程──該進程最初以問題的方式被謹慎地提出,之後卻被奉為外交政治的「新典範」──最後,它被稱為如今相當著名的「文明衝突論」。杭廷頓聲稱的「不同文明間的戰鬥──特別是西方文明與伊斯蘭文明的衝突」,真的是無法避免的世界局勢嗎?

身為五角大廈的顧問,杭廷頓並沒有完全考慮到不同文化的內部動力與各自文化的多樣性。顯然他對其中複雜的歷史糾葛、變易不定的轉型過程、雙方的交互豐贍與和平共處都知之甚少。根據杭廷頓危險的預測,在冷戰以後,他用「伊斯蘭敵人的形象」代替了共產主義敵人形象,為美國在冷戰後重新高度武裝及為未來戰爭營造有利氣氛,提供了意識形態的理論支援。

1992年,杭廷頓文章發表的前一年,亦即第一次波斯灣戰爭結束後的第二年,美國「新保守派」思想家和政治家小團體立即開始著手準備「為確保近東石油儲備、美國霸權及以色列安全等問題」的「防戰」思想理論。在布希於2000年當選美國總統後,這場戰爭得到詳細計畫。史無前例的911大屠殺,更成了攻擊阿富汗和威脅進軍伊拉克的合理藉口;但這些都和所謂的「恐怖攻擊」沒有關係。最後,布希政府還是在2003年3月對伊拉克發動戰爭。

可是,這些戰爭非但未曾在阿富汗、中東地區以及世界各地打敗恐怖活動,反而幫助恐怖主義廣為散播。雖然全球數百萬的穆斯林不斷譴責以伊斯蘭名義發起的任何形式的恐怖活動,但這場針對兩個伊斯蘭國家發起的戰爭早已蔓延到整個穆斯林世界,挑起無以言喻的憤怒與痛苦,並造成諸多穆斯林的強硬反對態度。今日我們得承認:杭廷頓的「文明衝突論」已成為一個「自我實現」的預言。


選擇衝突或選擇對話

我們能從這些事件中學得何種教訓?不同文化和宗教的和平共處是21世紀的關鍵問題。我們的選項已經很清楚:

──要不就是宗教間的競爭、文明的衝突和國家間的戰爭;

──要不就是在不同宗教與文明間塑造一個充滿對話、和平與理解的文化,作為世界和平的先決條件。

誠實而批評性的對話,並不是為了掩飾差異,或者是想推動宗教融合。而是試圖以彼此自我認識、客觀性和公平性為基礎,並清楚認識到造成分離與聯合的因素,來力求達到真誠的相遇與理解。

基於這個原因,我恭賀復旦大學帶頭成立「徐光啟─利瑪竇文明對話研究中心」(簡稱「利徐學社」)──這是高瞻遠矚、具有時代意義的創舉。我希望你們的工作,能為文化和宗教間的相互理解作出有價值且有益的貢獻,並且讓兩者的角色在現代市民社會中愈顯清晰。


宗教文明對話的關鍵推動力

StephanSchlensog_Global-Ethic_ch02「利徐學社」主辦人在其籌辦文件「復旦宣言」中,有計畫地提到了1993年在芝加哥舉辦的「世界宗教會議」,此舉並非偶然。他們對這個會議的主張──且讓我引用他們的話:「以和平與合作的精神,在比較性的宗教研究以及宗教和文明間的對話上,賦予『關鍵的推動力』。」那麼,這個「關鍵的推動力」是什麼?這是件歷史性的大事:宗教史上,世界各宗教的代表首次對人類倫理的基本要素達成共識,而這些要素正是《全球倫理宣言》中所提及的。

許多人早已忘記是誰鼓吹並起草這一宣言,答案就是──孔漢思(Hans Küng)。早在1990年,孔漢思就出版了《全球責任:尋找新世界倫理》(Global Resposibility: In Search of a New World Ethic)一書,並逐步發展出以下的觀念:「世界上各種宗教和哲學要能對世界和平有所貢獻,除非學會去認同那些數千年來由各大宗教和人文主義傳統所提倡的『共同倫理觀的基本清單』(basic list of those shared ethical values)。」

孔漢思一直堅信,如果宗教間沒有和平,國與國之間就永遠不會存在長久的和平;然而若缺少對話和理解,宗教間也不會有和平。隨著靈性生活的實踐,學術交流和類似的活動,人們在「共同價值」裡發現了宗教對話的基礎;這樣的價值跨越了千年以來的文化邊界,把我們捆綁在一起。


