Interstellar Overdrive: Pink Floyd to release full quarter-hour version

Instrumental track that Syd Barrett, Roger Waters, Richard Wright and Nick Mason performed in 1966 will go on sale as one-sided vinyl record

The British rock band Pink Floyd will put out a version of Interstellar Overdrive that has never before been released.

Out on 15 April ahead of Record Store Day a week later, the instrumental 14-minute, 57-second version will be released as a one-sided, 12-inch black vinyl record, Legacy Recordings has announced.

The track, written and performed by Syd Barrett, Roger Waters, Richard Wright and Nick Mason, was recorded on 31 November 1966 before the band was signed to EMI.

A shorter version of the single nearly 10 minutes long featured on the bands debut album, The Piper at the Gates of Dawn, released in 1967.

The new release will come out with a fold-out poster and an A6 postcard taken from a 1967 gig in London.

In their giant box set The Early Years 1965-1972, released in November, Pink Floyd put out more than 20 previously unreleased tracks.

The bands career and contribution to rock music will also be celebrated in The Pink Floyd Exhibition: Their Mortal Remains due to open in May at Londons Victoria & Albert Museum.

Read more: https://www.theguardian.com/music/2017/mar/21/interstellar-overdrive-pink-floyd-to-release-full-quarter-hour-version

Didgeridoo is his voice: how Djalu Gurruwiwi embodies the sound of a continent

The Indigenous elder revered by some as Australias Dalai Lama is the spiritual keeper of the didgeridoo. A new exhibition honours his legacy and the immense significance of the Yolngu instrument that is helping to heal a divided country

The old man with straggly hair, long wispy grey beard and wraparound sunglasses sits at the back of the grandstand overlooking the verdant expanse of Alberton Oval the traditional base, if no longer the home ground, of the historic Port Adelaide Football Club.

He is Djalu Gurruwiwi: a Yolngu elder and lawman from north-east Arnhem Land, a songster, healer, virtuoso and master craftsman of the yidaki (didgeridoo), as well as the instruments spiritual keeper. From up here he surveys his Australian Rules team, smiles and nods in approval as his players go through their pre-season paces, calling for the ball and kicking and marking, on this humid morning.

In other Aboriginal nations and among non-Indigenous people, the instrument is known as the didgeridoo or didjeridu variants of the same word that probably has its etymology in English spoken by a European Australian. Yidaki is the Yolngu word and Djalu, the keeper of the instrument in north-east Arnhem Land, is widely regarded across Indigenous Australia as its custodian more broadly.

Djalu, who is aged somewhere in his 80s (Im 86 going on 96), usually rocks a Hawaiian shirt, or something similarly bright and elaborately patterned. But today hes wearing a Port Power hoody that signals a mutual adoption between him and the team.

Djalu likes their brand of footy all right. But his attraction to Port stems more simply from the lightning bolt on the team crest.

Its the lightning. The team is lightning and lightning is us, Djalu says enigmatically, as is his way.

His reference to baywara Yolngu for the power of lightning is itself an allusion to the atmospheric energy and wind enshrined in the yidaki, an instrument with its genesis in tens of thousands of years of north-east Arnhem Land history. In the hands of Djalu, and more recently his sons Larry and Vernon, the yidaki both tells and is the story of their land.

It summons the ancestral spirits and the stories of creationist animals that fashioned the earth, the sea and the sky and all the creatures, human and otherwise, stretching back some 60,000 years. It holds the histories of the clans, not the least the Galpu (Djalu) and Yunipingu (of his wife, Dhopiya) which remain central to thriving Yolngu culture.

And today they have come to Alberton to present yidaki to nine Indigenous Port Adelaide players and several club officials a testimony to Djalus determination, in his lifes twilight, to build bridges with other Aboriginal and Balanda (white, western) worlds.

Yolngu
Djalu Gurruwiwi (right) with his son Larry, who will eventually assume responsibility for taking the yidaki (didgeridoo) to the world. Photograph: Alex Robertson/South Australian Museum

Djalu is well known to audiences in the United States, Britain, continental Europe and Taiwan, where he has played to sold-out auditoriums. People from all over come to his modest house at Wallaby Beach, near the Northern Territory mining town of Nhulunbuy, to sit at his feet and sample his familys hospitality, always in the hope of being touched with his wisdom and insight.

If I shut my eyes I can see inside you, what you feel, he says.

Yet he is scarcely known in broader Australia. Which is why the South Australian Museum is now staging an exhibition, Yidaki Didjeridu and the Sound of Australia, in his honour.

