No Depression #76: Surveying the Past, Present, and Future by Grant Alden, Peter Blackstock PDF

By Grant Alden, Peter Blackstock

From its debut in 1995 as a 32-page quarterly journal to its zenith ten years later as a 180-page bimonthly, No melancholy journal grew from humble beginnings. It grew to become the main well known e-book overlaying American roots track, ranging from the purpose the place nation mixed with rock 'n' roll and tracing the typical bonds via genres that come with bluegrass, people, blues, gospel, soul, jazz, indie, Cajun, conjunto, and past. alongside the best way, No melancholy grew to become said as one of many most interesting song magazines ever released, usually in comparison to the Sixties origins of Rolling Stone or the Nineteen Seventies heyday of Creem, receiving awards from the Utne Reader, ASCAP, and the overseas state song convention, and pointed out via the Chicago Tribune in 2004 as one of many nation's best 20 magazines in any classification. In early 2008, No melancholy introduced that its May-June factor, ND #75, will be its finale as a bimonthly journal. To push back the disappearance of No melancholy in print, the college of Texas Press stepped into the vacuum, arranging for a brand new semiannual ND ''bookazine'' to be released each one fall and spring. the 1st installment--to be referred to as No melancholy #76, reflecting continuity with the magazine's history--will be issued this autumn and should keep it up the publication's culture of remarkable long-form writing approximately significant and influential American roots musicians, in addition to caliber pictures and different components all provided through the photograph layout imprint of ND artwork director supply Alden. This book/magazine hybrid is basically groundbreaking territory in either one of these publishing worlds. Sharing the editorial imaginative and prescient for the bookazine could be Alden and Peter Blackstock, co-founders of No melancholy and its co-editors from the start. a few of the senior editors and contributing editors who assisted in shaping the voice and tone of the journal will give a contribution to the bookazine, so that it will characteristic solely new content material in each factor: not like ND's earlier undertaking with UT Press (2005's the easiest Of No melancholy: Writing approximately American Music), those are not anthologies of formerly released works, yet relatively solely clean creations each six months. should you enjoyed No melancholy journal, this can be the place it lives on, in print.

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She just got copies earlier in the day. She leaves tomorrow morning to go play a blues festival in Finland. She’s super-stoked. She and Gary grew up a block away from each other in Oak Hill on the southwest outskirts of Austin. She was the first to get a guitar, an acoustic when she turned 12. A year later she graduated to a Strat. Gary quickly followed suit with his own electric, and the two began figuring out and teaching each other as much as they could, all the while listening to the likes of Freddie King and Albert King and the Ramones.

I used to play shred guitar stuff,” he reveals. “I think there was an element of young-guy testosterone that bridged the gap between heavy metal and bluegrass. “It sounds ridiculous, but I honestly feel like the hot picking element, I was into that [same] sort of thing, just in a different style. ’” All of that, plus formal musical education at Berklee College of Music (where tendonitis forced Hall to switch from guitar to dobro, and where Pandolfi was the first ever banjo principal, though they weren’t there at the same time) and at South Plains College in Texas (where Garrett studied in the Bluegrass and Country Music program), contributes to the Stringdusters’ broad musical perspective.

Music and books — those are the two things that I really love the most. ” Growing up, Bulat learned to play piano — “when I was really little, I wanted to be a concert pianist,” she recalls — and in high school played upright bass as well as flute. That instrumental variety served her well when she started making her own music; not only has she continued to add to her own repertoire (in concert, she plays autoharp as well as acoustic guitar), but she tends to be broad-minded and innovative in terms of writing and arranging.

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