DOCSLIB.ORG

Record Kicks Presents the Instrumental Version of Hannah Williams & the Affirmations’ Album “50 Foot Woman”

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Record Kicks Presents the Instrumental Version of Hannah Williams & the Affirmations’ Album “50 Foot Woman” SORRY 925 TRACKLISTING 1. Right Round The Clock OVERVIEW 2. In Unison Having already caught the eye of a host of tastemaker publications, Sorry are now releasing their 3. Snakes hotly-anticipated debut record titled 925. 4. Starstruck 5. Rosie Centered around Asha Lorenz and Louis O'Bryen, two 22-year-old childhood best friends, Sorry 6. Perfect were signed by Domino after developing a reputation as the most thrilling new band on London’s 7. As The Sun Sets underground circuit. Sorry’s lineup is completed by Lincoln Barrett on drums and bassist Campbell 8. Wolf Baum. 9. Rock 'n' Roll Star 10. Heather Not only have Sorry grown into a must-see live outfi t in recent years; their attention to detail across 11. More a slew of groundbreaking visual accompaniments for their early mixtapes Home Demo/ns Vol I & II and singles like “Wished”, “Showgirl”, and “Starstruck” has earned them their status as true 12. Ode To Boy originals and cross-genre innovators. 13. Lies With 925 (co-produced by Lorenz, O’Bryen and Gorillaz, Blur & Nilüfer Yanya collaborator, James Dring), Sorry take another giant leap forward. New tracks such as‘Right Round The Clock’, shimmer CATALOG NUMBER: WIG407 with typical glowering lyricism, alluring instrumentation and punchy choruses. Other highlights, RELEASE DATE: March 27th, 2020 the haunting ‘Rosie’ and ‘As The Sun Sets’, glisten alongside fan favorites, the singalong ‘Lies’ and FILE UNDER: Alternative “S” raucous ‘Starstruck’. CD 925 is a record which will undoubtedly cement their status as true originals and cross-genre UPC: 887828040728 innovators in 2020 and beyond. EARLY PRAISE FOR SORRY “a great new English alt-rock band.” LP w/ DOWNLOAD ROLLING STONE UPC: 887828040711 “The metamorphosing UK band Sorry are amassing an impressive little collection of songs for themselves” STEREOGUM Vinyl is non-returnable “already boasts a polish and poise that indicates the careful attention of dedicated DELUXE LP (ltd) w/ DOWNLOAD songwriters." (Indie Retail Exclusive) PITCHFORK UPC: 887828040735 "a rare breed of cool that seems so effortless for the duo" NPR MUSIC [2020 Slingshot Artist to Watch] Vinyl is non-returnable SELLING POINTS • A band to watch in 2020 according to tastemakers such as NPR Music's 2020 Slingshot Artist to Watch, Stereogum's Band to Watch + Best New Bands , The Fader's 15 UK Artist You Need to Listen to, Paste's 15 British Acts You Need to Know for 2019 , NME's 100: Essential New Music, Dazed 100: The Names Defining Now. • Major market North American touring to occur in the summer and autumn with appearances at SXSW 2020 and New York and Los Angeles around album release. • College, non commercial, speciality, and AAA radio campaign to impact on album release date. • Standard LP comes with a 12" two sided insert and a download card. Deluxe LP comes on silver vinyl with a 12" two sided insert and a download card. MOANING UNEASY LAUGHTER CD / LP / CS / DIGITAL SP 1342 RELEASE DATE: MARCH 20TH, 2020 TRACKLISTING: 1. Ego 2. Make It Stop 3. /// 4. Stranger 5. Running 6. Connect the Dots 7. Fall in Love 8. Coincidence or Fate 9. What Separates Us 10. ////////// 11. Keep Out 12. Saving Face 13. Say Something GENRE: Alternative Rock What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is Uneasy Laughter, the sensational second Sub Pop release from Los Angeles-based Moaning. 0 9 8 7 8 7 1 3 4 2 2 309 8 7 8 7 1 3 4 2 1 6 Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal CD Packaging: Digipack with spot LP Packaging: Single-pocket jacket with Stevenson and drummer Andrew MacKelvie have been friends and gloss and custom dust sleeve spot gloss and custom dust sleeve co-conspirators amid the fertile L.A. DIY scene for more than a Includes mp3 coupon decade. They are also immersed in other creative pursuits — Solomon NON-RETURNABLE is a noted illustrator, art director and animator, while Stevenson and MacKelvie have played or worked behind the boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On Uneasy Laughter, they’ve tackled challenges both personal and universal the only way they know how: by talking about how they’re feeling and channeling those emotions directly into their music. “We’ve known each other forever and we’re really comfortable