tag:blogger.com,1999:blog-80919408482635044352024-02-07T08:49:35.176-05:00WAX WROTHtactfully ruthlessBrianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.comBlogger120125tag:blogger.com,1999:blog-8091940848263504435.post-60733089353878648202013-10-21T17:53:00.003-04:002013-10-21T17:53:48.623-04:00Wax Wroth has movedWax Wroth has moved from this site to http://waxwroth.wordpress.com/. <a href="http://waxwroth.wordpress.com/">Go there now</a>.Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-77918245590606748742013-10-15T10:06:00.003-04:002013-10-15T10:08:15.450-04:00You're Playing It Wrong online<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNrfhdX68DMkzjmS0OgmVBThakKJ5V56ic1peEY6aWxtWxsjkPidKGem2Q_BZbI25Y9En7qR3NxJA8TogP_aPgpF2Xt4PviX541pQefsjE8kgX0ssGsKHWGR20xW4d2YyJ-I9fbCnRAnWY/s1600/Wiibelisk-610x343.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNrfhdX68DMkzjmS0OgmVBThakKJ5V56ic1peEY6aWxtWxsjkPidKGem2Q_BZbI25Y9En7qR3NxJA8TogP_aPgpF2Xt4PviX541pQefsjE8kgX0ssGsKHWGR20xW4d2YyJ-I9fbCnRAnWY/s320/Wiibelisk-610x343.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Illustration by MARSH DAVIES</td></tr>
</tbody></table>
For more than two years now, I've been writing a parody column on video games, gaming culture and game journalism, called "You're Playing It Wrong," for <a href="http://edge-online.com/">Edge Magazine</a>. Appearing every month in print, some of the columns are posted online sporadically, where I'm always struck by how different they feel, outside the hermetic context of the magazine.<br />
<br />
All my friends who know me as a music and arts guy are kind of baffled by them. The references are very arcane, though the second entry on the list below might actually be suitable for gen-pop! It's probably the most fun thing I get to do.<br />
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Here's a selection of newer columns that have gone online, with, as always, pitch-perfect illustrations by the incomparable <a href="http://www.marshdavies.com/">Marsh Davies</a>.<br />
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<a href="http://www.edge-online.com/features/youre-playing-it-wrong-misunderstood-genius-trent-trout-quits-the-industry/">Trent Trout Rage Quits the Industry</a><br />
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<a href="http://www.edge-online.com/features/youre-playing-it-wrong-the-debut-column-from-edge-issue-one/">Edge's 20th Anniversary Issue</a><br />
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<a href="http://www.edge-online.com/features/youre-playing-it-wrong-exploding-the-happy-gaming-family-myth/">Meet the Galoresbys</a><br />
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<a href="http://www.edge-online.com/features/youre-playing-it-wrong-yoshidas-makeover-and-sonys-new-indie-submissions-process/">Sony Courts Indie Developers</a><br />
<br />
<br />Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-86957697402837758712013-10-15T09:00:00.000-04:002013-10-15T09:01:09.139-04:00Going Deep into the "Uncanny Valley"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDGmXa3DfjgkrT913mmc1OukALg-WM-s3k9xe0Smy5cLYcd9KGysOoW9lBIBwxjGA1KOiNvtsKPT78bSSz3XdRIA3qNghWhDWZ4q69zWC5lY9UJjEcBS-iz2VjYUqoJCWePv-hBsxzpEU/s1600/Uncanny_Valley_02_web_crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDGmXa3DfjgkrT913mmc1OukALg-WM-s3k9xe0Smy5cLYcd9KGysOoW9lBIBwxjGA1KOiNvtsKPT78bSSz3XdRIA3qNghWhDWZ4q69zWC5lY9UJjEcBS-iz2VjYUqoJCWePv-hBsxzpEU/s320/Uncanny_Valley_02_web_crop.jpg" width="320" /></a></div>
No, not the heartbreakingly terrible new reunion album from a beloved post-punk band, but the <a href="http://www.uncannyvalleyplay.com/">compelling experimental play at UNC starring a real robot</a>. Most impressive was how director <a href="http://www.ibiblio.org/talenti/">Francesca Talenti</a> was able to plumb below what could have been a sheer gimmick to unearth a lingering emotional resonance. I didn't simply ponder what it meant for a robot to be human. For awhile, I believed.<br />
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Read my thoughts on <i>The Uncanny Valley </i><a href="http://www.indyweek.com/artery/archives/2013/10/13/i-and-robot-in-at-unc">at the INDY's Artery blog</a>.Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-24838419716402022102013-08-21T13:22:00.000-04:002013-08-21T13:22:39.301-04:00Laura Ballance feature in the INDY<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhia7Z3j7x1hfXjAiu8BSTq6sgJ32PH21vZh0EkaYMwz004r1Gv0gkzcAu4xZyRv14exwEl5LrZLWZl8CEnkg2k5yPv5dy6XDywDSNmASACIJ-8tpW_33VDP7zYRRH9GMVWMhxK7onaxYy/s1600/Superchunk+by+Jason+Arthurs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhia7Z3j7x1hfXjAiu8BSTq6sgJ32PH21vZh0EkaYMwz004r1Gv0gkzcAu4xZyRv14exwEl5LrZLWZl8CEnkg2k5yPv5dy6XDywDSNmASACIJ-8tpW_33VDP7zYRRH9GMVWMhxK7onaxYy/s320/Superchunk+by+Jason+Arthurs.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">photo: Jason Arthurs</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
Many thanks to Laura Ballance of Merge Records and Superchunk for letting me put her in the spotlight she does not savor for this long <a href="http://www.indyweek.com/indyweek/superchunk-bassist-and-merge-co-founder-laura-ballance-bows-out-of-touring-not-out-of-the-music-that-empowered-her/Content?oid=3700553">INDY Week feature</a>, which spans her entry into the North Carolina music scene and her recent retirement from touring after 25 years.Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-40115545594820782022013-07-13T09:54:00.001-04:002013-07-13T09:54:53.266-04:00New Poem in Coconut<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNhVTEM_gES65TmegDu-Uj3GKABFo4nadfiU5idLC0T8zOzjXnKsqg9eROZIxGtJm3uUy2C7Mn22NajtoSlkgGBm7ETFT2LhaSN1qcACTouILbX9VhD7abn1k7bTo1hq35r4k-4qmgi31/s1600/coconut.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNhVTEM_gES65TmegDu-Uj3GKABFo4nadfiU5idLC0T8zOzjXnKsqg9eROZIxGtJm3uUy2C7Mn22NajtoSlkgGBm7ETFT2LhaSN1qcACTouILbX9VhD7abn1k7bTo1hq35r4k-4qmgi31/s200/coconut.jpg" width="141" /></a></div>
