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  • Randall Lard
    Joined:
    dripping sounds yield to stillness
    Oh well, fuck them then...
  • Mike Edwards
    Joined:
    Pussy Riot Petition
    I tried to sign it, but that website didn't seem to care for my Android.
  • Randall Lard
    Joined:
    feline vs ferocious
    it's no surprise a male dog barks aggressively.a pussy would sing soprano. did you sign the petition Mary and Mike?
  • marye
    Joined:
    in other news
    it appears that Cyndi Lauper sings "At Last" very well.
  • Mike Edwards
    Joined:
    Vaginal Vigilantism
    I nominate Pussy Riot for the best band name ever.
  • slo lettuce
    Joined:
    SNL "E-Meth" skit with Aaron Paul...
    helps to fill the void of no more Breaking Bad. Completely politically incorrect, too. Enjoy :) www.youtube.com/watch?v=x5q8KWL6Ezw
  • Randall Lard
    Joined:
    hanging fire, to resurrect and dissolve
    Cornelia Parker What Do Artists Do All Day? In Conversation Cornelia Parker is a London-based sculptor and installation artist. She was born during the year 1956 in Cheshire, England. She was raised on a Cheshire smallholding. Cornelia Parker's work is regarded internationally for its complex, darkly humorous, ironic style. Cornelia Parker's work is highly allusive and patterned with cultural references to cartoons, a style which she adapts to her need to capture things in the moment before they slip away and are lost beyond human perception. When examining her work holistically one can see the following themes driving her work forward consumerism, globalization, and the role of the mass media in contemporary life. Cornelia Parker was nominated for the Turner Prize in 1997 and featured in the 8th International Sharjah Biennial in Sharjah, United Arab Emirates in 2007. Cornelia Parker has rural roots, as Simon Hattenstone for the Telegraph writes, Her sickly father had never been out with a girl until he was 34 and met Parker's mother, a German girl who had been traumatised as a Luftwaffe nurse in the second world war. Life was tough and physical – mucking out the pigs, milking the cows. "My father wanted a boy badly and didn't get one, so I was happy to be the surrogate boy. I was very strong, always doing manual labour." Later, Cornelia Parker studied art and received her MFA at Reading University in 1982. The Telegraph reports that Cornelia Parker trained at Wolverhampton Polytechnic because she was turned down by the larger colleges in London. After her Masters degree Cornelia lived a bohemian lifestyle in the fringes of Eastern London where she worked from home. She was awarded honorary doctorates from the University of Wolverhampton (2000), the University of Birmingham (2005), and the University of Gloucestershire (2008). As the Telegraph writes: While she got teaching jobs in the art schools that had rejected her, she was opposed for years to the commercial art market, and wasn’t represented by a gallery until she was nominated for the Turner Prize in 1997. Parker is married to the American artist Jeff McMillan. She has a daughter Lily, with whom she became pregnant with at the age of 44. The pregnancy is depicted in a piece of art in which Parker purchased the night gown worn in the film Rosemary's Baby hoping to wear it for birth but it was too small so she displayed it as a piece of art. Many of Cornelia Parker's artworks are ephemeral or 'site-specific', created for a single time and place. Cold Dark Matter: An Exploded View (1991) was such a work, in which Cornelia Parker had the British Army explode a garden shed, and the fragments were suspended in the air around a single source of illumination casting shadows of the shattered pieces on the walls. This work was displayed at the Tate Modern Gallery. Mark Hudson wrote the following in a review of the work for Telegraph: Squashing a brass band is quite another. Flattening a whole band’s worth of instruments and sending them