Baila the Beautiful: A Memoir by Baila Markus

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Both names were given to him by producer Bunny "Striker" Lee. Originating in Belgium at the tail end of the s and into the '70s, popcorn was a music and dance scene with an emphasis on often obscure black American records of the then recent past. Drawing immediate parallels with the UK's Northern soul scene from approximately the same time, young people would flock from all corners of Belgium to cram into a converted farmhouse barn to dance to these exotic sounds. But whilst Northerners favored an often up-tempo, stomping '60s soul sound, popcorn focused almost entirely on slower, moodier numbers.

Not following established genre conventions, the popcorn sound is hard to pin down - there are soul, blues, ska, pop, jazz and Latin records which are all popcorn - and all are represented here. Whilst the sound has caught the attention of many forward thinking DJs, the origins and background of the Belgium popcorn scene remains scantly documented. With sleeve notes from original popcorn insider Gerd De Wilde and his contacts within the original Belgium popcorn scene, Follow Me To The Popcorn looks to change that.

CD version comes with eight page color booklet. Gatefold 2LP version. Two Chicago blues masterpieces from one of the true legends, the peerless Elmore James. Recorded for Chess but not originally released on 45, "Madison Blues" has become one of James's most cherished recordings all the same, and is certainly one of his most outright dance-able numbers. Excoriated, dread, ecstatic, driven. Beware Kemal. Includes remixes by Pete Swanson and Vatican Shadow.

Khemia Records the new imprint from Kaos London announces its third limited edition split vinyl release, Autumn Equinox Edition featuring Volte-Face and 3. On the Solar Side, prolific London based producer Volte-Face delivers "The Otherwise Central Zone": cathedral speeches, cosmic bleeps punctuate static field, resonant reverberations, propulsive rhythms burn psychotropic tunnels, acid barb, entropic dissolution.

On the Lunar Side, Berlin based Athenian producer 3. Clear vinyl limited edition. In the center of the room is a huge oak table, splotched with multi-colored oil paints, surrounded by canvases, cameras tripods, tools, brushes. There's a great view of the sea, and the wide patio windows allow the light to flood inside.

Mare follows in a similar vein to his debut, 's A Forest. However a key difference is Mare is much more organic, nearly every sound and every instrument being self-recorded. Many of the album's ideas are based on field recordings taken from the surroundings. On top of this, several microphones were set up in the room and left to run on for whole sessions. The microphones collected everything, from tapping, singing, playing, footsteps, as well as percussive elements added on the fly such as bottles, sticks, keys, or anything lying around. Sometimes he would open the sliding patio doors, where sounds from outside would blend into the mix.

Among the instruments placed around the table were an old marimba, a mandolin zither, some self-modified synthesizers, and various other sound tools accumulated from his travels. Four tracks that feature the vocals of previous collaborator Mohna. CD version comes in six-panel digisleeve. Taking the earthy melodies and celestial harmonies of the British psychedelic folk boom and placing them against a driving drone-rock backing, The No Sorrows were described by the NME as sounding like "a mix of early Fairport Convention and Dinosaur Jr in full flight.

The No Sorrows's first LP was recorded in unusual circumstances: in a tumbledown farmhouse in France's "diagonal of emptiness", the remote and rolling Limousin valley. The band carted all their gear down from London and set up in the living room, letting the rustic surroundings soak into every musical note. Or the hookers. Or the piles of money.

But otherwise it was exactly the same. Which isn't to say there's not a hint of darkness lurking in The No Sorrows sonic palette as well: jagged guitars and thundering drums are a key part of their unique sound. It'd get really boring! Their folksiness is tempered with some good old noise.

Kingston Sounds present Skinhead Reggae , a compilation focusing on the Jamaican reggae sounds tied to the skinhead movement. The look at the time was the skinhead fashion borrowed heavily from the Jamaican rude boy style. The skinhead movement started around and by the following year of became the style and fashion of many British teenagers. The uniform of the skinheads consisted of boots, braces and jeans and the upbeat Reggae sound seemed to match the style perfectly.

So stand up and move your feet one more time to the skinhead reggae sound. Pressed on gram vinyl. Includes a CD copy of the album. An obvious fan favorite, GusGus' last full-length offering Arabian Horse exceeded all expectations and ranks among Kompakt's biggest bestsellers in recent years. GusGus are dead set on maintaining the towering might of their songwriting, infusing the new album with the same luster as their earlier work, but presenting the deed with the snappiness and intricate production values needed for contemporary debauchery.

From opening anthem "Obnoxiously Sexual," to the Existentialist shuffle of closing ballad "This Is What You Get When You Mess With Love," this album leaves no stone unturned on its journey to sonic bliss, delving ever deeper into its timeless melodies with every subsequent track. It's hard to pinpoint highlights from an album like Mexico, as each of those cuts stands well on its own without sacrificing its role in the ensemble. In a way, that's a good metaphor for GusGus itself, as this project again and again manages to successfully pool the forces from a group of exceptionally gifted individuals.

Take "Sustain," "Airwaves" or "God-Application": drawing from influences as diverse as '80s synth pop, UK garage or '90s trance, each of these tracks showcases a unique identity but still interlocks with the overarching aesthetics of the album and its omnipresent penchant for brilliant pop hooks. Frequency-shifting house-stomper "Another Life" and deep string groover "This Is Not the First Time" might come closest to the predecessor's voluptuous textures, engaging in the same kind of floor-friendly agility against the backdrop of monumental synth washes.