照片說明:(上)為紀念利瑪竇逝世四百周年舉辦的「文明對話與全球挑戰」國際論壇,其目的在促進人類社群融合、民族和解、機構合作及不同宗教的共存與和諧。(攝影/張俐紫)

(下)不同宗教間,並非沒有對話的可能,因為我們仍能在差異中,找到共同信仰的價值。(照片提供/天主教真理電台)




本文為節錄,完整內容請見2010年7-8月號《人籟論辨月刊》

No73_small

想閱讀更多本月精采文章,請購買本期雜誌!

您可以選擇紙本版PDF版

海外讀者如欲選購,請在此查詢(紙本版PDF版訂閱全年份

banner



當願意為人父母的台灣夫妻愈來愈少,

當少子化造成社會全面影響,甚至造成危機,

在政府決定為此高喊口號的此時此刻,

我們不妨借鏡他方,看英國人如何省錢育兒。

 

 

Wednesday, 30 June 2010 00:00

肢體、舞蹈和療癒

在人類文明演進的歷程中,經常淡忘了原始的潛能;譬如說,語言和文字成了人類社會最普遍的溝通工具,然而在學習語言和文字的過程中就會壓抑了原本音樂的才華。最近的研究顯示,在大腦中掌管音樂的區域和語言是相對的,所以從胚胎到幼兒,人類先發展出音樂的才華,可是學習語言用的是不同的模式,使得大腦對側語言中心在成人之後發達起來,也因此感受音樂的路徑就沒落了;如果不是如此—─像有些智障者,保留腦中胚胎期就有的才能和路徑,就是我們所罕見的音樂天才。

 

同樣地,在學習語言文字之後,我們也忽略了肢體的情感和地位。

 

我們的身體有最美的語言,它也表達了最原始的情感;在《身體語言》這本書中,提到了從醫學的角度來看,中西文化造就了不同的身體語言。東方的醫學哲學自古多談的是靈與氣,所以古畫中的男女雍容華貴,注重的是神韻;西方在文藝復興後以解剖來看人體,畫中男女骨肉的線條格外明顯,七情六慾也就格外寫實。事實上,除了靜靜欣賞人體的美學之外,眉目傳情、肢體互動,在現實生活中,有時言語文字顯得多餘而累贅,人與人之間透過身體的相互感覺,是那麼真實,那麼微妙,蘊藏出原味的芬芳,不同於語言和文字的矯揉造作。

 

舞蹈則是放大了肢體語言,也加深了身體的情感表現。

 

古老社會中用舞蹈表達人類的虔敬、感恩、興奮或哀痛,文明演進中,舞蹈以藝術和唯美的形象昇華了;這種肢體的運動傳遞愛恨情仇的訊息,有場景、有音樂、有故事、有觀眾,讚美與感動中,把人體的美和語言發揮到極致。然而,舞蹈原始的功能也不能被遺忘,它雖是運動,但不同於體操,它雖是藝術,但更能用於療癒,舞蹈以運動治療了肢體的鬱悶,舞蹈以情感釋放了心靈的憂愁,舞出自我、舞動情愛、舞凝集了團體的同理心。

 

用舞蹈療癒身心,人類在感動中認識了自己的肢體。

 

 

繪圖/笨篤

 

 

本文亦見於2010年7-8月號《人籟論辨月刊》

 

No73_small

想閱讀更多本月精采文章,請購買本期雜誌!

您可以選擇紙本版PDF版

海外讀者如欲選購,請在此查詢(紙本版PDF版訂閱全年份

banner

 

 

 

形形種種的電子書降臨,有人問,紙本書會被取代嗎?書還會是「書」嗎?