to the North East, home of the Durham Miners’ Gala, where the blare of brass is the very breath of proletarian pride, suggests a degree of chutzpah bordering on the suicidal. The striking style of the suspended sculpture, which challenges the limitations of time and space, is typical of Cornelia Parker's work. Hanging Fire (Suspected Arson) (1999) is another example of this type of sculpture, in which charred fragments of a building supposedly destroyed by arson are suspended by wires and pins in a pattern which is both geometrical and chaotic. The work captures the identity of the two states by a retroactive positioning, much in the manner of a forensic scientist might reconstruct the scene of a crime. Cornelia Parker has had numerous solo exhibitions in England, Europe, and the United States, at the Serpentine Gallery, London (1998), ICA Boston (2000), the Galeria Civica de Arte Moderne in Turin (2001), the Kunstverein in Stuttgart (2004), Yerba Buena Center for the Arts, San Francisco, California (2005), the Modern Museum at Fort Worth, Texas (2006) and Museo de Arte de Lima, Lima Peru (2008). The work of Cornelia Parker was included in group exhibitions and public collections at the Tate Gallery in London, MOMA in New York, the British Council, Henry Moore Foundation, De Young Museum in San Francisco, the Yale Center for British Art and many other venues. Some of her most noted exhibitions and works include Chomskian Abstract (2008), Never Endings (2007, 2008), Brontëan Abstracts (2006), The Distance (A Kiss with String Attached) (2003), Subconscious of a Monument (2002), Blue Shift (2001), Edge of England (1999), and The Maybe, in collaboration with Tilda Swinton (1995). b. 1956, Cheshire, England For some years Cornelia Parker’s work has been concerned with formalising things beyond our control, containing the volatile and making it into something that is quiet and contemplative like the ‘eye of the storm’. She is fascinated with processes in the world that mimic cartoon ‘deaths’ – steamrollering, shooting full of holes, falling from cliffs and explosions. Through a combination of visual and verbal allusions her work triggers cultural metaphors and personal associations, which allow the viewer to witness the transformation of the most ordinary objects into something compelling and extraordinary. 2013 a solo exhibition at Frith Street Gallery, London 2012 The Unseen: 4th Guangzhou Triennial, Guangdong Museum of Art, China 2012 Medals of Dishonour a group exhibition at Hermitage’s Menshikov Palace, St Petersburg, Russia 2011 Thirty Pieces of Silver York St Mary’s, York 2010 Doubtful Sound, a solo exhibition at Baltic Centre for Contemporary Art, Gateshead 2008 Latent News, a solo exhibition at Frith Street Gallery 2007 – 2008 Never Endings, a touring solo exhibition at IKON, Birmingham; Museo De Arte de Lima, Peru 2001 a solo exhibition at GAM, Galleria Civica D’Arte Moderna, Turin 2000 a solo exhibition at ICA Boston http://www.frithstreetgallery.com/uploads/artist_cvs/Parker%20CV.pdf
  • slo lettuce
    Joined:
    National Geographic Channel presents: 'Cribs' ...
    Next week's episode: "The Do's and Don'ts of Financing a Hollow Log" - {%};-)
  • PalmerEldritch
    Joined:
    Breaking Bad
    Nice write-up, Anna. I loved the series but found the finale a bit disappointing. I guess I was hoping for a little more thought-provoking ending. Instead, it was a pretty predictable shoot-up. I thought maybe Walt finally succumbing to his cancer, quietly, alone, might have been more poignant. And the machine-gun in the trunk seemed a bit far-fetched. (we knew Walt was a genius chemist, but now apparently he is also a brilliant mechanical engineer....(?)) My favorite seasons were 1 and 2; those seemed to be the most realistic to me. After that they sometimes seemed to try a little too hard. Still, I loved all of it. I think it's the greatest psychological suspense/thriller i've ever seen (movies, TV, or otherwise).
