#writer: clayton emery

[mobius-prime]

96. Sonic the Hedgehog #58

Friendly Rogues & Foul Villains

Writer: Ken Penders and Clayton Emery Pencils: Art Mawhinney Colors: Ken Penders

The crediting for this issue is all wonky. For some reason, the credits for the second story appear on the first page of the first story, while the actual credit for the first story appear right at the end. You can tell easily, because the first set of credits lists Manny Galan with the second being Art Mawhinney, but the art style of the first story is very clearly that of Art. I've just fixed it and credited them appropriately for convenience here. Also, strangely enough, the writing for this issue seems very rushed and almost unfinished. The writing is choppy, lines cut themselves off abruptly, and sentences don't make as much sense as they should. I can only assume this is because Kenders was busy writing for the KtE issues and didn't have as much time to spare making this one polished, but even then, you'd think the editors would catch it. Ah well.

So as you'll recall, we ended on Sonic and Tails meeting Yanar as he's thrown into the dungeon they're trapped in. After a brief period of surprise at seeing an echidna that isn't "Rad Red," a couple Robians, acting evil as though they were still under Robotnik's control, come in and detach Tails from the wall, dragging him away despite Sonic's protestations.

Meanwhile, despite having a bead on Knuckles with his arrow from the beginning, the Sonic clone in the forest instead jumps down to yell at him to "Stand and deliver, varlet!" and name himself as Rob o' the Hedge, basically revealing himself to be the hedgehog version of Robin Hood, complete with cheesy medieval-style dialogue. Knuckles immediately responds by flipping him into the water.

I like how everyone's responses in this arc so far to being knocked onto the ground is to immediately look up at the attacker and be like "You know what, I respect you. Let's team up."

Back in the dungeon, Sonic explains to Yanar how he and Tails ended up here. They tried to fly too soon after the Day of Fury rainstorm, resulting in their plane crashing and them being taken captive by a group of hostile robots mistaking him for Rob o' the Hedge. Gee, I wonder how that happened? Shortly thereafter, the robots come back in, this time to take Sonic away for questioning, but Yanar notices the shiny golden key they're holding to Sonic's shackles, and tackles one of the guards, grabbing the key in the chaos without them noticing.

As he's dragged out the door, he flings the keys back to Sonic, who easily catches them on the toe of his shoe and begins unlocking his shackles. Freedom!

In the forest, Rob takes Knuckles to a treehouse hideaway while explaining to him how his "merry band" were all captured and roboticized in the past, leaving only him to carry on the fight - and what's more, during the maybe one whole hour Knuckles and Mari-An were away, these robots already managed to enslave the entire tribe Knuckles was supposed to be leading to safety. Good job, buddy!

With that, the two form a partnership to get their combined friends back. Back in the dungeon, Sonic waits patiently until the guards come back to open the door, then bashes them up a bit before racing down the corridors to find Tails. And oh no, it's a horrific sight! Tails is strapped to the rack, and is being tortured for information by t- …uh… t-tickling his…

Ken Penders, I swear to god, you can't even deny that this happened, okay? I know you drew that one Lien-Da picture for a fan with her feet all out and being tickled by Eggman. Far be it from me to judge someone for drawing art for a fan, or for having a fetish that they want to draw art for, but for goodness sake Kenders, you can't pretend like it was all business when you specifically write this kind of stuff into your plotlines. I was so shook by Tails' feet being tickled all up in our faces like that that I almost missed the reveal in the last panel above that the interrogator is none other than General D'Coolette, Antoine's own father roboticized ten years ago in the war against Robotnik!

Sonic rushes down and quickly frees Tails, then tries to reason with the general, mentioning his son, but the roboticized general states he has no memory of the names Sonic gives him and begins to attack. Sonic dodges and refuses to fight, stating that he can't hurt him as "he's sick," which really just adds to the insight into Robotnik's frankly genius strategy behind the roboticization. Not only did it give him a growing supply of free, mindless labor, but it ensured that those lucky enough to escape would be reluctant to fight against their former family and friends, rendering them easier in turn to capture. I suppose the early comics were too goofy to go into ideas like the use of psychological warfare, but despite how serious that phrase sounds I can assure you the later comics were not at all afraid to get deadly serious at times, something which I genuinely appreciated. Anyway, enough of my rambles here - Tails merely unties a light fixture above General D'Coolette while he's distracted with Sonic, causing it to crash down onto his head and allowing the two to escape.

