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.
Transgressive, discursive. Sex, desire, obsession, addiction. Poems, fictions, letters. Dialogues, monologues. Secrets. Dreams. Something old, something new. More than just the usual literary fare. Urban, ironic, sarcastic, sardonic, sometimes caustic. Allegorical. These poets, dream-weavers, memoirists, fictioneers, songwriters, storytellers, seek out new, unique vernacular to tell their particular narratives. Authentic, visceral, subversive, insurgent, real. As with any good story, poem, memoir, song — only through repeated listening does the myriad levels of meaning present themselves.
Transgression. Pushing boundaries. Territories. At times, obliterating them. Sarah de Leeuw — poet and human geographer — examines and explores the territory of human sexuality in her excerpt from ‘Geographies of a Lover‘ from NeWest Press. Tsaurah Litzky celebrates her own sensual transgressions in her excerpt from the memoir, ‘Flasher’ from Audible Books. Ron Kolm invites various Unbearables to recite poems from his new book of poetry, Divine Comedy, from Fly By Night Press at A Gathering of the Tribes Gallery. Max Blagg recites an except “Mugshot” from his novel, ‘101 Nights’, at The Gershwin Hotel.
Exceptionally lyrical, subjective, personal. Tracks of love, ecstasy, longing, sex, obsession, desire. Tracks seeking out language to describe the indescribable; also, the madness that accompanies each acceptance or denial of longing, obsession, desire; for each who wins, another must lose; the agony of grief, loss beyond consoling, but not beyond words. Good words. Bad words. Mean words. Transgressive words. Most of all — lyrical words. Passionate, rapturous, ecstatic, euphoric. Yes, love hurts. It’s the only fire we again and again allow ourselves to be burned by.
The Great Culture Machine has limited definitions of what does, and what does not constitute contemporary literary culture, and in doing so, has overlooked many new hybridized, avant-garde, and experimental crossovers by innovative and pioneering musicians, artists, writers, performance artists and poets dating back decades. Three months in the editing, UG Mix #11 took into special account notions of Sprechgesang and Sprechstimme — musical terms which refer to an expressionist vocal technique between singing and speaking, though sometimes used interchangeably, when compiling the mix. So, when quite often, the resulting musical and literary hybrids crossed over into realms of poetry, narrative, and music as well as within each — again and again I put forth the idea that certainly new definitions and genres should be created, or at very least a dialogue begun towards a more inclusive notion of what is literary, especially when words leave the printed page and take flight.