neil young to play the bluegrass

neil young

neil young

It is officially a great time to be a Neil Young fan.

Word spread earlier this week that the two-time Rock and Roll Hall of Famer will perform his first full length concert on Kentucky soil in over 25 years when he opens his solo acoustic Twisted Road Tour at the Louisville Palace on May 26. Tickets, which go on sale at 10 a.m. Saturday through TicketMaster will be steep, though. Prices run from $85 to a whopping $245.

Although he played a brief, late evening set when Farm Aid held court at Louisville’s Cardinal Stadium in 1995, Young has not performed in the Bluegrass since a September 1984 concert at Rupp Arena with his country-inspired International Harvesters band. Waylon Jennings shared that bill. It was a riot of a show.

Speaking of riots, Young’s last proper Louisville performance was six months earlier at the Commonwealth Convention Center during his one-man-band Trans Tour. Well, half length was more like it. The concert was cancelled at intermission after Young became ill. As the show had a bit of a theatrical flair with a televised emcee cracking wise throughout the first set, no one in the audience took matters seriously when the cancellation notice was given. Then when it became obvious Young wasn’t going to finish the show, the crowd ran mildly amok, overturning floor chairs (and throwing a few, as well). It was a messy end to a promising show in an absolutely hellish venue. But Young played Don’t Be Denied just before the ill-fated intermission, so the evening wasn’t a complete catastrophe.

An unexpected surprise for the Louisville show will be the opening act – Scottish folk artist Bert Jansch. A member of the groundbreaking, psychedelic era British folk troupe Pentangle, Jansch was to have played a Lexington concert last summer at The Dame. But his entire North American tour was called off due to illness.

Young fans that can neither afford nor wait for the May concert can instead look out for the newly released concert film Neil Young Trunk Show, the second of three proposed documentaries directed by Jonathan Demme. The film documents a pair of Philadelphia concerts from December 2007, when Young split the bill between solo acoustic music and jackhammering electric warfare. The highlight (or, depending on your tolerance for Young’s jagged guitar workouts, breaking point) is supposedly the 20 minute No Hidden Path.

At a St. Louis performance in November 2007, the rampaging tune bled into Cinnamon Girl and Cortez the Killer, forming a 45 minute blast of youthful fire from an artist who, only days earlier, had turned 62.

There’s no word yet on when or if Neil Young Trunk Show will play Lexington. But you can catch a glimpse of the trailer on the film’s website,

Richard Prince: Patrick Seguin.

Artforum International March 1, 2009 | Stocchi, Francesco I put Nabokov’s Lolita and Kubrick’s Lolita next to each other. The book is Monarch Select paperback, MS27. No image on the cover. All graphics. Just the name ‘Lolita’ in red, stenciled in longhand against two background bands of yellow and white. The movie is an MGM/CBS Home Video. It’s in a thin cardboard slipcase. On the cover is a pastel illustration of Sue Lyon as Lolita. She has orange, heart-shaped sunglasses on. There’s a lollipop in her mouth. “Black comedy,” “Tragic farce,” “Comic despair” are italicized to the bottom left of her head. On the back, small black-and-white stills of Quilty and Humbert Humbert. The box reminds me that Nabokov screenplayed his own book.

This excerpt from Bringing It All Back Home, written by Richard Prince in 1988, demonstrates the artist’s famously obsessive approach to collecting–perhaps the only approach for a true collector. This unusual show opens up a new type of appropriation for Prince–self-appropriation–where artist and collector merge in a retrospective context, forward looking and receptive to new developments. If what the artist collects often ends up in his work, here it is the idea of the collection itself, to be enjoyed as such, that is employed in an original way. site 1969 dodge charger

Thirteen pieces of furniture–desks, sofas, beds, and bookcases–containing the material of Prince’s universe were presented at Galerie Patrick Seguin, which specializes in twentieth-century furniture and architecture. These are objects that are also containers of art, in keeping with the artist’s privileging of continuation over dichotomies such as new/old or original/unoriginal. If his contribution to the 2007 Frieze Art Fair, Untitled (Original), was an homage to his 1969 Dodge Charger, which he drives every day, here he presented an homage to his own practice and to the possibilities that his acquisitive approach to art offers. (His project Second House, 2001-2004, acquired by the Solomon R. Guggenheim Museum in 2005, and the recent exhibition at London’s Serpentine Gallery of his own collection of prototypes were already moving in this direction.) But here Prince presented a new exhibition category. It didn’t matter whether or not these pieces were seen as works of art; what mattered was the overall concept, a layered image where each object exists in and of itself, didactically, functionally, and indissolubly. As with his “rephotographs,” the boundaries of reality are obfuscated. The central work, Nurse Hat Chair (all works 2008), is the only chair in the show and the only work entirely designed by the artist as a piece of furniture, devised specifically for its mid-twentieth-century modern aesthetic. Reproducing a nurse’s headgear, the artist parodies himself and his Pop-Conceptual tradition. Arranged around the chair were his Lolita collection and nurse novels as well as joke paintings and “Gang” series photographs. In other words, Prince’s most famous works were merged with his collection, presented as part of the furniture, in order to create a third vision–a sampling remix with few precedents. Prince seems to be proposing a new medium, bringing his tactics of juxtaposition and appropriation to the next level. see here 1969 dodge charger

[ILLUSTRATION OMITTED] –Francesco Stocchi Translated from Italian by Marguerite Shore.

Stocchi, Francesco

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