Paint the Town Orange

Pitchfork Music Festival Day 2 - July 19th 2008 - Union Park, Chicago, IL

Amidst the rain, mud, quicksand, and ridiculous looking hipsters I was actually able to catch few band yesterday. Most of my day was spent in the CHIRP tent spreading the word about my various projects. I also spent sometime consuming a foot long veggie wrap from Whole Foods, learning about the open-book literacy program, and walking the tent at the poster fair.

First up on my schedule was Caribou. Multi-instrumentalist Dan Snaith completely blew me away by not only signing his beautiful song, but also switching from drums to keyboards to guitar without effort. It was a great set, but I left early to head over to Icy Demons.

Chicago's Icy Demons are a mystery to begin with so anticipating their performance I had no idea what to expect. I was pleasantly surprised to the see an upright bass, and watch the band switch from electro -rock to tropical swoon to near free jazz croon. It was strange, but very appealing.

I don't know what it is about live hip-hop that just gets the heart pounding and legs bouncy and arms waving, but London's Dizzee Rascal knows how to move the crowd. Now his Dj in the pink and green headphones is another story. He had what looked like turntables, but as he prepared you could see him put discs in and he carried no vinyl. If you have turntables, you have to have vinyl. He scratched a little, but at one point you could tell that the scratch was actually on the cd and not performed live. He was a little lame to say the least.

After Dizzee I went into the tents, but I did catch a little of Animal Collective closing out the night by performing Panda Bear's "Comfy in Nautica" which was a very cool way to end a very hot an wet day.

The Watch List

Listening:
1. Trapper Schoepp Band: Milwaukee boys playing honest pop and changing the weather. Their debut album is a collection nine wonderfully written and piano infested songs that are sure to make into your rotation. Listen to: It's Six O'Clock (mp3)
2. The Curse of Company: Dark, yet still filled gracious pop melodies, The Curse hail from Sydney, and are primarily the brain child of David Wiley Rennick. He is probably most well known for his work with Dappled Cities. Their debut album, LEO MAGNETS JOINS A GANG, will be released digitally on July 22nd. Listen to: All the Mines (mp3)
3. Shala.: Chicago emcee and producer, Shala is a Nigerian American and an influential member of Chicago's underground scene. He is also the founder of Seven Spoon. Listen to: I Ain't Goin (mp3)


Reading:
1. We Are All Businessmen by Mark Fabiano: "Ranil wanted a company scholarship for his son, and would do what he must to make the American executive feel well cared for."
2. Please, Shahryar by Michael Hitchcock: I like this story and so does Michael's mom.
3. Except from A Woman's History of Dunholt by Jill Summers: A very funny commentary by a very funny Chicago writer.
4. Carla's Corner by Antonios Maltezos: I'm not a fan of blood, but I didn't enjoy this story.
5. Carrion by Ben Myers: This is a very disturbing look at the thought process a disturbed man.
6. A Plain Story, Simply Told by Mazie Louise Montgomery: Here is the latest from Bearcreekfeed.
7. The Blush by Rachel Kendall: This part of a bigger novel by Rachel.

Wishing:
1. Solve Lives T-Shirt: This Secret Stash was created to honor the life of Brendan Scanlon aka SOLVE (1984-2008). All proceeds will be donated to Brendan's family. The shirt features artwork by SOLVE, and was coordinated with SARO, BONUS, and SOLVE's family. It is produced by the fam at Formula Werks. Check the site to read more about SOLVE and to order a shirt. Thanks for your support and memory of a great artist.
2. "Liquid" by Brian Doogan: This is a beautiful print available at Freshly Dipped. $35

Getting:
1. Naked Whales Issue #2: Long awaited, but a great issue.
2. Soma Issue #5: Art, music, and culture.

Watching:
1. Now, Now Every Children "Friends With My Sister"
2. Sam Champion "You Can't Stop"
3. 100 Days of Monsters

Band of the Week

Now, Now Every Children

These four musicians have released two ep's this year, and they have just finished recording their debut album for Afternoon Records. The video below, and the following interview should tell you everything you need to know about the cutest band in Minnesota!



Orange Alert (OA): Your name, Now, Now Every Children, as an English Major my eyebrow
goes up slightly every time I read it or say it. Even though it is not proper English it is still memorable and a great name. Where did it come from?
NNEC: haha! I actually have the worst time answering this question! It originated from a typo that turned into an inside joke that we had for a few years. When we added a couple of more members and became more serious about the project, that name got thrown out there and we kept it.

OA: I've heard you are currently in the studio working on your first full-length album. How is that coming along? Is there a title or release date scheduled? Will any of the songs from In The City be on the full-length?
NNEC: We actually just finished recording a couple of weeks ago! We still have a couple of things to work on in mixing, but we'll be done with it very soon. The name of it is still in the works but it should be out early October. and yes, there will be two songs from each of our EPs on the full length.

OA: Speaking of you debut Ep, it comes in a very well-designed eco-friendly cardboard case. Was that an intentional packaging choice on your part? How important to you is the presentation of your albums?
NNEC: It just so happens that the eco-friendly choice was also one of the cheapest options. Not to mention the cardboard case was fitting for our EPs. The presentation of our records is super important to us. You want it to represent your music well since people will see it before they hear it. You also just want it be to cohesive with what you're saying in your music.

OA: Afternoon Records is one of my favorite labels, what has your experience been like with them?
NNEC: It is definitely one of mine also! Our experience with AR has been seriously incredible. I couldn't imagine working with better people. It's such a friendly little family. Ian has done wonders for us. He is the coolest dude ever. We're totally in love with so many of the bands on the label. We listened to a bunch of them even before getting signed so it's pretty awesome that we get to be a part of that now too.

OA: Maybe it just Ian flooding my inbox, but there seems to be a wealth of quality young musicians coming out of Minnesota these days. What are your thoughts on the music in up there? Is there competition for stage time at the local venues or is there a wealth of places to play?
NNEC: We've come across some pretty awesome younger bands since we've been playing shows. We haven't really encountered any competition with any of them for stage time or anything like that though. Most bands have their usual places that they play at around here, so I don't think there's too much stepping on anyone's toes.

OA: What's next for Now, Now Every Children?
NNEC: As of right now we are mainly focused on getting this LP out and starting our first tour in August! We're heading to the west coast which we are tottttallllyyyy excited about. We've never really played out of state other than a couple neighboring states so it should be a new experience for us. After that we'll see where this record takes us and hopefully just keep touring and putting out more records!

Listen to: Not One, But Two (mp3) and Everyone You Know (mp3)

Bonus Questions:
OA: Coffee? If yes, where can someone find the best cup in Minnesota?
NNEC: I think we'd agree that Spyhouse has a pretty decent cup, same with Uncommon Grounds, which definitely has a great hang out atmosphere, especially when you're bored and have no creative ideas on what to do with yourself. But, I have to say that we all love Starbucks too. It's true.

