siavash hashemi's blog

شورشی های کایه دو...به بهانه پنجاه

camel_in_freeway — Wed, 19 Aug 2009 07:56:47 UT

شورشی های کایه دو در اواخر دهه پنجاه میلادی و در شرایطی که دولت وقت فرانسه به رهبری ژنرال دوگول خود را در منجلاب جنگ الجزیره گرفتار می دید، گروهی از جوانان فرانسه به دنبال دستیابی به شرایط جدید و رهایی از قید و بندهای اجتماعی موجود، رفته رفته می رفتند تا صدای خود را به گوش برسانند. دامنه این اعتراضات که پایه اصلی انقلاب ماه می سال 1968 فرانسه را شکل داد به تدریج در اکثر نهادهای فرهنگی، ورزشی، اجتماعی و سیاسی فرانسه رخنه کرد و در هر کجا به شکل خاصی نمود پیدا کرد. در این حال و هوا گروهی از منتقدان جوان مجله کایه دو سینما به سرکردگی آندره بازن بزرگ بنای نوعی از سینما را گذاشتند که امروزه از آن به عنوان موج نو سینمای فرانسه یاد می شود. فرانسوا تروفو، ژان لوک گدار، آلن رنه، اریک رومر، ژاک ریوت به اتفاق کلود شابرول از جمله نام هایی بودند که پیش از آنکه به نگارش نقد فیلم برای کایه دو سینما دست بزنند، روزهای بسیاری را در سینماتک فرانسه به بررسی نما به نمای آثار مهم سینمای جهان گذرانده بودند. منتقدان جوان کایه دو با ستایش فیلمسازانی چون ژان رنوار، ساشا گیتری، ماکس اوفلوس و آلفرد هیچکاک به عنوان فیلمسازانی مؤلف و همچنین نوشتن نقدهای تند و کوبنده بر آثار کارگردانانی چون رنه کلر و یا کلود اوتان لارا خواستار بیان حرف و اندیشه تازه ای در باب سینما شدند. سینمایی متکی بر نگره کارگردان که بدون کوچکترین وابستگی به عناصر صحنه مانند نور و میزانسن بتواند بیانی ساده و نوآر را از مضامین اجتماعی ارائه کند. آنها مونتاژ را به سود عامل دیگری که میزانسن باشد، یعنی شیوه ای که در نماهای مجرد بازیگران و اشیاء در رابطه با یکدیگر کادر بندی می شوند، نادیده گرفتند و بدین ترتیب مضمون فیلمنامه از شیوه ای که کارگردان برای بیان آن اتخاذ می کرد کم اهمیت تر می شد. نوشته های تند و گاه زنندۀ تروفو، گدار، ریوت، رومر و دیگران مسائل مهمی را هر چند بصورت غیر سیستماتیک درباره مقام و موقعیت کارگردانان و همچنین نقد متناسب به فیلم به منزله یک فرم هنری که در آن تقسیمات غیر سیستماتیک پیوسته راجع به هنر به عمل می آید، مطرح نمود. بر اساس این نظریه که فرانسوا تروفو برای نخستین بار در سال 1954 و تحت مقاله ای که بعدها به عنوان "نگرۀ مؤلف" شناخته شد، مطرح نمود، کارگردان مسئول نهایی فیلم است و باید بتوان با تحلیل یک اثر سینمایی خط ذهنی و اندیشه خالق آنرا تشخیص داد. نتیجه این کند و کاوهای تکنیکی و فلسفی نه تنها تبدیل به مجموعه ای ارزشمند از نقدهای صریح و رو راست برای علاقمندان سینما شد، بلکه در ادامه راه منجر به ساخته شدن فیلمهایی کم هزینه، مستقل از تکنیک کلاسیک تدوین، نورپردازی، قاب بندی و تراولینگ سینما گردید. آثار درخشانی که مؤلف آنها بیش از هر چیز به بیان مشاهدات شخصی اش از محیط پیرامون پرداخته