With the boulder bearing the image of an eagle in flight lording over it, the annual Eagle Rock Music Festival celebrates 15 years on Saturday by taking over the neighborhood’s business district. Featuring multiple stages, the day-long party will echo through the hills of Northeast Los Angeles with experimental electronic and ambient music, Americana, rock, global bass, jazz, blues and punk, as well as food and family-centered action. It’s an impressive and adventurous roster, featuring artists Bosnian Rainbows, Poolside, Boardwalk, Nguzunguzu, Dub Club and a few dozen others, and presents evidence of the vibrant music community that has blossomed in the area. Over the span of the festival’s life, Eagle Rock and its sister neighborhoods Highland Park and Atwater Village have become independent music havens, home to labels including Friends of Friends, Innovative Leisure, Stones Throw, Now-Again, Alpha Pup, Brainfeeder and others. Studios and indie biz offices dot corners, and no fewer than four fantastic record stores sell choice, expertly curated music. RELATED: The 10 Commandments of smartphone use during concerts Perhaps most important for the area’s long-term prospects, the proceeds from the festival will help fund the Center for the Arts, Eagle Rock, a nonprofit space near the corner of Eagle Rock and Colorado that programs art camps, after-school classes, workshops — one on the xylophone begins on Oct. 14 (!) — and concerts. Its mission is to ensure that the area remains an arts hub for generations to come. The space has long been utilized by taste-making promoters FYF for innovative gigs and represents the area’s dominant population with evenings of Latin American-focused music. Friday night, for example, the center will host the monthly “Noches de Trova,” which features Mexican and Latin American singer-songwriters drawing on bolero, ranchera, country, jazz, folk and blues music. Saturday’s music festival roster is all over the place. Those looking for heavy rhythm should note Nguzunguzu, whose tracks are typified by tribal, polyglot beats and psychedelic washes of synthetics. The smoother-grooved duo Poolside celebrates the more casual aspects of dance music, a team “inspired by California, mezcal, dancing, good food and friends.” The beguiling duo Boardwalk, which has an excellent new album out on Stones Throw, promises to be a highlight. INTERACTIVE: A festival for every fan SoCal’s yearly sonic lineup The biggest influx of fans will no doubt arrive for Bosnian Rainbows, though. The group was formed by At the Drive In and Mars Volta guitarist Omar Rodriguez-Lopez, and his devoted followers are legion. Born as Rodriguez-Lopez went on hiatus from the Mars Volta, the Rainbows features the shockingly charismatic lead singer Teri Gender Bender of Le Butcherettes.
Sinead O’Connor blasts Simon Cowell for ‘murder of music’; Annie Lennox slams music video ‘pornography’
His liner notes quoted one young crab picker who said, I dont go for that old-timey slavery s—. BRI Records nine albums often mixed field recordings with commercial recordings and occasionally featured the re-creation of music genres by original performers of traditional songs that had already disappeared from Virginias soundscape. Vaughan Webb , assistant director at the Blue Ridge Institute and Museum, said the focus of the Virginia Traditions recordings was on genres declining in popularity. The work songs album includes music recorded by famous musicologists and folklorists John Lomax and Alan Lomax , father and son. Lornells work for BRI Records yielded, along with contributions to other collections, albums titled Western Piedmont Blues, Non-Blues Secular Black Music, Tidewater Blues and Early Roanoke Country Radio. The Non-Blues Secular Black Music album, issued in 1978, was BRI Records first release. The album includes ballads, dance tunes and lyric songs. Webb said that even though the banjo has African roots, black banjo players and fiddle players were becoming scarce as hens teeth when Lornell did field recordings for the album. Webb completed field recordings for the Southwest Virginia Blues album, and his liner notes were nominated for a Grammy award in 1988. The album features bluesman James Henry Crip Diggs on vocal and guitar singing Poor Boy Long Way From Home. The liner notes reference a Feb. 16, 1955, article in The Roanoke Times and World-News that reported Diggs had been arrested for robbery and sang Hearts of Stone to investigating officers. And when he was acquitted one week later, the notes report, Diggs played guitar and serenaded detectives with Let Me Go, Lover. Jeff Place is an archivist for the Smithsonian Institutions Center for Folklife and Cultural Heritage. Place said he has known Roddy Moore for a long time and that a casual conversation several years ago eventually led to the embrace of BRI Records by Smithsonian Folkways Recordings. Place said the BRI recordings and accompanying liner notes were a good fit for the national museums nonprofit record label. Moore agreed. We wanted this material to be available to the great-grandchildren of the people we recorded, and we knew the Folkways label would ensure this would be true, he said. BRIs Virginia Traditions albums also included Blue Ridge Piano Styles, Ballads from British Tradition and Native Virginia Ballads and Songs. Hinson said he celebrates BRI Records contribution to preserving and documenting vernacular music and Smithsonian Folkways decision to include that work in its catalog.
