BUREAU of ARTS and CULTURE New York : MUSIC

What is Art ? What is a Classic ? What is Literature ? When is something all of the above ? Why is Rock & Roll Music so damn powerful to us ? It could be that great music tells a narrative just as convincingly as a short story, poem or novel. Sometimes it can even tell that story better. Case in point, Mick Jagger & Keith Richards Classic 1968 song entitled, "Sympathy for the Devil." Today, we look at the song, asking the question: Can Music Be Literature ? And If so, Why ?

The title of the song is, "Sympathy for The Devil." It sounds like a Novel from World War One by Somerset Maugham or a historical piece explaining the rise of fascism in Europe during the 1930s or even a poem by T. S. Elliot. The narrator of the story is a Faustian Mephisto or as he is known in Christo-Judeo belief: The Devil. Our story opens, following a fabulous drum solo, with a grand and eloquent self-introduction, "Please allow me to introduce myself, I'm a man of wealth and taste." He continues, "I've been around for a long, long year, stole many a man's soul to waste," explaining further, "I was around when Jesus Christ had his moment of doubt and pain." It is a devastating first meeting. The very prince of darkness himself is addressing the reader or in this case the listener. Lets put this into context. In 1968, the year this song was released, the world was in turmoil: Political Assassinations, Vietnam, Uprisings in France, Czechoslovakia, The Anti War Movement in America and a rising youth culture had recognized that evil could be anywhere and clearly, these were definitely historical times.

"Jagger and Richards tapped into the moment with aclear and present evils, but instead, reminds the listener that it was here before, it is here now, it will be here after."

Jagger and Richards tapped into the moment with a diabolical diatribe that does not turn away from the clear and present evils, but instead, reminds the listener that it was here before, it is here now, it will be here after. The story continues with a historical look backward, "Stuck around St. Petersburg when I saw it was a time for a change," referring to the Russian Revolution, "I killed the Czar and his ministers, Anastasia screamed in vain." The narration swiftly moves through time to World War II, "I rode a tank, held a general's rank, when the blitzkrieg raged and the bodies stank." Then after a chorus or two, entirely demolishes a hundred years of monarchy with the single line, "I watched with glee, while your kings and queens, fought for ten decades, for the gods they made." And then it peaks with the most devastating idea of the entire work, "I shouted out, "Who killed the Kennedy's ?" When after all, it was you and me." A shattering description that accuses the listener of committing murder: Astonishing. The devise of having a narrator speaking directly to his or her audience goes back as far as The Greek Tragedies and Shakespeare.

The same literary device was used a few years earlier in John Burgess', "A Clockwork Orange" which was later turned into the classic piece of cinema by director Stanley Kubrik. But here, Jagger and Richards put us face to face with the devil himself, presenting him as a man of power, a man of manners, a man of the world and simply a man who is very proud of his many accomplishments, however destructive they may be. The song lyrics take a slightly poetic turn, even in their maniacal aspects with the following phrase,"Just as every cop is a criminal and all the sinners saints. As heads is tails, just call me Lucifer, 'cause I'm in need of some restraint." Then after several chorus' including the echoing line, "Please to meet you, hope you guessed my name," a foreboding warning statement is pressed onto the listener with the final phrase, "So if you meet me, have some courtesy, have some sympathy, and some taste. Use all your well-learned politics or I'll lay your soul to waste." The listener is literally warned to not only respect the narrator, but to have some sympathy. Demanding respect for the dark side of our very nature. The song is a time capsule , a declaration of madness and a warning of future conflicts. It is a fine example of the use of language in creating effective storytelling. It's also simply a great song. But is it Literature with a capital "L" ? If so why ?

"The song is a time capsule, a declaration of madness and a warning of future conflicts. It is a fine example of the use of language in creating effective storytelling. It's also simply : a great song."

For one, it speaks to more than one generation, the story has lasted, at least so far, as an important tragedy of not only it's time, but the song is still currently played on radios stations around the world. In other words, the book is still in print. The play is still on broadway. The public is still interested. Two, the song literally helped to define the actual times with which it was written: The 1960s. It is one of the actual anthems of the period. It may be the most important of the brave literary works to be a part of The Rock & Roll song book ever. Three, it actually speaks to a larger historical context with it's many references to world events and it's ongoing and foreboding demands of a future disaster. The song and narrator lives on in it's very description of itself. Why does this make it Literature ? Well, it doesn't. What does make it Literature ? In my estimation, it is the employment of ideas, the minimum use of narrative, the poetic turns of lyricism, the audacious accusations of the storyteller and the ability to open the imagination to world events that existed prior to the songs invention. Good literature, good fiction, good poetry, good writing, do this for the reader. Good literature will utilize history, experience, tragedy. Good literature will challenge power, normalcy, self-righteousness. Good literature will demand, entertain and sometimes even accuse the reader of the very experiences that mankind has allowed to happen. The Holocaust, Slavery, Genocide, War, Murder and Acts of Cruelty: Who would think to offer these subjects in a Song ? Sympathy For The Devil is very heavy material. Jagger and Richards use their platform to discuss important issues of modernity and history in a way that indeed transports, elevates and activates the same devices used by great writers around the world and that is why this song is ultimately a great piece of fine Literature.

