06/08/2017

In Sam Shepard's words


 Sunday is a day for daydreaming, reading and taking notes. I mean, for me, but if it is not for you, I highly recommend it!

And on Sundays, I receive this newsletter I love about literature, full of witty and deep quotes from different books, and mainly correspondance letters.

Do people still do that? Write to each other? Well, you can guess I love to write letters, or since 2000, emails, of course. In 1999, I used to write letters to my best friend, from my new flat in la Goutte D'Or, Paris 18e, to her parents' house in the suburbs, though we saw each other at least once a week :). I know, I'm the reincarnation of a Jane Austen's character in the 21st century...

But the thing is that when you write down what you think, you give it so much power. It's like a ritual, it is literally like putting your thoughts and feelings in this timeline and setting them free to the universe!

-

Here is today's letter, shared by this newsletter I like. It is by Sam Shepard, of course, who sadly passed away this week. Playwright, screenwriter, author, actor and director, Shepard was also a music lover, friends of many brilliant musicians, including Charles Mingus Jr and Patti Smith.

Sam Shepard is mostly known from the public for co-writing the screenplay for Wim Wenders’s amazingly powerful film Paris, Texas.

The letter comes from his correspondance with his 50-year friend, Johnny Dark.



     In 1982, Shepard met the actor Jessica Lange on the set of the film Frances, in which he had a supporting role. Lange earned an Academy Award nomination and won Shepard’s heart — the two entered into an immediate and intense romance that effected, as Shepard wrote to Dark, mutual awakening. On St. Patrick’s Day the following year, shortly after the premiere of his play Fool for Love, Shepard moved into Lange’s cabin in Northern Minnesota near Bob Dylan’s birthplace, which he described to Dark as “a town right out of Kerouac.”

      In a letter penned twelve days later, Shepard writes from the thralls of something far deeper and more powerful than infatuation:

 "I love this woman in a way I can’t describe & a feeling of belonging to each other that reaches across all the pain. It’s as though we’ve answered something in each other that was almost forgotten. I look back on that whole ten years in California & I see myself hunting desperately for something I wasn’t finding. I know the Work point of view is the only true one. That life is inside. That nothing outside can ever finally answer our yearning. I know that’s true but, in some way, finding Jessie has reached something inside me. A part of me feels brand new — re-awakened."


Shepard and Lange’s daughter, Hannah, was born three years later, followed by a son, Walker. The couple remained together for the nearly three decades.

-

Just an illustration...



Well, do I need to add anything?

Have a good day...

"A book is made from a tree...."


 Read on Instagram a comment from a woman that is still making me smile! She just said: "You know how guys show up in bars and offer women a drink? Why can't people do that in book stores?"

How I would love that! Actually, one of my first important relationships started when a man smiled at me on the streets of Paris, stopped me and... offered me a book. A novel by John Fante. I was 19. And very impressed. We were very, very different. But what a suited gesture...

And actually, when I really love someone, I always start by offering them a book. I'm sure many of you never even opened these books :)

But hey, we are who we are!

I'm a reader and a book lover and I believe there would be no story, no film, no legend, no theatre, no song even, without good writing and storytelling. There you have me.

And this man:


“A book is made from a tree. It is an assemblage of flat, flexible parts (still called "leaves") imprinted with dark pigmented squiggles. One glance at it and you hear the voice of another person, perhaps someone dead for thousands of years. Across the millennia, the author is speaking, clearly and silently, inside your head, directly to you. 

Writing is perhaps the greatest of human inventions, binding together people, citizens of distant epochs, who never knew one another. Books break the shackles of time ― proof that humans can work magic.”


― Carl Sagan

 American astronomer, cosmologist, astrophysicist, astrobiologist, author, science popularizer, and science communicator in astronomy and other natural sciences (1934 – 1996)

-


The only things I ever owned or wanted to own:




05/08/2017

Chris Ofili - interview and more


Probably my favourite living painter...
Loved that Tate exhibition, a few years ago, so much.


Andrew Graham-Dixon interviews Chris Ofili





Published on 22 May 2010

Andrew Graham-Dixon interviews Chris Ofili about his painting and exhibition at the Tate.