 

兩個紙本出版市場是我觀察的指標:法國與日本。這兩個偏離主流英語閱讀世界的文化體系,仍然擁有對書本的高度熱情,還有強大的嚴肅閱讀人口作後盾。比如法國文學出版龍頭伽里瑪(Éditions Gallimard)至今仍鍥而不捨地為經典作家出全集,最近登入聖殿的是人類學大師李維‧史陀(Claude Lévi-Strauss)。

 

日本就更不用說了。日本人外語能力不強,但通過翻譯力補不足,出版業面臨崩壞仍不斷創新求變,書籍設計的精美已到家常便飯的地步,平日乘車可見不少人仍讀小說,文學獎仍然是銷量保證。日文讀物的魅力,時時教我興起學習日文的念頭。

 

日本藝術家也有一種特殊的美學。他們在東西方文化之間流離的經驗,駕馭的方法與技巧,自成一體。

 

 

 

 

 

森山荒木兩相異

 

近年台灣出版業大量引進日本藝術類讀物,如建築讀本、設計美學、攝影散文等等,如安藤忠雄的建築札記、寺山修司的奇幻寫作、久石讓的音樂筆記。最近則有別幟一格的森山大道攝影文集。

 

日本近代攝影大師,較為外國讀者熟悉的偏鋒系名家是荒木經惟,生於1940年東京。與他同輩的森山大道生於1938年大阪,卻完全是寫實系大師。把兩者並置,荒木經惟是陰的,幽微而委婉,在封閉、扭曲的裝置裡呈現人性的真實與內心的荒蕪;森山大道卻是陽的,直面而赤裸,暴走於城市空曠場所,直視最真樸原始的人生。

 

森山大道自比為流浪犬,這是一個很棒的比喻,相對起來,荒木無疑是貓。兩者共同點是疏離、殘酷。

 

「1971年我開始在青森縣拍攝流浪狗,當時我剛好從下榻的旅館走到大街上,一隻狗從我面前經過,這個機緣讓我拍下了它。從那時起,流浪狗就一直在心裡跟隨著我,這張照片讓很多人留下了深刻的印象,當人們一想到我的作品,就會想到這張照片。」(森山大道《犬的記憶》)

 

 

 

 

 

觀察位置反叛性

 

 

 

瑞士雕塑大師賈科梅蒂(Alberto Giacometti)有一件著名的作品,是瘦得只剩下排骨的一條狗。跟他那些瘦削的「行走的人」與「女人」,同樣令人一見難忘。

 

賈科梅蒂說:「我覺得那條狗就是我。」他記起的是有一次在巴黎街上走,迎面走過一條流浪狗,他感覺那就是可憐兮兮的他,那就是可憐兮兮的存在。在賈科梅蒂裡,「流浪狗」是存在的最真實形象體現。

 

流浪狗,在森山大道的藝術觀裡,不僅是一種形象,還是一種觀察的位置,甚至乎帶有反叛性、反社會的功能。就像安藤忠雄靠著自學成建築大家,森山大道也是靠自學煉成自己的攝影風格。自他23歲轉戰東京,拜師細江英公門下開始,他很早就建立了自己獨特的觸覺。黑白圖片高反差、粗粒子、甚至是模糊而晃動,呈現出一種粗獷而隨意的感觀世界。這是流浪狗的雛型。

 

 

 

 

 

ChenNing_MoriyamaDaido02衝撞能量不可擋

 

此時期的他也開始跟寺山修司合作,被帶進前衛劇場,開拓了更深層次的真實與想像界線的探索。但直至七、八○年代,旅居紐約,遊歷世界各異域,離開熟悉國土人事,讓自己從身到心徹底進化成流浪狗,他的鏡頭才爆發出一股不可抵擋的衝撞能量。

 

《犬的記憶》、《犬的記憶 終章》、《邁向另一個國度》這三本中譯散文集,記載了森山大道的人生旅程,穿插他諸多城市景觀、人像照。連環撲面而來,令人著迷。

 

「由於我的拍攝範圍並沒有固定的場域,為了尋找被攝對象,我如同野犬般走在街頭。因此,街頭可說是我的教室、我的攝影棚,是我從事創作的能量來源。……而這種遊蕩的生活方式正如同野犬。如今不同的,不過是脖子上多掛了台相機而已。」

 

----------------------------------------
《犬的記憶》
森山大道著‧廖慧淑譯
商周出版
2009年9月
 
 
《犬的記憶 終章》
森山大道著‧廖慧淑譯
商周出版
2009年11月
 
 
《邁向另一個國度》
森山大道著‧蘇志豪譯
大家出版
2010年2月
 
 
《晝的學校 夜的學校 森山大道論攝影》
森山大道著‧廖慧淑譯
商周出版
2010年6月
----------------------------------------
 
 
 
 
 

本文為節錄,完整內容請見2010年7-8月號《人籟論辨月刊》

 

No73_small

想進一步瞭解森山大道的攝影風格,請購買本期雜誌!