BUREAU MUSIC : SONGWRITING with THE MALLETT BROTHERS

In The Studio, at The Table, and On The Road with This Maine Family Band

BUREAU : What is the impetus, would you say, for writing a song ?

Luke: I like to think of the song itself as the impetus, or some part of that song. It can be a melody, a line, a title, a feeling or even a broader concept. When you're lucky an idea will stick with you, and start to snowball inside your head and you have no choice but to see it through, and hold on for the ride. These are the dust-like particles that artists, of any medium I think, seem to pluck right out of the air. The seeds of creativity. The songs don't come from a writer but through a writer, because all inspiration ultimately comes from something outside of ourselves. We are all filters for reality, whatever our medium of choice may be. The driving force behind any song, then, is to get it out of your own head. To finish it. It's kind of an irrational need that artistic minds share. Say there's a particular metaphoric line that gets stuck in your head like a grain of sand in an oyster. It rolls around and around in your head, getting bigger and growing layers, smoothing itself out until it's finished. They're not all pearls either, but I guess the pearl isn't the point so long as the grain of sand is gone. The real joy for myself comes from moving on to the next idea before it flutters away.

BUREAU : Give us an example of a song you have written and describe the real life circumstances, event and happenstance that inspired that tune ?

Luke: "Late Night In Austin" (http://youtu.be/_AhV74jl0wk), released as the first track on our 2015 release "Lights Along The River" is a song that blended experience and imagination. In March of 2013 we made our first trip out to Texas. SXSW was happening, and Texas being the heart and soul of so many of our musical heroes, it was a big deal for us to be there. We were at the Continental Club on a night off, a room which we would be honored to play on later tours, to see James Mcmurtry play a solo set in the Gallery upstairs. The first lines of "Late Night In Austin" are "One late night in Austin, saw an old man dancing by himself. He was drunk half to death, and I knew just how he felt." The tiny old man wore a battered fedora, a dirty suit but a suit none the less, and a pair of shiny dancing shoes. He was there to use them. It was like being in a movie, watching this odd and obviously very imbibed man spin, slide, and swing his arms around on a dance floor all of his own. The packed room became even more dense as the crowd parted before him. He mouthed the words to the songs, although he obviously didn't know them, and at times clenched his eyes closed, opened his mouth and silently screamed at the ceiling as if his performance was causing him pain. McMurtry is one of the greatest songwriters alive today, in my opinion, but after that night the image of the old gentleman was what had seared itself into my brain. It wasn't until 2 years later, on our 3rd trip to Texas I believe, that the song was finally given life. In 2 years I hadn't been able to shake the images of that night, and it was time to write it down. The second verse is more of a generalization, a sweeping idea of what Austin during SXSW feels like. Music everywhere, bands and fans, parties and high hopes. Some triumphs and some regrets I would have to imagine. The first verse brings me back to a specific moment, while the second conjures a general familiar feeling for me. I like being able to put these two different kinds of thought processes together.

BUREAU : Once a song has been put on paper, walk us through the process of bringing those words to your Band members ?

Luke : The process for each song is different, just as the process for every writer is different. As I said before, a song for me can grow out of a line, a melody, or a concept. Nearly all of my songs are brought to the band as a skeleton, or a shell, and I rely heavily on the guys in this band to make it a TMBB song. I think we're lucky to be in a group that works this way. We often come into rehearsal and say, "who's got secret songs? Who's got something new?" And often times that will lead to something more tangible by the end of the day. Maybe the most important step is bringing the idea to the stage, and letting it make it's final evolution in front of a crowd. One thing we take a lot of pride in is the live show, and that to me ultimately shows what the song was meant to become.

BUREAU : How long have you or your bandmates been writing original works and explain how The Band was originally formed ?