trying 0 9 8 7 8 7 1 3 4 2 4 7 to express where we’re at. A lot of bands aren’t so close,” says CS Packaging: Three-panel LP Packaging: Single-pocket jacket with MacKelvie. Adds Solomon, who celebrated a year of sobriety during J-card in clear case. NON- spot gloss and custom dust sleeve the Uneasy Laughter sessions, “Men are conditioned not to be RETURNABLE Includes mp3 coupon vulnerable or admit they’re wrong. But I wanted to talk openly about Indie only Loser Edition Clear w/blue and orange my feelings and mistakes I’ve made.” NON-RETURNABLE Moaning’s 2018’s self-titled Sub Pop debut featured songs mostly RETAIL: Posters and play copies will be available. written in practice or brought in already complete by individual band members. It garnered acclaim from Pitchfork, Stereogum and Los PUBLICITY: Album serviced to all music & lifestyle media. Angeles Times, who observed, “Moaning craft anxious music for an increasingly nervous local scene.” But Uneasy Laughter is a ONLINE: Artist page (incl. album art and a focus track): https://www.subpop.com/artists/moaning collaborative breakthrough which significantly brightens Moaning’s Facebook: https://www.facebook.com/moaningmusic/ once claustrophobic sound, again abetted by producer/engineer Alex Twitter: https://twitter.com/moaningmusic Newport (At The Drive-In, Bloc Party, Melvins). The trio points to first Instagram: https://www.instagram.com/moaningmusic/ single “Ego,” which features a costume-heavy video directed by Ambar Navarro, as an embodiment of this evolution. Advertising will be purchased on select sites. Solomon admits Uneasy Laughter could have gone in quite another RADIO: Uneasy Laughter will be worked to commercial and non-commercial/college radio. direction had he not gotten sober and educated himself on such core TOURING: Moaning will tour the US in 2020. subjects as gender and mental health. “I did a lot of reading in the tour van — authors like bell hooks, Mark Fisher, and Alain de Botton, ALSO AVAILABLE: all really inspired me. I don’t want to be the person who influences young people to go get high and become cliche tragic artists,” he says. “What I’d rather convey to people is that they’re not alone in what they think and how they feel. ‘Ego’ specifically and the album overall is about those themes — letting go of your bullshit so you can help other people and be present.” “We want to be part of a community,” he adds. “I wrote online about being sober for a year, and I had kids from all over writing and asking SP1216 for advice. One of them said, ‘For the first time I can remember, I Moaning didn’t drink last night.’ I thought, for once, maybe we did something CD / LP / CS besides sell a record. That’s a win. That’s incredibly exciting.” RUSTIN MAN CLOCKDUST OVERVIEW Rustin Man aka Paul Webb will release a new album – his second in two years – on March 20th. Having waited 17 years for 2019's Drift Code, some may be surprised at Clockdust’s swift arrival, but the album’s roots can be found in the same extended sessions. “Early on I realised I had two albums worth of material,” Webb explains. “The fi rst tunes I wrote were electric guitar based, with long arrangements that built up in layers to something sonically quite dense. These became the bulk of Drift Code. As a reaction, I wrote a batch of songs that were tighter in their structure but had more feeling of space. These make up the bulk of Clockdust.” Idiosyncratic and quietly haunting, Clockdust is seeped in sepia-tinted nostalgia, “a powerful force of nature,” he states, “up there with love and desire”. The album blurs the boundaries between past and present. Webb insists that he prefers to live in the here and now, but in looking back he’s found a magical, mesmerising manner in which to forge a path forward: for him, for his music, and for his audience. TRACKLISTING 1. Carousel Days 2. Gold & Tinsel 3. Jackie’s Room 4. Love Turns Her On 5. Rubicon Song PRAISE FOR 2019's DRIFT CODE 6. Old Flamingo 7. Kinky Living 8. Night In Evening City “Well worth the wait, Drift Code is the sound of an artist coming into his own on 9. Man With A Remedy his own time.” ALLMUSIC “feels right at home both on Earth and in outer space, an ode to British folk CATALOG NUMBER: WIG468 washed in reverb and wrapped in cosmic peculiarities...what Webb has created is RELEASE DATE: March 20, 2020 so rich, so delightfully off-kilter” FILE UNDER: Alternative “R” PASTE CD “Rich and rewarding…a meticulously arranged wonder.” UPC: 887828046829 PITCHFORK LP w/ DOWNLOAD SELLING POINTS UPC: 887828046812 • Paul Webb is the former bass player of Talk Talk. • In 2002 Webb collaborated with Beth Gibbons of Portishead on the album, Out of Season Vinyl is non-returnable (40k+ sales). • Non-commercial radio campaign to impact on album release date. • Standard LP comes with four page booklet and download card. Release Date: March 27, 2020 Format : LP/Digital FLCR040-LP LISTEN HERE! www.flemisheye.com | art@flemisheye.com | Contact Ian: 403-969-3253 911 1st Ave NW, Sunnyside, Calgary, AB, Canada T2N 0A6 CANADA: Outside Distribution Phone: (416) 461-9220 | Fax: (416) 461-0973 DANIEL ROMANO – “OKAY WOW” LABEL: YOU’VE CHANGED RECORDS CATALOG: YC-044 FORMAT: LP RELEASE DATE: MARCH 27, 2020 In a shocking turn of events, Daniel Romano has decided to give you exactly what you asked for–– He and his unparalleled live band, The Outfit, have decided that you deserved it, that it is in fact already yours––and they want to say “you’re welcome.” Band attributes of note: They all wear the same size clothing.
Load more

Recommended publications
  • Lightning Bolt: Ecologia De Imagens, Ruídos E Sonoridades Extremas1
    Lightning Bolt: ecologia de imagens, ruídos e sonoridades extremas1 FABRÍCIO LOPES DA SILVEIRA Resumo O artigo se detém, exclusivamente, no vídeo “Dracula Mountain”, para a música homônima do duo de noise-rock norte-americano Lightning Bolt. A intenção, de fato, é bastante restrita: trata-se de descrevê-lo e problematizá-lo, pensando-o em contraponto à sonoridade e à performance musical da banda. Ao final, sustenta-se que o vídeo é sintoma e fruto de uma ecologia midiática muito particular e contemporânea, na qual produtos e gêneros (musicais e audiovisuais), bem como Palavras-chave: hábitos de consumo (musicais e audiovisuais), são refeitos e Noise-rock, audiovisual, (re)potencializados, às vezes invertidos. ecologia da mídia VISUALIDADES, Goiânia v.9 n.2 p. 157-175, jul-dez 2011 157 Lightning Bolt: an ecology of imagens, noises and extremes sounds FABRÍCIO LOPES DA SILVEIRA Abstract The article is focused exclusively on the music video “Dracula Mountain”, by north American noise-rock band Lightning Bolt. The aim is, in fact, sufficiently restricted: to describe the video and call it in question, considering it as a counterpoint to the band sonority and musical performance. At the end, we state that the video is both a symptom and a product of a very particular and contemporary media ecology, in which musical and audiovisual products and Keywords: genres, as well as musical and audiovisual consumption Noise-rock, audiovisual, media ecology habits are rebuilt and (re)potentialized, sometimes inverted. 158 VISUALIDADES, Goiânia v.9 n.2 p. 157-175, jul-dez 2011 VISUALIDADES, Goiânia v.9 n.2 p.
    [Show full text]
  • Music Video As Black Art
    IN FOCUS: Modes of Black Liquidity: Music Video as Black Art The Unruly Archives of Black Music Videos by ALESSANDRA RAENGO and LAUREN MCLEOD CRAMER, editors idway through Kahlil Joseph’s short fi lm Music Is My Mis- tress (2017), the cellist and singer Kelsey Lu turns to Ishmael Butler, a rapper and member of the hip-hop duo Shabazz Palaces, to ask a question. The dialogue is inaudible, but an intertitle appears on screen: “HER: Who is your favorite fi lm- Mmaker?” “HIM: Miles Davis.” This moment of Black audiovisual appreciation anticipates a conversation between Black popular cul- ture scholars Uri McMillan and Mark Anthony Neal that inspires the subtitle for this In Focus dossier: “Music Video as Black Art.”1 McMillan and Neal interpret the complexity of contemporary Black music video production as a “return” to its status as “art”— and specifi cally as Black art—that self-consciously uses visual and sonic citations from various realms of Black expressive culture in- cluding the visual and performing arts, fashion, design, and, obvi- ously, the rich history of Black music and Black music production. McMillan and Neal implicitly refer to an earlier, more recogniz- able moment in Black music video history, the mid-1990s and early 2000s, when Hype Williams defi ned music video aesthetics as one of the single most important innovators of the form. Although it is rarely addressed in the literature on music videos, the glare of the prolifi c fi lmmaker’s infl uence extends beyond his signature lumi- nous visual style; Williams distinguished the Black music video as a creative laboratory for a new generation of artists such as Arthur Jafa, Kahlil Joseph, Bradford Young, and Jenn Nkiru.
