Paul simon estate
Paul Simon and Edie Brickell Sell Connecticut Estate at Loss
The sound of silence might have marked the closing as Paul Simon sold his 32-acre Connecticut estate for significantly less money than he paid for it.
Simon and his wife, fellow musician Edie Brickell, sold the New Canaan property at 82 Brookwood Lane on July 1 for $10.8 million, Dirt reported. The price was well below the $16.5 million the couple shelled out for the property two decades ago.
82 Brookwood Lane in New Canaan, CT (Houlihan Lawrence)
Selling the home, which is miles from the Long Island Sound, proved difficult. Two years ago, Simon cut $2 million off the asking price, bringing it down to $11.9 million. The property first went up for sale at an even more optimistic $13.9 million in 2019.
The Georgian mansion, completed in 1938, features six bedrooms, eight bathrooms and a host of powder rooms. The three-story home’s living room has an antique stone fireplace. A library boasts a stone-carved fireplace and the five guest bedrooms all have a private bath. The home also includes a three-car garage.
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Paul Simon chops price on his 32-acre New Canaan estateNew York
Paul Simon’s Connecticut estate is on the market for $14MNew York
Hamptons Cheat Sheet: Paul Simon’s cottage is slip sliding away from dry land, Mark Ronson unloads Montauk house for $1.45M … & moreThe grounds included walled gardens and a swimming pool. A 2,400-square-foot, three-bedroom cottage can be utilized for guests or caretakers; it served as a recording studio for the married musicians.
But buyers paying eight figures are often looking for ocean views; Brookwood Lane offers a modest pond on the far side of a large lawn.
82 Brookwood Lane in New Canaan, CT (Houlihan Lawrence)
Houlihan Lawrence’s Taylor Tait and Libby Mattson had the listing. Bruce Baker of William Pitt Sotheby’s International Realty represented the buyer, who was not revealed.
Simon and Brickell still have several homes they can call their “Graceland:” a duplex on the Upper West Side, a 30-acre oceanfront estate in Montauk and a 10-acre estate in Allen, Texas.
Despite the loss on the Connecticut property, Simon hardly needs a bridge over troubled water to ease his mind. Last year, Simon reportedly sold his song catalog for approximately $250 million, according to Forbes, one of the largest such sales in memory.
[Dirt] — Holden Walter-Warner
Paul Simon and Edie Brickell sell Connecticut estate for $10.8M
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1of3Paul Simon performs during the Greenwich Town Party at Roger Sherman Baldwin Park in 2012.
Singer-songwriters Paul Simon and Edie Brickell sold their New Canaan estate for $10.8 million. According to Zillow, the sale was finalized as of July 1.
Simon and Brickell purchased the home in April 2002 for $16.5 million, according to town property records, marking a $5.7 million loss on its sale. Zillow home details show that the New Canaan home was first put up for sale in 2019 for $13.9 million and was later removed from the market in August 2020. It was placed back on the market in November 2020 for $11.
9 million, and by March 2021, the home's price was increased to an even $12 million before selling in July 2022.
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According to the home's website, the main residence was built in 1938 by architect Harold R. Sleeper and has five bedrooms with "period details" throughout, including fireplaces and hand-crafted millwork. There's also a gardener's cottage with three bedrooms and two bathrooms that provides an additional 1,483 square feet of living space, as well as a private driveway and garage.
The estate include 31 acres of land that contains a pool and several gardens. In total, the home offers 8,811 square feet of living space and is located 45 miles from New York City, according to the listing.
Simon didn't just have a residence in Connecticut; he's also been involved in the community. Simon was a 2012 headliner of the Greenwich Town Party, and in 2018, he performed at the Stamford March for Our Lives rally to demand an end to gun violence following the Parkland, Fla. school shooting.
The sale of the acclaimed musician's New Canaan residence follows the March listing of Grammy-winning producer Nile Rodgers' Westport home, which was listed for $5.25 million at the time.
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"Ever feel like you've been fooled?"
