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the fourth dotmatrix project shook, stirred and mixed it up real nice. tom beardslee kicked off the night with his storytelling blues playing and then possum jenkins simply brought down the house. all due respect to shooter jennings, but these guys put the "o" back in country that night.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by John Leonard
the fourth dotmatrix project shook, stirred and mixed it up real nice. tom beardslee kicked off the night with his storytelling blues playing and then possum jenkins simply brought down the house. all due respect to shooter jennings, but these guys put the "o" back in country that night.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by John Leonard
the fourth dotmatrix project shook, stirred and mixed it up real nice. tom beardslee kicked off the night with his storytelling blues playing and then possum jenkins simply brought down the house. all due respect to shooter jennings, but these guys put the "o" back in country that night.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by John Leonard
the fourth dotmatrix project shook, stirred and mixed it up real nice. tom beardslee kicked off the night with his storytelling blues playing and then possum jenkins simply brought down the house. all due respect to shooter jennings, but these guys put the "o" back in country that night.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by John Leonard
The seventh dotmatrix project brought together two greensboro songwriters, historians, and musicians. Yet both ladies, accomplished musicians in well-known bands across the Carolinas and beyond kept reminding the audience to be kind: This solo performance was a first for both.
Riannon Giddens is a world-traveling musician with the black string preservation band, The Carolina Chocolate Drops. The project was one of her first solo debuts, relying only occasionally on the support of Laurelyn Dossett and guitarist Scott Manring. Her roots music included a few original tunes, such as the ballsy-blues girl ballad, "Two-time Loser." And with her early vocal training at the prestigious Oberlin Conservatory, Rhiannon performed a multi-lingual, multi-cultural act, singing in languages known only in the Gaelic-Scottish regions, plus "Mal Hombre" in Spanish, and "Slaves Lament." A regularly touring musician, Rhiannon made the most of the hometown gig, and brought her sister on stage for gospel songs that featured harmonies only possible from a childhood spent singing together. Off her usual repertoire, however, Rhiannon dropped in a tune she's always wanted to sing, she said, Patsy Cline's, "I Fall to Pieces."
Laurelyn Dossett also made a break from her regular appearances with Polecat Creek, and sang songs she's written for the band, and more recently, songs she's created for the original "playsical" projects at Triad Stage, such as "Brother Wolf" and "Bloody Blackbeard." While Dossett played solo, she played many songs originally written for the bluegrass and Old Time string, such as "Midway Road" and "The Island," off the band's new album "Ordinary Seasons." With a story behind every tune, Dossett is something of a modern historian, writing songs that tell stories from the Piedmont region, such as "Leaving Eden," which chronicles the night drive of a mother and her children as they leave a community built on and later burned by a collapsing textile industry. One hot October night in early 2000 inspired "Surry County's" burning. With guitarist Scott Manring, and vocalist Rhiannon Giddens occasionally joining her on set, Laurelyn rocked a set that's usually reserved for the more, well, reserved audience.
And the audience came to listen. Before the first guitar was tuned, listeners lined up chairs, settling in with their dark brews in tall pint glasses, only breaking the silence to applaud, stomp, sing along, or laugh.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Kevin Belton
Warning panel on Dot Matrix's chest which alarmed as Princess Vespa and Lone Starr started to get a little too comfortable in each other's company. The robot was acted by Lorene Yarnell and voiced by Joan Rivers.
this was the official kick-off show for the dotmatrix project, and both the radials and sorry about dresden kicked ass! the photos and videos don't lie.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Michael Dunn
Auction Item Number: O7
The auction is for one of the test instruments of which only ten were manufactured with the date 2013. The instrument is fully functional and has been used in the making of the album that will be sold with the Synth. The MSII will be released by Mute Records later in the year. The album features Chris Carter (Throbbing Gristle) Dominic Butler (Factory Floor), Kidkanevil, Dirty Electronics and others.
The Dirty Electronics Mute Synth II (MSII) is a hand-held sound device. At the core of the instrument is a versatile mini patchbay that provides expansion and modification permutations and a grid-like visual representation of patched parameters. The patchbay encourages a particular interaction with the instrument and playfulness. The printed circuit board artwork, black and silver finish, has multiple electrodes in the form of small squares that provide a labyrinth of possible connections and resulting behaviors. Different sequences are created through hybrid 4-bit binary coding, feedback and bastardisation. Artwork for the Synth is done by Adrian Shaughnessy.