OA: What was the last great book you have read?
NNEC: We're actually illiterate. That's why our name is grammatically incorrect.

For more information on Now, Now Every Children please visit their website. For more brilliant videos go here.

Reader Meet Author

Christopher Major

If a poem is essentially an observation of everyday life with a slight and sometimes not so slight piece of insight thrown in, then why can't humor play a role. There are always moments in life that can be taken in one of two ways, you can either drown in the complexity or smile, comment, and advance. Who is to say that a poem can't be just as humorous as it is insightful.

Believe it or not the first thing that I noticed about Christopher Major was not his structure or his uses of symbols, and really all of the keys on the keyboard, it was his strong sense of humor. A humor that seems to be lacking in modern poetry, and one that is at the core of most of Major's work. It is not that he does take himself seriously as an artist, and it is more in the way he views the world.

Recently, Christopher was kind enough to answer a few of my questions.

Orange Alert (OA): How did you first become interested in Concrete Poetry? What about it has retained that interest?
Christopher Major (CM): I started to write my first concrete/visual poems almost as soon as I began writing more traditional poetry.I had very little idea of what concrete poetry even was. More lately i've been searching out and reading various concrete and visual poets such as Mary Webb, Alan Ridell, Ellen Mary Solt and the calligrams of Apollinaire. I enjoy the obvious visual impact of the poems, their immediacy, I try to include visual or text 'twists', but i also try to keep them accessible.

OA: When working in the format what is more important, the image or the content? Are they equally important? Would you consider this to be more art then poetry?
CM: They should definitely be equally important. I think that if I'm honest occasionally the image overtakes the importance of the text to the detriment of the whole piece. I started out publishing more traditional work, so i consider myself a poet. The poetry/art question doesn't matter to me, as long as people appreciate some of the work.

OA: You seem to be limited by technology and the range of the keyboard. Do you feel limited in anyway? Is it this structure that allows you to create or restricts you from really creating what is in your mind?

CM: Yeah, I'm restricted by technology and the keyboard, but that's fine.Different font sizes and formats is about as far as I want to push the form.If I can't create a piece doing this, I tend to not bother.To be honest, I'm not really that accomplished at using a computer.

OA: Humor seems to play a major role in your work. This seems to be a rare quality in poetry, but lends itself well to concrete poetry. Do you feel humor is more effective in concrete poetry as oppose to more traditional forms?
CM: I read a vast amount of traditional poetry, and humour is rare.It is rare in many of the more traditional poems i wrote/write. Concrete poetry lends itself to visual 'gags',funny juxtaposition of text/image.As the old saying goes 'Light writes White', the seedy side,drugs, drink, fist fights always seems to stir the creative juices.Concrete work hopefully seasons with a dash of humour even when dealing with the darker side of life.

OA: Last fall you had a free chapbook released by Why Vandalism? What are your thoughts on .pdf chapbooks in general. Do you feel that printed work feels more legitimate then on-line work?
CM: I'm grateful to Why Vandalism for taking a chance on this sort of work, and think they produced a nice looking product. I had a chapbook of traditional poems published in 2006, it recieved one or two good reviews, but only having a print run of a couple of hundred its 'reach' is obviously limited. 'Concrete & Calligram' has the opportunity of being read by a far wider audience, and I've been contacted by a number of people saying they enjoyed it and offering to do write ups. I've had a number of concrete poems published in print mags, and its satisfying to have a tangible product to hand, but when I read quality poetry on line in magazines such as Snakeskin,Words Myth, Zygote, Word Riot, Ink Sweat & Tears, Thieves Jargon to name a few, I cant help thinking this is the way of the poetry presses, and that it's no bad thing.

OA: What's next for Chris Major?
CM: Ive got a collection of another 40 concrete poems to find a home for, and a 'thankyou' to say to you, Jason, for your interest in my stuff.

Bonus Questions:
OA: Coffee? If yes, what is your favorite type of coffee, and where do you like to go to drink it?
CM: Definitely Black. And although i'm ashamed to admit it -McDonalds.

OA: What type of music do your enjoy?
CM: Lou Reed, Patti Smith, Joy Division, Velvet Underground.

Artist of the Week

Katelyn Sack

What makes a thought a poem or a song or a painting? How does an artist decide a photograph is a painting and not a story about its subject? These small distinctions lay in the hands and in the mind of the artist, and there is nothing stopping some one from shifting a concept from on medium to another. In fact, expanding your creative output and trying to shift your focus may open up a blocked path or a whole new realm of inspiration. You may be able to make connections in a way you have never known existed.

Alabama's Katelyn Sack has the talent and understanding to move a piece between mediums, and at times may move one piece all the way though each medium. However, she uses her talent to break down paintings and move a piece into the genre that seems to fit. At times she paints, and then she may choose photography or poetry. Yet, if none of this works, she puts it to music. It must be a challenge, but one look through her portfolio and you can clearly see is up for it.

Recently, Katelyn was kind enough to answer a few of my questions.

Orange Alert (OA): I am amazed by the amount of mediums that you have your hands in, from painting to photographer to music to poetry and prose. If you had to pick one which would it be? Do you feel more comfortable in one medium vs. another?
Katelyn Sack (KS): There is definitely a synesthesia of creative expression that helps me keep from standing still. If one medium isn't flowing for me, I work in another, and it keeps me from being afraid. I am an over-analytical person, so it's very important for me to just keep moving, keep doing, keep making new mistakes and discovering new passions – or I'll question and plan myself out of existence.

If I had to pick one, it would be the one that I have to say is the most challenging, the one that takes the longest to get anything done in, the one that I'm obviously struggling with the most right now – which is creative writing in the realm of fiction. In my obsessive life plan, I'm supposed to have a baby and a book out by now, and I'm not even close to adopting or getting a short story published in The New Yorker!

OA: The general idea behind your 'Egress' project is extremely thrilling. How often do you take one piece through all mediums like you did with 'Egress'?
KS: I think probably this happens when I get stuck! If the song had flowed more immediately from the first few verses, instead of first morphing into a poem, and then giving me trouble in the realm of accompaniment, and then being hung up some more at press (in poem form) where I couldn't use an existing illustration to blog about the song when the illustration included some lines from the poem because that would render it previously published… Probably I would have already moved onto something else.

In other cases, memes or ideas are like songs – they get stuck in my head, and I just have to go at them until my muses have done their worst.



OA: Do you feel there is a difference in writing song lyrics and writing poetry? Do you approach them differently or are the songs poems put to music?
KS: It really depends on the poem. Many poems (like "Egress") come to me as songs, but only a few lines, and then I have to see what literary framework will work within the melodic one that exists in my head, or vice-versa. Alternately, I've written poems, illustrated them, and submitted them for years before realizing there's a melody and a music innate to the poem that I should make sure others can hear in it (as in "Linguist").

