Saturday, December 3, 2016

Featured: Tom Phillips' Humument




Tom Phillips, A Humument
1st Revised Edition, 1987


Kid #1 was recently asking what the deal was with that Humument book. Here's a copy of the First revised edition of Tom Phillips seminal book. New edition coming out in January!



Wednesday, November 23, 2016

Closed For Thanksgiving




Brickbat will close at 2:30 on Wednesday, November 23rd. 
We will be closed Thanksgiving Day, Thursday, November 24th,
and will re-open Friday at 11am. Happy Holiday!


Tuesday, November 1, 2016

Event: Dovetail Down The House LAUNCH PARTY!




Saturday, Nov. 5th at 7pm
at
Brickbat Books:
Kallie Fallandays'
Dovetail Down The House
Book Launch

Dovetail Down The House LAUNCH PARTY!
http://burnsidereview.org/dovetail-down-the-house/

Kallie Falandays will be reading from her new book of poetry, "Dovetail Down The House"

Also reading will be:
Andres Cerpa
Colin Schmidt
Evan Gill Smith
Ariel Yelen

Praise for DOVETAIL DOWN THE HOUSE:
Dovetail Down the House
By Kallie Falandays
“I like the arrogant flick of love in these words. Tactile, muscled, and angry with desire, these poems reach for you. If you’re alone at the end of this book it’s because you dove from love’s edge and you have chosen your loneliness.”
—Emily Kendal Frey

“Techno-savvy though she is, Kallie Falandays loves paper (references to it frame Dovetail Down the House) but often it’s not poems on paper that remind me of her so much, but artwork: the fantastical, perspective-reorienting work of, say, Escher and Chagall. And from that intriguingly parallel universe, Falandays casts her eye back on our own, investigating the highs and lows of fever-heat passion so intensely, she could blister the wall paint off an Escher house and set Chagall’s winged goats and upside-down cows to dancing their hooves off. Watch out! ‘The wind./Coming to eat you.'”
—Albert Goldbarth

“This book tells me that letters on a page are the ghostly dust of one’s own body, ‘the opposite side of [one’s] skin.’ On these pages, an ocean bleeds its rain. On these pages, ‘we wolf the burn.’ When we flip one particular page’s table over, we can naughtily and hauntingly and sadly rub its legs. Dovetail Down the House is an essay on grief (in poems) and a haunted-house-opera (even though the book inquires about ‘the opposite of opera’) and a making of a lovely-as-lips body out of text, a zombie lover/a window in the mouth. Kallie Falandays writes, ‘Your face was dripping in my head all morning’ and I think that this is the most perfect articulation of grief and sadness and weight. And like Falandays, I deeply feel ‘the sadness of not being able to be nothing’ even as I revel in material reality: doorknobs and vampire movies and bedsheets and how ‘everyone everywhere is twirling their hair.'”
—Olivia Cronk

Wednesday, October 26, 2016

Event: Lyuba Yakimchuk




This Saturday, Oct 29th
at 7pm
at
Brickbat Books:
Lyuba Yakimchuk
(Ukraine, author of Apricots of Donbas)



Lyuba Yakimchuk, a Ukrainian poet, screenwriter and journalist, was born in Pervomaisk, Luhansk oblast, Ukraine. She is the author of several full-length poetry collections, including Like FASHION and Apricots of Donbas, and the film script for The Building of the Word.

Ms. Yakimchuk has received many literary awards, including the International Slavic Poetic Award, the Bohdan-Ihor Antonych Prize and the Smoloskyp Prize, three of Ukraine’s most prestigious awards for young poets. She is the winner of the International Literary Contest "Coronation of the Word". Her poems have appeared in journals in Ukraine, USA, Sweden, Germany, Poland, Israel, Lithuania, and Belarus. Her poems have been translated into English, Swedish, German, French, Polish, Hebrew, Slovak, Lithuanian, Slovenian, Belarusian and Russian, and her essays into English and Swedish.

She performs in a musical and poetic duet with the Ukrainian double bass player Mark Tokar; their projects include Apricots of Donbas and Women, Smoke, and Dangerous Things. Her poetry has been performed by the singer Mariana Sadovska (Cologne) and improvised by vocalist Olesya Zdorovetska (Dublin).

Lyuba Yakimchuk also works as a cultural manager. She organized the "Semenko Year" project (2012) dedicated to the Ukrainian futurist writer Mykahil’ Semenko, and was curator for the literary programs Cultural Forum "Donkult" (2015, Lviv) and Cultural Forum “GaliciaKult” (2016, Kharkiv).

She lives in Kyiv. 


Readings will be in both Ukrainian and English.

