{"id":32898,"date":"2022-04-29T09:52:08","date_gmt":"2022-04-29T07:52:08","guid":{"rendered":"http:\/\/polifonia.blog.polityka.pl\/?p=32898"},"modified":"2022-04-29T10:06:32","modified_gmt":"2022-04-29T08:06:32","slug":"32898","status":"publish","type":"post","link":"https:\/\/blog.polityka.pl\/polifonia\/2022\/04\/29\/32898\/","title":{"rendered":"Stary beatnik na nowym beacie"},"content":{"rendered":"<p>Bob Kaufman by\u0142by dzi\u015b bohaterem i czu\u0142by si\u0119 na wsp\u00f3\u0142czesnym beacie jak ryba w wodzie. Co wi\u0119cej &#8211; jest bohaterem dla supergrupy, kt\u00f3ra nagra\u0142a w ho\u0142dzie dla ameryka\u0144skiego poety p\u0142yt\u0119 <em>All Those Streets I Must Find Cities For<\/em>. Zesp\u00f3\u0142 jest niemiecki i sk\u0142adaj\u0105 si\u0119 na niego m.in. bracia Markus i Micha Acherowie (The Notwist). Ale Kaufman te\u017c mia\u0142 niemieckie korzenie &#8211; jego ojciec przyjecha\u0142 do Ameryki jako niemiecki \u017byd, matka pochodzi\u0142a z Martyniki. Kaufman by\u0142 wi\u0119c chodz\u0105c\u0105 mieszank\u0105 kultur i religii, a przy tym poet\u0105 przywi\u0105zanym do s\u0142ownej improwizacji na beacie jazzowym &#8211; dzi\u015b powiedzieliby\u015bmy, \u017ce uprawia\u0142 freestyle. W dodatku uprawia\u0142 go na ulicy, w przestrzeni publicznej. Nale\u017ca\u0142 do kr\u0119gu Beat Generation i podobno to on uku\u0142 has\u0142o &#8222;beatnik&#8221;. A dzisiejsze przedsi\u0119wzi\u0119cie &#8211; <strong>The Plastik Beatniks<\/strong> &#8211; przypomina jego teksty (cz\u0119\u015b\u0107 z nich zosta\u0142a spisana, z kolei cz\u0119\u015b\u0107 z improwizacji Kaufmana pojawiaj\u0105cych si\u0119 na p\u0142ycie w oryginalnym wykonaniu to rzecz nigdy niepublikowane). A niemieckim instrumentalistom, tworz\u0105cym dla nich kola\u017cowe t\u0142o, uda\u0142o si\u0119 zaanga\u017cowa\u0107 kilka postaci, kt\u00f3rymi zainteresujecie si\u0119 pewnie bardziej ni\u017c tym wst\u0119pem.\u00a0 \u00a0 \u00a0<\/p>\n\n\n<!--more-->\n\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/9dedrlfCwZg\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe>\n\n\n<p>W du\u017cej cz\u0119\u015bci <em>All Those Streets&#8230;<\/em> opiera si\u0119 w\u0142a\u015bnie na g\u0142osach: Patti Smith, Angel Bat Dawid, Moor Mother i Doseone&#8217;a (13&amp;God). Wszyscy odnale\u017ali si\u0119 w tej poezji \u015bwietnie i przeci\u0105gaj\u0105 j\u0105 na stron\u0119 literackiej Ameryki albo tradycji afroameryka\u0144skiej. Dzi\u0119ki nim czujemy si\u0119 troch\u0119 bardziej jak na ulicach San Francisco ni\u017c w Monachium. I na chwil\u0119 wracamy do czas\u00f3w takich p\u0142yt jak <em>The Best of Giorno Poetry Systems<\/em>, ho\u0142d\u00f3w dla Williama Burroughsa, ale te\u017c zagl\u0105damy do \u015bwiata Moor Mother, kt\u00f3rej poetycki, rozimprowizowany i pe\u0142en zaskocze\u0144 muzyczny \u015bwiat jest pewnie najbli\u017cej tego, co si\u0119 tu dzieje. Wiem, \u017ce dzi\u015b z jednej strony Rammstein i Archive, z drugiej &#8211; Melody&#8217;s Echo Chamber i Flora Purim, ale tej p\u0142yty mia\u0142em okazj\u0119 pos\u0142ucha\u0107 du\u017co wcze\u015bniej i warto z ni\u0105 sp\u0119dzi\u0107 te 40 minut w d\u0142ugi weekend.