Kendra Steiner Editions

August 30, 2015

KSE #316 (CDR), MASSIMO MAGEE & DAVID W. STOCKARD, “INTERROGATORIES”

Filed under: Uncategorized — kendrasteinereditions @ 4:25 pm

MASSIMO MAGEE & DAVID W. STOCKARD

“INTERROGATORIES”

KSE  #316 (CDR album)

Massimo Magee: acoustic, amplified and feedback sopranino saxophone

David W. Stockard: snare drum

recorded at Goldsmiths, 25 May 2015

cover art by MP Landis    http://www.mplandis.com/

$8  US  postpaid / $11.50 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

massimo 2015

Proud to welcome saxophonist and theoretician-of-improvisation MASSIMO MAGEE back for his fourth release on KSE, this time giving us two extended sound-paintings of sopranino saxophone and snare drum with percussionist David W. Stockard, recorded in London in late May 2015.

“With this translucid, volatile substance, the surface…is stripped as bare as possible, its monochrome ground heightened to near transparency; lines become faint threads, figures white traces like membranes of infinitesimal thickness. This minimal, almost residual painting—-almost risking vacuity—-is defined as a space of physical pulsation, of visible, tangible palpitation, open to every sense and perception.”  Agnes de la Beaumelle, from “The Challenge of Miro’s “X”.”

INTERROGATORIES is a logical next step from Magee’s previous KSE album, SOPRANINO SOLO. Working in a range above the soprano saxophone (which many players disregard feeling it is too high-pitched and difficult to control), the sopranino saxophone is an instrument that is rarely used and even more rarely featured. It provides Magee with a distinctive palette for his paintings in sound—-I am reminded of the scratchy, astringent canvases of Cy Twombly, full of life-force but somehow muted in tone, appearing clipped yet bursting with energy at the incisions, capturing the process of creation with their erasures and over-writing. I doubt you’ll hear anything else this year which SOUNDS remotely like this album.

Partnering with Magee on this set is percussionist David W. Stockard, who limits himself to the snare drum here, yet manages to find a universe of potential within this unique instrument, not like any other drum. I’ve heard some Austin experimental musicians such as Lisa Cameron and Sarah Hennies (the latter based in Austin for many years, now in New York state) do some amazing things with the snare drum via extended techniques and the loosening of the snares. There is of course a metallic element inherent in the snare drum, thus providing a potentially rich and unexpected range of possibilities for the imaginative player. Stockard manages to evoke everything from Cage-esque prepared piano to gamelan-and-gong with his snare, yet also works very subtly in the quieter passages, playing with the lower limits of auditory perception, creating almost inaudible “waves” that crackle and hum….or is that my nervous system I’m hearing?

This is a totally original album from artists who question EVERYTHING. If like me you feel that a lot of the “free-improv” out there has as much wanking to it as the worst 70’s fusion, why not try this thoughtful but dynamic duo album which explores new areas-in-sound art with both concentration and abandon.

The only album I can think of to compare this with would be FACE TO FACE by The Spontaneous Music Ensemble’s duo format, but it’s 40+ years and a million miles from that….as John Ashbery once observed of Gertrude Stein, MAGEE and STOCKARD are attempting the impossible, because nothing else is worth doing!

And let’s not forget another beautiful original artwork by MP Landis on the front cover, perfectly evoking the album’s content. Please check out Mr. Landis’s website for a wide variety of exciting and life-filled paintings.

massimo new

MAGEE

massimo dave

STOCKARD

I asked Massimo Magee for a brief statement regarding this album, and he produced the following, as always an example of both the intellectual rigor he brings to any project and sense of play, of wonder, and of an openness (indeed, an excitement) to work whose form is ever-becoming: “As it plays in the background now, what can I say of this music that it doesn’t say for itself? That it is improvised is probably obvious; that it owes a debt to the influence of Eddie Prévost via his weekly improvisation workshop is less so, but no less true. It is, outside of the workshop, a first meeting. Although the exact set-up that I brought to this meeting (in particular the electronic element) was a configuration I had not used before, I of course have a significant history with the sopranino saxophone. To say that it is a recording of two people ‘searching for sounds’ within the materials before them is not the whole story, but I think it is a useful frame of reference for considering our actions – actions that are an attempt at what, by this point, several generations have done before us, but that gets no easier the more it is attempted. Each time we resume the struggle. What the listener has is a document of selected facets of those actions at that time and in that place. What those actions mean is a more difficult question. – Massimo Magee”

While ordering INTERROGATORIES, why not also pick up some other of our recent CDR albums of experimental, forward-thinking sound art…..all $8 in the US and $11.50 elsewhere, postpaid (see above for ordering instructions):

KSE #318, ALFRED 23 HARTH & JOHN BELL, “Camellia”

KSE #310, MORE EAZE (aka Marcus M. Rubio), “ACCIDENTAL PRIZES”

KSE #303, FADENSONNEN, “PD 7”

KSE #308, JEN HILL, “THE SHAPE OF IT”

KSE #314, BELLTONE SUICIDE, “THE COMPLETE NON-CONFORMIST SESSIONS”

KSE #294, FOSSILS WITH BRIAN RURYK

KSE #305, RAMBUTAN, “Remember Me Now”

KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

KSE #296, THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

KSE #298, GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

As always, thank you for your support of KSE and of all independent, non-aligned arts collectives…

August 11, 2015

the ultimate guitar album: FADENSONNEN, “PD 7” (KSE #303)

Filed under: Uncategorized — kendrasteinereditions @ 8:40 pm
Tags:

FADENSONNEN

“PD 7”     KSE #303 (CDR album)