Luke: The Mallett Brothers Band began in late 2009, and we drew from every corner of the Portland Maine scene. Myself, Nick Leen and Nate Soule had recently come out of another project together, but it was the arrival of my brother Will to Portland that lit the fire. We had some song ideas, we had a vague direction we wanted to head stylistically, and we had no idea that this would become a driving force in our lives. Wally Wenzel and drummer Brian Higgins, who had also worked together on other projects, came into the picture shortly there after and from the very first rehearsal we were all hooked. There was a certain chemistry, and a sense of how much fun we could have immediately. Our first time on stage together cemented the deal. Though the line-up has changed over the last six years, the electrifying feeling of being on stage together hasn't changed a bit. As it stands today on stage you will see myself and my brother Will on most lead vocals and guitar, Nick Leen on bass and good vibes, Wally Wenzel on dobro telecaster and vocals, Adam Cogswell on drums, and Andrew Martelle on fiddle and mandolin. "Lights Along The River" also featured our childhood friend and Nashville native Matt Mills on pedal steele, banjo, guitar and vocals, as well as me and Will's little sister Molly on vocals and even our father (and intimidating songwriting magician himself) David Mallett, who just released his 17th studio album this month. We strive above all things to enjoy this thing that we have given ourselves completely over to. When you invest nearly all of your time, energy, heart and soul in something you better have fun while doing it. "Too much fun" has become our mantra.

BUREAU : Discuss the new music, the new tour and what has inspired the latest batch of songs.

Luke : While "Lights" was a collection of songs pulled largely from the road, the next project we have our eyes on will be a collection of Maine logging, fishing, and trapping songs from the 1800's. Will discovered a book in our mother's library of all these forgotten folk tunes from the very woods that we grew up in, and we've been setting the words to our own music. History is important to us, our home state of Maine is very important to us, and this next project combines these things with the music that is so important to us. A few of these have been working their way onto the setlist as of late, and the feeling of bringing these forgotten words back to life is amazing. We're excited to continue making music that captivates us as well as fans. No definite release plans as of yet. Look for some of these new tunes on the stage. Tour is never ending.

Mallettbrothersband.com

DAVID BOWIE: IS The Other Man

By Joshua Triliegi

David Bowie Is the most important contributor to Modern Rock and Roll. Many people forget that Bowie is actually the Godfather of Punk Rock and New Wave Music. That includes: The Sex Pistols, The Clash, Souxie, Gary Glitter & The Entire English New Wave invasion of the 80's. The big difference being that, he outlasted all of those who he had inspired. And to this day, he still puts out interesting, experimental Music. David Bowie is also the most influential contributor to Modern Rock & Roll, hands down. He is the original Chameleon.BOWIE is The Space man, The Thin White Duke, The Spider from Mars, The Cracked Actor, The Joker, The Glam-A-Rama, The Trusty Narrator of our Story, The Social Critic, The Sexual Seeker, The Man who Fell to Earth and so much more. Possibly the most daring and experimental performer in Rock and Roll ever, make that the most daring, most respected andthe most successful performer in Rock and Roll Music History.

Todays new music scene is entirely dependent on David Bowie's influence. Bowie alone brought back the return of : The Story, The Character, The Opera, The Entertainer, The Show, to Rock and Roll Music. He became his characters and then killed them off accordingly, like Mary Shelly and Doctor Frankenstein did with The Monster. Bowie's musical alignments with fellow performers like Iggy Pop, John Lennon and Mick Jagger are legendary. Bowie is really the Elvis of a new time and place. He speaks to more than one generation in our homes. The albums are still very much classics. They take us on a journey. They are mini novels. They are sensitive, brash, gentle and oddly scathing. The music is not dated because it was decades ahead to begin with and so we return to David Bowie year after year, decade after decade, again and again. Bowie personified life in London, Berlin, Japan, New York, Hollywood and then, finally, the entire World. In "Young Americans", Bowie told Americans more about ourselves than we would ever know before. Speaking directly to sexuality, politics, housewives, young men, young women and to all of us kids. He spoke and we listened, even Bing Crosby couldn't deny Bowie's influence.

There is so much yearning in Bowie's music, in his voice, in his lyrics, in his trembling statements about life, about love, about loss. He is connected with, on the one hand, Opera and on the other hand, Literature. And in the middle, is this very gentle and fierce performer who, when he grabs the microphone, and warms into the song, flinches his head, smiles, echoes & reinvents the performances as he goes along. When David Bowie gets into the performance, something quite magic happens, to us, to him, to the audience. David Bowie is elliptically responsible for the careers of film makers like David Lynch. Had Bowie not played The Elephant Man on Broadway, for recording breaking performances, in the 1970's, the play would not have been optioned and turned into a film, which launched the career of David Lynch. David Bowies foray into androgynous characters is also partly responsible for the rights of alternative lifestyles that are currently in the limelight at this time all around the world. His music invaded the toughest neighborhoods and even the toughest hoods in those 'hoods. Ziggy Stradust alone is possibly the most legendary music character to celebrate the beauty of Performance, Insanity and Displaced Heroism ever created by anyone ever. Its starts with " Ziggy played Guitar … " and then it ends with, "… Ziggy played Guitar." The bookends of Rock and Roll for The Modern Man: End of The Story. Well, at least until the Next David Bowie album.