Features:
Noise generator
Feedback
Oscillator
Wave shaping (triangle – square)
Buffered output
Sequencer
External clock option
Touch and knob/potentiometer controls
Mini patchbay
Dotmatrix display (external module)
PCB artwork
Bend and hack points
Expansion board capability
Mini jack/headphone output
Battery powered 9v
The seventh dotmatrix project brought together two greensboro songwriters, historians, and musicians. Yet both ladies, accomplished musicians in well-known bands across the Carolinas and beyond kept reminding the audience to be kind: This solo performance was a first for both.
Riannon Giddens is a world-traveling musician with the black string preservation band, The Carolina Chocolate Drops. The project was one of her first solo debuts, relying only occasionally on the support of Laurelyn Dossett and guitarist Scott Manring. Her roots music included a few original tunes, such as the ballsy-blues girl ballad, "Two-time Loser." And with her early vocal training at the prestigious Oberlin Conservatory, Rhiannon performed a multi-lingual, multi-cultural act, singing in languages known only in the Gaelic-Scottish regions, plus "Mal Hombre" in Spanish, and "Slaves Lament." A regularly touring musician, Rhiannon made the most of the hometown gig, and brought her sister on stage for gospel songs that featured harmonies only possible from a childhood spent singing together. Off her usual repertoire, however, Rhiannon dropped in a tune she's always wanted to sing, she said, Patsy Cline's, "I Fall to Pieces."
Laurelyn Dossett also made a break from her regular appearances with Polecat Creek, and sang songs she's written for the band, and more recently, songs she's created for the original "playsical" projects at Triad Stage, such as "Brother Wolf" and "Bloody Blackbeard." While Dossett played solo, she played many songs originally written for the bluegrass and Old Time string, such as "Midway Road" and "The Island," off the band's new album "Ordinary Seasons." With a story behind every tune, Dossett is something of a modern historian, writing songs that tell stories from the Piedmont region, such as "Leaving Eden," which chronicles the night drive of a mother and her children as they leave a community built on and later burned by a collapsing textile industry. One hot October night in early 2000 inspired "Surry County's" burning. With guitarist Scott Manring, and vocalist Rhiannon Giddens occasionally joining her on set, Laurelyn rocked a set that's usually reserved for the more, well, reserved audience.
And the audience came to listen. Before the first guitar was tuned, listeners lined up chairs, settling in with their dark brews in tall pint glasses, only breaking the silence to applaud, stomp, sing along, or laugh.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Kevin Belton
One of, if not the most contested route in Liverpool is the 86 service from Liverpool One to Garston via Smithdown and Allerton Road. With Arriva operating every 10 minutes and stagecoach every 6 minutes (Monday to Friday) the total number of journeys made each hour reaches 16!
Arriva are favoured by passengers on the route, operating Alexander-Dennis ALX400's (100% low floor) where as Stagecoach operates a mix of Darts, B10's and Northern Counties deckers (Mixture of high and low floor). Stagecoach however are not down and out; with over 52,000 students in Liverpool (Myself Included) and a lot of student accomodation along Smithdown Road, the student ticket flat price of £1.20 is irresistable keeping Stagecoach well and truely in the game!
The seventh dotmatrix project brought together two greensboro songwriters, historians, and musicians. Yet both ladies, accomplished musicians in well-known bands across the Carolinas and beyond kept reminding the audience to be kind: This solo performance was a first for both.
Riannon Giddens is a world-traveling musician with the black string preservation band, The Carolina Chocolate Drops. The project was one of her first solo debuts, relying only occasionally on the support of Laurelyn Dossett and guitarist Scott Manring. Her roots music included a few original tunes, such as the ballsy-blues girl ballad, "Two-time Loser." And with her early vocal training at the prestigious Oberlin Conservatory, Rhiannon performed a multi-lingual, multi-cultural act, singing in languages known only in the Gaelic-Scottish regions, plus "Mal Hombre" in Spanish, and "Slaves Lament." A regularly touring musician, Rhiannon made the most of the hometown gig, and brought her sister on stage for gospel songs that featured harmonies only possible from a childhood spent singing together. Off her usual repertoire, however, Rhiannon dropped in a tune she's always wanted to sing, she said, Patsy Cline's, "I Fall to Pieces."
