Revolutions Southward(Ep. Dance But Only if You Want To) from Ace Aseltine on Vimeo.

When I met you and Davin in Guanajuato, México you had a glow about you. You were both beaming. What has biking to México taught you about life? Who’s idea was that trip?
My friend Davin Hart came up with the idea and invited me. I couldn’t resist. I suggested we make a movie while we were at it. Traveling through Mexico on bicycle has taught me to value the simple things in life like eating, sleeping, laughing, reading, and loving. The trip proved to me that you don’t need much to live a happy and exciting lifestyle.

My sister Julie, Davin and I biked together down California and met up with a cyclist named Jordan Bailey. He was writing his own blog and had interest film making so we recruited him to our team. Together we biked through the biggest storm in recent Californian history and across the Tijuana border. The four of us stayed together through the Baja desert for two months then split up in La Paz, Baja Sur.

Davin and I crossed into Topolobampo, Sinaloa Mexico on the fairy. Julie took the bus back to San Diego, and Jordan hitched a ride on a catamaran to Puerto Vallarta. We rode the train to the Copper Canyon and put ourselves in the middle of Mexican culture. From Batopilas we hitch hiked to Zacatecas. From there we biked to Guanajuato and lived there for two months.

While in Guanajuato I formed many life long connections and recorded a collection of songs in my bedroom inspired by my experiences and the people I met. Shortly after I returned to California on June 1, 2011 Dante Ochoa a friend I met in Guanajuato came up to visit me in Arcata Ca. He stayed a month with me working on his own music and helping me develop my Film. He is now my producer.

Why do you make these videos and songs?
Because I like to tell stories. However, I got into video blogs after reading my sister’s blog called My Velvet Bumper. My sister opened my eyes to the potential of the blog world with her simple memoir style humor. Since I majored in Theater, Film and Dance I figured I should get my feet wet with Revolutions Southward.

What do you want people to know about you and your work?
Well, With Revolutions Southward my friend Davin and I carried our Camera, sound and editing gear on our bicycles and posted our videos while on the road. Whenever we could find wi-fi we tried to make something happen. I guess what I want people to know is that what I did was very achievable adventure. Lots of people should try it.

Did you write that song “Dance But Only if You Want to”? I love it!!!
I did write Dance With Me (But Only if You Want to). I write all my own songs with the exception of Llovi Por Ti, Ana Karen G Barajas the girl I fell in love with in Guanajuato wrote that. However, I did do all the instrumentation for Llovi Por Ti. Dance with Me was the first song I wrote for Karen while I was in Guanajuato. Most of the songs in this collection were inspired after meeting her.

How would you describe the people of our generation in the US, comparing and contrasting that with the people of our generation you met in México? (That´s a big one, on my mind a lot).
Well, I would say that both the United States and Mexico have rich emerging cultures. However, like analog vs. digital, Mexico’s scene is founded on a much older society that has maintained its quality over time. On the other hand, the US like digital has characteristics that focus on expanding convenience rather than quality.

While I was in Guanajuato my eyes were opened to an emerging generation who is dissatisfied with apathy, a generation who appreciates what they have and where they came from. Guanajuato is a prime example of where the old world meets the new. Although analog technology and the community centered Mexican way of life seems primitive to the unacquainted eye, they form the basic foundational support needed for people in the 21st Century to leave something of value for the next generation.

I feel that in the United States and in Mexico people will always find a way to escape. Sometimes its as simple as discovering literature, art, music, and food.

::

To see more of Acey’s videos check out this page.

Biking and climbing – Two of my passions. This video is a preview of a video in-progress about biking to access climbing around Boulder, Colorado. In this preview, I’m working on my own “project” in Boulder Canyon. The rules: pick a challenging climb near Boulder, bike to it, and “project” it. This video is not about cutting edge “projecting;” Instead, it’s about the visceral human experience of climbing, and accentuating this process and acknowledging the accomplishment by biking to it. As always, I aim to celebrate a sense of place, the human experience, and a passion for art and adventure in this video. As with most of my work, I’ve written and recorded all the music. The final video will include additional footage of my friends working on their own “projects,” and additional original music with found sounds from bicycles, rocks, and climbing gear.