$8  US  postpaid / $11.50 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

FADENSONNEN COVER

I suppose it all started with Lou Reed’s guitar solo on “I Heard Her Call My Name.” It literally split many of our minds wide open, and never before had we realized the potential of guitar-as-weapon, as sonic reducer. On the West Coast we had Blue Cheer, and in the heartland we had the MC5. Wherever you lived in the good old USA, SOMEONE was there to dispense the sacrament of guitar ecstasy. In 1976, Lou Reed decided to top himself at the transcendent guitar feedback game and released METAL MACHINE MUSIC, an album many of us felt was feedback heaven. How could you top THAT?
lou metal

I was never impressed with bands like Sonic Youth and Nirvana….it was the old “been there, done that”  trip. Some suburban 14-year old who’d never heard METAL MACHINE MUSIC might have liked that stuff, not knowing any better, but anyone who’d ever heard METAL MACHINE MUSIC, the MC5’s original single of “Looking At You,” WHITE LIGHT WHITE HEAT, or the first two Blue Cheer albums could only say, “yawn, when are you going to do something BEYOND what we’ve already heard?” Like some William Burroughs-style junkie travelling around looking for the ultimate fix, many of us were looking for the ultimate guitar fix. Who would take the ball handed to them by METAL MACHINE MUSIC and the like and run further toward the goal line with it? There have been any number of folks taking on that challenge and providing mind-bending and soul-purifying guitar skronk, but IMHO the artist who has taken up that challenge and best devoted himself to smashing his head against that wall until the room and the universe began to light up is PD FADENSONNEN. Working in both a duo format and on solo, numbered “PD” albums, FADENSONNEN has headed straight for the sun. His albums are like sticking your finger directly into some high voltage outlet and getting the ultimate mind-fry guitar orgasm out of it.

Many years ago I had the privilege of experiencing the double bill of YA HO WA 13 and ACID MOTHERS TEMPLE live in Austin. It was three-plus hours of higher-key feedback ecstasy–FADENSONNEN’s PD 7 is plugged into that same socket and will provide the same level of spine-chilling thrills.

New York-based and a longtime fave at BLOG TO COMM (where they know what post-Velvets feedback-to-the-nth power is about), FADENSONNEN has issued a number of other essential albums, both group efforts and solo efforts in the “PD” series, such as KSE’s new album is. You can check his activities out and purchase more scalding-hot music here: http://fadensonnen-music.blogspot.com/   and also here:  http://fadensonnen.bandcamp.com/

No pretentious essay is needed to support this music. It does not matter who he’s played with (although that list is impressive). Truly, FADENSONNEN music exists in its own world, and if you were infected by METAL MACHINE MUSIC the way I was, you need a fix, and FADENSONNEN has taken that concept even further… it’s pure, it’s the real thing. I can listen to this 1000 times and it will still be fresh. It’s like a 20′ x 40′ Pollock canvas painted in electricity and caustic nuclear waste. There is NO ONE in his league, IMHO. We’re proud to have him on KSE….don’t miss the latest installment in this essential series of solo PD albums: PD 7 (KSE #303). $8 postpaid in the US / $11.50 postpaid elsewhere.

FADENSONNEN

Feb 2014 interview with PD Fadensonnen from Blog To Comm      An excellent intro to the man and his work!

OK, now that you are ordering a copy of FADENSONNEN  PD 7, which you’ll love, why not also get some of our other fine CDR albums of contemporary experimental music, all in homemade small editions:

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11.50 )

see ordering instructions at top of page

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015:  KSE #310, MORE EAZE (aka Marcus M. Rubio), “ACCIDENTAL PRIZES”

JEN

NEW FOR SUMMER 2015: KSE #308, JEN HILL, “THE SHAPE OF IT”

belltone reissue

NEW FOR SUMMER 2015: KSE #314, BELLTONE SUICIDE, THE COMPLETE NON-CONFORMIST SESSIONS

FOSSILS WITH BRIAN COVER

NEW FOR SUMMER 2015: KSE #294, FOSSILS WITH BRIAN RURYK (a joint release with Middle James Co.—-only 48 copies made, 24 from Middle James, 24 from KSE)

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

MORE EAZE COVER

NEW FOR 2015: KSE #293 (CDR album) MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307 (CDR), STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292 (CDR), DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis.

As always, thank you for your support of KSE and of independent, non-aligned arts organizations everywhere. Happy and proud to be a part of the “no-audience underground”….

“Accidental Prizes,” the new album from Marcus M. Rubio’s MORE EAZE (KSE #310)

Filed under: Uncategorized — kendrasteinereditions @ 7:21 pm

MORE EAZE (aka Marcus M. Rubio)

“Accidental Prizes”

KSE #310 (CDR album)

limited edition of 48 copies 

$8  US  postpaid / $11.50 elsewhere postpaid

payment via paypal to django5722(at)yahoo(dot)com

please provide a note with your order listing the items you’ve ordered and your mailing address….thanks!

MORE EAZE PRIZES cover

Austin/San Antonio-based composer and multi-instrumentalist Marcus M. Rubio has been on a roll in recent months (his spellbinding performance at the KSE 9th Anniversary event in Dallas in late July being a highlight), and KSE is excited to provide him an outlet for his creative vision….so this is the SECOND of THREE More Eaze albums we’ll be releasing this year. The first was “stylistic deautomatization” (KSE #293), which is still available as of this writing, and the brandnew one is ACCIDENTAL PRIZES (KSE #310), which is totally different from the last one. However, once again it wanders into many many styles, from electronic skronk to contemporary chamber music to spacy early-Tangerine-Dream to grungy acid-techno to plaintive deconstructed song to minimalist stretches backed by banjo! I recently referred to Marcus M. Rubio as “the Van Dyke Parks of the contemporary noise underground,” and this album is further proof of that.

