By Antonino D'Ambrosio
A Heartbeat and a Guitar tells of the collaboration of 2 detailed but hooked up musicians--iconoclast Johnny funds and pioneering people artist Peter l. a. Farge-- Bitter Tears: Ballads of the yank Indian, the album that motivated the likes of Bruce Springsteen and Bob Dylan. during this intimate portrayal of the 2 musicians, D'Ambrosio interviewed surviving participants of Cash's band, his manufacturers, and admirers Pete Seeger and Kris Kristofferson. He renders a dramatic photograph of either an period of radical protest and the making of 1 of the main debatable and enduring works of political pop paintings of the Sixties.
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Extra resources for A Heartbeat and a Guitar: Johnny Cash and the Making of Bitter Tears
The next stop is near to the Sénat, then rue du Bac, if you have the good taste to avoid what we still call the neighborhood . . 12 Gilles, we hear, seemed to be at once too young and too old for these times. ’ somebody asks him. ’ ‘With reification’, answers Gilles. ‘That’s very serious work, I imagine, with a lot of thick books and a lot of papers on a grand table’, quips his interlocutor. ‘No’, says Gilles. ’13 Back in Gilles’s and Geneviève’s day, Parisian rents were bearable; cheap thrills were still to be had, cold-water affordability was possible.
It was ‘negation and prelude’, inspired by Lautréamont. Numerous détournements of buildings lay at the core of unitary urbanism. 50 A prime example was the idea of the Dutch Situationist, Constant, whose prototypical city, New Babylon, intentionally reversed the Protestant tradition’s association of Babylon with evil and whoring: ‘Babylon the great, mother of whores and of earth’s abominations’, said the Book of Revelation (16–18). For Constant and Debord, the accursed city of Satan, the great whore Babylon – where a fear of fornication and impurity becomes bound up with a fear of the city – suddenly symbolized the good city of the future.
The idea had been brilliantly expressed by the Dutch historian and medieval specialist Johan Huizinga, whose insights Debord had studied in the early 1950s and tried to make part of Situationist culture. ’42 In Homo ludens, originally published in 1938, Huizinga reckoned that ‘Man the 28 Player’ deserved a rightful place in our nomenclature alongside Homo sapiens and Homo faber (man the maker). One of the major characteristics of play, Huizinga said, was its free nature. Play was somehow about freedom, about stepping out of real life, entering a sphere of activity with its very own disposition.
A Heartbeat and a Guitar: Johnny Cash and the Making of Bitter Tears by Antonino D'Ambrosio