"Ever feel like you've been fooled?" | Colta.
ru March 9, 2021Contemporary music
106
The emergence of Public Image Limited and the beginning of the post-punk revolution: an excerpt from the famous book by Simon Reynolds "Break it all up, start over"
text: Simon ReynoldsThe Noise Publishing House publishes a book by the famous British journalist and writer Simon Reynolds, Break It All, Start Again. Postpunk 1978–1984” translated by Ilya Miller.
Reynolds has written some brilliant books about music, and Break It All, Start Again is perhaps his best work. Talking about what happened to pop and rock music after the punk revolution and before the MTV boom, the author restores historical justice by returning the first half of the 19The 80s, associated with grotesque fashion and ridiculous hairstyles, the status of a great era in which there was an incredible outburst of creative energy.
We invite you to read the first chapter of this book, which tells how post-punk and its pioneers, Public Image Limited, came into being.
"Ever felt fooled?"
Johnny Rotten's famous farewell cry on January 14, 1978 at the 9 Club0008 Winterland in San Francisco was less of a question and more of an acknowledgment. Despite the fact that he was the leader of the most dangerous band in the world, Johnny was bored - he was sick of the music of Sex Pistols , he was tired of his own "rotten" mask ( rotten translated from English - "rotten, rotten." - Rev. ), he was disappointed with what punk as a whole had become. The Winterland performance was the last of the Pistols 's hectic tour of America, and a few days later the band broke up, leaving a trail of bilious confusion in their wake.
Rotten's disillusionment has been brewing for several months. The first public symptom appeared during the program "Punk and His Music" on London's Capital Radio on July 16, 1977, during which Rotten voiced his annoyance at the predictability of most punk bands: "You feel cheated.
There must have been a lot of other stuff." The program, spliced together from interviews and records chosen by Rotten, also revealed that the singer has a much more extensive and sophisticated taste in music than his public image would suggest. If you turned on the radio expecting only punk, you would be immediately disappointed with the first selected track - "Sweet Surrender" Tim Buckley, luxurious, sensual R&B - a thing dressed in orchestral arrangements. Over the next 90 minutes, Rotten failed to live up to expectations even more, delivering languorous root reggae, solo work by former The Velvet Underground members Lou Reed, John Cale and Nico, an impressive amount of near-hippan music - Can , Captain Beefheart and Third Ear Band , as well as two songs from his idol Peter Hammill, a full-fledged prog rocker.
© Shum
Just about everything Lydon played on Capital shattered Punk Myth #1 that the early 1970s was a cultural dead end.
And, as if all this wasn't treacherous enough, he also broke with Malcolm McLaren's assigned role as a cultural terrorist by actually presenting himself as an aesthete. With such a foppish selection of music, the interview was clearly given by a delicate and reasonable individualist, and not a monstrous scumbag from the front pages of the tabloids.
For Rotten, this change of image was a matter of life and death. A month before it hit radio, the Pistols' anti-anniversary single "God Save the Queen" defied radio bans and music store interference to become the best-selling 7" in the country. Rotten, scapegoated in the yellow press, was constantly attacked by angry royalist thugs. Frightened, scarred, practically under house arrest, he decided to take control of his own destiny. His anarchist/Antichrist persona - originally created by Rotten himself, but promoted by the manager of Sex Pistols by McLaren and distorted by the always ready to believe the worst press - was no longer manageable.
By agreeing to an interview with Capital Radio without the approval of his management, Rotten began the process of undermining his role, which would soon result in "Public Image" (song) and Public Image Ltd (band).
Lydon seemed weak and vulnerable, talking about the street attacks on the air of Punk and His Music: “It’s very easy for a gang to stick to ... one person and crush his head - it’s fun for them, and it’s even easier for them to say: “Well and jerked off, look how he runs away!”… I mean, what else is left for him?” By presenting himself as a victim and sharing his sense of humiliation, Rotten deliberately rehumanized himself.
Of course, this infuriated McLaren, who accused Rotten of dispelling "the group's sense of danger" by presenting himself as "a man of taste.
