Interview

Arklight: a musical overview — by Mark McCawley

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Arklight:

a musical overview

 

by Mark McCawley

 
 
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Danny Kolm, Gregory Kolm and Max Kostaras are three twentysomethings who’ve lived their whole lives in Queens, NYC. Danny and Greg are brothers who started playing music together in 2003 under the name Arklight, releasing dozens of cassettes and Cdrs on small independent labels. Their early sound was a harsh mix of no wave noise, free jazz energy and punk psychedelia. Various friends filled in the lineup, with Danny playing guitar and Greg manning the drums, until 2013 when Max, a childhood friend and sometimes collaborator, became a permanent member on lead guitar. It was then that their sound shifted to reflect a burgeoning interest in songwriting, structure and improved musicianship. For inspiration, Arklight looked to the music they grew up on and loved, including Neil Young, Nirvana, Sonic Youth, Velvet Underground, Nick Cave and Beat Happening. They hope to continue their development and follow the muse wherever it may lead them.
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Kate Crash — in conversation with John Wisniewski

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Kate Crash

(Kate Crash & The UFO Club)

in conversation with

John Wisniewski

 
 
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“Musician, glam punk alien cross-dressing renegade
robot from the future, multi-media performance artist,
novelist, poet, director — Kate Crash is a punk
feminist with a DIY ethic. Whether it’s her music, her poetry,
her spoken word performance pieces, her fiction
or her documentary filmmaking — Crash’s glitter-speckled allegorical art
holds a unique mirror up to the present day decay and decadence of Los Angeles
in her search for her own personal authentic amid L.A’s streets of broken dreams
and almost realized celluloid fantasies.”

~Editor

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Selected Discography of Rick Miller — review by Mark McCawley

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Selected Discography

of Rick Miller

 

review by Mark McCawley

 
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Self-taught Canadian multi-instrumentalist, Rick Miller has released thirteen individual albums since his 1984 debut release, Starsong, moving from ambient, techno electronic synthesizer based music (Paradox-Electro Leftovers) in the mid to late 1980s and 1990s (Interstellar Passage) towards more progressive rock oriented music (Dreamtigers, The End of Days) around 2000 and beyond.
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bart plantenga — in conversation with John Wisniewski and Mark McCawley

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bart plantenga

in conversation with

John Wisniewski

and Mark McCawley

 
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John Wisniewski: When did you begin writing, bart? When did you publish your first writings?

bart plantenga: On any conscious level? It was probably in high school. A kind of prosaic awakening. First in 9th grade, for an assignment where we had to “travel” through South America and keep a diary I did one – times 10. Mine was over 100 pages long, about 3x longer than anyone else’s – I didn’t know I liked writing about places I had [never] been to. I wouldn’t know for another 2 years that that could be a talent – and what I’ve come to realize many years later an extremely underpaid talent at that.

For instance: Did you ever get into a discussion with friends or coworkers about being underpaid, earning a shit wage and such. Well, I have only done this once or twice: tried to estimate how much per hour I earned for an article or book I was paid for. You don’t want to know. THEY don’t want to know. It is like 10 American cents per hour. You point that out and nobody wants to hear it or believe.
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Eddie Woods — in conversation with John Wisniewski

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Eddie Woods

 

in conversation with John Wisniewski

 

Eddie Woods at the Beat Hotel (Paris, July 2009). Photo © by Lars Movin

Eddie Woods at the Beat Hotel (Paris, July 2009). Photo © by Lars Movin

JW: You had a variety of jobs over the years while getting on with your writing. Could you tell us about some of them, maybe a few that you enjoyed doing?

 

EW: I wholeheartedly agree with André Gide’s dictum, “All work that is not joyous is wretched.” And while the word ‘enjoy’ may not apply to my time in the Air Force, I still got a lot out of those four years, about which I’ll be writing in one of my future memoirs. It’s a given that I grooved on journalism. Some of that is covered in my most recent book, Tennessee Williams in Bangkok. And I am now encouraging Stanford University to obtain copies of all the pieces I wrote for the Bangkok Post so they can go into my archive there. We can forget the Tehran Journal (I was their sports and night editor in the mid-1970s), as that paper got buried after the 1979 Islamic revolution. I dug being a short-order cook and had the best teacher, namely my father! Programming first-generation IBM computers for two years was all right, until they started to bore me and I quit. Selling encyclopedias was a gas. Did that throughout the latter part of the Sixties, made good money, got to travel around Germany and France, then out to the Far East (where another life began for me). Managing a steakhouse in Hong Kong was cool. Ditto a few other gigs. It would never have crossed my mind to toil in a factory or on a farm. I’m a dunce when it comes to any kind of manual labor. All I’m good at with my hands are eating, writing, and sex.
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