Back in the forest once again, Knuckles and Rob are walking along when they encounter a suspicious robed figure coming towards them. Rob steps forward to challenge the figure, who immediately takes offense to his words and whacks him right back into the water, impressing him once again. The figure is, as you might have expected… Mari-An!

Geddit? Rob and Mari-An? Like Robin Hood and Maid Marian? Hoho, so clever! They head toward the fortress where everyone is imprisoned, as Sonic and Tails run circles around that same fortress looking for a way out. Naturally, as Rob shows Knuckles and Mari-An a secret tunnel to the inside, the two groups bump into each other, allowing them to join forces.

However, as they reach the fortress' main courtyard, they encounter a horrible sight - Yanar on the hangman's platform ready to be strung up, with the echidna tribe being forced to stand and watch as the roboticized general makes an example of their leader! What a nail-biting cliffhanger! I'm sure there's no way they'll come up with a rescue in time starting next issue!

The Living Crown

Writer: Ken Penders Pencils: Manny Galan Colors: Ken Penders

Now that the king is back to full health, Dr. Quack decides to give him a very thorough checkup, something which the king is a bit grumpy about. Hilariously, Dr. Quack's first name is revealed to be Horatio, which is about the funniest name you could possibly give a cartoon doctor duck. I'm just waiting for Yorick to show up at some point now. For some reason, the king decides to explain why their country is ruled by a monarchy, which, okay, despite this line of conversation kind of popping up out of nowhere, I'm interested. I mean, I've complained enough about this world's system of monarchy and how it's only hurt more than helped, so it'll be nice to find out the why, right?

Well, as it turns out, when little Maximillian (because that is revealed to be the king's name, though it's still not anywhere near as hilarious as freaking Horatio) was ten years old, his father took him to a secret chamber underneath their castle, where he was amazed to see a pool in the center of the room that looked like it was filled with liquid gold and silver.

…this sounds disturbingly like a cult. Like, terrifyingly so. The king explains how the Source of All is basically the Force from Star Wars, and once one bonds with it they can see into the future to limited degrees and be guided by it like some kind of spiritual divination force. The king's sword and crown are linked together, and when he sent Rosie away with his sword during Robotnik's coup the crown "merged with" him, which I can only imagine as some hilarious scene where the crown just melts and goes into his head pores or something. Without the sword and crown's power to protect him, the king was captured and exiled into the Zone of Silence, but now that he has the sword back, his crown has returned as well, sitting atop his head this very moment. He begins to get a little unnervingly excited - it's not played off as such, but to an outside reader like me, yeah, it feels very cult-like, as he essentially declares that he wishes to put Sally through the same ritual even if she doesn't like it, something we're promised to see the next Sonic the Hedgehog issue. Oh, boy…

[good-ole-music]

Country Artists Who Died in 2021

1) Ed Bruce

(Wikipedia)

Bruce, born in 1939, was most famous for writing the hit “Mamas Don’t Let Your Babies Grow Up to Be Cowboys” (1975), which was recorded by Willie Nelson and Waylon Jennings. He died of natural causes in Clarksville, Tennessee on January 8, 2021. His ex-wife and co-writer of “Mamas Don’t Let…”, Patsy, also died on May 16, 2021.

(My great-grandpa used to go finishing with him!!)

2) “Stonewall” Jackson

(Studio album by Jackson released in 1959, Colombia Records)

Born in 1932 in South Carolina, Jackson’s hit “Waterloo” (1959) was #1 on the country charts for five weeks and #4 on the pop charts. He died from vascular dementia in Nashville, TN on December 4, 2021.

3) Tom T. Hall

(Michael Ochs Archives/Getty Images)

Nicknamed “The Storyteller”, Hall wrote many influential songs in country music, most popularly Jeannie C. Riley’s #1 hit “Harper Valley PTA.” Some of his hits include “I Love” and “The Year Clayton Delaney Died.” Hall also succeeded Ralph Emery (RIP : Jan. 15, 2022) as host of “Pop! Goes the Country” in 1980 through 1982. He died at his home in Franklin, TN, on August 20, 2021, and his death was ruled a suicide.

4) Don Everly

(Phil and Don (right) Everly in 1965 “publicity photo” from Wikipedia)

Don Everly and his brother Phil composed the Everly Brothers, a country rock duo. Their most famous hit is “All I Have To Do Is Dream” (1958). Don died at his home in Nashville, TN, on August 21, 2021.