-


Chris' recent work at the National Gallery:



Chris Ofili: Weaving Magic at The National Gallery

- on The Art Channel





Published on 11 May 2017

Collaborating with a team of weavers from the Dovecot Studios in Edinburgh, Turner Prize winner Chris Ofili has designed a tapestry for the Clothworkers Hall which is being shown at the National Gallery within a room lined with murals. Inspired by the Caribbean Island of Trinidad and its folklore, the artist blends together multiple and eclectic references to the Garden of Eden, Old Master painting, cocktails and the Italian football star Mario Balotelli in a vibrant collaboration between artist and weavers. Josh and Grace visit the show and speak to Dr Gabriele Finaldi, the Director of the National Gallery, who explains how Ofili's contemporary art responds to and complements the permanent collection of European painting.
Twitter: @theartchannel1
Instagram: @the_art_channel1
Facebook: https://www.facebook.com/TheArtChannelUK

-

Very recent documentary:



 Chris Ofili, The Caged Bird's Song,

 BBC Documentary 2017







Published on 16 Jul 2017

Alan Yentob follows the celebrated Turner Prize-winning British artist Chris Ofili as he creates a spectacular contemporary tapestry - The Caged Bird's Song. Nearly three years in the making, it is a triumph of craft and dedication, transforming Ofili's free-flowing watercolour paintings into vibrant wool on a giant scale. Made with a team of master weavers in Edinburgh, the piece, over seven metres wide and three metres tall, draws together the sights and sounds of tropical Trinidad, where Ofili lives. Imagine explores Ofili's passion for his adopted island home and its inspiration on his creative practice, and reveals the final tapestry as it is installed in an exhibition at the National Gallery in London.


'When Doves Cry'


My favourite song of his, by far...


How can you just leave me standing?
Alone in a world so cold?  
Maybe I'm just too demanding
Maybe I'm just like my father, too bold
Maybe you're just like my mother
She's never satisfied... 



Prince - 'When Doves Cry'

(Official Music Video)









"When Doves Cry"

Lyrics



Dig if you will the picture
Of you and I engaged in a kiss
The sweat of your body covers me
Can you my darling
Can you picture this?

Dream if you can a courtyard
An ocean of violets in bloom
Animals strike curious poses
They feel the heat
The heat between me and you

How can you just leave me standing?
Alone in a world that's so cold? (So cold)
Maybe I'm just too demanding
Maybe I'm just like my father, too bold
Maybe you're just like my mother
She's never satisfied (She's never satisfied)
Why do we scream at each other
This is what it sounds like
When doves cry

Touch if you will my stomach
Feel how it trembles inside
You've got the butterflies all tied up
Don't make me chase you
Even doves have pride

How can you just leave me standing?
Alone in a world so cold? (World so cold)
Maybe I'm just too demanding
Maybe I'm just like my father, too bold
Maybe you're just like my mother
She's never satisfied (She's never satisfied)
Why do we scream at each other
This is what it sounds like
When doves cry

How can you just leave me standing?
Alone in a world that's so cold? (A world that's so cold)
Maybe you're just too demanding (Maybe, maybe I'm like my father)
Maybe I'm just like my father, too bold (Ya know he's too bold)
Maybe you're just like my mother (Maybe you're just like my mother)
She's never satisfied (She's never, never satisfied)
Why do we scream at each other (Why do we scream, why)
This is what it sounds like

When doves cry
When doves cry (Doves cry, doves cry)
When doves cry (Doves cry, doves cry)

Don't Cry (Don't Cry)

When doves cry
When doves cry
When doves cry

When Doves cry (Doves cry, doves cry, doves cry
Don't cry
Darling don't cry
Don't cry
Don't cry
Don't don't cry


"We are the music makers, / And we are the dreamers of dreams"...



 Ode from his book Music and Moonlight (1874)

Arthur O'Shaughnessy


We are the music makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers
And sitting by desolate streams;—
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.

With wonderful deathless ditties,
we build up the world's great cities.
And out of a fabulous story,
we fashion an empire's glory.
One man, with a dream, at pleasure
shall go forth and conquer a crown.
And three, with a new song's measure
can trample an empire down.

We, in the ages lying,
in the buried past of the Earth,
built Nineveh with our sighing
and Babel itself with our mirth.
And o'erthrew them with prophesying
to the old of the New World's worth.
For each age is a dream that is dying,
or one that is coming to birth.