Laurelyn Dossett also made a break from her regular appearances with Polecat Creek, and sang songs she's written for the band, and more recently, songs she's created for the original "playsical" projects at Triad Stage, such as "Brother Wolf" and "Bloody Blackbeard." While Dossett played solo, she played many songs originally written for the bluegrass and Old Time string, such as "Midway Road" and "The Island," off the band's new album "Ordinary Seasons." With a story behind every tune, Dossett is something of a modern historian, writing songs that tell stories from the Piedmont region, such as "Leaving Eden," which chronicles the night drive of a mother and her children as they leave a community built on and later burned by a collapsing textile industry. One hot October night in early 2000 inspired "Surry County's" burning. With guitarist Scott Manring, and vocalist Rhiannon Giddens occasionally joining her on set, Laurelyn rocked a set that's usually reserved for the more, well, reserved audience.
And the audience came to listen. Before the first guitar was tuned, listeners lined up chairs, settling in with their dark brews in tall pint glasses, only breaking the silence to applaud, stomp, sing along, or laugh.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Mark Smith
The seventh dotmatrix project brought together two greensboro songwriters, historians, and musicians. Yet both ladies, accomplished musicians in well-known bands across the Carolinas and beyond kept reminding the audience to be kind: This solo performance was a first for both.
Riannon Giddens is a world-traveling musician with the black string preservation band, The Carolina Chocolate Drops. The project was one of her first solo debuts, relying only occasionally on the support of Laurelyn Dossett and guitarist Scott Manring. Her roots music included a few original tunes, such as the ballsy-blues girl ballad, "Two-time Loser." And with her early vocal training at the prestigious Oberlin Conservatory, Rhiannon performed a multi-lingual, multi-cultural act, singing in languages known only in the Gaelic-Scottish regions, plus "Mal Hombre" in Spanish, and "Slaves Lament." A regularly touring musician, Rhiannon made the most of the hometown gig, and brought her sister on stage for gospel songs that featured harmonies only possible from a childhood spent singing together. Off her usual repertoire, however, Rhiannon dropped in a tune she's always wanted to sing, she said, Patsy Cline's, "I Fall to Pieces."
Laurelyn Dossett also made a break from her regular appearances with Polecat Creek, and sang songs she's written for the band, and more recently, songs she's created for the original "playsical" projects at Triad Stage, such as "Brother Wolf" and "Bloody Blackbeard." While Dossett played solo, she played many songs originally written for the bluegrass and Old Time string, such as "Midway Road" and "The Island," off the band's new album "Ordinary Seasons." With a story behind every tune, Dossett is something of a modern historian, writing songs that tell stories from the Piedmont region, such as "Leaving Eden," which chronicles the night drive of a mother and her children as they leave a community built on and later burned by a collapsing textile industry. One hot October night in early 2000 inspired "Surry County's" burning. With guitarist Scott Manring, and vocalist Rhiannon Giddens occasionally joining her on set, Laurelyn rocked a set that's usually reserved for the more, well, reserved audience.
And the audience came to listen. Before the first guitar was tuned, listeners lined up chairs, settling in with their dark brews in tall pint glasses, only breaking the silence to applaud, stomp, sing along, or laugh.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Mark Smith
the third dotmatrix project event was a shoegazing fest. andrew dudek brought the white sheets and pants, and both dawn chorus and citified rocked the night away.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Michael Dunn
the fourth dotmatrix project shook, stirred and mixed it up real nice. tom beardslee kicked off the night with his storytelling blues playing and then possum jenkins simply brought down the house. all due respect to shooter jennings, but these guys put the "o" back in country that night.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by John Leonard
the sixth dotmatrix project brought together two greensboro acts with very different sounds. janik started off the evening employing a rich sound (stand-up bass, keyboard, castanets, drums, electric bass and guitar), changing up between textured melodies and jungle, lyrical tunes layered with lead singer mariana bracone's unique vocals. the tiny meteors then came on and tried to blow their amps with a hard driving rock, guitar/bass/drums set. kemp stroble brought his vocals with straight-forward intensity over sheets of guitar rock madness.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Elizabeth Lemon
this was the official kick-off show for the dotmatrix project, and both the radials and sorry about dresden kicked ass! the photos and videos don't lie.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Michael Dunn
this was the official kick-off show for the dotmatrix project, and both the radials and sorry about dresden kicked ass! the photos and videos don't lie.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Michael Dunn
Face was taken from a magazine and scanned in an analogue drum scanner, then digitised in a 5 bit Sytin made in Paris by AFP (Agency French Press) captured on an IBM 286 serial port, Processed by my programns, and sent to an Epson Facit 4 colour ink ribbon Dot Matrix printer. It was scaleable in 3 sizes,
Cutting edge stuff years ago!
