#Olympia Experimental Music Festival | Explore Tumblr Posts and Blogs

georgethechen · 7 months

Text

Zum celebrates its 25th anniversary as a record label with a series of shows on the West Coast. On Saturday, Dec 2, Oakland California’s renovated Thee Stork Club will host the Bay Area return of GROWING after thirteen years away!

They will be joined by synth-doom act My Heart, an Inverted Flame, New York’s Somnambulists (solo project of Warren Ng), and Marshall Trammell & Paul Costuros Duo). DJ Melanie Marie will also be spinning and providing live visuals.

The New York/Olympia duo GROWING has a storied history of releases on Kranky and Silver Current and recent live and recorded collaborations with acclaimed harpist Mary Lattimore. GROWING released a CD EP with Zum in 2005 (a split with Mark Evan Burden) and contributed a track to the recent Zum Audio Volume 5 double-CD compilation.

My Heart, an Inverted Flame played their second-ever show (their first was a 2022 Zum showcase at Noise Pop) after a few years of recording for Zum and Deathbomb Arc. The San Francisco/Ashland, Oregon duo delivers heavy doom drones using only synthesizers and percussion. Members Andee Connors (A Minor Forest, Common Eider, King Eider, aQuarius Records) and Marc Kate (I Am Spoonbender, Driftloss) also released a collaboration single with viral TikTok star Banshee. The Wire magazine called them “Stars of the Lid with a bad fucking attitude.”

Marshall Trammell (Music Research Strategies) & Paul Costuros are longtime Bay Area improvisers who convened for Trammell’s six-month residency at The San Francisco Contemporary Jewish Museum “For Friends” ending in early 2022. Their first recorded material as this Duo is documented in the track “Blue Cube” on Zum Audio Vol. 5. Trammell has toured extensively co-founder and former percussion of the Oakland-based Black Spirituals and currently as solo performer Music Research Strategies or the percussion in In Defense of Memory and White People Killed Them. Costuros has been in the projects Total Shutdown, Death Sentence: Panda!, The Fisticuffs Bluff, Murder Murder, and Burmese.

Somnambulists is Brooklyn-based Warren Ng. He has released solo material under the moniker Somnambulists and in the group This Invitation. Ng has been involved in collaborative film + live score performance works presented at experimental film festivals and exhibitions in New York and San Francisco including an expanded cinema series co-presented by the Microscope Gallery & The Whitney Museum (2016); Mono No Aware IX and X (2015 & 2016); and the SF Cinematheque's Crossroads 2016 & 2018 (presented at the SFMOMA). He has performed at Che Chen’s (75 Dollar Bill) Fire Over Heaven concert series in New York and this is his first appearance back in Oakland since 2019. This show will also be the album release for the new Somnambulists cassette Ascending Planes on Zum.

DJ Bio:

Melanie Marie is a visual artist and creative coder based in Oakland. Initially working with installations centered around Macintosh SE & SE/30 computers, she is now primarily focused on live coding visual synthesis in collaboration with live musicians. Melanie is a host of Transformations Radio and Beloved Radio. Her work and music sets focus on the relationships between music and imagery.

ZUM BIO:

Siblings Yvonne (Xiu Xiu) and George Chen (Common Eider, King Eider, KIT) launched the Zum Audio compilation series (including acts like Duster, Modest Mouse, Deerhoof, Yellow Swans, Zach Hill) in 1998. Over the ensuing decades, the label has released indie emo pioneers Nuzzle, Canadian noiseniks AIDS Wolf, and even Chen’s own stand-up comedy EP.

To mark this anniversary, the latest Zum Audio Vol 5 was released in a double CD format as well as on digital. George Chen set out to survey present-day experimental electronics, drones, hardcore, and mutant pop.

LINKS

ZUM - linktr.ee/zumaudio

GROWING -https://growing-music.bandcamp.com

Marshall Trammell -https://www.musicresearchstrategies.info

Paul Costuros -https://www.discogs.com/artist/310473-Paul-Costuros

Somnambulists -somnambulistsmusic.bandcamp.com

My Heart, an Inverted Flame -https://myheartaninvertedflame.com

Melanie Marie -https://projectvisualsensation.com

#zum #growing #somnambulists #my heart an inverted flame #marshall trammell #Paul costuros #zum audio #thee stork club

1 note · View note

egosumdj · 12 years

Text

About Ego Sum

Ego Sum, known as Ste to his friends and family, is a self-taught musician, music producer, and DJ who emerged from the transformative period of lockdown at the end of 2020, akin to a phoenix rising from the ashes.

His musical journey commenced with an early fascination for keyboards and synthesizers. In his teens, he received his first synth, a Korg DW6000, alongside a Commodore Amiga computer. Ste and his school friends, deeply inspired by iconic DJs like Sasha and the vibrant dance scene around the Hacienda nightclub, began recording their own music on cassettes. They would then bring these tracks to school, playfully pretending they had discovered the latest underground hit. This mischievous spirit and love for musical experimentation have remained with him ever since.

As Ste's passions grew, he ventured into the local music scenes of cities like Leeds, Manchester, Sheffield, and Liverpool. Organizing and promoting parties in his hometown of Huddersfield with school friends, he soon gained a reputation as a gifted musician. He became known as a multi-instrumentalist with a deep-seated experimental streak.

Over the years, Ste had the privilege to collaborate on numerous albums with notable artists. His contributions include working with DJ Vadim on "U Can't Lurn Imaginashun" and forming the band The Electric, releasing their debut album "Life Is Moving" while on tour in 2009. He also contributed to System Olympia's highly sought-after "Delta of Venus." Ste's remixes extended to artists like Alice Russell, Foreign Beggars, and Grandmaster Flash, among others.

His journey took him on European and world tours, sharing stages with artists such as Estelle, Nine Yards, Liam Bailey, Jasper Erkens (Altrego), and many more. However, it was his four-year collaboration with DJ Vadim that rekindled his aspirations to DJ. Together, as Butterfish Black, they delivered electrifying afterparty sets following sold-out shows at prestigious venues from the Bataclan in Paris to Koko in Camden, as well as festival stages at Glastonbury in the UK and Hip Hop Kemp in Czechia.

With several decades of experience on the global music scene, Ste has amassed a wealth of musical knowledge and experience. He's a student of philosophy and psychology, and his adeptness at reading the room brings him immense joy. Seeing people lose themselves in the moment, driven by the music he curates and selects, is his ultimate satisfaction.

Above all, Ste takes great pleasure in creating a feel-good atmosphere, free of inhibitions, with no limitations on his musical choices. As he often says, "If I genuinely love it, then hopefully a few others will too."

Ste's journey is a testament to his deep love for music, a commitment to creative exploration, and an unwavering dedication to providing unforgettable experiences for his audience as a DJ and musician.

1 note · View note

curious-minx · 4 years

Text

October 2010s Music Deep Dive!

A mock up poster for the only possible music festival line-up I would be willing to risk my life attending. Tony Allen’s passing has caused the entire Octoberfest to be cancelled indefinitely, but all proceeds from ticks will be given back to the community.

Hope all of you special nobodies and overblown somebodies reading this right now are having a smashing start your first o November. All last month I had taken it upon myself to listen to as many albums and fragments of albums released sometime during the month of October spanning the entire 10’s decade, 2010 through 2019. This is all probably a result of drinking too much dead water, Quarantine brain, undiagnosed Autism, magical thinking and the death of boredom. I have created a Spotify playlist sporting 25 hours and 4 minutes worth of music with an arbitrary amount of albums getting multiple songs, but largely one song/album. This project did create a sense of madness because of the volume of music that gets cranked out. How can we expect anyone to properly criticize music when it is nearly impossible to keep up with it all? I largely culled these albums from Allmusic’s Editorial Choice section, but I did have to use Rateyourmusic to fill out the hip-hop and R&B gaps. In gathering up all of this music I am attempting to see if spooky music was relegated to the October season and any other possible trends. Even though October has been laid to rest her swelling calendar breast still contains a treasure trove of music worth discussing. Grab your broom, sharpen your heels and get the cobwebs out of your ears because we’re going on a Deep Dive!

//////

The 2010s Old Souls and Musical Auteurs

I consider any musician or band that endures more than a decade worthy of this veteran label. Music biz lifers seem found solace in the October release schedule. A trend that has carried onto the new decade with October 2020 offering revitalized releases by Elvis Costello and Bruce Springsteen reunited with the E Street Band. All three main members of Sonic Youth, Moore, Gordon and Renaldo are still harnessing that spooky Bad Moon Rising energy and carrying it over into their solo releases.

KIM GORDON’s NO RECORD HOME

The first truly proper solo album by Kim Gordon following up her pretty good noise rock releases under the Body/Head moniker with Bill Nace. No Record Home towers over Thurston Moore and Lee Renaldo’s mostly okay solo releases because of how truly experimental and refreshingly modern sounding No Record Home is. This album sounds like it could easily have come out from a young Pacific Northwest Trip-Angle (RIP) label upstart. Instead, Gordon is defiantly aging gracefully and remains an all around important feminist voice in experimental rock music. No Record Home did not pop up on a lot of “Best of the Year” lists in 2019, nor did Gordon embark on any kind of touring for the release. I am hoping that more people will eventually discover this great album and realize that Gordon was truly the best, most truly experimental aspect of Sonic Youth. Her vocals on this album are the best she’s ever sounded because she built these songs and sounds with the intergral collaborator, producer Justin Raisen. A glimpse at Raisen’s Wikipedia page is a who’s who of great artists of the past decade: Yves Tumor, Charli XCX, and Sky Ferreira. The collaboration occurred at an AirBnB shared between Gordon and Raisen and birthed the first single of the project “Air BnB.” A song that completely sets the tone of the album and features one of those amazing music videos in the same line us Young Thug’s “Wyclef Jean. “

Björk - Biophilia

Can you name the last album the rolled out with its own app? Nine years have come and gone and I certainly can’t think of another album with such wholesome ambitions. Björk was getting passionate about ecological concerns in her native Icelandic home with Sigur Ros and using her sphere of influence to try to good. 2014 the app has found a permanent home in the MOMA, but outside of this curio status the album itself is still a worthwhile addition to the Björk canon. Biophilia finds Björk in musical scientist mode using sounds captured from a Tesla coil and making a whole musical universe onto herself. The rest of the 2010s found Björk going for bigger and more ambitious projects that continue to frustrate those who wish she would go back to her poppier roots. She remains one of those most consistent solo artists around and someone no one will be able to predict what she does next. The only thing is certain is that it will be visionary and will probably include a wildly ambitious rollout and a new piece of physical art like Biophilia’s $800 tuning forks.

NENEH CHERRY - BROKEN POLITICS

Featuring production duties for the second time from Four Tet (who also pops up in the October playlist with his 2013 album Beautiful Rewind). Broken Politics in Cherry’s words, “is about feeling broken, disappointed, and sad, but having perseverance. It’s a fight against the extinction of free thought and spirit.” The music video for single “Natural Skin Deep” was filmed in Beirut, a backdrop made even more painful given 2020’s Explosion. Cherry is an artist with deep spiritual and blood connections with artists central to jazz’s history. Broken Politics also features songs built around Ornette Coleman samples. This is all to say that Neneh Cherry is always going to be someone tapping into a creative cosmic vein that spans generations, and with that comes a hard wisdom. Two years later we’re still dealing with the same god damn guts and guns of history.

OTHER NOTABLES:

(Cat Power - The Wanderer; John Cale - Shifty Adventures in Nookie Wood; Tony Allen - Film of Life ; Neil Young & Crazy Horse - Psychedelic Pill ;Bryan Ferry - Olympia; Nick Cave & The Bad Seeds - Ghosteen ;Yoko Ono - Warzone; Vashti Bunyan - Heartleap; Elvis Costello & The Imposters - Look Now; The Chills - Silver Bullets; Weezer - Everything Will Be Alright In The End;Laurie Anderson - Heart of A Dog;Janet Jackson - Unbrekable;The Mercury Rev - Light In You; Rocketship - Thanks To You; Van Dyke Parks & Gaby Moreno - Spangled; Donald Fagen - Sunken Condos; Prefab Sprout - Crimson Red; Pere Ubu - 20 Years in a Montana Missile Silo; Negativland - True False )

/////

TRILOGY OF BLACKSTARS

Three last albums released by three titans of 20th century songwriting. Two of them follow the trajectory of an older artist getting rejuvenated by a younger backing band. Lulu is beyond a meme at this point and is considered one of the most confounding flops since Metallic Music. Like Metallic Music, Lulu will get a reappraisal and find its audience. Mr. Blackstar himself Bowie considered Lulu one of his favorite releases. “Junior Dad” alone makes this album a worthy addition in Lou Reed’s discography. Scott Walker invited some similarly hairy and intense younger rock studs into his private castle and pulls off a far more natural combination. Soused fits like a velvet glove on a elegant corpse hand swirling thick slabs of guitar and demonic percussion. Scott Walker effortlessly orchestrates between elegance and moribundity whereas Lulu wallows and thrashes against the ugly riffage.