Other Deaths:

Bill Emerson

Kenny Malone

Razzy Bailey

BJ Thomas

Bill Owens

Jimmie Rodgers

[girlsinthestacks]

Five Great Listens: A Few Favorite Audiobooks

by Stackgirl Sarah

Tyler Johnson Was Here

by Jay Coles, read by JaQwan J. Kelly

This book is heavy, powerful and enlightening.  I met the author, Jay Coles, this summer at ALA and found him to be lovely and thoughtful and can’t wait to bring him to our school for students to meet (as a former middle school teacher, I think he’ll be a great speaker).  We talked about how he actually weighed in on the narrator of the audiobook; he ultimately picked JaQwan Kelly, an actor and rapper, and how well he felt the audiobook had turned out.

I too was incredibly impressed at JaQwan’s narration as he convincingly conveyed the narrator’s emotions from often tearful to full of rage and everything from hurt to anger in between.  

The subject matter is heavy, the poignant questions we are all struggling with these days are included and indeed this is an important book to put in the literature circles that include Dear Martin, The Hate U Give, and All American Boys.  The difference for Tyler is both the range of emotions and the many scenarios he endures from multiple incident of racism and police brutality to attending protests, working through grief, and more.  I was impressed by the amount in this slim book and the audio will really hook students and adults alike. Thanks Hachette Audio for delivering when I begged for this audiobook!

The Thief

by Megan Whalen Turner, read by Steve West

I am a huge fan of The False Prince (published 2012) series and also enjoyed the first Ranger’s Apprentice (published 2006).  I feel like this is quite similar, and although I saw the twist coming (perhaps because of having read False Prince) it was less of a reveal to me than to many.  However, still a good adventure, faraway lands type book, and, as it was published in 1996, I feel that both other series probably draw inspiration from Ms. Turner.  I hear the rest of the series get even better so I’m anxious to read them.

Thanks to HarperAudio for providing me with the 2017 audio with narrator Steve West; his reading was lovely in regards to bot his polished British accent and emphasized emotions from indignation to outrage.

They Both Die in the End

by Adam Silvera, read by Michael Crouch, Robbie Daymon and Bahni Turpin

My first Adam Silvera book, and  I worried it was going to be rather depressing; yet, while it was obviously sad at the end based on the title, the overall message was about the importance of living your best life every day. I truly love the premise which focuses on one bisexual boy and one gay boy who find each other- the story is lovely and genuine. This book reminded me at times of Denton Little’s Death Date by Lance Rubin  as the premise in both is that characters know when they will die, but this one isn’t truly a comedy. The three voices -Michael Crouch, Robbie Daymond and Bahni Turpin (surprise, she everywhere!) -were all fabulous and I loved the emotional range of each and how Bahni played multiple supporting characters, rather than having multiple extra narrators.  Bahni deliver such nuance to supporting characters; I continue to be in awe of her ability to make many different characters all unique. Finally, a fun fact-the lovely girl doing karaoke in the story was named Becky, and I think that is a nod to Adam’s writer BFF Becky Albertelli; they have a new book out with another HarperAudio entitled What If It’s Us, read by Noah Galvin and Froy Guttierez.  Thanks again to HarperAudio for letting me listen!

An Absolutely Remarkable Thing

by Hank Green, read by Kristen Sieh and Hank Green

This book- excellent, weird, thought-provoking- I just can’t   sum it up in a good blurb. I appreciate the points made about social media, the nature of politics/celebrity, and branding. I appreciated Kristen Sieh’s reading of the book because, as the narrator admits in the story, she’s flawed and knows her actions had negative consequences, but also knows there wasn’t much she could do differently.  Kristen communicated that without being obnoxious, which is hard to do as she walking a narrow line of being both genuine and still likable.  I also appreciated that the main character is bisexual and that is normalized.  Ultimately, for anyone who is a fan of quirky thoughts, including those who like John Green, will like this book and the special bonus of the audio-Hank Green himself reads the last chapter as it’s told from a different perspective! Thanks to Listening Library Volumes App for including this audiobook-such a fun one!

Meet Cute: Some People Are Just Destined to Meet

by various authors including a personal favorite, Emery Lord, as well as amazing authors Nicola Yoon and Donielle Clayton and so many more, read by a who’s-who of impressive narrators

I cannot find a list of all the amazing narrators, but I will just say that everyone has an impressive narrator that fully conveys the beauty of each story.  I love short stories, and especially love them on audio because it is easy to concentrate on them for small snippets of time.  I love that this list is pretty darn diverse both in authors as well as in love story pairings from heterosexual to homosexual and including a bit of bisexuality as well.