However, let me present the composer/ringmaster himself, Mr. Rubio, to explain:

One of the intentions of the More Eaze project is to combine disparate sources into these collages larger pieces but to have each piece related to one another through one element or another whether that be tonality, timbre, rhythm, etc… “accidental prizes” approaches this through the sequencing of the works here but also through the individual elements of the tracks themselves. Much of this idea of moving through various sound worlds while maintaining some musical or structural element of the previous piece comes from Julius Eastman. Continuing with the theme of my last couple of KSE releases, destruction/reassembling plays a big role with these works. Some of the works were originally scored chamber pieces of mine that I decided to realize in a completely different format while others’ origins lie in chopped n screwed sampling or pop songcraft. In every case, these works were rearranged and then re-edited to fit into the whole of the album. Once again, “accidental prizes” will hopefully give you the sensation of never knowing quite what you’re listening to/what the album “is”. Is it a skewed ambient pop record? An exploration of tonality? An experimental electronic record with acoustic and song elements? Vice versa?

MARCUS M one

The MORE EAZE releases are an important series of works, but unlike many things labelled “important,” they are also a lot of fun to listen to, and you never know where they are headed. As you discover the form and depth of the album on repeated listening, you find even more to marvel at.   MORE EAZE/Marcus Maurice Rubio is a bricoleur of the highest order, and this album is one I can’t really describe….you can even dance to parts of it! LIMITED EDITION OF 48 COPIES, so act now.

OK, now that you are ordering a copy of ACCIDENTAL PRIZES, which you’ll love, why not also get some of our other fine CDR albums of contemporary experimental music, all in homemade small editions:

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11.50 )

see ordering instructions at top of page

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

JEN

NEW FOR SUMMER 2015: KSE #308, JEN HILL, “THE SHAPE OF IT”

belltone reissue

NEW FOR SUMMER 2015: KSE #314, BELLTONE SUICIDE, THE COMPLETE NON-CONFORMIST SESSIONS

FOSSILS WITH BRIAN COVER

NEW FOR SUMMER 2015: KSE #294, FOSSILS WITH BRIAN RURYK (a joint release with Middle James Co.—-only 48 copies made, 24 from Middle James, 24 from KSE)

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

MORE EAZE COVER

NEW FOR 2015: KSE #293 (CDR album) MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307 (CDR), STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292 (CDR), DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

………………..

……………….

August 10, 2015

new artwork: REACHING BACKWARD (KSE #315)

Filed under: Uncategorized — kendrasteinereditions @ 8:28 am

ARTWORK:  REACHING BACKWARD

KSE #315                 edition of 10 copies   NOW SOLD OUT, NO LONGER AVAILABLE

8 x 10  artwork printed on heavy silvery cardstock

we suggest matting to 11 x 14 and framing

note: these are shipped separately from other KSE items and backed with cardboard so they will not bend

$8 postpaid in US / $11.50 postpaid elsewhere

payment via paypal to   django5722(at)yahoo(dot)com

please provide address/item ordered in a note with your paypal order….THANKS

artwork one

Creativity can be motivated by both positive and negative examples. For instance, I’ve admired and been inspired by the artworks-incorporating-text of Robert Indiana; on the other hand, I have often seen mediocre examples of artworks-incorporating-text and thought, “heck, I can do better than that .”

After recently seeing such a mediocre exhibition (the artist shall remain nameless), I decided to start making my own art-incorporating-text pieces available to interested KSE people. Although these are also circulated among family and friends, the total run of each piece will not exceed TEN copies.

These pieces can be easily matted to 11 x 14 and framed, which is what we recommend, and those mats are available inexpensively at Michaels and similar outlets (I assume we are all still boycotting Hobby Lobby).

We’ll be issuing a series of these during the remaining months of 2015. Get yours ASAP, as they should not last more than a month or so, I’d guess.

August 6, 2015

finally available: The COMPLETE “NON-CONFORMIST SESSIONS” from BELLTONE SUICIDE (KSE #314)

Filed under: Uncategorized — kendrasteinereditions @ 5:52 pm

BELLTONE SUICIDE 

THE NON-CONFORMIST SESSIONS

KSE #314 (CDR album), edition of 50 copies

$8 US / $11.50 elsewhere   payment via paypal to   django5722(at)yahoo(dot)com

please provide address/item ordered in a note with your paypal order….THANKS

belltone reissue

The backstory on this release: Very excited to make this important and mind-blowing material available once again. When KSE began issuing music on CDR, we put out both full-sized releases and 3″ mini-CDR’s. We dropped the 3″ releases after about a year (and about two dozen releases) as a lot of people who wanted to hear the music could not play discs in that format. A handful of the mini-discs (Derek Rogers, Massimo Magee, Xanthocephalus) we reissued on full-sized discs. The original three-inch NON-CONFORMIST release by BELLTONE SUICIDE (aka Mike Barrett), from March 2011,  was one of our best-loved early releases, raved about by Volcanic Tongue at the time, and a release that generated a number of enthusiastic e-mails….also, one of my personal favorites. The 3-inch Non-Conformist release contained the first 20 tracks from the sessions, and the rest of the material from those sessions came out on a limited download-only release, briefly available. We arranged with Mike to do a full-sized CDR album of the complete Non-Conformist Sessions, ALL the material, and that was scheduled as KSE #262 in the summer of 2013. It never actually got released, although three or four promo copies were sent out. When it came to actually release it, our master had become corrupted, and Mike no longer had easy access to the material, so we moved on. Only recently, David Perron (of Free From Freakout fame) mentioned that he’d received one of the promos back then, which he loaned to us to make a new master from, and voila, two years later we’ve finally got THE COMPLETE NON-CONFORMIST SESSIONS available on a 50-copy edition CDR.

KSE has been very supportive of Belltone Suicide/Mike Barrett over the years, and he continues to do great work under the radar in small editions. His amazing LP “Cartilage Evaporator” on Feeding Tube was #1 of KSE’s best on 2011 list. His body of work is quite diverse, but NON-CONFORMIST was unique as it was solo analog-electronics recorded in real time, kind of like gonzo electronic action-painting (Mike is also an acclaimed visual artist, by the way) in sound. It blew me away when I first heard it, and I really feel that these sessions need to be available again for those who missed them the first time around, and even if you still have that rare 3″ release, the COMPLETE version has a lot more material. Here is part of my original write-up on the album from 2011:

BELLTONE SUICIDE, the problem child of Western Massachusetts musician/composer/visual artist Mike Barrett, has offered the world a number of intense, raw, and vital noise-drone-badtripsych cdr’s and cassettes over the last few years, as well as some incendiary live shows, and Mike’s ability to create molten soundscapes and unexpected textures made him a natural for the KSE family of artists. Great to have him onboard.

