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Third Place:
1 Nixon Crux Messenger bag filled with Nixon Trooper Headphones
1 Rare Byrds 45 Poster,
1 Truth and Soul Records 7” record
1 Cultures of Soul 7” record
1 Hot Peas & Butta Limited Edition Print
1 Listen Clothing and 1 101 Apparel Tee

5 Runners Up:
1 Truth and Soul Records 7” record
1 Listen Clothing or 101 Apparel tee

* Prizes are subject to change without notice, based on availability.

Send all submissions here

Words by Francisco Rodriguez Da Silva also known as NUNCA,

At first when i just arrived on the boneyard to start to paint on the DC-3 airplane i thought it was some of the most surreal places i has been.The chance to paint a plane that was used on the second world war is unique and it’s still being hard to understand it.

Cosmic Tones for Mental Therapy < (download LP)

Sun Ra and his Intergalactic Arkestra, 1961

Side A:

1. And Otherness – (5.10)
2. Thither and Yon – (4.01)
3. Adventure-Equation – (8.26)

Side B:

1. Moon Dance – (6.34)
2. Voice of Space – (7.42)

Cosmic Tones for Mental Therapy is an album by the American Jazz musician Sun Ra and his Myth Science Arkestra. Recorded in 1963 but not released until 1967 on Sun Ra’s own Saturn label, the record has become one of the most discussed of Ra’s New York recordings

Originally released in a sleeve with a Sun Ra doodle, the better known cover, designed by Richard Pedreguera, was in place by 1969.

The album has increasingly been discussed within the context of anticipating psychedelia or pointing towards the funk of George Clinton;

Clinton’s astral ritual seems as inspired by the Nation of Islam as it is by Sun Ra, and when asked about the Ra in 1979, Clinton said:
“This boy was definitely out to lunch – the same place I eat at.”

Martín Chambi Jiménez or Martín Chambi de Coaza, (Puno, Perù – November 5, 1891 – Cuzco, September 13, 1973) was a photographer, originally from southern Peru.

For more than twenty years, Martín Chambi balanced his successful studio business with extensive travels outside of Cuzco to photograph archaeological sites, landscapes, and indigenous communities.
Chambi’s early reputation was based on his participation in two distinctly different photographic traditions. His adoption of conventions derived from European art photography, particularly the stylized effects of Pictorialism and natural sky-light in studio portraiture, formed the foundation for his studio’s commercial success and his prominence in local salon competitions and industrial fairs of the day.
Chambi quickly came to the forefront in the documentation of his own indigenous culture. He undoubtedly received significant support and encouragement in this work from members of Cuzco’s Indigenista movement. In turn, his work and presence, as an artist of direct Indian descent, photographing their meetings and listening to their discussions, surely reaffirmed their intellectual programs and lent a sense of visual authenticity to the movement.

Between 1920 and 1950 Chambi amassed a comprehensive collection of archaeological sites, native peoples, and views of Cuzco that was widely published as well as presented throughout South America.
Many of the most fascinating pictures in his archive were apparently unknown during his lifetime – some because they fell outside the interests of Indigenismo, others because of the limited artistic conventions then in vogue, and many because of their commercial origin.

Significant ongoing research and publication on this unusual period still need to be realized in order to clarify Chambi’s artistic contribution in the world of photography.

A BRIEF HISTORY OF A NEO-INDIGENOUS ARTIST
Chambi was an Indigenist photographer — the first to photograph his people as seen through their own eyes. Chambi himself emphasized that status in 1936, on the occasion of an exhibition in Santiago and Viña del Mar:

“I have read that in Chile it is thought that Indians have no culture, that they are uncivilized, that they are intellectually and artistically inferior when compared to whites and Europeans. More eloquent than my opinion, however, are graphic testimonies. It is my hope that impartial and objective witnesses will examine this evidence. I feel that I am a representative of my race; my people speak through my photographs.”

Martín Chambi

Martín Chambi was the first to photograph his race with a postcolonial eye. When Martín Chambi arrived in Cuzco, the ancient Incan capital, the richest and most splendid among American pre-Columbian cities, was experiencing a slight demographic recovery following the dramatic population decline.
It was Chambi who had the greatest international diffusion, and he who has left us the most personal, magical, profound, and dazzling work among all Peruvian photographers and maybe of all Latin American photographers.
Martín Chambi’s images laid bare the social complexity of the Andes. Those images place us in the heart of highland feudalism, in the haciendas of the large landholders, with their servants and concubines, in the colonial processions of contrite and drunken throngs. Chambi’s photographs capture it all: the weddings, fiestas, and first communions of the well-to-do; the drunkenness and poverty of the poor along with the public events shared by both. That is why, surely without intending it, Chambi became in effect the symbolic photographer of his race, transforming the telluric voice of Andean man, his millenary melancholy, his eternal neglect, his quintessentially Peruvian, human, Vallejo-like pain into the truly universal.

“One day Chambi will be recognized as one of the most coherent and profound creators photography has given this century.”

Edward Ranney

Rich Medina – Danny Holloway

Shortkut (Beat Junkies / ISP)

Inka Uno.

Pay Ray getting his last signatures.

Rich Medina Blazing 45′s

Icy Ice / C-Los / Rich Spirit

Shortkut / Tommy Gunn / Icy Ice (Beat Junkies)

Rich Medina doing it!

