Ephemera

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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Urban Graffiti Mix #15

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Urban Graffiti Mix #15 by Mark McCawley on Mixcloud

Urban sounds. Urban vibes. Urban verse. Urban tribes. Urban Graffiti. Songs of the city. Past and present. Old and new. The city keeps singing. Los Angeles. New York. San Francisco. Watts. Amsterdam. Auckland. London. Toronto.
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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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Cinefantastique by Gary Lucas — review by Mark McCawley

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Cinefantastique

by Gary Lucas

 

review by Mark McCawley

 

gary-lucas-coverArtist: Gary Lucas
Album: Cinefantastique
Country: USA
Genre: Instrumental, Acoustic
Label: Northern Spy Records
Release date: 1 October 2013

 
Gary Lucas is among that contemporary cadre of post-Zappa guitarists — Fred Frith, Henry Kaiser, Mike Keneally, Steve Vai, Al Di Meola, John McLaughlin, Thurston Moore, Lee Ranaldo (to mention a few) — who are as at ease with complex compositions, regular use of dissonance and atonality and polyrhythmic time signatures, as they are with collaborations and on-the-spot improvisations. After well over 20 acclaimed solo albums to date, this Grammy-nominated songwriter and composer, soundtrack composer for film and television, and collaborator with such musicians as Captain Beefheart, Lou Reed, John Cale, Nick Cave, John Zorn, Bryan Ferry, Joan Osborne — Lucas shows no sign of slowing down creatively any time soon.
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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

 
bart-university of writing
 

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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