Belltonesuicide’s new mini-cdr, “non-conformist” (KSE #185), is surely the most outrageous, over-the-top release we’ve put out so far (which is really saying something, considering what we’ve released!). When I got the master in the mail, and popped the second “play” copy in my car stereo, I nearly drove off the road. Digging deep into the analog-synth muck, Mike has created a diverse 20-tracker (in under 20 minutes) that sounds like a sampler of the most abrasive sections of the most outre Creel Pone electronic music releases. Every track is different, and I must say that this release is probably the best buy for your musical dollar that you’re going to find for years. 20 TRACKS, each mind-frying and balls-to-the-wall gutsy, in under 20 minutes, and the whole thing was recorded in a few hours, and then mixed in a few hours. As an artist, Mike values spontaneity and pushing himself into a personal red-zone, where he loses to some extent conscious control and he takes his game to a higher plane, transposes it to a higher key. I can’t believe how awesome this mini-cdr is. If you love old-school electronic skronk done with a modern attitude and with a slashing primitive feel, you NEED“non-conformist”.

Over the next year, we plan to offer a number of new and diverse creations from Mike Barrett: a duo album with guitar-banjo virtuoso TOM CREAN will be coming out this fall, we’ll be doing two new short-run albums of BELLTONE SUICIDE material, and Mike and I will be doing an art-and-poetry collaborative chapbook. Mike was an important part of the early years of KSE and it’s good to have re-connected with him. I have a stack of Belltone cassettes and CDR’s that I often re-visit, and I look forward to bringing more Mike Barrett creations into the world.

For now, grab this limited extended reissue of the COMPLETE NON-CONFORMIST SESSIONS while you can (Mike should have his copies in a week or so, and you can buy a copy directly from him at one of his shows or exhibitions). If you love, say, Fossils or the more-outre, less academic Creel Pone reissues, you NEED this album.

OK, now that you are ordering a copy of NON-CONFORMIST SESSIONS, which you’ll love, why not also get some of our other fine CDR albums of contemporary experimental music, all in homemade small editions:

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11.50 )

see ordering instructions at top of page

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

JEN

NEW FOR SUMMER 2015: KSE #308, JEN HILL, “THE SHAPE OF IT”

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

FOSSILS WITH BRIAN COVER

NEW FOR SUMMER 2015: KSE #294, FOSSILS WITH BRIAN RURYK (a joint release with Middle James Co.—-only 48 copies made, 24 from Middle James, 24 from KSE)

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

MORE EAZE COVER

NEW FOR 2015: KSE #293 (CDR album) MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307 (CDR), STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292 (CDR), DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

………………..

………………

July 27, 2015

KSE 9th Anniversary Celebration, Thursday 30 July 2015, Dallas, TX w/ Derek Rogers, Marcus M. Rubio/More Eaze, Jen Hill, Bill Shute

Filed under: Uncategorized — kendrasteinereditions @ 8:15 am

Hope to see you all at the KSE 9th Anniversary Celebration in Dallas on Thursday 30 July at THE WILD DETECTIVES, at 314 W. 8th St., from 7-9:15. It will be a mix of poetry and music, alternating between the two throughout the evening. CDR albums from each of the four featured artists will be available for $5 each and KSE poetry chapbooks will be available for 2-for-$5 while they last. We’ll also have copies of the acclaimed recent KSE album from the Gift Fig duo of Alfred 23 Harth and Carl Stone, “Stellenbosch.”

GIFT FIG STELL

KSE DALLAS

7:00-7:10 introductory comments, then poems by John Sweet

brave retreat 2

7:10-7:25 music, JEN HILL (composer and multi-instrumentalist, from Denton)

JEN..JEN pic

7:25-7:35 poetry, poems by Doug Draime

doug 3

7:35-7:55 music, MARCUS M. RUBIO / MORE EAZE (composer and multi-instrumentalist, from Austin-San Antonio)

MORE EAZE COVER..MARCUS M one

7:55-8:05 poetry, poems by Luis Cuauhtemoc Berriozabal

digging-a-grave

8:05-8:20 poetry, BILL SHUTE (San Antonio poet and KSE founder)

LINES AND FINES..BILL 2013

8:20-8:35 poetry and music, DEREK ROGERS and BILL SHUTE, duo

we will be doing a premiere performance of SATORI IN LAKE CHARLES

DEREK and BILL cdr..satori in lake charles

8:35-9:15 music, DEREK ROGERS (Dallas-based composer and multi-instrumentalist)

derek 2015..DEREK DEPTH

Kendra Steiner Editions is a San Antonio-based small press publishing contemporary poetry and small label issuing experimental music. They began in early 2006 and have since issued over 310 releases, getting attention internationally and garnering many reviews and airplay on many radio stations in North America, Europe, Asia, and Australia.