No riffs or oozing wall of sound are anywhere to be found on the sparse and pointedly elegiac You Want it Darker. Leonard Cohen never went full on sleazy I’m Your Man ever again but he didn’t become adult contemporary either. You Want It Darker finds Leonard and his son Adam Cohen. When Leonard passed away he was the only one to get a full David Bowie like museum tribute, Lou Reed only got a corner of a library. Cohen is far and away the most accessible mystical Jewish Buddhist monk with a penchant for fedoras and having a masked man with a leather belt beat him in the recording booth [citation needed]. You Want It Darker is the only one of these mortality laden kiss offs to win a Grammy. I do wonder if Cohen would have ever allowed a more adventurous production to touch his staid and timeless old fashioned sound. Tom Scharpling divides Leonard Cohen into his Pre-Fedora and Post-Fedora days. If you are being literal about that demarcation that still gives you a pretty vast body of music I just want sad bloated blurry black and white Leonard Cohen with a banana or the smiling cad on Songs of Love and Hate. Even the floppy fedora era has worthwhile albums and he sounds like if Serge Gainsbourgh was a muppet Gargoyle, he’s reliable. I will always beat myself for not buying that official Leonard Cohen raincoat at the Jewish Museum Leonard Cohen exhibit, but I hope someone has and they are finding comfort with Cohen’s music. A lot of his latter day period is comforting in a sardonic sexy mind bending nursing home sort of way.

I am glad that these men were ultimately spared from having to deal with Covid times and even someone as tasteless as Brian Wilson’s Ghost can acknowledge that it’s more important than ever to keep your elderly loved ones locked away in a well ventilated pod.

////

(INSERT ARTIST HERE) SEASON

For a few sticky sweet select few artists the month of October proved to be a suitable release launch pad for more than one album. The Mountain Goats and clipping. have just joined the October two-timer club this year. The reigning queen of October releases is Taylor Swift and Adrianne Lenker. In chronological order swift released Speak Now, Red and 1989 probably Swift’s biggest run in terms of critical and commercial success. None of these albums have a particularly big place in my heart, in fact speaking on behalf of Brian Wilson’s Ghost Ltd. I’m not the biggest fan of America’s Sweetheart, Sweet Tea Poet Laureate. All three of these albums all came out in the latter part of October and based on the Target brand synergy roll-out felt as inevitable as pumpkin spice. Haunted. Sad Beautiful Tragic. Out of the Woods. These are either song titles taken from these three albums are the names of the under utilized Romantic Halloween Horror Comedy genre. Lady Gaga might have been spooking it up on American Horror Story, but Swift gives a far more chilling performance in Tom Hooper’s midnight madness of Cats and I could envision Swift excelling really well as a horror film actor. Especially in a role like Scarlett Johansson’s Under the Skin.

You cannot get more polar opposite from Swift than Adrianne Lenker. Who released her first solo album abysskiss and the second Big Thief album of 2019 Two Hands. Lenker will have also gone on to make her third October release this year with her second solo album songs & instrumentals. Striking that such a ghostly autumnal band would have only released one album in October, but autumnal feeling albums are not beholden to release calendars. The song “Not” from the Big Thief album Two Hands is a watershed breakthrough moment for the band and put Lenker and her band on the map. In 2019 Big Thief became a band that could get booked onto a Goodmorning American performance slot and more or less made Big Thief one of the rare 2010s indie bands to become more or less a household name.

Other notable artists to have released more than one album on October 2010s:

Less notable artists to have multiple October releases: James Blunt Korn

Calvin Harris

Kings of Leon

Pentatonix

//////

FORMER HARBINGERS OF HYPE

These are October releases from artists that once felt like whenever they put out an album a wider array of outlets and publications seemed to care more and would spill more digital ink over them. The big three artists that had the biggest drop off in attention and acclaim that stick out to me the most are Titus Andronicus, Justice and Why? All three artists debuted with strong starts back in the aughts, but according to critical reception more or less crashed and burned. Titus Andronicus’ Local Business was one of the last times Titus Andronicus would get positive marks from Pitchfork. Local Business a fun and shaggy follow-up to one of the most self-serious concept albums of the 2010s.

Justice’s Audio, Video, Disco similarly is a follow up to a highly acclaimed album that set the bar high enough to doom Justice into never living up to the hype. Justice’s 2007 s/t heralded them as the next Daft Punk, but unlike those soulful and thoughtful robots Justice mainly wanted to make big ridiculous unfashionable synth prog rock. Audio, Video, Disco is simply cheesy fun and even though we live in a world better off without parties and gatherings this album helps you feel like you are in high-def IMAX monster mash on the moon.

The leaves us with Why?’s Mump’s Etc. an album that already had the job of following up an already divisive follow up record Eskimo Snow. Why’s Alopecia is a really important 2008 indie blog rap album that helped thrust the online indie blogs into the hip-hop genre hybrid experimentalism. Why? would never make another universally beloved album again and with Mump’s Etc. ended up permanently in Pitchfork’s hate pit. In the original release review the Pitchfork writer essentially deems this album an act of “career suicide.” The whole review is essentially an assignation of Why?’s figurehead Yoni Wolf and taking him to task for all of his awkward lyrical blunders and the fact he is narcissistic enough to be a musician writing about his career in a meta fashion. Yet when I listen to Mump’s Etc. I am more or less enjoying Yoni Wolf’s personality and find the whole thing to be pretty charming. A perfectly serviceable 3.5/5 release that a media outlet like Pitchfork turns into a flexing opportunity to show how that they have the power to make or break a career.

A.C. Newman, an artist who appears on this playlist with his terrific 2012 Shut Down The Streets took to Twitter to scoff at the idea that a good Pitchfork review has done anything for his career. Shut Down The Streets currently remains the last solo album Newman has released under his name choosing to focus on his main gig with the New Pornographers. The Internet based hype machine is even more ADHD addled and twitchier by the day. The joy of doing this deep dive allowed me to revisit a lot of these artists and acts that I had fallen out of touch with. I had completely forgotten about King of Convenience’s Erlend Øye who released the album Legao in 2014. I rediscovered a good deal of bands like the Editors, The Dodos, Kisses, Black Milk, Crocodiles, Empire of the Sun, Juana Molina, Jagwar Ma, Here We Go Magic, Dale Earnhardt Jr. Jr., YACHT, Peaking Lights, The Twilight Sad, Elf Power, Swet Shop Boys, Radio Dept, Allo’ Darlin, Foxes In Fiction, and HOMESHAKE are all bands not trying to change the world or challenge listeners with avant garde experimentation. Instead I feel like I maintaining relationships with old friends on the edge of obscurity.

////

A HISTORY OF CHRISTMAS IN OCTOBER

A tradition stretching back as far as 2014 not October’s Idina Menzel’s Holiday Wishes, but Seth McFarland’s Holiday For Swing sweatily released on CD, digital, and vinyl on September 30, 2014. 2015 then brings us a Chris Tomlin and Ru Paul Christmas albums because every force of Neo-liberal good must be balanced with evangelical contemporary Christian music *shutters.* 2016 finds the Christmas in October era reaching a complete and utter nadir with R. Kelly’s final official LP 12 Nights of Christmas and A Pentatonix Christmas, but also buffered by Kacey Musgrave’s Christmas. 2017 only had time for Gwen Stefani’s You Make It Feel Like Christmas and no one else could evoke this feeling in October. On 2018, Michelle and Barack Obama’s combined one and only Christmas wish comes true, no not cancelling those drone strikes, but getting John Legend to join the October release jamboree; Eric Clapton claps open his guitar’s butt cheeks and hatefully squats out a half assed Xmas album defiantly opening the album with “White Christmas” [eyeroll emoji]; and finally 2018 found the Pentatonix announcing in October that Christmas Is Here. I apologize for all of that crude butt talk about the hateful racist Eric Clapton, but(t) I have festive gluteus Maximus on the mind, because in 2019 Norah Jones got her alternative country gal trio back together to remind us to shake our Christmas butts. Eat shit commercial shit, today’s Santa’s birthday! That’s the magic of the October release schedule!

The hallowed Christmas in October tradition continues on in 2020 with Dolly I-Beg-Thee-Pardon releasing A Holly Dolly Christmas right on time on October 2, 2020 (Carrie Underwood missed the memo and unwraps her unwanted My Gift in September 2020). Meghan Trainor, Goo Goo Dolls, and Tori Kelly released Christmas albums. Can you believe Seth MacFarlane comes up twice in this article, because his sleazy J. Michigan Frog croon is processed and grated like Parmesan cheese snow flakes all over a rendition of White Christmas. What a time to be alive!

youtube

////

WHERE DID THEY GO?

A Brief Case For Class Actress’s Rapproacher

Among my October music travels I encountered one artist that really impressed me with her proper LP debut Rapprocher. The trio fronted by Elizabeth Vanessa Harper is essentially peddling the kind of competent moody 80’s inspired synth pop that belongs on a lost Donnie Darko sequel. Harper’s vocals are striking and expressive and they are melded with constantly propulsive bed of shiny synths and glossy barely-there gated percussion. Outside of an 2015 EP called Movies featuring exciting production contributions from Italo-disco icon Giorgio Moroder there has been nothing else from Class Actress. Highly recommend you check them out especially if you want to find the sweet spot between Chromatics and Kylie Minogue.

/////

THE OCTOBER 2010s MASTERPIECES

(Robyn - Honey, Big K.R.I.T. - 4eva is a Mighty Long Time ,Miguel - Kaleidoscope Dream, Crying - Beyond The Fleeting Gale , M83 Hurry Up, We’re Dreaming ,SRSQ - Unreality, Sufjan Stevens - age of adz, Joanna Newsom - divers, VV Brown Samson and Delilah, Kelela - tear me apart , Neon Indian - VEGA Intl., Fever Ray - Plunge , Antony and The Johnsons - Swanlights (goodbye album) , Caroline Polachek - Pang , Sky Ferreira - Night Time, My Time . Bat For Lashes Haunted Man, James Ferraro - Far Side Virtual , Grouper - Ruins , Kero Kero Bonito -Bonito Generation , DJ Rashad - Double Cup)

Maybe if I surround this VV Brown album with more well known artists she’ll finally get some more clicks? I should also mention that Joanna Newsom’s Divers is nowhere on my Spotify October Music playlist because Joanna Newsom thinks Spotify is bananas, and she hates bananas. I know I should also mention Kendrick Lamar’s good kid, m.A.A.d city and Tame Impala’s Lonerism. That’s the maddening thing about October music that just when you think you covered all your ground you find another hidden hump underneath the carpet. I feel remiss without mentioning striking debut and instant hidden gem Tinashe’s Aquarius, which did you know has a new album art on Spotify. Death Grip’s No Love Deep Web. T_T I didn’t even get around to making a big verbal mosaic to Thom Yorke’s witchy Suspiria soundtrack.Corpus Christi! I forgot to highlight The Orb album in the collage with my other veteran artists! As you can see this project nearly ruined me. I did not necessarily listen to all of these albums from front to back, but I did listen all of the songs on the playlist and chose them from the immense collection of October releases. I am pretty sure this is the kind of content for no one in particular but I really needed to get it out of my system. Let’s meet back up October 2030!!!!!

(Thank you to my beloved partner, best friend and Spotify provider Maddie Johnson XD)

https://open.spotify.com/playlist/7sdLaNNaqWpKEKXRZ3jNqY?si=SLZxUwLMQYOQ5wA1xuZc7w

#spooky #spooktember #spooktober #spooktacular #octoberfest #autism #best of #music festival #Joanna newsom #sufjan stevens #kendrick lamar #tame impala #Taylor swift #big thief #Adrianne lenker #ru paul #kelly klarkson

2 notes · View notes

robinallender · 4 years

Text

Albums of 2019/the decade

(‘Martin Brennan’ appearing on This Time with Alan Partridge, my favourite TV programme of 2019.)

It’s impossible to make an album of the year list because I haven’t listened to every album that was released this year. And to make an album of the decade list…? Well, that’s even impossibler.