Virginia music preserved in history
icons took jabs at the music industry, petty judges on singing reality competitions and the hypersexualized music videos bombarding audiences today. By Chiderah Monde / NEW YORK DAILY NEWS Sunday, October 6, 2013, 12:22 PM Comment Sinead O’Connor name-checked Simon Cowell as a murderer of music in a new interview, following her Miley Cyrus open letter rants. After Sinead O’Connor ripped Miley Cyrus and the music industry for promoting “prostitution,” the Irish singer got even more specific with the name droppingrailing music executives like Simon Cowell for their hand in what she considers the “murder” of music. “I feel sorry for the murder of music and rock ‘n’ roll,” O’Connor, 47, said in an interview with Ireland’s “Late Late Show,” according to E! News. RELATED: SINEAD O’CONNOR FIRES BACK AT MILEY CYRUS AGAIN “Because of Simon Cowell, (and others, like TV music judge) Louis Walsh. It all amounts to the murder of music.” The “Nothing Compares 2 U” singer caused a stir after posting an open letter to Cyrus , 20, on her website, cautioning her not to become a “prostitute” of the music industry. Vittorio Zunino Celotto/Getty Images British singer Annie Lennox also slammed new music videos from young female singers as pornography. In the lengthy post Thursday, O’Connor said Cyrus was perpetuating a sexist system in which music execs make money off of talented, but hyper-sexualized women. The motherly gesture wasn’t well received by the “We Can’t Stop” singer, thus igniting a back-and-forth between the two that O’Connor said is now “over.” RELATED: SINEAD OCONNOR TO MILEY CYRUS: DON’T LET THEM ‘PROSTITUTE’ YOU “There’s a certain alarm that needs to be rung and I know there are a lot of musicians around the country and around the world that will agree,” she continued in the TV interview. “The power of rock ‘n’ roll to change things, to move people, is being murdered by all this worship of fame, ‘Pop Idol,’ ‘X Factor,’ all this stuff.” RELATED: MILEY CYRUS HOSTS AND PERFORMS ON SNL The ‘No More I Love You’s’ singer didn’t name Rihanna, Miley Cyrus and Britney Spears in her Facebook rant, but alluded to their raunchy new videos as ‘new lows.’ Similarly, musician Annie Lennox appeared to second O’Connor’s concerns, speaking out against the “pornographic” music videos from female singers bombarding the Internet and television in a lengthy Facebook post. Without naming Rihanna, Miley Cyrus and Britney Spearswhose recently released music videos have warranted backlash for their racinessLennox, 58, wrote that she is “disturbed and dismayed” at the overt sexuality. RELATED: RIHANNA TWERKS, SWINGS AROUND STRIPPER POLE IN POUR IT UP MUSIC VIDEO “You know the ones I’m talking about,” she wrote. “It seems obvious that certain record companies are peddling highly styled pornography with musical accompaniment. As if the tidal wave of sexualised imagery wasn’t already bombarding impressionable young girls enough.” “It’s depressing to see how these performers are so eager to push this new level of low,” she added .