BRUCE SPRINGSTEEN

By Joshua Triliegi for BUREAU of ARTS and CULTURE Magazine Network

Bruce Springsteen tells stories. He knits a good yarn. He knows how to handle the crowd. Like most artists, he was a few steps ahead of the audience. Looking back to his debut album, entitled, "Greetings from Asbury Park," it is now clear that, Bruce Springsteen is not just a great singer, performer and musician, Mr. Springsteen is that rare and individual voice, both on the stage and more importantly: on paper. He is a poet. When the world was still reeling from Vietnam, from the end of The Beatles, from the shadow of Richard Nixon and the slow, but steady death of the once powerful 1960s cultural revolution, this artist released an album that was miles and miles, ahead of his audience. On Jan 5th, 1973 Bruce Springsteen released an album that described life from a soldiers point of view. Broken, battered, torn and worn down. His songs described the streets in a tone and a pitch that has no sympathy for the devil. Bruce as narrator, introduces his cast of characters and their predicament, then he actually reaches into their lives, asking, hey pal, are you sure that's what you want to do ? "Hey gunner-man that's quicksand, that's quicksand, that ain't mud." While America was listening to Carly Simon's, "Your So Vain," a song written either about Warren Beatty or Henry Kissinger, and back up vocals by Mick Jagger: Springsteen was talking about life on the streets of America, not parties in The Hampton's. Roberta Flack was singing, "Killing Me Softly With His Song," Tony Orlando and Dawn were on the charts with, "Tie a Yellow Ribbon Round The Old Oak Tree," Maureen McGovern with, "The Morning After," Diana Ross with, "Touch me in The Morning," And Jim Croce with, "Time in a Bottle." Bruce Springsteen showed up like the character, Travis Bickle in Martin Scorsese's, "Taxi Driver." His characters had guts, bravado, sadness, sex appeal and the onlookers were mean spirited, "Did you see that guy hit with a thud ?" After years of working his way up, shaping his style from the earliest inspirations, some credited to his mother's love of pop music on the radio, others to his first view of Elvis Presley on television, to his time with bands such as, The Castiles, Earth, Steel Mill and eventually, his own. The many years of visiting Asbury Park, located just twenty minutes from the place of his birth, Freehold, New Jersey, during the glory days of rock and roll, where one could find great piano players, saxophone soloists and jam guitarists, of all sorts, ready to play all night, had begun to show an original and a distinctly American voice. He is clearly inspired by the films of Terence Malick and had he not persevered, he may have become another artist who only released a handful of great albums in the same way that Malick did films. It is well known that Bruce was blown away by the power of what Van Morrison was doing with back up soul singers, a large horn section, organ players and the full regalia that eventually becomes, what is now commonly known as the, "Bruce Springsteen and The E Street Band," sound. Part Rock and Roll, part Soul, part Rhythm and Blues, part Folk, part Gospel: Got any other parts ? It's a dragster, with dual manifolds, hopped up octane, candy coated paint job, pinstripes and more chrome than anyone could imagine, and yes, there is a naked lady in the front seat. Bruce is driving, sometimes recklessly. His people are not at all unlike the characters in, "American Graffiti," some will die in Vietnam, some will become bankers, some will marry farmers, most will barely struggle through middle age with kids, divorces and jobs that disappear, all are purely American. He's still out there. He's more powerful than ever. That is why, today, we honor the spirit of one of America's, and the World's, greatest living Rock & Roll Icons: Mr. Bruce Springsteen and The E Street Band.

Exit Music

Just in from Brooklyn. Exit Music played a dreamy, spiral in-drenched set of music that immediately took me out of the club as I hovered a good planet or two above the earthlings that surrounded the place. A quartet with a synth/keyboardist sharing some of the echo like bass with the stand up drummer , a Thurston Moore-ish Guitar player whom has a type of chemistry with his singer whom writes the songs. ' Draw a line and stand behind it ... ' one of the lyrics that reverbs through the mind. The vocalist has a Souxie and the Banshees style, but with her guitar partner a Sonic Youth-y bit and the synth adds a touch of Cat Power to the mix, or so said the fella in the parking lot after the set. I was still floating back down to earth, no strings attached, like a feather one sees floating down from a several story skyscraper, spiraling back to gravity. Certain music adds that euphoria -ish aftertaste, like a good liqueur, or an exhale of unblemished tobacco, Cuban or nor cal, or even just a drink of fresh water, it just feels good, it takes you there and you are relieved, quenched, a little stoned. Music can be that too.