I suppose I could try to do what James Acaster did in his book Perfect Sound Whatever, but instead of listening to every album from 2016 I could attempt to listen to every album from the entire decade. A Sisyphean task – and by the time I’d listened to all of those albums, it would probably be around 2030. And by that point, providing the world is still functioning by then, I’d have another decade of albums to catch up on. I could draw a comparison to Tristram Shandy here but I won’t.

(Plume is my favourite novel of the year.)

(‘DNA.’ is the most thrilling three minutes of music this decade.)

The excellent thing about Acaster’s book is that it glories in the fact that beneath all the hype and buzz of big releases, and away from algorithmic playlists and ubiquitous albums of the year, there is a universe of incredibly diverse and exciting music being made all the time. Acaster rightly celebrates bandcamp, which has become something like the anti-Spotify over the last ten years. Thanks to bandcamp, it feels like there has never been a better time to listen to experimental music. Obscurity no longer exists – there is no longer any music which is difficult to hear.

I’ve become enamoured with Jim O’Rourke’s Steamroom page, where he regularly releases albums of ambient/noise music. if you’re expecting the Bacharach-esque chamber-pop of his Drag City albums then I’m afraid you’ll be disappointed. There’s a fantastic interview with him here where he describes his creative process (I’m a particular fan of Number 44).

It feels like the prevalence and dominance of the internet has brought with it a certain kind of musical freedom. There’s a kind of the-music-industry-has-collapsed-so-does-anything-really-matter-anymore attitude which I love! Dean Blunt’s Black Metal (2014) feels like an album that couldn’t have been made at any other time. An ‘anything goes’ album of hip-hop/indie/experimental/weirdness that breaks so many production rules (samples of badly compressed MP3s, levels clipping all over the place) but sounds all the better for it.

Of course the problem with everything being available at the click of a button is that you get overwhelmed with choice. I think this decade I got something like cultural fatigue. I'm pretty sure Tim Heidecker and Gregg Turkington’s endlessly meta online show On Cinema should be my favourite thing ever, but I can’t be bothered to watch all one hundred hours of it. And you can’t dip into it because the joke is that it only really works if you watch all one hundred hours of it. Being told to stick with things because they’ll get better in the fifth series…? Can I not just watch Masterchef and have a lie down?

(I played the Olympia in Paris with Yann Tiersen in 2014!)

The other problem with making ‘best of’ lists is: do you choose albums because you love them or because of their cultural importance? Clearly the best album of the decade culturally was Kendrick Lamar’s To Pimp a Butterfly – an actual soundtrack to a civil rights movement, an album of astonishing power and viscerality. It’s a dense, difficult album full of brilliant songs. But you’re not always going to be in the mood to listen to it. You’re not always going to be in the mood to be challenged, or to be saddened that an album like that needed to be made!

Or should your album of the decade be the album you listened to the most? This would probably make sense since Spotify has taken over our listening habits and now insists on sending us our most played songs of the year, a cruel reflection of our exposed ids (for a Velvet Underground fan, I really listen to a lot of Bastille). Well, if we went by what Spotify suggested, one of the most successful artists of the decade would be ‘ambient rain noise’.

I believe that the truth is between. Some albums on my list I have listened to almost constantly, others I have only listened to once or twice, but they blew my head clean off when I did (Yeezus for example).

(My most played album of the decade was Benoît Pioulard’s Stanza I-III, released in three parts throughout 2015-6, probably because I listen to it most evenings to help me fall asleep. Beautiful melodic ambient drones, drenched in reverb and tape hiss. Er… just a bit!)

(I got to the finals of So You Think You’re Funny in 2017!)

While putting together this list, I thought I’d go back to the albums of the 00s list I wrote in 2009. Deerhoof aside, I kind of got snow blindness from reading it! Significantly, I didn’t even notice at the time that my list was made up almost entirely of white artists. Well, I do listen to a lot of morose indie, a genre not famed for its diversity. But this decade I feel that I have expanded my listening habits, and this should be reflected in my list. I hope it doesn’t look like when Rolling Stone do their best albums of all time and put What’s Going On in the top ten as a kind of afterthought (not even Marvin Gaye’s best album).

Who gives a hoot what I think, this is just a blogpost, it’s not like I’m writing for a major newspaper (although I do need a job if anyone’s reading this), but I think that, even on this platform, this is a really important albeit difficult thing to consider. If this decade is to be remembered for anything it’s that we all have a responsibility to promote diversity in our every action; the 2010s were a decade when the personal became political. It was the decade when it became prudent and necessary to notice things like the fact that I posted a list of my favourite albums and they were all made by white artists, even if it’s on a blogpost that no one reads.

It’s not just racist language and behaviour that must be challenged, we must also challenge the social subliminality and structuralism of racism. So yes, a best of the decade list with only white artists, that is part of the problem! Yes, maybe those were my favourite albums of the 00s, but to use a term that has become increasingly prominent this decade, we need to think of the optics.

Aren’t you overthinking this? Tying yourself in knots to sound woke? Well, voice in my head, you sound like a bit of a twat, as does anyone who uses the word ‘woke’ pejoratively.

Can’t you just list your favourite albums? Yes. But my point is: no conversation about culture takes place in a vacuum. Take Mark Kozelek, who topped my list last decade. Would I feel comfortable having him in my list this decade because of his appalling treatment of the excellent journalist Laura Snapes? Not that this would be an issue this decade because of the startling decline in Kozelek’s music. Who could have predicted that Kozelek would go from singing about love and grief with such incredible poignancy to mumble-rapping about buying furniture? (I have written at length about Mark Kozelek before.)

Anyway, I think the terrible state of the world has really affected my listening habits. Basically, life is horrible so I got into ambient music. Turning off the news and drifting off into a hypnogogic daze. What a luxury!

(From the opening sequence of Midsommar, my favourite film of the year. The murals were created by conceptual designer Ragnar Persson and art director Nille Svensson.)

This is the decade when I no longer collected music – as I switched from downloading from iTunes and buying CDs to streaming it felt like I went from active to passive. It was a decade where music became part of the background – Spotify playlists were engineered to be as bland and un-skippable as possible. So it’s been refreshing to see artists challenge this monotony: Michael Kiwanuka’s dense, conceptual KIWANUKA from this year, and Beyonce’s thrilling video albums.

(Do you ever listen to something like Otis Redding singing ‘Try a Little Tenderness’ and almost find it hard to believe that that really happened? That it was ever possible for someone so talented and charismatic to ever walk the earth? I got a similar feeling when I watched Homecoming. How lucky we are to have an artist like Beyoncé!)

(I played Green Man Festival in 2012 with Yann and, because Van Morrison wanted to go on first so he could get away early in his helicopter, we played after him on the main stage. So I can sort of say that Van Morrison supported me.)

(How dreadful to lose Mark Hollis and Scott Walker – and Neil Innes – this year. Whenever I have ten minutes to spare, if I’m waiting for a bus or something, I like to listen to ‘After the Flood’. Ten minutes of transcendence!)

(My favourite tweet of the decade.)

(A personal highlight of the decade for me was filling in at a gig at the 9.30 Club in Washington DC by playing ‘Lady in Red’ when Yann broke a violin string.)

Some specific musical highlights of the decade:

‘Sscending’, an extremely blissed out track by Acronym w/Korridor.

How good was ‘Video Games’? I mean really.

The production on this Nicki Minaj song is utterly fantastic.

I love the lyrically virtuosic Villagers song ‘Earthly Pleasure’.

‘Work’.

Anyway, I’m going to end this by quoting from one of my favourite songs of the decade, and like some dreadful character from a 00s pre-mumblecore indie romcom, it’s by The Shins.

Love’s such a delicate thing that we do With nothing to prove Which I never knew

Albums of 2019

Orange – Caroline Shaw/Attacca Quartet The Sacrificial Code – Kali Malone Xièxie – Celer Homecoming: The Live Album – Beyoncé Occam Ocean II – Éliane Radigue Requiem for Recycled Earth – James Ferraro Nonlin – Steve Hauschildt Tracing Back the Radiance – Jefre Cantu-Ledesma Cuz I Love You – Lizzo Chastity Belt – Chastity Belt House of Sugar – Alex G (Sandy) Tip of the Sphere – Cass McCombs Designer – Aldous Harding Psychodrama – Dave Titanic Rising – Weyes Blood Compliments Please – Self Esteem KIWANUKA – Michael Kiwanuka When We All Fall Asleep, Where Do We Go? – Billie Eilish Nothing Great About Britain – slowthai New Miami Sound EP – Twain MAGDELENE – FKA twigs Normal Fucking Rockwell! – Lana Del Rey STONECHILD – Jesca Hoop This Is How You Smile – Helado Negro I Was Real – 75 Dollar Bill PROTO – Holly Herndon uknowhatimsayin¿ – Danny Brown Fear Inoculum – Tool The Reeling – Brìghde Chaimbeul U.F.O.F. – Big Thief

(U.F.O.F. is my album of the year. It sounds like alchemy, music where trauma has been channelled into something beautiful.)

(I supported John Robins at the Apollo in October this year. Cool!)

Albums of the decade (which I might keep amending Life of Pablo style)

Sleep Like It’s Winter, Steamroom 44 & Simple Songs – Jim O’Rourke Love is the Plan, the Plan is Death – James Blackshaw Magma – Gojira (superb metal album) The Dream My Bones Dream – Eiko Ishibashi The Suburbs – Arcade Fire EARS – Kaitlyn Aurelia Smith Spark of Life – Marcin Wasilewski Trio & Joakim Milder Toumani & Sidiki – Toumani Diabaté & Sidiki Diabaté (please listen to ‘Lampedusa’) Closing – Victoria Hume (got me through a very difficult time) For Those Of You Who Have Never (And Also Those Who Have) – Huerco S. The Uncle Sold – Ed Dowie Witness – Katy Perry (really underrated!) Blonde – Frank Ocean Smoke Ring For My Halo – Kurt Vile Transparent Water – Omar Sosa & Seckou Keita The Curious Hand – Seamus Fogarty Reflection – Brian Eno Looping State of Mind – The Field Tomorrow’s Harvest – Boards of Canada Be the Cowboy – Mitski Volumes 1-4 – Kosmische Läufer Stateless – Dirty Beaches Bridge Music – Eerie Gaits Veteran – JPEGMAFIA V2.0 – GoGo Penguin Lemonade – Beyoncé Oh Holy Molar – Felix Get Your Hopes Down – Landslide Purist (I played on this album but I don’t care, it’s really good!) Beach Music – Alex G (Sandy) Phantom Brickworks – Bibio Chaleaur Humaine – Christine and the Queens Only Myocardial Infarction Can Break Your Heart – Matt Elliott Dust Lane – Yann Tiersen Black Metal – Dean Blunt The Harrow & The Harvest – Gillian Welch Yeezus – Kanye West Ruins – Grouper Kill All Children – Prison UK (sad music from the future) Age Of – Oneohtrix Point Never (more sad music from the future) Nothing Important – Richard Dawson Hidden & Field of Reeds – These New Puritans To Pimp a Butterfly & DAMN. – Kendrick Lamar Devil is Fine – Zeal & Ardor Divers – Joanna Newsom Stanza I-III & Hymnal – Benoît Pioulard alterum – Julie Fowlis Unfold – The Necks DAYTONA – Pusha T Golden Hour – Kacey Musgraves Olivia Chaney EP – Olivia Chaney Wit’s End, Big Wheel and Others & Mangy Love – Cass McCombs

(My favourite album of the decade is, unsurprisingly if you know me, Wit’s End by Cass McCombs, released in 2011. A perfect album of eight perfect songs. I still listen to it at least once a week and I don’t think it will ever lose its magic.)

#albums of the year 2019 #albums of the decade

1 note · View note

nwbeerguide · 5 years

Text

Tumwater Artesian Brewfest at Tumwater Valley Golf Course

Press Release

Tumwater, WA: In celebration of our community’s brewing history, the City of Tumwater and the Tumwater Downtown Association – in partnership with premier sponsor O Bee Credit Union – will host Tumwater’s 7th Annual Tumwater Artesian Brewfest. The event will take place from 1:00 p.m. to 8:00 p.m. on Saturday, August 17, 2019 at the Tumwater Valley Golf Course, in the shadow of the former Olympia Brewery. With over 10 acres of flat manicured grass, the golf course driving range provides a unique outdoor venue for beer tasting, music, activities, food and fun.