\u00a0 \u00a0<\/p>\n<p><strong>THE PLASTIK BEATNIKS <em>All Those Streets I Must Find Cities For<\/em>,<\/strong> Alien Transistor 2022\u00a0<\/p>\n\n\n<iframe style=\"border: 0; width: 500px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=91939518\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/transparent=true\/\" seamless><a href=\"https:\/\/theplastikbeatniks.bandcamp.com\/album\/all-those-streets-i-must-find-cities-for\">All Those Streets I Must Find Cities For by The Plastik Beatniks<\/a><\/iframe>\n\n\n<p><strong>PREMIERY P\u0141YTOWE TYGODNIA<\/strong><\/p>\n<p>23.04 <strong>Anna Jopek<\/strong> Insight, Alpaka <br \/>23.04<strong> Charles Mingus<\/strong> The Lost Album From Ronnie Scott&#8217;s, Resonance RSD<br \/>23.04 <strong>David Bowie<\/strong> Toy E.P. (\u2018You\u2019ve Got It Made With All the Toys\u2019), ISO RSD <br \/>23.04 <strong>David Bowie<\/strong> Brilliant Adventure EP, ISO <br \/>23.04 <strong>Elizabeth Fraser<\/strong> Sun&#8217;s <span style=\"color: #3366ff;\"><span style=\"color: #000000;\">Signature<\/span>,<\/span> Partisan EP<br \/>23.04 <strong>La Femme<\/strong> Supplements, Born Bad <br \/>23.04 <strong>The Moneymakers<\/strong> Mi\u0142o\u015b\u0107 <br \/>25.04 <strong>Skytruck<\/strong> Lot na Marsa <br \/>27.04 <strong>Piosenki<\/strong> Ziemniaki, Requiem <br \/>28.04 <strong>Flora Purim<\/strong> If You Will, Strut <br \/>29.04 <strong>Action Bronson<\/strong> Cocodrillo Turbo, Loma Vista <br \/>29.04 <strong>Alawari<\/strong> Alawari <br \/>29.04 <strong>Alexandra Stan<\/strong> Rainbows, Victor <br \/>29.04 <strong>Archive<\/strong> Call to Arms and Angels, Dangervisit <br \/>29.04 <strong>Balungan<\/strong> Kudu Misa Kudu, Cuneiform <br \/>29.04 <strong>Batu<\/strong> Opal, Timedance<br \/>29.04 <strong>Black Mango<\/strong> Quicksand, Gusstaff\/Don&#8217;t Sit On My Vinyl CD, LP, LP+CD special<br \/>29.04 <strong>Bloc Party<\/strong> Alpha Games, BMG <br \/>29.04 <strong>Blossoms<\/strong> Ribbon Around the Bomb, EMI <br \/>29.04 <strong>Chelsea Jade<\/strong> Soft Spot, Carpark <br \/>29.04 <strong>Coach Party<\/strong> Nothing Is Real, Chess Club EP<br \/>29.04 <strong>Cofaxx<\/strong> Trace <br \/>29.04 <strong>Congotronics International<\/strong> Where&#8217;s The One?, Crammed Discs <br \/>29.04 <strong>D\u00e4lek<\/strong> Precipice, Ipecac <br \/>29.04 <strong>Damo Suzuki &amp; Spiritczualic Enhancement<\/strong> Center Arkaoda <br \/>29.04 <strong>Ensemble Nist-Nah<\/strong> Elders, Black Truffle <br \/>29.04 <strong>Erica Eso<\/strong> &#8222;192&#8221;, Hausu Mountain <br \/>29.04 <strong>Faye Webster<\/strong> Car Therapy Sessions, Secretly Canadian <br \/>29.04 <strong>Flora Purim<\/strong> If You Will, Strut <br \/>29.04 <strong>Frontperson<\/strong> Parade <br \/>29.04 <strong>Future<\/strong> I Never Liked You, Epic <br \/>29.04 <strong>Henry Birdsey\/Max Eilbacher<\/strong> Bell Formations, Husky Pants <br \/>29.04 <strong>HTRK<\/strong> Death Is a Dream <br \/>29.04<strong> John McGuire<\/strong> Pulse Music, Unseen Worlds <br \/>29.04 <strong>Kafar Dix37<\/strong> Na otwartym sercu <br \/>29.04 <strong>Kehlani<\/strong> Blue Water Road, Atlantic <br \/>29.04 <strong>Kelly Lee Owens<\/strong> LP.8, Smalltown Supersound <br \/>29.04 <strong>Kurws<\/strong> Powi\u0119\u017a \/ Fascia, Gusstaff <br \/>29.04 <strong>Lola Kirke<\/strong> Lady For Sale, Third Man <br \/>29.04 <strong>Lydian Dunbar<\/strong> Blue Sleep, Room40 <br \/>29.04 <strong>Mac Quayle<\/strong> Gaslit OST, Lakeshore <br \/>29.04 <strong>Ma\u0142pa<\/strong> B\u00f3g nie gra w ko\u015bci <br \/>29.04 <strong>Market<\/strong> The Consistent Brutal Bullshit Gong, Western Vinyl <br \/>29.04 <strong>Melody&#8217;s Echo Chamber<\/strong> Emotional Eternal, Domino <br \/>29.04 <strong>Mi\u0142y ATZ<\/strong> Roller, Universal <br \/>29.04 <strong>Miranda Lambert<\/strong> Palomino, RCA <br \/>29.04 <strong>Nightports w\/ Tom Herbert<\/strong> Nightports w\/ Tom Herbert, The Leaf Label <br \/>29.04 <strong>Ondness<\/strong> Megadawn, Holuzam <br \/>29.04 <strong>Oumou Sangar\u00e9<\/strong> Timbuktu, World Circuit <br \/>29.04 <strong>Parov Stellar<\/strong> Moonlight Love Affair, Etage Noir <br \/>29.04 <strong>Penguin Cafe<\/strong> A Matter of Life\u200b.\u200b.\u200b. 2021, Erased Tapes <br \/>29.04 <strong>Rammstein<\/strong> Zeit <br \/>29.04 <strong>Robert Fripp<\/strong> Washington Square Church, DGM arch<br \/>29.04 <strong>Royksopp<\/strong> Profound Mysteries, PIAS <br \/>29.04 <strong>Scout Gillett<\/strong> One To Ten, Captured Tracks <br \/>29.04 <strong>Shilpa Ray<\/strong> Portrait of a Lady, Northern Spy <br \/>29.04 <strong>Sofi Tukker<\/strong> Wet Tennis, Sofi Tukker <br \/>29.04 <strong>The Gathering<\/strong> Beautiful Distortion, Psychonaut <br \/>29.04 <strong>The Plastik Beatniks<\/strong> All Those Streets I Must Find Cities For, Alien Transistor <br \/>29.04 <strong>Tomberlin<\/strong> i don\u2019t know who needs to hear this\u200b.\u200b.\u200b., Saddle Creek <br \/>29.04 <strong>Toro y Moi<\/strong> Mahal, Dead Oceans <br \/>29.04 <strong>V.C.R.<\/strong> The Chronicles of a Caterpillar: The Egg, Leaving <br \/><span style=\"color: #3366ff;\">29.04 <strong>VA<\/strong> Hip-Hop for Ukraine, Ghetto Music 2CD<\/span><br \/>29.04 <strong>William Basinski &amp; Janek Schaefer<\/strong> \u201c . . . on reflection&#8221;, Temporary Residence <br \/>29.04 <strong>Willie Nelson<\/strong> A Beautiful Time, Sony<\/p>\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bob Kaufman by\u0142by dzi\u015b bohaterem i czu\u0142by si\u0119 na wsp\u00f3\u0142czesnym beacie jak ryba w wodzie. Co wi\u0119cej &#8211; jest bohaterem dla supergrupy, kt\u00f3ra nagra\u0142a w ho\u0142dzie dla ameryka\u0144skiego poety p\u0142yt\u0119 All Those Streets I Must Find Cities For. Zesp\u00f3\u0142 jest niemiecki i sk\u0142adaj\u0105 si\u0119 na niego m.in. bracia Markus i Micha Acherowie (The Notwist). Ale [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":32902,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[582,3,312,120,3319,3309,4009,3666,5177],"tags":[5482,5281],"_links":{"self":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/32898"}],"collection":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/comments?post=32898"}],"version-history":[{"count":6,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/32898\/revisions"}],"predecessor-version":[{"id":32906,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/posts\/32898\/revisions\/32906"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media\/32902"}],"wp:attachment":[{"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/media?parent=32898"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/categories?post=32898"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.polityka.pl\/polifonia\/wp-json\/wp\/v2\/tags?post=32898"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}