Exit Music is mature vibe for such a young group. The Singer and Guitar player have been doing their thing since 2009 and the other fellows joined in a little more recently. Sometimes when a thing comes together so well, it can seem easy or simple or even elementary, but it is usually a lot more complicated, abstract and developed than one might realize, music is like this as well. Exit Music is making it look easy, but this is no two and two is four, this is trigonometry of the soul, it is a kind of rocket science of the mind, a nitro drift of the bloodstream . Meeting these bands and knowing that they will play much larger concerts in their future is a bit of an honor. One hopes they will have the stamina, health and wisdom to make it through the decades that lay a head. Its a long and winding road, as the song says so famously. Exit Music takes a deep and somewhat intellectual route. But have filtered it through a kind of Mazzy Star lens of sorts. One is left with a lot of feelings after this set of music. The kind of elation like vibe after a good jaunt. Its not an emotional work out as much as a hitchhiked ride in the back of a spaceship. Next stop Venus. Just have them drop you off around Saturn on the way back, and you will drift home from there. With a little Exit Music we enter into a new kinda zone. Getting back into the real world after hearing their songs is no easy task. Worth taking the long way home.

WEAREEXITMUSIC.COM

THE LONELY WILD : NOW ON TOUR

If Music Is A Healing Thing, Than I Just Took The Cure For The Monday Night Blues.It's Seldom That We Come Across A New Band, Whilst Walking Home From A Quiet Dinner At Our Favorite Local Eatery, But Thank God It Happens Every Decade Or So. The Last Time I Entered The Silver Lake Lounge , There Was An Unknown Young Poet Surrounded By Friends And Relatives,Singing In Strange Tones And A Wholly Original Style That Startled Me Into Remembering Her Name, Little Known At The Time: Mia Doi Todd.Later, She Recorded Scores Of Albums For Various Labels And Broke Through From A Local Talent To International Recognition. I Was Glad To See It Happen, I Had Heard That Potential.That Hasn't Happened Again, Until Last Night . When, As Usual My Neighborhood Bar Once Again Showcased A Great New Band With The Wonderful Name : The Lonely Wild . Almost Every Song Struck Me Somewhere In My Constitution. Most Right To The Heart.

Their Lead Singer Is A Great Lyricist And He's Backed By A Very Tight Drummer With A Keyboard & Bass Humbly Yet Energetically Keeping The Train On The Tracks , The Range Between Lead Singer & Back-Up Creates A Harmonic That At One Minute Will Make You Cry And Then Turn Around And Raise The Hair On The Back Of Your Head. There's Something Sweetly Haunting In These Stories Being Sung. I Found The Band To Have The Kind Of Radio Playability That's Not Embarrassingly Pop, But Deep, Lasting And Not Bad To Look At In Concert Either. They're Likable, But That's Just The Beginning. Each Song Unfolds Like An Old Lp Style Album, Its A Novel Being Told Through Song, And This Novel Speaks To Our Hearts.

They Are Songs We Know Somehow, Their About Us, And About Them. They're About The City And The Lonely Places We Go In Life. There Is A Happy - Sad That We Find In Great Works Of Art, The Kind We Want To Hear Over & Over Again. Like When Your In Love But Can't Figure Out What Exactly We Like About It. I Am Highly Recommending The Lonely Wild To Radio Dj's , Local Twitterers And To The World. This Is Music That Grabs You And Then Lets You Go, And Then Returns With A Gem Just When You Thought It Was Over. The Good Thing About Music Is, Its Never Over, Even When The Show Is Completed. The Charisma Between The Players , Which Perfectly Back Each Other Up Is Rare In A Band. Did I Mention That The Lead Singer Has A Passion And A Commitment To His Stories That Go Way Beyond The Comparisons Made By The Young Man Standing At The Back Of The Hall Whom Thought, ' They Sounded Like Arcade Fire '. Which Is A Compliment, But A Slightly Back Handed One . These Stories Have An Organic Quality, Hand Made But Ready For Mass Consumption. When I Asked The Fellow Behind Me If He Knew The Name Of The Band, He Said," No ", Like I Told Him In Return, " What We Don't Know Today, We Will Know Tomorrow." The Lonely Wild Proves The Point.