The new issue of one of my favorite journals, <i>Coconut</i>, is <a href="http://coconutpoetry.org/contents17.html">online now</a>, and I'm honored that it includes my poem "Sauceware," which you can <a href="http://www.coconutpoetry.org/howe17">read here</a>. Alongside the likes of Joe Wenderoth and Caroline Knox! Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-31209291860131318962013-06-29T08:48:00.000-04:002013-06-29T08:48:39.733-04:00"Twelve Tones" by Vi HartHilarious head-cracking brilliance. It was somewhere between "a lovely burnt umber Segway" and calling Stravinsky a "horse-faced fascist" that I started to research cyber-stalking penalties: <br />
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<iframe allowfullscreen="" frameborder="0" height="281" src="//www.youtube.com/embed/4niz8TfY794?rel=0" width="500"></iframe>Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-85407457783366285772013-06-26T11:29:00.001-04:002013-06-26T11:49:14.707-04:00Pam Saulsby Profile in INDY Week<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuOeILsaA14Kk-cC0yj27claAh_Dzu0fYgW7l-ZgkLNe77iuB_0pWR36SeNREvLYEAMPlLgLInIOL87H-xoHL4i0xYHMb2jMQrFeTWHkVU0JZIopSO41q5Kjl1IG1H4n_U6-M6VkXvvWPv/s1600/6.26-cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuOeILsaA14Kk-cC0yj27claAh_Dzu0fYgW7l-ZgkLNe77iuB_0pWR36SeNREvLYEAMPlLgLInIOL87H-xoHL4i0xYHMb2jMQrFeTWHkVU0JZIopSO41q5Kjl1IG1H4n_U6-M6VkXvvWPv/s400/6.26-cover.jpg" width="381" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">cover photo by Jeremy M. Lange</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
I wrote the cover story for this week's INDY, learning about "the struggle" of local celebrity newscaster Pam Saulsby, whom I grew up watching on WRAL, after she was fired from that job before landing at WNCN one tumultuous year later. <a href="http://www.indyweek.com/indyweek/the-struggle-through-trial-and-travail-newscaster-and-singer-pam-saulsby-enters-a-second-act/Content?oid=3662612">Read it here</a>. Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-43212821601874888772013-06-16T10:11:00.001-04:002013-06-16T10:11:48.496-04:00"Ludic" in Drunken BoatThe <a href="http://www.drunkenboat.com/db17/">latest issue of Drunken Boat</a> is online and includes a track from <a href="http://glossolalia.bandcamp.com/album/the-lions-face"><i>The Lion's Face</i></a>, my sound collaboration with the poet <a href="http://www.argotistonline.co.uk/LIGHT%20ON%20THE%20LIONS%20FACE.pdf">Tim Van Dyke</a>.<br />
<br />
Listen to "Ludic" <a href="http://www.drunkenboat.com/db17/brian-howe-tim-van-dyke">here</a>.Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-64078568111569419822013-06-14T10:41:00.000-04:002013-06-14T11:55:52.874-04:00"That's So Durham!"<!--[if gte mso 9]><xml>
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Last night I was alone on Parrish Street, waiting. I stood
under a streetlight, yo-yo-ing. It was very misty and cool. Out in the country,
the storms had felled trees, but the city just looked washed. Eventually a
couple walked by on the other side of the street. “A guy with a yo-yo,” the
woman cried out, half to the man and half to me. “<i style="mso-bidi-font-style: normal;">That’s so Durham</i>!” She seemed really thrilled. I smiled agreeably
and made some jokes about a sitcom called “That’s So Durham!” The couple
continued to scroll by throughout this exchange, never breaking stride. The
yo-yo cascaded down and reeled back up, went out seeking and brought something
back. Suddenly it felt like a fishing line in my hand. The street was always between us but Parrish is not wide. We wished each
other good night as they flowed out of earshot, although a conclusive roar of “I
love Durham!” could be heard down the block. There was a strange vividness to
the moment. I had brought my yo-yo with me just to impose some buoyancy on one
of those days where a lot of weightless moments had somehow accumulated into an
oppressive ton. But it wound up opening this other door too, this other
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serendipitous vantage. It felt good to momentarily slip out of my perspective and
feel myself as a feature in a tableau—some rare local bird, an image with a
thought buried somewhere deep inside, a no-doubt dramatic to behold silhouette yo-yo-ing
in a circle of light on a dark empty street. I didn’t have the heart to tell
her I live in Chapel Hill.</div>
Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-951535765215667052013-06-12T15:45:00.000-04:002013-06-12T15:45:24.250-04:00Wax Wroth Reading Series #6: kathryn l. pringle + Tons of Peeps<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG8Osk0SazaDsMFyZDE8i1h7nm50I3Ow920UNvNVB0W17nfJsyQsthIZoqru5RpTJGGUvE4nw7WPMtg7Q5Idwl7oWkfHqWqpP4gmcr10YTXWzZI3ynOtoI5QRQ5kYWis-ycYltJX6PRfM5/s1600/Fault+Tree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG8Osk0SazaDsMFyZDE8i1h7nm50I3Ow920UNvNVB0W17nfJsyQsthIZoqru5RpTJGGUvE4nw7WPMtg7Q5Idwl7oWkfHqWqpP4gmcr10YTXWzZI3ynOtoI5QRQ5kYWis-ycYltJX6PRfM5/s320/Fault+Tree.jpg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;">i’m not saying this to
scare you but goodbye.</i></div>
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—from “fault tree” by kathryn l. pringle</div>
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Continuing its long, slow trek through Triangle cafes,
art-spaces and gutted garages, the Wax Wroth Reading Series returns in a new
location—<a href="http://thecarrack.org/">The Carrack Modern Art</a>, Durham’s
premier zero-commission gallery—to welcome award-winning poet <a href="http://kathrynlpringle.blogspot.com/"><b style="mso-bidi-font-weight: normal;">kathryn l. pringle</b></a> back to Durham. </div>
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<a name='more'></a>kate cruelly broke our hearts when she moved to California a
couple years ago but then crazy-glued them back together upon recently
returning, somehow even doper and more famous than before. This headlining
reading will be her first in the Triangle since reclaiming it as home.