Wolf’s turn… Blazing 45′s

Peanut Butter Wolf (Stones Throw)

Rhettmatic on the mic… CA!…

Ani Gza / De Madrugada

]]> http://listenrecovery.wordpress.com/2012/01/21/blazing-45s-by-true-sound-danny-holloway-jan-19th-2012/feed/ 1 the Revelli Bros. Blazing_45s danny_rich shortkut shortkut_2 inka_uno table_merch pay_ray rich_medina ice_clos_spirit short_tommy_ice rich_3 wolf_medina wolf wolf_3 rhett_on_mic ani_de_madrugada http://listenrecovery.wordpress.com/2012/01/14/posicoes-lp-a-tribo-modulo-1000-equipe-mercado-som-imaginario-download/ http://listenrecovery.wordpress.com/2012/01/14/posicoes-lp-a-tribo-modulo-1000-equipe-mercado-som-imaginario-download/#comments Sat, 14 Jan 2012 05:42:01 +0000 Listen Recovery http://listenrecovery.wordpress.com/?p=12342 ]]>

V.A. / Posições LP (download)

SIDE 1

1:Kyrie / TRIBO
2:Marina Belair / EQUIPE MERCADO
3:Curtissima / MODULO 1000

SIDE 2

4:A Nova Estrela / SOM MAGINARIO
5:Ferrugem E Fuligem / MODULO 1000
6:Peba & Pobo / TRIBO

LP Bio (Groups / Artist)

One of the remarkable factors in Brazilian music during the early 70’s was the experimentalism. The lack and inversion of rules and as well as the freedom’s idealism echoed from Europe and the United States and entered in Brazil. Here we see this factor in bands that appeared between the end of the 60’s and the first years of the 70’s. Bands consolidated in Rio De Janeiro; influenced by the “carioca” way, some jazz sources and by the psychedelic rock.

In 1971 the Odeon launched a collective LP, “Posições“ (Positions), with four new bands. One Som Imaginario (Imaginary Sound) was not unknown (with one record from the last year); the others A Tribo (The Tribe) , Equipe Mercado (Market Team) and Modulo 1000 (Module 1000) were pretty new bands, and from this record didn’t get so far, as bands. As musicians many of the participants of the bands, mostly from A Tribo and Som Imaginario, became very famous, with long-term carriers.

A TRIBO (1971)

A Tribo was a band formed by beginning young musician’s : the Carioca singer Joyce, the violinist Nelson Angelo and the guitarist Toninho Horta from Minas Gerais , the bass player Novelli and the percussionist Naná Vasconcelos from Pernambuco. Nana and Nelson Angelo were playing in the Free Quarteto, a mix of Bossa Nova and Jazz quartet. In 1970, the two musicians joined the Luiz Eça and Sagrada Family band. There they met the singer Joyce.  Nana, Nelson and Joyce called Toninho Hortaand Novelli and formed the Tribe (A Tribo).  Together they made some compositions of they own and played covers from Milton Nascimento and Danilo Caymmi.  In 70 they were at the V International Festival of the Song with “Onoceonoekoto” (Nelson Angelo).  The same year they participated in the collective “Posições” and also recorded a Compact Disc.  The sound from A Tribo is very interesting.  It discloses the symbiosis of rising talents with the voice of Joyce, Novelli’s bass, the arrangements of Nelson Angelo, the guitar of Toninho Horta and the creativity and improvisation of Naná Vasconcelos, who after some months left the band for a solo career.  Nenê replaced him.  However the band did not last very much beyond 1972, but all the band’s participants had a very successful carreer after that.

EQUIPE MERCADO (1971)

EQUIPE MERCADO was a band created in Rio de Janeiro during 1970. The band had a very creative and illustrious singer, Diana, allied with the songwriter Stul (guitar, piano and voice); Leugruber (guitar), Ricardo Ginsburg (guitar), Carlos Graça (battery) and Ronaldo Periassu (percussion).  The band was influenced greatly by psychedelic rock, but it also abided by the Brazilian melodic lyricism.  Beyond the participation in the collective “Posições” the group released a compact with the music: “Campos de Arroz” and “Side b rock” in the same year.  The band ended the same year.  In 1972 Diana and Stul launched another compact disc, presenting themselves as a couple, but, unfortunately they didn’t record anything else.

MODULO 1000 (1971)

MODULO 1000 was a quartet formed by Daniel (guitar and vocals, Luis Pablo (guitar), Eduardo(bass), Candinho (battery) in Rio De Janeiro in 69′.  Dispite its short duration it left a great influence for the progressive rock bands that were to follow.  Modulo 1000 mixed blues, rock and a touch of ballad.  The participation of the band in the “V International Festival of the Song” culminated with a compact launched by Odeon with: “Big Mamma” and “Isto Não Quer Dizer Nada”.  Still in 70′ they would participated in the collective “Posições”.  In 72′, they launched the only LP of the history of the band, the cult: “Não Fale Com as Paredes “ (“Do not speak with the Walls”).

SOM IMAGINÁRIO (1971)

In 1971 SOM IMAGINARIO debuted a new record, without the singer and pianist Zé Rodrix that followed to play with Sá and Guarabira.  As well as the previous record (commented in the Saudosas Bolachas/1970) it was directed by Zé Rodrix, in this new one was directed by the Frederiko.  The guitarist occupies this rank and so, the record is presents much more dense and radical that the first one; and the most anarchical possible. At this time, the record does not give many concessions commercial standards. The record opts to a sonorous radicalization.  Breaking for dissonance and hardcore.  The record has the preciosity of Wagner Tiso keyboard , Luiz Alves (bass), Robertinho Silva (battery), Frederiko (guitar) and Tavito (guitar).  From this record “Som Imaginario” (1971) Odeon Records used the song: “Nova Estrela” (Wagner Tiso/Frederyko) to place in the collective “Posições”.

]]> http://listenrecovery.wordpress.com/2012/01/14/posicoes-lp-a-tribo-modulo-1000-equipe-mercado-som-imaginario-download/feed/ 0 the Revelli Bros. posicoes_lp posicoes_lp_bck posicoes_sleeve Tribo+Untitled2 equipemercado1 dr16 Som+Imaginário+6