No More Beatlemania, Once Was Enough!
It’s Time for All Hits Mania!
Men and Their Work (Iron Lung Records)
I don’t remember their words, but I remember their stances. My grandfather and my uncle at the kitchen table, summer of ’93. They were arguing about people with HIV. My uncle was calm and compassionate. He argued people deserve care. My grandfather was defensive, doubling down, blinded by homophobia. He argued people should be shamed, isolated.
The last time we spoke with Stuart Hyatt about his Field Works project, he had recently released an album of immersive music with the sounds of bats at its center. The new Field Works album, Stations, goes to a very different place than that in a very literal sense. For this album, Hyatt drew upon the work of EarthScope, recording the sounds of the planet itself and then bringing in a host of collaborators, including Laaraji and Qasim Naqvi, to transform those sounds into a haunting, gorgeous soundscape. Reached via email, Hyatt discussed how everything came together.
MAX BOOTH III is the head ghoul at Ghoulish Books, the host of the GHOULISH podcast, and the author of Maggots Screaming!
No More Beatlemania, Once Was Enough!
It’s Time for Joe McPhee, Michael Bisio, Chris Corsano & Steve Swell Mania!
The entrance to Quinn’s is crowded. I start looking for familiar faces, but then I find myself doing math, calculating fractions, rounding, converting to percentages. Who else is masking? How do the numbers compare to my classroom? To the grocery store?
For the first time in two years, I’m at Quinn’s to see live music, and it’s weird. Beyond the obvious emerging-from-a-pandemic reasons, Quinn’s is for sale, which kicks things in a different direction, makes me wonder how much longer this scene is going to last. Then again, I’ve had similar thoughts since I first came to Quinn’s. That’s part of what motivated me to write a book about the place—I didn’t think it could keep going.
Chris Brokaw is one of the most searching, prolific, expressive musicians I know. Switching between guitar and drums, he’s left an indelible impression in bands like Codeine, Come, Charnel Ground, and The Martha’s Vineyard Ferries. He’s also been a sought after sideman with the likes of the Lemonheads and often tours the world playing solo, in between scoring independent films like I Was Born, But…
Colleen Louise Barry is a Seattle-based artist and poet whose latest project COLLEEN is more glittering web than stereotypical poetry book. Published by After Hours Editions, a small press run by Eric Amling and Sarah Jean Grimm–who for the last several years have consistently put out gorgeous cult poetry books–the book’s cover draws you in with its coy retro rodeo font. And COLLEEN’S charms don’t stop there. Barry’s expansive practice involves inviting other artists to work in response to her poems, which take self-representation, celebrity culture, and self-actualization as their themes. We discussed the book’s aesthetics and evolution over Google Docs in the winter of 2022.
SARA RAUCH is the author of What Shines from It: Stories and the autobiographical essay XO (forthcoming). Her fiction and essays have appeared in Paper Darts, Hobart, Split Lip, So to Speak, Qu, Lunch Ticket, and other literary magazines, as well as in the anthologies Dear John, I Love Jane; Best Lesbian Romance 2014; and She’s Lost Control. She has covered books for Bustle, BitchMedia, Curve Magazine, Lambda Literary, The Rumpus, and more. In 2012, she founded the literary magazine Cactus Heart, which ran through 2016. She holds an MFA from Pacific University. Sara teaches writing at Pioneer Valley Writers’ Workshop and Grub Street and also works as an independent editor and manuscript consultant. She lives with her family in Holyoke, Massachusetts.
Are we looking for the absolute truth of love or the absolute feeling of it? Or is the question better put: is love whatever best suits our personal needs, or is love ineffable? In Bud Smith’s novel, Teenager, one can imagine it as a light flickering past the darkness in our lives. The main character, Kody, would likely say that he was too dim to comprehend the deep meaning of such things. After all, he is a teenager and can only know what he has already seen and what he imagines. What he has seen is a bleak mixture of foster homes, a hellish high school, juvenile hall, and then Teal. To the world, she was Tella Carticelli, but to him, she was his LIGHT flickering past his darkness. She was his “Teal Cartwheels” and no obstacle or sense of reality could keep him from her. Or her from him.