HTTP://WWW.THELONELYWILD.COM

ARCHIVED ARTICLE ORIGINALLY PUBLISHED IN 2013 COPYRIGHT JOSHUA TRILIEGI LOS ANGELES CALIFORNIA . U.S.A.

THE BUREAU ICON ESSAY

BOB DYLAN

By BUREAU OF ARTS AND CULTURE MAGAZINE EDITOR J. A. TRILIEGI

Bob Dylan transformed the idea of what it is to be hip, deep, cool, sexy, funny, ironic and intelligent, all the while, retaining a purist style that remained true to himself. Each step of the way, each level of transcendence, each pitfall, each breakthrough moment has it's challenges, it's problems, its rewards. Success in the creative field can mean as many things to as many performers, songwriters and those who fall in the center of the American spotlight of popularity. Few can survive it, even fewer are able to retain a sense of self and even protect that idea publicly. Dylan took the name of a poet, hopped on a bus, looked at America and told the world truths, that have to this day, remain truer and truer as time passes. The songs he wrote fifty years ago are more relevant now than ever, they will be more relevant in 100 years. The international press corp came at Dylan with the headlights on high beam. Instead of stare like a deer, he treated the alliance like a musketeer might approach a formal fencing match: Touché. The American Poet & wordsmith extraordinaire had become The Folkie, The Beatnik, The Rocker, The Philosopher, The Historian, The Cowboy, The Hermit, The Leader, The Champion of Underdogs, The Christian, The Anonymous, The Legend, The Icon and through it all, he's still Bob Dylan. An American guy from The Midwest who started with nothing but a blank piece of paper and a few ideas.

"For every title, there also came a group of admirers and detractors, who wanted something. They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself."

For every title, there also came a group of admirers and detractors, who wanted something. They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself. He has understood that selling albums, performing, having a contract to support the self expression is where it's at, and all the while, Dylan has offered us what he has. Critics through the years have expressions and titles and adjectives that glibly describe the various stages of Dylan's career: A Major Album, A Minor Album, Etc… His voice was laughable, compared to entertainers like Frank Sinatra, his stage presence was stiff, compared to singers such as Elvis Presley, his looks were nerdy, compared to performers like Johnny Cash and yet, he competed, sold millions of albums, and wrote anthems that have defined, to it's very core, what it is to Be : American. Bob Dylan is incomparable to other performers in the industry, he is an anomaly, he is the exception to the rule, there is no parallel story that can live up to Bob Dylan, so, please, don't even try. Today, we honor Bob Dylan, not for who you wanted him to be, not for what might have been, not for any ideas outside the realm of his oeuvre but, we honor him for what he actually is : The Great Independent American Artist.

Norman Seeff : The Ramones New York, 1977 © Norman Seeff Courtesy of Fahey/Klein Gallery, Miami

LET'S ROCK

Now Through JUNE 13, 2015

Rock & Roll Music has always been affiliated with the medium and Art of Photography. Performances only last a few minutes, hours or the duration of the current tour. Musicians found early on that the power of the image from last years tour could sell tickets and albums to next years tour and the fusion or marriage between the camera and the music was complete. Let's Rock, the current exhibit at Fahey / Klein's new Gallery in Miami, Florida takes us through the History of Modern Rock and Roll with photographs by the best in the biz. Including: Jim Marshall’s iconic shot of Johnny Cash flipping the bird, Barry Feinstein’s image of fans peering into the window of Bob Dylan’s limo, Frank Stefanko’s Bruce Springsteen at the beginning of his career and Harry Benson’s playful photograph of a Beatles’ pillow fight.

Led Zeppelin (In Front of Plane) New York, 1973 © Bob Gruen, Courtesy of Fahey/Klein Gallery, Miami

Lets Rock, is an important photographic exhibit because it balances the grit with the glamour, the guts with the glory and the guys with the gals in all that bare truth that Rock and Roll Music was originally meant to express. Lets not forget that this was a music in touch with it's anger, in touch with it's passion, in touch with it's feelings, it's roots, it's working class upbringing. Surely Mick Jagger is the face of the Stones, but without a working class pal such as Keith Richards, The Rolling Stones might just have been another Hermans Hermits. As Rock & Roll becomes more and more appropriated by millionaires, museums and extremely wealthy non profit entities, it may be a good time to remind them all, that Rock & Roll, belongs to The People. We saw these same trends with William Shakespeare, who originally wrote for the people and Classical greats such as Ludwig Van Beethoven.We The People Own Rock & Roll, we own Rap, we own Country, we own The Blues, we own Jazz. This is All Peoples Music, much of it originated in America, so then, we own America. Take pride in great music America, you made it happen. It's Yours : Lets Rock.