The exhibition, which runs until 16 July, honours the immense cultural significance of the yidaki, the instrument of the Yolngu that has been adopted by First Peoples across Australia. Together with the clapsticks and the Indigenous voice in traditional song, its a haunting, distinctive, meditative sound that has not only come to characterise Australias Indigenous people but perhaps the continent itself.

The exhibition is testimony to Djalus skill as an ambassador between Yolngu, other Aboriginal and Torres Strait Islander peoples and the western Balanda.

Stephen Goldsmith, an elder of the Kaurna custodians of the Adelaide plains, says: For Aboriginal people, not just Yolngu, Djalu is our diplomat, our ambassador. We all talk about the Dalai Lama; his role is to embrace all people, to lead with generosity, to enrich our shared understanding of ourselves and each other. Djalu is like that he is a spiritual leader. Yidaki is his voice.

Goldsmith says that as a boy and a young man the sound of the yidaki awoke in him a yearning that bordered on an inadequacy for his inability to play an instrument that was not, traditionally, part of Kaurna culture. He started on a vacuum cleaner pipe, then on bamboo and graduated to the real deal.

It [learning to play yidaki] was a key to finding myself becoming a bit stronger as an Aboriginal man, he says.

Djalu
Im 86 going on 96, says Djalu Gurruwiwi. Photograph: Alex Robertson/South Australian Museum

While Dhopiya paints the names of Ports nine Indigenous players more than any other AFL club on the yidakis to be gifted to the club, another Kaurna man, Karl Winda Telfer, arrives at Alberton with an old, old instrument covered in cloth.

He gingerly unwraps the yidaki and gives it to Djalu. The old man runs his hands over its smooth exterior, and pats it, as if it were human. Its the yidaki that Djalus brother, who died a few years back, left in Kaurna country with Telfer, who he taught to play.

Telfer explains: Ive just been looking after this yidaki. Now Im giving it back, so that it will go back home where it came from, to north-east Arnhem Land, you know … old man [Djalus brother] teaches me. He gave me permission to play. It shows an ongoing connection between us and the Yolngu … It closes the circle. Im happy now. Im relieved.

Due to their relative isolation, the Yolngu were among the last Indigenous people of the continent to be harmed by invasion and colonisation as the pastoral and mining frontier spread north and west. But they were always outward-looking, establishing commercial and familial ties with the Macassan trepang fishermen of Sulawesi long before first British contact.

After first contact, in the early 20th century, the Yolngu were feared as warriors who fiercely protected their ancestral lands from invaders not least the Japanese who came in, uninvited, to take the trepang after the Macassan traders were effectively outlawed by government. Djalus father, the warrior Monyu, first fought the Japanese fishermen (some of whom were also covertly mapping the northern Australian coast), and he later joined the Northern Territory special reconnaissance unit during the Pacific war.

The story of the Japanese before and after the war when Djalu met in peace with fishermen and pearlers from Japan are all in the Yolngu songlines that cross the rich, red earth of Arnhem Land and go out into the sea, beyond the island, Milingimbi, where Djalu was born and another, Raragala, now deserted, where he grew up.

Djalu
If I shut my eyes I can see inside you, what you feel. Photograph: Alex Robertson/South Australian Museum

As he ages Djalu becomes more difficult to understand, due in part to an old facial injury and, perhaps, a spell cast by an enemy due to his one-time role as a tribal enforcer (the stories about Djalu seem as endless as the songlines). Sorting the real from the mythical or imagined is not easy for Balanda.

Which is why it has taken years for the young London-based Australian film-maker, Ben Strunin, to make a biopic of Djalu. Titled Westwind (that which Djalus yidaki harnesses) and backed by Film Victoria, Screen Territory and Screen Australia, the movie is due for release later this year.

Strunin, who has toured Europe with Djalu, says the old man deserves all the recognition of our most celebrated music stars his work is helping to heal the divide in this country and beyond. He transforms people wherever he goes. Its a blessing to be in his presence.

Yidaki: exhibition honouring Djalu Gurruwiwi and the didgeridoo opens in Adelaide. Source: Peter Drew

Three thousand people jammed into the South Australian Museum forecourt on North Terrace to watch Djalu and the Barra Band featuring sons Larry and Vernon play. Djalu was unwell before the performance. Larry placed the yidaki against his head and chest, and sounded it. (Its party of a healing ceremony Djalu has shared with countless Balanda, including myself, over the years.)

Djalu performed. But he was later briefly hospitalised.

He is becoming frail; his sons and his grandson, Kevin will eventually assume his legacy and assume responsibility, themselves, for taking the yidaki to the world.

Yidaki its been my whole life, Djalu says. A good life.