The stories are clean enough for middle school and definitely validating that all love stories are worth telling and that all people are worth their own love stories.

Student Katie recommended that I read it, and I’m so glad I listened! A great way to get students who don’t want to commit to a long book involved. Thanks to Listening Library who added it to my Volumes app when I begged.

[artwalktv]

Feelings get complicated and oddly mutual amongst a trio of friends in Heavy Chemistry, a short comedy about love, friendship, attraction, hunger, lust, and other complex chemical reactions. World Premiere, SXSW 2018 Official Selection, DIFF 2018 Writer / Director / Editor: Blair Rowan Produced by: Quinn Eisenbraun & Blair Rowan Director of Photography / Colorist: HutcH CAST Jonathan Barnes - Boyfriend Amber Emery - Girlfriend Chris Gardner - Best Friend Chris Billings - Pizza Guy Farah White - Newscaster Assistant Director: Quinn Eisenbraun Audio Recordist: Mike Walker Post Audio: Gordon Gibson Assistant Camera / Grip: Casey Pepin Head Production Assistant: James Hargrave Set Photographer / Production Assistant: Clayton Browning

[manodzit-blog]

Heavy Chemistry from Blair Rowan on Vimeo.

Feelings get complicated and oddly mutual amongst a trio of friends in Heavy Chemistry, a short comedy about love, friendship, attraction, hunger, lust, and other complex chemical reactions.

World Premiere, SXSW 2018 Official Selection, DIFF 2018

facebook.com/heavychemistry/

Writer / Director / Editor: Blair Rowan Produced by: Quinn Eisenbraun & Blair Rowan Director of Photography / Colorist: HutcH

CAST Jonathan Barnes - Boyfriend Amber Emery - Girlfriend Chris Gardner - Best Friend Chris Billings - Pizza Guy Farah White - Newscaster

Assistant Director: Quinn Eisenbraun Audio Recordist: Mike Walker Post Audio: Gordon Gibson Assistant Camera / Grip: Casey Pepin Head Production Assistant: James Hargrave Set Photographer / Production Assistant: Clayton Browning

[londontheatre]

Lazarus Theatre’s Edward II

Edward II is a wonderful example of the exquisite sixteenth-century theatre craft of its writer, Christopher Marlowe. It explores, in depth, power, kingship, class, lineage and, yes, the close, divisive relationship of Edward and his lover Piers Gaveston. To describe it, as the press release does, as “the first gay play” is historically inaccurate (if it means the first play to deal with love between two people of the same sex) and, I believe, entirely misses the point by putting a twenty-first century construct on a masterpiece written during the reign of Elizabeth I: it’s a bit like saying the horse was the original driverless vehicle.

That is a shame because here we have an explosive and riveting production, directed by Ricky Dukes, that does full justice to the poetry and power of Marlowe’s original – despite some quirky aspects to Dukes’s adaptation. It gets going with a mesmeric opening salvo by Bradley Frith as Gaveston, which not only sets the scene for us but establishes the tone of the production and puts down markers for the mayhem that is to come. Frith is brilliant throughout, tough but flippant and dismissive of the barons whilst appropriately fawning with the king, his pliant and doting meal-ticket, whilst maintaining an underlying sense that this whole escapade is just one long opportunistic blag (yeah, that’s a 21st century construct – I learn fast). Frith returns at the denouement as Lightborn and has the transfixing gaze of a cobra as he goes about his deadly business.

Counterpoint to Frith’s strong and unsettling performance comes from Luke Ward-Wilkinson as Edward. Lurching from frail and fidgety to feisty and frighteningly unhinged, Ward-Wilkinson perfectly portrays how feeble Edward is and how unsuited to the office of a king. Besotted, consumed by lust and gooey-eyed love-angst, living off the adoration of shallow, make-weight acolytes, frankly he’s a bit of a nut-job and Ward-Wilkinson gives us the full gamut of child-like tantrum and unconfined self-interest until, coffined in the dungeon-sewer of his castle prison, he is pushed over the edge into full madness. Ward-Wilkinson’s eyes flare wide, his arms flail uncontrollably and his whole body becomes a repository for self-inflicted grief and despair. A consummate performance by Ward-Wilkinson that keeps us on the edge of our seats. As with Frith, these guys get Marlowe’s language to a T, revel in the poetry and play out the undercurrents with knowing glances and subtly expressive gestures.