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The opening readers include a rogue’s gallery of old pringle
pals and conspirators: <a href="http://shirletteammons.com/">Shirlette Ammons</a>,
<a href="http://waxwroth.blogspot.com/">Brian Howe</a>, <a href="http://www.poetrysociety.org/psa/poetry/crossroads/new_american_poets/fred_moten/">Fred
Moten</a>, <a href="http://boyishly-tanya.blogspot.com/">Tanya Olson</a>, <a href="http://www.blogger.com/artofsalvage.tumblr.com">Dianne Timblin</a>, <a href="http://soandsomag.org/">Chris Tonelli</a>, and <a href="https://ahsahtapress.org/product/chris-vitiello-2/">Chris Vitiello</a>. <i style="mso-bidi-font-style: normal;">Damn</i>! you must be thinking. <i style="mso-bidi-font-style: normal;">That’s a lot of poets. </i>(It is!) But
don’t despair. Before kate gives an ample 20-minute-ish reading, each opening poet
will offer just 5 to 7 minutes of their hottest verses, back to back. That
means you get to hear eight local poets in the same time usually allotted to
two or three.</div>
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The Carrack’s doors will open at 7:30 on June 27, with the
readings starting promptly at 8. </div>
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<b><u>Quick Facts</u></b></div>
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What: Poetry reading</div>
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Who: <span style="mso-bidi-font-weight: bold;">kathryn l.
pringle</span> & <span style="mso-bidi-font-weight: bold;">peeps</span></div>
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When: Thursday, June 27, 2013, 7:30<span style="mso-spacerun: yes;"> </span></div>
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Where: The Carrack Modern Art (111 W Parrish St. / <a href="http://thecarrack.org/">thecarrack.org</a>)</div>
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Why: To welcome kate back to Durham</div>
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Organizer: Brian.G.Howe@gmail.com</div>
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Afterparty: Some nearby bar or another</div>
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<b style="mso-bidi-font-weight: normal;"><u>Reader Bios</u></b></div>
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<b style="mso-bidi-font-weight: normal;">kathryn l. pringle</b> is the
author of <i style="mso-bidi-font-style: normal;">fault tree</i>, which was
selected by C.D. Wright and a Lambda Literary Award finalist. Other works
include <i style="mso-bidi-font-style: normal;">RIGHT NEW BIOLOGY </i>(Heretical
Texts/Factory School), <i style="mso-bidi-font-style: normal;">The Stills</i>
(Duration Press), and <i style="mso-bidi-font-style: normal;">Temper and Felicity
are Lovers</i> (TAXT). Poems and prose can be found in <i style="mso-bidi-font-style: normal;">Denver Quarterly</i>, <i style="mso-bidi-font-style: normal;">Fence</i>, <i style="mso-bidi-font-style: normal;">Phoebe</i>, <i style="mso-bidi-font-style: normal;">horse less review</i>, and other journals. Her work has also been
included in <i style="mso-bidi-font-style: normal;">Conversations at the Wartime
Cafe: A Decade of War</i> (WODV Press), <i style="mso-bidi-font-style: normal;">I’ll
Drown My Book: Conceptual Writing by Women</i> (Les Figues), and <i style="mso-bidi-font-style: normal;">The Sonnets: Rewriting Shakespeare</i>
(Nightboat Books). In 2013, she was the very grateful recipient of a gift from
the Fund for Poetry. <a href="http://kathrynlpringle.blogspot.com/">kathrynlpringle.blogspot.com/</a></div>
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<b style="mso-bidi-font-weight: normal;">Shirlette Ammons </b>is
an award-winning Durham-based poet and Mt. Olive native who also directs a
youth arts program. Her most recent projects include <i style="mso-bidi-font-style: normal;">Twilight for Gladys Bentley</i>, her debut solo album released on Grip
Tapes Records; <i style="mso-bidi-font-style: normal;">And Lovers Like</i>, a
self-released collaborative album with the Dynamite Brothers; and <i style="mso-bidi-font-style: normal;">Matching Skin feat. the John Anonymous EP</i>,
a collection of poetry published by Carolina Wren Press. If you see her in the
street, ask her about Bentley Mode. <a href="http://shirletteammons.com/">shirletteammons.com/</a></div>
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<b style="mso-bidi-font-weight: normal;">Brian Howe </b>is the
organizer of the reading. His poetry and sound-art can be found in <i style="mso-bidi-font-style: normal;">Coconut</i>, <i style="mso-bidi-font-style: normal;">Effing Magazine, Cannibal, Drunken Boat, Esque, So and So, horse less,
Apocryphal Text</i>, and others, plus in three chapbooks: <i style="mso-bidi-font-style: normal;">Guitar Smash </i>(3rdness Press), <i style="mso-bidi-font-style: normal;">This
is the Motherfucking Remix</i> (with Marcus Slease; Scantily Clad), and <i style="mso-bidi-font-style: normal;">Foreign Letter </i>(Beard of Bees). He works
as a freelance arts and culture journalist at <i style="mso-bidi-font-style: normal;">Pitchfork</i>, <i style="mso-bidi-font-style: normal;">INDY Week</i>, <i style="mso-bidi-font-style: normal;">Edge Magazine</i>, <i style="mso-bidi-font-style: normal;">eMusic</i>, and elsewhere. <a href="http://waxwroth.blogspot.com/">waxwroth.blogspot.com/</a></div>
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<b style="mso-bidi-font-weight: normal;">Fred Moten: </b>Fred
Moten lives in Durham. His latest book of poetry, <i style="mso-bidi-font-style: normal;">The Feel Trio</i>, will be out this Fall. </div>
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<b style="mso-bidi-font-weight: normal;">Tanya Olson </b>lives
in Durham and teaches at Vance-Granville Community College. Her first
book, <i style="mso-bidi-font-style: normal;">Boyishly</i>, was published by
YesYesBooks in 2013. Her work has appeared in <i style="mso-bidi-font-style: normal;">Boston Review</i>, <i style="mso-bidi-font-style: normal;">Beloit Poetry
Review</i>, <i style="mso-bidi-font-style: normal;">Southword</i> (IRL), <i style="mso-bidi-font-style: normal;">PANK</i>, <i style="mso-bidi-font-style: normal;">Cairn</i>, <i style="mso-bidi-font-style: normal;">Fanzine</i>, <i style="mso-bidi-font-style: normal;">Bad Subjects</i>, <i style="mso-bidi-font-style: normal;">Main Street Rag</i>, <i style="mso-bidi-font-style: normal;">Pedestal
Magazine</i>, <i style="mso-bidi-font-style: normal;">Elysian Fields</i>,
and <i style="mso-bidi-font-style: normal;">Southern Cultures</i>. In
2010, she won a Discovery/Boston Review prize and was named a 2011 Lambda
Fellow by the Lambda Literary Foundation. <a href="http://boyishly-tanya.blogspot.com/">boyishly-tanya.blogspot.com/</a></div>