  • Anna rRxia
    Joined:
    Reaching the end of "Breaking Bad"
    After capturing three Emmies this year alone (Best Dramatic series; Best Supporting role }Anna Gunn, Walter White's wife 'Skyler'[; Best Production/Technical values (or similar)) I would have to say that the ending episode of the series, it's ultimate conclusion, was satisfying. The series was always praised by TV critics. One of the things underlined before the final episode by said critics, and myself also here in this thread last year, is the playing out of the series on a lean, spare run to it's logical conclusion. That is, every episode had something to contribute to the plot line and there was no playing out tangents that had nothing to do with furthering the dramatic content of the series, with the possible exception of the "fly in the super-lab" (not it's official name) episode. Now, as for the ending.... It wasn't one of those confusing or ball-bustingly unsatisfying endings that leaves you gnashing your teeth and wanting to yell at the ceiling. For instance, it would have been a bummer if Walt had left Jessie slaving away in a Meth mine for the Aryan Brotherhood prison gang bent on supplying the Czech Republic's meth-head population. It would have been unsatisfying had not the whole Aryan crew not been taken out by a simple but tech-savvy swiveling machine gun in the huge trunk of an old American car. An older car, but an American classic that logically had room for such a device. The ending continues to play out with such things as Walter being able to pay for his son's college education (coincidentally, with the amount he originally set out to make in the first episode) and getting back at his old lover and her new husband who had used Walter's brilliant technical research for their ultimately wildly successful high-tech start-up called "Grey Matter" or something to that effect. Brilliantly, Vince Gilligan's writer's manage to kill a third bird by including Jessie's two old cohorts whom he has using laser pointers to convince the couple that they are guns for hire who will kill them should they not give "Flynn" (the nickname for Walter's son named Walt Junior) his college cash. that Lydia, the conniving bitch who plays the materials handler for the big German conglomerate that provided a necessary, hard to get precursor chemical gets hers with a simple phone call from Walter saying ricine had been spiked into her stevia sweetner packet at the cafe (slightly unbelievable unless you believe he is willing to kill everybody using stevia at said cafe that day). The number of people who end up being killed on this series during it's six year run is truly staggering and if I had to hazard a guess I would say the number is somewhere around two to three hundred starting with an obscure character chained up in the basement of then Jessie's aunt's house. There is poignancy being developed even at this early point as neither partner in crime wants to kill somebody and they end up having to toss a coin to see who will do the deed. Walt shows a father's tenderness by cutting the crusts off the sandwiches he is feeding his prisoner and showing some real angst about the matter, an angst that is only dispelled when he realizes, by solving the cognitive puzzle of a missing piece of dinner dish that is a jagged shard, that his prisoner intends to kill him with should he get the opportunity. Fast forward one or two seasons when Walt, Jessie and Gus Freyne narrowly avoid being killed by an apparent drone missile attack called in by the DEA, I think, on the marriage of an important cartel relative that is also a summit between two cartels and thus a prime target. The missile kills probably 50-100 people. Fast forward to the last episode while Jessie slowly strangles to death the baby-faced Aryan brotherhood sociopath stone killer whose uncle runs the prison gang. Walt kills the uncle without any compunction at all. The scene that follows is what I found most interesting about the whole final episode: Jessie picks up a pistol and prepares to shoot Walter, who seems to welcome the death which is impending from all angles. Jessie finds this too easy and asks Walter's permission, which he enthusiastically grants. Jessie finds that all too easy and drops the pistol, telling Walter to do it himself. Well thought-out ending by Gilligan's writers of the interaction between these two main characters. Jessie then high-tails it out of the compound, busting a gut laughing while he busts the gate. Walt, meanwhile, takes a final tour of yet another meth lab on the premises of the Aryan compound Jessie has been forced to labor in as the police close in. Whether it be from the cancer, the cops or the bullet wound he has sustained in the final scene, Walt knows he is dying and is no longer running from the law. The most telling scene in the entire episode comes earlier when he is talking to his wife Skyler about why he did this continuing series of crimes when he had had multiple opportunities to just walk away with mad stacks of Benjamins. He says something to the effect that he likes it. It was something that made him feel alive, even as he was dying. Two supporting characters that are worthy of mention and probably rate Emmy's for their support roles, are the lawyer Saul (not even his real name in the fictional mode) who was always good for a laugh whenever he made an appearance. He had the lawyer/criminal/lawyer role nailed right down to the white Cadillac with the license plate "lawyrup". The other was Mike, the former cop turned hard core criminal security chief. The show would have paled somewhat without the brilliant performances turned in by these two. I have to say for a final time that I loved the pathos of this show and the social commentary it provides as a plot for so many people's lives in America, whether it be for the ongoing $800,000 a year lifestyle or the Eighty million dollar empire built up over time. Otherwise good people are turned bad for the slightest of justifications. In America there are ever so many more people "Breaking Bad" rather than "Breaking Good". Thank God for the example of those Breaking Good. May their example always shine brightly! (Please excuse the length of this review, I hope you found it a good summation and a good read.)