Related Links:

http://www.wordswithoutborders.org/contributor/lyuba-yakimchuk

http://harriman.columbia.edu/event/contemporary-ukrainian-literature-series-decomposition-lyuba-yakimchuk

http://starylev.com.ua/abrykosy-donbasu

https://abrykosy-donbasu.bandcamp.com/

Tuesday, September 13, 2016

Event: Mule Salon Poetry Tour with Justin Boening, Sarah Blake, Steven Kleinman & Elizabeth Scanlon



Friday, September 23rd at 7pm
at
Brickbat Books:
Mule Salon Poetry Tour


Enthusiasts of Philadelphia!

Meet up with Justin Boening as he moseys across the country in his VW Van (aka the Mule), reading from his debut, 'Not on the Last Day, but on the Very Last.'

In Philly, Boening joins raucous fellow thieves Sarah Blake, Steven Kleinman, and Elizabeth Scanlon, for a night of clarified confusion and wonderment!

Refreshments will be joining too!

7pm
Brickbat Books
709 S 4th St
Philadelphia, PA 19147

SARAH BLAKE is the author of Mr. West, an unauthorized lyric biography of Kanye West, out with Wesleyan University Press. Named After Death, her first chapbook, is forthcoming from Banango Editions with an illustrated companion workbook. Her poems have appeared in The Kenyon Review, The Los Angeles Review of Books, The Threepenny Review, and many others. She was awarded an NEA Literature Fellowship for poetry in 2013. She lives outside of Philadelphia with her husband and son.

JUSTIN BOENING is the winner of the National Poetry Series for his debut collection, Not on the Last Day, but on the Very Last. He is also a recipient of a Discovery/Boston Review Poetry Prize, a Bucknell University Stadler Fellowship, and a Poetry Society of America National Chapbook Fellowship for his chapbook, Self-Portrait as Missing Person. Boening’s poems have appeared in Boston Review, Copper Nickel, Kenyon Review Online, Los Angeles Review of Books Quarterly, and Narrative Magazine, among others. He’s a co-founding editor of Horsethief Books.

STEVEN KLEINMAN’s work has appeared in Devil’s Lake, The Collagist, Horsethief, and Hidden City Review. He lives in Philadelphia where he is a founding member of the Philadelphia Poetry Collaboration. He teaches at Drexel University and the Community College of Philadelphia and is the assistant editor at Saturnalia Books.

ELIZABETH SCANLON is the author of two chapbooks: The Brain Is Not the United States/The Brain Is the Ocean (The Head & The Hand Press, 2016) and Odd Regard (Ixnay Press, 2013). Her poems, for which she has received a Pushcart Prize, have appeared in many magazines including Boston Review, Ploughshares, Colorado Review, Crazyhorse, Poetry London, and others. She is the Editor of The American Poetry Review and lives in Philadelphia.

Tuesday, July 19, 2016

New Arrivals:Dust-to-Digital



Parchman Farm
Potographs And Field Recordings 1947-1959
hardcover book with 2 CDs, includes slipcase and foil stamping

"In 1947, ’48 and ’59, renowned folklorist Alan Lomax went behind the barbed wire into the Mississippi State Penitentiary at Parchman. Armed with a reel-to-reel tape deck—and, in 1959, a camera—Lomax documented as best an outsider could the stark and savage conditions of the prison farm, where the black inmates labored “from can’t to can’t,” chopping timber, clearing ground, and picking cotton for the state. They sang as they worked, keeping time with axes or hoes, adapting to their condition the slavery-time hollers that sustained their forbears and creating a new body of American song. Theirs was music, as Lomax wrote, that “testified to the love of truth and beauty which is a universal human trait.”
“A few strands of wire were all that separated the prison from adjoining plantations. Only the sight of an occasional armed guard or a barred window in one of the frame dormitories made one realize that this was a prison. The land produced the same crop; there was the same work for blacks to do on both sides of the fence. And there was no Delta black who was not aware of how easy it was for him to find himself on the wrong side of those few strands of barbed wire…. These songs are a vivid reminder of a system of social control and forced labor that has endured in the South for centuries, and I do not believe that the pattern of Southern life can be fundamentally reshaped until what lies behind these roaring, ironic choruses is understood.” — Alan Lomax, 1958
“Black prisoners in all the Southern agricultural prisons in the years of these recordings participated in two distinct musical traditions: free world (the blues, hollers, spirituals and other songs they sang outside and, when the situation permitted, sang inside as well) and the work-songs, which were specific to the prison situation, and the recordings in this album represent that complete range of material, which is one of the reasons this set is so important: it doesn’t just show this or that tradition within Parchman, but the range of musical traditions performed by black prisoners. I know of no other album that does that.” — Bruce Jackson, 2013