Strong, stentorian, scheming Mortimer is played with exponential relish by Jamie O’Neil. He’s not very nice: the archetypal playground bully who gets everyone on his side, by fair means or foul, so as to persecute the flimsy Edward and make him suffer. It’s more than just a power-grab with Mortimer: there’s a real distaste for lifestyle and values and O’Neil brings this off with powerful and disturbing accuracy. With an eye for the main chance he teams up with Edward’s spurned queen, Isabella, played with muscular intensity by Lakesha Cammock, who reveals an iron fist inside the lady’s frills. Cammock flutters her eyelids or puts the boot in hard as occasion demands and adds in some unexpected humour keeping the audience engaged and gripped throughout her authoritative performance.

Lazarus Theatre’s Edward II

Alex Zur as Edward’s brother, Andrew Gallo as Mortimer Senior, John Slade as Warrick, Stephen Emery as Lancaster and David Clayton as Canterbury all play their part in a strident ensemble that creates an atmosphere of intimidating ferocity, never more so than in the final dramatic execution of the beleaguered Edward. Though here I do take issue with the adaptation.

The play is re-imagined in a quasily-vague twentieth century England. No problem with that – Marlowe – and Shakespeare – lend themselves well to “modern dress” scenarios. The show’s featured prop is a sixties-style red BT telephone use at the beginning to reveal the death of Edward I and at the end for the future Edward III to castigate Mortimer. Here we get into “how technology would have altered history/literature territory”. If they had ’phones then Gaveston’s banishment would have been less drastic – they would have been on the ’phone to each other every day. It makes the first stage direction – enter Gaveston reading a letter – completely redundant. (A similar problem occurred in a recent modern-dress production of Richard II).

Christiano Casimiro’s costume design is excellent: grey shirts, formal grey trousers, some ties for the assembled barons, a gold suit for Edward with an assortment of catch-me cloaks: but I spent much of the play wondering why no-one wore shoes or socks with these smart clothes. The answer came at the death scene where everyone had to strip to their underpants. So – ease of undressing seemed to be the answer: rather a case of the tail wagging the dog, I feel.

But it’s the death scene itself where I really part company with Duke’s “re-imagining”. Spectacularly gory and extremely effectively done, it once again misses the point and veers violently away from Marlowe’s original. Lightborn, the murderer, is a wonderful Marlow creation. Almost a bit-part player – we don’t see him until the end – he is the original hit-man. Master of his craft, he revels in the pain of others and the ability to get the job done in the most effective and imaginative way possible. In the original, Lightborn tells his accomplices to prepare a hot-spit and have a table and a feather-down mattress available. The table is to be placed on the victims chest with the mattress between table and skin so no bruising occurs and one of the accomplices stands on the chest to expel the air and hold the victim’s legs.

Edward thus lies on his back – not on his front as here. Lightborn then applies the red hot spit. The whole point of this is so that Edward, the king, can be despatched without visible wounds – which are inside him – and without anyone knowing how he died. “Was it not bravely done?” asks Lightborn afterwards. Here with copious torrents of blood gushing down from the ceiling, plastic sheeting employed by the murderers in their underpants and Edward left in a blood-stained heap on the table after a bulkily decorative candlestick is used, there’s no doubt how he died.

Also eschewed is Mortimer’s connivingly cynical despatch-letter – unpunctuated so that it can be read two ways. All this, I believe diminishes the power of Marlowe’s play the full title of which is The troublesome raigne and lamentable death of ‘Edward the second, king of England: with the tragicall fall of proud Mortimer‘.

Yes, Edward II is a tragedy: and it’s as much the tragedy of Mortimer as it is of Edward. Here, the final scene where Mortimer is sent to his death by the new young king Edward (over the ’phone), everyone is still standing around in their kecks: that’s not tragic – that’s just bizarre.

Despite these reservations this is a superlative show, powerfully performed by all. Marlowe, like Shakespeare, is obviously ripe for “re-imagining” (Samuel Beckett, for example, isn’t, and won’t ever be allowed to be). But for me, changing the text so that it fits into a twenty-first century idealogical construct is going a little bit too far: let the play speak for itself.

Review by Peter Yates

The King is dead. His son, Edward II, is crowned King. His first act: to call home from banishment his lover, Gaveston.

“Why would you love him who the world hates so? Because he loves me more than all the world.”

Marlowe’s homoerotic epic comes to the stage in this all-new, all-male ensemble production. Marking 50 years since the decriminalisation of homosexuality in England and Wales, this production investigates, celebrates and explores identity and sexuality.