Nearly fifty Pacific Northwest brewers will attend this year’s festival as well as several cideries, one local winery and two local distilleries. The event will also include a variety of community booths and a wide range of food options. “Keys on Main” will perform two sets of their interactive dueling piano show on the main stage. This year’s stage is receiving an upgrade, thanks in part to our generous stage sponsor Rob Rice Homes. Our contests and activities such as super-sized beer pong, a helicopter golf ball drop, and beer stein holding contests – along with a few new attractions – make for fantastic entertainment. And even if the sun is blazing and the weather is warm, our shade and misting tent sponsor L & L Hawaiian BBQ will make sure that eventgoers stay cool and comfortable.

The Tumwater Artesian Brewfest celebrates the long history of beer making in Tumwater and the craft behind today’s outstanding beer and craft beverage professionals. This festival focuses on local brewers and vintners. According to Brewfest organizer Chuck Denney, “For us, it’s an opportunity to bring together a variety of partners and host a fantastic community event. For breweries, cideries, wineries, and distilleries, it’s an opportunity to share their talents and products with a regional audience from throughout the South Sound.”

New this year: Washington State University Extension will be on hand in the Bring Brewing Back tent, offering a tasting of four different beers made from barley grown in the Chehalis Basin. Participating breweries include Top Rung, Packwood Brewing Company, Well 80, Singing Hops, and Three Magnets. The tasting is part of a WSU research effort to identify barley varieties best suited for craft brewing and distilling – specifically for unique flavors from malted barley. Beers made with local barley will also be highlighted on the event program.

Back to the event for a second year is the “Brew-mentation” Tent sponsored by Lacey, Capital & Chehalis Collision Centers. What’s brew-mentation, you ask? Think brewing plus experimentation! Six brewers will be featured and attendees will have the opportunity to meet the brewers, taste specialty brews (that you can’t get anywhere else!), and learn about the art of brewing craft beer. Breweries will rotate every hour.

Tickets are on sale now via Facebook or the Brewfest website. Join us in the celebration on Saturday, August 17 and help #BringBrewingBack to Tumwater! Advance tickets $25, $30 at the gate. Military and designated driver discounts available. Event parking is $5 per vehicle (cash only) and benefits Special Olympics.

Proudly sponsored by O Bee Credit Union; Lacey, Capital and Chehalis Collision Centers; L&L Hawaiian Barbecue; Rob Rice Homes; South Puget Sound Community College; Foot & Ankle Surgical Associates; Port of Olympia; State Farm - Melanie Bakala; State Farm - Eric Zabala; Allstate; Tumwater Downtown Association; and Tumwater Chamber of Commerce.

Visit our Premier Sponsor O Bee Credit Union, the original credit union of the Olympia Brewery, to pick up your famous Brewhouse tee. 100% of proceeds benefit the Olympia Tumwater Foundation.

For more information, please contact Tumwater Parks and Recreation: (360) 754-4160. More details available online: www.tumwaterartesianbrewfest.com.

#Tumwater #Washington #Tumwater Artesian Brefest

1 note · View note

aphroditeproject · 5 years

Photo

(scroll down for English)

Επιμελητική ομάδα: Περσεφόνη Κερεντζή, Σοφία Μπέμπεζα, Σοφία Ντώνα, Βασιλεία Στυλιανίδου, Athens Museum of Queer Arts (Maria F. Dolores, Johnny Pavlatos, Holly Ιngleton, Alex Buschky), Beaver.

Καλεσμένες συνεπιμελητικές ομάδες: Cinenova (London), Pembe Hayat Kuirfest Ankara, TransFormations – Trans* Film Festival Berlin, Nτιάνα Μάνεση & Φρύνη Κόντι, Adeola Naomi Aderemi.

Καλλιτέχνιδες*/κινηματογραφιστές*: Μαργαρίτα Αθανασίου, Demhat Aksoy, Gizem Aksu, Jean-Pierre Bekolo, Jay Bernard, Anna Brownfield, Rodrigo D’Alcântara, Michelle Fiordaliso, Su Friedrich, Leah Gilliam, Sinan Göknur, Βίλμα Μενίκη, Maude Matton & SJ Rahatoka, Pol Merchan, Tracey Moffatt, Thomas Anthony Owen & Kentaro Kumanomido, Chelsea Poe & Courtney Trouble, ομάδα Queer(s’) Talk(s), Elizabeth Okoh, Prokne, Sarah Pucill, Qigemu, Saundra Sharp, Caroline Sheldon, Tejal Shah, Tran T Kim Trang, Evi Tsiligaridou.

Υπεύθυνες* εργαστηρίων: Αντεόλα Ναόμι Αντερέμι, Μαρίζα Αυγέρη, Βανέσσα Βενέτη, Δήμητρα Ιωάννου, Σοφία Μπέμπεζα, Μαρία Φ. Ντολόρες, Δέσποινα Σεβαστή, Άννη Σιμάτη, Αλέξια Στουραΐτη, Βασιλεία Στυλιανίδου akaFranck-LeeAlli-Tis, Άννα Τ., Atina Kolektifi, Gender Panic Collective.

Παρουσιάσεις/Συζητήσεις: Ράνα Χαντάντ, Ελένη Τσαμπούρη, Ολυμπία Ζωγράφος, Political Fatties, Χλόη Κολύρη, Στέλλα Κασδοβασίλη, Δήμητρα Τζανάκη, Ιωάννης Ρήγας, Κώστα Σκαρπίδης, Clara Vlachodimitropoulou Rodriquez, ομάδα Queering Psychoanalysis στην Αθήνα.

Το AMOQA (ATHENS MUSEUM OF QUEER ARTS) είναι ένας υβριδικός χώρος έρευνας και προώθησης τεχνών και σπουδών πάνω στη σεξουαλικότητα και τα φύλο.Φιλοξενεί βραδιές και φεστιβάλ performance, προβολές ντοκιμαντέρ για τις πολιτικές του σώματος, όπως και κουήρv ταινιών πειραματικής φόρμας, εργαστήρια τεχνολογίας, διαλέξεις πάνω σε έμφυλα ζητήματα, παρουσιάσεις κουίρ μουσικής και άλλα. Παράλληλα, έχει ξεκινήσει το χτίσιμο ενος ΛΟΑΤΚΙ+ αρχείου, φέρνοντας μαζί συλλογές, έργα τέχνης, ζινάκια, συνεντεύξεις, ταινίες, φωτογραφία κλπ, στην προσπάθεια να χαρτογραφηθεί η ιστορία του ελληνικού ΛΟΑΤΚΙ+ κινήματος. To AMOQA θα ήθελε να δράσει ως χώρος συνάντησης για τη δικτύωση ερευνητών και δημιουργών που δουλεύουν πάνω στις πολιτικές του σώματος, με σκοπό τη δημιουργία καινούριων πρότζεκτς και την ανταλλαγή ιδεών και σκέψεων. Το AMOQA λειτουργει επίσης ως μια ανοιχτή πλατφόρμα όπου διάφορες ακτιβιστικές φεμινιστικές ΛΟΑΤΚΙ+συλλογικότητες βρίσκουν ασφαλή χώρο για τις συναντήσεις τους και τις εκδηλώσεις τους.

To Beaver είναι μια γυναικεία κολεκτίβα με πολλές ανησυχίες και αλληλέγγυα συμπεριφορά στη διαφορετικότητα, με όποιο τρόπο αυτή προσεγγίζει το χώρο της: με τα πόδια, με αναπηρικό αμαξίδιο, με ποδήλατο, με καρότσι μωρού κτλ. Η λειτουργία του εγχειρήματος βασίζεται στην ισότιμη συμμετοχή στην ομάδα και λήψη αποφάσεων, στην εμπιστοσύνη στη λειτουργία της και την απόκτηση αισθήματος ασφάλειας μέσα σε αυτήν. Η δημιουργία της κολλεκτίβας Beaver πρεσβεύει όπως και πολλά ανάλογα εγχειρήματα ανά τον κόσμο: την απο-εκπαίδευση από τον καπιταλιστικό τρόπο λειτουργίας των εργασιακών σχέσεων και την καλλιέργεια της αλληλεγγύης, της συντροφικότητας και της αλληλοκατανόησης σε αντίθεση με τον ατομικισμό, τον ορθολογισμό της μέγιστης δυνατής ατομικής ωφέλειας και τις ατομικές λύσεις. Εστιάζει στη δημιουργία οριζόντιων δικτύων συνεργασίας και στην κατάλυση της κακώς νοούμενης ανταγωνιστικότητας, μακριά από αφεντικά και άλλα παρόμοια δεινά.

Η Cinenova είναι ένας μη κερδοσκοπικός οργανισμός με έδρα το Λονδίνο αφιερωμένος στη διανομή και διατήρηση φεμινιστ��κών ταινιών και βίντεο. Iδρύθηκε το 1991 από τη συγχώνευση δύο προϋπάρχουσων φεμινιστικών οργανώσεων των Circles και Cinema of Women, που δραστηριοποιούνται από τα τέλη της δεκαετίας του 1970. Η Cinenova διανέμει πάνω από 300 τίτλους ταινιών δλδ. καλλιτεχνικών, πειραματικών, αφηγηματικών, ντοκιμαντέρ και εκπαιδευτικών έργων κινούμενης εικόνας. Οι θεματικές των ταινιών περιλαμβάνουν αντιπαραθετικές ιστορίες, μεταποικιακούς αγώνες, την οικιακή εργασία και την εργασία στον τομέα της φροντίδας (care work), την εκπροσώπηση του φύλου και της σεξουαλικότητας και, κυρίως, τις σχέσεις μεταξύ των διαφορετικών αυτών αγώνων. Η ομάδα εργασίας της Cinenova ιδρύθηκε το 2010 και επιβλέπει τις συνεχιζόμενες εργασίες της διανομής των ταινιών και οργανώνει ειδικά εγχειρήματα που αποσκοπούν στον επαναπροσδιορισμό των συνθηκών της οργάνωσης. Τα μέλη της ομάδα εργασίας είναι: Cay Castagnetto, Emma Hedditch, Karolin Meunier, Charlotte Procter, Ash Reid, Irene Revell, Sandra Schäfer, Kerstin Schroedinger, Louise Shelley, Marina Vishmidt.

KUIRFEST. Το Pink Life QueerFest διοργανώνεται από την Pink Life, την ένωση αλληλεγγύης λεσβιών, ομοφυλόφιλων, αμφισεξουαλικών και τρανς ατόμων (LGBT) στην Άγκυρα, και αποτελεί το πρώτο κουίρ φεστιβάλ στην Τουρκία. Οι λάτρεις των κινηματογραφικών ταινιών έχουν την ευκαιρία να παρακολουθήσουν ταινίες με LGBT θεματικές από διάφορες χώρες του κόσμου. Η πρώτη έκδοση του Pink Life QueerFest πραγματοποιήθηκε το 2011 στην Άγκυρα και αποτελεί το μοναδικό κουήρ φεστιβάλ στην Τουρκία. Το φεστιβάλ στοχεύει στη δημιουργία νέων πεδίων έκφρασης των LOATKI ατόμων και καλλιτεχνών αλλά και στην ευαισθητοποίηση μέσω της τέχνης σχετικά με τον αγώνα των ΛΟΑΤ κοινοτήτων. Επίσης δημιουργεί την ευκαιρία για λεπτομερείς συζητήσεις σχετικά με την κουίρ θεωρία.

TransFormations Film Festival Berlin. Η οργανωτική ομάδα του TransFormations αποτελείται από μαύρους/ες και People of Colour τρανς, καθώς και άτομα που δεν συμμορφώνονται με το φύλο τους. Η ομάδα TransFormations επιχειρεί να κάνει μια αλλαγή δημιουργώντας και διατηρώντας ένα χώρο για διαθεματικές ταινίες από τις προοπτικές των μαύρων, αυτοχθόνων και People of Colour ατόμων. Τα μέλη της ομάδας του TransFormations συμμετέχουν ατομικά σε διάφορες συλλογικότητες και κοινοτικά πρότζεκτ, που είναι αφιερωμένα στη δημιουργία χώρων ενδυνάμωσης, παράγοντας κοινωνικό αντίκτυπο.