::

To learn about the rewards and details of supporting the backyard project, checkout the Kickstarter page!

Quelle Horreur! is the new video off Abraham’s sophomore album, After the Flood, Into the Wild.

Why are you “Abraham the Poor?”

Abraham the Poor was a 4th-century Catholic saint whose name I randomly found on Wikipedia in 2008. He was known for having received a large amount of wealth after his parents’ death which he gave away to the poor in his community. He lived in extreme poverty in a cave for many years, meanwhile preaching and baptizing to the cities around him. I’m not Catholic, but I was inspired by this man’s story and intrigued by his relative obscurity. Starting out as a solo-acoustic artist, I wanted to be associated with a name other than my own; something that held some relevance and mystery, and Abraham the Poor fit the bill.

In your videos you are underwater. What’s your most memorable experience underwater?

I hated it. All of it. The whole time. I’ve never been a good swimmer and have always been somewhat fearful of water. They had me strapped into a 12-pound weight belt to hold me under for these walking-at-the-bottom scenes we were trying to get, but we had to scrap it because I felt like I was about to drown on every take. Thankfully we still got a few other cool shots underwater.

Spirituality is a strong element in your work. How is your work received in religious circles? How is it received in the secular world?

I try very hard to write in such a way that Christians, or the ‘spiritually-inclined,’ are able to relate very clearly to what I’m saying and catch the biblical references, but at the same time not alienate or lose the attention of secular listeners. I wouldn’t ever want someone to be turned off to my music because of its spiritual content, but rather I want to inspire deeper thinking in anyone who hears it, regardless of their ‘religious’ standing and communicate that life is hard, here’s what I’ve observed about it, and I’m still just figuring this stuff out too.

What is it like being a musician in Albuquerque?

Albuquerque is a wonderful yet frustrating place. Wonderful in the sense that there are a handful of great local places to play, I’m blessed with a generally pretty loyal fan-base, and there is a sense of community with a number of the other local bands where we truly want to help each other succeed instead of viewing each other as competition. The frustrating part is that Albuquerque tends to be a bit lazy and unimpressive when it comes to making things happen. Simply; it’s hard to get things rolling here and there’s only so much you can do in this city to get people excited about your music… Also: there are far too many (crappy) metal bands.

How did you learn to play music?

I started teaching myself guitar when I was fifteen or sixteen, and as soon as I could play two or three chords, I was writing songs.. The desire sprouted from growing up with my Dad often playing and singing for us kids, as well as a general love for music from a pretty early age.

What local bands are you into?

I mentioned him above, but Lowercase Noises is one of the best things, musically, to come out of Albuquerque in a long time. He could be most closely described as a unique twist on ambient or post-rock, though since he despises those terms I’ll just say he makes really pretty music. I also highly recommend Glowhouse (dark and contemplative reverbed-out tastiness) and Levi the Poet (incredibly insightful and passionate spoken-word).

What’s going on with you these days? What’s coming up in the future?

Currently the band is prepping up for a festival gig in September, probably one of the larger shows we’ve ever had opportunity to play, so that’s exciting. I’m also in the writing process for a collaboration project with another local artist, Andy Othling of Lowercase Noises; we’re joining forces to record an EP that will be a blend of each of our styles and that stands separate from either of our main bands. I also hope to begin work on the next ATP album this Fall.

::

Abraham the Poor’s Discography:

The Pumpkin Patch Cabin EP (2008)
After the Flood, Into the Wild (2011)

Both vailable on iTunes, Amazon.MP3 and at Bandcamp.

San Marco Piazza, Venice by A. Sonju

Track: Marin Marais, 1717: Rondeau le Bijou

(This is an mp3 of Hille Perl and Lee Santana palying Marin’s ‘Rondeau le Bijou’ which is track 10 on their CD ‘Marin Marais: Les Vox Humaines’; it’s a little over 2.5mins long; one of their shorter pieces, which fits the tone.)

Ritualized behavior -
(coded meaning | implicit narrative)
The washing of the mug.
The rinsing of the spoon.
High and cold in Canada;
listening to Marais.
….

dreams…

of

Venezia;

flashbacks of hot wood; rooms filled with the smell of rosin;
or the cool of winter, sweet straw and cinnamon.
Balsam fir, lavender oil.

Fog and water.

Tomorrow the light in the kitchen will be different.
In two months,
In two years.

I have seen this room, walked these floors before.

::

“For those of us confident that the human condition is boundless, that it strives moves and grows only with the strivings, movements, and growth of those individuals that comprise its global body: No rest can come. No sanctuary can be found or reprieve sought from the fever of that challenge to the infinite, man poses from within our temporal host. An answer seems always within reach and eternally on the horizon and leaves us prostrate and writhing on the rocks of the soul under the harsh glare of the absurd world. So We do not fight because we see even a sliver of victory on the horizon (we make no claim as to what such victory could ever be). We do not fight because we could ever consider it a path to personal betterment. But we do fight, as torch bearers of an ancient caste to neither lead nor to destroy but simply to explore and to indulge, in our failings and our modest triumphs. To condemn certainly, but only through celebration. The limitless can only be seen through ones limits, so we harness our arsenals, broken words, clumsy hands, splintered brushes, cracked clay, tuneless instruments of a slow yet constant change. So that, for better or worse, as the mighty glaciers that carved out great lakes and destroyed mountains 3 inches at a time, we may leave some sort of mark. Be it scar or tattoo; a lasting map of the flesh. Or simply a leaf in the middle of the puddle you splash through car-lessly on the way to somewhere else.”

-Taber Maine

photo by Erin Blinn

Shan Driscoll: First off…. are you an outlaw? And if so, how? Or might you be a descendant of outlaws?

Taber Maine: My Great Great Uncle was a fairly influential lawyer in the Jewish community in Detroit in the 20′s and would often be called upon late in the evening by members of the Purple Gang, the Jewish mafia in Detroit at the time. Nobody in my family really knows what his role was exactly but my Great Aunt Merriam doesn’t think it was much, so probably not really.

SD: Who and what are your influences?

TM: A lot of old stuff. I’m from the mid-west so straight country isn’t something I’ve ever known much about but folk, country-blues, Appalachian, all that stuff has been big for me for a long time. I was really into hop hop forever but I it never felt like a musical avenue that I could work in real comfortably. But the real direct language of hip hop was my favorite part and I feel like that is a common thread through all folk music. And hip hop is folk music.  Track: The Hustler’s Way

SD: How did growing up in the mid-west affect your musical sensibilities?

TM: I think, completely. The sound I always associate with the mid-west is a lot of dissonance as opposed to like a lot of aggression or rage or something. I never knew any bands that had any money and we all used just the shittiest stuff so things felt real stripped down a lot. I also play drums in a band called Bullet Teeth and I’ve never had a legit ride cymbal so there’s never any sustain in the drums. So much music my friends make is full of those kinds of little idiosyncrasies. Also, the winters are a huge part of most artists’ lives from the north, I think. It forces a little isolation in so you eventually run out of shit to do in your room and you just have to focus. So I feel like I’m struggling with that in the South because the winters have been my most productive times.

photo by Erin Blinn

SD: And how are they receiving you in Austin? Do you see any differences between the audiences of the south and the mid west?

TM: It’s going alright. I think there’s a progression starting to form. Ha, I hope so. The audiences are similar and different. Neither one seems to ever be paying attention to me but It’s for different reasons. In Austin everybody just comes out to dance and in the mid-west everybody just comes out to drink.

SD: There’s a solid amount of political/socioeconomic topics brought up in your music. What is the message you are conveying to us?

TM: I don’t feel like there’s too too much of that. I just think it’s stuff that not a lot of people know about. I stay pretty specific to where I’m at when I write it so it’s reporting in a way but it’s story telling too obviously.

SD: And who is your audience?

TM: Right now, mostly my friends.

SD: Word has it that you’ve got a new album. Tell us about it…

TM: I’ve recorded a ton of songs but I think I’m going to go back in in a few weeks and get a few more out. I’m hoping to have money up and design and everything done to put the thing out by February.

SD: The sound is awesome… Where did you record?

TM: Hey thanks. I recorded the electric stuff with my friend Jon Parfitt in his house and then the acoustic stuff was all recorded at my buddy Brian Hummel’s place. Those guys both mixed em as well. Really really great guys.

SD: How can we obtain it?

TM: Unless you know me it’s probably hard. I think I’m going to change a whole lot from what I sent you so “it” is still kind of far from existing. Track: Chestnutt’s Lament

photo by Erin Blinn

Taber Maine is Corey Baum. Originally from Ohio, he now lives and performs in Austin.  His new album, El Nudo se Deshace, should be out this winter.  His first album, The Ballad of Holt LaHoya, is a down and dirty gem worth finding too, if you are up to the challenge.  (Though it’s entirely possible you may fail, sadly.)  With luck, we will bring you more news about him as events progress.  Until then, more of his music and photos are available here.

[youtube width=600]kgDiAsKJmSw[/youtube]

Brushfield Spots of Portland, OR, should be in your CD player, your record player, tape deck, me-pod, ringtones; your kids shoes should light up in tempo with their drum tracks. They’re that good. I mean it. They’re that good. Their music should consume certain parts of everyone’s day. Their lyrics and melodies go straight to the heart and are too profound to go unobserved by society. The world’s people need their music right now. And yet, they are nobodies in a sea of musical nobodies. But Brushfield Spots has a little bit of everybody in every word and every note and every frequency of their songs. I had the opportunity to sit down and chat with the band’s founder and main songwriter, Nathan St. Onge. And this is what he had to say.

AV
I find that listening to your music- I want to cry;  because everything is so sad. Why is your music so sad?

NSO
Happy music depresses me. I think that music should help people feel better about their situation. Happy people don’t need to feel better about their situation. I write sad songs to get the sadness of my life off my chest . . . and hope that listeners can relate to it, and understand that they’re not alone. The songs that stick out most to me throughout my life, as my favorites, do so because they convey a sadness that I already have. This makes me feel better and I set out to do the same for others.

AV
Nathan, what the fuck? What’s your thoughts on love, bitch?

NSO
Can I get a hit of that weed?

AV
Can that go in?

NSO
If you want it to go in.

NSO
I have too much to say about love; but let me give you this . . . ( 30 minutes later) I think Love and hate are so blindly sold and purchased as completely opposing faculties of the mind or sole. It seems to me that if you were to pick a jar of love and a jar of hate off the shelf, at the market, and glanced at the ingredients on each; you would find one to always be the first ingredient in the other [ . . . ] I don’t know, you tell me.

AV
I don’t want to answer that.

NSO
Can we put somewhere in the interview that you were demanding and telling me answers to say.

AV
I don’ want to write that.

AV
I might be making these grand sweeps of your music, touching on themes of love and sadness, but, in your  opinion, what is the overall theme– or the emotional thread that runs through your band’s music and ties everything together?

NSO
I know what that thing is I just have to put it all together. This going to be good . . .

AV
How did your band form?

NSO
I’m still answering the last question.

NSO
Let’s put this on a scale literally, but more precisely . . . metaphorically, let’s put this as a scale. If love and hate are the platforms of the scale– put that, if love and hate are the opposing platforms of the scale, loneliness is the pin in the middle. I think it’s called a fulcrum. Loneliness, that’s the thread that ties it all together.

AV
What’s in the band name? Why Brushfield Spots?

NSO
Brushfield Spots are small discolored marks on the irises of people who suffer from the chromosomal disorder down syndrome. In short, to me, this makes them the twinkle in the eye of the innocent. As a band name this is my ironic gesture over against the truth that my emotive folly could not be further from innocent.

AV
Who keeps texting you?

NSO
Elize

AV
What’s she want?

NSO
[. . .]

AV
[. . .]

AV
If your band became super rockstar, platinum selling, musical rock overlords, from Japan to New Zealand, and all of a sudden the tabloids rocked you of scandal. What scandal do you wonder would overcome your band?

NSO
Infidelity.

AV
Do tell . . .

NSO
Infidelity is the nitroglycerin used to create the explosion that is the lyrical bulk of our material. As we evolve to our sophomoric state I’m sure that that element is replaced by something completely different.

AV
Nathan, how do you sleep at night?

NSO
A combination of narcotics and pure narcissism. ( laughs) If only I were kidding.

AV
I thought you were going to say, on a pile cash surrounded by hot women and burning piles of gold.

NSO
Most of the decor in my bedroom is comprised from things I collected from my grandmother’s estate. Some of the candles burn, but nothing is gold. There is one woman in my life currently and I’ll leave it at that.

AV
How about a couple of women? Can I write that?

NSO
No, make it, there is one woman in my life.

AV
Are you sure? A couple of women would sell issues of High Con’s book.

NSO
My mother still remains very close to my heart. Does that help?

AV
So there are a couple of women  . . .  Alright, last question . . .

NSO
Do you want me to write this question for you?

AV
Could you? What question do you want me to ask you . . . And why?

NSO
I want you to ask me this question because, to answer the second question first, you seem to be struggling to write the question yourself. I want you to ask– I want you to ask me to name one person who I have met in the last fifteen months that has had a great impact on my perception on the world?

AV
Okay, Nathan, name one person you have met in the past year and three months that has had a great impact on your perception on the world.

NSO
David Eastwood.

AV
Thanks for your time. I know your busy. Where are you off to next?

NSO
NEst 91st and Glisan.

AV
Thanks.

NSO
Goodbye.

AV
Hey, what are you doing tomorrow?

NSO
I got to work at one. What did you have in mind?

AV
I have to drive home. I’ll talk to you when I get back.

NSO
Alright.

::

Brushfield Spots performs at Ella Street Social Club in Portland, Tuesday, October 19th, at 9pm.

Das Racist Photo by Zandland

Hip hop conveys all sorts of life’s truths – truths that run the gamut from “More money, more problems,” to “Hey shorty, it’s your birthday,” to the general observation that one in three people are assholes.

Das Racist, of Brooklyn, NY, champions as an absurdist hip hop act, employing danceable beats with repetitive hooks, as catchy and mind-numbing as most of today’s top forty hits, but without all the money, guns and bitches nonsense. The band’s sly wit and satirical edge opens their content up to a humorous dialogue of social commentary, easily seen in their name alone. Their first internet hit to gain recognition, Combination Pizza Hut, Taco Bell, illustrates a perfect example of their style and humor . . . though one could argue the song lacks commentary and is simply a commercial jingle for the nation’s corporate, industrialized food machine. Either way, the song spawned many a fan video of suburban white girls singing along to the catchy tune.

When asked to interview Das Racist, I thought it would be fun. It was a perfect fit, considering, for several years, I rapped in the comical hip hop band Inhumans, under the persona Ivory Coyote; in homage to my mixed Native American (Miami Tribe represent), and European ancestry. I felt I knew where Das Racist frontmen Himanshu Suri and Victor Vazquez, along with their “hype man” Ashok Kondabolu were coming from. I got it. Their absurdist style, humor, diversity, and way of deconstructing social norms spoke to me.

I was wrong. Or maybe I wasn’t. I don’t know. Maybe I should have lived a privileged life, attending a private liberal arts college. I don’t know. Maybe the interview, as a whole, sheds light on my question of language; it’s inaccuracy for communication, conveying observations or describing truth; something I find all the more curious with art like hip hop where language is in the forefront. Whatever the scenario, the interview left a bad taste in my mouth, as if I spent all night eating a combination of Pizza Hut and Taco Bell.

Nonetheless, kudos to Das Racist. They’re doing it. They just released their second mix tape, Sit Down, Man and I expect the world will be hearing more of them in the near future . . . I simply hope we hear more from their front men ( KOOL A.D and HIMA) and less from their hype man.

QUESTION
First I’d like to say you guys all have a sly, intelligent, left-field sense of humor that works; it’s fantastic. What’s Das Racist’s philosophy of humor in music, or humor in general?

KOOL A.D.
Everything is stupid.

HIMA
There’s no place for humor in music.

DAP
if there’s grass on the field, am I right?

QUESTION
Is time travel possible? If so, how?

KOOL A.D.
It is possible. Time dilation from high gravity or high velocity.

HIMA
I think if we look into how Tivo works more we can figure it out.

DAP
LIGHT TAKES AWHILE TO TRAVEL “INCREDIBLY” LONG DISTANCES, SO THAT’S LIKE PERCEPTUAL TIME TRAVEL WHEN YOU LOOK AT SOME STARS, RIGHT? Nah, just kidding, interesting question. If there’s grass on the field, am i right?

QUESTION
Hip hop is a culture, ever changing and mutating into various definitions. In every venue of every city from Atlanta, Georgia to Bozeman, Montana, there’s an emcee boasting about how he IS hip hop. The Definition, absolute. Where does Das Racist fit into the wavelength spectrum of hip hop culture?

KOOL A.D.
We are hip hop.

HIMA
Definitely. We are hip hop.

DAP
I’m sure the astute (possibly effete) reader of this interview has heard the intro of Mos Def’s “Black on Both Sides?” THAT THING FROM 11 YEARS AGO THAT EVERYONE KNOWS KINDA LAID THIS CORNY QUESTION TO REST.

QUESTION
Through technology, music is larger, bigger, brighter; everywhere. Technology has been a colossus in bringing about a whole new way the industry; and art, works. How has technology aided or impeded Das Racist on its musical quest?

KOOL A.D.
Everything we touch is technology.

HIMA
The most important music program is GMAIL.

DAP
Let’s talk more about the etymology of the word “colossus.” Language experts say it was first used by a friendly “magazine guy” from High Contrast. I have my suspicions, though. Let’s just say, if there’s gr…

QUESTION
Somewhere I have a question about language, it’s power in all of it’s abstraction, but I forgot the question. Any thoughts?

KOOL A.D.
You from another country or something?

HIMA
Vanguard.

DAP
Is this some sort of “you guys smoke weed” type thing? Cause I do not smoke weed. When I’m in Andhra Pradesh for awhile I start thinking in Telugu, which is awesome. Let’s just say, if th…

QUESTION
Who is the most racist race all the other races can point to and say, “They are the most racist race of all.” (Disclaimer: Answering this may sound racist.)

KOOL A.D.
White people.

HIMA
White people.

DAP
Question is stupid and divisive garbage, pretty angry about it. Sounds like these questions were written to ‘solicit specific responses’ from us and that’s just boring/uncreative journalism.

White people. Was considering putting quotation marks around either white or people, but that would be “playing ball” with this stupid question.

QUESTION
Anything else you’d like to add?

KOOL A.D.
Naw.

DAP
Language is an inefficient way to communicate but we cannot “Vulcan mind-meld” yet. www.dapwell.com

::

You can check out Das Racist, watch some clips, or download their mixtapes at DasRacist.net.

Do you know any thugs that have bled for six days without even dying?  Well you’re lookin’ at her, bitch. -From Heavy Flow by Toast

Since the word underground went mainstream, we all know rappers.   And that’s a good thing.  Verse is verse, it’s healthy to write it, read it, or bounce to the beat behind it.  From a guesswork stats point of view, to rap is the closest thing to writing poetry most people can ever hope to do to make a living.   Or simply travel a bit.   (Same thing in some ways.)  However, the odds are still against you as an aspiring emcee.  We all want to be rappers, astronauts, athletes or whatever.  Again, a good thing.  I’m just saying.  In the US in particular, we strive to stand out, to be the life of the party.   “The nail that sticks up gets hammered down” doesn’t  apply here.  We don’t plan on working fifteen years at a retail counter to get rich and have some gold gazelles.

Ambitions arise.  Plans hatch.  People form bands and write shit that makes heads bob.  You and me and the rest, we are in there with whatever we do in the same sort of way, rapping or otherwise.  And kind as you can be day today, you must admit that if you had to choose between me making it and you, you’d probably fight to bring home that metaphysical bacon you get from being good at something creative.  You have to put yourself out there or somebody else will in your place faster than you can say “bitch.”  Call it artistic Darwinism if you like, and then  embrace it, let it make you fitter.

Say what you want, but I’m gonna throw it out there – it’s even harder for ladies when it comes to homebrew Hip Hop.  Think about every successful girl band you’ve ever happened to meet.  Were any of them even rappers?  Doubt it.

Let’s consider big names in hip hop history:  Missy Elliot, TLC, Salt n’ Peppa, Lauren Hill; these are the founding mothers of hip hop as much as Run, the Beasties, and NWA are the fathers.  And they are great.

Take it down a notch.  Or sideways a click.  Whatever.  Vast Aire.  Josh Martinez.  Prepschool.  Local crews like Missoula’s Inhumans.  These are working class emcees.  All bros.  Can you name one underground female Hip Hop crew that actually plays shows, let alone tours?  To quote an old time New Helvetian, Cam Villa aka El Diablo, “Girl, I’ve had enough.  Get your things, your stuff, and just cut.”

Let me help you out.

Repeat after me:  Toast.

When NWA came out with Fuck the Police and A Bitch is a Bitch, that turned heads because like it or not, it was hard.   And when G-Unit figured out how to mainline that attitude, it represented a big step forward in the ever controversial art of shock performance, which has been relived and redone by ninety percent of even the most legit male hip hop bands out there.  Eminem and dance hall are related to it.  As a disclaimer,  if you know what you are listening to, what it means and how to listen to it, some people argue a pretty good case it’s not even immoral.  Again, who cares for the moment.  I like music.

There is a space to fill here.  I mean that in the most sexual way.  Women.  Where has the response been to this male gangster attitude until now?  Toast, like ‘em or not, represents a very small but gritty & real shift on the boys vs. girls schoolyard rap scene.  Plus they are good.  With DJ Pony P watching their backs, the duo is just winding down a PNW tour and heading “back to dirty ass Haight street,” as posted on their MyFace.

Pony P happened to be my neighbor in grade school.  Small world.  End result, I got to play groupie the night of the show.  I took it as an opportunity to make sure they were legit.  (As if there was any doubt, considering their impeccable references.)  And they are.  They drink tequila, open doors, call for taxis if they want to go somewhere, and live up to every last lyric.  They are friendly too, just like I’d known them for years, so when they left me at the bar and the damn Portland rain got cold, of course I missed them.  But I recalled some of their own lyrics to clear my mind on the way home, “I don’t dwell on a bitch, I move on hella quick.”  Just not so quick I can’t find out when they’re playing next.

TOAST, as seen on their recent FTC-sponsored tour, is comprised of Rachael VonCookie from Portland, OR, Erika B. of Los Angeles, and DJ Pony P of Missoula, MT.  They own the stage like an octopus owns owns the garden.  Listen and download at bandcamp.

I tensioned piano strings across a room with wine bottles strung on them. The wine bottles worked to tune the strings by sliding them along the strings.  I made handmade paper sculptures that were attached to the wine bottles and worked as amplifying apparatus.  The strings were played either by hitting them with handmade sticks or bowing with violin bows.  I also played a handmade instrument built into a table where a base string is tensioned from my feet to a cinder block and then tuned with a beer bottle used as a fret.  Other instruments in the shot include guitar strings tensioned across the room heater and tuned with small glass bottles used as frets and additional noised made by brushing and tapping the paper sculptures.  Also, one of the performers tensioned a base string by standing on the string attached to a stick and then leveraging the string upward to created tension.

Craig orchestrated this performance and photographed the set last year in Boulder, Colorado