Olla Belle Reed And Southern Moutain Music
Hardcover with 2 CDs

Description: Hardcover, clothbound, 256-page book with 2 CDs of newly remastered audio recordings

"Dust-to-Digital is excited to present the first in-depth look at the life of Ola Belle Reed, a groundbreaking artist who is one of the all-time greatest performers of authentic, old-time music. Ola Belle Reed’s 1960s recordings, some of the earliest she ever made and available here for the very first time, are counter-balanced by a disc of modern-day field recordings of her descendants and those within her Appalachian community that she inspired. This deluxe edition highlights Ola Belle’s deep repertoire – folk ballads, minstrel songs, country standards, and originals – and traces the impact her music made and is still making today."

"In 1966, folklorist Henry Glassie traveled from Philadelphia to the town of Oxford, Pennsylvania to see Alex & Ola Belle and the New River Boys and Girls play their exciting brand of Southern mountain music live, on the air, in the back of the Campbell’s Corner general store.
Over the next two years, Glassie would record the deep repertoire of Ola Belle Reed – folk ballads, minstrel songs, country standards, and originals like “I’ve Endured,” penned by Ola Belle herself. Glassie also chronicled the remarkable story of the migration of communities from the Blue Ridge Mountains toward the Mason-Dixon Line prior to WWII.
Some four decades later, Maryland state folklorist Clifford Murphy struck out to discover if this rich musical tradition still existed in the small Maryland, Delaware, and Pennsylvania towns where it once flourished in 2009. Murphy, amazed by what he encountered, began making audio recordings to document the descendants of Ola Belle’s musical legacy. Ola Belle Reed died in 2002 yet her influence is still reverberating throughout old time and traditional music."



About Ola Belle Reed:
"Born to a musical family in the mountains of Ashe County, North Carolina in 1913, Ola Belle Reed became a prolific songwriter and performer. Known for her unique style of banjo playing and singing, Ola Belle Reed inspired many musicians throughout her life. Thirteen years after her death in 2002 yet her influence is still reverberating throughout old time and traditional music."  -Dust-to-Digital






Pictures Of Sound
1000 Years of Educed Audio: 980-1980
Hardcover with CD

Using modern technology, Patrick Feaster is on a mission to resurrect long-vanished voices and sounds—many of which were never intended to be revived.
Over the past thousand years, countless images have been created to depict sound in forms that theoretically could be “played” just as though they were modern sound recordings. Now, for the first time in history, this compilation uses innovative digital techniques to convert historic “pictures of sound” dating back as far as the Middle Ages directly into meaningful audio. It contains the world’s oldest known “sound recordings” in the sense of sound vibrations automatically recorded out of the air—the groundbreaking phonautograms recorded in Paris by Édouard-Léon Scott de Martinville in the 1850s and 1860s—as well as the oldest gramophone records available anywhere for listening today, including inventor Emile Berliner’s recitation of “Der Handschuh,” played back from an illustration in a magazine, which international news media recently proclaimed to be the oldest audible “record” in the tradition of 78s and vintage vinyl. Other highlights include the oldest known recording of identifiable words spoken in the English language (1878) and the world’s oldest surviving “trick recording” (1889). But Pictures of Sound pursues the thread even further into the past than that by “playing” everything from medieval music manuscripts to historic telegrams, and from seventeenth-century barrel organ programs to eighteenth-century “notations” of Shakespearean recitation.
In short, this isn’t just another collection of historical audio—it redefines what “historical audio” is. -Dust-to-Digital




John Fahey
Your Past Comes Back To Haunt You: The Fonotone Years 1958-1965

"As with all histories, context and an appreciation for the times are essential. In 1958, when the earliest of these recordings were made there were probably no more than a handful of reissues of pre-war country blues 78s available on record in the United States. The long-playing 33 1/3 record was, itself, only a recent invention. Today, with hundreds, perhaps thousands, of pre-war blues and hillbilly reissues available and in print, when it’s possible to walk into any halfway decent record store (to the extent record stores, halfway decent or otherwise, still exist) and find the complete recordings of Charley Patton or Blind Willie Johnson, it may be difficult to comprehend just how obscure and how otherworldly this music once was." — Glenn Jones, from the Introduction toYour Past Comes Back to Haunt You





Opika Pende
Africa At 78 RPM: Recordings from 1909-1960s 
Book and 4 CDs in slipcase