I suppose every song or poem is different for me. The song "Dear Mr. Lapham" actually sprang from an email I wrote the editor of the local (Charlottesville) newsweekly The Hook when he told me he couldn't give me a newspaper job because I didn't have weekly newspaper writing experience from college. From a college rag! I nicely explained to him that I had something far better – that I happened to be the CEO of my very own writing company, setting my own hours, conducting my own research, maintaining the discipline to get done what was most important to me... I didn't get a job, but a few years later, I realized my letter had a melody, and I could reapply the message to address the former editor of Harper's – to draw attention to how few female writers are able to break into mainstream journalism without becoming the token female writer who covers sex, gender, family, home décor... In Harper's, only one out of seven "meat" articles are written by women. This is only one example of what is the reigning pattern still in the (broadly defined) mainstream press, from The Atlantic to Salon.com. Of course in pointing this out as a female, I become that token female voice addressing gender issues. It's maddening.

OA: You maintain a blog called Visiopoetics where you talk about what is going on with your work etc. This could be considered self promotion. How far do you think an artist should take self-promotion? What are your limits?
KS: I don't see this as an issue of self-promotion, but rather one of communication. I think many artists and scholars, myself included, are introverts. We work alone even though in terms of ideas and cultural consciousness, we're very social creatures. The internet presents a way for artists and scholars to work independently while communicating effectively with the rest of the world on an everyday basis. This is cultural exchange; this is what it means to be present on the socio-political stage in the twenty-first century. (If 90% of life is showing up, showing up just got a lot easier!)

OA: You have very strong political beliefs. How did you get involved in writing for The Science Creative Quarterly? Do you feel artists are too often silent when it comes to voicing personal beliefs?
KS: Art and science come from the same will to appreciate what is – to stare in awe, to wrangle frameworks and facts into sense, and to convey what you perceive to others for the purpose of taking part in productive discussion. Political engagement is much the same animal. All three can fall prey to groupthink and the other, lesser demons of human society. But ultimately, the individual artist, scientist, and citizen gets to stare in awe, rush the beauty and chaos, and wrestle with her own ignorance and confusion again and again. It's not about being silent and still versus speaking up. It's about celebrating the truth, and seeking to improve what you can't celebrate.

OA: What's next for Katelyn Sack?
KS: I'm starting a PhD program in Politics at the University of Virginia this fall, and I'd really like to do some fieldwork abroad next summer. I'm dying to brush up my language skills and get out there, but it's difficult scheduling travel around family and professional obligations. So as always, I will see what opportunities present, and keep on moving.

Bonus Questions:
OA: Coffee? If yes, where do you go for your favorite cup?
KS: As a classical hedonist, I enjoy coffee AND tea every day. But I only drink coffee at home. I wish I could say I was a Luddite hermit or a strict fiscal conservative. But the truth is, I make the best coffee in town. No one else can compete.

OA: What type of music do you listen to? Do you listen to music while you paint?
KS: I love to bob my knees and sing while I paint. It keeps my spirits up, keeps me physically moving and energized, gives me different spatial perspectives on the canvas, and helps me tune out other environmental distractions. There is one local radio station that I can turn on and leave on for a painting binge, without going crazy with repeats: the independent 106.1 The Corner. They have savvy, creative programming, they plug progressive community events and local bands, and best of all, they're not Clear Channel. To paraphrase Dar Williams, I am out here listening all the time.

OA: BONUS bonus question! What do you wear during an orange alert?
KS: Red and yellow – so that when the lines start to blur, I'm perfectly camouflaged. Oh, yeah.


For more infomation on Katelyn Sack visit her website.

New Release Tuesday

Music:

Icy Demons - Miami Ice Listen to: Miami Ice (mp3)

Daedelus - Love to Make Music

Nas - Nas

Rocky Votolato - Rocky Votolato

Negativland - Thigmotactic Listen to: Basketball Plant (mp3)

Aviary Ghost - Memory Is A Hallway

DVD:

The Bank Job

Meet Bill

Penelope

Shutter

Step Up 2 the Streets

The Orange Spotlight

Hosho McCreesh Marching Unabashed Into the Weeping, Searing Sun... (Bottle of Smoke, June 2008)

"There is only alchemy, only what we start with, & what we make of it."

The image of a soldier marching through streets or fields or deserts on some strange level can be compared to the thoughtful and creative individuals marching through life consistently full of questions and doubt. Fearing that the world they perceive is either not real or at times all to real. They are soldiers of thought, conquering and questions all that is true and all the believed to be true. Through observation the artist can make statements of the world and situations and how they relate to their lives. However, these statements are merely statements and when complied may only speak to a few or they may touch a nation. The point of it all is simple to march, to shout, to speak, to move, to allow your thoughts escape and travel into the world. Everything else depends on the reader.

Hosho McCreesh has a very distinct view of the world and the struggle of life. At times he expresses this struggle with a smile and sly comment, and at others he slaps and pounds, jumps up and down waving the freshly type page, he spits and bits at the soul of the modern American beast. Yet social commentary aside my favorite aspect of this collection are the titles of the poems. Some titles are larger then the actual poem that follows. Truthfully they are as poetic as the poems and at times more revealing. Case in point, "Like The Eventual First Blast Of The Imminent Nuclear Assault The Savage Dark Plays No Favorites As It Aimlessly Envelopes Us All...", what a brilliant title for a poem!

To purchase a copy of Marching Unabashed Into The Weeping, Searing Sun... visit Bottle of Smoke Press.

Mystery Palace Flags Foward (Zod Records, 2008)

When a man calls himself Foodteam and you receive his bands new album in the mail, it is truly a mystery. You see, I like to try to guess what an album might sound like before I listen to it. I read the names of the tracks, and I look at the label. The I flip through the liner notes and read the names of the band members. Of course the cover design, artwork, etc also factor into my descision process. Then I read "Foodteam: Vocals + Keyboards". I was back to square one, so I just placed the disc in the player and waited.

Mystery Palace is actually James Buckley (Bass), Joey Van Philips (Drums), and Ryan Olcott aka Foodteam (Vocals, Keyboards, and so much more). As the disc begins to play I am suddenly overcome by a wave electronic blips and squeeks moving into a very appealing combination of electronics and live instrumentation. So that's what Foodteam does, he has mastered the craft of making/building his own machines and devices and somehow turning them into mysterious little pop gems.

Rebelize/Every Hour/Nascar Survisor/You and Me/Two-Way Stranger (mp3)/What Are you whispering?/You're a Whore/Free Ride/I Can't Want?/Stepchild

Orange Alert's Music Minute

Over the past two weeks my inbox has been flooded with a lot of great new hip hop, and I thought I would share with you all at once.