بود. تروفو به عنوان خالق نخستین اثر متعلق به موج نو، در مجموعه آثارش سعی کرد تا با تعریف یک شخصیت محوری به نام آنتوان دوانل به تهیه فیلمهای شرح حال گونه ای بپردازد که زمانی بیش از بیست سال را در بر می گیرد و همچنین به هیچ فیلم دیگری در سینما نیز شباهت ندارد. "چهارصد ضربه" آغازگر این مسیر و آفریدگار آنتوان دوانل، اثری بود که با اتکای کامل به مانیفست موج نویی ها به تحلیل یک شخصیت در قالب یک فرد دست زد و امکان همذات پنداری عینی را با شخصیت محوری داستان را در اختیار مخاطبش قرار داد. آنتوان دوانل در ادامه تکوین تدریجی خود در ذهن تروفو، به "آنتوان و کولت"، "بوسه های دزدیده شده"، "مأوای زناشویی" و "عشق در گریز" رسید. آثاری که شخصیت اصلی آنها علیرغم آگاهی از پیچ و خم های زندگی و همچنین ابهام آینده، همواره عقل و روحیه و شادابی خود را حفظ می کند. آنتوان دوانل نمونه ای از ترکیب اتوبیوگرافیک دوگانه ای است که آمیزه ای از شخصیت مؤلف و بازیگر را ارائه می دهد. این پرسوناژ چنان ارتباط عمیق و در عین حال مبهمی با تماشاگر برقرار می کند که تروفو هرگز نمی توانست برای آن حد و مرزی قائل شود. پس از تروفو، ژان لوک گدار با "از نفس افتاده" به شکل دیگری تمامی قواعد روایی و تکنیکی کلاسیک سینما را زیر پا گذاشت. آثار گدار از فیلم "از نفس افتاده" تا آثار سیاسی دهه هفتادش مانند "باد شرقی" و "ولادمیر و روزا" به مثابه پژوهشی بر پیچ و خم های زندگی است که برای یافتن یک فرم روایی که هسته سیاسی دارد و در عین حال از فرهنگی پویا سرچشمه می گیرد، انجام شده است. لحن تند و تیز و استهزا آمیز "از نفس افتاده"، صمیمیت بی پیرایه اش، شیوه داستانگویی و سبک تدوین غیر قرار دادی اش گدار را به عنوان تندرو ترین فیلمساز موج نو معرفی کرد. دیدگاه نقادانه گدار از سینما به عنوان یک شکل هنری مرکب در استفاده ای که به مانند یک کولاژ از انواع تکنیک های سینمایی، از درآمیختن عنصر کمیک با تراژدی و یا رئالیسم با ملودرام به عمل می آورد و همچنین در ارجاعاتی که به فیلمسازان و شخصیت های شناخته شده سینمای گنگستری می دهد، همه و همه در "از نفس افتاده" تجلی می یابد. اما دیگر سینماگر نوگرای فرانسه، اریک رومر، منتقدی که از آثار هیچکاک و نیکلاس ری سرسختانه دفاع می کرد، مجموعه ای از کمدی های هوشمندانه، زیبا و در عین حال فلسفی را چون "شب من نزد مو"، "زانوی کلر"، "پولن در ساحل" و غیره را ارائه داد که تا به آن روز هرگز کسی نتوانسته بود کمدی های تا به این اندازه پرکشش را با موضوع زندگی انسانی بسازد. درون مایه فیلمهای رومر بیش از هر فیلمساز دیگری به آثار تروفو پهلو می زد. پرداختن به مضامینی چون عشق زناشویی و پیچیدگی احساسات از جمله تشابهاتی است که میان آثار ایندو فیلمساز برجسته است. به گفته تروفو، رومر منطقی ترین و قاطع ترین فیلمساز موج نو است که نقش مهمی را در تثبیت شیوه تعلیق دیالوگ در سینما داشت. "پاریس از آن ماست"، محصول 1960، فیلمی