From the Introduction to Opika Pende:
"It is truly astonishing to consider the tremendous variety of music that was pressed to shellac discs on the continent of Africa. Popular songs, topical songs, work songs, comic songs, songs of worship, ritual, dance, and praise—the sheer range of musical styles resists any easy categorization. Further, African geography itself resists boundaries. The boundaries of cultures and languages are often far more complex than political boundaries. Complicating things further, entire countries seem to have been skipped over by both commercial 78 rpm record companies and ethnographers during the 78 rpm era. No doubt it was the same with many cultures. But that doesn’t mean that 78s weren’t everywhere, even in remote parts of the continent. By the mid-1960s, 78s were still a popular if not preferred medium in much of Africa, as a significant amount of the population still used wind-up gramophone players.
I have created this compilation with one simple goal in mind: to showcase a diverse amount of long-forgotten music from Africa that transports me as a listener. It is one person’s offering of music that is wholly unavailable except in its original elusive and fragile format. While it is not definitive, nor am I attempting to construct or invent a narrative, there are important connections to be made. Around one musical corner is another corner, and another. Within these 100 tracks, traditional music stands side by side with popular music as traditional culture coexists with so-called modernity. As a non-African, I offer this set as an example of the riches that lay in waiting when considering the tens of thousands of phenomenal African 78 rpm discs that were issued, played, dispersed, and in large part, forgotten."
“Opika Pende,” is a saying in the Lingala language that means “be strong” or “stand firm.” It can also mean “resist.” — Jonathan Ward, 2011





These books, and thousands of others, can be purchased from:

Brickbat Books
709 South Fourth Street
Philadelphia, PA 19147

215 592 1207

Open:
Tuesday: thru Saturday, 11am to 7pm
Sunday: 11am to 6pm
Closed Monday
 

Wednesday, July 6, 2016

The Air Is On!



The a/c is on all day, 11am to 7pm, Tuesday thru Sunday.

Saturday, July 2, 2016

Brickbat Closed July 3rd & 4th!



Brickbat will be closed Sunday, July 3rd & Monday July 4th. We will reopen Tuesday, July 5th at 11am.
Happy holiday!

Saturday, June 25, 2016

Event: C Joynes & Jesse Sparhawk



This Tuesday, June 28 at 8 pm

at

Brickbat Books

C Joynes  & Jesse Sparhawk



 

C Joynes (solo guitar) / Jesse Sparkhawk (solo harp)

Facebook Event Link

(by Donation)

C Joynes

First US tour for elusive British guitarist, June 2016

C Joynes is one of the UK’s most inventive and highly regarded solo guitarists. Over the last 10 years he has recorded a string of acclaimed albums exploring the fault-lines between traditional music, field-recordings from around the world, free improv and lo-fi experimentalism. His most recent album, ‘Split Electric’ (2016), a collaboration with Nick Jonah Davis, finds him blending the brittle ringing tones of electric folk with overdriven garage blues throw-downs and lumbering muddy-booted psychedelia. This is his first US tour.

“An inheritor to Davy Graham; a lone operator prone to unexpected collaborations, with a repertoire that crosses continents and timezones with consummate ease, and dashed off with a phenomenal, yet lightly applied technique.” ROB YOUNG, THE WIRE

“As much Conlon Nancarrow and Ali Farka Toure as Blind Lemon Jefferson, the compositional mind at work here can take apparently disparate threads of modernism and ethnic tradition and treat them as though they were all archaic blues styles learnt from dusty 78s.” BRUCE RUSSELL, THE WIRE

“His epigrammatic re-castings and re-readings of widely-travelled folk melodies and rhythms from a variety of traditions suggest shared memories that might be intensely universal while seeming strangely out of reach.” KEVIN MACNEIL BROWN, DUSTED MAGAZINE


Audio

https://soundcloud.com/cwkjoynes1/triennale-new-peasant-shirt


Video

Electric: https://www.youtube.com/watch?v=xWDbO40_a00

Acoustic: https://www.youtube.com/watch?v=NrlklaghCnM


Weblinks

http://cjoynes.tumblr.com/

http://cjoynes.bandcamp.com/

https://www.facebook.com/pages/C-Joynes/267434943288582


 
 
Jesse Sparhawk

Jesse Sparhawk is a multiinstrumentalist, composer, and improviser whose instruments include harp, guitar, and electric bass. His harp study began at the age of 10 with then recently retired principal harpist of the New York Philharmonic, Myor Rosen, as well as with the head of the harp department of Eastman School of Music, Kathleen Bride. Sparhawk has over 40 recording credits to his name performing various instruments with many solo performers and groups, is a regular member of the psych/folk group Fern Knight, and has recorded and performed with acclaimed producer Tony Visconti.

jessesparhawk.bandcamp.com/