" McLaren saw "Pistols" as anti-music, and then the band's frontman pours about his eclectic record collection and sentimental: "I just love all music ... I love my music" - like some fucking hippie! So McLaren decided that Rotten, at heart, was “a constructive bitch, not a destructive psycho,” and focused all his energies on sculpting a real star.0008 Sex Pistols from the more suitable Sid Vicious, a caricatured psychopath, male and degenerate.
In the last months of 1977, that crack appeared between Rotten and the rest of the Sex Pistols , which reflected the split of all punk into pretentious bohemians and working-class street tough guys. Rotten came from a terribly impoverished family, but due to his sophistication, he was much closer to the contingent of art schools. He was not the unemployed street kid who was mythologized The Clash , and earned normal money with his father, a builder at a sewage treatment plant, and worked in a kindergarten in the summer.
And although he often admitted to hating art and contempt for intellectuals, he was well-read (his favorite was Oscar Wilde) and always had a very strong opinion (but he did not like Joyce). If Steve Jones and Paul Cook left school early, then Rotten even made an attempt to get a higher education, studying English literature and art at Westminster's Kingsway College. But above all, Rotten was a connoisseur of music. He did not know how to play any instruments or compose melodies, but he felt the sound and foresaw possible circumstances much finer than his friends from Sex Pistols .
Rotten's Reggae and Art Rock in "Punk and His Music" outlined the emotional and sonic ideas of Public Image Ltd . When Johnny said he identified with Dr. Alimantado "Born for a Purpose" , with a song about rastamans being persecuted, one could see in advance that glimpse of paranoia and clairvoyance that was inherent in PiL : Rotten was already trying on the role of an outcast dreamer, an internal exile of the British Babylon.
What he liked musically about Beefheart and the dub producers was their playful experimentation: "They just love the sound, they love to use any kind of sound." It turned out that Punk and Its Music offered the unborn post-punk movement a list of must-listen albums: hints and tips on where to move music next.
A few days after the breakup of Pistols , Rotten announced his intention to create a new band that would be "anti-musical in every way". After returning from the Caribbean, he began to recruit a line-up. Rotten invited his friend John Wardle, a native of the East End with piercing blue eyes, who called himself Ja Wobble, to play bass, despite the fact that he was barely familiar with the instrument. “John wanted to play in a band where the bass would stand out,” recalls Wobble. "We've been fiddling around with graphic EQs and homemade bass subwoofers, experimenting with running rock records through them to see how low the sound can be with them."
Reggae was an important crossover point for the three main members of PiL - Rotten, Wobble and guitarist Keith Levene, who were otherwise completely at odds with each other musically and personally.
“The PiL basically only functioned because we were just dub savages,” Levene says. “We went to the Blues all the time.” The "Blues" were illegal reggae parties, a cross between a hangout and a full-fledged sound system, usually held in someone's apartment or house and organized with money earned by selling alcohol and marijuana. Rotten, a longtime and fanatical reggae collector, was first introduced to sound systems by his black friend Don Letts, a DJ who played at the legendary punk club Roxy , and it is to him that many credit the fact that reggae has become popular among punks. Rotten, accompanied by Letts, often found himself the only white man in such ultra-hard-to-reach clubs as Four Aces in Dalston, east London. “It was quite a challenge to get on those ‘blues’,” says Wobble, “but in general everything was cool. The black guys didn't care at all. They could voice a couple of questions, they say, what are these white boys doing here, but there was not much fuss.
In general, punk rockers felt safer at black parties than at a local pub where only whites sit. For me personally, hearing the bass so loud for the first time was a big revelation. My jaw just dropped to the floor as I felt the physicality of it all."
Wobble grew up in Whitechapel, in the Clichy Estate quarter, located at the intersection of Jamaica Street and Stepney Way - which aptly enough symbolizes the collision of the East End and the West Indies that Wobble was shaped. He met Rotten at Kingsway College, and the pair became part of the outcasts known as the Four Johns - the other two were John Ritchie (i.e. Sid Vicious) and John Gray. At the time, Wobble had a reputation for being near-criminal. “It seems like we were all emotional cripples back then,” he says with some regret. But something in him turned upside down when Wobble took up Vicious's bass guitar: “I immediately felt attached to this instrument. It had an almost therapeutic effect, although I didn't realize it at the time.
