Writer's Corner

Scott Stealey

The art of telling a story is a delicate one, but one that is growing tremendously popularity. Well it may sound simple enough for the storyteller to paint a picture, then establish some form of tension, and finally wrap it all together with a satisfying resolution, but there are many layers of humor and social commentary and pure charm that makes this genre so challenging and appealing. One writer who is delving into and promoting this genre is Chicagoan Scott Stealey. Scott and good friend Pete Coco are preparing a launch a literary site to conquer all others (that might be a bit strong, but it will be mighty fine), called Please Don't. This site will feature original content from Stealey and Coco, but also non-fiction work and personal essays from some of the some of the biggest names in Chicago literature and literature in general. You can find a smaller brainstorming version at the Please Don't Blog.

Scott himself is still in the beginning stages of submitting his work, but does have a terrific mini-book, Letter From the Seaway, published by Featherproof, and completely blew me away at a reading last month. However, what is most important is he is writing, and focusing on the written word and the rest will follow.

Recently, Scott took some time out to answer a few of my questions.

Orange Alert (OA): How close are we to seeing the grand roll-out of "Please Don't.com"? I've enjoyed the interim blog posts, but what can we except to see on the actual site?
Scott Stealey (SS): It should be set to go by next month. We have all the content for the first issue ready, but we're still waiting on some of the technical side of things. We plan on having some really cool illustrations, so we want the design to reflect this. Zach Dodson, the designer from Featherproof, is helping us out on the skin and the back end of these issues. That said, my co-editor Pete Coco and I don't plan on Please Don't (please-dont.com) being very flashy. We have lots of ideas about our similar fascinations, which mostly lean toward literature and music, and the close ties between them we've gleaned from paying such close attention to them. We're mainly looking to feature non-fiction and personal essays. We're trying to get writers to focus on thematic assignments, like with one section we've got the idea of "dubious claims." Essentially we make a dubious claim and try to get an honest, argumentative essay from a writer interested in proving or rebuking that claim. Like for the first issue, Jonathan Messinger made the dubious claim to us that he could punch a wolf in the face. So we took him to task, and he produced a funny essay proving that, yes, he could. But because we're both fiction writers, and love reading short stories, we'll have that on the site, too. For instance Patrick Somerville has contributed a wonderful story for our first issue, lending his unique view on surrealism. Tao Lin is going to do some illustrations for us in the next issue. Continuing with our music & literature theme, we will feature a collaborative serial novel called "Axl Watch." The plot of "Axl Watch" revolves around two private investigators paid to follow Axl Rose, who may or may not in fact be the same Axl Rose whom we all remember from the decadent, Appetite for Destruction days. It's sort like a play on the "Paul is Dead" story, or the story of how there were like eight Ultimate Warriors in the WWF. We'll be calling on other writers--who share our love of Axl and detective fiction--to pen subsequent chapters. The effect will be pretty seamless, I think, because Axl, in my opinion, is this great touchstone to memories that remind us why we love rock and roll. I mean there's a fundamental love of showmanship and excess about the guy that made him oddly genuine. When everything comes together next month it will be a pretty great and entertaining website. We were blogging for awhile about assignment ideas at http://www.plzdnt.blogspot.com/. If anyone wants to submit for the future issues, submissions@please-dont.com will get your stuff to us.

OA: You recently participated in the RAGAD "Intersections" reading at Quimby's bookstore, and read a fascinating piece of futurist fiction. Where did the concept of the corn field cemetery come from? Is that piece part of something larger? Can we find it in print anywhere?
SS: That reading was pretty great. The concept was to pick an intersection in Chicago and write a story that evokes something tied to the intersection in some way. I have a ton of trite little problems with this city, mostly to do with my expectation level of human behavior, so I thought this would be a perfect time to air my grievances. One of these difficulties has to do with spray paint on the sidewalks. Everywhere you walk, the huge companies that provide internet service to your home have tagged your sidewalk with red, orange, yellow, pink spray paint. They do this to mark where the tubes are, beneath the ground. Then the guys in the SBC trucks can dive into a sidewalk or street corner and correctly wire you to the Internet. Since the internet cannot be free for some of us, this spray paint helps differentiate the different ISPs, like some lines will have an "MCI" mark on them, so they don't mess with SBC's tubes, Comcast's tubes. But meanwhile, there's all these spray painted lines and Xs and circles all over your sidewalk. This spray paint is literally the first thing in the morning that I see, and that drives me crazy. I've always understood the sidewalk to be a public space that the city controls, and yet here is all this colorful corporate nonsense right outside my door. What bugs me is that I can't say or do anything to the city to prevent that. A representative from my alderman's office actually had no idea what I was talking about when I brought this up to him. People just ignore their sidewalks. This kind of behavior just infuriates me. I'm surrounded by condos, and if some SBC dude even dropped his coffee in the lobby of one of these places, there would be meetings, decisions, action. But as I write this I'm looking out at my street, the sidewalk and these little fucking pink circles going on down the grid for two blocks. Why? And why isn't there a better system? I took some paint stripper and actually scrubbed out some of the spray paint that sits on the sidewalk outside my front stoop, only to discover a week later that some asshole came back and gave me some fresh new yellow lines.

So anyway, the story. I wanted to extend this lazy attitude people have about the ground, this taking of the sidewalk for granted, into the future. I decided that in this future the ground would become the most important thing, because it has become scarce. And because it was scarce, it would all be centralized, controlled by the government. So the concept of the Corn Cemetery was more about my reaction to how people would treat the ground if it was actually something valuable. Also, I love author Michael Pollan, and in his new book The Omnivore's Dilemma he discusses how almost everything in our economy is processed from corn. Like even the chemical that makes a magazine cover glossy, that came from corn. So I figured corn would play a role in any future society struggling with a lack of earth. The story's pretty complete as a short story, and I'm sending it off to a few places, so you may see it in print soon. I'm relatively new to the submitting my work process. But I'm learning, and I'll have more out there as I keep up the process.

OA: Your mini-book "Letter from the Seaway", reads as a letter between to old friends, one of whom is about to become a father for the first time. However, the way you end that story basically sums up why people write in general. Brilliant. What is your opinion of Featherproof's mini-book series in general? Where else can we find your work?
SS: Thank you. Featherproof's mini-books are all fantastic and special in their own way. They're free, too, which is really special. Also, they bring focus to a singular story, they shrink the universe for a moment, which I think is wonderful for people who like and read a lot of short stories. I submitted to them because I'm a fan of the idea and the backlog of mini-books they offer. I keep thinking that when you have one story by itself, it extends the narrative possibilities so much more for the reader. Like, if you download this one story, why is it by itself? Why is it its own object? I like thinking in those terms.

There is also a lit mag I like called One Story that carries a similar idea (only you have to pay), about only featuring one story, letting one author really have center stage. Both Featherproof and One Story are doing pretty well, so I think the idea has caught on. I think readers like the simplicity of stuff like the mini-books and One Story. "I just want some help to pare the good stuff down. Give me just one story to read." I think this concept is pretty important and meaningful when you live in a world of seemingly infinite choices. Brought to you, of course, by SBC or Comcast.