您可以選擇紙本版PDF版

海外讀者如欲選購,請在此查詢(紙本版PDF版訂閱全年份

banner

 

 

Published in 書評
Wednesday, 30 June 2010 00:00

書評:傳奇待續

《龍紋身的女孩》聞名的瑞典犯罪小說「千禧年三部曲」,是近年最受矚目的暢銷榜長勝軍。它改編的瑞典電影才剛在各地引起熱潮,好萊塢又宣告已買下版權,預計明年底推出另一個銀幕版本。

 

Published in 書評
Wednesday, 30 June 2010 00:00

影評:全景流轉下的家國寓言

在一次又一次的鏡頭慢速旋轉中,

所有表象一層層緩緩剝除。

於是,我們看到所有事物的核心本質,

也終於看到家園的全景…

 

 

Published in 影評
Wednesday, 30 June 2010 00:00

影評:孤獨的靈魂都知道

初聽《野獸冒險樂園》要改編成電影時,心下忐忑。

 

 

Published in 影評
Wednesday, 30 June 2010 00:00

影評:生存,是創作的隱喻

胡立歐.麥登的電影總是關於「某個什麼」。它湧動著、窺伺著、籠罩著、引誘著,然後覆蓋上來。

 

Published in 影評

I have watched two seemingly distinct phenomenon over the last 15 years with considerable interest: the growth of the internet from a niche tool of academics and geeks to a brobdignagian digital life form; and Josh Homme’s transition from cult desert guitarist to supergroup-worthy rock god.  As people around the world now begin to ponder the long-term influence of the internet on society, I believe that analysis of Josh Homme’s career and can help shed some light on this evolution, in particular with regard to the mystique of artists.

Fifteen years ago, I was a curious high school student, who, among other teenage pursuits, was discovering the world of rock and roll.  Having dipped my toes into grunge, g-funk and somewhat mystifyingly, grindcore, I was trying to find my way in the mid-90s alternative music market.  In 1995 I bought a heavy metal compilation that featured One Inch Man[i] by Kyuss, a short-lived rock band from Palm Springs California featuring the then 22 year-old Josh Homme on guitar.  I was instantly transfixed.  This bass heavy track rode a groove that got my head bobbing while at the same had heavy enough riffs to make me feel tough.  Vicarious toughness through music was important to me at that age.  As my funds permitted, I bought all four Kyuss albums and listened to them endlessly.  In fact, 15 years later I still listen to Kyuss quite frequently.  They were that good.

In an odd turn events, only one week after discovering Kyuss, I read in Hot Metal magazine that they had just recently broken up.  At this stage I was still about 18 months away from using the internet.  Information on Kyuss was almost non-existent.  I found a band profile in a second hand copy of Hot Metal from a few years prior but other than that, nothing.  Apart from albums in record stores, an underground band that died in 1995 had little chance of maintaining any sort of profile.  With that being the case, to me Kyuss was nothing more than a well-orchestrated collection of highly listenable sounds.

 

In late 1996 I graduated from high school, eager to enjoy a summer of parties and cricket.  As events transpired, the only guy I knew who had internet access was having a party and I was invited. Sambucca and Southern Comfort were drunk up on the roof, girls were kissed and garden furniture was broken. I even have hazy memories of watching the clip for Wannabe by the Spice Girls. Wiiiild times, let me tell you my friend.  Early in the night I managed to get in a session on the internet – something to me that up until that stage was nothing more than a nebulous idea that media pundits liked to talk about – either as some whiz-bang medium of the future or as a dangerous forum for disseminating The Terrorist Handbook.  None of these options took my fancy.  For me, the internet was there to find out about Kyuss.

I discovered a website lovingly put together by a Kyuss devotee and printed off some fan-made guitar tablature.  At this party I also saw Kyuss film clips for the first time.  The band was a strange looking bunch, swaggering around the California desert belting out psychedelic metal riffs.  In the Green Machine filmclip, Josh Homme cut a very unfashionable figure – shorts and boots worn together have never been very rock and roll[ii].

Three months later I was enrolled at university and the internet was suddenly at my finger tips.  None of my lecturers had worked out how to use the internet as an educational tool and most of the content on it was made by amateurs.  In spite of this, the internet was a revelation to me (like it is to most) and I spent many an hour using Hotbot to scour the neighbourhoods of Geocities, as one did on the Information Superhighway in 1997.