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<b style="mso-bidi-font-weight: normal;">Dianne Timblin </b>lives,
writes, and edits in Durham. Her poetry has appeared or is forthcoming in <i style="mso-bidi-font-style: normal;">Talisman, Phoebe, So and So, Fringe,
Rivendell, Fanzine,</i> and <i style="mso-bidi-font-style: normal;">Foursquare</i>,
among others, and has been translated into Spanish for the Venezuelan literary
blog Eternal Typewriter. Her chapbook <i style="mso-bidi-font-style: normal;">A
History of Fire</i> was recently published by Three Count Pour, and her ongoing
series of lo-fi collages can be found on her blog, Art of Salvage. <a href="http://www.artofsalvage.tumblr.com/">artofsalvage.tumblr.com/</a></div>
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<b style="mso-bidi-font-weight: normal;">Chris Tonelli</b> works
in the Libraries at NC State and co-owns So & So Books in downtown Raleigh,
where he lives with his wife, Allison, and their two kids, Miles and Vera. He
is a founding editor of the independent poetry press, Birds, LLC, and he
curates the So & So Series and edits <i style="mso-bidi-font-style: normal;">So & So Magazine</i>. His first full-length collection is <i style="mso-bidi-font-style: normal;">The Trees Around</i> (Birds, LLC), and
his fifth chapbook, <i style="mso-bidi-font-style: normal;">Increment</i>,
is due out any second now from Rye House Press. <a href="http://soandsomag.org/">soandsomag.org/</a></div>
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<b style="mso-bidi-font-weight: normal;">Chris Vitiello</b>
lives in Durham with his two daughters. His most recent poetry book is <i style="mso-bidi-font-style: normal;">Obedience</i> (Ahsahta, 2012), a doubled
aphoristic series within two front covers. Other books include <i style="mso-bidi-font-style: normal;">Irresponsibility</i> (Ahsahta, 2008) and <i style="mso-bidi-font-style: normal;">Nouns Swarm A Verb</i> (Xurban, 1999). He is
a freelance arts, performance, and hockey writer for various newspapers, magazines,
and blogs, and is a chief contributor at <i style="mso-bidi-font-style: normal;">INDY
Week</i>. He also performs original toy theater, and writes custom poems at
public events as the Poetry Fox. <a href="https://ahsahtapress.org/product/chris-vitiello-2/">ahsahtapress.org/product/chris-vitiello-2/</a></div>
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<b style="mso-bidi-font-weight: normal;"><u>About the Carrack
Modern Art</u></b></div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">From the Carrack’s
website</i></div>
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<br /></div>
<div class="MsoNormal">
Our mission:</div>
<div class="MsoNormal">
<span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">To empower local artists to forge productive cultural and
socio-economic ties with their community through professional exhibit and
performance opportunities in a zero commission art space.</span></div>
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<br /></div>
<div class="MsoNormal">
The Carrack Modern Art provides a conduit for artists to
connect with their community through self-curated exhibits and performances in
a space that is NOT commercially driven. We have found that this framework
changes the kind of art that can make its way into the public domain. By
letting the artist take complete ownership of their art and its presentation,
we facilitate a more honest and direct interaction with their audience. We
believe in art as a vehicle for intellectual, cultural and socio-economic
growth and we also believe it is the community’s responsibility to collectively
support the arts — it’s a societal choice, and it’s that simple.</div>
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The Carrack is owned and run by the community, for the
community, and maintains an indiscriminate open forum that enables local
artists to perform and exhibit outside of the constraints of traditional
gallery models, giving the artist complete creative freedom. Our grassroots
approach facilitates a dynamic conversation between the arts community and
downtown Durham, one that directly fuels its ongoing revitalization.</div>
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<b style="mso-bidi-font-weight: normal;"><u>About the Wax
Wroth Reading Series</u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Wax Wroth is a poetry reading series organized by Brian Howe
whenever he feels like it and has the opportunity to present something cool.
Prior Wax Wroths were held at the former 715 Washington art-space in Durham or
the Looking Glass Café in Carrboro, and featured readers such as Tony Tost,
Heather Christle, Tanya Olson and Chris Vitiello. Direct questions to <a href="mailto:brian.g.howe@gmail.com">brian.g.howe@gmail.com</a>. </div>
Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-77932405262674143002013-06-06T17:48:00.003-04:002013-06-06T17:48:42.697-04:004 by Borges at the Atlanta Poets Group Blog<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8OYXvAmPDyFPKDAKCK51MiJ1Gi3UB79a0imM_1AQkUTu5w5gLo1uJv1UXZ-MbkzkVksEUEd_e9Skr9eAi2a2iU-ykSOGTdqLROBrDZoFlDTojSvFtovHKcw375fMrBPZm2HLoznZmdFv/s1600/dreamtigers1.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8OYXvAmPDyFPKDAKCK51MiJ1Gi3UB79a0imM_1AQkUTu5w5gLo1uJv1UXZ-MbkzkVksEUEd_e9Skr9eAi2a2iU-ykSOGTdqLROBrDZoFlDTojSvFtovHKcw375fMrBPZm2HLoznZmdFv/s320/dreamtigers1.gif" width="320" /></a></div>
<span class="userContent">Some metaphysical bedtime stories for you -
me <a href="http://atlantapoetsgroup.blogspot.com/2013/06/brian-howe-reads-jorge-luis-borges.html">reading 4 by Borges</a> with some light musical accompaniment (and a light head cold, unfortunately) at
the Atlanta Poets Group's blog. Check out that vintage file photo of me John Lowther pulled from the time when Marcus Slease wrecked my face in Atlanta, and I bled all over John's house.</span><br />
<br />
<span class="userContent"><br /></span>Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-40360749508564811892013-06-06T09:48:00.003-04:002013-06-06T09:48:59.360-04:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfgaaWd_2Dut37aMuRizx7oanpdmVpELPTK2SfuR41GMpY_YxXzEk6e2qMnsXv1ujCt59bF6vjgEFVQ0s34h6UirGjMrx_qScHC0CMLF6Mr3BZtvHivL97UvtwcnkmihQ-zQMitLq9Ay2N/s1600/hopkins_immunity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfgaaWd_2Dut37aMuRizx7oanpdmVpELPTK2SfuR41GMpY_YxXzEk6e2qMnsXv1ujCt59bF6vjgEFVQ0s34h6UirGjMrx_qScHC0CMLF6Mr3BZtvHivL97UvtwcnkmihQ-zQMitLq9Ay2N/s1600/hopkins_immunity.jpg" /></a></div>
Three new Pitchfork reviews of really interesting albums, including a well-earned Best New Music for Jon Hopkins' tremendous ambient/dance record <i>Immunity</i>:<br />
<br />