OA: Is staff editor of Playboy.com as cool of a job as it sounds? How did you come to work for Playboy?
SS: I do have a cool job. But it's not the novelty that makes it cool, it's that it is a nice place to work, a good company. It's been around for awhile. I'm not crazy stressed out, and my colleagues are all pretty neat people.
I came to my job the same way everyone comes to their job, by scanning job boards on the Internet for 12 hours a day, and attaching PDFs and Word documents in emails to strangers from HR departments. This system demonstrates another one of my little ticks about expectations of human behavior. Am I the only one who fosters huge resentment for this system? It seems like it, because the system is only getting bigger. Job search engine sites treat getting a new job like it's some sort of reward. But it's a job. I was really poor for some years, entry-level publishing, but I tried to enjoy it. My father told me that I should enjoy my poverty, that it is meaningful later in life, so you should enjoy it while it's happening. He told me that he constantly looked back on being dirt poor as the best time ever in his life, full of small rewards. I think that's a good point, and it kept me going for several years. So please don't waste your time looking at job sites on the Internet all day. It's addictive and there is no reward.

OA: What is your opinion of the current state of literature in Chicago?
SS: For all my little beefs, I love Chicago. I know a bit about the current state of literature here because I've worked in publishing, and I go out to see readings when I can. My opinion of the current state is that it is very strong and focused, and is very sharing, as many different writers can appear at a single reading. I'm a big fan of illogical geographical arguments, the belief that certain areas produce certain kinds of art. So here in Chicago we're the "Second City," so we've always been downplayed by literary centers like New York, San Francisco. But that makes for a kind of fight for relevance in the writers here. Many of the writers I see read here have this dogged insistence about their stuff. It's totally unpretentious, and I love that the same group of folks keep coming out day after day, getting better and better. Because you have to fight harder, being here. It's not easy, and you acquire chops from hard work that usually doesn't have the outlets like New York. But it's great. There's something very noble to me about Chicago writers. Much like my father's advice about poverty, I think writing in Chicago is something you have to enjoy while it's happening.

OA: What's next for Scott Stealey?
SS: I'm working with the second chapter for "Axl Watch" for Please Don't. I'm in love with this idea that Pete and I throw around about Axl being in fact the last rock star, since rock went the way of the "alternative" and "indie" after Cobain, who was the ultimate anti-rock star. And honestly, "In Utero" might be one of my favorite rock albums ever, but it doesn't change the fact that Cobain essentially killed the rock star, or rather, made the image of the hard-rockin' dude ironic. I'm thinking there should be a fight scene between Axl and some indie rocker, modeled much like the fight he and Cobain supposedly had at the MTV awards in '93, when Cobain was wearing the Daniel Johnston T-shirt, and Axl was rocking an umpire's chest protector.

Also, I've written some short stories about Bigfoot, and hope to have a novel going soon. Mostly I don't think Bigfoot has ever gotten a fair take. He's always a joke, or an ironic representation used to sell beef jerky or something. It's totally unfair. Here is this incredibly classic American monster, and so far in art our response has been total camp, all the way. Granted, I'm huge fan of those '80s monster-comedies, but I've always felt there's more to be said for the monsters, like maybe the Toxic Avenger has a certain decency that can be explored more, without using humor. Monsters are great characters.

Bonus Question:

OA: What type of music do you enjoy, and who are some of your favorite musicians?
SS: Some of my favorite musicians are Mike Patton, Paul Westerberg, John Lennon, John Bonham, Bill Callahan, and Axl Rose.

There was this one recent band I truly loved in Chicago, The New Black, but they've broken up. They are incredible, check them out.

For more information on Scott Stealey please visit Please-Don't.

Artist of the Week

The Clouded Principle (Mrs Evelyn D. Bing, 1974)

Tom Davie

The images of your childhood are most likely fond and frosted, filled with adventure and excitement, the wildness and freedom of late night games, and endless conversations of all of the new discoveries of the day. Looking back, the events seem to present themselves as pictures, small snap shots of people and places. One of the places in my childhood was the Church. My experience with the Church may be different then most, as it was actually very positive, but still filled with quite a few interesting individuals. The concept of returning to this time in ones life is very common, however, utilizing the directory of your childhood church from the year you were conceived is very unique. Yet that is exactly what Ohio resident Tom Davie is utilizing in his latest series of paintings.

With each detail painted by hand, these paintings aren't simply faces from his youth, but a representation of his fondness for the time and the conflicted journey since. It was this journey that led Tom to the School of the Art Institute of Chicago where he received a masters in fine art in visual communication. Since that time Tom has been able to work as a designer, educator, and artist.

Recently, Tom took some time out to answer a few of my questions.

Orange Alert (OA): How would you describe your style of painting?

Tom Davie (TD): For lack of a better term, I would describe my painting style as screen-print inspired. After spending years working with offset lithography and print production as a graphic designer, I decided to adapt my knowledge of commercial production and printing into fine art.

Most of my sketches and final layouts are created using Adobe Illustrator and Photoshop. The process I use to make the paintings is similar to that of screen-printing. A laser printer is used to generate color separations, and I carefully mix pigments to closely replicate colors from the computer files. However, instead of using a screen to produce the work, I draw the imagery directly onto canvas and paint it by hand. I like to create work that can be generated as a digital print, screen-print or painting. This gives me a lot of flexibility with interchanging different mediums, while being able to retain a consistent theme or concept for the art.

Collective Parishioner, 3 (Mr. Arthur A. McCall, 1974)

OA: Your latest series of paintings focuses on “personal struggles concerning faith in God, the Catholic Church, and impending mortality”. Each piece has a very specific title followed by a persons name and a date. Are these actual images from your childhood? What was it about that time in your life that inspired this incredible series?

TD: The images used in this series all come from a single source, the 1974 parishioner directory from my childhood church. The directory has the feel of a high school yearbook, in that every page contains rows of family portraits, which are individually labeled with the names of family members. The portraits are really engaging, partly due to the inconsistency with which the families were photographed. In some cases children are in front of adults, in others they are not, some people are alone; some are really close to the camera, while others are much further away, some are young families, and others are elderly and at the ends of their life. Many of the people have genuine smiles, while a few have forced expressions or no expression at all. The entire book just seems very authentic to me, in both depicting a small midwestern town and representing those with similar religious convictions.

The 1974 directory was chosen as the basis for my painting series because it was the year I was conceived. I liked the concept of using the 1974 directory because it questions the Christian notion of when a person’s soul is created. If the soul exists at the point of conception, then I was a member of this religious community in 1974, not 1975 — the year I was actually born into it.

I explored this period in time, because for me, childhood represents purity, trust and belief. As an adult, you are sometimes forced to embrace or question certain fundamental childhood beliefs. In this case, I have been struggling to determine whether I share my parents’ ideals when it comes to religion. These paintings represent my journey of guilt, confusion and uncertainty, and oftentimes, I wish I could go back to those earlier years, where I had the unquestioning faith of a child.