04/08/2017

Jabu - New single: 'Let Me Know' - and new album in September



Jabu, Bristol trio of great contemporary and forward-thinking talent, has added a second vocalist into their collective and is ready to release their first LP, Sleep Heavy.



I was lucky to meet with one member at the WOMAD Festival in 2015, and to have heard them with Young Echo, quite a few nights in Bristol the same year.

-

Here is a presentation by the site Resident Advisor:


Jabu will release their debut album, Sleep Heavy, via Blackest Ever Black in September. 
The LP pairs an R&B sensibility with atmospheric electronics. It's a "meditation on grief, on loss, making sense of separation and death," the label says. Jabu cite Massive Attack, The Temptations and Cocteau Twins as influences. 
The group, which consists of vocalists Alex Rendall and newly-recruited Jasmine Butt alongside producer Amos Childs, grew from the Bristol collective Young Echo. Last year they released a mini-album under the name O$VMV$M, which is their project with fellow Bristolian Neek. They've also had a couple of 7-inches for No Corner, and an EP for Ramp before that. 
Listen to "Let Me Know." 


-

Jabu - 'Let Me Know'






Published on 2 Aug 2017
'Let Me Know' by Jabu. Taken from the album Sleep Heavy, due to be released by Blackest Ever Black on September 22, 2017.

Vocals and lyrics by Alex Rendall and Jasmine Butt.
Produced by Amos Childs.

Video directed and edited by Joshua Hughes-Games and Alexander Hughes-Games for MFMFilms.

Choreographed and performed by Charlotte Baker.

© & ℗ 2017 Blackest Ever Black

More information:
http://blackesteverblack.com/releases...

-

In their own words:


pre-order up now
out 22/09/17
can't say thank you enough to everyone that helped make this record, from long talks with a very patient Harry Wright listening to more and more abstract and vague artwork suggestions to Andrew Clarkson (& han) allowing me to stay in their house til the small hours going through his records and always being 2 steps ahead of me and pulling out exactly what i needed to hear at any given moment. to chester for allowing us to use the words from his poem for the title of the record. to seb for always being there to listen. & to Alex Hughes-Games, josh & charlotte for taking so much time and effort to make this video 
& to kiran for actually putting the thing out (-barring any last minute changes of heart!)
& to everyone thats played it on radio so far or showed it to their friends etc etc
it means a lot thank you

-

JABU - SLEEP HEAVY
(BLACKESTLP016 | CD016 | DL016)
Album out September 22, 2017.
More information:
http://bit.ly/2vt7WC2
Stream 'Let Me Know' (SC):
http://bit.ly/2wlW9St
'Let Me Know' video:
https://youtu.be/9czzvHkLby4
Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs.
The group was born out of Bristol’s Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, chester giles (the title Sleep Heavy comes from a giles poem) and Killing Sound (Childs with Kidel and Vessel).
Jabu’s previous 7” singles, though arresting, barely hinted at the level of accomplishment and emotional heft that Sleep Heavy delivers. It’s a future Bristol classic with a universal resonance, with songs that are highly personal but deeply relatable, and tripped-out, time-dissolving sound design that both haunts and consoles. It is, first and foremost, a meditation on grief, on loss, making sense of separation and death; but it also looks forward to what might come after the aftermath: healing, acceptance, the chance to begin again.
Childs is one of the most gifted producers of his generation and his work here, grounded in hip-hop but floating free, is a thing of sustained wonder: crepuscular, melancholic – funereal, at times – subtly psychedelic and heavily dubwise, but always concise and purposeful. Stitched together from deep-dug and beautifully repurposed samples, it draws on influences from US R&B to Japanese art-pop minimalism – Mariah to Mariah Carey, if you will – and a rich seam of underground UK soul, boogie, DIY/post-punk, library music and lovers rock; refining and reconstituting these inputs into powerfully immersive, emotionally ambiguous soundscapes as eloquent and engaging as they are understated and bottomlessly mysterious.
There is also of course a distant connection to the Bristol blues of Smith & Mighty and the sultry urban gothic of Protection-era Massive Attack, but Jabu’s orchestration of womb-like ambiences, cold synth tones and brittle beats feel entirely sui generis. They provide the perfect setting for Rendell’s wounded, imploring and carefully weighted vocals, which are no less extraordinary: nodding to giants like Teddy Pendergrass and The Temptations in terms of phrasing and front-and-centre vulnerability, with something of The Associates’ Billy Mackenzie in there too; defeated but defiant. Meanwhile Jas’s heavenly interventions, sometimes leading but more often parsed and layered into tremulous, gossamer abstraction, draw a line between the Catholic choral harmonies of her childhood and the ethereal, oceanic sweep of Cocteau Twins. Oceanic is the word: this is music to drown, and drown gratefully, in.
By its end, Sleep Heavy’s world-weariness is intact and scarcely diminished, but some light has been admitted, and is visible from the sea-floor. A chance, not a promise. Something to swim towards.
Out September 22, 2017 on LP, CD and digital formats.