<a href="http://pitchfork.com/reviews/albums/18090-jon-hopkins-immunity/">Jon Hopkins: <i>Immunity</i></a><br />
<br />
<a href="http://pitchfork.com/reviews/albums/18000-eluvium-nightmare-ending/">Eluvium: <i>Nightmare Ending</i></a><br />
<br />
<a href="http://pitchfork.com/reviews/albums/18063-cocorosie-tales-of-a-grasswidow/">Cocorosie: </a><i><a href="http://pitchfork.com/reviews/albums/18063-cocorosie-tales-of-a-grasswidow/">Tales of a Grass Widow</a> </i>Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-24121618350578736702013-06-03T11:50:00.001-04:002013-06-03T11:51:51.212-04:00Deerhunter Quakes the Carrack Modern Art<!--[if gte mso 9]><xml>
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<i>by Brian Howe on April 25 2013 </i><br />
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If you hadn’t heard that an <a href="http://en.wikipedia.org/wiki/Deerhunter">indie-famous Atlanta rock band</a>
was scheduled to play a <a href="http://www.indyweek.com/scan/archives/2013/04/23/deerhunter-to-play-impromptu-set-in-durham-tonight">secret
show</a> in Durham by the morning of April 23, you certainly caught wind of it that
night if you were anywhere near the <a href="http://thecarrack.org/">Carrack
Modern Art</a>. Deerhunter didn’t concede much volume to the small space. Instead,
they seemed to greet it with added ferocity, and their clangorous music cascaded
through the open windows behind them, down onto a startled Parrish Street.<br />
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Perhaps a hundred people had checked their names against an
RSVP list at the street entrance, climbed a tall and narrow staircase, and paid
$8 at the upper door of the community gallery and performance space for the
rare chance to get close to a Billboard-charting indie band in a more intimate
setting than Coachella or even the Cat’s Cradle. And for the Carrack, whose most
ambitious musical event to date had been an <a href="http://birdsandarrows.com/dont-forget-birds-and-arrows-at-carrack-in-durham-sat-oct-27th/">acoustic
performance by Birds & Arrows</a>, it was a persuasive bid to prove itself
as a presenter of live music alongside other performing and visual arts. <span style="mso-spacerun: yes;"> </span></div>
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Not that things went off without a hitch. With a borrowed PA
and no in-house sound engineer, a problem with a microphone cable considerably slowed
down the start of Deerhunter’s set. But it didn’t dim the spirits of the fully
engaged audience. Their bouncing excitement sent premonitory tremors, later
mounting to an earthquake, through the Carrack’s wooden floor when the
screaming garage rock commenced, knifed with stray frequencies and smothered in
wowing drones. The set mingled presumable material from forthcoming album <i style="mso-bidi-font-style: normal;">Monomania</i> with aggressive renditions of
songs such as “Cryptograms” and “Basement Scene”—“First time we played <i style="mso-bidi-font-style: normal;">that</i> in awhile,” frontman Bradford Cox
added in his laconically testy way. Thank god no one <a href="http://pitchfork.com/news/45675-bradford-cox-talks-shocking-minneapolis-performance/">called
out for “My Sharona.”</a></div>
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Deerhunter’s set was tight in the middle and deliriously drawn
out at each end. The first couple songs stretched out for well over 20 minutes;
dense, frantically coruscating braids of sound building and breaking through ambient,
krautrock, and noise rock phases. A span of shorter songs led to an epic,
bridge-burning, ear-scorching conclusion that pushed beyond genre and the point
of all reason—a thrilling, insensate roar. Deerhunter are very good at bending weighty
swaths of disobedient noise across enormous arcs, like a post-punk rather than
proto-punk Velvet Underground. Their murky-by-design sound filled every corner;
two opening acts more clearly demonstrated the room’s unexplored sonic
character. <span style="mso-spacerun: yes;"> </span></div>
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Before Deerhunter played, there was a set by <a href="http://www.fatpossum.com/news/315">Jackson Scott</a>, a young Asheville
musician who is currently preparing his debut LP for Fat Possum Records. He
fronted a slow, heavy rock group that presented bone-crushing music with a bored,
serious mien. They all played their instruments commandingly and all looked
about 12 years old. They had shaggy Arctic Monkeys hair and tie-dyed shirts for
sale. There was a clear affinity with Deerhunter in their liberal and assured manipulation
of guitar feedback, but they complemented the headliners’ jittery velocity with
a bottom-heavy trudge, with time changes like continents breaking apart. The distorted
guitars were forceful yet well-defined in the rectangular room, with bright ringing treble and full, visceral bass. The Carrack’s pleasantly reflective room
tone was even clearer during an electronic set by newcomer Mas Ysa, who was
something of a revelation. </div>
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With no music released and only the <a href="http://www.masysa.tv/">vaguest web presence</a>, Mas Ysa was making only his
second appearance outside of New York, which made the high quality of both the performance
and songs kind of startling. It isn’t easy to control a show with just a
microphone and a ring of hardware, but he did it with passion and polish,
looping the organic-feeling sounds of woodblock percussion and flutes into his soaring
synths. His desperate yelp was genuinely heart-pumping as he smoothly
maneuvered between runaway machine anthems and slow, concussive moods, at
various times comparing favorably to M83, Xiu Xiu and the softer side of LCD
Soundsystem. He even pulled off a hybrid cover where he sang EMA lyrics over
Anthony and the Johnsons piano chords, which could have easily come across as gimmicky
but was actually lovely. Memorize the weird name now, because I’ll be surprised
if you’re not hearing a lot more about Mas Ysa soon.<span style="mso-spacerun: yes;"> </span></div>
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Three different entities—the <a href="https://www.facebook.com/durtydurham">DURTY Durham Art Collective</a>, <a href="https://twitter.com/bullcityrecords">Chaz Martenstein of Bull City
Records</a>, and artist and musician <a href="http://www.harrisonhaynes.com/">Harrison
Haynes</a>—worked with the Carrack to stage the concert after Haynes learned
that Deerhunter were interested in playing an intimate, offbeat show in Durham
while passing through on tour. “Harrison found the talent,” says Max Kaufman of
DURTY Durham, “I found the venue and support staff, and Chaz played logistics.