Sheer magic, but I don't think it will catch on !!!!
The seventh dotmatrix project brought together two greensboro songwriters, historians, and musicians. Yet both ladies, accomplished musicians in well-known bands across the Carolinas and beyond kept reminding the audience to be kind: This solo performance was a first for both.
Riannon Giddens is a world-traveling musician with the black string preservation band, The Carolina Chocolate Drops. The project was one of her first solo debuts, relying only occasionally on the support of Laurelyn Dossett and guitarist Scott Manring. Her roots music included a few original tunes, such as the ballsy-blues girl ballad, "Two-time Loser." And with her early vocal training at the prestigious Oberlin Conservatory, Rhiannon performed a multi-lingual, multi-cultural act, singing in languages known only in the Gaelic-Scottish regions, plus "Mal Hombre" in Spanish, and "Slaves Lament." A regularly touring musician, Rhiannon made the most of the hometown gig, and brought her sister on stage for gospel songs that featured harmonies only possible from a childhood spent singing together. Off her usual repertoire, however, Rhiannon dropped in a tune she's always wanted to sing, she said, Patsy Cline's, "I Fall to Pieces."
Laurelyn Dossett also made a break from her regular appearances with Polecat Creek, and sang songs she's written for the band, and more recently, songs she's created for the original "playsical" projects at Triad Stage, such as "Brother Wolf" and "Bloody Blackbeard." While Dossett played solo, she played many songs originally written for the bluegrass and Old Time string, such as "Midway Road" and "The Island," off the band's new album "Ordinary Seasons." With a story behind every tune, Dossett is something of a modern historian, writing songs that tell stories from the Piedmont region, such as "Leaving Eden," which chronicles the night drive of a mother and her children as they leave a community built on and later burned by a collapsing textile industry. One hot October night in early 2000 inspired "Surry County's" burning. With guitarist Scott Manring, and vocalist Rhiannon Giddens occasionally joining her on set, Laurelyn rocked a set that's usually reserved for the more, well, reserved audience.
And the audience came to listen. Before the first guitar was tuned, listeners lined up chairs, settling in with their dark brews in tall pint glasses, only breaking the silence to applaud, stomp, sing along, or laugh.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Mark Smith
1. "Epitaph:" (poem; with Dave Beach & jwcurry; 1st published 5 march 1979)
–B1 (www.flickr.com/photos/48593922@N04/7238786900)
–A45 (www.flickr.com/photos/48593922@N04/7208223858)
–B36 (www.flickr.com/photos/48593922@N04/7238768270)
2. logical sequence 3 (concrete poem; with jwcurry; 1st published 31 march 1979)
2a. version 1, serif rubberstamp type
–B2 (www.flickr.com/photos/48593922@N04/7238780562)
–A45 (www.flickr.com/photos/48593922@N04/7208223858)
–B36 (www.flickr.com/photos/48593922@N04/7238768270)
2b. version 2, Remington typewriter type (1st published 1 april 198o)
–A9 (www.flickr.com/photos/48593922@N04/7208228526)
–A11 (www.flickr.com/photos/48593922@N04/7208227222)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
2c. version 3, instant lettering type (1st published 3 july 1985)
–B9 (www.flickr.com/photos/48593922@N04/7238797120)