Over the next two years I eagerly checked Kyuss fan sites, hoping for news on upcoming projects.  Occasionally there was a tidbit – Homme and his mates were jamming in the desert, the singer had a new band, the bass player had opened a pet store in Palm Springs, the old drummer was playing with Fu Manchu and so on.  But these stories were rare, and there appeared to be no system for digitally disseminating them.  It was more or less gossip or info culled from Californian street press and then uploaded on to fan sites.  And there were only a handful of these sites on the whole World Wide Web where I needed to look to find out anything, most of which were not much more than digital versions of zines.

Following Kyuss riding off into the sun, Josh Homme re-emerged in 1997 with Queens of the Stoneage, dropping the first track on the silly genre-naming compilation Burn One Up: Music for Stoners.  For those in Australia and without the internet, this event would likely have largely gone unnoticed.  When their debut album appeared a year later the only clue that Queens and Kyuss had some sort of connection was the sticker on the CD case – “Featuring ex-members of Kyuss”.  At this stage there was very little promotional material about Homme’s new band, who were dragging themselves around Europe playing small clubs and festival side stages.

Queens of the Stoneage toiled in the musical underground over the next 5 years.  Another album, R[iii], was released in 2000 and despite getting some play on alternative radio stations in Australia, it seemed that most of the band’s followers were all Kyuss fans first, Queens fans second.  Queens were still yet to cross over into the mainstream.  This changed in 2002 when ex-Nirvana drummer Dave Grohl and ex-Screaming Trees vocalist Mark Lanegan came on board. Queens released Songs for the Deaf[iv] and then became alterna-rock royalty.  For the rest of the decade the band chugged along, releasing albums, enduring personnel problems, all the while maintaining a solid fan base through regular tours and a generally positive critical response.  This success made Homme a bonafide star and brought public attention to his previously underground side projects, such as the Desert Sessions and the Eagles of Death Metal.  While it would appear in the eyes of most critics and many casual listeners that Queens will never top Songs for the Deaf, the band has still managed to somehow straddle the line between commercial acclaim and critical success, all the while producing a distinctive sound.

Of course, over the duration of the 2000s, the internet swelled with more and more folks getting online.  As magazines and newspapers shifted their content into digital format and tried to work out how to keep making a buck, music blogs grew to become the arbiters of trends and memes.  And then there was the explosion in social media (mySpace, facebook, youtube, twitter et al) that, theoretically at least, allowed people across the world to access media with ease that most of them couldn’t conceive of 15 years earlier.  I certainly couldn’t have predicted this digital landscape when I first heard One Inch Man and wondered who Kyuss were and how they could make such transcendent music.

Now I can log onto youtube and watch Kyuss performing live in the Californian desert at one of their legendary ‘generator parties’[v].  Once upon a time I knew that these videos existed but not being familiar with the obscure world of tape trading (what tapes did I have to trade?) these gigs stayed a mystery to me.  As did the performance at the Bizarre Festival in 1995[vi] or the Italian TV gig from around the same time[vii].  For my friends and I, the unattainability of these shows created an aura of mystery.  We certainly weren’t at the shows and had no chance of watching them.  This let our imaginations run wild.  We already had the soundtrack – then we just had to dream of the desert, the drama and the drugs.

Now I can watch all these videos from the comfort of my sofa.  Beyond the initial investment of a laptop, modem and internet access, the world of Kyuss is at my fingertips.  My Taipei apartment couldn’t be further from the shifting sands of California’s Sky Valley but the internet has knocked down that time/space barrier.  That Kyuss’ history has been uploaded is fantastic and in some ways I wish it had happened 15 years ago when my curiosity was at its peak.  But then my appreciation of the band might not have become what it did.  My imagination had to fill in the gaps.

From the few interviews that I was able to read back in the day, I built up an image of Josh Homme.  He came across as chill, and didn’t seem to have the agro that is part and parcel of the metal world.  Then when Queens first started getting press, he claimed to want to create music that makes girls dance, a noble desire in the sweaty dude-filled moshpit that is the world of rock.

Now I can find out almost anything I want about the man.  From Homme’s collection of weird guitars[viii] to the somewhat infamous footage of him loosing his cool at a concert in 2008[ix].  Everything is there, pixellated and ready to download.  Fortunately Homme has maintained his sharp sense of humour and while he has developed something of a rock star attitude, he generally comes across as a likeable guy, someone you could sink a beer or two with.