-

02/08/2017

John Akomfrah will present "Purple" at the Barbican Centre in London from October



John Akomfrah: Purple

6 October 2017 - 7 January 2018
Curve Gallery





British artist and filmmaker, and winner of the 2017 Artes Mundi prize, John Akomfrah has been commissioned to create a new work for the Curve. His most ambitious project to date, Purple is an immersive, six-channel video installation addressing climate change and its effects on human communities, biodiversity and the wilderness.

At a time, when according to the UN, greenhouse gas emissions from human activities are at their highest levels in history, with people experiencing the significant impacts of climate change, including shifting weather patterns, rising sea level, and more extreme weather events, Akomfrah’s Purple brings a multitude of ideas into conversation including animal extinctions, the memory of ice, the plastic ocean and global warming. Akomfrah has combined hundreds of hours of archival footage with newly shot film and a hypnotic sound score to produce the video installation.

The exhibition has been commissioned by the Barbican, London and co-commissioned by Bildmuseet Umeå, Sweden, TBA21-Academy, The Institute of Contemporary Art/ Boston and Museu Coleção Berardo, Lisbon.
This event is part of:
Barbican Art Gallery in London presents major exhibitions by leading international figures in the heart of the City of London
John Akomfrah
The Airport, 2016
Three channel HD colour video installation, 7.1 sound (installation view)
53 minutes
© Smoking Dogs Films; Courtesy Lisson Gallery

John Akomfrah
Tropikos, 2016
Single channel HD colour video, 5.1 sound (installation view)
36 minutes 41 seconds
© Smoking Dogs Films; Courtesy Lisson Gallery
John Akomfrah is a hugely respected artist and filmmaker, whose works are characterised by their investigations into memory, post-colonialism, temporality and aesthetics and often explore the experience of the African diaspora in Europe and the USA. Akomfrah was a founding member of the influential Black Audio Film Collective, which started in London in 1982 alongside the artists David Lawson and Lina Gopaul, who he still collaborates with today. Their first film, Handsworth Songs (1986) explored the events surrounding the 1985 riots in Birmingham and London through a charged combination of archive footage, still photos and newsreel. The film won several international prizes and established a multi-layered visual style that has become a recognisable motif of Akomfrah’s practice. Recent works include the three-screen installation The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall’s life and work; Peripeteia (2012), an imagined drama visualising the lives of individuals included in two 16th century portraits by Albrecht Dürer and Mnemosyne (2010) which exposes the experience of migrants in the UK, questioning the notion of Britain as a promised land by revealing the realities of economic hardship and casual racism. In 2015, Akomfrah premiered his three-screen film installation Vertigo Sea (2015), that explores what Ralph Waldo Emerson calls ‘the sublime seas’. Fusing archival material, readings from classical sources and newly shot footage, Akomfrah’s piece focuses on the disorder and cruelty of the whaling industry and juxtaposes it with scenes of many generations of migrants making epic crossings of the ocean for a better life. Shot on the island of Skye, the Faroe Islands and the Northern regions of Norway, Vertigo Sea has as its narrative spine two remarkable books: Herman Melville’s Moby-Dick (1851) and Heathcote Williams’ epic poem Whale Nation (1988), a harrowing and inspiring work which charts the history, intelligence and majesty of the largest mammal on earth. 
Akomfrah (born 1957, Accra, Ghana) lives and works in London. He has had numerous solo exhibitions including The Ian Potter Museum of Art, Melbourne, Australia (2017); Whitworth Art Gallery, Manchester, UK (2017); University of New South Wales, Paddington, Australia (2016); Turner Contemporary, Margate, UK (2016); The Exchange, Penzance, UK (2016); Nikolaj Kunsthal, Copenhagen, Denmark (2016); STUK Kunstcentrum, Leuven, Belgium (2016); Arnolfini, Bristol, UK (2016); Bildmuseet UmeÃ¥, Sweden (2015); Eli and Edythe Broad Art Museum, Michigan, USA (2014); Tate Britain, London, UK (2013-14) and a week long series of screenings at MoMA, New York, USA (2011). His participation in international group shows has included: 'Restless Earth', La Triennale di Milano, Milan, Italy (2017); 'Unfinished Conversations', Museum of Modern Art, New York City, NY, USA (2017); 'The Place is Here', Nottingham Contemporary, Nottingham, UK (2017); ‘The 1980s: Today’s Beginnings?', Van Abbemuseum, Eindhoven, The Netherlands (2016); 'British Art Show 8’ (2015-17); ‘All the World’s Futures’, 56th Venice Biennale, Italy (2015); ‘History is Now: 7 Artists Take On Britain’, Hayward Gallery, London, UK (2015); ‘Africa Now: Politcal Patterns’, SeMA, Seoul, South Korea (2014); Sharjah Biennial 11, Sharjah, United Arab Emirates (2013); Liverpool Biennial, UK (2012) and Taipei Biennial, Taiwan (2012). He has also been featured in many international film festivals, including Sundance Film Festival, Utah, USA (2013 and 2011) and Toronto International Film Festival, Canada (2012). 
Current and recent projects: 