Edward II sees our return to The Tristan Bates Theatre and The Camden Fringe after our smash hit productions of ‘Tis Pity She’s a Whore, Coriolanus and Tamburlaine.

CAST Edward II Luke Ward-Wilkinson Queen Isabella Lakesha Cammock Gaveston Bradley Frith Kent Alex Zur Mortimer Jamie O’Neill Mortimer Senior Andrew Gallo Warwick John Slade Lancaster Stephen Emery Pembroke David Clayton

All other roles played by the company

CREATIVE TEAM Writer Christopher Marlowe Director Ricky Dukes Designer Sorcha Corcoran Costume Designer Cristiano Casimiro Lighting Designer Ben Jacobs Sound Designer Jack Barton Dramaturge Sara Reimers Stage Manager Charlotte R L Cooper Assistant Director Dinos Psychogios Company Photographer Adam Trigg Production Graphic Designer Will Beeston Associate Producer Gavin Harrington-Odedra

EDWARD II Lazarus Theatre presents Christopher Marlowe’s classic. Adapted & Directed by Ricky Dukes Tue 22 August – Sat 9 September

Tristan Bates Theatre 1A Tower St, Covent Garden WC2H 9NP http://ift.tt/23UW86S

http://ift.tt/2wY3cFo LondonTheatre1.com

[missnevainc]

"COMPASS" BY HOLLYWOOD RECORDS ARTISTS FOREVER IN YOUR MIND (FIYM) TO PLAY OVER CLOSING CREDITS OF "REACH" FIYM -- Emery Kelly, Ricky Garcia and Liam Attridge - Nominated for a 2017 Teen Choice Award as the Choice Next Big Thing in Music, Recently Released their New Single  "Smooth" on Hollywood Records   LOS ANGELES, CA (August 11, 2017) -Hollywood Records artists (FIYM) Forever In Your Mind's single, "Compass," from their hit 2016 self-titled debut EP "FIYM," will be featured in the #highschool dramedy "Reach," announced the film's co-writer/producer #MariaCapp . "Reach" stars Garrett Clayton ("Hairspray Live!"), Joey Bragg (Disney's "Liv and Maddie"), and 2017 Teen Choice Award nominee for Choice Comedian, Jordan Doww ("HollyWEIRD"). #videocourtesyof #Musicvideo by #ForeverInYourMind performing #Compass .  (C) 2016 #HollywoodRecords , Inc. The film also features music from #InRageEntertainment artists, including "I Love Me" performed by #RAFFAELA , "Cherry Bomb" performed by #JamesBarmore, and "Elephant in The Room" performed by SOTO AND THE KRASH.  Other music featured in the film includes the original songs "Breathin'" and "Hello Darlin," performed by indie rock band, Still Rebel.  Teen actor and composer #RioMangini, who also has a cameo in the film, will score "Reach" in collaboration with award winning sound designer and film composer #JefferyAlanJones (Sundance, "Bitch" and SXSW, Most Beautiful Island). #FIYM FIYM's new single, "Smooth" was released by Hollywood Records on April 28, 2017. FIYM has been #nominated for a 2017 Teen Choice Award in the Music category as Choice #NextBigThing . The 2017 #TeenChoiceAwards will air LIVE Sunday, August 13, 2017 on #FOX. Also starring in "Reach" are Johnny James Fiore, who also co-wrote the script, Bojesse Christopher, Kevin Sizemore, Concetta Tomei, Raffaela Capp, Steven Thomas Capp, Grant Harling, who also co-wrote the script, Natasha Capp, Brent Tarnol, Michelle Danner, and Chelsea Cook. Jarret Tarnol ("See You in Valhalla"), directed the film, and Autumn Bailey and Charles Box are producing along with Cappricielli Production. "Reach" is currently in post-production. #prcourtesty #DavidRoberson

[jazzworldquest-blog]

USA: New Release "Poetry from the Future" from TO BE CONTINUED on Line Art Records