What does this mean?  Without his ever-growing web presence I think it would be harder for Homme to maintain his career. The music audience has come to expect a steady stream of interviews, live footage and miscellanea to sustain interest in an artist.  Fan-made clips and shaky camera phone recordings augment the glut of professional digital media available, padding out an already large cyber presence.  But by no means has Homme saturated the market.  In the current climate of Lady Gaga, Justin Beiber and their ilk he still remains on the fringe, even with Them Crooked Vultures, his latest project where he has reunited with Dave Grohl and rounded out the band with John Paul Jones of Led Zeppelin.

TCV hit the ground the running and over a period of months went from nothing more than an intriguing concept flagged on a blog post to headlining venues and festivals around the globe.  Tantalising fans with a well-conceived drip feed of studio footage and live clips, TCV (and their management) cleverly used modern communication channels to drum up interest prior to their album’s release.  In a world where illegal downloads threaten the livelihoods of all those involved with recorded music such an approach is now necessary.

This manufactured mystique captured the public’s attention but ultimately left me feeling a bit hollow.  Yes, I watched a bunch of youtube clips and got the gist of what was going on.  But of all Homme’s many projects over the last 15 years (he is a truly prolific collaborator) this one left me the least intrigued.  The whole gestation of TCV had been manipulated to the extent that when the band finally entered my world, I didn’t really care.  There was no magic.  Despite the behind the scenes spontaneity that Homme, Jones and Grohl undoubtedly experienced, I felt like the whole product was being force fed to me.  Not that TCV is a bad band – their tunes seem to be more or less worthy given the group’s much heralded genetics – it’s just that they somehow seem to lack that magic that Homme’s earlier recordings have.

As it becomes easier to build up an extensive archive of an artist, where every recording and performance can be downloaded, where every interview and blog post can be scrutinized, artists have become more accessible than ever before.  Fans have almost instant access to the minutiae of their idols.  It is easier for established artists to step away from this trend.  Their fanbase is already established.  But struggling artists seeking to make a name for themselves need to harness the digital media machine to get their ‘product’ out there.  To do this and somehow maintain an aura of mystery seems to me to be a challenge.  With over-exposure it is easy to tire of an artist and move on to the next emerging sound, of which there will be always be a dozen emerging micro-genres to pick and choose from.

Who knows, Homme is an artist who fortunately shows no sign of burning out after two decades of recording.  There will no doubt be much more to come from him.  And sure enough, I’ll be at my keyboard, waiting for news of the next project he has up his sleeve.  I just hope that it blows in like a cloud of sand from the desert rather than appear on my twitter feed as a micro-managed meme.

(Photo by Craig Carper, source: http://www.flickr.com/photos/giarc80/3976623459/)


[i] http://www.youtube.com/watch?v=CAXGu81Rk1g - ‘One Inch Man’ from And the Circus Leave Town (Kyuss, 1995)

[ii] http://www.youtube.com/watch?v=Fc-7FXzbeA0 - ‘Green Machine’ from Blues for the Red Sun (Kyuss, 1992)

[iii] http://www.youtube.com/watch?v=bAXPUN2z2CE - ‘Feelgood Hit of the Summer’ from R (Queens of the Stoneage, 2000)

[iv] http://www.youtube.com/watch?v=s88r_q7oufE - ‘No One Knows’ from Songs for the Deaf (Queens of the Stoneage, 2002)

[v] http://www.youtube.com/watch?v=HPFhyd3fabs - generator party in the Californian desert (Kyuss, c.1993)

[vi] http://www.youtube.com/watch?v=2pMfqZGg-FA ‘Gardenia’ from Welcome to Sky Valley, live in 1995 (Kyuss, 1994)

[vii] http://www.youtube.com/watch?v=-j4A2iGgQQk ‘Asteroid’ from Welcome to Sky Valley, live on Videomusic (Kyuss, 1994)

[viii] http://www.youtube.com/watch?v=vY_O3eo1m1Q ‘Josh Homme’s cathedral pipe guitar’

[ix] http://www.youtube.com/watch?v=IfZm32tpWY8 - ‘Josh Homme (QOTSA) pissed off @ Norwegian Wood’

Help us!

Help us keep the content of eRenlai free: take five minutes to make a donation

AMOUNT: 

Join our FB Group

Browse by Date

« August 2020 »
Mon Tue Wed Thu Fri Sat Sun
          1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30
31            

We have 11391 guests and no members online