Yidaki Didjeridu and the Sound of Australia is open at South Australian Museum until 16 July

Read more: https://www.theguardian.com/australia-news/2017/mar/16/didgeridoo-is-his-voice-how-djalu-gurruwiwi-embodied-the-sound-of-a-continent

Kesha at SXSW: ‘The internet is not a healthy place for me’

Singer whose case against her former producer Dr Luke exposed her to online abuse said she avoids the web and wants to raise awareness of eating disorders

Pop star Kesha spoke about the internet abuse she has suffered, which has seen the singer pare back her online presence dramatically, and her struggles with eating disorders at an emotionally charged SXSW event.

Speaking at a session that discussed ways to reclaim the internet, the star said she only uses the web to connect with her fans but no longer finds it a space she feels comfortable in. I use the internet to connect to my fans but aside from that, its not a healthy place for me, she said. Comment sections have also become a no-go zone for her.

Especially not posting comments. I try to limit myself in terms of reading comments because there can be a million positive ones, but I always gravitate towards the one negative one. I hold on to that and I internalize it and I know its an unhealthy habit. Ive stopped reading comments.

Kesha also spoke about her battle with body dysmorphia and bulimia, which she said almost killed her after doctors said she was so weakened by the disease that they were surprised she hadnt had a stroke.

I want to talk about it because I want to help people, she said, visibly moved. It can kill you. I almost died. I came very close, closer than I ever knew. By the time I entered rehab they were surprised I hadnt had a stroke because I wasnt consuming enough of anything.

She added that when she was at her lowest point during her eating disorder was when people complimented her on how well she looked. I was starving and people used to say Wow, you look so great. Keep doing what youre doing. And little did they know they were encouraging me to starve myself to death.

She added that a turning point came when she began to ignore online abuse and focus her attention on her own well-being. Criticism used to tear me up inside, she said. I was making trolls, I was making bullies, I was making people who Id never met before who were projecting their insecurities on to me on the internet, I was making them the truth. I was really sad.

In order to cope with the stresses of online abuse Kesha, who has been embroiled in a long-running legal battle with her former producer Dr Luke, who she claims raped and abused her, undertook a shit ton of therapy and created music.

Over the past couple of years I feel like Ive become a woman in a lot of ways because Im kind of reclaiming my personal space, my body, my music, and my life. With online its important to reclaim that space too.

When I first came out as an artist I thought I had to be really tough and I was really young and I had no fucking idea what I was doing, she said. I thought to overcompensate I had to act really tough and act like nothing affected me, I thought that was strength. Ive since realized Ive found a lot of strength in my vulnerabilities. A lot more people can relate to that.

I think the world should be a safe space, I think America should be a safe place and I definitely think the internet should be a safe place, she said.

The singers case against Dr Luke became a focal point for fans and other acts worldwide who spoke out in support of Kesha. Stars including Taylor Swift and Lena Dunham spoke out, and in Swifts case donated $250,000 to Keshas legal fund.

One lawsuit was filed in California and dropped by Kesha in August 2016; another in New York was dismissed by a judge in April 2016. The verdicts essentially meant Kesha was tied to a contract with the producer who she alleged had raped her.

Dr Luke, whose real name is Lukasz Sebastian Gottwald, has denied all the allegations.

Read more: https://www.theguardian.com/culture/2017/mar/14/kesha-sxsw-internet-abuse-eating-disorders

David Bowie tribute stamps launched towards space on helium balloons

52 sets of stamps, representing the years of Bowies professional recording career, propelled into stratosphere and fans can guess where they will land

Special stamps paying tribute to the late music legend David Bowie have been launched towards space.

The 10-stamp set featuring images from some of Bowies most admired album covers and of the star on stage, were created to honour the musician after he died from cancer in January 2016 aged 69.

Fifty-two sets of the stamps have now been propelled into the stratosphere on special helium balloons, as an homage to Bowies role in the 1976 film The Man Who Fell to Earth. The number was chosen to represent the 52 years of Bowies professional recording career.

The flight reached 34,100m at a vertical speed of about 12mph. After the balloons burst, the stamps will have started to descend at nearly 200mph, slowing to approximately 8mph by the time they reached the ground.

The Royal Mail stamps were all postmarked with a special edition red handstamp of the thunderbolt from the cover of Bowies 1973 record Aladdin Sane. Fans who correctly guess where the stamps that fell to earth landed can win one of the limited edition first day covers. The Bowie stamps are also on sale.

The set features images from album covers including Hunky Dory, Aladdin Sane, Heroes, Lets Dance and Earthling. Others show Bowie performing live on tours across four decades.

Read more: https://www.theguardian.com/music/2017/mar/14/david-bowie-tribute-stamps-launched-towards-space-on-helium-balloons

French rock star Johnny Hallyday being treated for cancer

Veteran singer denounces alarmist reports in some media and says while cancerous cells have been discovered, I am doing well and am in good fitness

The veteran singer, Johnny Hallyday, has announced he is being treated for cancer.