Common Market - Tobacco Road (mp3) (out September 9th on HYENA/ MassLine)
OC & AG - Put it in the Box (mp3)
Team Blackout - Billion Dollar Boyfriend (mp3) (from Lights Out out August 19th)
Kidz In The Hall - Driving Down the Block (Westcoast Remix) (mp3)
Vordul Mega - Megagraphitti (mp3) (title track from Vordul Mega's (half of Cannibal Ox)upcoming sophomore solo-LP on August 19th)
Greg Street - Good Day (mp3) (from his upcoming project "Greg Street Certified Worldwide" which will be released by Interscope Records)

If you were looking for the next big thing to come out of Chicago, then you have to hear the music of Joe Pug. While everyone else was busy watching the details and career of Bon Iver, Joe has been extremly busy crafting a fantastic debut album, Nation of Heat. He sings in a classic folk style, but his voice is so distinct and mature you would think he has been at it, touring bars and living the life for fourty years, and not just a young Chicagoan starting to make a name for himself.

Listen to: Hymn 101 (mp3)


Detroit indie pop alchemists PAS/CAL are set to deliver their long-anticipated full-length debut, I Was Raised on Matthew, Mark, Luke & Laura, on July 22nd. Continuing in the tradition of their insanely well-received catalog mastermind and namesake Casimer Pascal and company have created a masterpiece bathed in '60's pop and strangely appealing harmonies. The lead leak from the album, “You Were Too Old For Me,” has already earned a boatload of praise. Hear it for yourself below. Also check out the second single from this great album that will be released on July 22nd.

Listen to: You're too old for me (mp3) and Glorious Ballad of the Ignored (mp3)



Bob Dey's Tank Engine Man is chugging down the track at full volume. Be careful not to miss it!

On August 9th, be sure to see the newest installment of what has become known as "Bob Dey's Circus Engine"; elaborate visual shows, pretty to the eye and satisfying to the ear, that began in Austin, TX and are now being performed in Chicago at the AV-erie 2000 W. Fulton. There isn't a great deal that can be revealed, but we can tell you this: This is not an entirely typical event. Being performed by Chicago's Bob Dey's Tank Engine Man and Meah!, the show is broken into
three parts, each distinctly different than the others. The first part is mostly instrumental and presented in near complete darkness, but don't worry, despite the darkness they do not forget to entertain. The second part is simply an intermission, full of light and a nice opportunity to relax. The final part brings a more traditional approach to band performance, complete with lights and the inevitable shaking legs and bobbing bodies of a rock band. Overall, the show is
one big piece of flowing entertainment that is sure to excite your brain and instill a lasting impression.

Returning to Chicago after a brief time in Austin, Bob Dey's Tank Engine Band (consisting of the mastermind Bob Dey and the performing Mr. Talent) is starting off their next run of interesting
entertainment by teaming up with Chicago favorites, Meah! Playing together one time only, they have brought together their distinct styles to form one of the most interesting sounds to hit Chicago for some time. (They land somewhere in the realm of a Brian Eno-Beatles Circus; not at all displeasing!)

Be sure to ask either band about acquiring some of their music. Meah! could send you home with a sack of goods, ever the diligent recorders that they are, and Bob Dey's Tank Engine Band is recording an album currently; set to be available in October.

Be sure not to miss this show performed by two of the most interesting bands around. The show has a suggested donation price of $10, but I have a feeling that it won't be long before you can't see either one of these bands for that cheap again!

Danny Seim is the drummer for a band called Menomena. They are band that has always fascinated me with their drum pattens, and it is all the work of this man. Danny also has a side project called Lackthereof and it is pretty much just him and a guitar. What is unique is Danny's rich, deep vocals. He really reminds me and an off beat and humorous Mike Johnson. Your Anchor will be released on July 22nd via Barsuk Records.

Listen to: Last November (mp3)

The Watch List

Listening:
1. Shock of Pleasure: Everybody wants to bring something back, and I say let's bring back Trip-hop! This Dallas band has the formula down, and they are about blow-up. The voice of Kelley Christian is pure pleasure. Listen to: Superstar (Carpenter's Cover) (mp3)
2. Plajia: Sugary pop for Montreal... you have to be kidding! No, it's true Plajia is from Montreal and they poppy, key board infused dance-pop. However, they have a unique sense of attitude and a rapid shifting sounds. Listen to: Beautiful Explosion (mp3)
3. Dead Heart Bloom: New York's Boris Skalsky formed Dead Heart Bloom back in 2005 and has built up a solid fan base. This year they plan to release a series of EP for free on their website. The first ep, Fall In, is now available.

Reading:
1. Requiem For Bob Meritxell: Part 1 by Chris Bower: I have seen the name Chris Bower in several places lately, but I have never had the pleasure meet or interviewing him. He is definitely on my list now.
2. The Fire Hazard by Mike Young: The tricks that memory can play.
3. Underneath by Donna D. Vitucci: Every inch of every home in every country tells a different story.
4. Two Poems by Misti Rainwater-Lites: Craig Sernotti runs "The" a new poetry journal.
5. Daly & The Daylights by Ryan Bird: Being in a band changes everything.
6. Here Ye Knives by Ravi Mangla: Never invite a knives salesman in for a beer.
7. Dark Matter Lullabies by Christian Ward: This is a free e-book with a great cover. Christian is an excellent poet and former OA interview.

Wishing:
1. Periscope® LED Book Light in a Bookcover: Very cool light and book cover all in one!
2. New prints from Ben Tour: Ben has two new prints in his on-line store. Here are the details, Giclee Print on Somerset Velvet 100% Cotton Acid Free Paper. Edition of 20. 24 x18. Signed and Numbered by the Artist.
3. Garden of Rocks by Luis Cuauhtemoc Berriozabal: This is KSE #103 and it is now available! $4.

Getting:
1. Blanket Issue #10: This is the recycled issue and it features tons of great art and great idea for making projects out of recycled items.
2. Ray Protoge Hipster Hop Mixtape! ft. The Cool Kids, Hollywood Holt, The Knux, Mic Terror and more. Also if you are going to listen to the music, you have to wear the clothes.

Watching:
1. Prints "Too Much Water"
2. Hip Hop Theatre: The Knux - Cappuccino, Kidz in the Hall - Driving Down the Block, Yea Big & Kid Static live at The Empty Bottle.
3. Dan Le Sac vs. Scroobius Pip "Letter From God to Man"

Band of the Week

The Interiors

With all of the hype surrounding the hip hop scene here in Chicago, it easy forget that Chicago also has a thriving and ever-growing underground rock scene. With bands kicking around The Hideout and Schubas and The Empty Bottle week in and week out, they come to understand and almost lash out against the Chicago experience. They might feel the need to reach out and hit the road. There they can form new relationships and find new fans. It's while on tour that they polish their stage presence and discover new and varied song styles. This is a vital time for a young band to learn about themselves and their audience.