Adeola Naomi Aderemi by Distinguished Diva. H Αντεόλα Ναόμι Αντερέμι είναι Νιγεριανή-Ελληνίδα ακτίβιστρια και θεραπεύτρια. Είναι πτυχιούχος γλωσσοθεραπείας και λογοθεραπείας, εργάζεται ως δημιουργός περιεχομένου πολυμέσων και παράλληλα ως γιόγκα θεραπεύτρια, μεταξύ άλλων στο πρόγραμμα αποκατάστασης για επιζούσες τραυμάτων Warrior Woman, που ίδρυσε η ίδια. Έχει εργαστεί ως ραδιοφωνική παραγωγός, διευθύντρια προγράμματος, συντάκτρια μόδας και δημιουργική διευθύντρια σε διάφορα ευρωπαϊκά ιδρύματα. Η Distinguished Diva είναι μια συλλογικότητα που στοχεύει στη σύνδεση των γυναικών της αφρικανικής διασποράς πέρα των συνόρων. Η διαδικτυακή κοινότητα Distinguished Diva ενισχύει του δεσμούς της κοινότητας, την μεταξύ τους επικοινωνία, την ευρύτητα της δράσης τους καθώς και την παγκόσμια προσβασιμότητα των γυναικών αφρικανικής καταγωγής. Η ομάδα της Distinguished Diva πιστεύει ακράδαντα ότι μέσω της αμοιβαίας υποστήριξης μεταξύ μαύρων γυναικών, που κανείς άλλος πέρα από τις ίδιες δεν δύναται να προσφέρει, είναι δυνατόν να αντιληφθούμε τις περιπλοκότητες της μαύρης γυναίκας. Η Distinguished Diva αναγνωρίζει επίσης τη σημασία της φυσικής συνεύρεσης εκτός διαδικτυακών χώρων και πραγματοποιεί εκδηλώσεις σε πολλά μέρη του κόσμου με σκοπό να συγκεντρώσει τις “Μαύρες γυναίκες” για την ενίσχυση της φιλίας, της φροντίδας και την εξεύρεση πόρων.

❤️

Curators: Sofia Bempeza, Sofia Dona, Persephone Kerentzi, Vassiliea Stylianidou, Athens Museum of Queer Arts (Maria F. Dolores, Johnny Pavlatos, Holly Ιngleton, Alex Buschky), Beaver.

Guest co-curators: Cinenova (London), Pembe Hayat Kuirfest Ankara, TransFormations – Trans* Film Festival Berlin, Ntiana Manesi & Phryne Konti, Adeola Naomi Aderemi.

Artists/Filmmakers: Demhat Aksoy, Gizem Aksu, Margarita Athanasiou, Jean-Pierre Bekolo, Jay Bernard, Anna Brownfield, Rodrigo D’Alcântara, Michelle Fiordaliso, Su Friedrich Leah Gilliam, Sinan Göknur, Maude Matton & SJ Rahatoka, Vilma Meniki, Pol Merchan, Tracey Moffatt, Thomas Anthony Owen & Kentaro Kumanomido, Chelsea Poe & Courtney Trouble, Elizabeth Okoh, Prokne, Sarah Pucill, Qigemu, Queer(s’) Talk(s) workshop group, Saundra Sharp, Caroline Sheldon, Tejal Shah, Tran T Kim Trang, Evi Tsiligaridou.

Workshops facilitators: Adeola Naomi Aderemi, Sofia Bempeza, Maria F. Dolores, Gender Panic Collective, Atina Kolektifi, Despina Sevasti, Anni Simati, Vassiliea Stylianidou aka Franck-Lee Alli-Tis, Vanessa Veneti, Anna T., Maria Tzeferi.

Presentations/Discussions: Rana Haddad, Eleni Tsampouri, Olympia Zografos, Political Fatties, Chloe Kolyri, Stella Kasdovassili, Demetra Tzanaki, Ioannis Rigas, Kostas Skarpidis, Clara Vlachodimitropoulou Rodriquez, the group Queering Psychoanalysis in Athens.

AMOQA (ATHENS MUSEUM OF QUEER ARTS) is a hybrid space for the research and promotion of arts and studies on sexuality and gender. It hosts special nights and festivals of performance, screenings of documentaries on gender politics, as well as experimental queer films, technology workshops, lectures on gender topics, queer music gigs and more. At the same time, it has initiated the building of an LGBTQI+ archive, bringing together collections, artworks, zines, interviews, films, photography etc κλπ, in an attempt to trace a cartography of greek LGBTQI+ movements. AMOQA would like to act as a meeting point for the networking of researchers and artists that work on body politics, aiming at the creation of new projects as well as the exchange of ideas and thoughts. AMOQA functions as well as a safe platform where different activist feminist queer groups use for their meetings and events.

Beaver is a women’s co-op, which is deeply concerned about the state of things and actively engaged in expressing its solidarity to diversity, whatever way that approaches our space: on foot, by wheelchairs and baby carts, on bikes etc. This co-op is made of basketball players, manicurists, builders, architects, shipbuilders, cyclists, seamstresses, librarians, carpenters, activists, employees, house ladies, sound engineers, dog mothers, cat mothers, or simply mothers and many more. The project is based on equal participation and decision-making among the team, on the confidence for its operation and the creation of a safe space. The formation of Beaver, like many similar initiatives around the world, aims at: un-education from the capitalist mode of working relations, strengthen of solidarity, companionship and mutual understanding, as opposed to individualism, the rationalization of the maximum individual benefit and individual solutions. Beaver focuses on the creation of horizontal networks of cooperation and the abolition of poorly understood competitiveness, opposed to late capitalist working relationships.

Cinenova is a volunteer-run charity preserving and distributing the work of feminist film and video makers. Founded in 1991 Cinenova has its origins in two pre-existing feminist organisations active since the late 1970s, Circles and Cinema of Women. Cinenova currently distributes over 300 titles that include artists’ moving image, experimental film, narrative feature films, documentary and educational videos made from the 1920s to the late 1990s. The thematics in these titles include oppositional histories, post-colonial struggles, reproductive labour, representation of gender, race, sexuality, and importantly, the relations and alliances between these different struggles. The Cinenova Working Group, founded in 2010, oversees the ongoing work of distribution, as well as special projects that seek to question the conditions of the organisation, and includes Cay Castagnetto, Emma Hedditch, Karolin Meunier, Charlotte Procter, Ash Reid, Irene Revell, Sandra Schäfer, Kerstin Schroedinger, Louise Shelley, Marina Vishmidt.

KUIRFEST. Pink Life QueerFest organized by Pink Life Lesbian, Gay, Bisexual and Trans (LGBT) Solidarity Association in Ankara, is the first queer festival in Turkey. Film enthusiasts have an opportunity to watch LGBT-themed films from different countries from all around the world. Pink Life KuirFest is the only queer film festival in Turkey taking place since 2011. The festival aims to create new and fresh areas of (self-) expression of LGBTQI individuals and artists and to raise awareness on LGBT struggle through the use of art; and it creates an opportunity for detailed discussions about Queer Theory.

TransFormations Film Festival Berlin. TransFormations is an organizing Team of Black & PoC trans*, two spirit, gender non-conforming people who want to make a change by creating and sustaining a space for intersectional films from (but not limited to) the perspectives of Black, Indigenous, PoC folks speaking about or from trans* and/ or gender-variant experiences. Each of the founders is also involved in other grassroots organizations and community based projects that are devoted to creating empowering spaces and producing social impact.

Adeola Naomi Aderemi by Distinguished Diva. Adeola Naomi Aderemi is a Nigerian-Greek activist and healer. She is a graduate of speech and language therapy, currently working as a multimedia content creator, yoga therapist and founder of Warrior Woman, a rehabilitation program for trauma survivors. She has worked as a radio producer, program facilitator, model, fashion editor and creative director for various European institutions. Distinguished Diva is a collective that aims to connect women of Africa descent beyond borders. Our online collective fosters community building, communication, outreach and global accessibility for women of African heritage. We strongly believe that if we do not show up for one another, no one else will, for only we can understand the complexities of black womanhood. Distinguished Diva also recognizes the importance of physical connections and has produced events globally with the intention to gather Black women for fellowship, care, and the pooling of resources.

#Aphrodite2019 aphroditeproject2019 queerfeminism aphroditeproject.org

0 notes

thejoyofviolentmovement · 3 years

Text

New Video: AURUS Releases a Dream-like Visual for Percussive and Cinematic "Momentum"

New Video: AURUS Releases a Dream-like Visual for Percussive and Cinematic "Momentum" @BastienPicot @heygroover @romainpalmieri @DorianPerron

Bastien Picot is a French singer/songwriter, producer and creative mastermind behind the rising electronic music project AURUS, which specializes in an orchestral and percussive sound that has drawn comparisons to Nakhane, Woodkid, Peter Gabriel and others. 2019’s “The Abettors,” which featured Sandra Nkaké thematically raised awareness of a system that exploited and took the living for granted.…

View On WordPress

0 notes

digitalfilipina · 7 years

Text

Globe Independent Film Fest (GIFF) PH’s first online film fest hails grand winners

Narrative 1st prize winner All Your Algorithms by Alec Figuracion Globe Studios, the original content production arm of Globe Telecom, recognized and awarded bright, young Filipino talents in its recently concluded Globe Independent Film Festival (GIFF). Launched towards the end of 2016, GIFF is the first ever online film festival that changed the landscape of independent film fests. GIFF…

View On WordPress

#Animation #B.P. Valenzuela #Documentary #ESCURI #Experimental #GIFF #Globe Independent Film Festival #Globe Studios #Globe Telecom #MOONWLK #Music Video #Nanay Mo #Narrative #Olympia #Pedicab #Taken By Cars #Webisodes

0 notes

osobypostacieludzie · 6 years

Photo

Arrington de Dionyso - jest artystą i muzykiem eksperymentalnym z Olympii. Był członkiem Old Time Relijun od 1990 roku. Po rozwiązaniu Old Time Relijiun założył nowy zespół oparty na indonezyjskiej muzyce Malaikat dan Singa. De Dionyso wyreżyserował Reak: Trance Muzyka i opętanie w zachodniej Jawie, film dokumentalny o muzyce indonezyjskiej ceremonii transkrypcji; film został pokazany przez Olympia Film Society w maju 2016 r. Jest także współzałożycielem Olympia Experimental Music Festival. Projektantka Hedi Slimane włączyła rysunek de Dionyso "Smoki i anioły w głębokiej rozmowie" w różnych modach w ramach kolekcji Yves Saint Laurent 2015.

0 notes

zef-zef · 3 months

Text

Heejin Jang @ 24th Olympia Experimental Music Festival, 15 June 2018, Octapas, Olympia, Washington, U.S. Visual projection by Hali Autumn.

source: wikimedia 📸: Joe Mabel

#photography #artist photograpy #Heejin Jang #South Korea #women in electronic music #24th Olympia Experimental Music Festival #2018 #Octapas #Olympia #Washington #photo by Joe Mabel

2 notes · View notes

hizeroreadings · 6 years

Text

9th Annual Sussex Poetry Festival - 29th-30th June

The Ninth Annual Sussex Poetry Festival will take place over Friday and Saturday, 29th and 30th June 2018.

This year the festival will take place at the Rose Hill, on Rose Hill Terrace, behind London Road, Brighton.

The festival, as always, will feature readings from some of the most exciting contemporary poets, and will host local, national, and international performers.

READERS:

Janani Ambikapathy

Janani Ambikapathy is finishing up a PhD at the University of Cambridge and working on a poetry pamphlet 'Are Language and I the Same People'. She is also a translator and assistant editor with Almost Island.

Kimberly Quiogue Andrews

Kimberly Quiogue Andrews is a poet and literary critic. She is also the author of BETWEEN, winner of the 2017 New Women’s Voices Chapbook Prize from Finishing Line Press. Her recent work in various genres appears in Poetry Northwest, The Shallow Ends, The Recluse, the Los Angeles Review of Books, ASAP/J, and elsewhere. She lives in Maryland and is Assistant Professor of English and Creative Writing at Washington College.

Ashley Barr

Ashley Barr is a current student at the University of Sussex and a recent graduate of Boise State University’s MFA program. She grew up in Boise, Idaho and once wrote a chapbook called Call the Bees to Come (dancing girl press).

Brandon Brown

Brandon Brown is the author of five books of poetry and several chapbooks, as well as three collaborative volumes of Christmas poems with J. Gordon Faylor, most recently The Cloth Bag. His poems and prose have recently appeared in Art in America, Open Space, Fanzine, Art Practical, New American Writing, The Poetry Project Newsletter, and Best American Experimental Writing. In 2015, he won a fellowship from the National Endowment for the Arts, and in 2018 was awarded the inaugural Toni Beauchamp Prize in Critical Art Writing. He is an editor at Krupskaya and occasionally publishes small press materials under the imprint OMG! His newest full-length book is The Four Seasons (Wonder, forthcoming 2018). He lives in El Cerrito, California.

Alex Connor

Alex Connor is a musician and poet who completed his bachelors in English Literature and Music this year. Inspired by the writing of Neruda, O'Hara, Cummings and Ginsberg, Alex is interested in minimalist, narrative and personal writing.