OA: I am fascinated by the look of these pieces, and I’ve read they are all painted by hand. How is that effect achieved? What is the starting point for a typical piece? What are a few of the verses that the viewer might find in the pieces?
TD: Each painting from this series starts on the computer. The imagery is scanned and layered using Adobe Photoshop – in some cases, allowing information from ten or more individuals to be incorporated into a single painting. Once the composite image is created, and the highlights and shadows have been adjusted for contrast, the file is printed and drawn onto canvas. Using the drawing as a guide, the canvas is meticulously painted by hand. In instances where text appears, I create the words by applying them in varnish directly onto the portrait.

All of the text included in this series is taken from Biblical passages. For example, the painting titled, Bound To Afflict (Mrs. Esther R. Andres, 1974) uses text from Judges chapter 16 verse 6. The entire verse reads, “And Delilah said to Samson, Tell me, I pray thee, wherein thy great strength lieth, and wherewith thou mightest be bound to afflict thee.” With the verse chosen, I select a portion of it to include on the painting. The final text reads, “Wherein thy great strength lieth, and wherewith thou mightest be bound to afflict thee”, and “Bound To Afflict” becomes the title. I like to use the Book of Revelation a lot, as the text is dense and ominous, and seems to work well with the visual aspect of the paintings.

OA: I also really enjoy the “Bottled Food” series, what was the motivation behind this series?
TD: The bottled food series was created after seeing commercials for Campbell’s® Soup at Hand® — soup that is meant to be eaten directly from its container. The ads got me thinking about convenience and laziness; as a society, has it come to the point where even making a cup of soup is so complex that we need an easier alternative? I also began to think about traditional packaging and what, as a consumer, I expect certain packages to look like.

This series is not an attack on consumerism or the companies represented; in fact, I find these products interesting. The bottles are meant to get the viewer to engage with everyday products, and view them in a different manner than they might in a grocery store setting.

The bottle labels are made directly from the original purchased products. There has been no photo manipulation. The original packages were simply cut out and rearranged to work on the bottle format.

Sadly, these photographs are all that remain of the original food product bottles as some of the food does not age well over a significant period of time. Let me just say that Trix with milk and potted meat really start to get funky after about the third week.

OA: What were you able to take away from your time in Chicago, and more specifically your time at SAIC?
TD: Chicago is a great city with a strong art scene, I really enjoyed my two years living in the South Loop.

SAIC was a life changer for me. It was the first time I was really exposed to so many talented artists working in tons of different mediums. I spent a lot of time working in the printmaking department, took tons of art history classes and was constantly getting feedback from faculty in many different disciplines. The strange thing is that I never took a painting class at SAIC, although a majority of what I was producing, especially in my second year, was on canvas. I really wanted my paintings to be free of rules and restrictions, so I avoided structured classroom settings. From a technical standpoint, everything I have learned has been through personal trial and error.

OA: What’s next for Tom Davie?
TD: In the next few weeks, I am giving a lecture at the Dayton Art Institute museum, doing an interview on NPR in Ohio – which will focus on my paintings and thoughts on faith and religion, and have quite a bit of work in the soon-to-be-released book, Almanac of Asia-Pacific Design III — being published out of China.

As far as new work goes, I have started on a group of paintings that I’m keeping under wraps for the time being, but the concept of this series deals with encoded messages. Be on the lookout, because I might reveal a few of the new paintings on my blog or website in the near future.

Bonus Questions:

OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot?
TD: Sorry, but no coffee for me. I have the same relationship with coffee that I do with Tequila — I will avoid them both just long enough to forget my dislike, but will periodically give them another chance, only to be left with the same (but different) day-after regrets. It’s a vicious cycle, I know, so now, the closest I get to coffee is Swiss Miss hot chocolate, which is like a taste of the Alps in every cup. Actually, instead of caffeine, I prefer a sugar fix — I usually start the day with a heaping helping of Apple Jacks or Franken Berry cereals, what can I say, I love the kids stuff.

OA: Do you listen music while painting? Who are some of your favorite musicians to listen to while painting and in general?
TD: I constantly listen to music while I work. My favorites in no particular order are: Radiohead, Air, Bill Withers, Curtis Mayfield, Zero 7, Fiona Apple, Portishead, B.B. King, Slick Rick, Parliament / George Clinton, Led Zeppelin, The Beastie Boys, Beethoven, Marvin Gaye, Edan, Pink Floyd, Sneaker Pimps (but only the Becoming X album), and pretty much all 80’s pop.

For more information on Tom Davie please visit his website.

New Release Tuesday

Music:

Jens Lekman - Night Falls Over Kortedala Listen to: Friday Night at The Drive-in Bingo (mp3)

Scout Niblett - This Fool Can Die Now Listen to: Moon Lake (mp3)

Sunset Rubdown - Random Spirit Lover Listen to: For the Pier (and Dead Shimmering) (mp3)

Octopus Project - Hello, Avalanche Listen to: I Saw The Bright Shinies (mp3)

Cut Off Your Hands - Shaky Hands EP Listen to: you and I (mp3)

Doveman - With My Left Hand I Raise The Dead Listen to: ... & Sunrise Medley (mp3)

The Fiery Furnaces - Widow City

Band of Horses - Cease to Begin Listen to: Is There a Ghost (mp3)

Celebration - The Modern Tribe

Moving Units - Hexes For Exes

Ohmega Watts - Watts Happening Listen to: Roc the Bells (mp3)

The Orb - Art of Chill 4

She Wants Revenge - This is Forever

Koop - Koop Island

Vanessa Carlton - Heroes & Thieves

Modeselektor - Happy Birthday!

DVD:

Evan Almighty

Reign Over Me

28 Weeks Later

Surf's Up

Monday Morning Mix

This week's mix is all of over the place, but that is by design. It was inspired by this wonderful piece by Aaron Kraten, that serves as a road map of sound. It features sounds from diverse acts like Nurse & Soldier, Violent Femmes, Muscles, Pants Yell!, and even that TV commericial you couldn't get out of your head. Please enjoy "Land of Sound".

Artwork: "Land of Sound" by Aaron Kraten

Orange Alert's Music Minute

It has been four years since The Forms released their critically acclaimed debut Icarus. However, their self-titled follow-up only took 50 days to record. The record, out October 23rd, was recorded here in Illinois with the legendary Steve Albini. The band also recently participated in Stereogum's genius R.E.M. Tribute "Drive XV" by covering "Ignoreland". Listen to: Knowledge in Hand (mp3)

Released just two weeks ago, Colonies, is already receiving a tremendous amount of positive reviews from the some of the biggest blogs. Check it out: Who Needs Radio?, 3Hive, I Guess I'm Floating, New Noise Net, and The Quaint Space. Congrats Dan, all of this is extremely well deserved! Your dedication to the sound and album is finally starting to spread. To revist my interview with Canon Blue from back in July, go here. Listen to: Pilguin Pop (mp3) and Odds and Ends (mp3)

"Radiohead have made a record." That is what you read when you visit their in rainbows website, they also tell you that it can be preordered in two formats "discbox and download". If you preorder the downloadable version, and go to view your "basket" you see two empty boxes where the price should be. Basically you can set your own price or not pay anything at all. What a fascinating concept, is this the future of digital music? The bands make very little money from the albums anyway, and this maybe a solution to the illegal downloading of albums. Fans who want the physical product can still purchase the CD, but the casual fan can go with mp3's. After listening to the mp3's that fan may be more likely to attend a concert or buy the next album. This is truly the future of the industry.