Interestingly enough, title-track "Mexico" is the only instrumental on the new full-length, fittingly bringing a more linear flair to the proceedings. Sporting the nuanced narration of a coherent artist album as well as the eager excitement of a great track selection, GusGus' latest holds the potential to become a source for many a personal best-of mixtape.

All killer, no filler! For Speicher 93, he concocts two very special cuts that dig deep into heartfelt, catchy melodies and give them an impelling beat foundation to ride out their trip. Both the brass-infused "Grey" and the jacking club monster "Kir" push for epic dancefloor moments. The Orb, Alex Paterson and Thomas Fehlmann, have become known for their genre-bending curiosity and surprising sonic detours, exploring experimental soundscapes as well as club-friendly beats.

Paterson on recording the album: "It got so spontaneous that a track like '9 Elms Over River Eno Channel 9 ' consisted only of material collected at North Carolina's Moogfest in May - second-hand records from local stores, field recordings, live samples from gigs that we liked, and of course an excursion to the Eno River, which actually exists. This geographic intimacy and the spontaneity are among the top reasons why we love this album so much. The spice of our concerts is improvisation - a fertile process that we've brought to the studio, where we operate with very simple rules of engagement and go wherever the flow takes us.

It's not so much an obscure trope coming full circle as a perfect example for The Orb's multi-timbre approach to sound and meaning - a compelling, immersive journey to diverse places and impressions. Each track title is a conceptual work in its own right, playing with multiple references, some of which remain highly personal and mysterious.

But the greatest feat of The Orb's latest outing might just be how all this semantic doodling never gets in the way of the actual listening, at all times directly relating the artists's sonic vitality and cheerful nosiness. Jeff Rushin's remix of "Little Green Apples" pairs the spacious and beautifully gloomy background atmosphere of the original with a heavier version of its rhythmic framework. A re-mastered original version of "Konfort Corpse" is featured, displaying Christian Morgenstern's dedication to exploration and his love for the '80s.

Shingo's remix of "Malaria" - a beautifully crafted down-tempo version which skillfully dissolves the techno spirit of the original in crystal-clear electronic soul music. Staffan Linzatti's remix of "Spiegelkerker" is a futuristic and minimal interpretation of the original, with a sturdy drum pattern, an alluring blend of bleeps and spaced-out synth tones. Recording for the Listening Matter began during a period of grief, turmoil and self-medication, and continued throughout two years of growth and healing.

Reflections on vice 'Layette', 'Anchor as the Muse' , virtue 'Narcologue' and death 'A Mantle for Charon' feature equally in this concise treatise aimed at the flawed-but-resilient core in us all. By coincidence this album was completed on the very day Meluch's only brother died; accordingly, it's dedicated to him and anyone seeking paths away from their demons. It's an addictive acid joint, with a title that reflects the spontaneous nature of the original recording.

Livity Sound presents the long awaited return of Asusu. Since his last outing for Livity Sound, he has launched his own imprint, Impasse, so far releasing two extended 12 inches. This 12 inch features two unique and finely tuned mesmeric club tracks upholding Asusu's reputation as a unique voice in British dance music.

Two of the artists doing most to push instrumental grime in new directions, Mr. Mitch and Yamaneko's individual solo albums. Yaroze Dream Suite finds them collaborating at the top of their game. Then, nobody ever heard from him. Fast forward to Berlin , and this mix had become a staple at the after-hours of a small group of friends, including Paramida, who would soon start Love On The Rocks.

Paramida says it showed her another perspective of groove, turning her perception of dance music "upside down". A compilation of new left-field pop, rock, folk, electronic, baile funk, noise and experimental music from artists born or living in Rio de Janeiro, the "Cidade Maravilhosa the Marvellous City ". Chico says: "The aim is to showcase the best of the independent music scene from Rio: rock, noise, house, drone, new styles of baile funk, Afro-beat, pop. We want to dispel the myth of a city dominated by easy listening bossa nova and show just how broad Rio's sound palette is".

Whilst the tracks included represent the new wave of Rio music, there are links to the older generation - Opala's Maria Luiza Jobim is the youngest daughter of Antonio Carlos Jobim the Brazilian composer wrote the music for "The Girl from Ipanema" , Ricardo Dias Gomes played bass on Caetano Veloso's last three studio albums and Ava Rocha is the daughter of acclaimed "Cinema Novo" Brazilian film director, actor and writer Glauber Rocha. Their compilations have re-defined the international view of Brazilian contemporary music scene with releases such as Oi! A Nova Musica Brasileira!

Real Rio is the latest chapter in Mais Um Discos quest to uncover Brazil's astonishing contemporary music scene. Comes in gatefold digipack. Edition of hand numbered. Also features. White Glue offers the 3D depth of analog equipment the ancient synthesizers in Benge's MemeTune Studios have never sounded so good , but there's more funk than geek and more mod than modular in this tailored, minimalist design. Mallinder's vocals are a surreal joy, smeared with effects and electronics as they change, chant, and shift through the jump-cut lyrics.

The opening trio of "Alpha Omega," "Stupid" featuring Mallinder in a mutant-funk falsetto , and "Clockwork" a nod to Kraftwerk, who famously name-checked Mallinder's Cabaret Voltaire as "brothers in popular electronic music" sets up White Glue with the crisp crack and thud of sequenced rhythms and lush synthesizers. Mallinder delivers one of the most memorable vocal performances of his career, venting, sliding, and punching through the layers of noise with real urgency and bile. He employs his voice to more measured effect on "Stop" but it's no less hypnotic, a feverish guilt mantra of out-of-control consumerism.