Leah Coughlan

Leah Coughlan is a 21 year old student flittering between North London and Sussex University. Her poetry is simply what a gal has to do to not have a mental break down. The world is fucking jarring, and this bitch is just tryna navigate through it. You’ll be surprised at the extent to which flowers and fucking relate to each other - and not just in a Georgia O’Keefe way. Expect to feel uncomfortable as an alternative perspective attempts to replace these repetitive narratives of power.

Amy De'Ath

Amy De’Ath’s most recent poetry publication is On My Love for Gender Abolition (New York: Capricious, 2016). She is Lecturer in Contemporary Literature, Culture and Theory at King’s College London, and is currently working on her first critical book, Unsociable Poetry: Antagonism and Abstraction in Contemporary Feminized Poetics. She has written a number of essays on contemporary poetry, gender, and value-form theory.

Helen Dixon

Helen Dixon is a britacananica queer feminist writer. Much of her work is bilingual Spanish/English and she’s also worked in theatre, radio and TV drama. She has two books of poetry and poetic prose: Flight Over the Abyss/Vuelo sobre el abismo (Nicaraguan Writers Union CNE Managua 2003) and Olimpia/Olympia (beyond borders, Reykjavik 2006). Her writing has been included in five anthologies and in literary publications in Canada, Canary Islands, Mexico, Nicaragua, Brazil, Cuba, and the UK. Helen is also part of the Devil's Dyke Network.

Honor Gavin

Honor Gavin takes a multi-platform approach to the creative and the critical, involving music, performance and collaborations with groups such as Theatrum Mundi. She is the author of a monograph on modernist literature and film, and of an exuberant, experimental novel, Midland (2014), which was shortlisted for the Gordon Burn Prize. Uncommon Building (2017), her most recent publication, documents a collaborative exercise in speculative fiction, a collective 'excavation' of a fictional building.

Jean-Marie Gleize and Abigail Lang (trans.)

Jean-Marie Gleize is the author of over twenty books in France. He published his first book (on Francis Ponge) in 1981, and became a professor at l’Université d’Aix-en-Provence as well as at the prestigious l’École normale supérieure de Lyon, where he would direct the Centre d’études poétiques from 1999 to 2009. In addition to his scholarly work on modern and contemporary French, Arabic, and American poetry, he would enter the first rank of French poets (or “post-poets,” as is sometimes said), aesthetically affiliated with peers such as Emmanuel Hocquard, Anne-Marie Albiach, and Claude Royet-Journoud. The first full-length translation into English of his writing, Tarnac, a preparatory act, is the most recent volume in a cycle of works published in France by Editions du Seuil’s series Fiction et Cie, created in 1974 by the poet Denis Roche. A seventh volume, titled Le Livre des cabanes, will be published in 2015, also by Seuil. Tarnac, a preparatory act was translated by Joshua Clover, Abigail Lang, and Bonnie Roy and published in January 2014 by Kenning Editions.

Ágnes Lehoczky

Ágnes Lehóczky’s poetry collections are Budapest to Babel (Egg Box, 2008), Rememberer (Egg Box, 2012), Carillonneur (Shearsman, 2014), Pool Epitaphs and Other Love Letters (pamphlet, Boiler House, 2017) and Swimming Pool (Shearsman, 2017). She was the winner of the Jane Martin Prize for Poetry at Girton College, Cambridge, in 2011. Her collection of essays, Poetry, the Geometry of the Living Substance, was published in 2011. She co-edited Sheffield Anthology (Smith / Doorstop, 2012) with Adam Piette, and recently The World Speaking Back to Denise Riley with Zoë Skoulding (Boiler House, 2018). She is currently co-editing Wretched Strangers, a transnational anthology with J. T. Welsch (out by Boiler House in 2018). She is Lecturer in Creative Writing at the University of Sheffield where she is co-director of the Centre for Poetry and Poetics.

Polly McCormack

Polly McCormack is a West Yorkshire poet currently in her first year reading English Literature at Sussex. She regularly performs around both London and The North, having been featured at Manchester Fringe Festival, performing for the Northern Beat Poets Society and Soho Poetry Nights. Her work is mostly observational. Her influences include Anne Sexton and Nick Cave. She is currently working on her debut pamphlet.

Eva Poliszczuk

Eva is a passionate, bi-racial graduate whose uni life far from her white home has awoken her to the world of post-colonialism and seasoned food.

Alison Rumfitt

Alison Rumfitt is a transgender poet living and working in Brighton, UK. Her work was nominated twice for the Rhysling Award 2018. Her poetry is citric in taste, best paired with either a vintage red or a glass of port. She writes about LGBT history, the terror of the human body and the guilt of existing but hopefully in a way that's a bit funny. Find her stream-of-thoughts on Twitter, @gothicgarfield, and see her work in Glass Poetry's 'Poets Resist', Eternal Haunted Summer and more.

Angus Walker

Angus Walker lives in Brighton and has just finished his BA in English Literature at the University of Sussex. His poetry has been published by the student poetry site “The Stanza”.

Jackie Wang

Jackie Wang is a queer poet, essayist, filmmaker, performer, alien, and prison abolitionist. She lives in Cambridge, Massachusetts, where she is pursuing a PhD at Harvard University.

Steven Zultanski

Steven Zultanski is the author of several books of poetry, most recently On the Literary Means of Representing the Powerful as Powerless (Information as Material, 2018), Honestly (BookThug, 2018), and Bribery (Ugly Duckling Presse, 2014). He lives in Copenhagen.

The Sussex Poetry Festival Webisite:

https://sussexpofest.wordpress.com/

ACCESSIBILITY:

The Rose Hill is a wheelchair-accessible venue, but unfortunately does not (yet) have wheelchair-accessible toilets. There are, however, accessible toilets yards from the venue, inside The World's End pub on London Road. The festival will be seated. There is a bar in the venue, and an outside smoking area.

As part of this year's festival, we will be helping the Rose Hill to raise funds to install wheelchair-accessible toilets so that we can continue to develop our relationship with this wonderful community venue.

#poetry

0 notes

maskcontrol · 6 years

Text

The 21 Best Events in Denver, March 20-26

Anime comes alive at the Colorado Anime Festival!

Tuesday, March 20

The Rocky Mountain College of Art + Design’s Visiting Artist, Scholar, and Designer program wraps up a year of artist lectures on the theme of “Collapsing Time” with an evening presentation by artist/animator Lilli Carré, a giant in the world of experimental animation who also excels in more traditional avenues as a comic artist and magazine illustrator. Carré’s lecture, “Ghost in a Loop,” reveals her relationship with physical and virtual life as an animator and the integrated nature of her interdisciplinary practices. Doors open at 6 p.m. Tuesday, March 20, for the lecture at 6:30 p.m. at RMCAD’s Mary Harris Auditorium, 1600 Pierce Street in Lakewood; admission is free, but an RSVP is recommended in advance at rmcad.edu/vasdp/rsvp.

Wednesday, March 21

Sound off on the horrors of human trafficking at Hope Lives, a program that combines music, spoken word, dance and visual art. “The concert will be set in three parts — truths, facts and hope — with music performances and revelations about the difficult subject matter,” explains Sharon Park, music curator at the Dairy Arts Center, which is hosting the event at 7:30 p.m. Wednesday, March 21. “The music selections are related to the topic or about life taking an unexpected turn; it’s going to be really powerful to hear these works in this context, and will definitely make a deep impact on our audience, helping us bring the awareness through these artistic expressions.” At the Dairy, 2590 Walnut Street in Boulder, you can also catch the art show Through Their Eyes? — paintings by Kema Miriam Berry focusing on slavery and oppression — which runs through April 15. Hope Lives tickets are $10 to $24; buy them and find more information at tickets.thedairy.org.

The jokes will fly as fast as the hadoukens as Jay Gillespie, Roger Norquist and Jeremy Pysher return to Mutiny Information Cafe for another Video Games livestream. Presented by Sexpot Comedy, March’s tournament pits pixel against pixel in Capcom’s outlandish Street Fighter II, among the first arcade-style crawlers to be adapted for console play. In addition to glory on the digital battlefield, players are also eligible to win fabulous prizes, including a $25 Mutiny gift card. Select your champion and vie for the title starting at 7 p.m.; each contestant pays a $5 buy-in. Find more details on Video Games’ Facebook events page. Get ready…fight!

Thursday, March 22

Culinary Quick Start is a free four-week training program for potential service-industry employees. Offered at the Emily Griffith Technical College and funded primarily through a State of Colorado Workforce (WORK Act) Grant, the program still needs additional funding to keep going…and so local restaurateurs are helping out. On Thursday, March 22, participating Denver restaurants will donate 10 percent of their sales to the organization as part of Culinary Quick Start Giveback Day. Go to emilygriffith.edu/culinary-quick-start for a list of participating eateries, which include Illegal Pete’s, Biker Jim’s Gourmet Dogs, Vesta, Osteria Marco, Vesper Lounge, Green Russell, Russell’s Smokehouse, French 75 and Bones.

If you’ve eaten at the awarding-winning SAME Cafe on East Colfax Avenue, you know it’s not the same old story: This is an eatery devoted to treating people with real dignity. Because of SAME’s mission to provide healthy food to people of all income levels, the menu doesn’t include prices; customers pay what they can or swap volunteer hours in exchange for a meal. Help feed the concept at the So All May Eat Gala from 5 to 8 p.m. Thursday, March 22, at Space Gallery, 400 Santa Fe Drive. The bash includes small plates and beverages from Que Bueno Suerte, City, O’ City, The Corner Beet, Renegade Brewing Co., Woody Creek Distillers and more, and while you don’t get to name your price, the night is still a bargain at $60. Get details on the SAME Cafe Facebook page and snag your tickets at eventbrite.com.

Executive opportunities for minorities in the cannabis industry are few and far between, so the Minority Cannabis Business Association has partnered with the University of Denver Daniels College of Business and Hoban Law Group of Colorado to host the MCBA Cannabis Opportunity Summit at the Daniels College of Business, 2101 South University Boulevard. Running from Thursday, March 22, through Saturday, March 24, the summit will include a wide range of speakers and work groups, with a keynote session by former Denver Bronco and Pro Football Hall of Famer Terrell Davis. Find the complete schedule and get tickets, $119, or $99 for MCBA members, at minoritycannabis.org.

This Is Modern Art comes to Off-Center.

Just a couple of months ago, someone defaced the Denver Art Museum’s iconic, now-being-rehabbed Ponti Building with graffiti, a move that raised the hackles of art and architecture lovers throughout the city. This Is Modern Art, a play by Idris Goodwin and Kevin Coval, follows a similar scenario, but in this case, it’s the Art Institute of Chicago that’s tagged, setting off an examination of social-justice issues and the nature of art as a form of self-expression. The Denver Center for the Performing Arts’ Off-Center wing premieres a new staging of the play at 6:30 p.m. Thursday, March 22, directed by Goodwin himself, who is preparing to leave his teaching post at Colorado College to become the artistic director of Stage One Family Theatre in Louisville, Kentucky. This Is Modern Art runs through April 15 at the Jones Theatre in the Denver Performing Arts Complex. Tickets start at $25 (or $15 with a valid student ID); reserve seats and find more information at denvercenter.org.

Are nerds funny? Learn the definitive answer to that question when the Denver Museum of Nature & Science hosts Peer Revue: Stand-Up Comedy for Science and local scientists take their chances on stage at the geekiest open mic ever. Although Mother Nature often has the last laugh, we’re rooting for science this round. Peer Revue runs from 7:30 to 9 p.m. Thursday, March 22, at the DMNS, 2001 Colorado Boulevard. Tickets to the eighteen-and-over event, which includes a cash bar — because, you know, comedy — are $12 to $15 at dmns.org.

Friday, March 23

The Colorado Anime Festival returns for a third year.

Back in 2016, a group of friends and con colleagues saw potential in a spring convention that served cosplaying constituents; now the Colorado Anime Festival is back for a third round. Along with the usual video screenings, anime music videos, cosplay competitions, panel discussions, photo shoots and Artist Alley and Vendors’ Hall, this year’s con is bringing in well-known voice actors. Also new in 2018 is a series of all-ages sessions with the Albuquerque-based Kirei Cosplay Cafe, a Japanese “maid cafe” with changing themes. COAF starts at 2 p.m. Friday, March 23, and runs through 6 p.m. Sunday, March 25, at the Denver Renaissance Stapleton Hotel, 3801 Quebec Street. Ticket options include daily, full-weekend and VIP passes; for more information and to order online, go to coanimefest.com.