از ژاک ریوت بود که بار دیگر بر توانایی موج نو در خلق آثار ارزشمند سینمایی صحه گذاشت. فیلمی که شخصیت هایش بیش از هر چیز به عروسک های تراژیکی می مانند که به دلیل بیزاری از دنیای واقعی در جهانی رؤیایی زندگی می کنند، زیراکه قادر به بازسازی جهان حقیقی نیستند. ریوت در "پاریس از آن ماست" با لحنی انتزاعی و کمابیش غنایی جهانی را ترسیم می کند که سرشار از آشفتگی و اضطراب است و بدین طریق به اوضاع اجتماعی جامعه ان زمان فرانسه کنایه معنی داری می زند. کلود شابرول با دو فیلم "سرژ زیبا" و "پسرعموها" گامی دیگر در جهت تببین خواسته های موج نویی ها از سینما برداشت. که در مورد دوم به موفقیت تجاری قابل توجهی نیز دست یافت و آلنرنه با "هیروشیما، عشق من" به بیان متمایزی از اصول موج نو دست زد. اما در بررسی فیلمسازان شناخته شده موج نو بی تردید نمی توان از کنار نام آنیس واردا به سادگی گذشت. واردا در سال 1955 و در حدود چهار سال پیش از ساخته شدن "چهارصد ضربه" با فیلمی تحت عنوان "پوئنت کورت" به نوعی نخستین اثر متعلق به جنبش موج نو را خلق کرد. "پوئنت کورت" تلاشی است در جهت برقراری ارتباط میان انسان و اشیاء و به نوعی بکارگیری سمبلیسم در استفاده از اشیاء به جای انسان. "پوئنت کورت" با توجهی که به رابطه میان جهان بیرونی اشیاء و دنیای درونی احساسات و اندیشه ها نشان داد، موضوعی را منعکس کرد که بعدها ذهن بسیاری از فیلمسازان دهه شصت را به خود مشغول ساخت. فیلمسازان موج نو افزون بر خلق یک سینمای خاص و تا به ان زمان منحصر به فرد نه تنها موجب دگرگونی و تحول سینمای فرانسه شدند بلکه در سالهای بعد تاثیر بسیاری بر سینمای سایر کشورها نیز گذاشتند. در آلمان فیلمسازانی چون راینر وارنر فاسبیندر، ویم وندرس و ورنر هرتسوگ تحت تاثیر موج نو شکل نوینی از سینما را در این کشور پایه گذاری کردند. در آمریکا افرادی چون استیون اسپیلبرگ، فرانسیس فورد کاپولا، مارتین اسکورسیزی آثار درخشانی را با الهام از موج نو پدید آوردند. در ایتالیا که به تازگی تجربه نئورئالیسم را پشت سر گذاشته بود کارگردانانی چون جوزف لوزی، برادران تاویانی و جیلیو پونته کورو تحت تاثیر موج نو قرار گرفتند. در سالهای بعد دامنه موج نو به آمریکای لاتین، آسیای جنوب شرق و حتی ایران نیز سرایت کرد. در ایران تنی چند از فیلمسازان مانند سهراب شهیدثالث، پرویز کیمیاوی، عباس کیارستمی و بهرام بیضایی مانیفست موج نو را سرلوحه کار خویش قرار دادند. اکنون می توان پس از گذشت پنجاه سال از شکل گیری این جنبش تاثیر آنرا همچنان بر آثار سینماگران شاخص جهان مشاهده کرد. بی گمان همانگونه که موج نو خط بطلانی بر سنت های رایج سینمای کلاسیک کشید و قوانین آنرا زیر پا نهاد خود نیز روزی گرفتار این قاعده خواهد شد زیراکه همواره قوانین وضع شده اند تا روزی زیر پا گذاشته شوند. روزی که شاید فرا رسیده باشد کمااینکه ظهور جنبش هایی چون "دگما 95" به رهبری لارس فون تریه شاهدی بر این مدعا است