The day before Halloween Nicole Atkins will release a hauntingly beautiful album entitled Neptune City. The scariest aspect of Nicole's music is her incredible range of styles. This album is at times vaudevillian, at others psychedelic; a little bit country, with a cabaret flair, but at it's core melodic tribute to her past mixed with a longing glance into her future. Listen to: Party's Over (mp3)

The Peel Back: Violent Femmes "Why Do Birds Sing?"

"Can, Can I put in something like this is American Music, take 1... 1, 2, 3, 4!"

And with that the Violent Femmes 5th studio album erupts at a pace and sound that is completely and uniquely Femmes. The year was 1991, and "American Music" should have a pop hit that year , but EMF and Jesus Jones had that area covered. Then there was Pearl Jam, Nirvana, and Mudhoney exploding in Seattle, and Wisconsin was simply not the place to be. However, after eight years of attempts, the Violent Femmes had finally made an album that rivaled their 1983 debut.

Why Do Birds Sing? (1991, Reprise)

American Music (mp3)/Out The Window/Look Like That/Do You Really Want To Hurt Me (mp3)/Hey Nonny Nonny/Used To Be/Girl Trouble (mp3)/He Likes Me/Life Is A Scream/Flamingo Baby/Lack Of Knowledge/More Money Tonight/I'm Free

The Watch List

Listening:
1. Teeth Mountain - Possibly the most annoying myspace background around, but this Maryland band allows you to look beyond those pulsing colors and find a quality sound. Listen to: Ghost Mountain (mp3)
2. Dent May & His Magnificent Ukulele - Dent May walks the line between brilliant and absurd, but he seems to be having fun in the meantime. He claims to be releasing a free ep in the near future, so stay tuned.
3. "Awesome" - As they prepare to release their 2nd album, this Seattle Band only hopes to live up to their name. So far so good. Listen to: Telephone (mp3)

Reading:
1. "Rodger Starts an Omelet" by David Gray - Short, but incredibly interesting piece of flash fiction from Johnny America.
2. "A Television Abortion" by Dave De Fina - I found this over at Lamination Colony, journal run by the remarkable Blake Bulter.
3. The latest Featherproof mini-books, "My Father's Hands" by Mary Cross and "Every Night is Bluegrass Night" by Orange Alert alumni Tobias Carroll.

Wishing:

1. Dance Shoes - Not actually for sale, but a great concept for the Daddy/Daughter Dance scene.

2. "Ick: The Game" - Wonderfully illustrated by Michael Slack, Ick is a "superfun and lightning-quick card game of gooey worms, toxic slime, and bug-eyed beasties". - $15.95

3. "Name That Republican" - While you are over at Chronicle Books for Ick: The Game, you should check out "Name That Republican". This game includes 50 playing card, with facts and questions, and a few other item. - $9.95

Getting:
1. ILUSTRE! #4 September/2007 - They consider themselves a illustration poster magazine. It is just page after page of very cool images. Also Dustin Parker is on the cover! They offer a lover quality viewer copy but, you can also get a printing copy.

2. CRU A #10 - This one is not in english, but it contains some wonderful photography.

Watching:

1. Architecture In Helsinki's brand new video for "Debbie"
2. A little more from the mysterious Puscifer... "Smell It?"
3. CCLaP Podcast: Jason Pettus started throwing podcasts on youtube over the summer, and seems to focus on the creative side of Chicago. He has interviewed several influential Chicagoans, including Jonathan Messinger (author of Hiding Out).

Saturday Morning Cartoon

This morning while you enjoy a big bowl of Nintendo's Cereal System, watch this brand new animated video from Puscifer. I'm still undecided on the music, and I almost feel embarrassed by his juvenile song title, but the animation is pretty cool.

Queen B.

Band of the Week

Plushgun

The mp3 has revolutionized the music industry. The consumers ability to purchase, steal, share, sample, etc. music grows and changes on a daily basis. The musicians ability to distribute, create, sell, and store their music grows at the same rate. The record company, the local shops, the mega store are in a way the victims of this modern technology. It was once believed that the musician would suffer, but they are beginning to adapt their strategy to match the consumers new desires. A recent example would be Radiohead's controversial move to release their new album for free next week. However, my focus today is related to the promotion and distribution of new music and new artists.

A couple of weeks ago I check my inbox and see this heading, "MP3 for your Blog....Its indie-electro-licious! (I promise!)". Curious, I click play and travel to a land of dancing keyboards and refreshing harmonies. I smile, knowing that I was just giving gift from a wonderfully creative musician. I smile because I know how long Dan Ingala (aka Plushgun) must have worked to create the gift he just gave to me. You see we are operating in a very different time, when musicians will give you the end product in hopes you will attend a show, buy a shirt (they most often printed themselves), or perhaps purchase their next album. Fan base is no long judged by records sales, but by tangible feedback on blogs and in the independent press, by appearances on webtv and podcasts, and by downloads (both free and paid for). It is increasingly possible for a young artist to build a substantial following in one week, and for the veterans to turn the industry on its ear over night.

Plushgun is the hard work and passion of Brooklyn's Dan Ingala, but expands into a full band on stage. With big plans out the horizon, Dan was able to take some time to take some time out talk with us about his career and where it might be headed.

Orange Alert (OA): What is the story behind the name Plushgun?
Dan Ingala (DI): There is not too much of a story, I was trying to think of something that summed up my music without giving into a "The [Plural Noun]" name. My brother suggested the name, since "Plush",the orchestral, strings and violin sounds I like to use, and my history with classical training, and "Gun" being the electronic beats and powerpop sounds. It also sounds like a type of weapon out of Contra, or some vintage NES game.

OA: I have seen your sound compared to Depeche Mode, The Postal Service, Hellogoodbye, and so on. I understand some of them, but you definitely have a sound all our own. Who are some of your biggest influences musically?
DI: My favorite comparison so far has been a mixture of The Postal Service and Belle and Sebastian. I think that when it comes to my own influences, its pretty difficult to actually conjure a few specific bands. I used to listen to a lot of British Invasion music, The Kinks, The Who, Beatles, etc, in appropriately moved to the early NYC scene, like the Velvet Underground and Ramones. I no doubt have a lot of fun with New Wave, but I like to think my electronica sound is actually most influenced by early techno and dance music.

OA: Currently, your music is only available digitally, and most of it has been available to download for free at one time or another over the last six months. Do you plan to stay primarily digital, or are there plans for a physical product? With the industry changing the way it is, what is the motivation for an independent artist just starting out to make a physical CD?
DI: We are actually releasing a physical EP, with CD art and all. A lot of people still like the tangible thing, when you own an album its a bit more personal. But I actually love the digitization of the music industry, nothing has allowed new acts to be heard more than the MP3 (albeit compressed beyond repair.)