The French rock star said the condition was not life threatening and said that he was doing well.

The announcement on Wednesday came after a celebrity magazine reported that his condition was worrying. Closer magazine said its forthcoming edition would reveal that Hallyday was undergoing shock treatment to try cure him.

But, in a statement posted on his Twitter account, Hallyday attacked the pack of lies circulating about my health, which he said had shocked him deeply. The alarmist information put about by certain media outlets and social networks are false, annoying and shameful, he wrote.

Modesty and discretion should should still be observed in this sort of case, even if only out of respect for my own.

So, I assure you, I am doing well and am in good physical fitness. They did indeed discover cancerous cells a few months ago, for which I am currently undergoing treatment. I am being monitored by some excellent professors, in whom I have total confidence. My life is not in danger today.

Its a battle that I am fighting proudly with my wife Laeticia at my side. I will go to the end for all those who love me.

Johnny Hallyday (@JohnnySjh)

pic.twitter.com/vVx37bahzL

March 8, 2017

Hallyday, 73, has been one of Frances most successful entertainers, though he is not as well known beyond his home country. The French Elvis has sold more than 110m records, embarked on more than 100 tours and had 18 platinum albums in a career that has spanned more than half a century.

He has had health problems in the past. In 2009, he underwent surgery for colon cancer and was put in an artificial coma in a US hospital, following complications after a hernia operation.

Read more: https://www.theguardian.com/music/2017/mar/08/french-rock-star-johnny-hallyday-being-treated-for-cancer

Rihanna drinks it all in, Adele shares the honours: the best memes of the Grammys

From Adeles wobbly George Michael tribute to Beyonc in a crown, there was plenty to talk about at the 59th Grammys this is what the internet loved

Read more: https://www.theguardian.com/music/2017/feb/13/rihanna-adele-beyonce-blue-ivy-best-memes-of-the-grammys

Flying Lotus reacts to walkouts at Kuso’s Sundance screening: ‘I tried to warn folks’

Musicians first feature-length film prompted some to leave screening due to its graphic content, with one site calling it the grossest movie ever made

Electronica star turned film-maker Flying Lotus (Steven Ellison) says he tried to warn people about the nature of his first feature-length film after reports of mass walkouts during screenings at this years Sundance film festival.

The film, Kuso, which was described as a mix of live action, puppetry and animation in its promotional material, was screened as part of the film festivals Midnight selection.

Technology website the Verge called the film the grossest movie ever made, criticizing the gore and mutilation before adding: Its really easy to imagine Kusos creators laughing at critics trying to apply meaning where there is none.

Kusos trailer

On Wednesday, Flying Lotus tweeted to address the reports, claiming that critics had been warned about the content and that less than two dozen people left the premiere early.

It was only like 20 people out of like 400 who walked out, he wrote. Wasnt as dramatic as they make it out to be. I tried to warn folks.

He also tweeted that the press screening was where the large walkouts took place before adding that hes considering distributing the film himself after the initial reaction.

FLYLO (@flyinglotus)

All this talk makes me not want to sell Kuso and self distro myself.

January 26, 2017

The film features an appearance from George Clinton and was co-written by British film-maker David Firth, who is best known for his Salad Fingers cartoon and his contributions to Charlie Brookers Screenwipe. When an earlier version of Kuso screened at a short film, Pitchfork reported that some audience members were given sick bags before it started.

Ellison has made films before, and at last years Sundance festival his short film collaboration with Eddie Alcazar, FUCKKKYOUUU, screened and in 2015 he provided the score for Khalil Josephs m.A.A.d., which was part of the festivals NEXT competition.

Read more: https://www.theguardian.com/film/2017/jan/26/flying-lotus-kuso-sundance-walkout

Lily Allen releases cover of Rufus Wainwright song as anti-Trump protest

Black and white video also features footage of Allens performance of Going To A Town at Womens March in London

Lily Allen has released a cover of Rufus Wainwrights Going To A Town as an anti-Donald Trump protest song, accompanied by a video including footage of the Womens March in London.

The black and white video, directed by Bafic, with a musical arrangement from Mark Ronson, also features footage of Allens performance of the song at the rally. She recently included Wainwrights song in an anti-Trump playlist she shared on social media.

Allen has been openly critical of the newly inaugurated American president, once calling him a moron on Twitter for his comments about the Brexit vote.

lily allen (@lilyallen)

@realDonaldTrump Scotland voted IN you moron

June 24, 2016

Read more: https://www.theguardian.com/music/2017/jan/27/lily-allen-releases-cover-of-rufus-wainwright-song-as-anti-trump-protest