The Interior's released their debut album late last month on 54-40' or Fight! records, and now they are touring the Midwest. They return home to Schubas on July 16th with new songs and new feeling of success. Their self-titled debut is an eclectic mix of great pop tunes, soaring anthems, and intimate ballads. If first appeared in my inbox back in early February, and I haven't stopped listening to it since. Their hit single "Powerlines" has been receiving a tremendous amount of well deserved praise by the likes of AOL/Spinner, Under The Radar, and of course as the lead track of Orange Alert's Orange Pulp mixtape. The Interiors are on the rise, and enjoying every minute!

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

Orange Alert (OA): Your self-titled debut album was released on June 24th. What has the experience of recording and releasing this album been like in general? How long did this process take?What is the overall feeling amongst the band now that the date is here (relief, anticipation, satisfaction)?
The Interiors (TI): We actually finished recording the tracks for the album last June. Thing is, Chase got a large chunk of his left finger cut off in a freak accident several days after tracking had finished, and for a few months the band was in existential limbo. Fortunately he was able to rehabilitate and the group continued, but due to the fact that he couldn't play, we were able to spend the rest of the year mixing and tweaking the album. It was a grueling process, particularly for our bass player Collin, who mixed the entire disc at his studio.

As for the current feeling, we're mostly just excited to be going on tour and to see what the world has to say about us and the album. People seem to like it so far.

OA: You guys are on 54-40' or Fight!, how did you choose that label, and what has your experience with them been like? What are your thought on band who choose to remain completely independent?
TI: We'd been in touch with them for a few years - some other labels showed interest but were noncommittal, whereas 54-40 was much more to the point about wanting to release an album.

As for the latter portion of the question, I really don't believe there are many, if any, bands that make a conscious choice to be 'completely independent'. That phrase implies more than eschewing a label affiliation to me. There may be some bands out there doing well on a national level without a label, but they've almost certainly got a team of lawyers, booking agents, and PR people behind them. I should add that I see absolutely nothing wrong with this. The quality of the music is the only thing that matters, and if this machinery can bring good music to an audience that would not have heard it otherwise, that's a good thing.

OA: Do you feel there is more of a push to be played on internet radio and be included in "big" blog podcasts, as opposed to mainstream radio and other media outlets? Do you feel blogs generate fans, sales, concert attendees, etc.
TI: Hate to disappoint you, but honestly I can't say. Let's see how many people come to our next show after this runs! Speaking of which ...

OA: What are The Interiors like on stage, wild animals or paint by numbers?
TI: I suppose you'll need to see us at Schubas on July16 with Moaners (Yep Roc) to find that out. Seriously though, I feel like we've improved immensely since recording the album, and the live show will only get better through touring.

OA: What your thoughts (be careful here) on the various concert venues and booking opportunities in Chicago? Is there room for more or are there too many? Do Chicago's band get ample opportunity to play their home city?
TI: There is definitely room for more clubs. I've noticed more and more tiny venues and DIY spaces putting on shows over the past few years, and I think we're more than ready for another club that's the caliber of the great venues we already have like Empty Bottle, Hideout, and Schubas. It'd be great for the music scene here.

OA: What's next for The Interiors?
TI: We're going on the road on a series of 3-4 roughly weeklong tours in June through October. We're mostly playing cities like DC, New York, Philadelphia, Boston, and Cincinnati multiple times rather than doing one long tour and hitting a dozen small towns along the way. Hopefully this will lead to mass adulation and acclaim.

We're also writing new songs, which don't bear much resemblance to the old ones. I'll leave it at that to keep you in suspense.


Listen to: Powerlines (mp3)

Bonus Questions:
OA: Coffee? If yes, where is the best cup of coffee in Chicago?
TI: I couldn't live without it. Alliance Bakery and Letizia's are great, great cups of coffee, in my opinion. Letizia's also has criminally good cookies. Both are on Division in Wicker Park.

OA: What was the last great book you have read?
TI: Sacred Games by Vikram Chandra. Amazing! We've already got a song about it. Well, more like inspired by it.



For more information on The Interiors please visit their website.

Reader Meet Author

A.J. Kaufmann

"My very best poem will be the last one/the one written in invisible ink/stuck between a row of dusty/kadarka/bottles/& withered sunflowers/the one on some ragged/yellow piece of paper" from "Accidentally Last"

The voice and cadence of the youth is complex and varied. Across all mediums, they are carving out a path that is more eclectic and diverse in style, purpose, and direction than ever before. No one knows how to classify or comprehend the full scale of the generation, and in turn many wonderful movements, artists, writers, musicians seems to get buried or lumped or simple over-looked. I feel this diverse nature can be attributed to the youth artists ability to easily look back, research, read, experience, all that has come before. A writer can pick and choose sources, influences, mentors, and the pool is deep and filled with legend.

Poland's A.J. Kaufmann is young poet who has found meaning and life in the attitude (or 'beatitude') and flow of the beats poets. It is not that he is writing in this form (or that there is a form for that era), but his frantic pace and short phrasing and subject matter tend to following in that certain patten. Yet, he is using this understanding to expand his voice really deliver a fantastic debut chapbook, Siva in Rags. Aside from his own work A.J. has also created an on-line lit journal, Eviscerator Heaven, focusing on the best in modern poetry. He is craving out a path and style and and attitude that is both unique and insightful, and inviting others to join in.

Recently, A.J. was kind enough to answer a few of my questions.

Orange Alert (OA): Your debut chapbook, Siva in Rags, was just released by Kendra Steiner Editions. How did you get involved with KSE and Bill Shute? What was your experience like with KSE?
A.J. Kaufmann (AK): Let me start with the second part of your question... the experience was great all the way through – first of all, Kendra Steiner Editions have some of the best poets around today on board... there's Jim D. Deuchars, Aleathia Drehmer, Luis Cuauhtemoc Berriozabal, Misti Rainwater-Lites... and of course Bill Shute himself... secondly, I absolutely love their attitude, their ever continued beat aesthetics and the DIY ethos in its best tradition... and the fact that KSE is run by a poet... that makes a big difference... and how did I get involved? It's best if I let Bill answer this one: „After reading some of A.J.’s work online and friending him on myspace, I invited him to submit some material he thought was in keeping with the KSE aesthetic yet 100% Kaufmann, and he delivered in spades. So from the 30+ pages of mind-frying poems he sent me, we’ve cherry-picked 10 pages for his debut Kendra Steiner Editions chapbook, SIVA IN RAGS.”. And that's about it... whole story! Now all that you can do is to get my book and also get all the other wonderful chapbooks that KSE issues quite often... I also hope I'll be doing another chap for Bill in the future...