BRUNO BOZZETTO

camel_in_freeway — Thu, 27 Nov 2008 16:36:31 UT

[photo]25296978[/photo]

BIOGRAPHY:

(B. 1938, Milan, Italy) Bruno Bozzetto created his first animated short “Tapum, the weapons’ history” back in 1958 at the age of 20. This animated short sparked interest at the Cannes Festival and made it possible for him to meet Norman McLaren, a Canadian master of animation, as well as John Halas, a British film producer who offered him the chance of collaborating.

In 1960 the Bruno Bozzetto Film Company was established in Milan. This business covered film production, advertising and television too and saw the start of a very active cooperation within a team of young drawers, animators and script-writers, among whom Guido Manuli, Giuseppe Laganà,Giovanni Mulazzani, and Maurizio Nichetti only to mention a few of them.

One of Bozzetto’s most famous creations was a funny character known as “Mr Rossi” who has starred in many animated short films and three feature films destined to both TV and cinema.

In 1965 , Bruno Bozzetto was the only Italian to create and produce an animated feature film in over 20 years of stillness, “West and Soda” followed by “Vip my brother superman” (1968) and by “Allegro non Troppo” (1976), the italian answer to the famous “Fantasia” by Walt Disney.
The film has been screened and appreciated by the American critics long before it was even released in Italy or Europe.

In the 70ies Bruno Bozzetto started devoting himself to his early comics by creating comic-strips in colour also based on the new adventures of “Vip my brother superman” and “West&Soda”, all published on the back-then renowned weekly “Corriere dei piccoli”.
These same years the author began testing live action filming by releasing “Oppio per oppio” , “La cabina” and the “Sandwich” series.
In the middle of the 80ies he made his first live action film entitled Under the Chinese restaurant” starring Nancy Brilly, Amanda Sandrelli and Bernard Blier.

Bozzetto has always asserted that animation can make hard scientific concepts more understandable to the common audience.
As a matter of fact, with Piero Angela’s strict cooperation, he delivered about 100 shorts belonging to the scientific TV program “QUARK”.
Throughout his career, he produced many animated shorts which were sold and screened all over the world and for which he received many awards including The Golden Bear Award for “Mr Tao” at the Berlin Film Festival and an Oscar Nomination for “Grasshoppers” in 1991.
In 1995 “Help!” became part to the project “What a cartoon!” By Hanna& Barbera.

Bruno Bozzetto took part to many international juries all around the world and his works have been the core focus for more than 10 thesis within the animation studies field.

From the 90ies onward, his growing interest towards the technological innovations and the 2D animation technique encouraged him to release “Europe and Italy”, the first and the most popular of the numerous animation shorts for the Web created by him with Macromedia flash.

Later on, by exploiting the same technique, he created “Yes&No”, “The World’s history for those who are in a hurry”, “To bit or not to bit”, “Adam”, “Life” and “Neuro”.
The Flash shorts “Olympics” and “Otto in 17” star Otto, a new funny bespectacled character created through a few essential traits that has become protagonist of this new animation phase.

In 2005 a new animated short, “Freedom”, produced by the Council of Bergamo, celebrates 60 years of freedom in only one minute.

Bruno Bozzetto also created the Tv series “Spaghetti family” (26 episodes of 26’ each), directed by Giuseppe Laganà, produced by RAI and realized by the Animation Band. The series has been assigned the Pulcinella Award 2003 for the best TV series addressed to all kinds of audiences.

In 2002 the Provincial Council of Bergamo produced “Sport or Spork”, an educational short against Sport bad teaching imposed by parents and mass media
In the following years, the Council commissioned another two animated shorts by the titles “Baby Scanner” and “I am the Law”, both made by Studio Alienatio.
Again on the Council’s initiative that has financed such project, the cartoonist with the full support of his new Studio of production, Studio Bozzetto&Co., and Studio Alienatio, has recently carried out the direction of “Weapons on the road”, a new educational animated short over the tragic topic of road accidents.

Still in strict collaboration with The Animation Band Bozzetto worked on a few minutes’ pilot for a feature film project titled “Mammuk” which was produced by RAI CINEMA.

In 2005 The Cineteque of Milan produced a DVD compilation of the most popular TV highlights of the 1960’s and 1970’s made by Studio Bozzetto ( “Sigle animate. Le sigle TV della Bozzetto Film realizzate da Guido Manuli “).

In the meantime Bruno Bozzetto began exploring 3D animation by directing “Looo”, an animation short that mocks the 3D Italian world with its subjection to the fully developed American technology.
“I Cosi” also belong to the three-dimensional field. This Tv series for children was co-produced by Rai Fiction and The Animation Band while it was realized by Maga Animation Studio.

In April of the same year, Bruno Bozzetto was assigned the Pulcinella Lifetime Achievement Award 2006 and along with him Roy Edward Disney, Walt Disney’s nephew, was awarded too.
In June 2006 the notorious Guglielmo Marconi Foundation awarded Bruno Bozzetto by handing him the “Calamaio” prize for the innovation of languages.

In 2007 the University of Bergamo conferred an honorary degree on him within the field of “Theory, techniques and management of all performing arts”.

Since 2008 Bruno Bozzetto has been constantly working over the very recent 2D/Flash and 3D animation techniques by creating a 2D series titled “Bruno the Great” produced by Walt Disney Italia Production for a worldwide distribution, still under production at Studio Bozzetto&Co., and a 3D series entitled Psicovip, co-produced by RAI Fiction and Maga Animation Studio which is also taking care of its animation.
In this series, Minivip and Supervip, the protagonists of the long feature film “Vip my brother superman”, are back this time in a three-dimensional shape and background.