It all came together really smoothly.” The Carrack’s sole proprietor, Laura
Ritchie—who originally cofounded the space with John Wendelbo, since departed—hopes
that the gallery can start serving local and touring musicians in the same way
it currently serves artists, poets, and dancers. </div>
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“This is definitely a huge event for us,” she says. “We’ll
never be a bar-or-club-type situation, but being a performance art space is
built into our mission. These kinds of intimate showings are exactly what we
want to happen more. And it sounds so beautiful in there.” </div>
Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-51862380050091994522013-05-22T11:25:00.000-04:002013-05-22T11:26:48.766-04:00“See & Hear”: A New Art and Music Series’ Nightlight Debut<!--[if gte mso 9]><xml>
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Especially for 6:00 p.m. on a Sunday, it was crowded at <a href="http://nightlightclub.tumblr.com/">Nightlight</a> on April 21. The taco
potluck on the Chapel Hill nightclub’s patio probably helped boost attendance,
as did the fairly long list of names—each with its own distinct coterie of fans
and friends—on the program. But mostly, people seemed excited to check out a
brand-new curated event, “<a href="http://seeandhearnc.com/">See & Hear</a>,”
that seeks to put local musicians and visual artists into equal dialogue rather
than segregating them in their respective clubs and galleries. An eclectic,
atmospheric, and well-paced first event, it left me eagerly anticipating the
second installment.<br />
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See & Hear is the brainchild of three curators who
worked together over the course of months to assemble this first show under the
rubric of “Blood & Water.” Charlie Hearon, a co-owner of both Nightlight
and <a href="http://alldayrecords.com/">All Day Records</a>, is the music
partner. For Blood & Water, he selected three musicians. Each of them gave
brief performances of 15 to 20 minutes, with commensurate gaps between sets to
draw attention, conversation, and perhaps sales to the art on the large easels
and walls. </div>
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<a href="http://www.myspace.com/ezekielgraves">Zeke Graves</a>
began the night by playing violin figures through effects like a rustic,
wordless Arthur Russell before switching to electric guitar and pedal board to
perform some of his shimmering pastoral blues. <a href="http://www.youtube.com/watch?v=LHJHZNnzjO0">Cornelius F. Van Stafrin III</a>
turned in a clear and commanding drone performance for amplified magnetic tape,
a bowed one-stringed Indian instrument, and antlers scraped on the floor. He
also brought visual art into the music, his face hidden by a white shawl as he
dripped and smeared food coloring over a leaf-veined pattern projected on a
scrim. </div>
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The musical and visual integration continued in a closing
set by Mike Taylor of <a href="http://hissgoldenmessenger.blogspot.com/">Hiss Golden
Messenger</a>—a big draw at a time when his new album, <i style="mso-bidi-font-style: normal;">Haw</i>, is gaining <a href="http://pitchfork.com/reviews/albums/17819-hiss-golden-messenger-haw/">great
national notices</a>—where artist <a href="http://www.jinavalentine.com/home.html">Jina Valentine</a> slide-projected
bleached images along with Taylor’s dreamy, delay-flickered instrumentals and
intimate, ominous vocal performances.<span style="mso-spacerun: yes;">
</span></div>
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<br /></div>
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<a href="http://leighsuggs.com/home.html">Leigh Suggs</a>, a
UNC-trained artist who works with mixed media and on paper, is See & Hear’s
art partner. The artists she selected hooked into the Blood & Water theme
from various angles. Valentine, a UNC professor who also showed an
interesting-in-theory textual video work where she pronounced individual
letters for a long time—it had something to do with Foucault—entered two of the
strongest pieces in the show: cut paper scenes of firefighters putting out
burning cars (there’s your water) during Parisian riots (and the blood). </div>
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<br /></div>
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Gory reds and watery blacks permeated what were mostly
small, coarse paintings by the mysterious “Oleg Lulin,” who—blind item!—may or
may not be the alter ego of a certain well-known local artist (keep an eye on <a href="http://oleglulin.blogspot.com/">the photos</a>). And David Winton’s
photographs laid bare the implicit “thicker than” relationship between blood
and water with discreetly forlorn images of family and home. One of a
houseplant spraying from an absorbing darkness, “Leaves,” was particularly
arresting.</div>
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Winton is the overseer, set-designer, and originator of the
See & Hear idea. A transplant to Chapel Hill from Jackson, Mississippi, he
got the idea on a visit home when he encountered a music and art event called <a href="http://landvsocean.com/">Land Vs Ocean</a>.<span style="mso-spacerun: yes;"> </span>“I saw the <a href="http://vimeo.com/45547808">video
they made</a> of it,” Winton says, “and I knew I either had to make something
like it here or move home.” With a little help, he built easels and designed
lighting to display the artworks, including two large, custom-made
paper-and-wood lamps onstage. </div>
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The goal, Winton says, is to serve up “finger sandwiches of
music and art” in an atmosphere that makes them feel special and contiguous,
all while capturing the event with an edited video document. <a href="http://seeandhearnc.com/">Look for that soon</a> to tide you over until
the second See & Hear event, currently being planned for October.<span style="mso-spacerun: yes;"> </span></div>
Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-52783259494910645022013-05-13T07:51:00.001-04:002013-05-13T07:51:40.828-04:00"Twins" Mix for the Atlanta Poets Group Blog<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIc_d5K5qcETDTU4abfDOSTK7Cd-Hdg46r3_HgOE2IvQlQ8Z4jz0Qh_QNK2_wFCxmWuChtvGqLKZz2aLQ7bZL9iXNsXsi783X4AgMRCwRfoqe7Lh-h4rmCzy9DWWAf3W_CMOmsMM0oYzMT/s1600/Clumsy.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIc_d5K5qcETDTU4abfDOSTK7Cd-Hdg46r3_HgOE2IvQlQ8Z4jz0Qh_QNK2_wFCxmWuChtvGqLKZz2aLQ7bZL9iXNsXsi783X4AgMRCwRfoqe7Lh-h4rmCzy9DWWAf3W_CMOmsMM0oYzMT/s200/Clumsy.jpeg" width="136" /></a></div>
John Lowther and the Atlanta Poets Group are curating a cool and rather self-explanatory series called "<a href="http://atlantapoetsgroup.blogspot.com/search/label/reading%20OTHER%20poets">reading OTHER poets</a>" at their blog. I made a mix for computer voices and accompaniment of <a href="http://www.poetryfoundation.org/bio/bob-hicok">Bob Hicok</a>'s awesome poem "<a href="http://www.poolpoetry.com/Hicok%202006.html">Twins</a>," from his book <i><a href="http://www.goodreads.com/book/show/200758.This_Clumsy_Living">This Clumsy Living</a>. </i><br />
<br />
<span style="color: #cc0000;"><a href="http://atlantapoetsgroup.blogspot.com/2013/05/brian-howe-reads-bob-hicok-from-this.html">Listen to the mix here.</a> <i> </i></span>Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-33552542374270704292013-05-05T16:02:00.000-04:002013-05-05T16:04:17.085-04:00Sunday StatesHere's ten minutes of new music for moody Sundays:<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="450" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=3468183318/size=tall2/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 450px; position: relative; width: 150px;" width="150"><a href="http://glossolalia.bandcamp.com/album/sunday-states">Sunday States by Brian Howe</a></iframe><br />Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-49124174139871255862013-03-24T09:05:00.000-04:002013-03-24T09:05:53.425-04:00The Lion's Face at 9th St. Laboratories Thanks to Jake Berry for <a href="http://9thstlab.blogspot.com/2013/03/the-lions-face-tim-van-dyke-and-brian.html">posting <i>The Lion's Face</i></a>, my collaborative electro-poetic album with Tim Van Dyke, at his 9th St. Laboratories blog. The post also includes some new liner notes I wrote for people who might wonder just what in the hell is going on here, which I've reproduced below.<br />
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<i>The Lion’s Face</i> notes</div>
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by <a href="http://waxwroth.blogspot.com/">Brian
Howe</a></div>
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<i>March 17, 2013, Chapel Hill</i></div>
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I started mixing recordings of poets
reading their work into electro-acoustic compositions about seven
years ago. I liked how vivid and vigorous orated contemporary
poetry—not always known for vividness and vigor—could sound when
blended with processed acoustic instruments or synthetic tones. I
liked making the elemental similarities between experimental poetry
and experimental music explicit. And I liked trying to find my own
way through the spoken material while remaining sensitive to its
essence, as most of it was graciously provided by poets I admired and
knew at least well enough to contact.