   Poetry from the Future a New Release from TO BE CONTINUED (Carol Liebowitz, Claire de Brunner, Daniel Carter, Kevin Norton)  Listen on Soundcloud Artists: TO BE CONTINUED—Carol Liebowitz (piano), Claire de Brunner (bassoon), Daniel Carter (alto, tenor and soprano saxophones, flute, trumpet, clarinet), Kevin Norton (vibraphone, drums, percussion) CD Title: Poetry from the Future Label: Line Art Records (LA1003) Artist Websites: carolliebowitz.com, morebassoonplease.com, kevinnorton.com, https://en.http://ift.tt/2tA18xqCarter_(musician) Release Date: August 4, 2017 UPC: 888295599023 All tracks by Carol Liebowitz, Claire de Brunner, Daniel Carter and Kevin Norton (Enduring Heart, ASCAP) Recorded March 18, 2017 by Tom Tedesco, Tedesco Studios, NJ CD Mastering: Jim Clouse, Park West Studios, Brooklyn, NY 1. Invisible Colors  (4:21) 2. Poetry from the Future  (1:03) 3. Every Which Way  (6:38) 4. Blue Daniel  (4:43) 5. Cascadeascope  (5:39) 6. Sonic Mirage  (4:14) 7. Beautiful Outcast  (4:35) 8. For All Times  (3:58) 9. Ringing Circles  (6:24) 10. River Run  (4:08) Total time 45:43 A quartet with unusual instrumentation and a translucent sound, TO BE CONTINUED improvises music freely, without boundaries, in each unfolding moment. Every one of the four members has a significant history in the New York City (and international) improvised music scene. Carol Liebowitz (piano) brings a uniquely expressive and personal sound to the jazz and free improvisation scene. After focusing on classical repertoire at the High School of Performing Arts and NYU, her musical direction turned to improvisation and she began studying with Connie Crothers. Other influential teachers have included Sal Mosca, Jay Clayton and Sheila Jordan. She has performed in Europe and various NYC venues such as Roulette, The Stone, Cornelia Street Cafe, IBeam, The Firehouse Space, Arts for Art, Spectrum, and Birdland. Carol has worked as a soloist, and with musicians including Adam Caine, Maryanne de Prophetis, Andrew Drury, Ken Filiano, Birgitta Flick, Ratzo Harris, Ron Horton, Adam Lane, John Pietaro, and Michael Wimberly. She has 2 CDs on Line Art Records, the latest, First Set, a duo with alto saxophonist Nick Lyons, and Payne Lindal Liebowitz, a trio with clarinetist Bill Payne and violinist Eva Lindal (chosen by Art Lange as one of the Top Ten Jazz CDs in the NPR 2015 Jazz Critics Poll). Carol also has two releases on New Artists Records. Claire de Brunner (bassoon) won a scholarship to study with the principal bassoonist of the NY Philharmonic when she was 14. After attending the High School of Music and Art, and North Carolina School of the Arts, she studied at Manhattan School of Music and played in various ensembles before venturing beyond classical music. In 1982 she became a founding member of 101 Crustaceans, an integral band of the post-punk era in NYC. She later joined Church of Betty, another seminal band at that time and has recorded CDs with each band. Venues included Knitting Factory, Pyramid, Dixon Place, CBGB, Limelight, etc. In the early 90s, she studied jazz improvisation with saxophonist Lee Konitz and pianist Connie Crothers. Prominent among her numerous collaborators are Chris Rael, Ras Moshe, Ed Pastorini, Cheryl Richards, Oren Bloedow, Ken Filiano, Blaise Siwula, Connie Crothers, Virg Dzurinko, Mara Rosenbloom and Nick Lyons. She co-produced the CD Macroscopia (2010), released on the Metier label featuring a quartet comprising New York free jazz musicians. She’s appeared at The Firehouse Space, BAMcafe, IBeam, Barbes, Scholes St. Studio, The Stone and Roulette. Her music is varied; it reflects the ongoing pursuit of her deepest passion. Daniel Carter (alto, tenor, and soprano saxophones, flute, trumpet, clarinet) — multi-instrumentalist and writer, has performed, recorded, and/or toured with many musicians through the decades since the mid-60s, including TEST, Other Dimensions in Music, Reuben Radding, Federico Ughi, Sun Ra, Cecil Taylor, Sam Rivers, Alan Silva, Ras Moshe, Jeffrey Shurdut, Sabir Mateen, David Miller, Billy Bang, Earl Freeman, Karl Berger, Sean Lennon, Yoko Ono, William Parker, David S. Ware, Matthew Shipp, Hamiet Bluiett, Nate Wooley, Hamid Drake, Billy Bang, John Blum, Tom Bruno, Demian Richardson, David Moss, Adam Lane, D.J. Logic, LP, Medeski, Martin, & Wood, Ed Schuller, Margaret Beals, Patricia Nicholson Parker, Warren Smith, Larry Roland, Mike Wimberly, Ted Daniels, Thurston Moore, Roy Campbell, Earl Cross, Vernon Reid, Wilber Morris, Eri Yamamoto, Matt Lavelle, The No Neck Blues Band, Yo La Tengo, Raphe Malik, Okkyung Lee, Denis Charles, Steve Swell, Gunter Hampel, Alan Silva, Susie Ibarra, Butch Morris and many others. His writings appear in The Tinker: Innovative Arts and Literature Magazine, 50 Miles of Elbow Room, Dyed-in-the-Wool, Intervalsss: The Poems and Words of Musicians and many other publications. Kevin Norton (vibraphone, percussion) is one of the few percussionists in the jazz and improvised music scene that is a virtuoso on both the drum-set and mallet instruments (vibes, marimba, etc.). After earning his Master’s Degree (in Orchestral Percussion) from the Manhattan School of Music, Kevin began to gig around NYC: playing classical, jazz and rock, but eventually falling into what became known as the Downtown Scene, a scene that was fusing all styles into a unique and explosive hybrid musical language. He has toured extensively in the U.S. and Europe with Anthony Braxton, David Krakauer, Fred Frith, James Emery, Frode Gjerstad as well as groups under his own leadership. Kevin frequently performs as a leader/solist but has also collaborated with exceptional musicians including Milt Hinton, Joëlle Léandre, John Lindberg, Tony Malaby, Dave Ballou, Connie Crothers, Scott Robinson, Nick Didkovsky, Paul Dunmall, Paul Rodgers, Marshall Allen and Henry Grimes. He can be heard on well over 100 recordings, the latest, Staten Island: All that is solid melts into air, is available on Bandcamp and features his Breakfast of Champignon(s) group.  