Norman Seeff Keith Richards Los Angeles 1972 Courtesy Fahey / Klein Gallery Miami

Gered Mankowitz : Jimi Hendrix (Classic), 1966 © Gered Mankowitz, Courtesy of Fahey/Klein Gallery, Miami

FAHEY / KLEIN GALLERY in MIAMI 4025 Northeast 2nd Avenue Second Floor Miami Florida 33137 U.S.A

On 2nd Avenue, between 40th and 41st St. In the Miami Design District. Across 2nd Ave from the newly established Institute of Contemporary Art, Miami. Fahey/Klein Gallery Miami is on the Second Floor of the Chrome Hearts building. Gallery Hours: Tuesday-Saturday, 11am – 7pm.

WELCOME To Literary 2016 Edition BUREAU of ARTS and CULTURE MAGAZINE. With The NOVELIST : Irvine WELSH This New Edition Contains The BUREAU ICON Essay on : John STEINBECK The BUREAU GUEST Visual Artist New YORK City PAINTER : Nathan WALSH Cinema: AMERICAN Director Hal ASHBY & The CLASSIC FILM "BEING THERE" ART Reviews: Emilie CLARK . Michael KAGAN . The Max GINSBURG LECTURE San FRANCSCO : Photographs Roman VISHNIAC . Bill GRAHAM at The CJM . The South West Photographic Essay Winner Rich HELMER Plus Diane ARBUS NEW FICTION ENCORE: They CALL IT The CITY of ANGELS Selected Chapters . INTERVIEWS: Sandy SKOGLUND . Shaun HUSTON on Library Comic BOOKS . MUSIC: The MALLET Brothers Band . Kehinde WILEY at The SEATTLE Museum Museums : Arizona . Oklahoma . San Francisco . ART By John MELLENCAMP . BOOKS : ALI & Malcolm X . SPRINGSTEEN . Literature by U.S. Military Veterans . The SEATTLE Photographic Essay and The FIVE Best Bookstores in BERKELEY LITERARY Events 2016 S.E.Hinton's The OUTSIDERS+WOMEN Writers RULE Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES

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WELCOME to The Spring 2016 Edition BUREAU of ARTS and CULTURE MAGAZINE. This New Edition Contains The BUREAU ICON Essay: BRUCE SPRINGSTEEN The BUREAU GUEST Artist from CANADA Painter and Sculptor Mr. Erik OLSON NEW Interviews + Photographic Essays with Three from The United Kingdom: Street Photographers Craig REILLY, Steve COLEMAN and Walter ROTHWELL. BUREAU Dance: Martha GRAHAM, Plus Mathilde GRAFSTROM : CENSORED German Muralist: Hendrik BEIKIRCH, The CLASSICAL Genius: Daniil TRIFONOV. BUREAU NEWS: David GANS on SUPREME COURT, Plus Mexico's DR.LAKRA Daniel GEORGAKAS on HOLLYWOOD BLACKLIST, The OSCARS and Spike LEE 2016, PHOTO ESSAYS: Stephen SOMERSTEIN at The FREEDOM MARCH of 1965, Alex HARRIS showcasing The Afro AMERICANS in North Carolina in The 1970s Artist Tristan EATON + The Post Modern Paintings Plus BUREAU Film: TRUMBO Reviews & New Online Articles All Year Round at The New BUREAU CITY SITES Across America an The World Through Internet. BUREAU is an Official MEDIA Partner for The ITALIAN Film Festival Plus Our Own BUREAU PHOTO Essays

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Contributing Photographers: Norman Seef, Kanayo Adibe, Elliott Landy, Ryan Schierling, Mike Miller, Lynn Saville, Melissa Ann Pinney, Herb Ritts, Alex Harris, Jack English, Gered Mankowitz, Bohnchang Koo, Natsumi Hayashi, Raymond Depardon, T. Enami, Dennis Stock, Dina Litovsky, Guillermo Cervera, Moises Saman, Cathleen Naundorf, Terry Richardson, Phil Stern, Dennis Morris, Henry Diltz, Steve Schapiro, Yousuf Karsh, Ellen Von Unwerth, William Claxton, Robin Holland, Andrew Moore, James Gabbard, Mary Ellen Mark, Melissa Ann Pinney, John Robert Rowlands, Brian Duffy, Robert Frank, Jon Lewis, Sven Hans, David Levinthal, Joshua White, Brian Forrest, Lorna Stovall, Elliott Erwitt, Rene Burri, Susan Wright, David Leventhal, Peter Van Agtmael & The Bureau Editor Joshua Triliegi.