On the 19th of September 2008, Bruno Bozzetto’s exhibition “Dal Bozzetto al Pixel” has been set up in the very prestigious Spazio Viterbi at the Provincial Council of Bergamo. It will be open to visitors until the 9th of November 2008.

At present, Multimedia San Paolo has been producing and distributing Bozzetto’s three long feature films in Dvd.
As a matter of fact, “Allegro non troppo”, “Vip my brother superman” and “West and Soda” are enclosed into the Dvd-set “Tutto Bozzetto…o quasi”.
Following the positive outcome, the adventure has been repeated by releasing Mr Rossi’s complete filmography into a Dvd-set in Italian language only.

History of Rock Music(the golden age of 1960_70)

camel_in_freeway — Tue, 11 Nov 2008 01:22:47 UT

The times were ripe for change, but a catalyst was still needed.
"Mersey-beat" changed the story of rock music forever. Mersey-beat came out of nowhere, but it came with the power of history. Britain had had a lousy music scene throughout the early Sixties. Mainly, British rockers were mimicking Presley. Mainstream Britain did not identify with rock and roll, was not amused by their "rebel" attitudes, did not enjoy their frenzy rhythm. To a large extent, though, the seeds had already been planted. Britain had an underground before America did: the blues clubs. Throughout the Fifties, blues clubs flourished all over England. London was the epicenter, but every major English city had its own doses of weekly blues. Unlike their rock counterparts, who were mere imitators, the British blues musicians were true innovators: in their hands, blues became something else. They subjected blues to a metamorphosis that turned it into a "white" music: they emphasized the epic refrains of the call and response, they sped up Chicago's rhythm guitars, they smoothed down the vocal delivery to make it sound more operatic, they flexed the choruses, enhanced the organ arrangements, added vocal harmony. In a few years, British blues musicians were playing something that was as deeply felt as the American blues, but had a driving power that no other music on Earth had.

In the early Sixties veterans of that scene, or disciples of that scene, led to the formation of bands such as the Rolling Stones, the Yardbirds and the Animals. The Rolling Stones became "the" sensation in London and went on to record the most successful singles of the era. The Yardbirds were the most experimental of them all, and became the training ground for three of the greatest guitarists ever: Eric Clapton, Jeff Beck and Jimi Page. From their ashes two blues bands were born, the Cream and the Led Zeppelin, that in a few years will revolutionize rock music again.

Liverpool did not have a great underground scene but had a more commercial brand of rock bands. The producer George Martin was instrumental in creating the whole phenomenon, with both Gerry And The Pacemakers and the Beatles, the band that went on to achieve world-wide success. The smiling faces of the Liverpool kids were in stark contrast with the underground club's angry blues animals. But the two complemented each other. "Beatlemania" stole the momentum from the blues scene and understood how to turn that music into a mass-media attraction. Rock music as a major business was born.

The most influential bands of the second generation were the Kinks and the Who. Both went on to record concept albums and "rock operas" that paraphrased the British operetta at the sound of rock music. While Kinks were still proponents of melodic rock, the Who's manically amplified guitars were already pointing towards a noisier and less gentle future. The Rolling Stones, the Kinks and the Who represent the triad of British rock bands of the mid 1960s that would influence entire generations of rock bands for decades. The Who were composing autobiographical songs of the angry and frustrated urban youth. The Rolling Stones were composing autobiographical songs of the decadent punks of the working class. The Kinks were composing realistic vignettes of ordinary life in bourgeois England. The three together provide a complete picture of the time.

Cream and Led Zeppelin upped the ante when they started playing very loud blues. Cream's lengthy solos and Led Zeppelin's fast riffs created the epitome of "hard rock".

The impact of British electricity on the American scene was equivalent to an earthquake. Kids embraced electric guitars in every garage of the United States and started playing blues music with a vengeance.

On the East Coast it was Dylan again who led the charge. His first electric performances were met with disappointment by his fans, but soon "folk-rock" boomed with the hits of the Byrds and Simon And Garfunkel.