    [Show full text]
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • S Final Album,Alt-Nation
    Motif Music Award Winners On a rainy Tuesday night, an eclectic crowd of roughly 400 musicians and music lovers, from folk to hardcore, from hip-hop to EDM, gathered to swap stories, down drinks and receive awards. Thanks to all who came out, and thanks to the nearly 4,000 Motif readers who took the time to vote for their favorites. It was awesome to see so much talent in one room – in this case, at The Met Café in Pawtucket. Different styles, genres, ages and instruments all mixed together, including stand-out performances by the amazing School of Rock teens, the almost-performance-art random rock of The Viennagram, the acoustic stylings of Amanda Salemi and hip-hop duo DirtyDurdie. There was something for everyone, in what was probably the most eclectic mix of styles to share a Rhode Island stage in a very, very long time. Big thanks to all, as well as to our many presenters, hosts John Fuzek and BettySioux Tailor, Rhodies Food Truck (rhodiesfoodtruck.tumblr.com), and of course, The Met Café. Yes, there are winners (you picked ‘em!), but Motif puts on this awards show to celebrate all the amazing music and musical talent that’s fostered and we hope will thrive in our small-population, big- talent state. We don’t so much care who won – we’re just glad so many came out to play. [AMERICANA] By: John Fuzek BEST ACT: Consuelo’s Revenge Consuelo doesn’t need revenge this time around. The band, whose self-termed musical label is “Genericana,” showed they are tops in the Americana category this year.
    [Show full text]
  • Brian Gibson (Musician)
    Brian Gibson (musician) Brian Gibson (born July 25, 1975) is a musician and artist based out of Providence, Rhode Island. Gibson is best known as the bassist for the band Lightning Bolt. Sound[edit]. Brian Gibson is particularly known for his unique and complex set-up, tuning, and use of his bass guitar. The majority of Gibson's playing draws on fairly simple loops and major/minor chord structures, yet also employs more advanced guitar techniques, such as tapping. Gibson uses a high amount of distortion, feedback and effects. Brian Gibson (born July 25, 1975) is a musician and artist based out of Providence, Rhode Island. Gibson is best known as the bassist for the band Lightning Bolt. In the summer of 2015 he co-founded the game development company Drool. At Drool, he created the art and music for the video game Thumper and co-designed the game alongside Marc Flury. Thumper was released with critical acclaim in October 2016. Bryan Gibson grew up playing baseball, riding BMX bikes, and exploring the woods of the quaint town of Orangeburg, SC. It wasnâ™t until fourteen years after his birth on New Yearâ™s Eve that he picked up a guitar and tried his hand at a set of strings. That was also the year his grandmother Gibson passed awayâ”the first major death in his life. âœUp until that time, I hadnâ™t really been exposed to mortality,â says Bryan. âœI was nowhere near being able to grasp the idea that this all wasnâ™t forever. Brian Gibson is a musician and artist based out of Providence, Rhode Island.