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This resulted in the album <a href="http://glossolalia.bandcamp.com/album/black-sail"><i>Black
Sail</i></a>, an electro-poetic anthology of sorts featuring a
different person on every track, including Tim Van Dyke. I knew Tim
from the Lucifer Poetics list and held his poem <a href="http://www.blogger.com/blogger.g?blogID=13716092#work">“The
Wolving Ritual”</a> in high esteem. The track I made with an
excerpt from it, <a href="http://glossolalia.bandcamp.com/track/owls-feat-tim-van-dyke">“Owls,”</a>
was probably the highlight of <i>Black Sail</i>. So when Tim asked
last year if I wanted to make some mixes with poems in his new
Argotist Online chapbook, <a href="http://www.argotistonline.co.uk/LIGHT%20ON%20THE%20LIONS%20FACE.pdf"><i>Light
on the Lion’s Face</i></a>, I readily agreed.
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<br />
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Tim’s writing is a great sonic
material. It frames pungent recurring imagery with incantatory
rhythms; it’s daringly personal but has a certain affectual
steadiness that meshes with any kind of music and easily recombines
with itself; it’s sturdy enough to be tampered with without being
compromised. Tim lets me distort his words, drown them in layers or
even carve out new phrases. This is important because I have no
interest in just sticking accompaniment on poems. I want to use
poetry as a flexible compositional element, though voices inevitably
assert leading roles.
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<br />
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Tim sent me recordings of himself
reading from the book and then gave me feedback as I made the music
using virtual instruments, acoustic instruments and field recordings.
Whereas on <i>Black Sail</i> I used a rudimentary set of strategies
with many different poets, I took <a href="http://glossolalia.bandcamp.com/releases"><i>The
Lion’s Face</i></a> as an opportunity to test more diverse
strategies with a single poet. I thought each piece of the whole
should cast the texture of Tim’s language in a distinct light. As I
sought overall cohesion, two fixations emerged.
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<br />
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One was drawing the melody out of
speech—no singing was done for the record; speech was digitally
nudged into song. The other was using musical gestures in a
rhetorical fashion—that is, exploring constructions that sounded
musical and organized without obeying music’s overriding logic.
Rather than shaping Tim’s language around mathematically determined
changes in harmonics, dynamics and time, I wanted to let melodies and
rhythms flow alongside its emotional track; a wayward parallel stream
with its own impetus and perspective, freely reacting, affirming and
demurring.
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<br />
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Here are some nuts-and-bolts
impressions of each track for those who enjoy such things (I do).
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<br />
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“Daylight as a Psalm” was chosen to
open because of its placid, welcoming slowness, at least after I
thinned out the unnerving thicket of high voices in the back half.
The way it carries Tim’s speech from an approximately normal state
to deformed song outlines the playing field. The music was composed
on a virtual staff with MIDI classical instruments.
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<br />
</div>
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“Seduction” is meant as a sort of
poppy single, with its dance and electronic ambient foundations: The
poet as house diva. Tim’s words here are very dark and wise. I
wanted to highlight them while softening their deep blows with a
sultry, flourishing setting. But I think it might have just made them
seem darker.
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<br />
</div>
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“Mirror” softly scours a tuned,
startlingly soulful male computer voice between panes of out-of-phase
sound, one glassy and one rather aqueous. The measured intervals of
the computer voice contrast Tim’s pitch-corrected voice elsewhere,
which organically grows more demonstratively songful as he warms up
into his readings, gathering passion, his inflections bending and
swinging farther.
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<br />
</div>
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“Completely Be Safe” introduces
both Tim’s natural voice and the full texture of an acoustic
instrument. Long, filtered acoustic guitar loops running at various
speeds and pitches make up most of the track; the layering and
repetition of one structure at different scales is something I often
do.</div>
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<br />
</div>
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“Dizzy” is based around a few
heavily post-produced piano themes. It’s firmly lodged in my
imagination as an expression of this kind of misty dream place where
you wander through numberless curtains in a few repeating shapes, but
all different colors and textures and sizes. Or is that a trick of
distance and perspective? Time and space get mushy enough that the
“spirits are given liberty to speak.” The beady sound throughout
is an awesome rainstick.
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<br />
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“Ludic” is a post-human nightmare
for female computer voice, insensate open cello intervals,
rubbed-together palms and a bit of black-hole noise. I wanted to
emphasize the sinister nature of a game, so mercilessly elaborated in
the poem, to seek its final conclusion. My electro-poetic stuff tends
toward spooky, but I find this piece frankly terrifying.
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<br />
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“Corpse” is all synthetic except
for Tim’s voice, designed as a vacuum sealed trance, and the B-side
of the theoretical “Seduction” single.
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<br />
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“The Collector” has this smoky,
lantern-lit old-world aura to me, despite its primitive electronic
gloss. A wheezy electric organ with a noisy fan provides most of the
sound; you can hear the basic material as it was played in the coda.
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<br />
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“Eyes Close” is a rough piano etude
slowed <i>waaaaaaay</i> down, as to blow up imperfections in the time
and inflection until, with luck, they shine out as unique features
rather than unwanted mistakes. You can also hear an example of the
small signatures I sometimes hide around—“trampling the thick of
the luminous night” is a phrase I cut and pasted together instead
of verbatim Tim.