OA: At 23, with a handful of songs and a decent amount of blog buzz, where do you see Plushgun in five years?
DI: Haha, I have to change that in my myspace profile. I recently turned 24, so the review is no longer completely accurate. I would hope that Plushgun lasts for five years, I started out doing everything on my own, but I have found some great musicians to surround myself with for when we play live, I hope to stick around with them. I would like to get a record deal down the line, more than anything else, it makes the business a lot easier, not to mention distribution. If anything, I just hope to continue making music people like without having to comprise.

OA: Much has been said about your "recording studio", you seem to be bringing honor to the title bedroom producer. Can you talk a little about your equipment and space restrictions?
DI: Luckily, I recently moved to a bigger room, with a window. Though in New York, big is a relative word. I use an old G4 tower with Logic for the sequencing, and a bunch of soft-synths, rack synths, and obviously live guitars. Seriously, the piece of crap crashes every other minute, I need to upgrade. I have no acoustic set up, its just a bedroom, and a pretty cheap microphone. Needless to say, there is a lot of post-editing and EQ work to make it sound anything presentable. I am more of a composer than an engineer, but I have learned a few tricks while doing this stuff on my own.

OA: What's next for Plushgun?
DI: I pretty much have enough songs for an album, most of which have yet to be heard. With these tracks, I will hopefully shop around for a label, if there is no luck with that, I'll release the album myself. I just hope people continue to enjoy the music, and spread the word. I credit a lot of my success to the fact that people talk about it, and I love that, its the best way to go.

Check out the video for "Dancing in a Mindfield" (mp3)





Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot?DI: Hell yes. Without coffee I would feel like an extra from a George A Romero zombie flick. I like coffee, as is. Not too particular about the type, though I do love it when its iced (a lot easier to drink, and thus, faster caffeine intake.) My favorite place to is Gimme Coffee, right of the Lorimer stop in Brooklyn.

OA: What was the last great book your read?
DI: A Wild Sheep Chase by Haruki Murakami. Simply amazing, never have I felt so invasive, watching someone else's dream.

Listen to:

Just Impolite (mp3)

For more information Plushgun, and to purchase a digital version of his ep, please visit his website.

Writer's Corner

Hosho McCreesh

Each week it is becoming increasingly difficult for me to denounce any alliance with Guerrilla Poetics Project (GPP). I mean I am not technically one of the "operatives", but I find myself mentioning their fine work on almost a weekly basis. As I scroll down their poets page I find several past interviewees, and when I click on the operatives there are even more. Prior to today I had interviewed 6 GPP poets, but with each their connection to the GPP was more of a secondary focus. These men and women are tremendous poets on their own, and have come together to champion the small press and the tradition of the poem. Hosho McCreesh happens to be my 7th GPP interview, but this man is so much more than that.

Disenchanted with the state of the small press, Hosho all but disappeared from the literary circles five years ago. During that time he would publish small pieces here and there, and as we will find out even had a few chapbooks go unpublished. Attributing part of his renewed faith in the small press to the mission of the GPP, Hosho is poised for a comeback with two chapbooks, Marching Unabashed Into The Weeping, Searing Sun... (Bottle of Smoke Press) and A Ravel Of Branches, A Frozen Moon Fading, Our Frostsmoke Mortality, & A Pale Sky At Dawn... (Hemispherical Press) due out in late '07 and/or early '08, although no official release dates have been set.

Recently, Hosho took some time out to answer a few of my questions on his return, the GPP, and his views in general.

Orange Alert (OA): It has been five years since your last chapbook, Deep Surface Fissures Revealing A Furious Molten Core..., was published. What was the reason behind your absence, and what can we expect from your forthcoming books from Bottle of Smoke and Hemispherical Press?
Hosho McCreesh (HM): Well, it was never supposed to be that way...I actually had 3 different chapbook projects fall apart between 2002 - 2004...2 a direct result of rampant unprofessionalism by the editors involved. After that I just grew tired of the small press & its delusions, tired of wanting more for it than it wanted for itself. I stopped sending out lots of submissions, focused instead on sending work to the few places I admired, sent more stuff overseas. The simple fact is most people don't give a shit about the product they put out...they make a crappy little book then bemoan the fact that they can't hustle 100 half-assed copies of it to the infamously frugal small press buyers. At the core of every terrific small press publication–be it a magazine, broadside, or chapbook–is someone who genuinely cares about the work they put out–the writer caring about the words, the publisher caring about the design & production. I've said it before, but the small press really fails to capitalize on what it CAN do–which is make 50 fantastic & innovative books instead of 100 lousy fold & staple jobs. After self-publishing FISSURES–a book that came out beautifully–I decided that any book I put out had to be at least that good...& I wanted to place work with publishers with a lineage of quality stuff. Why put out a sub-par book if I can do a better job myself? So between 2004 & late 2006 no one knocked on my proverbial door--plus I am really uncomfortable trying to hustle people with blind subs of manuscripts--so I didn't put out any work. I think editors probably prefer to approach the people they want to publish instead of wade through thick submission slush piles...& the few books I have published have either been by invitation or self-published. Once or twice I've queried editor/publishers I admire...but I otherwise wait for those who are interested. I just don't like trying to "sell" my work to anyone--if they want to print it & will do a better job than I can, I'm happy to work with them. If not...well, I guess we go 5 years between books! There are a handful of publishers, the 4 Horsemen of the Independent Press if you will, that I'd work with sight unseen: Bottle Of Smoke Press, Hemispherical Press, Centennial Press, & sunnyoutside. They just make book after gorgeous book–& they are, I think, the antidote to what ails the small press. There's also guys like Verdant Press, & X-Ray Books–but they, of course, publish much bigger, more famous names. For short fiction & humor you just can't beat Johnny America--they've published a couple of my short stories & I never have a hard time finding something to enjoy there--& their print editions are very slick. As to my upcoming books from both BoSPress & Hemispherical: both are gonna be gorgeously designed, hand-crafted books. I am so excited to see how these books come out–the design ideas we've been kicking around are just glorious–I can't wait to see how they come out.

OA: I really enjoyed your recent broadside, Art, Love & War Will Always Favor The Brave ..., with the GPP. What is your opinion of the GPP's mission and tactics? Have you received any feedback from individuals who have discovered your broadside?

HM: Man, I love the GPP, I am all for it. Frankly, it took an idea of this magnitude to get me excited about the small press again. I am honored to be in the trenches with every one of the folks at the helm of this project & really honored to have work printed by them. They are an innovative, selfless, & insightful bunch. These folks just believe in poetry & always strive to do things the right way for the right reasons. It's been a trying but terrific first year–& now that subs are open to everyone who wants to be involved, I think we've managed to really make the machinery of the project match the spirit of it. I've had some really kind things said about the broadsides, mainly from writers I really respect...& it's those sorts of things that remind you, as a writer, that you're getting through to people. & beyond all the short-sighted, petty "competition" of the small press, that's what ultimately matters. The GPP has established such a unique, democratic, & inclusive approach, one that doesn't rely on sales, one that works if we're printing 1000 broadsides or 50, so we'll be able to keep doing this. My hope is it becomes THE PLACE for the newest & best unpublished work.