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...and there's nothing on? Say it ain't so!
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DJ Food - O Is For Orange '"O Is For Orange" is the sound of weathered tape saturation, detuned analogue synthesisers, vinyl crackle and machine hum. It’s also the look of unfocused, flickering lenses, mirror image filters and blurry grain embedded into film. Unofficial fan films sit alongside experimental animation, public information shorts and even the odd official video. Material that Boards of Canada took inspiration from blends with their own work as well as many that they inspired.' This set was originally played at 'A Few Old Tunes', London 20th June 2013, a mix of Boards of Canada related, inspired, and sampled tracks/videos. 01 Sesame Street - Oh! Orange [Sesame Workshop] 02 Galt Macdermot - Aquarius [RCA Victor] Video: 'Conquest Of Light' [Dir. Paul Cohen, 'Mars & Beyond' (Dir. Ward Kimball, 'Time Magazine' Advert, Excerpt From 'Thunderbolt') - Dir. Ira Cohen] 03 Boards Of Canada - The Colour Of The Fire [Warp] Video: Sesame Street 'I Love You' 04 Broadcast & The Focus Group - The Be Colony [Warp] Video: 'Witch Cults' #1 & 2 - Both Dir. Julian House 05 Yosi Horikawa - Wandering [First Word] Video: Yeasayer 'Henrietta' [Dir. Unknown] 06 Prefuse 73 Feat. School Of Seven Bells - The Class Of 73 [Warp] Video: Official (Dir. Chris Boyle) - [Warp Films] 07 Mordy Laye & The Group Modular - Electric Paint [Audio Montage] Video: Official [Dir. Plankton] 08 Boards Of Canada - Everything You Do Is A Balloon [Skam] Video: Unofficial (Dir. Nonameno5, Sampled From 'One Got Fat') [1963] 09 John Abercrombie - Timeless [ECM] Video: 'As The Crow Flies' [Dir. Funki Porcini, At&t Documentaries] 10 Delia Derbyshire And Barry Bermange - The Dreams: Land [BBC] 11 The Books - Group Autogenics I [Temporary Residence] Video: 'Terminal Self' [Dir. John Whitney Jr.] 12 Two Quiet Suns - Light Curve [Bandcamp] Video: Yeasayer 'Fingers Never Bleed' [Dir. Unknown] 13 DJ Food - Sunspot Video: Official [Dir. DJ Food & Tom Clarkson] 14 Lost Idol - Beesmouth [Cookshop] Video: Excerpt From 'The Public Voice' - Dir. Lejf Marcussen 15 Boards Of Canada - A Beautiful Place Out In The Country [Warp] Video: Unofficial - Dir. Neil Krug 16 Meat Beat Manifesto - Prime Audio Soup (Boards Of Canada Remix) [Pias] Video: 'Series 4' (Dir. Normand Grégoire) [Nation Film Board Of Canada] 17 Autechre - Teartear [Warp] Video: 'Beyond The Black Rainbow' (Dir. Panos Comastos, Aldo Aréchar 'That Will Be The Day') - Dir. Matthew Divito] 18 The Human League - Being Boiled (Fast) Video: Unofficial Live Tv Appearance Remixed By DJ Food 19 Wagon Christ - Chunkothy [Ninja Tune] Video: Official [Dir. Celyn Brazier] 20 Boards Of Canada - Satellite Anthem Icarus [Warp] Video: Unofficial - Dir. Videomarsh 21 Boards Of Canada - Music Is Math [Warp] Video: Unofficial - Dir. Unknown 22 Slag Boom Van Loon - Poppy Seed (Boards Of Canada Remix) [Planet Mu] Video: 'Rendezvous With Rama' Arthur C. Clarke 3d Footage 23 Boards Of Canada - Olson (Midland Re-Edit) Video: 'Hello Machine' [Dir. Carroll Ballard] 24 Delia Derbyshire And Barry Bermange - The Dreams: Colour [BBC] 25 Sesame Street - A Lot Of Me [Sesame Workshop]
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Hear In Now Mazz Swift - Violin Tomeka Reid - Cello Silvia Bolognesi - Double Bass Center for New Music + Audio Technologies @ UC Berkeley, 09.23.2014
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Paradoxical Frog Ingrid Laubrock - tenor saxophone Kris Davis - piano Tyshawn Sorey - drums, percussion The Stone, NYC - August 1 2014