July 21, 2015

new poetry chapbook from Bill Shute, “Satori in Lake Charles” (KSE #302)

Filed under: Uncategorized — kendrasteinereditions @ 12:14 pm

BILL SHUTE

SATORI IN LAKE CHARLES (KSE #302, poetry chapbook)

this will be premiered at the KSE 9th Anniversary event next week in Dallas as part of a poetry-and-electronics set with Derek Rogers

($6 US ppd   /   $7 elsewhere ppd)

edition of 51 copies….

cover art by Justin Jackley

payment via paypal to    django5722(at)yahoo(dot)com

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

satori in lake charles

SATORI IN LAKE CHARLES was composed during a week’s stay in Calcasieu Parish, Louisiana in icy January of 2015. I spent the days soaking up the local culture and the nights watching the races at Delta Downs. Obviously, this is intended as a tip of the Mardi Gras hat to Jack Kerouac’s SATORI IN PARIS (already echoed in a KSE poetry chapbook in A. J. Kaufmann’s SATORI IN BERLIN), which I first read 35-40 years ago. I did not “get”on my first reading the particular Satori which Kerouac was offering in the book, but on re-reading a few years later, it became clear to me that the Satori was found EVERYWHERE when one opened oneself. One no longer needed the rare moment of special insight. Kerouac’s way of opening himself, IMHO, was the unflattering depiction of the narrative persona, who often came off as a jerk, an uncomprehending tourist, and someone who crippled himself by his excessive drinking. The clipped, vignette nature of the work provides a series of flashes of insight into a character (the narrative persona) who is not always insightful.

I had SATORI IN PARIS in mind when working on SATORI IN LAKE CHARLES, though of course, it’s not exactly Kerouac-like. In fact, looking it over after a number of months while getting it ready for publication, I was reminded for some reason of Federico Garcia Lorca’s POET IN NEW YORK…although he was in New York in 1929-1930, and I was in southwest Louisiana in January 2015.

Except for the first-person singular refrain appearing in sections 2 and 4 of this six-part poem, the narrative here is rooted in a first-person plural frame, WE and US, because after all, we breathe the same air, drink the same water, and face the same trials.

SATORI IN LAKE CHARLES is a series of energized poetic clusters of detail and experience, interrupted twice by existential, survival-based questions. It’s a log of the navigation of days. The epigraph on this one is from Jack Spicer: “Things do not connect; they correspond.” Indeed they do.

This one even ends on a note of hope, or should I say “possibility”…..the Satori of the title.

As always, it functions as a series of core samples, presented to the reader via the open-field poetic page.

I’m proud to say that we’ll be premiering this work as part of the KSE 9th Anniversary event in Dallas on July 30 at The Wild Detectives bookstore-bistro-performance space. Derek Rogers has composed an electronic score for the piece, and he and I will be doing a duo performance (my reading, his music) of SATORI IN LAKE CHARLES. I’m very much looking forward to that. You can get a copy of the chapbook at that reading….or, of course, direct from KSE. Ordering instructions are found above.

Let’s not forget the beautiful and evocative cover art from Austin painter Justin Jackley–always exciting to have Justin as a part of any KSE project. Be sure to check out his work online at http://justinjackley.com/Paintings.html

Grab your copy of this chapbook now–it is a limited run of 51 copies (there may be a special commemorative 10 or 12-copy edition of this available at the 9th Anniversary event, but you’ll have to be there to get that).

As always, thank you for your support of KSE (both the music and poetry sides of this operation) and of all independent low-fi/DIY artists and arts organizations, proud to be part of the so-called “no-audience underground.”

Other poetry chapbooks available (same price as above):

KSE #301 (poetry chapbook), JIM D. DEUCHARS, “Ohio Connecting Railroad Bridge” (the final installment in Jim’s Pittsburgh-Three Rivers trilogy)

KSE #297 (poetry chapbook), BILL SHUTE, “Lines and Fines,” Sound Library Series, Volume 77 

KSE #311 (poetry chapbook), BILL SHUTE, “Liars in a Strange Rainy World: Cassette Poems One”

GUIDE_20140525_0007

July 18, 2015

KSE in 2015—-gifts to the present and payments to the future

Filed under: Uncategorized — kendrasteinereditions @ 3:48 am

DEREK ROGERS, cover

When December arrives, KSE will have released 18 or 19 albums in calendar year 2015 (I won’t even mention the 6-8 poetry chapbooks we’re putting out this year). I’m not someone who likes to put limits on the future—-by definition, the future should be unlimited-—however, I can promise you that we will never again repeat that feat.

Considering that I work more-than-full time ten months of each year, that I have a family life, that I am a working poet producing a significant amount of poetry each year, and that KSE financial resources are limited, it’s stunning that we can go through all the many steps necessary to release each of the 18 or 19 albums in a year….and then get them out into the world, get the artists their copies, send out review/airplay copies, promote the releases, service individual Paypal orders, etc.

Why the deluge? Well, I can see two reasons.

1) People smarter than I am probably picked up on this sooner, but when I entered my 40’s, the realization that I did not have an infinite number of days left on this planet somehow became tangible. I FELT it. When I was younger, I could piss away days or weeks on useless activities or on cheap thrills. In terms of my creative work, I could dabble in this or that with no real focus. Circa 2004, I realized that this was my only go-round and that I’d better make my move now….or I’d never have the chance. (Of course, I was also a single parent of two for 13 years, which is more than a full time job,  but I won’t use that as an excuse because so many single parents are able to achieve so much, particularly in these sad, worker-unfriendly times in which we live, where people must work multiple jobs in order to avoid eviction, keep the car running, keep food on the table, and keep health insurance.)