As the synths wail like sirens, one can picture Winter and Benge swaying to the beats, heads down, lost in the propulsive, artificial hand-clapping groove. The white-light techno rush, triggered synths, and chopped-up, multi-layered vocals of "Real Life" are followed by "Days," which slowly loops in then adds heavy bass and moody synth lines as Mallinder offers another striking vocal performance.

In his first release for Metroline Limited, Counrad showcases the full spectrum of his versatile production skills. The title track "Underwater" is a full on 15 minutes epic chunky minimal monster that just keeps on building. This amazing piece of work takes the listener on a journey that starts with hypnotic minimalism and finishes with some intricate trippy techno. On the flipside, is the dark and percussive peak time tech-house grooves of "Particle Collisions" and some uber-cool modern machine funk minimalism in the shape of "Synapse".

ART label presents an official reissue, carefully overseen by the master himself. E2-E4 is the most compelling argument that techno came from Germany-- more so than any single Kraftwerk album, anyway. A key piece in the electronic music puzzle that's been name-checked, reworked and expanded upon countless times. Rough-hewn and acid-laced, straight out of Rotterdam. Mississippi Hill Country blues at their finest. Jessie Mae rocks out on the electric guitar with minimal percussion. By far some of the best blues recorded in the '80s.

Jessie Mae is the granddaughter of the great Sid Hemphill and the torch bearer of one of the most beautiful traditions in the world of music. Co-release with Moi J'Connias. This LP was previously released by them with a silk screened cover ". In the late s, a series of significant enhancements in technology further accelerated the evolution of the digital age.

Graphical interfaces, networked computers and new software tools allowed the design and manufacturing of integrated circuits with tens of thousands of functions on one chip; a process called Very Large Scale Integration - VLSI. The structures became so complex, that for the first time computers were needed to build the next generation of even faster computers. As a result of that evolution, the heart of a computer could now be put onto a single chip - the microprocessor was born. Amongst other developments, it enabled the creation of completely new electronic musical instruments: digital sound generators, drum machines, samplers and effects.

Most of the signature sounds on VLSI were programmed using early digital synthesizers; machines built by individuals or small teams of adventurous engineers and music enthusiasts during the s. VLSI is sonic archeology. Tiny artifacts of the instruments used have been carefully excavated and brought to new light. What was once perceived as limitation and dirt can now be experienced as character, color and patina. The interaction with these machines guided a minimalist and structural approach to sound and rhythm, expanded and re-contextualized into a futuristic soundtrack, utilizing the recording technology of The result is inspired by early techno, UK breakbeat and dubstep, African dance rhythms, future glitch, ambient and a variety of academic computer music.

Thus, VLSI is also a reflection of social, economic and political topics driven by high tech companies more powerful than governments, hence the dystopian undercurrent. Mixed by Mark Ernestus and Robert Henke. Glass Bird Movement is Antony Ryan and Robin Saville's eighth studio album since starting the project in the late '90s. However, Glass Bird Movement as subtle and impressive as their back catalog is displays a strong signature. ISAN constantly move forwards without leaving their respective studios.

And why should they - it's warm and dry in there and the kettle is always boiling. The title Glass Bird Movement is the product of a free associative process which reflects ISAN's creative methods and frames the eleven songs in a way that triggers the imagination. Communicating less about their music than rather with their music, Ryan and Saville together immerse themselves in complex structures without shutting out their audience. Instead, the friendly bouncing grooves of songs like "Napier Deltic", the washed out harmonies of the aptly titled "Risefallsleep" or the circular rhythms of the album's opener, "Cuckoo Down", have dream-like, inviting qualities to them.

ISAN are particular about incorporating the element of chance, a sort of second-hand human touch, in their music. If it's a cheap keyboard that is only good for one note in one song alone or a tape loop cut by hand, anything can find its way into an ISAN song.

Even though they take most of their inspiration from the machines they work with, they do not fetishize their gear - but play with it. Glass Bird Movement relies just as heavily on all those sonic idiosyncrasies as it does on the sophisticated rhythms and throbbing basses that form its foundation. However, be aware that there has reportedly only ever been one person seen dancing to it. Glass Bird Movement is likely best enjoyed where it is warm and dry, while the kettle is boiling.

Artwork by Morr Music's in-house designer, Julia Guther. Jeffrey Lee Pierce -- reggae enthusiast, heroin addict, and former president of the Blondie fan club -- suffered a lonely, depressing death on March 31st, of a brain hemorrhage, after untold years of drug use and alcoholism.

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Why this event mattered much to anyone lay in a fantastic record his band, The Gun Club, recorded 16 years earlier: the masterful Fire Of Love. A visionary and fierce moment in time when The Gun Club took the raw, dripping meat of shopworn delta blues and infused it with the energy and fire of the LA punk rock scene. Pierce was already a notorious drunk, exhibitionist, poet and fanboy. The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture.

By , Jeffrey Lee had moved into a deep reverence for Mississippi delta blues. The Gun Club paid more than passing homage: they wholeheartedly swiped complete riffs, words and attitude from the masters. Pierce participated in the great blues singer tradition by cobbling together distinct lines from other people's songs to create new ones. What makes Fire Of Love such a brilliant listen long after its time is that this blatant homage to the blues was amplified, energized and kicked into overdrive -- in a new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat.