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<br />
</div>
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“War to Extinction” was the first
track I made for <i>The Lion’s Face</i>, and thematically a direct
sequel to “Ludic,” but it was too scorched-earth to do anything
except close the album.</div>
Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-73276076076674145382013-03-15T10:15:00.003-04:002013-07-30T11:09:58.309-04:00A World-Class Studio in Rural North Carolina<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggK_0ph6ph5xjsoROfZLTWc9OuE7ybYUEJNC4XOBQzGeDaXsYVt3kynrmPeeytjawgHoEkHXoTMKDdb-TRhu37g1wqS-E9WR32YcKJlwccQmhj6HKjZ7GC0KduCoyd8xn4GHNl4m8PbByE/s1600/313-Indy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggK_0ph6ph5xjsoROfZLTWc9OuE7ybYUEJNC4XOBQzGeDaXsYVt3kynrmPeeytjawgHoEkHXoTMKDdb-TRhu37g1wqS-E9WR32YcKJlwccQmhj6HKjZ7GC0KduCoyd8xn4GHNl4m8PbByE/s320/313-Indy.jpg" width="305" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">cover photo by D.L. Anderson</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
Check out my <a href="http://www.indyweek.com/indyweek/in-a-lavish-setting-an-area-studio-aims-to-reshape-how-entertainment-gets-made/Content?oid=3399154">INDY Week cover story on Manifold Recording</a>, a state-of-the-art music and video production facility hidden away in a Frank Lloyd Wright-inspired building in rural Pittsboro. Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-86374924214539661762013-02-25T22:42:00.000-05:002013-02-25T22:42:49.141-05:00The Haunted Mansion<object height="315" width="420"><param name="movie" value="http://www.youtube.com/v/FAwM6uhRZhc?version=3&hl=en_US"></param>
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<embed src="http://www.youtube.com/v/FAwM6uhRZhc?version=3&hl=en_US" type="application/x-shockwave-flash" width="420" height="315" allowscriptaccess="always" allowfullscreen="true"></embed></object>Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-56381158026793685212013-02-19T10:29:00.000-05:002013-02-19T10:29:07.901-05:00John Luther Adams interview<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3eS5P-oixkBzdEGujfx0_zWtxEkYAHFOtwigoIh9cilJp6yVCAIo3UbLp8cPw8puSVXWDtbUdTwZZoZK-tP1q9r25rZuOQ_Zc7xK1IQbtveJxDkB10grBdBzrr1uD3JrtrCM23XF-v9W4/s1600/JLA+feat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3eS5P-oixkBzdEGujfx0_zWtxEkYAHFOtwigoIh9cilJp6yVCAIo3UbLp8cPw8puSVXWDtbUdTwZZoZK-tP1q9r25rZuOQ_Zc7xK1IQbtveJxDkB10grBdBzrr1uD3JrtrCM23XF-v9W4/s320/JLA+feat.jpg" width="320" /></a></div>
Oh wow. I got to interview <a href="http://www.johnlutheradams.com/">John Luther Adams</a>, one of my favorite composers, about his relationship with <a href="http://glennkotche.com/">Glenn Kotche</a>, his new piece <i>Ilimaq</i>, and his uncanny music in general. Read it <a href="http://thethread.dukeperformances.duke.edu/2013/02/interview-elemental-composer-john-luther-adams-on-glenn-kotche-ilimaq/">at The Thread</a>. Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-56209498765793095262013-02-07T17:13:00.001-05:002013-02-07T17:13:24.760-05:00How is a Hand-Lathed Record is Made?I wanted to know, so I got together with local hand-lather <a href="http://www.tangibleformats.com/">Wesley Wolfe</a> to find out. The result was this <a href="http://www.indyweek.com/indyweek/carrboro-musician-wesley-wolfe-has-catalyzed-the-lathe-to-turntable-movement-of-local-music/Content?oid=3269199">feature story for INDY Week</a>, which also has a great <a href="http://www.indyweek.com/indyweek/how-wesley-wolfe-hand-lathes-a-record/Content?oid=3269223">Jeremy M. Lange photo spread</a> where I zoom in on the lathing process step-by-step. Highly recommend picking it up in print if you're in the area. Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-72969131468694536792012-11-20T10:42:00.000-05:002012-11-20T10:46:42.201-05:00Nico Muhly's Drones on eMusic<div class="separator" style="clear: both; text-align: center;">
</div>
I just made my debut at eMusic with a review of <a href="http://nicomuhly.com/">Nico Muhly</a>'s collected <i>Drones</i> EPs, embedded below. Read the review <a href="http://www.emusic.com/listen/#/music-news/review/album/nico-muhly-drones/:">here</a>. <br />
<br />
<iframe allowtransparency="true" frameborder="0" height="100" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=2085894503/size=venti/bgcol=FFFFFF/linkcol=4285BB/" style="display: block; height: 100px; position: relative; width: 400px;" width="400"><a href="http://nicomuhly.bandcamp.com/album/drones">Drones by Nico Muhly</a></iframe><br />Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-12998522745958423042012-11-15T10:14:00.002-05:002012-11-15T10:14:51.158-05:00NC Comicon Feature<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiv2mY8rC4pcLI7Zy45cFtpfDaipgVSjvCHc1_Y2CmAvQX0ZTEONuHEk0sibYR35zuTfswNgcU3lck0Jh_BL7UBjrpzF_fsGVO3vRsImLOPI6KF2uUsFIc64hokattDWu5Wy6f8-OHqOIx/s1600/nc-comicon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiv2mY8rC4pcLI7Zy45cFtpfDaipgVSjvCHc1_Y2CmAvQX0ZTEONuHEk0sibYR35zuTfswNgcU3lck0Jh_BL7UBjrpzF_fsGVO3vRsImLOPI6KF2uUsFIc64hokattDWu5Wy6f8-OHqOIx/s320/nc-comicon.jpg" width="320" /></a></div>
I wrote a cover story for <i>Indy Week</i> about NC Comicon and Ultimate Comics. Very cool to see Duncan Fegredo art on the cover of the Indy! Read it <a href="http://www.indyweek.com/indyweek/nc-comicon-puts-comics-first/Content?oid=3191947">here</a>. Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-75339418220796081972012-11-12T10:20:00.000-05:002012-11-12T10:20:30.692-05:00Introducing: The Lion's Face<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrEYybWRZl-5tw1AwNFv80X9VvcEXeNbIYciruB5PdJ5tCZosshyphenhyphenS3mfo0dsvbUvrSP08jpjVhXQ5B9iq0kDftK3pAcEqDfdV3ySKqajeiI7pFnNPONGMti38CV9Iu9WtJaRFTm1cPpp1/s1600/1327814955-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrEYybWRZl-5tw1AwNFv80X9VvcEXeNbIYciruB5PdJ5tCZosshyphenhyphenS3mfo0dsvbUvrSP08jpjVhXQ5B9iq0kDftK3pAcEqDfdV3ySKqajeiI7pFnNPONGMti38CV9Iu9WtJaRFTm1cPpp1/s320/1327814955-1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Lion's Face</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<i>LIGHT ON THE LION’S FACE</i> is <a href="http://www.amazon.com/Topographies-Drawn-Divine-Chain-Birds/dp/1935084127">Tim Van Dyke</a>'s poetic interpretation of
Baudrillard’s "Seduction," <a href="http://www.amazon.com/Topographies-Drawn-Divine-Chain-Birds/dp/1935084127">available for free at Argotist Ebooks</a>. <i>The Lion's Face</i> is my album-length musical interpretation of Tim Van Dyke, completed in collaboration with the author over several months.<br />
<br />
<iframe allowtransparency="true" frameborder="0" height="410" src="http://bandcamp.com/EmbeddedPlayer/v=2/album=2663257942/size=grande3/bgcol=FFFFFF/linkcol=e10911/transparent=true/" style="display: block; height: 410px; position: relative; width: 300px;" width="300"><a href="http://glossolalia.bandcamp.com/album/the-lions-face">The Lion's Face by Tim Van Dyke & Brian Howe</a></iframe><br /><br />
Lyrics and free downloads are available <a href="http://glossolalia.bandcamp.com/album/the-lions-face">on Bandcamp</a>.<br />
<br />
Words & voice: Tim Van Dyke // Music: Brian Howe // Cover image: Grant Miller
Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0tag:blogger.com,1999:blog-8091940848263504435.post-90096942707497890802012-11-01T14:18:00.003-04:002012-11-01T14:18:50.631-04:00Beat Making LabI took on what turned out to be a pretty involved and fascinating story about the UNC Beat Making Lab's exportation to the Congo and beyond--<a href="http://www.indyweek.com/indyweek/artivists-pierce-freelon-and-stephen-levitin-take-their-beat-making-lab-to-the-drc/Content?oid=3181957">in Indy Week</a>.Brianhttp://www.blogger.com/profile/12277286690837924502noreply@blogger.com0