2) We are living in a Golden Age in all the arts, but especially in the world of Experimental Music. Even a cursory look at VITAL WEEKLY or the WFMU playlists (not to mention 300 other sources) would show you that there are too many excellent releases out there for anyone to follow, let alone hear or own. In fact, I could probably create a label that focused exclusively on Austin or on Buenos Aires or on Mexico City or on Oslo and release an album every two weeks and not even scratch the surface. Imagine if you ran a small label in, say, the Memphis of 1955-56 or the Los Angeles or San Francisco of 1966-67. Wouldn’t you try to release AS MUCH AS POSSIBLE? You would have been in the thick of it, in a world where even the so-called third-string “marginal” artists were of a depth and power that NEEDED to find an audience. That’s what we face today, except on a global scale, with a seemingly infinite number of local streams feeding into the river. It’s not so much how can KSE release more than an  album per month; it’s how can KSE  not  release more than an album per month. There is so much amazing and original work out there, and with our low-overhead business model, we can get by with small pressings and still have funds enough to issue the next album or poetry chapbook. One thing history has shown, over and over, is that the depth and breadth of the arts being produced in any period are not appreciated at the time. The over-hyped crap promoted in THE WIRE or the pretentious and derivative poetry coming out of MFA mills and their sister “small presses” will soon be forgotten (as will be the product of anyone silly enough to label his/her own work “transgressive”), but the rich veins of independent and/or experimental work UNDER THE SURFACE and produced and issued in non-traditional ways will take hold of much more than the limited local exposure (if any) they get the first time around, and intrepid arts explorers 100 years from now will STILL be unearthing important and original works and also fine-tuning after-the-fact assessments of what exactly is going on right now in the 2010’s. We’re in the eye of the hurricane. We lack the distance and perspective to make such judgments, so why even try? Better to DO, to CREATE, to bring something new into the world and send it off onto the sea of tomorrow like the proverbial message in a bottle. As bad as the political and economic and environmental situations are now, it is a great time to be alive in terms of creativity and of the ability to transform aspects of the imagination into three- (and eventually four-) dimensional creations….and ultimately creations that transcend finite dimensions. Whenever I see a baby or a toddler, I think of how his/her world will be so much more advanced than ours and how he or she will have the potential to not screw up as badly as my generation has, to transcend us on multiple levels without even taking very high of a step….how they will look upon us as primitive and provincial and stuck-in-various-ruts the way we tend to look at previous generations. However, the contemporary arts from this period will exist (those that are stored in more than digital ways or in multiple formats, that is) to provide a kind of secret cipher handed off to our as-yet-unmet comrades in the future, to help them understand and contextualize our present thinking and experience and to provide a foundation for future creative people, the way creative giants such as, say, Gertrude Stein or William Burroughs or Cy Twombly or Paul Blackburn or John Wieners or John Cage or Morton Feldman or Sun Ra or Jean-Luc Godard or Andy Warhol provided shoulders to stand on for my generation. That is inevitable and it is good and it is what progress is all about. The hills with peaks we cannot presently see will be clearly viewed and clearly mapped in the future. We need to let go and trust that future. But right now, we need to DO… and to create…and to share those creations.

That is why KSE has issued a boatload of albums this year. We cannot do that again–we’ll have a lesser number of releases in 2016–but I am glad we’ve stretched ourselves in 2015. These artifacts exist in a real, three-dimensional sense and will continue to exist in the foreseeable future. They are gifts to the present and payments to the future.

Thank you for your support. Also, as all of our releases are limited editions, usually of under 100, you’d better grab what you want NOW that it’s in print. The early 2015 releases will be sold out soon, then out of print. Check the AVAILABLE KSE MUSIC & POETRY page to the right on this blog–that’s what is available now.

We’re already making plans for 2016, which will be KSE’s 10th Anniversary, but let’s get through 2015 first….all 18 or 19 albums of it (and don’t forget those 6-8 poetry chapbooks too!).

KSE CARD

July 6, 2015

Jen Hill, “The Shape Of It” (KSE #308), available now!

Filed under: Uncategorized — kendrasteinereditions @ 1:47 am

JEN  HILL

“The Shape Of It”

KSE #308 (CDR album), edition of 48 copies

cover painting by MP Landis 

$8 US / $11.50 elsewhere   payment via paypal to   django5722(at)yahoo(dot)com

please provide address/item ordered in a note with your paypal order….THANKS

JEN

Excited to welcome North Texas composer and multi-instrumentalist JEN HILL to the KSE family for her first album, THE SHAPE OF IT. Working out of Denton, Jen has been performing in a wide variety of genres, from noise to contemporary chamber music to deconstructed avant-pop to steel band and gamelan ensemble! Her compositions have been performed at a number of festivals and competitions across the nation, from California to Connecticut. She is also a fine cellist and composer for cello, as you’ll discover…

Since Jen does so many things well, we decided that a kind of sampler would be the best way to present her work on this, her premiere KSE album….so you get an exciting mixture of cello pieces (close-miked and featuring extended techniques), moody deconstructed pop songs, a piece (Get Out Of Bed) that’s a kind of rotating collage which morphs into shape-shifted song, and finally the long and majestic minimalist-plus composition “Theta Brainwave Entrainment Study No. 1,” which closes the album because nothing could possibly follow it. The album is programmed well, offering a number of moods and genres and building to a satisfying climax. Any of the musical forms Jen offers here could be explored on a full album (you’ll WANT to hear more of all of them), and hopefully they will be as this album opens doors for her. This is a fascinating and satisfying album, and I’d assume most listeners will feel like, “I want to hear MORE by Jen Hill,” when they finish the album….

Only 48 copies, so grab yours NOW…and be sure to hear Jen in person at the KSE 9th Anniversary event in Dallas on July 30 (details below)….

jen band

(photo by Dmetri Rashaad Howell)

*~~  is the name under which Jen chooses to make “pop” music that could affectionately be referred to as “experimental.”  Below is a poster from a show featuring *~~

JEN concert

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JEN pic

visit Jen Hill   at

http://www.jenniferhillcomposer.com/

http://errantnewmusic.org/jenhill/

http://www.ericshitacre.com/  (note: I’m surprised someone hadn’t already claimed that domain name!)