The engineering feats of Pat Burnette contributed to that sound: he wielded his Quad-Teck studios like a weapon, and mastered some of the greatest sides in LA music history such as Germs' GI. Pure fullness of sound and the raw hot throb of records that were made to stand the test of time.

It stands among the greatest classics of rock history, and shows the genius of the great Jeffrey, whose haunted singing has never been replaced. It proved out to be one of the most influential records of the '80s, with countless musicians declaring their love for the Club. LP version with a page full-color booklet with extensive notes and unseen photos.

Northwest at the same time. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos.

The latter spawned several generations of individuals who would dig deep to previously mostly unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s. Unhinged whooping, hooting and hollering rock'n'roll genius of the kind that helps you get through life.

Featuring his best known songs plus rarities, this is the first ever vinyl compilation of The Ledge's work from to the present day. Working with a longtime band of accompanists that include Dead Kennedy's bassist Klaus Flouride, trio'd with Joey Myers on drums and Jay Rosen on guitar, The Ledge continues to rocket through his own musical galaxy. It stopped me in my tracks. The singer was telling me that he was standing in a trashcan thinking about me, and from that moment on my life would never be the same.

I found that every song Ledge sang delivered the same amount of happiness I felt upon that first discovery, and it is my belief that a person cannot fight a smile if they will just let him into their heart. His sense of humor is funnier than I think even he knows. His abandon on stage is equaled by none. He can be ornery, but in his heart is one of the most open people I've ever met once he lets you in. This collection of his best known songs as well as some rarities is a must have for any collector of strange and funny, and in its way profoundly immediate music.

Awake But Always Dreaming is the second album by Irish singer-songwriter and multi-instrumentalist Hannah Peel, produced and recorded with long-term collaborator Erland Cooper, with orchestrations by Peel, in their richly analog studio in London and at Attica Audio Recording in County Donegal, Ireland. This is a work about memory -- the luminous and beautiful formation of memories and the devastating loss or slow, insidious damage to the mind.

It's quite remarkable really, and it's getting worse. The bright, raw magic and joy of personal relationships are set alongside the gradual loss of Peel's grandmother to dementia. A childhood spent in the landscape of the Irish coast inspires a sense of openness in the music, but there's also a complex, darker, percussive thrust to these songs, as adult city life intrudes and, in its own way, inspires.

The album has the feel of a dream in which all of daily life is expressed and decoded, from feverish rush hours to the old sunlight of Peel's grandmother's fading memories. She switches from panoramic city images in "Standing On The Roof Of The World" to the dissolving, hallucinogenic moments that define the second half of the album. The album's closer is a cover of "Cars In The Garden" by Paul Buchanan The Blue Nile , which returns memory to childhood "find the place that we forgot" and features Peel's trademark music box and a sublimely coaxed-out, bittersweet duet with Hayden Thorpe Wild Beasts.

It's another fine shift in tone and perspective, from the grandeur and chaos of "Foreverest" to something very simple, surreal, and utterly moving. All instrumental -- though the opener has snatches of singing -- with the vocal versions held back for the new album, out in the Autumn.

The music just gets deadlier and deadlier -- harder-boiled and deeper; more focused, confident and dub-wise. Evoking the ancient cultural legacy of the griots, 'Walo Walo' is also the name of the sabar rhythm underlying the opener, which features Ibou Mbaye's percussive synth-work, Mangone Ndiaye Dieng's kit-drumming, and Bada Seck's rigorous jolts of lower-pitched Thiol drum. The 'Groove' version is tough as nails; well and truly gnarly.

A tribute to the Baye Fall leader, 'Ndiguel Groove' is a sparse, mellow interpretation of the most traditional cut on the album, showcasing Assane Ndoye Cisse's insinuating guitar lines, Laye Lo's super-elasticated snare-drumming, and Bada Seck playing the khine drums associated with the Baye Fall. Short and wide; lightweight but low-pitched. Pretty awesome. Five years in, with two acclaimed albums and dozens of international performances, Mark Ernestus' Ndagga Rhythm Force announces Yermande, a new phase for this Dakar?

Berlin collaboration. I took more freedom in reducing and editing audio tracks, changing MIDI data, replacing synth sounds and introducing electronic drum samples. Lethally it plays a clipped, percussive venom and thumping bass against the soaring, open? The drumming is unpredictable, exclamatory, zinging with life. Likewise the production: intuitive and fresh but utterly attentive, limber but hefty. Born into the Momori griot clan in Tivaouane, Mbene moved to Pikine on the outskirts of Dakar, where Ndongo Lo was first to invite her to sing at lamb events. Here she pays homage to all the popular fighters of recent times.

Cherish a woman. Respect a woman's dignity. Look after the people who were there when you had nothing. Leave people alone and let them go their own way. Peter Ruzicka composed the works on Crossing The Border during three different creative periods. The cantata " Alongside the violin concerto " Inseln, Randlos" Islands, Edgeless and the orchestral piece " The cello concerto " With over world premieres since its founding and regular participation at numerous major festivals, the ensemble residing in Salzburg has meanwhile become indispensable on the world's great concert stages.