31/07/2017

'Where Do I Begin?'


Music discovery of the day...


Profusion - 'Where Do I Begin?'






Published on 20 Jun 2017

The title track from the debut studio album by Profusion (K15 and Emeson), available on First Word Records from Friday 9th June 2017.

This album is full to the brim with summery sun-soaked synths, drifting across the warmest of basslines and heavyweight beats. Emeson's rich vocals gracefully ride atop of K15's delectably bruk twist on neo-soul sonics and electronics; this is some seriously classy contemporary London soul music, that manages to incorporate flashes of various dance music techniques, sound-system etiquette and jazz-tinged rhythms. As future-thinking as it is subtly retrospective, it doesn't lend itself to one genre, it intentionally embodies the best of many. An array of everything that is great about British black music in 2017. The message the album conveys itself couldn’t have come at a more poignant time. Where do we begin?

Bandcamp: https://weareprofusion.bandcamp.com/a...
Spotify: http://sp.kud.li/fw160
iTunes: http://it.kud.li/fw160
Apple Music: http://am.kud.li/fw160

First Word: firstwordrecords.com
Socials: @FirstWordRecords @ProfusionMusic

Produced by Tiger Films (www.tigerfilms.co.uk)
Director/Editor – Ricky Kershaw
Producer – John Somerville
DOP – Carlos Buenaventura
Camera Assistant – James Dean
Colour Grade – Chris Matthews @ Lucky Cat Post Production


-

Clash Music wrote in June:

Slumped hip-hop beats and a sense of digital soul...

Profusion is the connection between K15 and Emeson, two artists with distinctly different backgrounds.
Between them, the pair shape out a Venn diagram between g-funk, slumped hip-hop beats, and a sense of electronic soul.
New album 'Where Do I Begin?' is out now, and it promises to be the starting point on a fascinating journey. The duo explain:
“It’s a pleasure to colour the canvas with our thoughts and projections. We’d like to continue to create, influence and introduce our music to a wider realm.That’s pretty much Profusion.”
Clash is able to premiere the visuals for the title cut, and it beautifully offsets Profusion's gritty sense of Brutalist soul.
Informed by their surroundings, the pair nonetheless look beyond this, displaying a continually evolving sense of imagination.



Blue Moon


Erté or Romain de Tirtoff. 






Reading about art and astrology... Some my favourite topics! As is coming a full moon in Aquarius, my favourite sign with Pisces and my rising sign + Moon sign + South Node... It was also my father's Sun sign. 