 

and enjoy some more of her music at  https://soundcloud.com/jenhill

KSE DALLAS

Be sure to see Jen Hill in performance at the KSE 9th Anniversary event on July 30 in Dallas…an evening that will be alternating poetry with experimental music….Jen will have her new album available for sale…she’ll be the first musician to perform, a little after 7 p.m. Here is a tentative line-up for that evening, Thursday 30 July, at THE WILD DETECTIVES, 314 W. 8th, Dallas:

7:00-7:10  introductory comments, then poems by John Sweet

7:10-7:25 music, JEN HILL (composer and multi-instrumentalist, from Denton)

7:25-7:35 poetry, poems by Doug Draime

7:35-7:55 music, MARCUS M. RUBIO / MORE EAZE (composer and multi-instrumentalist, from Austin-San Antonio)

7:55-8:05 poetry , poems by Luis Cuauhtemoc Berriozabal

8:05-8:20 poetry, BILL SHUTE (San Antonio poet and KSE founder)

8:20-8:35 poetry and music, DEREK ROGERS and BILL SHUTE, duo

8:35-9:15 music, DEREK ROGERS (Dallas-based composer and multi-instrumentalist)

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OK, now that you are ordering a copy of THE SHAPE OF IT, which you’ll love, why not also get some of our other fine CDR albums of contemporary experimental music, all in homemade small editions:

full-sized CDR’s ($8.00 each, ppd. in US—outside US $11.50 )

see ordering instructions at top of page

Please include a note with your paypal order including the items ordered AND your mailing address (which Paypal often fails to provide me)….thanks!

ALL ARE AVAILABLE FOR IMMEDIATE DELIVERY

new releases for 2015:

MORE EAZE PRIZES cover

NEW FOR SUMMER 2015: KSE #310 (CDR) MORE EAZE (Marcus M. Rubio), “Accidental Prizes”

FOSSILS WITH BRIAN COVER

NEW FOR SUMMER 2015: KSE #294, FOSSILS WITH BRIAN RURYK (a joint release with Middle James Co.—-only 48 copies made, 24 from Middle James, 24 from KSE)

RAMBUTAN COVER

NEW FOR SUMMER 2015: KSE #305, RAMBUTAN, “Remember Me Now”

LISA ERNESTO COVER

NEW FOR SUMMER 2015: KSE #299, LISA CAMERON & ERNESTO DIAZ-INFANTE, “Sol Et Terra”

GARMENT DISTRICT cover

NEW FOR SUMMER 2015: KSE #296 (CDR album) THE GARMENT DISTRICT (featuring Jennifer Baron), “Luminous Toxin”

GIFT FIG STELL

NEW FOR 2015: KSE #298 (CDR album) GIFT FIG: ALFRED 23 HARTH and CARL STONE, “Stellenbosch,” live in South Africa, September 2014

MORE EAZE COVER

NEW FOR 2015: KSE #293 (CDR album) MORE EAZE (aka Marcus M. Rubio), “stylistic deautomatization”

STEVE FLATO

NEW FOR 2015: KSE #307 (CDR), STEVE FLATO, “Exhaust System”

derek 2015

NEW FOR 2015: KSE #292 (CDR), DEREK ROGERS, “Depth/Detail of Processing”

FOSSILS FLORIDA COVER

NEW FOR 2015: KSE #300 (CDR), FOSSILS & BILL SHUTE, “The Florida Nocturne Poems” (poetry and music album), cover art by MP Landis

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For more works from MP Landis, please visit the online gallery at  http://www.mplandis.com/#!art/c1r52

JEN MP

July 5, 2015

the Dog Racing tracks of the Gulf Coast: Summer 2015

Filed under: Uncategorized — kendrasteinereditions @ 2:46 pm

DOGS 1

As a lifelong aficionado of dog and horse racing, I have always tried to incorporate visits to racetracks into my travels, and in recent years, I’ve been able to catch the races and soak up the atmosphere at a number of tracks I’d never before visited. By any objective measure, the sports of dog and horse racing are in decline although they do retain strong pockets of support. Fortunately, I was able to visit THREE of those strong pockets of support this summer.

In late May and early June, I spent nearly two weeks in the beautiful Gulf Coast area between Biloxi, Mississippi and Panama City, Florida. In that area, there are three lesser-known greyhound tracks, which I’ve never seen simulcast but I know about through seeing their results posted at  trackinfo.com. Let’s take a look at each one…

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EBRO  GREYHOUND  PARK

DOGS 2

Ebro (pronounced EE-bro) Greyhound Park is located about 20 minutes north of Panama City, Florida. There’s no sign on the property which you can see from the highway, so it pretty much caters to locals who already know it’s there. I attended two weeknight racing cards and was pleasantly surprised to see that Ebro is a thriving, family-oriented place. Also, unlike some central and south Florida tracks where the dog track exists merely to keep the license needed for a poker room, at Ebro the dogs were the central activity and more people were following the races than playing poker. Most of the audience consisted of families with young children, including many young mothers. I got to chatting with the folks around me, and the kids were as into the races as the adults, commenting on the various dogs in the next race, giving their parents wagering advice, and going down to the rail to see the pre-race parade of the greyhounds. The parents were having a relaxing evening after a hard day/week  at work, and the kids clearly enjoyed being here. How refreshing to see greyhound racing as a fun family outing—-Mary Anne and I attended a county rodeo in Kansas the summer previous, and Ebro had a similar feel to that. Families coming out together for an evening, and everyone enjoying it on his or her own level.

The quality of the races was high, the trackside food was good on a track-food level and reasonably priced (as was the beer), the location in the middle of the woods is beautiful, particularly at sundown. A happy, thriving dog track such as Ebro is nice to see for a lover of the sport. Many thanks to the kind lady from the program stand who opened up the gift shop for me and found me at 2X t-shirt. My only regret is that I was not able to spend a week or two in this area. I stayed on the beach (at a nice place called Beachside Resort, a few miles away from the over-crowded main beach area of Panama City) and was able to swim each morning at sunrise for an hour or two….then walking along the beach area and having oysters for lunch….then dog racing in the evening. Alas, one cannot do that permanently….work and daily life call one back….but it was great while it lasted. If I lived in this area, I’d be there at least twice a week. Hope I get back someday….The Florida Panhandle is a really under-appreciated area.