In the parts of this work, composed consecutively over the course of 23 years, he dedicates himself to three elements of the "Madrid Panel" ascribed to Bosch, which came to Spain via Philip II and is today preserved in the Museo del Prado. Organist, Christoph Maria Moosmann, talks about the recording: "The demands made by the Hieronymus Bosch Triptychon on the instrument are enormous: remote aliquots, two 32' registers, glockenspiel, mechanical stop action, a manual range up to C7 and a sound 'like an echo sounding from afar'.

In the case of live performances, the challenge lies in finding individual solutions according to the stop list and the acoustics of the venue, in order to come as close as possible to the sonic visions of the work. For the present recording, the interpreter was interested in finding instruments with which the instructions in the score could be realized as literally as possible.

The richness of their colors is immense. Thanks to precise synchronization, it was possible to more or less simultaneously access the three instruments and coordinate their respective expressive spectra ranging from trembling wind sounds to almost surreal, seemingly electronic sounds. Trio Transmitter plays current music, for and about the present day. Through a large number of preparations and expanded playing techniques, the three musicians coax highly differentiated and very personal sounds from their instruments.

The most varied objects, such as record players, megaphones and additional recordings, enrich the sonic possibilities, becoming integral parts of the compositions. An important factor in this is the collaboration with the composers, who are engaged in constant exchange with the ensemble even in the compositional process. Since its founding in , the Trio Transmitter has commissioned and premiered diverse compositions, receiving a furtherance prize of the Initiative New Music Berlin in Jang Hyun, T.

L's Sunrise Market is starry, glitchy and dubwise, with prowling-lion bass; Time Zone is more bare-bones and tumpin, with hissing echo and out percussion. On the flip, Memory Man inhales a lungful of Hashman and goes all monster-stomper, with slashing hi-hats and oiky bass; and Cloudface runs down his , with some rumbustious, farty-bottom acid. A diverse, deeply entertaining EP; a warmly recommended first release on this label to watch keenly. The A-side unearths two Canadian classics-in-waiting from Neo Image, with some dreamily broken garage and sparkling, heady ambience.

Florist and D Tiffany split the flip -- low-key, breakadawn shufflers. The recording debut of Slim Media Player, with two deep but not too deep club cuts, toeing the line between 'just about heady enough' and 'I'll play this one later when more people are here'. Electric Sound Broadcast kicks off the flip with a thoughtful tribute to his favorite recreational vehicle; and Khotin brings us ashore with a track referred to as the 'EP standout' by someone on the internet.

Parachute presents a reissue of art rock unit Starfuckers' legendary Sinistri LP, remastered and pressed on vinyl for the very first time since its original release in on Underground Records. Formed in , Starfuckers, an Italian avant-garde band primarily from the s, were considered to be a notable part of the experimental rock scene and one of the more "out there" acts during their active tenure.

Originally inspired by '80s post-Stooges noise and New York City no wave, Starfuckers eventually carved their path to their own distinctive sound by following in the footsteps of Iannis Xenakis, John Cage, Bruno Maderna and Karlheinz Stockhausen, all without ever abandoning their own attitude and raw personality. An incredibly important record, Sinistri feels just as fresh as it did in Appearing for the first time on Instagram in , Poorgrrrl is the culmination of the Miami based artist Tara Long's worst dreams and best nightmares.

As an online identity or IRL, Poorgrrrl challenges viewers and listeners with convoluted lyrics and a lo-fi "fuck it" demeanor. She presents an alternative personality to pop culture, appropriating it where she must.

She is on a quest to save Miami, her birthplace and home, from its own reputation, before it goes underwater. Her debut EP, Pitiparti, is a collection of her work so far. A spaced-out, six-minute live instrument phaser-laden excursion in to a dub nirvana which does smell like teen spirit Backed with a rawer dubbier mix. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes.

And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years. Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live At Robert Johnson. Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background.

After all, the LP is anything but shy, thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau, and even the album's instrumental cuts, featuring some clear nods to various eras of dance-pop, from the boogie-inflected funk of "Wake People" to the breakbeat techno of "Boilered" and the tweaky rave nostalgia of "Nordo. DJs will likely gravitate toward the darting strings of "Aska" and breezy vibes of "Farewell House," yet Adoldesscent isn't entirely focused on the dancefloor.

Dreamy opener "Ophmar" evokes the legacy of John Carpenter, while the crunchy "R-Mancer" offers up a sort of psychedelic synth freak-out. Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit.

More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways? PMG present an anthology of Ahmed Fakroun's work.

Manual Baila the Beautiful: A Memoir by Baila Markus

This self-titled anthology of songs from the late '70s is an altogether mellower affair. The grooves are slower and sweeter and Fakroun's multi-instrumentalist chops on the saz, mandol and darbouka drum really come to the fore. The album includes tracks from two of Ahmed's rarest and most sought-after 7 inches. Balearic-minded collectors will love the haunting flute runs in 'Awedny', produced by Tommy Vance, and 'Njoom Al Leyel'.

There's even a touch of lilting reggae on 'Falah' and 'Yu Hussad. On the flip side, a more familiar popcorn tempo with a terrific rendition of "I Really Really Love You". It is the first full-length Croatian Amor recording since 's The Wild Palms, a release that was made available on cassette for a single month, and only in exchange for a nude self-portrait.

Since the inception of the project, Croatian Amor has dealt with a mixture of fiction and reality, often using real events and places as a platform for a largely fictional play. Where there is playfulness, there is revelation. On Love Means Taking Action - without a doubt the project's strongest work to date - the effect of the perpetual collaging of information is keenly felt. Short, unnerving moments appear with slick familiarity. Voices repeat and quietly glitch through tonal shifts. Listeners are ushered along by the shuddering effect of the samples and field recordings on the pristine synthesis, with motifs and plot lines presented as quickly as they disintegrate.