OA: Your work seems to fall in line with what could be considered a 'beat' format or rhythm. Whether it is content, flow, or word selection, in your opinion what makes a poem a beat poem.
AK: Well... I've been writing for a long ten years... I never knew that my work had some similarities to beat poetry.... plus Poland, where I live, is hardly „beat” or „hip” at all... I first came across Kerouac, Burroughs and be-bop at a very young age but I had no intent of pursuing those paths... and I think that most of the beatniks are dead by now... so that makes me a 100% non-beat poet... I really don't know what makes a poem a beat poem... perhaps my flow comes close to the „beat flow”... I really don't know... perhaps some Western Lands spirits crawled into my mind... I can only tell you what makes a Kaufmann poem a Kaufmann poem – stream of consciousness (edited later on or not – it depends...), loads of coffee, loads of cigarettes, booze, open roads, whistlin' viaducts at midnight, words I wrote on some barstools, walls or calendar pages, empty city streets, long lonely walks, the banks of river Warta, local dive-ins, cafes... jazz bands... Sunday mornings, wakin' up with a strange woman... I don't know... everything and anything that this life can give, I guess... it's not that I don't like to be called „beat” - in fact it's a great pleasure and honour... but I guess that the word „beat” had its own time in the 50s, 60s and 70s and referred strictly to those lucky poets hangin' round Ginsberg, Burroughs, Corso and the kind back then... and now we must find another word... there's a whole scene of new poetry being born right now... who'll find the word, I wonder?

OA: Speaking of beat poetry, you recently started a new pdf literary journal called Eviscerator Heaven. You asked for poetry that was honest, raw writing. Beat. Intense. Ripping. Jazz. Fever. Thirst. Why did you start a journal, and what has the response been like?
AK: Nobody in Poland seems to publish english-language poetry... especially the kind of poetry that wouldn't be considered „important” or „ambitious” by the academic circles, which are, by the way, full of shit in Poland... so I started my own journal... I wanted to put together some great poems by the poets I got to like during my two-month web presence.... to give them yet another possibility to showcase their works... also to promote other english-language Polish poets... but also to kick some asses in Poland and show them academic circles a goddamn finger... to stick my bloody needle into that hot-air balloon of theirs... and make it finally fly... and the response's been simply astonishing – it's best if you check out Issue #1 to see who's in it... I assure you that your jaw will drop to the floor...

OA: Now that your chapbook has been released and you have work published on-line, do you feel that poems published on-line are in any way inferior or less impactful as those published in print?
AK: To me text is text. I recently prefer the on-line journals in fact... but I also appear in print... „Oh the rainbows!” is right now in Issue 3 of Fissure Magazine, which is a great print mag by the way and I think you should definitely get it... I'm also waiting for publications at The Gut and Peep – both print zines... chapbook's one thing, poems published at literary journals are another... the chapbook is like a summary for one particular period in writer's life... the poems in journals appear from time to time and are like marks of this life left at different, often amazing, places... I don't care if it's online or print. I only care about who's the editor, what kind of poems is she or he after and who reads the publication... it's the 21st century after all... print's old-fashioned and nicer though – but I can't deny the times I live in...

OA: You are also a songwriter, do you feel there is a connection between music and poetry? Do you approaching song lyrics differently then poems?
AJ: Well... I was a songwriter... I got tired of this goddamn repetitions... songs are very easy to write... too easy... After seventeen gigs in Poland you get tired of writing/performing songs... the radio interviews get boring... the audience here does not care about the lyrics – and that's what's most important to me in a song – the text... There's definitely a music/poetry connection – good song lyrics are in fact poems – Bob Dylan, Leonard Cohen, Mr.Mojo Risin', Woody Guthrie, Leadbelly, Lee Hazelwood, Andrew Eldritch, Tori Amos, Lou Reed – they're all poets.... my approach... well, song lyrics pour out of me slower... they very often rhyme... they are very, very different from my poetry... sometimes ironic, cynical, pop-art... sometimes just over the top... but they are easier to write... they cost me less energy... who knows – I might get back to music one day. I'm about to record some of my old songs this year or the next one... in fact I wrote about three new songs this year. I've stopped performing, appearing in public and sending my songs to performers though... that's bullshit and it really takes me nowhere...

OA: What's next for A.J. Kaufman?
AJ: I wish I knew that... some things depend on me, others don't... I can only write more and more and hopefully record some old songs and maybe have another chapbook comin' on later this year... and of course continue with Eviscerator Heaven... I love my editor's job... I get to read some amazing stuff in amazing amounts...

Bonus Questions:
OA: Coffee? If yes, what is the coffee like in Poland?
AJ: Yes. Lots of. The coffee in Poland is just as good as the coffee in any other country... I can recommend you „Under the Angel” and „The Green Veranda” cafes - the best coffee in Poznan, Poland...

OA: What type of music do you enjoy?
AJ: Recently? I'll give you my favorite 2008 records: „Dig Lazarus Dig”, „Dig Lazarus Dig” and „Dig Lazarus Dig”... besides – I enjoy everything with a soul – be it cold wave, be it be-bop, be it post-punk, be it whatever you call it – I dig Music. With a capital M. Sisters of Mercy are my favorite ever band and Doctor Avalanche's my favorite drummer...

OA: In recent interview with Gloom Cupboard you mention "the ladies' frequently. Do you feel writing poetry is a good way to get the ladies?
AJ: Ah... not necessary to get the ladies... „the ladies” are mentioned as an inspiration... they're such wise little god's creatures... such well-trained at heartbreak... and they give you some ideas a man would never think of... I love them. I do... so many great poems and books would've never been written if not for the women....

For more information on A.J. Kaufmann you can check out his myspace page.

Artist of the Week

Austin Ross Knierim

I recently read a statement from a local artist named Danny Powell that said, “Art cannot be taught, it is something that exposes itself to those that are willing and able to encounter and embrace it. Art is about commitment and not formal training." Can art be taught? I asked a friend who is an artist why he doesn’t consider teaching, and it essentially came down to the idea of pushing a set of opinions versus constructive criticism and the ability to explain the difference. In general, you attend school to learn, however when it comes to art is much more about experiencing and experimenting than being taught.

As a student, Austin Knierim is constantly learning and evolving as an artist and a person. However, there is something more intimate that makes a person an artist, it is more than training, more than commitment, it is more than talent, there has to be a magical sense of purpose and confidence in your vision. When I look through the entries on Austin’s blog, and his honest approach to developing his portfolio, I can see that unifying vision. Austin uses all that he sees around him to create scenes and images that incorporate various materials and ideas. He is an exciting talent, and he will continue to grow as long as he is honest with himself and his art.

Recently, Austin was kind enough to answer a few of my questions.


Orange Alert (OA): How would you describe your work?
Austin Ross Knierim (AK): I would best describe my work as a culmination of my identity as a person, upbringing, and environment that I am encapsulated in. Observing the world around me in an analytical, curious, and whimsical way I've created a running dialog of writings, artist books, paintings, drawings, photographs, sculpture, and recently video pieces. All in an effort to better understand and catalog every experience and nuance of the things that whirlwind around me. The hope is to have enough information that the viewer is almost seeing things thru my very own eyes.