Available from CD Baby, Amazon, iTunes Carol Liebowitz Claire de Brunner Daniel Carter Kevin Norton www.lineartrecords.com

  Media Contact Jim Eigo Jazz Promo Services Ph: 845-986-1677 / jim@jazzpromoservices.com http://ift.tt/1dvRi4z "Specializing in Media Campaigns for the music community, artists, labels, venues and events.”  via Blogger http://ift.tt/2sCfxMu

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"COMPASS" BY HOLLYWOOD RECORDS ARTISTS FOREVER IN YOUR MIND (FIYM) TO PLAY OVER CLOSING CREDITS OF "REACH" FIYM -- Emery Kelly, Ricky Garcia and Liam Attridge - Nominated for a 2017 Teen Choice Award as the Choice Next Big Thing in Music, Recently Released their New Single  "Smooth" on Hollywood Records   LOS ANGELES, CA (August 11, 2017) -Hollywood Records artists (FIYM) Forever In Your Mind's single, "Compass," from their hit 2016 self-titled debut EP "FIYM," will be featured in the #highschool dramedy "Reach," announced the film's co-writer/producer #MariaCapp . "Reach" stars Garrett Clayton ("Hairspray Live!"), Joey Bragg (Disney's "Liv and Maddie"), and 2017 Teen Choice Award nominee for Choice Comedian, Jordan Doww ("HollyWEIRD"). #videocourtesyof #Musicvideo by #ForeverInYourMind performing #Compass .  (C) 2016 #HollywoodRecords , Inc. The film also features music from #InRageEntertainment artists, including "I Love Me" performed by #RAFFAELA , "Cherry Bomb" performed by #JamesBarmore, and "Elephant in The Room" performed by SOTO AND THE KRASH.  Other music featured in the film includes the original songs "Breathin'" and "Hello Darlin," performed by indie rock band, Still Rebel.  Teen actor and composer #RioMangini, who also has a cameo in the film, will score "Reach" in collaboration with award winning sound designer and film composer #JefferyAlanJones (Sundance, "Bitch" and SXSW, Most Beautiful Island). #FIYM FIYM's new single, "Smooth" was released by Hollywood Records on April 28, 2017. FIYM has been #nominated for a 2017 Teen Choice Award in the Music category as Choice #NextBigThing . The 2017 #TeenChoiceAwards will air LIVE Sunday, August 13, 2017 on #FOX. Also starring in "Reach" are Johnny James Fiore, who also co-wrote the script, Bojesse Christopher, Kevin Sizemore, Concetta Tomei, Raffaela Capp, Steven Thomas Capp, Grant Harling, who also co-wrote the script, Natasha Capp, Brent Tarnol, Michelle Danner, and Chelsea Cook. Jarret Tarnol ("See You in Valhalla"), directed the film, and Autumn Bailey and Charles Box are producing along with Cappricielli Production. "Reach" is currently in post-production. #prcourtesty #DavidRoberson