Ali Wentworth. Naomi Holoch. A Woman Like That. Joan Larkin. Fairyland: A Memoir of My Father. Alysia Abbott. The Book of Virtue. Ken Bruen. Gay Men Don't Get Fat. Simon Doonan. What Remains. Karen Von Hahn. How Poetry Saved My Life.

Baila the Beautiful: A Memoir by Baila Markus

Amber Dawn. Our Young Man. Edmund White. Whatever Happened to Interracial Love? Kathleen Collins. Love Is Love. Maria Bello. Revenge of the Cootie Girls. Sparkle Hayter. Hypocrite in a Pouffy White Dress. Susan Jane Gilman. Love Is a Four-Letter Word. Michael Taeckens. Armistead Maupin. The Asylum. Kaylie Jones. Paris, Baby! Kirsten Lobe. Chicken Soup for the Soul Celebrates Sisters. Jack Canfield. Ask Me About My Divorce. Candace Walsh. Rayni Joan. The Joy of Doing Things Badly. Veronica Chambers.

Trying to Float. Nicolaia Rips. The Late Bloomer's Revolution. Amy Cohen. Loose Change: Three Women of the Sixties.

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Hitler Made Me a Jew. Nadia Gould. The End of San Francisco. Mattilda Bernstein Sycamore. Just Bad Timing. Christine Wild. A Girl Named Maria. Valerie S Kreutzer. Lily Tuck. Carolyn See. Little Money Street. Fernanda Eberstadt. Some of them retumed. With the help of relatives and support ffom the Joint JDC , they rebuilt their homes and their businesses.

Before the Holocaust, about Jews lived there. During Independent Lithuania, many Jews worked in trade, especially flax. Some worked in a local felt boots factory which employed woricers. A mechanical shoe factory had workers, and a stocking industry had 40 women workers. Twenty people were employed in the farm machines woritshop.

There were craftsmen, including 16 tailors and seamstresses, 42 shoemakers and needle-workers, 9 butchers, 11 bakers, 9 metalworkers, 1 carpenter, 4 watchmakers and a jeweler. There were 6 houses of worship including that of Hasidim, who had their own rabbi. Most of the synagogues were clustered around one courtyard the "shulhoif" , including the old shul, the new one, a kloiz belonging to the shoemakers and the Talmud Torah.

There was also the synagogue of the Mount "Bareg-shul" During Independent Lithuania, there were a few cheders, a small yeshiva and 3 schools. The Yavneh school, mn by Mrs. Bier, had 50 children. The Tarbut School, whose first principal was Y. Caspi, B. Aniksht and Bamch Vitchik. In the Yiddish school, the enrollment was students. There were also 2 large libraries, one Zionist and one Yiddish, and a drama club.

In the days of the Czars, Aniksht was one of the strong- holds of the Bund in Lithuania. The youth organizations included Shomer Hatzair, Betar and Maccabi. Gershon bar Ably Isserles from Lublin [his father was a community leader of the Council of the Lands. Gershon was the father of R.

Ably of Posevol]; R. Abraham Lichtenstein; R. Yakov bar Avraham of Emden; R. Eliahu of Ragula; R. Moshe- Eliahu [who gave his approval to the Vilna Talmud]; R. Avraham-Aaron Burstein; R. Shmuel-Avigdor Feivelson; R. Eliahu-Bar Shur; R. Avraham-Mordechai Vesler; and the last rabbi R. Public figures: Yisrael and Elhan Sheinsohn [died in Eretz Yisrael]; Abraham Mones-Horowitz [a student in Vlozhin]; Baruch-Yitzhak Chamah, [head of the yeshiva]; Pinchas Yabinsohn [head of the community council and founder of the bank]; Raphael Ackerman [secretary of the community council and one of the founders of the Peoples Bank]; Zev Feller, [a founder of the bank]; Dr.

Schumacher Jdoctor]; the Rappaport Family and the Diamants jmer- chants]. The family is from Panemune and Anilesht. This town of Anishok is not to be confused with Anishok Onislris , which is also called Anushishok. The latter is in Rakishok District. It says that the Antokol community was organized later than another neighboring community of Shnipishok. It had a code of cooperation with Vilna since at least and was put under the jurisdiction of Vilna in In , a Yiddish school of the Central Educational Committee was founded.

Surrounded by pine forested hills, the town is situated at the confluence of tfie Shventa River and is 15 miles from the rail station in Utian. Before World War I, 80 Jewish families about individuals lived there. The main source of income derived ffom a large Russian monastery. At that time there were no markets or fairs in the town. Before the Holocaust about Jews lived in the town. Those that remained eamed their living from small trade on market day, which was held each Monday, and from the biannual fairs.

Before World War II, there were 16 crafts- men, including: 2 tailors, a shoemaker, 5 butchers, 4 metalworkers, 3 carpenters. A few families engaged in agriculture. The one flour mill on the Shventa River belonged to a Jew. About half a mile away a steam-powered dairy was set up, as well as the first govemment fish store. In , an electric station was built there. The town had one beit midrash and two shtiblach. The rabbi did not receive a salary and made a living selling yeast, yeast-flour, etrogs, and other religious-related items.