OA: Your recent work seems to focus on structures, homes and buildings. What is it that draws your towards painting this images?
AK: I feel the best work; the work with the most lasting power is that which comes from the gut. Honest, genuine work that is undeniably linked to the artist identity. Geography is one of the things that shape a person for good or bad that being said I am a product of the suburbs. Suburbs are very strange places, some are larger then the cities they surround and often are the opposites of the more traditional cities. They are accidental cities mergers of several sprawling developments. A suburb is based on growth so if you drive far enough you're bound to see 2 or 3 or more of the same Strip mall, house, and basic shapes that make up the landscape. In my work I catalog these shapes and make dialogs that show the repetition, decay/growth, and absurdity of the contemporary American landscape. Working with this subject is also very enjoyable since I am very much in tune with the tactile. Utilizing wire and metal in my drawings and paintings to actually give the tactile sensations of what the image would feel like rather then creating an illusion.

OA: What has your experience at Columbia been like? Have you noticed a progression in your work?
AK: My experience at Columbia has been a mixed blessing in many ways. I feel having the admissions being so lenient hurts the school, yet I would most likely not be attending if not for such an open policy. The administration is wretched and interacting with it is parallel to that of the human resource cat in the Dilbert comic. Beyond those detractors I've encountered some splendid human beings in that of my peers and professors who collectively have helped me grow immensely as an artist and as a person.

OA: In a recent post on your blog your reference some reading that you have done. How does reading inform your work? What has been the most essential thing you have learned thus far?
AK: Its necessary to have a very in-depth knowledge of the subject matters you chose to work with. In an age of political correctness and just the basic fact that people will go to the ends of the earth to find cracks in your thoughts and work as an artist. The basic truth is that the more you know the better your work will be and the integrity and honesty of it will prevail past any critique of the work. And as soon as you know all there is to know you move on. That's the nature of art, one must accept in order to continue you must be in a forward direction. I've learned a few essential things so far in my young career as an artist. One is to accept and embrace rejection and secondly I feel Maurizio Cattelan sums it up best "Whatever comes after you've done your work, it doesn't belong to you. You can't control it. The work has to fight for itself and define itself."

OA: How do you balance searching/learning vs creating? At this point which is more valuable to you as an artist?
AK: Its very important to continue to push the envelope with any body of work but your right there is a equilibrium that has to be reached for one to make progression. Spending all your time in thought may and most times will lead to answers and just as much more questions. But creation will suffer and you'll find yourself with lots of blank canvas and paper. On the other hand, it's almost irrelevant to create with out first having some basis to go from or all you'll be doing is running in place. For me there usually will come a time where ill get a spark, an idea will form and excitement usually ensues thus beginning the start of the process. Time will pass sometimes months at a time or years and I will catalog these thoughts and ideas and continue to develop them. I pick a few at a time to work on the nuances then when it appears to be promising I indulge in as much as I can about the topic at hand. At this point I feel they are both equally important but creating is definitely at a premium I do not have the base of work to sit on my laurels and ponder. Learning/searching is a luxury of one who has worked to achieve the conclusion of a body of work yet also the arduous process of starting over.

OA: What role do you see the internet playing in your future success?
AK: The internet to me is becoming a very accessible, fast and useful way to view art, while you can never replicate the beauty of actually seeing a piece in person it does a good impression. It also is a loophole for those who wish to avoid gallery representation and still have there work viewed by a large audience. I started my blog mostly to have a easier way of showing my peers and others my work , I'm learning quickly that lots of opportunity exist by having an internet presence such as being shown on Orange alert. I hope to have an actual site within the near future and believe that more opportunities will present themselves as I make a larger internet presence.

Bonus Questions:

OA: Coffee? If yes, where can you find the best cup in Chicago?
AK: I actually rarely drink coffee and or any caffeinated drink and would much rather prefer a glass of water or a nice pint of beer.

OA: What type of music do you listen to? Do you listen to music while you paint?
AK: It really depends on what stage or medium I'm working on and with. For instance if I'm drawing ill probably go for something more vibrant such as Chinese stars or Talking Heads since I tend to draw more spontaneous. When I paint it's more controlled so I go for more of ambient background music such as Xiu Xiu.

For more information on Austin Ross Knierim please visit his blog.

New Release Tuesday

Music:

Sunny Day Sets Fire - Summer Palace Listen to: Stranger (mp3)
Albert Hammond Jr. - Como Te Llama Listen to: Gfc (mp3)
Architecture in Helsinki - Like It or Not Ep
Beck - Modern Guilt
Canadians - This Is The First Part EP
Cocorosie - God Has a Voice, She Speaks the Truth (single)

The Dutchess & The Duke - She's The Dutchess, He's The Duke

Esoteric - The Maniacal Vale

Melvins - Nude With Boots

Ratatat - LP3

Baseball Project - Volume One: Frozen Ropes And Dying Quails

Ron Sexsmith - Exit Strategy For The Soul

DVD:

Superhero Movie

Stop-Loss

The Ruins (Unrated Edition)

Alkaholiks - Live From Rehab

The Orange Spotlight

Andrew Taylor And the Weary Are at Rest (Sunnyoutside, June 2008)

"Thing will never be the same/again light will angle differently/cold will eat summer" from "Catalf"

This past week a co-worker turned friend, turned mysterious old mentor, pasted away. At the age of sixty-seven, one can say you have lived a full life, but can you ever quite say it is complete? He was a driven worker and a veteran of the Marines, he gave every last ounce of energy to fulfilling what came to be his life's mission, to share his faith with others. Thoughts of legacy, mission, voice, guidance, footprints, and so on were swirling in my mind as quickly grabbed the next chapbook from the pile on my desk. It was random in motion and thought, but it all seemed much more planned and fitting. As we drove to the cemetery to pay respects to our wife grandparent's (these times always evoke emotions that had been hidden), I pulled the little chap out of my bag, and begin with the dedication page "To The Departed". Frozen in thought and time, I read the following 29 pages, 24 poems, instantly.

Liverpool's Andrew Taylor (founder of erbracce-press) has managed to captured the raw and honest conflict of death, and with his latest release of And the Weary are at Rest he shares all of these views with the world. Through out the carefully crafted pages, Andrew covers many different forms of death, death of a marriage, death of a season, death of a thought, and naturally end of physical life itself. Concise and surprisingly filled with life, Taylor puts the weary to rest with grace and class. It's strange, I am also read a forthcoming novel that refers to memories as ghosts frozen in time. Ghosts the appear at various time in various shades of illumination. You really have no control over them, and they fade as quickly as they appear.

"Time is no healer. I think of you, your enjoyment at early evening light."

Wild Sweet Orange We Have Cause to be Uneasy (Canvasback Music, July 29th)

"Oh my God, is this really what you want? Would you tell us if it's not, and could you rewrite the plot and come and get us?" from "Ten Dead Dogs"

What a statement on the mindset of the youth! Yes, there is cause to be uneasy, and through the eleven emotional tracks on the forthcoming full-length debut from Wild Sweet Orange, Preston Lovinggood clearly and expressively explains each reason. There is an overall questioning of life and purpose and true meaning. Preston also speaks out against the way too many children are raised each day in neglect and fear.