OA: Your three part essay, The Second Coming, posted on "Upright against the Savage Heavens" touches on many subject, but it mainly looks at two principles; the nature of beliefs and the global reality of basic human needs. Essay writing seems to be a lost art, how did you come to write this piece and what do you hope readers will take away from it?
HM: Fascination & disgust, really. I am constantly dumb-struck by what people will do–both beautiful & brutal–when they believe in something. I am amazed by how belief structures are built up & relied on–even in the face of evidence to the contrary, fascinated & disgusted by the sinister ways people engineer their own beliefs so as to justify inhumanity & especially the way people conveniently use their own beliefs to judge others as inferior. So many people are supposedly so sure about so many things in this world–while my experience has been the polar opposite of that: the longer I go, the less I feel I know. In my own life, I have found convincing evidence as to why I shouldn't even trust the things I supposedly believe–as I've genuinely convinced myself of things that were absolutely untrue–so I am immediately suspicious of anyone who says they believe in almost anything. Religion, history, patriotism–all of these are inexorably tied to the beliefs of people both past & present–& yet, at the core of all of it, is mankind–this bumbling, imperfect misfit–who has mucked up everything. Imperfect men created gods, borders, rituals, traditions, enemies, & heroes–& imperfect men continue to accept these imperfect ideas as scripture or fact–wage wars & other assorted campaigns against each other for the imperfect tenets at the core of their supposed beliefs & in the name of their invented gods & countries. Humanity, as a tribe, as a pack animal, is unlike any other animal: none work more diligently to ensure their own destruction. We march ourselves, giggling & farting, to the slaughter. That disgusts & amuses me all at once. Now, do I believe in things? Sure. I've built up a belief structure that works for me. But I refuse to believe that I am "right," that I actually "know" anything & I just do my best to challenge the things I think I believe, all while trying to understand & appreciate the things other people "believe" in. As to how it came about: Christopher Cunningham & I have been writing letters since I think 2000, & we've touched, many times, on things like this. He asked me to write something so I said sure. I think essays allow you to flex much different writing muscles than poetry or fiction does–& so I've always liked them as a change of pace. Some of the things written by Henry Miller, Kurt Vonnegut, & Joan Didion just blow my doors off, so I suppose I tend towards them in terms of writing essays. They used essays effectively as a kind search & as a literary soapbox–a way to extol the virtues & expose the evils of the worlds they saw, something I think more should aspire to. Philosophy has been reduced to bumper-sticker & sound-byte–as if the world is so easily explained away. Ask folks to explain what they believe & you'll likely get a torrent of clipped, cliched justifications: "You gotta cowboy up" "Don't hate the player, hate the game" "Love it or leave it" "Git-R-Done" "Ask me If I Give A Shit" or some such things. It boggles my mind that people will so willingly let such a phrase define them as a person. If anything, essays delve deeper, refuse to take "just because" as an answer to the question "why." A smiling willingness to question the world & themselves--that's what I'd like people to take away from that essay.

OA: Your poem, 8 Nights & Their Subsequent Sunrises, is incredibly profound, but still maintains its straight forward simplicity. It paints such a dark picture, but then leaves a slight amount of hope. How did you decide on 8 night, as opposed to 9 or 20? How many of these night have you lived through?
HM: At the time I wrote it, I'd made it through 5 or 6 of them & I could easily anticipate a couple more nights before I could finally–hopefully–just accept the imperfect beauty of life, let go of all the things we convince ourselves to worry about, & just appreciate the simple cosmic mystery of being animate. So 8 was a best guess. As to the poem–I strive for a real balance in my work between the damnation & the redemption...& I think that poem walks the line well–even if it's too long & a bit undisciplined for my current tastes. It's a "young" poem–but, then again, so is the ideation behind it, so I like it for what it is. Suicide, as a concept, is very dark, very hopeless–& the decision to put it off is infinitely hopeful–it's just a stunning example of the duality of existence. Again...it is something fairly unique to the human animal–that we might willingly give up our lives over a concept or emotion, maybe even a bio-chemical malfunction...watch any nature show on TV & you'll never see the gazelle just give up, stop running, & let the lion kill him. Humans, on the other hand, might. That is very interesting to me.

OA: Who are a few of your biggest literary influences?
HM: Bukwoski, Henry Miller, Vonnegut, Zen poets from China & Japan–guys like Li Po, Tu Fu, Po-Chu-I, Ikkyu...small press legends like Ed Galing, Winans, & Huffstickler impress me, Richard Krech, Anne Menebroker, as well as a few of my compatriots in the small press right now–Cunningham, barrett, Berriozabal, William Taylor, Draime. I bought a terrific broadside from the Palace Of The Governor's Press in Santa Fe by Naomi Shabib Nye...Kat Paul-Flanagan, Glenn Cooper...Michael Philips has a poem in the GPPReader that just crushes me...I dig lots of the work these people are putting out. Kaveh Akbar is doing some really surprising things...it's just a great time to be reading the independent press–all these people, from giants to newbies, do things with words that I am envious of!

OA: What's next for Hosho McCreesh?
HM: Heck, I don't know...write, paint, eat, drink, sleep, laugh, live, learn to sculpt, learn photography, get a small letterpress up & running, travel to exotic locales with the charming Ms. Babineaux, enjoy friends & family more, stay current with my correspondences, listen better, remember more...be less guarded, embrace more...stuff like that.

Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee and where is your favorite coffee spot?
HM: Almost never–it's a bad day if I am drinking coffee or soda pop. Caffeine has a pretty dramatic effect on me–if I have any past noon I'll usually end up staring at the ceiling 'til 4am.

OA: What type of music do you enjoy, and who are some of your favorite musicians?
HM: Jazz, Blues, Classic Rock, Classical music, Metal, Country legends, Big Band, Bob Dylan...heck, almost anything but modern country–that stuff is just awful, sounds like twangy pop. I usually write to jazz; I paint to jazz, blues, or classical; Miles Davis, John Coltrane, Wayne Shorter, Monk, Ellington, Buddy Guy, Lightnin' Hopkins, Jazz ladies like Billie Holiday, Ella Fitz, Etta James...Patsy Cline...stuff like that. I suppose my tastes are fairly pedestrian–I don't have albums by the latest up & coming bands no one knows about yet...that stuff is too hip for me.

For more information on Hosho McCreesh check out his profile page over at GPP.

Artist of the Week

Jenny Kanzler

If you dig deep enough into a fond memory, or a dream, or a childhood photo you may find something slightly darker. Not something that is necessarily violent or traumatic, but more objects or events that left you feeling somewhat uncomfortable. Was it your grandma's dusty wigs, an old appliance in the basement, or that head cheese or pimento loaf left out on the counter? Whatever it might have been that object or occurrence brought forth fear or confusion or ultimately anxiety.

