Body, no soul

don't wanna sit here flinch and wait

till the day has switched it's blade  

guess he's been talking on his phone

convincing fish to swim back home

if hands spread words they just can't grab

to bring back home nothing but crap

our crappy children fall for holes

where giants step right onto their very souls

please, mr. landslide take my hand

and pull me out of this fucking sand

we all need woods to dive into

and perfect slumber for me and you

what a perfect luxury this is

how come we're waiting for a fix

while chapels wake up every sound

and happy couples all around 

fuck your walls, I'm coming down

black out that overrated sound

where's your shore? I can't see the ground

there ain't no planets for this sinking town

Bodi Bill

Up With People

  

Yes there comes a booming sound

It used to come from underground

Now it emanates

From a kind of welfare state

Of the soul

Yeah baby of the soul

And of the sweet sweet soul

Let's be certain

Of the deliberate monologue

As sure as if it will fall

Across you

Unto you

Will most certainly leave the doing undone

Come on undone

Lampchop

the world is almost done

Give me that old fashioned morphine

What it was good enough for my Grandpa

It's good enough for me

Sister don't get worried

Because the world is almost done

Give me that old fashioned morphine

It was good enough for Billy Boroughs

It's good enough for me

Sister don't get worried

Because the world is almost done

Give me that old fashioned morphine

It was good enough for Isabelle Eberhardt

It's good enough for me

Sister don't get worried

Because the world is almost done

Jolie Holland

my reflection

I hear the roar of a big machine

Two worlds and in between

Hot metal and methedrine

I hear empire down

I hear the roar of a big machine

Two worlds and in between

Love lost, fire at will

Dum-dum bullets and shoot to kill, I hear

Dive, bombers, and

Empire down

I hear the sons of the city and dispossessed

Get down, get undressed

Get pretty but you and me,

We got the kingdom, we got the key

We got the empire, now as then,

We don't doubt, we don't take direction,

Lucretia, my reflection, dance the ghost with me

Sisters Of Mercy

A girl with a washing machine

I'm looking for a girl

with a washing machine

and a room that's cool and shady

I'm looking for a girl

with a shower and bath

come on, baby, don't look at me like that

I'm looking for a girl

with a washing machine

I ain't saying

I ain't saying I'm dirty

and I ain't saying I'm clean

I'm looking for a girl

without plans for the night

I ain't saying I'm lonely

but I could use some company

I bet you've got a washing machine

I bet you ain't got nothing at do

but I'm just a boy who came into town

I won't let you down

Big Sleep

Hungry Heart

Got a wife and kids in baltimore jack

I went out for a ride and I never went back

Like a river that don't know where it's flowing

I took a wrong turn and I just kept going

Everybody's got a hungry heart

Lay down your money and you play your part

I met her in a kingstown bar

We fell in love I knew it had to end

We took what we had and we ripped it apart

Now here I am down in kingstone again

Everybody's got a hungry heart...

Everybody needs a place to rest

Everybody wants to have a home

Don't make no difference what nobody says

Ain't nobody like to be alone

Everybody's got a hungry heart

Pajaro Sunrise

Departure

I can sense departure in the air

Now it's only the past that we share

Divided at a parting of the road

Where I could ride on or lighten the load

I've been dreaming of a town

Where the lost and found

And wrong way round are bound

For departure

I've been comfortably numb

But a change is gonna come

Like a storm

Mt. Desolation

Young-Hae Chang Heavy Industries

Young-Hae Chang Heavy Industries is a Seoul-based Web art group consisting of Marc Voge (U.S.A.) and Young-hae Chang (Korea).

Their work, presented in 17 languages, is characterized by text-based animation composed in Adobe Flash that is highly synchronized to a musical score that is often original and typically jazz.

In 2000, YHCHI's work was recognized by the San Francisco Museum of Modern Art for its contribution to Online Art. In 2001 the group was awarded a grant from the Foundation for Contemporary Arts Grants to Artists. Their solo show, "Black On White, Gray Ascending", a seven-channel installation, was part of the inaugural opening of the New Museum of Contemporary Art, New York, in 2007.

source:Wikipedia 

I have encountered their work at ΕΜΣΤ = National Museum of Contemporary Art in Greece = Athens.

I think you should really check out their projects.  Young-Hae Chang Heavy Industries' website 

The Caretaker

The Caretaker is a play by Harold Pinter.It was first performed on stage at the Arts Theatre, London, on 27 April 1960; it transferred to the Duchess Theatre the next month. Its first run included 444 performances.

According to his official authorised biographer, Michael Billington, Pinter "talked in detail about the play's origins" in images from his own personal experience and observations for the first time with him (in the mid 1990s), when Pinter told Billington that he wrote the play while he and his first wife Vivien Merchant

"were living [… ] in this first-floor flat in Chiswick: a very clean couple of rooms with a bath and kitchen. There was a chap who owned the house: a builder, in fact, like Mick who had his own van and whom I hardly ever saw. The only image of him was of this swift mover up and down the stairs and of his van going . . . Vroom . . . as he arrived and departed. His brother lived in the house. He was a handyman . . . he managed rather more successfully than Aston, but he was very introverted, very secretive, had been in a mental home some years before and had had some kind of electrical shock treatment . . . ECT, I think . . . Anyway, he did bring a tramp back one night. I call him a tramp, but he was just a homeless old man who stayed three or four weeks." […] Mick, as he says, was the most purely invented character of the three. For the tramp [Davies], however, he had a certain fellow feeling. […] "It [the Pinters' life in Chiswick] was a very threadbare existence . . . very . . . I was totally out of work. So I was very close to this old derelict's world, in a way."(Harold Pinter 114–17).

 

About directing a production of The Caretaker at the Roundabout Theatre Company in 2003, David Jones observed:

The trap with Harold's work, for performers and audiences, is to approach it too earnestly or portentously. I have always tried to interpret his plays with as much humor and humanity as possible. There is always mischief lurking in the darkest corners. The world of The Caretaker is a bleak one, its characters damaged and lonely. But they are all going to survive. And in their dance to that end they show a frenetic vitality and a wry sense of the ridiculous that balance heartache and laughter. Funny, but not too funny. As Pinter wrote, back in 1960 : "As far as I am concerned The Caretaker IS funny, up to a point. Beyond that point, it ceases to be funny, and it is because of that point that I wrote it."

source: Wikipedia


-- Πολύ ενδιαφέρουσα παράσταση

Στο Απλό Θέατρο, παραστάσεις μέχρι τον Απρίλιο του 2011

Ντέιβις (επιστάτης): Δημήτρης Καταλειφός
Άστον (μεγάλος αδερφός): Λαέρτης Βασιλείου
Μικ (μικρός αδερφός): Χάρης Φραγκούλης

Spying Glass

You live in the city

You stay by yourself

You are invite all weakness

Still some people they brand you ya

Just because you are rasta

You move to the country

You live in the hills

You invite all company

When you check it in the new spying glass

They want to know all your business

You live in the city

You mind your own business

What you see you don't see

But some people they always see

They never mind their own business

You move to the country

You live in the hills

You think you're far from the weak

When you check it in your spying glass

They want to know rasta business

Spying Glass!

Massive Attack