" Armed with his knowledge of Jamaican music and using tons of speed, he taught himself how to play reggae bass lines, simple repetitive phrases that worked both as a melodic motif and as a measured pulsating rhythm. Borrowing tricks from reggae, such as playing old strings (they don't rattle), and removing the tone knob, he learned to play "softly, not percussively. caressing the strings. Pure vibration. Wobble bass lines beat human heart in music PiL served as a roller coaster booth that both sheltered and carried the listener through all the horror. And since Wobble's bass also set the melody, Levene's guitar was allowed to do whatever it pleased.
One of the most interesting features of PiL was that, despite all the "anti-rock" surroundings, it was a real guitar hero at the center - Jimi Hendrix from post-punk. Leven, unlike most of his peers, had an amazing level of training. Before punk, he did what most guitarists did in the days when prog-rock virtuosity ruled the ball: rehearsed, rehearsed and rehearsed again.
As a teenager growing up in north London, he spent days jamming with a friend for eight hours at a time. His personal guitar hero was Steve Howey of Yes , whose touring technician Leven worked at fifteen.
Punk was supposed to get rid of his collection of King Crimson and Mahavishnu Orchestra , or at least hide it in a cupboard. “Many of the punks could play the guitar much better than they did,” Levene says. “But I never pretended that I couldn’t play a simple lead game.” Despite the horrendous number of prog skeletons in his closet, Leven threw himself into the thick of the punk movement and became one of the founding members of The Clash . But his harsh, dissonant style didn't quite fit with the band's anthem-like rock 'n' roll. Even at that time, he was developing the handwriting that would become the signature brand PiL , the intentional inclusion of errors in the final result. When Leven hit the wrong note, he immediately repeated the mistake to see if this crap would not become a model for something new.
“The point was to get rid of the conventions, to get out of the usual channel, to open up a different space.” However, his departure from The Clash was not determined by "musical differences": Leven was kicked out due to an unfriendly attitude towards the entire group, which, as his colleagues thought, was caused by amphetamine mood swings.
Leven and Rotten first came into contact after the joint concert of The Clash and Pistols in a Sheffield pub in July 1976. Both the vocalist and the guitarist were sitting apart from their bands and looked pathetic. Levene approached Rotten and during the conversation offered to work together if their bands ever broke up. Levene and Rotten's disgust at the relapse into American hard rock tradition that their previous bands had become formed PiL eighteen months later. “For me, Sex Pistols was the last rock and roll band. They weren't the start of something unseen, says Levene, while PiL really felt like a new beginning.
"
Name Public Image Limited was filled with various meanings. This phrase first captured Rotten's imagination when he read "The Public Image" .0009 Muriel Spark, a novel about an unbearably selfish actress. "Limited" first meant keeping your alter ego on a short leash, limiting it, "not being as badass as I was with the Sex Pistols ". As if to symbolize the rejection of his swollen mask, Rotten returned to his real name and began to call himself John Lydon. (In fact, McLaren claimed he was the owner of the name Johnny Rotten and banned the singer's use of the stage name. At the time, almost no one knew about this legal implication, and the switch from Rotten to Lydon seemed like a powerful statement: the singer is symbolic regains his true self and as a member of the collective Public Image Limited starts over.)
The idea of "Limited" soon found its business sense: a limited liability company.
Lydon announced that PiL was not a band in the traditional sense of the word, but a public relations company for which the release of records was only one of many areas of activity. Enthralled by the idea, Lydon and Levene talked about developments in motion picture soundtracks, graphics, the creation of "video albums" and even the development of music technology. To show the seriousness of these plans, in PiL , two non-musician members were recruited: Dave Crowe, an old high school friend of Lydon's, acted as the accountant, and Janet Leigh (an old friend of Don Letts, with whom she ran clothing store Acme Attractions ) became the band's video director. In addition, Li began dating Levene. "Janet told me how she edited Letts' punk rock documentary and how she worked on the script for his next film, Drowsy at the Remote, which was never completed," Levene says. — I liked the idea of shooting for PiL unusual videos, and she literally talked me into taking her to her place.