What makes the work of Philadelphia resident Jenny Kanzler so unique is she will actually dwell, for a minute or two, on your worst memories, and then recreate them. It is that intense mixture of nostalgia and fear that draws the viewer in, but also pushes him/her away at the same time. She paints memories, mangled, distorted and perhaps unsettling, but these memories have equally importance to the memories we choose to focus on in our daily lives.

Having graduated from the Pennsylvania Academy of Fine Art with a MFA in painting a mere two years, Jenny has already participated in a couple solo show and several group shows. Her most group show, "I Can't Remember", opens October 19th at the Little Berlin Gallery in Philadelphia. Earlier this year Jenny was nominated for the 2007 Louis Comfort Tiffany Biennial Award.

Recently, Jenny took some time out to answer a few of our questions about her work and Philadelphia scene in general.

Orange Alert (OA): How would you describe your work?
Jenny Kanzler (JK): Symbols for anxiety, fear, loneliness and loss or metaphors for invasion, like illness, infection, and infestation -- generally, preoccupations of nightmares. Many of my paintings focus on the struggle between empathy and disgust and the relationship of the viewer to the object or conflict. They present things that did happen, altered through a faulty memory, simplified to isolate some specific occurrence, embellished, rewritten and presented as some new story connected to the original only in essence. They are narratives, employing realism and storytelling to represent an idea.

OA: You seem to have a very interesting and at times dark subject matter, where do you draw your inspiration from?
JK: The Velveteen Rabbit (William Nicholson illustrations), the Twilight Zone, David Lynch (especially the Elephant Man and Eraserhead), Bluebeard, the Brother’s Quay, Francisco Goya, Francis Bacon, Hans Holbein the Younger, Diego Velazquez, Henri de Toulouse-Lautrec, A Nightmare on Elmstreet, the Changeling, Rosemary’s Baby, the Little Girl who Lived Down the Lane, Saturday matinee movies, the playground - the girl who pretended to be a horse, the day Brian Flaherty and I threw up in the lunchroom, Aldus Huxley’s Heaven and Hell, Freud’s essay on the uncanny, my German grandmother, my beau Abe, my family and friends and the many strange and interesting things that they say, people I don’t know who sleep on the subway, the naked man at the end of the alley and all kinds of other surprising occurrences that a person might witness walking around Philadelphia at any time of day or night.

OA: I've noticed a lot of reoccurring colors in your work, do you have a set color palette? What is your intention in using these specific colors?
JK: The colors I use are burnt umber, raw sienna, raw umber, cadmium yellow, cadmium red, cerulean blue, ultramarine blue, alizarin crimson, and titanium white. Generally, I underpaint in earth tones, and then as the image develops incorporate more color. Since the development of the image interests me, I try not to hide everything that’s happened. Lately, I’ve been inserting jewel tones and placing them in contrast to muddy colors, presenting a clean/dirty conflict that relates to the empathy/disgust conflict.

OA: Earlier this year you participated in a solo show entitled "Creepy Sweet". In my opinion that really describes your work, a little creepy, but sweet and nostalgic. It's familiar, but uncomfortable at the same time. What is the intended purpose of presenting these images and what are some of the reactions that you have received?
JK: When others describe the work as familiar, as you just did, or say that it reminds them of something that happened to them, and then they tell me some personal story, or if they laugh, those are the best reactions. Occasionally I completely horrify people, and then we’re all upset and disturbed. The goal of connecting with others through an investigation of the human condition is lost. I worry that I have misjudged my audience and that my insertion has a negative impact on others. There’s also an embarrassment component. It’s as if I’ve said you know how sauerkraut smells awful but it tastes so good and it’s almost as if the reason that it’s so good is that it smells so bad, it’s like it’s the contrast or something…and the other person replies no -- sauerkraut is disgusting.

OA: I have noticed a lot of great work coming out of Philly lately. How would describe the current scene in Philly?
JK: To me it seems small enough to be manageable but large enough to be interesting. My recent favorites are Hiro Sakaguchi at Seraphin Gallery, and Mark Shetabi at the Tower Gallery. Longtime favorites are local heroes Edna Andrade, Thomas Chimes and Sydney Goodman.

Second Thursday at the Crane building is never disappointing. The building was formerly a bathroom fixture factory, which is now converted into artists’ studios and galleries including Inliquid, Nexus, the Icebox, and Kelly Webber Fine Art (formerly 201 gallery where I had the “Creepy Sweet” show). There’s a refreshing enthusiasm in the gallery owners. They present what interests them and take chances with younger, lesser-known artists. Plus, second Thursday visitors are greeted by a generous offering of food and alcohol.

OA: What's next for Jenny Kanzler?
JK: Other than making a Halloween costume?

From October 8th – November 6th, I’ll have several paintings on view in the “Window on Broad” adjacent to the Rosenwald-Wolf Gallery, near the northeast intersection of Broad and Pine, Center City Philadelphia.

October 19th – November 9th, i cannot remember, a four-person show of sculpture, video, and drawings with fellow artists and friends: Alison Nastasi (who curated the show), Theresa Rose and Mariya Dimov at little berlin gallery, 1801 N. Howard Street, near the intersection of 2nd and Montgomery in Fishtown, Philadelphia. Opening reception: October 19th from 6:00 – 10:00 PM with a performance by MFM.

February 1st – 28th
Solo show of painting, drawing and sculpture at the Elliott Center Gallery at The University of North Carolina in Greensboro. Opening reception: February 4th, 5:30 – 7:30 PM.

Bonus Questions:
OA: Coffee? If yes what is your favorite type of coffee and where is you favorite coffee spot?
JK: Anything dark with a little cinnamon. Sanka does not offend me. My couch or the kitchen table, or at the park on an overcast day.

OA: Do you listen to music while you paint? Who are some of your favorite musicians you like to listen to while painting and in general?
JK: Music that I will never get sick of:
The soundtrack from Until the End of the World
Neko Case, especially Blacklisted
The Cocteau Twins
Leadbelly
David Bowie

Music that I may get sick of, but I really like right now:
Cat Power
Depeche Mode
Jenny Lewis and the Watson Twins
Coldplay
His Name is Alive

Music I should probably never admit that I like:
Big Audio Dynamite

For more information on Jenny Kanzler please visit her website.

New Release Tuesday

Music:

The 1900's - Cold & Kind Listen to: When I Say Go (mp3)

Ariel Pink's Haunted Graffiti - Scared Famous Listen to: Girl In a Tree (mp3)

Division Day - Beartrap Island Listen to: Tigers (mp3)

We Are Wolves - Total Magique Listen to: Fight and Kiss (mp3)

Flying Lotus - Reset Ep Listen to: Tea Leaf Dancers (mp3)

Kevin Michael - Kevin Michael (stream)

Siouxsie - Mantaray Listent to: Into the Swan (Weatherall Remix) (mp3)

Head of Femur - Leader And The Falcon Ep

Mobius Band - Heaven (stream) Listen to: Friends Like These (mp3)

Peanut Butter Wolf Presents - 2K8: B-Ball Zombie War Listen to: The Zombie Playoffs Mega Mix (mp3)

Pipettes - We are The Pipettes (US Release) Listen to: Pull Shapes (mp3)

Felix Da Housecat - Virgo Blaktro and The Movie Disco

PJ Harvey - White Chalk (stream) Listen to: Before Departure (mp3)

Erasure - Storm Chaser Ep

Om - Pilgrimage Listen to: Pilgrimage Reprise (mp3)

Alchemist - Tripsis

Care Bears on Fire - I Stole Your Animal

Fire Engines - Hungry Beat

Aceyalone - Lightening Strikes

Sharon Jones and The Dap Kings - 100 Days 100 Nights (stream)

DVD:

1408

Fantastic Four: Rise of the Silver Surfer

Monday Morning Mix

The pressure to produce can be unbearable at times. So many plans, goals, wants, needs, dreams... the list seems endless, but time ever so fragile. This mix follows the progression of thought from the day one dream dies to the realization that the death of that dream may allow another to live.