PENSACOLA  GREYHOUND  TRACK

DOGS 3

DOGS 4

Pensacola Greyhound Track is located about 15 minutes west of beautiful Pensacola, Florida, also in a lush wooded area. The left half of the facility contains the poker room, which was thriving (I attended the races on Friday night and Saturday afternoon), and the right half of the facility contains the dog racing activity. I should say at the outset that when I contacted Pensacola a few months in advance of my trip to confirm racing dates and times, I had a long and friendly phone message from a manager waiting for me the same day, and he seemed genuinely happy that I was coming! (Thank you, sir!)

Much of the wagering activity at Pensacola seems to be simulcast-related. Even once the races started (I got there a few hours early), 3/4 of the folks there were wagering on Gulfstream or on other dog tracks such as Palm Beach. In fact, in a few of the early greyhound races at Pensacola each day, there was NO payout on certain bets (such as, no win or show payout in the first place dog, no show payout on the second place dog, etc.) because no one had made those bets! Of course, seeing an “ALL” payout on an exotic bet when the longshots come in is common, but not seeing ANY money bet on a winning dog to win was new for me (note: you can see an example of that in the photo above—-there is no show payout for the first place dog and no place payout for the second place dog!). The quality of the racing was high, however. Unlike Ebro, few people went outside to watch the races although some did. There is also a small smoking area by the side entrance (you can see about 1/3 of the track from there), and a few people were always over there.

The food here was excellent, at least the seafood I had each day. My first visit, I had an oyster and shrimp plate, almost more than I could eat of hand-breaded fresh Gulf oysters and shrimp, and the next day I had 18 (!!!!) butterfly shrimp. Not those frozen things, but hand-cut and hand-butterflied and hand-breaded Gulf shrimp. A few Dos Equis or a few Stellas, delicious Gulf seafood, live dog racing in a lush wooded area in beautiful Florida….what more could one ask? The staff here were very helpful also. Not just the food service ladies in the middle (they were wonderful), but when I wanted to purchase a few souvenirs, one of the managers went back to a storage closet  to find a wider variety of offerings for me to choose from than what was in the display case.

Both days I went to Pensacola there was a good crowd, and the poker room was always hopping—-they seem to have a lot of themed events and contest and clearly know their audience well. I wish them well and hope to visit again someday.

MOBILE  GREYHOUND  PARK

DOGS 5

DOGS 6

Mobile Greyhound Park is located Northwest of downtown, not far from the Tillman’s Corner area. There is no sign out at the street identifying the track, and if I were not looking for it, I would have driven past. Again, it’s aimed at locals who know where it is. As with everything on the Gulf Coast, the area is thickly wooded and deep green. MGP reminds me of the dog tracks of my youth, most of which don’t exist anymore. The closest modern equivalent would be Southland in West Memphis, Arkansas, where Mary Anne and I visited in 1996. The races I attended were matinees, and this was NOT a place one saw families. It was mostly regular players who come out every day (one would assume they work their employment schedule, if they do work, around the racing schedule). Mobile has one of the most enthusiastic audiences I’ve ever seen….these guys (and it’s mostly men, though the women are as loud as the men) are the kind who are hooting and hollering with every race….and are fairly loud in between races too. There seems to be some kind of clubhouse on the weekend, and I can’t discuss that as I went on weekdays, but on weekdays at least, there’s next to no food service and it’s not easy to get a drink. Most of the audience WERE NOT drinking beer, so they are just naturally enthusiastic folks! I got to talking with a number of dog players at MGP, and pretty much everyone there was betting every race, and they are there to gamble. There were no souvenirs, no poker room….you come out to bet the dogs and hang out with your fellow dog-players. The track itself is perhaps the sandiest I have ever seen….it looked like the grey-white sugary sand seen on a Mobile beach! The days I attended it rained each day off and on, but that never fazes anyone on the Florida/Alabama/Mississippi Gulf Coast, and it did not affect the racing, except perhaps to make the results even more volatile. There seemed to be few strategy players at Mobile, at least among the people I observed and spoke with. Stats can be a big help with dog racing, but the regulars here (again, at least the ones I observed) were not the kind who have scoped out the races in advance and worn down their pencils with notations in the program, the kind of players I see at, say, Gulf Greyhound. If you love dog racing, though, a place like Mobile is as pure as it gets. Nobody is there to play poker or for the food or to hang out with family or to impress a date–they are there to play the dogs…and the audience itself is wonderfully entertaining. If I had a smart phone, I might have recorded the audience feedback—-just imagine the casts of a Larry The Cable movie and of Sanford and Son meeting at a dog track and drinking a few Red Bulls first. That’s my kind of  people! Since a lot of people are betting every race and there not of improvements being done at the track, I’d assume Mobile Greyhound Park is doing OK. The racing was exciting, and with the rain, things were totally unpredictable. I had a great time….

Eventually, I had to come back home to Texas, though I did get to stop at one of my favorite racetracks on the way home, Delta Downs, outside Lake Charles, Louisiana. However, since I go there a few times each year and since it’s horses not dogs, we’ll not discuss that here.

I’ve now visited in person about 3/4 of the still-operating greyhound racing tracks in the United States. Who knows how many will exist in 20 years? I hope to visit most of the remaining tracks, but I doubt I can again hit THREE I’ve never before visited on ONE trip and in the same general area, give or take a few hundred miles. So this was a special occasion for me, and I am very appreciative. I work hard most of the year, getting up at 5:50 for work each morning, taking home a few hours of work each night. A summer vacation is well-deserved, and spending that time on the beautiful Gulf Coast, swimming each morning, eating Gulf oysters and shrimp each day, and hanging out at the dog track each afternoon or evening, with a program in one hand and a beer in the other, is about as much of a Life or Riley as I could ask for….I won’t even mention that I got a lot of writing done on the trip (you’ll be seeing the chapbooks I wrote on the trip appearing over the next year).

Hope I make it back to the Alabama/Mississippi/Florida Panhandle Gulf Coast sometime….but even if I don’t, or if it takes 10 years, the memories are fresh…and all three tracks, in different ways, are vibrant places where people are enjoying greyhound racing. And that’s great to see and to experience!

dogs 7

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