Musically this album completely blew me away. This is one of the most complete efforts that I have heard this year. Each tracks really stands on its own, and a few stand just a little taller then others. My favorite track in general is "Sour Milk", with its hushed acoustic and powerful theme of the end of a family and the ensuing end of innocence. It ends with a plea for sobriety and the ability to drown out life and spit out the sour milk that has been forced down their young throats. It is this fear and anger that stands in sharp contrast to the overwhelming sense of love and all the uneasiness that word carries with it.


"Love is not an allusion, sometimes I can see it in your eyes and hear it moaning tumbling down the hill when the traffic dies."

Ten Dead Dogs (mp3)/Tilt/Seeing and Believing/Either, or/Sour Milk/An Atlas to Follow/House of Regret/Crickets/Aretha's Gold/Night Terrors/Land of No Return

Orange Alert Music Minute

Brooklyn experimental pop darlings Takka Takka have readied their sophomore full-length – the appropriately-titled Migration – for release on July 29th via NY indie Ernest Jenning. True to its title, the record is a leap in sound from the quintet’s modest debut, We Feel Safer At Night. Partially influenced by the spiritual awakening of lead singer Gabe Levine’s Balinese mother, the LP focuses on myth, prayer, and a sonic approach that incorporates a world of music. Everything from Gamelan to blissful tangles of Feelies-esque guitar lilt fit into the gorgeous Migration.

Takka Takka are play at Schubas here is Chicago on July 25th.

Listen to: Everybody Says (mp3)

The Black Ghosts, Simian's Simon Lord and The Wiseguys' Theo Keating, have joined forces yet again to create an incredible collection of scary pop sounds. Their sound is something straight for the 80's, grand and cheesy, thick bass and dreamy harmonies. However, it is the skulls and all of the dark imagery that get's me every time. They are releasing their self-titled debut album this Tuesday on one of my favorite labels, iamsound, and they have already built-up a lot of buzz.

Listen to: Repetition Liks Your (mp3)

If you are going to call yourself Pretty Good Dance Moves you would think you would have to play floor shaking dance music, but the state-line crossing, genre-bending PGDM aren't that concerned with seeing your moves. They are more concerned with layering hazing electronic and fully utilizing the vocal talents of Chicago's Genevieve Schatz (Company of Thieves). Her voice is electric on every track that I have from this group, and honestly one of the finest in pop music today. They are rereleasing their self-released self-titled debut ep on July 15th.

Prince Fatty is the brainchild of British producer and die-hard reggae fan Mike Pelanconi, whose repertoire ranges from the now classic Acid Jazz/Delicious Vinyl of the 1990s to working with established rock and pop icons like Graham Coxon, Sinead O’Conner, N’Dea Davenport and Pharcyde, reggae legends like Gregory Isaacs, Adrian Sherwood and Dub Syndicate, and, more recently, pop artists Lily Allen and Little Barrie.

The hippy, halcyon days of Jamaican music are finding new fans and a new twist on Prince Fatty’s debut, Survival of the Fattest, a collection of playful songs and instrumentals that roll and sway like the dub 45s of old.

Listen to: Gin & Juice (mp3)

Anonymous musician Podington Bear made his musical den on the internet in the beginning of 2007, announcing he intended to write, record and release three songs a week, via podcast and blog. 156 songs total. During this campaign Podington Bear was spotlighted several times on National Public Radio and Wired.com, profiled on numerous blogs, selected as a "Best New Podcast of 2007" by iTunes Music Store editors, and more recently over a dozen of his tracks could be heard sprinkled across the second season of This American Life on Showtime. On June 24th, a little later than first planned, he released song #156, entitled "Graduation". Also on that day, Portland label HUSH Records issued a 10 CD box set collecting these songs, as well as the tenth CD as a standalone, entitled simply The End.

It didn't take long for word to come back that Podington Bear's cover was blown, at least temporarily, to writers and fans who imported the CD into the ubiquitous iTunes application. The user-driven database Gracenote CDDB listed "Poddington Bear Aka Chad Crouch" in the composer field, flashing briefly for those who might take note. While correct on one count, it failed to be precisely right. Chad Crouch is Podington Bear. But the correct spelling of Podington requires only one D, not coincidentally like the popular portable music device.

After just releasing 10-CD box set, incredibly prolific Bear gives away two new albums for FREE to celebrate.

Listen to: Misifit Toys (mp3)

The Watch List

Listening:
1. Phashara: Chicago emcee and beatmaker, Phashara is on rise along with all of the Chicago hip-hop scene. His music is a salute to the legends of the golden era of hip hop, but he stills finds a way to advance the craft to a new level. Listen to: The Storm (mp3)

2. Love Psychedelico: Rock n' Roll from Japan! Listen to: Standing Bird (mp3)

3. Jaguar Farm: Alexander Iadarola says he is influenced by Liars, Philip Glass, Hot Chip, Chopin, Stereolab, Madlib, and others. His music is an interesting display of electro-haze-pop.

Reading:
1. Dream Train by Tim Hall & Rami Efal: Very cool story and illustrations! What a great team.
2. decomP July Issue: A great list of talent... Adam Moorad, John Dorsey, Kelly Hodge, Patrick Kelling, Duane Locke, Iftekhar Sayeed, Zack Moll, John Grey, and some guy named Ben Tanzer.
3. The Post-Mortem of Our Art Heist by Tyler Stoddard Smith: The professor letter to his students after a major art heist.
4. "Writing My Angel" by Corey Messler: Short but incredible! Messler is a master.
5. Off the Map by Steve Young: The lowest times are sometimes the most memorable.
6. Man Soup by Melissa Hansen: I've never tried the man soup, but I have had something similar.
7. Waffle House, 1 November, 2007 by Hosho McCreesh: The latest broadside from the GPP. This is their first in ORANGE, and it mentions COFFEE! I say it is the perfect broadside.

Wishing:
1. The Complete Genealogy of Everyone, Ever by Gabe Duham: Great concept, great title, great price! $5 (more of Gabe coming soon!)
2. Shepard Fairey Series #1 Obama Hope Stickers: Now being sold at cost!10/$10
3. Love & Blues by Doug Draime and "Without Peace" are now available @ Quimby's, here in Chicago. $3 each (more to come!)

Getting:
1. Grafikal Issue #2: Wonderful new art zine dedicated to the best in underground illustration, photography, painting, and more.
2. Foldskool Heroes by Marshall Alexander: PDF paper toys, free to download and hours of fun!

Watching:
1. San Francisco Street Art: Beautiful images and great music by The Books.
2. Artist of the Day: The Perceptionists - This one is older, but it is a great interview with Lif, Akrobatic, and Fakts One.
3. That Night with the Green Sky Music by The Mystery Books, video and poem by Tao Lin