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Andrea Wolper / Ken Filiano / Michael TA Thompson Andrea Wolper - voice, compositions Ken Filiano - bass Michael TA Thompson - drums, percussion at 6BC Gardens, NYC - Arts for Art - Oct 2 2016 In Gardens concert series presented by Arts for Art
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Tomeka Reid Artists Respond: Tomeka Reid Performs "Airs for Eliza" Chicago-based cellist and composer Tomeka Reid performs an intimate recital (July 7, 2016) in response to Fo Wilson’s installation, Eliza’s Peculiar Cabinet of Curiosities. In this performance, Reid expertly combines composed vignettes and spontaneous improvisations for a highly personal reaction to Wilson's work. Reid is seated on the porch of Eliza’s Peculiar Cabinet of Curiosities, a full-scale structure on the grounds of the Lynden Sculpture Garden (on view June 6 through October 30, 2016, and seasonally thereafter). The cabinet is both wunderkammer and slave cabin; it imagines what a 19th-century woman of African descent might have collected, catalogued and stowed in her living quarters. Informed by historical research, Eliza expresses a hopeful African American past, present, and future through a collection of found and original objects. Eliza's Peculiar Cabinet of Curiosities is a collaboration with the Chipstone Foundation. Reid's recital is part of a series of programs sponsored by Chipstone and the Lynden Sculpture Garden, in which four artists/collectives were commissioned to respond to the installation. For more information on visiting Eliza's Peculiar Cabinet of Curiosities, see the Lynden Sculpture Garden website here: http://www.lyndensculpturegarden.org/exhibitions/fo-wilson-elizas-pecul…
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Larry Roland Vision Festival 20 | Larry Roland // Poet VISION FESTIVAL 20: His spoken word pays homage to the strength and beauty of his ancestors from whom he has gained knowledge, wisdom, pride, and understanding. Through the use of the African philosophy “Sankofa”, his poetry has made the connection between the past, and present, in order to hypothesize the direction of the future. His spoken word is the “Voice” for the man on the street who does not have a voice. Cameras David Appel Don Mount Michael Lucio Sternbach Adam Worth Edit by MLS Sound by Stephen Schmidt
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Ingrid Laubrock & Tom Rainey Ingrid Laubrock - tenor saxophone Tom Rainey - Drums Interstellar Duos - March 24 2014 at Arts for Art / Evolving Music, NYC
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Cleaver - Ochs Duo Gerald Cleaver - drums, percussion Larry Ochs - saxophones at 19 Paul Fort, Paris, 29 September 2016
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Fred P at Dommune, Tokyo, JP - 11.06.2014
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Fovea Hex Clodagh Simonds, Michael Begg, Laura Sheeran, Colin Potter, with guests Justin Grounds (violin) Gemma Kost (cello) and Gayle Roberts (viola) at TUSK Festival, 16 October 2016, Gateshead, England
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Steve Noble & Alex Ward Steve Noble (percussion) & Alex Ward (clarinet) at IKLECTIK BALLISTIK, presented by Mopomoso on the 4th of December 2016 Filmed & edited by Kostas Chondros Recorded & mastered by Saint Austral Sound
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Richard Dawson Richard Dawson (vocals, guitar) at the Cube Microplex, Bristol, England, 6th March 2013
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Ashtray Navigations Phil Todd - guitar, electronics Melanie O'Dubhshlaine - synth, electronics at TUSK Festival, October 2016, Gateshead, England
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Grateful Dead at Wembley Arena, London, England, 31st October 1990 Video supplied by Lazy Cow Captured by Ray B Synch/Authored by BigWuRock Audio supplied by Darryl Hinko
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King Buzzo vocals and acoustic guitar by King Buzzo at Higher Ground, South Burlington, VT, 7/6/14
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Clutch Neil Fallon - vocals, guitar, harmonica, percussion Jean-Paul Gaster - drums, percussion Dan Maines - bass Tim Sult - guitar Earth Rocker World Tour live at Ogden Theatre, Denver, CO, 11/14/30
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A cult short film "San Francisco 1968" featuring a 15 minute version of Intersteller Overdrive. (note: there is nudity in this so be mindful)
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Honky JD Pinkus - bass, vocals Bobby Landgraf - guitar, vocals Trinidad Leal - drums, vocals at DaveTV October 22, 2016, South Austin Tejas
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Parliament Funkadelic Michael Hampton, Garry Shider, Glenn Goins - guitar Cordell Mosson - bass Jerome Brailey - drums Fred Wesley - trombone Maceo Parker - saxophone Richard Griffith - trumpet Rick Gardner - trumpet Bernie Worrell - keyboards George Clinton, Glenn Goins, Garry Shider, Fuzzy Haskins, Grady Thomas, Calvin Simon, Ray Davis, Debbie Wright, Jeanette Washington - vocals at The Summit, Houston, Texas, October 31, 1976
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Spirit Caravan Wino - guitar, vocals Dave Sherman - bass, vocals Henry Vasquez - drums at Saint Vitus Bar, Brooklyn, NY, April 15, 2014
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Miles Davis Miles Davis - trumpet, organ Dave Liebman - soprano saxophone, tenor saxophone, flute Pete Cosey - electric guitar, percussion Reggie Lucas - electric guitar Michael Henderson - electric bass Al Foster - drums James "Mutume" Foreman - congas, percussion at Stadthalle, Vienna, Austria, November 3, 1973
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High On Fire Matt Pike - guitar, vocals Dez Kensel - drums Jeff Matz - bass guitar, backing vocals at Saint Vitus Bar, Brooklyn, NY, January 9, 2015
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Milford Graves NY HeArt Ensemble Milford Graves - drums, percussion Amiri Baraka - words Roswell Rudd - trombone William Parker - bass Charles Gayle - tenor saxophone, piano at Vision Festival 18 - Roulette, Brooklyn - June 12 2013
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Neneh Cherry & The Thing Neneh Cherry - vocals Mats Gustafsson - tenor saxophone, baritone saxophone, electronics Ingebright Håker Flaten - double bass, electric bass Paal Nilssen-Love - drums at 47th Heineken Jazzaldia Festival de Jazz de San Sebastián, 23 July 2012, Plaza de la Trinidad, Donosti, Spain
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Paula Temple Paula Temple - laptop, electronics at The Peacock Society Festival, 17.02.2017, Parc Floral de Paris, France
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Maja S. K. Ratkje Maja Solveig Kjelstrup Ratkje - vocals, electronics, live processing Tord Knudsen - live visuals at Punkt Festival 2013, Kick, Kristiansand, Norway
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Fire! Orchestra Fire! Orchestra - Ritual Mats Gustafsson – conduction, baritone sax Martin Hederos – keyboards, violin Mats Äleklint - trombone Mette Rasmussen alto saxophone Finn Loxbo - guitar Lotte Anker – alto saxophone Sofia Jernberg - voice Niklas Barnö - trumpet Mads Forsby – drums Mariam Wallentin – voice Johan Berthling – bass Nate Wooley - trumpet Andreas Werliin – drums Anna Högberg - tenor saxophone Per-Åke Holmlander - tuba Julien Desprez – guitar Per Texas Johansson – bass clarinet, clarinet Andreas Berthling – electronics at A38 Ship, Budapest, Hungary, 6 June 2016