The psychedelic movement that had been growing across the country somehow merged with the wave of electric rockers and the protest movement. They became one both in New York and in San Francisco. The Velvet Underground and the Fugs turned rock and roll into an intellectual operation.

On the West Coast both San Francisco and Los Angeles reacted to the boom of rock and roll in typically eccentric manners. San Francisco, that was becoming the mecca of the hippies, begat "acid-rock", and Los Angeles, whose milieu had produced countless literary and cinematic misfits, begat Frank Zappa and Captain Beefheart, two of the most influential musicians of the century. Zappa and Beefheart recorded some of the most experimental records ever and turned rock and roll into a major, serious art. San Francisco's bands, led by the Jefferson Airplane and the Grateful Dead, endorsed complex harmony and improvised jams, thereby moving rock music towards the intellectual excesses of jazz music. Blue Cheer and Quicksilver laid the foundations for hard-rock.

Psychedelic rock was spreading across the country, and spilling over into Britain. Soon America produced the Doors and England produced the Pink Floyd, two bands whose influence will be gigantic. Texas psychedelia went unnoticed, but bands like Red Crayola were far ahead of their time. Detroit was also left out of the main loop, but nonetheless the MC5 and the Stooges helped move rock music one notch up the ladder of noise.

The boom of rock music in the United States helped resurrect the blues. Jimi Hendrix and Janis Joplin became stars, while countless white blues musicians flooded the clubs of Chicago and San Francisco. The Band, Creedence Clearwater Revival and the Doobie Brothers reached new peaks in the revisitation of traditional white and black music. In the south this revival movement will lead to the boom of "southern rock" and the likes of the Allman Brothers and Lynyrd Skynyrd.

Country music was still a Nashville monopoly, but several artists were merging it with eastern meditation, jazz improvisation and rock's freedom. Sandy Bull, Robbie Basho and John Fahey were playing long instrumental tracks that easily rank with the most ambitious pieces of the avantgarde.

In the meantime, black music was going through a metamorphosis of its own. Soul music turned into a form of party music with Tamla Motown's acts such as the Supremes, and rhythm and blues mutated in a feverish genre called "funk" for obscene performers such as James Brown.

In Britain, rock music took more of a European feel with the underground movement that was born out of psychedelic clubs. Canterbury became the center of the most experimental school of rock music. The Soft Machine were the most important band of the period, lending rock music a jazz flavor that would inspire "progressive-rock". Among the eccentric and creative musicians that grew up in the Soft Machine were Robert Wyatt, David Aellen, and Kevin Ayers. Their legacy can be seen in later Canterbury bands such as Henry Cow, no less creative and improvisational.

Progressive-rock took away rock's energy and replaced it with a brain. Traffic, Jethro Tull, Family and later Roxy Music developed a brand of soul-rock that had little in common with soul or rock and roll: long, convoluted jams, jazz accents, and baroque arrangements derailed the song format. King Crimson, Colosseum, Van Der Graaf Generator, early Genesis, Yes and started playing ever more complex, theatrical and hermetic pieces. Arrangements became more and more complex, insturmentalists become more and more skilled. Electronic instruments were employed frequently. Bonzo Dog Doo Dah Band, Third Ear Band and Hawkwind created genres that at the time had no name (decadent cabaret, world-music and psychedelic hard rock).

The paradigm soon spilled into continental Europe, that gave its first major rock acts: Magma, Art Zoyd, Univers Zero.

Even Britain's folksingers sounded more like French intellectuals than oldfashioned storytellers. The folk revival of the Sixties was mainly the creation of a fistful of three collectives: the Pentangle, the Fairport Convention and the Incredible String Band. But around them singer songwriters like Donovan, Cat Stevens, Nick Drake , John Martyn, Syd Barrett and Van Morrison established new standards for musical expression of intimate themes.

The 1960s were the "classic" age of rock music. The main sub-genres were defined in the 1960s. The paradigm of rock music as the "alternative" to commercial pop music was established in the 1960s. Wild experimentation alloweds rock musicians to explore a range of musical styles that few musicians had attempted before 1966. Captain Beefheart and the Velvet Underground also created a different kind of rock music within rock music, a different paradigm within the new paradigm, one that will influence alternative musicians for decades. More than musical giants like Bob Dylan and Jimi Hendrix, humble musicians like Captain Beefheart, the Velvet Underground and the Red Crayola may be the true heroes of the 1960s.

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