"Dog W/A Bone present the release of Charles Gaines's Manifestos 2. Charles Gaines is highly regarded as both a leading practitioner of conceptualism and an influential educator at the California Institute of the Arts (CalArts). Gaines is celebrated primarily for his photographs, drawings, and works on paper that investigates systems, cognition, and language. His early experiments examined the roles that systems and rule-based procedures play in the construction of forms, objects, and meaning. In creating Manifestos 2, Charles translated language from four influential speeches or manifestos into musical notation: Malcolm X's last public speech, made in 1965 in Detroit's Ford Auditorium; Peace, Power, Righteousness: An Indigenous Manifesto (1999), by Canadian Mohawk scholar and activist Taiaiake Alfred; Indocumentalismo Manifesto -- an Emerging Socio-Political Ideological Identity (2010), by Raúl Alcaraz and Daniel Carrillo; and the Declaration of the Rights of Woman and the Female Citizen, written by French activist and writer Olympe De Gougesin 1791. Establishing a relationship between the structures of language and music, Gaines has used a rule-based system, substituting each letter with its corresponding musical note (C, D, E, F, G, A, B) and treating each letter without an equivalent note as a silent musical rest. The scores were then arranged for multiple instruments by Los Angeles composer and Opera Povera director Sean Griffin. As a result, Manifestos 2 explores the ways in which the emotive properties of music affect the content of the manifestos and their interpretation. For the performance, Griffin conducted a nine-piece ensemble, bringing the scores to life. Composed by Charles Gaines; Arranged and conducted by Sean Griffin/Opera Povera. Manifestos 2 was recorded live at REDCAT Los Angeles, December 9th 2015. Personnel: Jonah Levy - trumpet; Joelle Lamarre- soprano; Richard Valitutto - piano; Alison Bjorkedal - harp; Emily Call - violin; Madeline Falcone - violin; Melinda Rice - viola; Betsy Rettig - cello; Scott Worthington - bass." -
Dog W/A Bone.
After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.
This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).
Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.
Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.
Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).
So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.
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