Wobble was strongly opposed."
March 11, within the framework of the Russian-British online cultural forum UK-Russia Creative Bridge, there will be a public discussion with Simon Reynolds about the book "Tear It All, Start Again" and the legacy of post-punk in Russia. Registration for the event is free.
Order a book on the site of the publishing house "Shum"
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Simon Reynolds: "Don't try to change the world through music." British journalist and writer about his books and their Russian translations, post-punk and glam rock, neo-liberalism and the fate of music criticism in the 21st century
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Continuation of experiments: magical realism: anariel_rowen — LiveJournal
I endure magical realism only in the form of Laura Beloivan's posts on FB, all its other forms annoy me with their deliberateness and half-heartedness: if you want a fairy tale, then write a fairy tale, and don't play manners and don't fawn before those who snort contemptuously at fairy tales.
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Vasily Petrovich and an angel
Vasily Petrovich met an angel, only having managed to get out of the entrance. He looked like a natural bum and asked for a hangover. Vasily Petrovich immediately took out a pentakhatnik from his purse and gave it to the homeless, which unequivocally testifies to the angelic, if not cherubic, rank of the latter: after all, Vasily Petrovich never gave alms. Never and no one. Because he didn’t know how to distinguish a real beggar from a scammer, and he didn’t want his labor penny or hundred, earned by hard work in a collection agency, to go to a scammer like those with whom Vasily Petrovich had to deal with at work.
- Thank you, kind person! - the homeless angel was delighted.
– Do you know what? Come with me! We have a good company there!
And then the second miracle happened: Vasily Petrovich obediently followed his interlocutor along Metelnaya street to the left instead of turning right and going along the road to the subway. Although Vasily Petrovich had never played truant before, even when he was a rosy-cheeked toddler and went to school.
At the end of the block, the homeless angel turned to the extreme entrance of the house, indistinguishably similar to the one in which Vasily Petrovich lived, and they went up to the third floor, to the side apartment. Vassily Petrovich also lived on the third floor and in a side apartment, but, of course, a reddish-brown leatherette, as if made from the skin of a cockroach, did not hang in tatters on his door.
The homeless man opened the door, as if he had come to his home, and he and Vasily Petrovich entered the apartment.
Here everything was as one could imagine, but only worse: the light bulb was not only without a lampshade, but also spattered with something, the floor was not just dirty, but stuck to the soles.
A man with a beard like a brownie was sitting in the kitchen, looking sadly at an empty half liter with a red and white label.
- Vasya, look what I brought! - and the homeless angel put on the table in front of the bearded man a shopping bag full of the same half-liters, only brand new, clean and full to the brim.
That was the third miracle, because on the way Vasily Petrovich and his guide did not go into any shops and did not even approach the stalls. So it seemed to Vasily Petrovich that the gentle ringing emitted by half a liter was added to a melody with words like “holy, holy, holy is the Lord of hosts.” Yes, by the way: it must be said that Vasily Petrovich was a complete atheist, and therefore this story can in no way be the fruit of his religious prejudices. He is a solid and solid person, at work he is characterized only positively.
Resembling a house owner, without saying a word, he took out three glasses (not even very dirty ones), and the homeless angel poured the first one.
The men shuddered and took communion. Then they repeated.
The owner grunted as he put the empty bottle under the table.
- Which one will you be? he asked Vasily Petrovich.
Vasily Petrovich explained that he was a neighbor and lived nearby.
- Ah, - said the brownie owner, - I thought you were from here.
After the second bottle they called each other Vasya, and after the third they sat in an embrace, like brothers at the funeral of both parents at once.
- So, what a grief I have, - the owner said after an unknown bottle, and maybe the next morning. Or the next week: Vasily Petrovich was no longer interested in such trifles.
- These are all collectors, lousy bastards! the owner continued his story. “They drove me crazy!”
Vasily Petrovich listened attentively to the whole long and confusing story, and then said:
- Vasya, don't worry! We will fix everything!
And they fixed everything.
Vasily Petrovich woke up in his apartment and found, not without surprise, that he was lying on his engineer's floor.