And the sign of change, revolution, detours, truth, humanitarianism, fight for equality, coming of the unexpected, justice, humanity ... But Aquarians are also loners, sometimes, more able to love "the people" as a whole than a single lonely soul in real everyday life... 

No Commitment and self sacrifice are Aquarians' motto. 

But, with this "Blue Moon", as it is called by some, on August 7th, it seems to be time to let go of that and integrate the elements of Aquarius' opposite, Leo, in which the Sun is currently travelling... 
Leo = sunlight, joy, living from the heart, fire energy, self love, success, putting yourself out there...


29/07/2017

"We are all made of stars"


The Guardian's read of the day!
One of my favourite topics. Don't we all feel it that we belong to the whole.
The universe is oneness.
We are stardust!




This image shows M81 (bottom right) and M82 (upper left), a pair of nearby galaxies where “intergalactic transfer” may be happening. Gas ejected by supernova explosions in M82 can travel through space and eventually contribute to the growth of M81. Photograph: Fred Herrmann, 2014

-


My favourite quote:

“In some sense we are extragalactic visitors or immigrants in what we think of as our galaxy.”

-


We are all made of stars: half our bodies' atoms 'formed beyond the Milky Way'

Simulations reveal that up to half the material in our galaxy arrived from smaller galactic neighbours, as a result of powerful supernova explosions



Nearly half of the atoms that make up our bodies may have formed beyond the Milky Way and travelled to the solar system on intergalactic winds driven by giant exploding stars, astronomers claim.
The dramatic conclusion emerges from computer simulations that reveal how galaxies grow over aeons by absorbing huge amounts of material that is blasted out of neighbouring galaxies when stars explode at the end of their lives.
Powerful supernova explosions can fling trillions of tonnes of atoms into space with such ferocity that they escape their home galaxy’s gravitational pull and fall towards larger neighbours in enormous clouds that travel at hundreds of kilometres per second.
Astronomers have long known that elements forged in stars can travel from one galaxy to another, but the latest research is the first to reveal that up to half of the material in the Milky Way and similar-sized galaxies can arrive from smaller galactic neighbours.
Much of the hydrogen and helium that falls into galaxies forms new stars, while heavier elements, themselves created in stars and dispersed in the violent detonations, become the raw material for building comets and asteroids, planets and life.
“Science is very useful for finding our place in the universe,” said Daniel Anglés-Alcázar, an astronomer at Northwestern University in Evanston, Illinois. “In some sense we are extragalactic visitors or immigrants in what we think of as our galaxy.”
The researchers ran supercomputer simulations to watch what happened as galaxies evolved over billions of years. They noticed that as stars exploded in smaller galaxies, the blasts ejected clouds of elements that fell into neighbouring, larger galaxies. The Milky Way absorbs about one sun’s-worth of extragalactic material every year. 
“The surprising thing is that galactic winds contribute significantly more material than we thought,” said Anglés-Alcázar. “In terms of research in galaxy evolution, we’re very excited about these results. It’s a new mode of galaxy growth we’ve not considered before.” The simulations showed that elements carried on intergalactic winds could travel a million light years before settling in a new galaxy, according to a report in the Monthly Notices of the Royal Astronomical Society.
Claude-André Faucher-Giguère, another astronomer on the team, said that before their simulations, galaxies were thought to grow primarily by absorbing material left over from the big bang. “What we did not anticipate, and what’s the big surprise, is that about half of the atoms that end up in Milky Way-like galaxies come from other galaxies,” he said. “It gives us a sense of how we can come from very far corners of the universe.”
The scientists used computer models that created detailed 3D models of galaxies that they could watch evolve in a dramatically speeded-up form from the moment they were born to the present day. The animations can show whether stars in a galaxy formed from material already in the galaxy, or from huge clouds of gas that fell in from neighbouring galaxies.
The simulations show that more powerful intergalactic winds flow from bigger galaxies, because there are home to more exploding stars, but also because the material has to be moving faster to escape the galaxy’s gravitational pull. Plenty of material does not reach a high enough speed and simply falls back into the galaxy where the supernova occurred.
“Our origins are much less local than we thought,” said Faucher-Giguère. “This study gives us a sense of how things around us are connected to distant objects in the sky.”

-

And watch here: