From here on out I’m attempting to create a poster for every CIFF poster competition that runs during late winter/early spring. Since I just received the notice for the 2017 (due sometime in May) I thought it’d be interesting to post the one I did, and submitted, last year. I didn’t win, but I made it to the final rounds, before ultimately loosing to an Alfred Hitchcock inspired design. Continue reading →
With this month being the triple themed smorgasbord that it was (Valentines Day, Black History Month, and LGBT Awareness Month), I tried to come up with an idea that used all these in some way, and still flow in a coherent, seamless way. Thus, I envisioned a dance mix (what could be as romantic on a Valentine’s Day?) with a more or less continuous heavy bass line running through it using African American artists predominately, but also many overtly political ones of several different nationalities as well (of mixed gender and sexuality throughout). Featuring a wide ranging mélange of genres (from raunchy hip hop to feminist post-punk dub to 70’s English prog rock to suedehead Mod), I wanted to show how all this is cut from the same cloth. In a world like ours currently, dance floor unity Trumps all (and many of the songs feature appropriate lyrical content for anyone interested in reading between the lines). So to all my soul brothers and sisters, I present my February mix: Get Higher Baby and Never Come Down.
Over the last two days I’ve posted my favorite 50 records of this past year in a two part rundown over at this blogs sister site, Wonders in the Dark. Part 1 can be read here, while Part 2 can be seen here. Plus, as a bonus, the first post (50-26) also contains a rundown of what I considered the most essential compilations/reissues from last year. Happy listening.
Today I’m able to release my next mix titled Letter to Mommy and Daddy, just ahead of another one that is coming at the end of February. It’s a somewhat ambitious idea in concept (mixing two very different pop ideas: noise/shoegaze with deep, classic 60’s Soul) and execution (it’s bookended with kaleidoscopic sound collages and noise blasts), so I hope you all like it. There is some stereo stuff going on, so I’d recommend listening with headphones on.
Often rabid record collectors will find their recollections on music highjacked by a discussion on their all-time favorite 45s. The sides that can be endlessly spun and always provide that same rush afforded the first listen often don’t so much produce conversation, as they do intense love letters from one individual to another, that if not reciprocated will stop everything dead in their tracks. But then, even on top of those are the 45’s, are those that provide that exhilaration twice, once on the A and once on the B side. Imagine the shock when one of my absolute stunners, the Okeh career of Billy Butler, produces several such dual slabs of magic, with only barely ever denting the charts.
But it was the one hit he did have: Okeh release 7221, a #6 in 1966, that is the point of todays discussion. Continue reading →
As I’ve done twice in the past, here is a compendium ordering of my favorite film genre, Horror, updated to include—to the best of my ability—my lifetime within the genre. It’s dedicated to anyone who’s ever laughed while being frightened, who’s ever been willing to watch anything past 500 or so. Happy Halloween (the previous edition of this list was posted here for anyone who wants to see how it’s been shaken up in the subsequent years). Continue reading →