Colorado loves watching homegrown talents succeed in the wider world, particularly when they’re as vociferously pro-Denver as comedian, Mile High ambassador and former Westword scribe Adam Cayton-Holland. While Those Who Can’t fans eagerly await the show’s third season on TruTV, Cayton-Holland is on the road to preview his material on the Comedy Central Records release Adam Cayton-Holland Performs His Signature Bits, which hits the proverbial shelves on Friday, March 23. Celebrate this career milestone on the same day in the most characteristically Denver way possible: at an album-release party at Ratio Beerworks, 2920 Larimer Street, with a standup show highlighting such local luminaries as Ian Douglas Terry, Kyle Pogue, Caitie Hannan, Christie Buchele, Greg Baumhauer and, of course, ACH in the headlining spot. The free festivities begin at 8 p.m.; find more information on Ratio Comedy’s Facebook events page.

Cosi Fan Tutte, which roughly translates from Italian to "Women Are Like That," remains one of Wolfgang Amadeus Mozart’s most fondly remembered and frequently performed comedies. The romantic farce is full of stirring songs and dramatic switcheroos, adeptly satirizing how love makes fools of us all. Under the guidance of stage director Ron Ben-Joseph and musical director Sara Parkinson, the Boulder Opera Company’s talented cast is breathing new life into a work that first premiered in 1790. Catch the show at Stewart Auditorium, 400 Quail Road in Longmont, at 7:30 p.m. Friday, March 23, or at a 3 p.m. matinee performance on Sunday, March 25, at the Dairy Arts Center, 2590 Walnut Street in Boulder. For more information or to buy tickets, $25 to $35, go to boulderoperacompany.com.

Hug it out with fellow artists at Boulder Arts Week.

Boulder Arts Week showcases local arts organizations and artists doing what they do all year long, much as Denver’s version does every November — but Boulder is small enough to be able to host a free preview of the rush of art shows, performances and cultural events that will start officially on March 30. Have a brew and get a clue to what’s ahead at the Boulder Arts Week Warm-Up: Party With a Purpose on Friday, March 23, from 5:30 to 8 p.m. at Twisted Pine Brewing Company, 3201 Walnut Street in Boulder. The preview includes performances by Orbiting Olympia, Betsy Tobin’s Now or Never Theatre and the Blue Moon Dance Company, as well as a hand-printed card demo by Black Dog Press. A portion of all drink proceeds will benefit Boulder Arts Week; learn more at boulderartsweek.org.

Saturday, March 24

Give winter a proper sendoff when the Left Hand Brewing Foundation brings Hops + Handrails Beer Fest & Rail Jam back to Longmont’s Roosevelt Park, 700 Longs Peak Avenue, for a sixth round. The fun begins at noon Saturday, March 24, with a forty-foot-high snowboard ramp and rail-jam competition; watch the action while sipping unlimited samples from more than 55 breweries, then rock out to a concert by Karl Denson’s Tiny Universe. On Sunday, March 25, the focus will be on family activities — and beer, of course — from noon to 4 p.m. Tickets range from $10 to $125 for the complete experience; get them at lhbfoundation.org/hops-handrails.

Master storyteller Luis Alberto Urrea often writes about life in the borderlands in books ranging from The Devil’s Highway, his fact-based story about a border crossing by 26 desperate men in the desert between Mexico and Arizona, to The Hummingbird’s Daughter and its sequel Queen of America, a two-part fictionalization of his own great-aunt Teresa’s journey from a dirt-packed village in Mexico to New York City. His latest novel, The House of Broken Angels, travels along the border, too, homing in on a Mexican-American family gathering at a dying patriarch’s home in San Diego to explore the clan’s cultural transition from life in Mexico to American ways. Urrea will discuss and sign The House of Broken Angels at 7 p.m. Saturday, March 24, at the Tattered Cover Book Store, 2526 East Colfax Avenue. Admission is free, and copies of the book will be available for $27; get more info at tatteredcover.com.

While gallery exhibits abound during Denver Month of Printmaking 2018, the Mo’Print Studio Tour on Saturday, March 24, is a chance to meet, watch and buy from artists at work in their own studios and spaces. A complete listing of participating locations with an interactive map on the Mo’Print home page lets you plan your itinerary from 10 a.m. to 4 p.m. After that, head to Ink Lounge, a one-stop working screen-printing center at 29 South Fox Street, where from 5 to 8 p.m. the Ink Mixer will allow printmakers from all over the area to kick back with the public over adult beverages and snacks. Ink Lounge will unveil its own Mo’Print show, Embrace the Charm, a celebration of screen-printing, during the mixer. It’s all free; learn more at moprint.org.

Artists, friends, family and neighbors will come together on Saturday, March 24, for the Gathering for the Greater Good hosted by the All Sacred Foundation at Cluster Event Studios, 3881 Steele Street. From noon until 6 or 7 p.m., there will be tattooing along with live painting, photography, tarot-card readings, vendors (including a Ritualcravt pop-up shop) and a raffle spotlighting those vendors. Then the party gets really arty with live music by GriZ at 8 p.m.; get tickets for the show at mynameisgriz.com. Admission to the daytime event is free; proceeds from activities and services benefit a variety of worthy organizations, including Art From Ashes and Rainbow Bridge. Find out more about the Gathering at allsacred.com/foundation.

Sunday, March 25

It’s fitting that the day after the March for Our Lives, one of the leading activists of the ’60s will call a new generation to action. Rennie Davis, a founder of Students for a Democratic Society, co-organizer of the 1968 demonstrations at the Democratic National Convention and a member of the legendary Chicago Seven, today runs the Foundation for a New Humanity from his home in Longmont. He also has a new memoir, The New Humanity: A Movement to Change the World, which he’ll talk about at 2 p.m. on Sunday, March 25, at Shining Lotus Metaphysical Bookstore, 2553 South Colorado Boulevard. Admission is free; find out more at shininglotus.com.

Fashion illustrator Jim Howard made his name rendering sleek advertising campaigns for Neiman Marcus in the ’50s, then continued to follow changing styles and high couture with pen and ink through the ’80s as a freelancer. The Denver Art Museum will celebrate Howard’s trendy legacy with a new exhibit, Drawn to Glamour: Fashion Illustrations by Jim Howard, which captures his career with more than 100 works on paper. To tie its own collection into the show, the museum will bring out a selection of illustrated treasures from the archives. Drawn to Glamour opens on Sunday, March 25, and runs through July 22 on the second level of the DAM’s Hamilton Building, 100 West 14th Avenue Parkway. The exhibit is included in the museum admission price of $8 to $13 (those eighteen and under get in free); visit denverartmuseum.org for details.

The Wit theater troupe returns with another round of Shakesbeer, presenting a play absolutely, 100 percent written by Shakespeare (maybe) in a bar, with a cast of actors who drink both on and off stage. This time, the show is the oft-disregarded tale of Arden of Faversham and, as the producer notes, "It takes a village to kill a husband." The Wit’s Shakesbeer & Woods Boss Brewing will present this frothy comedy in a free performance at 5 p.m. Sunday, March 25, at Grandma’s House, 1710 South Broadway; it repeats there at 7 p.m. March 29, then moves on to Woods Boss Brewing for free shows in April. Find out more at shakes.beer.

Fia NyXX brings soul, emotional depth and a sense of history to dance-pop music with her Motown-inspired yet utterly unique sound. After touring internationally with girl group SHE, NyXX is branching out on her own with her debut full-length, Everything Girl, which was recorded at the storied FAME Studios in Muscle Shoals, Alabama. Celebrate the album’s arrival when NyXX comes to Denver for the Everything Girl Launch Party, which kicks off at 7 p.m. Sunday, March 25, at the Clocktower Cabaret, 1601 Arapahoe Street. Tickets are $20 to $30 at clocktowercabaret.com.

Monday, March 26

If civic leaders haven’t spoiled human contact for you with all their headline-making unwanted advances and you still want a hug, British artist Stuart Semple and the Denver Theatre District are collaborating on a bi-national Hug Huddle, which will give people in Denver and London the opportunity to hug a stranger — consensually. "I’m really excited for the Hug Huddle, and can’t wait for friends in London and Denver to come together and share what I hope will be a happy and uplifting moment,” says Semple. The Mile High portion of this free event will take place from 10:30 to 11:30 a.m. Monday, March 26, in the Galleria at the Denver Performing Arts Complex. For more information, visit facebook.com/artscomplex.

In order for an event to be considered for the 21 Best Events This Week, we need information at least three weeks in advance of the vent. Send it to [email protected].

Source Article

The post The 21 Best Events in Denver, March 20-26 appeared first on MASK CONTROL.

Read full post at: http://www.maskcontrol.com/the-21-best-events-in-denver-march-20-26/

0 notes

alterna2mag · 7 years

Text

Cønjuntø Vacíø #5

04.11.2017 | La Capsa El Prat | ORganiza: Cønjuntø Vacíø

JOHN MAUS (synth-pop, USA)

Han pasado seis años desde que We Must Become The Pitiless Censors Of Ourselves parecía como un rayo de energía maniaca y despertaba el interés de todo el mundo. Después de girar con ese disco y lanzar una colección de rarezas y canciones inéditas, Maus se retiró del centro de atención público, volviendo a sus actividades académicas. Años más tarde, después de terminar su doctorado en Filosofía Política, empezó a construir sus propios sintetizadores modulares, grabando las placas de circuito impreso, soldando componentes y ensamblando paneles, hasta que tuvo un instrumento que igualaba su visión.

Su música es un algo altamente mutable. Aunque a menudo se describe como retro-futurista en nombre de las máquinas de ritmos de los años 80 y los sonidos de sintetizador empleados, la música de John es más personal que nostálgica. Está más interesado en buscar la cadencia, a través de su amor por la polifonía renacentista y la experimentación detrás del post punk. Es una amalgama de ideas musicales tan radical como su intención.

Screen Memories fue escrito, grabado y diseñado por Maus durante los últimos años en su hogar en Minnesota, conocido genialmente como Funny Farm. Es un lugar solitario situado en las llanuras del maíz del medio oeste americano rural. El paisaje es tan majestuoso como austero y, inevitablemente, las temperaturas del invierno bajo cero se deslizan en las canciones, al igual que las avispas zumbantes del verano.

John Maus presentará Screen Memories por primera vez en Barcelona acompañado de una banda en directo.

DREW MCDOWALL (industrial, experimental, USA)

Crecido en la Escocia de 1970, McDowall cambió la violencia diaria por el agresivo autoexpresionismo del punk, formando su propia banda en 1978 llamada The Poems con su entonces esposa Rose McDowall. Este proyecto le llevó amistarse con Genesis P-Orridge, David Tibet, e incontables otros personajes que habitaban el reverso escondido de la Inglaterra de finales de los 70 y principios de los 80, hasta que terminó formando parte de Psychic TV. Más tarde, McDowall se estableció como un miembro a tiempo completo del conjunto arcano y esotérico conocido como Coil. Su impacto en el sonido de Coil se hizo evidente a medida que los lanzamientos se transformaron de su primeriza firma avant pop a una imprenta electrónica más compleja, metódica y cada vez más abstrusa.

Más recientemente, Drew McDowall se encontró viviendo en la ciudad de Nueva York, donde comenzó a contribuir a la escena musical local. En 2011, junto a su amigo y colaborador Tres Warren (Psychic Ills), McDowall comenzó a explorar su pasión por el zumbido meditativo y los patrones de sonido abstractos en su proyecto Compound Eye. El trabajo de producción de McDowall también ha proporcionado al mundo de la música algunos de los remixes más sobresalientes para bandas como Nine Inch Nails, Azar Swan y Long Distance Poison.

Fuera de sus tareas colaborativas, McDowall se ha forjado un público como artista en solitario, estableciéndose como un eje clave en la música electrónica de Nueva York. Dais Records publicó su álbum de debut, titulado Collapse, en 2015, y recientemente ha editado Unnatural Channel, dos trabajos sobresalientes que ponen a Drew McDowall en el lugar que merece en la historia de la música electrónica experimental.

PUCE MARY (noise, industrial, Dinamarca)

Intimidantemente personal, aunque nunca permitiendo que la introspección se quede sin objetivo, Puce Mary logra honrar la historia de la música industrial y el noise mientras que simultáneamente la transforma. Su música es dura, pero la agresión de las composiciones nunca se siente innecesariamente exagerada o irrelevante.

Pese a su juventud, cuenta con una discografía impresionante y una sólida carrera en vivo. Puce Mary se ha manifestado como una voz clave en la nueva música electrónica experimental.

"The Spiral" es el tercer LP de Puce Mary para Posh Isolation. Sigue donde lo dejó con el aclamado "Persona" en 2014, vinculando al oyente con una estrecha red de sintetizadores agudos, percusión martilleante, voces oscurecidas, grabaciones de campo y ruido abrasador.