    [Show full text]
  • Erroll Garner, Master of the Keyboard 1981
    Erroll Garner, Master of the Keyboard 1981 Dan Morgenstern Grammy Award for Best Album Notes 1981 Book of the Month Records BOMR 81-5403 Erroll Garner, An ApprecIatIon by Dan Morgenstern Erroll Garner was a phenomenon. He didn’t sing, dance or tell jokes. He never said a word when he performed. All he did was play the piano. Yet he captured the hearts and minds of millions of listeners all over the world, becoming the most popular solo jazz instrumentalist of his time—a feat even more remarkable because his was a time when jazz was dwarfed in popularity by the gigantic media event called rock ‘n’ roll. What was Garner’s secret? Above all, he was able to communicate his joy in making music with an immediacy that transcended all differences of age, nationality, race, education and musical background. Wherever and whenever he performed, in concert halls as a soloist or with symphony orchestras or in a wide variety of nightclubs, he reached out to each member of the audience, creating the illusion that he was playing just for that person. “I don’t know what I do or how I do it;” he once said, “but with me it’s the relaxation and the feeling. I relive my life at the piano. I just like to look at people and play and smile, and get them on my side.” Garner was a natural. He was born into a musical family—in Pittsburgh, on June 15, 1923— and by the age of three he was playing the piano.
    [Show full text]
  • Mack Avenue Music Group and Octave Music Proudly Announce the Octave Remastered Series Newly Restored and Expanded Editions Of
    Mack Avenue Music Group and Octave Music Proudly Announce the Octave Remastered Series Newly Restored and Expanded Editions of 12 Classic Albums from Acclaimed Jazz Legend Erroll Garner First Four Releases – Dreamstreet, Closeup in Swing, One World Concert, A New Kind of Love – Available September 27, 2019 One New Remastered Album to Follow Each Month Through June 2020 Mack Avenue Music Group and Octave Music proudly announce the Octave Remastered Series, a historic year-long, 12-album project featuring newly restored and expanded editions of classic Erroll Garner releases from the 1960s and 1970s. Each album contains a newly discovered, unreleased bonus track. Utilizing the Plangent Process playback system for analog tape, these new transfers were remastered and, when needed, remixed by the Grammy® winning Garner team. The Octave Remastered Series continues Garner’s resurgence, following his return to the top of the Billboard Jazz chart with 2015’s Grammy-nominated The Complete Concert by the Sea, which was the first release from the Erroll Garner Jazz Project—a collective formed to curate Garner’s monumental archive. The Garner Jazz Project followed The Complete Concert by the Sea with the critically acclaimed, newly unearthed studio record Ready Take One in 2016, and the midnight concert album Nightconcert, which reached #1 on the iTunes and Amazon jazz charts upon its release in 2018. The first four titles in the new series – Dreamstreet, Closeup in Swing, One World Concert, and A New Kind of Love – will be released simultaneously on September 27. The subsequent series rollout features one album per month – A Night at the Movies, Campus Concert, That’s My Kick, Up in Erroll’s Room, Feeling is Believing, Gemini, Magician, and Gershwin & Kern – leading up to the kickoff of Garner’s centennial year celebration, beginning in June 2020 and concluding on his 100th birthday, June 15, 2021.
    [Show full text]
  • Chasing the Echoes in Search of John Lee Hooker’S Detroit by Jeff Samoray
    Chasing the Echoes In search of John Lee Hooker’s Detroit by jeff samoray n September of 1948, John Lee Hooker strummed the chord bars, restaurants, shoeshine parlors and other businesses that made up that ignited the endless boogie. Like many Delta blues musicians the neighborhood — to make way for the Chrysler Freeway. The spot I of that time, Hooker had moved north to pursue his music, and he where Hooker’s home once stood is now an empty, weed-choked lot. was paying the bills through factory work. For five years he had been Sensation, Fortune and the other record companies that issued some of toiling as a janitor in Detroit auto and steel plants. In the evenings, he Hooker’s earliest 78s have long been out of business. Most of the musi- would exchange his mop and broom for an Epiphone Zephyr to play cians who were on the scene in Hooker’s heyday have died. rent parties and clubs throughout Black Bottom, Detroit’s thriving Hooker left Detroit for San Francisco in 1970, and he continued black community on the near east side. “doin’ the boogie” until he died in 2001, at age 83. An array of musi- Word had gotten out about Hooker’s performances — a distinct, cians — from Eric Clapton and Bonnie Raitt to the Cowboy Junkies primitive form of Delta blues mixed with a driving electric rhythm. and Laughing Hyenas — have covered his songs, yet, for all the art- After recording a handful of crude demos, he finally got his break. ists who have followed in Hooker’s footsteps musically, it’s not easy to Hooker was entering Detroit’s United Sound Systems to lay down his retrace his path physically in present-day Detroit.
    [Show full text]
  • In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
    BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire
    [Show full text]
  • Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
    Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms.
    [Show full text]
  • 88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
    The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates.
    [Show full text]