–B11 (www.flickr.com/photos/48593922@N04/7254963062)
3. flight (graphic; 1st published 22 april 1979)
3a. version 1, without staves
–A1 (www.flickr.com/photos/48593922@N04/7208224448)
–A45, reduced (www.flickr.com/photos/48593922@N04/7208223858)
–B36, reduced (www.flickr.com/photos/48593922@N04/7238768270)
3b. version 2, with staves (1st published 24 may 1983)
–A2o (www.flickr.com/photos/48593922@N04/7208225930)
–C7, cropped & sideways besides! (www.flickr.com/photos/48593922@N04/7260233060)
–A45 (www.flickr.com/photos/48593922@N04/7208223858)
–B36, reduced (www.flickr.com/photos/48593922@N04/7238768270)
4. "metro" (concrete poem; 1st published 18 october 1979)
4a. version 1, serif rubberstamp type
–A2 (www.flickr.com/photos/48593922@N04/7208242678)
–C1 (www.flickr.com/photos/48593922@N04/7260260764)
–A45 (www.flickr.com/photos/48593922@N04/7208223858/)
–B36 (www.flickr.com/photos/48593922@N04/7238768270)
4b. version 2, Remington typewriter type (1st published 1 april 198o)
–A8 (www.flickr.com/photos/48593922@N04/7208228180)
–A11 (www.flickr.com/photos/48593922@N04/7208227222)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
4c. version 3, with jwcurry, matchbook rectangle (1st published january 2o14, above)
4d. version 4, with jwcurry, windowed rectangle (1st published 21 june 1981)
–B4 (www.flickr.com/photos/48593922@N04/7238788080)
–A12 (www.flickr.com/photos/48593922@N04/7208226862)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
–A45, reduced (www.flickr.com/photos/48593922@N04/7208223858)
–B36, reduced (www.flickr.com/photos/48593922@N04/7238768270)
4e. version 5, with jwcurry, random shape (1st published november 1984)
–A24 (www.flickr.com/photos/48593922@N04/7208239572)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
–A45, reduced (www.flickr.com/photos/48593922@N04/7208223858)
–B36, reduced (www.flickr.com/photos/48593922@N04/7238768270)
4f. version 6, with jwcurry, Los Angeles outline (1st published 1985?)(see www.flickr.com/photos/48593922@N04/11832165476)
–B8 (www.flickr.com/photos/48593922@N04/7238803634)
–C15 (www.flickr.com/photos/48593922@N04/7260241878)
4g. version 7, with jwcurry, retype of version 4 (1st published 3 july 1985)
–B1o (www.flickr.com/photos/48593922@N04/7238798306)
–B11 (www.flickr.com/photos/48593922@N04/7254963062)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
4h. version 8, with jwcurry; Paris outline; 1st published 26 april 199o)
–A41 (www.flickr.com/photos/48593922@N04/7208237886)
–B2o (www.flickr.com/photos/48593922@N04/7238811922)
–C28, reduced (www.flickr.com/photos/48593922@N04/7260246264)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
–A45, reduced (www.flickr.com/photos/48593922@N04/7208223858)
–B36, reduced (www.flickr.com/photos/48593922@N04/7238768270)
–B48 (www.flickr.com/photos/48593922@N04/7238777606)
5. "differences (concrete poem; 1st published 18 october 1979)
5a. version 1, serif rubberstamp type
–A2 (www.flickr.com/photos/48593922@N04/7208242678)
–C1 (www.flickr.com/photos/48593922@N04/7260260764)
–A45 (www.flickr.com/photos/48593922@N04/7208223858)
5b. version 2, Remington typewriter type single-spaced (1st published 1 april 198o)
–A6 (www.flickr.com/photos/48593922@N04/7208227568)
–A11 (www.flickr.com/photos/48593922@N04/7208227222)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
5c. version 3, silkscreen alphabet by jwcurry (1st published in 1984?)