WIND ATLAS (post-punk, industrial, psych-folk, Barcelona)

"Lo que vi fue la vida mirándome".

Materia cruda e indefinida perfectamente construida. Lo grotesco se dejó ver. Una ficción como cualquier otra. Igual de real que cualquier otra. Notar lo extraño es hacer visible la descontextualización. La extrañeza nos hace conscientes de la construcción en la que todos participamos. Extrañarse es percibir y reconocer lo exagerado: comer con las dos manos, ir al pozo y encontrarlo seco, decir una palabra en voz alta estando solo. Wind Atlas presentan "Ostranenie", una obra compuesta expresamente para la quinta edición del festival Cønjuntø Vacíø.

CIARRA BLACK (techno, noise, USA)

Ciarra Black, creadora del sello No-Tech, es una productora y DJ establecida en Brooklyn, Nueva York. Nacida en Nueva Jersey, sus gustos iniciales estuvieron influídos por la escena musical local de la ciudad vecina, Filadelfia, asistiendo a conciertos de punk, noise y de música de baile desde muy jóven. Fue allí donde formó el dúo Appetite con Jane Chardiet y comenzó a tocar en los clubs más underground de la ciudad. Se trasladó a Nueva York en 2012, convirtiéndose rápidamente en una residente muy solicitada en lugares como el Bossa Nova Civic Club, el Trans Pecos, el Good Room y multitud de raves en Brooklyn. Sus sets de live hardware son genuinos paisajes sonoros improvisados - rítmicos y ruidosos, viscerales y embriagadores, canalizando sus influencias pasadas, presentes y futuras en un sonido que es verdaderamente suyo. Ha actuado en vivo en innumerables lugares, entre los que destacan MoMA PS1, el Museo de Bellas Artes de Boston, Smart Bar Chicago, Output e innumerables warehouses por todo Brooklyn - compartiendo cartel con artistas como Headless Horseman, Drew McDowall, Varg, Young Male, etc. El año pasado lanzó su álbum de debut, Pendulum (No-Tech), elogiado por The Quietus como "... más cercano a la electrónica vintage de Throbbing Gristle records que cualquier otra cosa" y de Adhoc como "... el power electronics y los ritmos de baile refinados se unen en un debut maduro y enfocado".

ACCIÓN DIPLOMÁTICA (synth-pop, Valencia)

'Detrás de toda acción diplomática hay siempre una guerra encubierta. Rosas para los valientes.' Tras "M" (Røam, 2015) y "Olympia" (Cønjuntø Vacíø, 2016), Acción Diplomática presentarán los temas de su primer larga duración en directo.

FATAMORGANA (synth / new wave / Barcelona)

Fatamorgana es un fenómeno de ilusión óptica que aparece en el horizonte o en el desierto. Los objetos lejanos aparecen reflejados en una superficie lisa como si se estuviera contemplando una superficie líquida que, en realidad, no existe. Creada por la reflexión total de la luz al atravesar capas de aire caliente de diferente densidad provoca la percepción de la imagen invertida.

En el Cønjuntø Vacíø #5, Fatamorgana aparecerá y fluirá en su nueva forma por primera vez. Con sonidos oníricos de sintetizadores, voces circulando alrededor de los ritmos bailables os invitará a contemplar y moverse.

Entradas: https://entradium.com/entradas/conjunto-vacio-john-maus-tba

#NOTICIAS

0 notes

larryland · 7 years

Text

Pittsfield, MA– Berkshire Theatre Group (BTG) presents Pulitzer Prize-winning American playwright, Edward Albee’s (Who’s Afraid of Virginia Woolf? and The Goat, or Who is Sylvia?), At Home at the Zoo (Zoo story), directed by Eric Hill (BTG: The Homecoming, Thoreau or, Return to Walden; Poe), and featuring David Adkins (BTG: Thoreau or, Return to Walden; Poe), Joey Collins (The Glass Menagerie; BTG: The Homecoming) and Tara Franklin (BTG: The Homecoming, Lion in Winter, Equus). At Home at the Zoo (Zoo story) runs from July 19 through August 26 at The Unicorn Theatre in Stockbridge, MA. Opening night is set for Saturday, July 22.

David Adkins as Peter

Joey Collins as Jerry

Tara Franklin as Ann

Written by Pulitzer Prize-winning American playwright, Edward Albee (Who’s Afraid of Virginia Woolf? and The Goat, or Who is Sylvia?), At Home at the Zoo (Zoo story) delves deep into the complex nature of human loneliness and social disparity. Set in New York City, Act 1, Homelife opens with a look inside the isolated marriage of wealthy textbook company executive, Peter, played by David Adkins, and his articulate, Upper East Side wife, Ann, played by Tara Franklin. Unable to communicate their feelings to each other, the foundation of their marriage is built on unspoken agreements. Somehow, they find comfort in their boring relationship, yet, they are never truly on the same page. Act 2, The Zoo Story, follows Peter to Central Park. While sitting on a park bench, Peter encounters forlorn and forsaken stranger, Jerry, played by Joey Collins. This stranger, who appears desperate for human contact and connection, forces Peter to listen to his stories, as he digs deep into Peter’s life, and his own.

Director Eric Hill says, “I was inspired by the opportunity to work on The Zoo Story again after many years, and to explore the new Albee one-act that is the first half of this evening (Homelife), to create Edward Albee’s At Home at the Zoo (Zoo story). This new piece not only provides a brilliant backstory to The Zoo Story, but it also stands alone as a vintage piece of Albee, with all the gender tension of his great plays.” In a 2011 interview with The Boston Globe, playwright Edward Albee states, “The Zoo Story is a good play…But it’s a play with one and a half characters. Jerry is a fully developed, three-dimensional character. But Peter is a backboard. He’s not fully developed. Peter had to be more fleshed out,’’ he continues, “it took me several years to get back to doing the proper first act, but it only took me a few weeks to write.’’

Tickets may be purchased in person at the Colonial Ticket Office at 111 South Street, Pittsfield; at the Fitzpatrick Main Stage Ticket Office at 83 East Main Street, Stockbridge; by calling (413) 997-4444 or online at www.BerkshireTheatreGroup.org. Ticket Offices are open Monday–Saturday10am-5pm, Sunday 10am-2pm or on any performance day from 10am until curtain. All plays, schedules, casting and prices are subject to change.

Edward Albee’s At Home at the Zoo (Zoo story) by Edward Albee directed by Eric Hill with David Adkins, Joey Collins and Tara Franklin

at The Unicorn Theatre The Larry Vaber Stage BTG’s Stockbridge Campus, 6 East Street

Previews: Wednesday, July 19 through Friday, July 21 Press Opening/Opening Night: Saturday, July 22 at 8pm Talkback: Monday, July 24 after 7pm performance Closing: Saturday, August 26 at 8pm Tickets: Preview: $47 Tickets: $52 Sponsored by: Lead Sponsor, Bobbie Hallig; The Shubert Foundation; Furlano and Arace, PC; and Massachusetts Cultural Council

BIOS:

Eric Hill (Director) in his forty-year career, Eric has worked as an actor, director, writer and producer. He has served as the Artistic Director of StageWest in Springfield, MA; the Founding Artistic Director of the Blue Hill Performance Ensemble in Stockbridge, MA; and, for the past twenty years, an Artistic Associate with Berkshire Theatre Group in Stockbridge and Pittsfield, MA. Productions at BTG include: The Homecoming by Harold Pinter, Thoreau or, Return to Walden by David Adkins; Poe by Eric Hill; Benefactors by Michael Frayn; Macbeth by William Shakespeare; Endgame by Samuel Beckett; Faith Healer by Brian Friel; The Einstein Project by Jon Klein and Paul D’Andrea; Amadeus by Paul Schaeffer; The Glass Menagerie by Tennessee Williams; and The Caretaker by Harold Pinter. Eric has acted in several roles at BTG, including eleven performances as Ebeneezer Scrooge in his own adaptations of Charles Dickens’ A Christmas Carol. Eric served as the Director of Performance at the University of Connecticut, as well the Sachar Chair of Theater at Brandeis University. He worked for over a decade with Japanese experimental director Tadashi Suzuki and the Suzuki Company of Toga, Japan. He is married to Artistic Director, Kate Maguire.

David Adkins (Peter) has performed in over 20 productions at the Berkshire Theatre Group where he is an Artistic Associate, has worked on and off Broadway, and in resident theaters across the country. He’s also guest starred extensively on television most recently on Blacklist, Homeland, The Good Wife, The Americans, Happy-ish and more. Joey Collins (Jerry) BTG: The Homecoming. Broadway: The Glass Menagerie, Rock n’ Roll and The Lonesome West. Off-Broadway: Straight Faced Lies, St. Joan of the Stockyards, Vieux Carré, Bug, Beasley’s Christmas Party, Gross Indecency: The Three Trials of Oscar Wilde, Apartment 3A, The Antigone Project. World Premieres: Mark St. Germain’s Scott & Hem at Contemporary American Theater Festival & Barrington Stage; Custody of the Eyes, by Anthony Giardina at Cleveland Playhouse; Beat Generation, the lost play by Jack Kerouac and Oceanside, by Nick Gandiello, Merrimack Rep. Regional theaters: Rep. Theatre of St. Louis, Triad Stage, Berkeley Rep.,Yale Rep., Pioneer Theatre, The Old Globe, Cape Playhouse, A.C.T. in San Francisco, Cincinnati Playhouse and others. Film: Dottie’s Thanksgiving Pickle with Olympia Dukakis, Bittersweet, The Number 36, Double Take. Television: Law and Order, Kidnapped, All My Children, Guiding Light, As the World Turns. www.joeycollins.net @MrJoeyCollins Tara Franklin (Ann) BTG credits include: The Homecoming, Mary & Edith, The Lion In Winter, The Puppetmaster of Lodz, Birthday Boy, The Guardsman, Ghosts, A Man For All Seasons, Educating Rita, Amadeus, Equus, The Misanthrope, Peter Pan, Dimetos and A Dream Play. Off Broadway: Sleep No More (Punchdrunk). Regional: Sister Play (Chester Theatre), Burning Desire (Seven Angels), Henry V, Love’s Labors Lost, King Lear, Much Ado About Nothing, Hamlet and A Midsummer Night’s Dream (Nebraska Shakespeare Festival), Translations, The Trojan Women, Red Noses and Misalliance (Connecticut Repertory Theatre), The Manuscript Found in Saragossa (Lookingglass Theatre Company) and Gravid Water (Improv Olympic). Film: Labor Day. Tara holds a BFA from NYU’s Tisch School of the Arts and an MFA from the University of Connecticut.

About Berkshire Theatre Group

The Colonial Theatre, founded in 1903, and Berkshire Theatre Festival, founded in 1928, are two of the oldest cultural organizations in the Berkshires. In 2010, under the leadership of Artistic Director and CEO Kate Maguire, the two organizations merged to form Berkshire Theatre Group (BTG). Berkshire Theatre Group’s mission is to support wide ranging artistic exploration and acclaimed performances in theatre, dance, music and entertainment. Every year, BTG produces and presents performances to over 68,000 attendees and, through our Educational Program, serves over 13,000 Berkshire County schoolchildren annually. BTG’s celebrated stages reflect the history of the American theatre; they represent a priceless cultural resource for the community.

Edward Albee’s “At Home at the Zoo (Zoo Story)” Opens in Stockbridge Pittsfield, MA– Berkshire Theatre Group (BTG) presents Pulitzer Prize-winning American playwright, Edward Albee's (Who’s Afraid of Virginia Woolf?

#At Home at the Zoo #At Home at the Zoo (Zoo story)#Berkshire Theatre Group #BTG #David Adkins #Edward Albee #Eric Hill #Joey Collins #Kate Maguire #Larry Vaber Stage #Stockbridge MA #Tara Franklin #Unicorn Theatre #Zoo Story

0 notes

nwbeerguide · 5 years

Text

The Tumwater Downtown Association and sponsor O Bee Credit Union host the 7th Annual Tumwater Artesian Brewfest

Press Release

Visit our Premier Sponsor O Bee Credit Union, the original credit union of the Olympia Brewery, to pick up your famous Brewhouse tee. 100% of proceeds benefit the Olympia Tumwater Foundation.

For more information, please contact Tumwater Parks and Recreation: (360) 754-4160. More details available online: www.tumwaterartesianbrewfest.com.

from News - The Northwest Beer Guide http://bit.ly/2GiN7xc

#Beer #News #Brewery

0 notes