"The Weight of His Dreams", Enjoy music from the gifted Arlene Bishop, Beirut, Califone, Scott Matthews, Tree Wave, Bobby Birdman and more...

Artwork: "The Weight of His Dreams" by Tessar Lo

Orange Alert's Music Minute

The Illuminea contest ended this week, and we have chosen a winner (pulled straight from the Cubs Hat! Go Cubs!). Here is the winning playlist:

1. William Shatner - What Have You Done
2. The Concretes - Change In The Weather
3. Stars - The Big Fight
4. Fiest - One Evening
5. Illuminea - Homewrecker
6. Cowboy Junkies - If You Were The Woman And I Was The Man
7. Kings Of Convenience - Love Is No Big Truth
8. Nina Simone - The Other Woman
9. Squirrel Nut Zippers - Meant To Be

You read that correctly, William Shatner! Congrats to the first place winner.

Here was the runner-up who will also be receiving a quality High Two release.

1. Philosophia-The Guggenheim Grotto
2. Homewrecker-Illuminea
3. Silver Lining-Rilo Kiley
4. I Turn My Camera On-Spoon
5. Boy With A Coin-Iron & Wine
6. Sticks and Stones-The Pierces
7. The Hounds of Love-The Futureheads
8. Nature of the Experiment-Tokyo Police Club
9. Textbook-We Are Scientists
10. Song for the Fields-Fields
11. Lonely By Your Side-Azzio da Bass

Thanks to Illuminea, High Two Records, and Sneak Attack Media for sponsoring this contest.

Amore!Phonics announced this week that they will be rereleasing two out of print Viva Voce albums as a double disc LP. "LOVERS, LEAD THE WAY!" and "THE HEAT CAN MELT YOUR BRAIN", originally released in 2003 and 2004 respectively, both of these sought-after albums have long since been out of print. Together nearly a decade, Anita Robinson and Kevin Robinson have been a consistent force in indie music and now they are finally receiving the recognition that they are due. Listen to: "Fashionably Lonely" (from Lovers, Lead The Way!) (mp3) and "Free Nude Celebs" (from The Heat Can Melt Your Brain) (mp3)

With his debut album, 2006's Breaking Kayfabe, just dropping in the UK this past week, and word spreading about the nature of soon to be released follow-up, After Party Babies, I thought it was the perfect time to get in touch with Cadence Weapon. His interview with Orange Alert will appear on October 12th, but in the meantime you can reacquaint yourself with a couple of the Kayfabe classics. Listen to: Sharks (mp3) and Black Hand (mp3)

And be sure to catch his live show:

CADENCE WEAPON PLAYS CMJ MUSIC MARATHON

10.17.07 - New York, NY - Insound Party @ Galapagos

10.17.07 - New York, NY - Pirate Party @ TBA

10.17.07 - New York, NY - After The Jump Fest @ Music Hall of Williamsburg

10.18.07 - New York, NY - Canadian Blast Party @ Fat Baby

10.19.07 - New York, NY - Crashin' In UnCMJ Party @ Galapagos

CADENCE WEAPON & FINAL FANTASY USA TOUR

10.22.07 - Seattle, WA - Nectar Lounge

10.23.07 - Portland, OR - Someday Lounge

10.25.07 - San Francisco, CA - Independent

10.26.07 - Pomona, CA - Glass House

10.28.07 - Los Angeles, CA - The Troubadour

10.29.07 - San Diego, CA - Beauty Bar

10.30.07 - Phoenix, AZ - Modified Arts

11.01.07 - Abilene, TX - Monks

11.02.07 - Denton, TX - Hailey's

11.03.07 - Austin, TX - Fun Fun Fun Festival *Cadence Weapon Stage 3 w/Girl Talk, Diplo, Busdriver + more

11.05.07 - Birmingham, AL - Bottle Tree

11.06.07 - Atlanta, GA - Drunken Unicorn

11.07.07 - Charleston, SC - Map Room

11.09.07 - Philadelphia, PA - First Unitarian Church

11.10.07 - Hoboken, NJ - Maxwells

11.11.07 - New York, NY - Bowery Ballroom

11.12.07 - Boston, MA - Middle East

This band has really been receiving a lot buzz lately, but it has all been warranted. Earlier this month the band released its fifth album, Good Bad, Not Evil, and this also marked the groups first studio album for VICE Records. The album brilliantly covers everything from dirty psychedelic blues songs to fuzzy lo-fi pop ditties. Black Lips have been all over the place lately, but my favorite was their recent appearance on the Spinner's Interface. Listen to: Cold Hands (mp3)

One band of my favorite bands at the moment is the Dallas based duo, Tree Wave. Paul Slocum is a mad genius, utilizing a Commodore 64 home computer (1983), Atari 2600 video game console (1977), a Compaq Portable II 80286 personal computer (1986), and a Epson LQ 500 dot matrix printer (1985) to produce the most detailed and fascinating electronic backdrop for the lovely voice of Lauren Gray. To purchase their debut EP, Cabana EP, was actually release 3 years ago, but it is just as relevant today. If you are in Dallas, Paul will be performing Tree Wave material at solo set Oct 9th at The Granada in Dallas, also appearing are Matthew Dear and Mobius Band. Listen to: May Banners (mp3) and Sleep (mp3)

The Peel Back: Geggy Tah "Sacred Cow" (1996)

Before Greg Kurstin was a "Bee" he was one half of the band Geggy Tah. Though probably considered by most to be a "one hit wonder", Geggy Tah actually released three albums on Luaka Bop/Virgin Records between the years 1994 and 2001. Musically, their sound ranges from downtempo electronic love songs to raucous rock tunes. Their one hit appeared on the 1996 release "Sacred Cow", "Whoever You Are" was an infectious mix of hip hop beats with well placed samples and a funky little guitar riff. It definitely caught my attention back then, and still makes me smile today.

Geggy Tah "Sacred Cow"

Granddad's Opening Address/Whoever You Are (mp3)/Lotta Stuff (mp3)/Century Plant 2000/Sacred Cow/House Of Usher (Inside) (mp3)/Don't Close The Door/Such A Beautiful Night/She Withers/Las Vegas With The Lights Out/Mem/Shed/Gina