–A23 (www.flickr.com/photos/48593922@N04/7208224918)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
5d. version 4, Remington typewriter type double-spaced (1st published 3 july 1985)
–A28 (www.flickr.com/photos/48593922@N04/7208230450/)
–C9 (www.flickr.com/photos/48593922@N04/7260250612)
–B11 (www.flickr.com/photos/48593922@N04/7254963062)
5e. version 5, dotmatrix type (1st published 7 september 1985)
–C1o (www.flickr.com/photos/48593922@N04/7533605536)
5f. version 6, colour typography by jwcurry; 1st published 29 may 1988)
–A36 (www.flickr.com/photos/48593922@N04/7208220510)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
6. don't (poem; 1st published 2 november 1979)
–A3 (www.flickr.com/photos/48593922@N04/7208220628)
–A45 (www.flickr.com/photos/48593922@N04/7208223858)
–B36 (www.flickr.com/photos/48593922@N04/7238768270)
7. "money (concrete poem; 1st published 3o november 1979)
7a. version 1, serif rubberstamp type
–C2 (www.flickr.com/photos/48593922@N04/7260242890)
–A45 (www.flickr.com/photos/48593922@N04/7208223858)
–B36 (www.flickr.com/photos/48593922@N04/7238768270)
7b. version 2, Remington typewriter type (1st published 1 april 198o)
–A7 (www.flickr.com/photos/48593922@N04/7208227898)
–A11 (www.flickr.com/photos/48593922@N04/7208227222)
–B31 (www.flickr.com/photos/48593922@N04/7238772978)
8. "regressing" (poem; 1st published 3 january 198o)
–C3 (www.flickr.com/photos/48593922@N04/7260245394)
–A45 (www.flickr.com/photos/48593922@N04/7208223858)
–B36 (www.flickr.com/photos/48593922@N04/7238768270)
9. "why did he run up" (poem; 1st published 3 january 198o)
–C3 (www.flickr.com/photos/48593922@N04/7260245394)
–A45 (www.flickr.com/photos/48593922@N04/7208223858)
–B36 (www.flickr.com/photos/48593922@N04/7238768270)
1o. overheard conversation (poem; 1st published 19 january 198o)
–A4 (www.flickr.com/photos/48593922@N04/7208222006)
The seventh dotmatrix project brought together two greensboro songwriters, historians, and musicians. Yet both ladies, accomplished musicians in well-known bands across the Carolinas and beyond kept reminding the audience to be kind: This solo performance was a first for both.
Riannon Giddens is a world-traveling musician with the black string preservation band, The Carolina Chocolate Drops. The project was one of her first solo debuts, relying only occasionally on the support of Laurelyn Dossett and guitarist Scott Manring. Her roots music included a few original tunes, such as the ballsy-blues girl ballad, "Two-time Loser." And with her early vocal training at the prestigious Oberlin Conservatory, Rhiannon performed a multi-lingual, multi-cultural act, singing in languages known only in the Gaelic-Scottish regions, plus "Mal Hombre" in Spanish, and "Slaves Lament." A regularly touring musician, Rhiannon made the most of the hometown gig, and brought her sister on stage for gospel songs that featured harmonies only possible from a childhood spent singing together. Off her usual repertoire, however, Rhiannon dropped in a tune she's always wanted to sing, she said, Patsy Cline's, "I Fall to Pieces."
Laurelyn Dossett also made a break from her regular appearances with Polecat Creek, and sang songs she's written for the band, and more recently, songs she's created for the original "playsical" projects at Triad Stage, such as "Brother Wolf" and "Bloody Blackbeard." While Dossett played solo, she played many songs originally written for the bluegrass and Old Time string, such as "Midway Road" and "The Island," off the band's new album "Ordinary Seasons." With a story behind every tune, Dossett is something of a modern historian, writing songs that tell stories from the Piedmont region, such as "Leaving Eden," which chronicles the night drive of a mother and her children as they leave a community built on and later burned by a collapsing textile industry. One hot October night in early 2000 inspired "Surry County's" burning. With guitarist Scott Manring, and vocalist Rhiannon Giddens occasionally joining her on set, Laurelyn rocked a set that's usually reserved for the more, well, reserved audience.
And the audience came to listen. Before the first guitar was tuned, listeners lined up chairs, settling in with their dark brews in tall pint glasses, only breaking the silence to applaud, stomp, sing along, or laugh.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Mark Smith
the second dotmatrix project event was a blast. both carolina clearwater and old stone revue flexed their talents.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Stephen Charles
My fabulous DIY-dot-matrix birthday card from my brother James (a.k.a. Jimbo Jet Set) in Hong Kong! Thanks James! I particularly love the camera. :-D
Happy birthday to me
Happy birthday to me
Happy birthday dear bitrot
Happy birthday to me!
35 years young today, but I'm sure you'll agree I don't look a day over 34.
Please spare a birthday wish for my identical twin brother and long-time stunt double, Simon, a.k.a. Chubby Bat. Happy Birthday Simon!
And just so he doesn't feel left out, I have another brother, Thom (a.k.a. Trick Kid) whose card made me laugh out loud but is sadly unsuitable for a family audience. ;-) Thanks Thom!
The seventh dotmatrix project brought together two greensboro songwriters, historians, and musicians. Yet both ladies, accomplished musicians in well-known bands across the Carolinas and beyond kept reminding the audience to be kind: This solo performance was a first for both.