There were several cheders in the town. Some of the children studied in Utian. Yehuda [a great rabbi from the second half of the nineteenth century. Chaim-Shimshon were killed in Kovno]; the last rabbi R. Yehuda Levine'. Africa, The Rakishker Lands- manschaft, edited by M. Bakalczuk-Felin, in Yiddish. The town is surrounded by forests, and nearby is a lovely lake.

The land of the town belonged to Count Komer. Plot holders paid him a lease fee. Jews began to settle there at the beginning of the nine- teenth century. Before World War 1, there were 80 Jewish families. They traded in horses and work animals and worked in crafts. There were 14 Jewish craftsmen, including 5 tailors, 4 shoemakers, 2 butchers, 2 bakers. They did most of their business on Sundays and Christian holidays. In , some of them retumed but found the town plun- dered and destroyed. Also, the town was cut off from Latvia, and their sources of income declined.

Most of these people settled in Rakishok and Kovno. A considerable number of the youth emigrated to different countries. The Jewish community dwindled until in there were 24 families about people. There were both Hasidim and Mitnagdim in the town. Each had separate synagogues. There were several cheders. Among the better-known teachers was Bynosh Balak. A number of students attended the Lithuanian pre-gymnasia in the town. Yisrael-Isser Klatzkin; R. Avraham Popel; R. Natives: Yehoshua Bodsohn [writer]; R.

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Popel; Hirsh Lakart. Note: this town is not to be confused with Anishok on the Polish-Lithuanian border. Jews lived there before World War I. Before World War I it had a Jewish settlement. It is located at the mouth of the Avanteki River, a tributary of the Shventa River. During Independent Lithuania, it was in Utian District. The popula- tion of the town was , a considerable number of whom were Jewish. At the outbreak of the Holocaust, about 30 Jewish families lived there. It was one of the early settlements in Lithuania and is noted in an historical document firom the year In , the Jewish population was In World War I, the town was destroyed.

All the Jews were expelled from the town in After the War, some of them retumed and reestablished themselves. The Jewish population in was Before the Holocaust, it was approximately The Jews engaged in small business and crafts. The majority were shopkeepers and a few flax, wood, chicken and large animal merchants, whose products were exported.

Market day was Thursday. There were 2 large fairs each year. Jews owned 2 flour mills on the river and a brick kiln in the suburb of Chekenova. There was also a liquor and brandy industry. There were 3 beit midrashes and a synagogue. Pupils from the nearby towns came to study. Among the charitable institutions were Linat Hazedek, Gemilot Hasidism and a charitable fund used for permanent support of the poor and for giving anonymously to beggars. Before the Holocaust, about 70 boys were studying in the Hebrew school and 20 boys in the cheder.

Moshe-Mordechai [son of Menahem Katzenellenbogen] ; R. Eliahu [son of Yakov firom Ragula, also called Kalisher]; R. He was the author of Mishnat R. Binyamin]; R. Avraham-Ever Yaffe; R. Yosef-Benzion Friedman. Ayragula excelled in great Torah scholars, among whom were rabbis and heads of yeshivas, including R. Moshe [head of the Mylis Yeshiva in Vilna]; R. Yehoshua Cohen [head of a yeshiva in Minsk]; and R.

Avraham Rozing [a rabbi in the Ukraine]; R. Shmuel Rappaport [in Springfield] ; R. Boaz Kagan; and R. Zvi-Yehoshua Stern. Yakov-Meir; R. Yakov Kastin [author of a responsa "Mishpatai Yakov"].

A Memoir by Baila Markus

Some Jews lived there before the Holocaust. In , Stanislas Poniatovsky granted it the privilege to conduct fairs. In , the town received the rights of a city, although it actually did not tum into a city. In , it was captured from the Russians by Polish rebels. The land on which the town was situated belonged to Count Komar. Jewish settlement began in the first part of the nineteenth century. After the War, 8 families retumed. Six of them rebuilt houses near the train station. There were a few Jewish families living in the town just prior to the Holocaust.

The Jews made their livelihood from small-scale trade, peddling, gardening and small vegetable gardens. The cemetery was not in the town, but located at Grinkishok. Baisigola was at one time well-known in the Jewish world for its rabbis and native sons. Aaron Bakesht; R.

Yisrael- Benjamin-Bendt Feivelson; and the last rabbi, R. Moshe-Haim Mirvish [a rabbi in Capetown]. It is situated on the banks of the Nieman River and within an area of pine and oak forests. It is 11 miles from the Alyta train station. In , a Catholic Church was located at the site. Beside it an agricultural plantation was established. In the sixteenth century, Germans settled on the site. During the Polish Revolt of , the Russians confiscated the estate, but in retumed it to the daughters of Count Tishkevitz.

The town became an important commercial center for a large and rich area. Merchants with connections in Leipzig and other German cities traded in lumber. During Indepen- dent Lithuania, flour mills and factories for alcohol, parquet, fumiture, linens and shoe soles were operating. There were 2 market days each week and 3 fairs during the year.

During Independent Lithuania, the economic importance of the town declined. When roads and rail lines were con- stmcted, commerce moved to Alyta and Pren. The movement of goods on the Nieman River declined. Only trade in grain and poultry remained in local hands. The Jewish settlement in Balbirishuk was among the earliest in Lithuania.