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Dead Kennedys Jello Biafra - vocals East Bay Ray - guitar Klaus Fluoride - bass, vocals D.H. Peligro - drums, vocals at DMPO's On Broadway Nightclub, San Francisco, Saturday, June 16, 1984
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Hey, cool link! I saw a lot of the old 80's punk bands but never did get to see DK's. Peace, -Dave
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Lisa Mezzacappa ORGANELLE ORGANELLE is a “set" of compositions, inspired by diverse scientific processes – some enormous and unfathomable, others impossibly microscopic – that form a whole through the insights and explorations of master improvisers. The modular work draws its musical ideas from the different ways that the human body, the natural world, and the cosmos mark and “experience” the passing of time. The notes, rhythms, musical relationships, melodies, and structures in each movement of ORGANELLE are connected to theories of cell biology, astrophysics, paleontology, zoology, or neuroscience, exploring these otherwise-imperceptible phenomena through sound. The first iteration of ORGANELLE premiered in Europe in spring of 2016, with musicians in Köln, DE; Naples and Rome, IT; and back at home that fall, in Berkeley, CA at the Berkeley Art Museum and Pacific Film Archive. In each presentation, the music is revised, re-imagined, and expanded to embrace a new set of musical personalities and a different performance context. New movements will be added, and old ones discarded or re-worked, to suit different configurations of musicians as the work continues to develop in the coming years. ORGANELLE also reflects my fascination with the challenges of notating musical ideas for improvisers to play (with), which for me has an interesting parallel with the ways science tries to visually represent complex, multi-dimensional systems and processes with flow charts and graphs and diagrams. The practical concern of wanting this score to be playable by any kind of improviser - a laptop electronic musician, an experimental koto player, a guitarist with nontraditional tunings - meant I often needed to find ways of visually representing musical ideas and relationships that were not confined to the traditional music staff. Many of these new graphic notations ended up having poetic connections to the scientific diagrams I was discovering in researching the content for the piece. Part I: Syzygy Lisa Mezzacappa, contrabass + Wayne Grim, electronics/sonification Part II: Percussion Quartet Gino Robair, Kjell Nordeson, Mark Clifford, Jason Levis at Exploratorium, Pier 15, The Embarcadero & Green St., San Francisco, CA
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Big City Orchestra Das - amplified objects, percussion Ninah Pixie - reeds, percussion Andy Cowitt - voice, reeds, guitar Polly Moller - flutes, percussion Suki O'Kane - percussion 15th Annual Outsound New Music Summit San Francisco Community Music Center, July 30, 2016 Big City Orchestra presents a unique version of "In a Persian Market" by British composer Albert William Ketèlbey. Composed in 1920 and inspired by Johann Strauss II's composition "Persischer Marsch", it was very popular with theater orchestras and in sheet music form, and was followed by other similarly exotic compositions such as "In a Chinese Temple Garden" and "In a Monastery Garden".
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Kurouzu Anthony Donovan - fretless-half guitar & electronics Ian Simpson - prepared lap steel Charlie Collins - percussion & metal at the Mopomoso free improvisation afternoon event at the Vortex, London, on 19 April 2015 filmed by Kostas Chondros