Riannon Giddens is a world-traveling musician with the black string preservation band, The Carolina Chocolate Drops. The project was one of her first solo debuts, relying only occasionally on the support of Laurelyn Dossett and guitarist Scott Manring. Her roots music included a few original tunes, such as the ballsy-blues girl ballad, "Two-time Loser." And with her early vocal training at the prestigious Oberlin Conservatory, Rhiannon performed a multi-lingual, multi-cultural act, singing in languages known only in the Gaelic-Scottish regions, plus "Mal Hombre" in Spanish, and "Slaves Lament." A regularly touring musician, Rhiannon made the most of the hometown gig, and brought her sister on stage for gospel songs that featured harmonies only possible from a childhood spent singing together. Off her usual repertoire, however, Rhiannon dropped in a tune she's always wanted to sing, she said, Patsy Cline's, "I Fall to Pieces."
Laurelyn Dossett also made a break from her regular appearances with Polecat Creek, and sang songs she's written for the band, and more recently, songs she's created for the original "playsical" projects at Triad Stage, such as "Brother Wolf" and "Bloody Blackbeard." While Dossett played solo, she played many songs originally written for the bluegrass and Old Time string, such as "Midway Road" and "The Island," off the band's new album "Ordinary Seasons." With a story behind every tune, Dossett is something of a modern historian, writing songs that tell stories from the Piedmont region, such as "Leaving Eden," which chronicles the night drive of a mother and her children as they leave a community built on and later burned by a collapsing textile industry. One hot October night in early 2000 inspired "Surry County's" burning. With guitarist Scott Manring, and vocalist Rhiannon Giddens occasionally joining her on set, Laurelyn rocked a set that's usually reserved for the more, well, reserved audience.
And the audience came to listen. Before the first guitar was tuned, listeners lined up chairs, settling in with their dark brews in tall pint glasses, only breaking the silence to applaud, stomp, sing along, or laugh.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Mark Smith
the fourth dotmatrix project shook, stirred and mixed it up real nice. tom beardslee kicked off the night with his storytelling blues playing and then possum jenkins simply brought down the house. all due respect to shooter jennings, but these guys put the "o" back in country that night.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by John Leonard
the fourth dotmatrix project shook, stirred and mixed it up real nice. tom beardslee kicked off the night with his storytelling blues playing and then possum jenkins simply brought down the house. all due respect to shooter jennings, but these guys put the "o" back in country that night.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by John Leonard
Album cover designed by Sean Coon
Photograph by Michael Dunn
Available:
www.last.fm/music/Sorry+About+Dresden/Sorry+About+Dresden...
This is the printer we got with the Packard Bell. My first printer was a Citizen dot matrix. This one was an upgrade in that it printed a "blazing" 315 dotty characters per second.
Názov: Tlačiareň OKI Microline 320/321
Autor: OKI TOKYO Japan
Rokvydania: 1989
ISBN: M-520636
Jazyk: EN
Formát: A4
Strán: 170
Vydavateľ: JAPAN
Printer Handbook, IBM-EPSON compatible
This is in the Monroe E911 center. Everything else in the place is flat-screen LCDs, modern printers and computers. And this thing that prints out the emergency info for the firefighters. I asked the fellow giving the tour of the office, and he had no explanation for its continued existence. I would guess by its patina and nature that it's at least 30 years old. I suspect it is connected to an ancient system that can't easily be updated, and thus remains the link into it.
the third dotmatrix project event was a shoegazing fest. andrew dudek brought the white sheets and pants, and both dawn chorus and citified rocked the night away.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Michael Dunn
Vicissitude for dotMatrix - Feb 26, 2016
Choreographer: Melodie Carr
Live Digital Performer: Petronio Dendito
Dancers: Brooke Bloom, Amelia Kramer, Savannah Werne
the fifth dotmatrix project brought together two greensboro acts, each with little time playing together, yet both with big, unique sounds. project tritium kicked off the evening with james marshall owen dropping his bowie-esque delivery and jagger-esque stage presence over highly composed music and sounds that at times seemed improvised. the raving knaves then took the stage (and our sound engineer) and rocked their set with a variety of kinetic, powerpop tunes. david mclean's hips might still be gyrating. a fine time had by all.
if you use this photo anywhere, please respect the CC license and provide the following attribution, as is:
Photo by Elizabeth Lemon