There was an "old" Jewish cemetery, and also a "new" Jewish cemetery established at the begin- ning of the nineteenth century. In , the number declined to individuals. Before the Holocaust, there were Jewish families about people. Trade was concentrated in Jewish hands. Non-Jews primarily worked in factories and crafts. Only a small number of craftsmen were Jews. The economic decline forced the Jews to leave the town. Aliyah to Eretz Yisrael began in By , 53 Jews from tlie town had made aliyah.

The town had a synagogue and a beit midrash. There existed the charitable organizations Linat Hazedek and Ezra. The Tarbut School had pupils. The public figures and leaders in the social, economic and cultural life of the town included Tuvia Cohen-Zedek [head of the community council]; Aaron-Yitzhak Teshami [principal of the school; Abba Frank; Michael Teshizikovsky; R. Ephraim Gabbai [distinguished educator and great com- mentator]; R. Haim-Yirmayahu Plansberg; R. Eliezer-Yitzhak Algazi; R.

Bamch Grosbard; R. Eliahu Fink; R. Natives: Gabriel Feinberg; R. Yehoshua [a student of R. Yitzhak Feinberg [ ; physician]. Three hundred years ago, a large community of Jews lived there. In there were 87 Jews living in the town. Some were engaged in agriculture. Economic conditions were difficult and most of the Jews went to Eretz Yisrael. Before the Holocaust, only 6 Jewish families were left in the town. Before World War I, it had a Jewish settlement. A train station was about 2 miles distant. Before World War I, there were about 50 Jewish families there, making a living firom trade with Germany.

In March , the Jews of the town were expelled in half an hour following the libelous accusation of a plot by Jews to throw a cat into a well in order to poison the Chris- tians. During Independent Lithuania, there were about Jews in Batuk out of a general population of In the town was the Baziliani monastery. Before World War I, there were 4 large annual fairs. On market days, hundred of farmers ffom the area would arrive in Bazilian. The town had tanning factories and a brick factory. After the opening of the Shavli-Telz railway, its importance declined.

Before World War I, the town had 45 Jewish families. In , only 15 remained. A few went to Palestine. In the beit midrash and school there were 25 pupils. Israel Shulman rabbi in Bazilian in the beginning of the century; served there for 13 years]. The closest train station was at Lidovian, 19 miles away. It served as an administrative center for the region. It was an early settlement.

In the 17th and 18th centuries, it suffered ffom wars in the region. In , battles with the Swedes occurred in the area. They held them up to the time of the Holocaust. Berel Vinik had one in Zatzisia. It was a summer resort on the shores of the Nieman River. The town is situated in a very beautiful setting with pine forests and mineral springs.

Vitovt , Grand Duke of Lithuania, visited there with his family. In the winter of , Prince Kazimir-Jagello vacationed there when he left his capital because of the danger of the plague. In the middle of the nineteenth century, people began to use the mineral springs for cures. Two estate owners Bartoshavitz and later Ignas Kvinta developed the location as a health spa. In , the officials of the Czar forbade Jews to live in Birshtan, but the ban was lifted in In , ownership passed to Mrs.

Miller-Kochnovsky, who rebuilt it. A guest house and a convalescent home were opened for guests from Russia, who came to drink the spring water and bathe in the Biruta Springs.

The town was far from the railway. During Independent Lithuania, transportation to Kovno was by automobile. In , the Govemment of Lithuania nationalized Birshtan and leased it to the Lithuanian Red Cross, which put up various medical institutions. The town had only a few Jewish families living there on a permanent basis. While Jews owned inns, guest houses, restaurants and shops there, most of them only lived there in the summer. The city is located on the banks of the Amalna and Afushta Rivers. In the rivers are 4 islands. On one of the islands, a palace existed in the sixteenth century. Napoleon was know to have stayed there.

The forested landscape is beautiful, making it a city of special beauty. Birzh was founded in the fifteenth century. From the end of the sixteenth centuiy, it served as the capital city of Princess Radzivill. These rights were renewed by King Wladislaw IV in the year The Radzivills were followers of the Reformation and used the city as a fortress for this movement. The town suffered in the 17th and 18th centuries from the wars between the Swedes and the Russians. It became part of the estate of the House of Tishkevitz. In , the French Army passed through it on its way to Riga.

During Czarist rule, the city was in Pone- vezh District. In , the city had people and homes, two of which were brick. In , a large fire engulfed the town and destroyed over 50 buildings. In , the population reached During World War I, the Germans conquered the town, destroying quite a few buildings. The Germans laid a narrow train track which connected the town with Shavli. This later helped the town develop. During Independent Lithuania, the city began to expand. Hundreds of new homes were built. By , brick homes and new wooden homes had been erected.

Twen- ty-eight new streets were opened. The city had residents and became an administrative center of the district. Jews began to settle in Birzh in the seventeenth century. They were invited to come by the Prince of the House of Radzivill who wanted to foster economic development. He promised them protection from their neighbors. Various documents from and mention Jews settling there and receiving the rights of settlement. In the days of the "Lithuanian Jewish Council," Birzh was one of three district cities along with Keidan and Vizhon in the northem circuit , in the Zhamot Region.

See also reference under Keidan. Birzh had authority over the records for the communities of Posvol, Salat, Shatt, Pumpian, and Pokroi. A decision of the Council of Slutsk in 1 76 1 has come down to us regarding the raising of head-tax for the District of Birzh. The Karaite settlement, which predated rabbinical Jews in the area, was mentioned in The Karaites lived on two streets.

They had their own synagogue and cemetery.