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MORRISON HOTEL GALLERY

A world-class gallery with Classic Rock & Roll Images that tell the history of Music, here in the States and abroad. Jagger, Miles, Janis, Dylan, and of course Morrison & The Doors, to name a few. Although the catalog is centered in the Rock genre, there is also a strong representation of sports related images and photographers. Rep-ing over a hundred world class photographers. These days, art collectors, galleries and fans are finding new and creative ways to celebrate, sell and collect classic imagery. This gallery attracts a full turnout of interested & interesting talents, including: Julian Lennon, Gary Oldman, Billy Bob Thornton. With many of the stars in attendance being represented on the walls such as the great portrait of Billy Bob or actual photos of historical characters they have played on the screen, such as Gary Oldman' s star turn as Sid Vicious. Julian Lennon is actually curating shows from this galleries catalogue.

"Within music is a great meeting of the minds, hearts and ideas. Hollywood, the music scene, technology and the great all mighty dollar' s influence can never truly change what makes music great and that is simply: The Musicians. People just like you and I who happened to write a great phrase, a tune, a some thing or other that others felt was worth preserving."

It is refreshing to see how important these images of those we cherish & love have become. As the Music scene becomes more and more watered down, tame and politically correct, these images are a reminder that people make music. Real people, who write about life, love, loss, change, history, struggle and sometimes war and peace. Within music is a great meeting of the minds, hearts and ideas. Hollywood, the music scene, technology and the great all mighty dollar' s influence can never truly change what makes music great and that is simply: The Musicians. People just like you and I who happened to write a great phrase, a tune, a some thing or other that others felt was worth preserving. These images remind us that some of our favorite stars in Jazz and Rock & Roll were thrust into the lime light, some times unsuspecting, other times fully aware. Music is a time and a place, an ephemeral and transitory experience. The great art of the photograph reveals itself to be an extremely important component to what we now realize is a relatively impermanent and individual thing.

We may not have been in the room, on the road or at the studio with Bobby, Mick, Bowie or Sid, but we forever have a glimpse, a symbol, a record of a time that once was. On the one hand, all of this is history, on the other, here we all are, talking about projects, reflecting on people, yearning to make that connection between image, sound, the people and places that we deem important. Many of the performers in these photos are no longer with us. But when I see Miles Davis blowing on a trumpet, I can only feel that he never actually left us at all. I hear the music. I sense the cool. The wail / The pain / The joy / The suffering / The madness that it takes to dedicate your life to art. To go on tour, to leave one's family and friends behind, because you love some thing so damn much that ya got no choice but to play for the people. Life on the road is tough. Sure, there is the fun side, the parties, the fans and audience applause. But the sacrifice that goes into being a musician is most likely un-photographable. Many of the images represented here show the playful, passionate and professional side of life. Music has that special, undefinable ability to transport us to a time and a place that has long ago passed. The decades seem to disappear and suddenly there we are, once again, in the prime of our lives. One can' t help but think about, and study these photos a little deeper to realize that life is very precious and that every body, every where, whistles a tune they love or has a memory related to a favorite song. Through the magic of music we float above the mundane, the maudlin, the morose moments in life. Images and music will always have a relationship that retain a bit of mystery. In this instance, a bit of that mystery is revealed. The curtain is lifted, the stars shine and through it all, time and time again, the song remains the same.

image: Guest Artist Irby Pace Courtesy of Gallerie Urbane

SO MANY ROADS: THE LIFE AND TIMES OF THE GRATEFUL DEAD

By Joshua TRILIEGI

David Browne has written a grand opus of a book on, of all things, the greatest rock & roll accident that has ever occurred: The Grateful Dead. No other band in Rock & Roll history can be compared to 'The Dead,' as they have been commonly known by fans and professionals alike. From the early days in Palo Alto California to the later days across the entire world, Mr. Browne has fashioned an exhaustively researched book into an easily readable tome of sorts. The writer for Rolling Stone magazine has taken an original and interesting approach and given us a portrait of the band through a very straight forward concept that fits well with his style, his experience and his day job, writing about music in digestible amounts. Mr. Browne breaks down the careers and characters that make up the Dead, from start to finish, by simply creating complete and utter portraits of various days in the life of The Grateful Dead. Days in which Mr Browne felt that a significant window into the soul of the band could be glimpsed. It is a smart concept considering that Mr. Browne was not an insider. He did not tour with the band, so he was well aware that this book would not compare, nor did he wish to compete with the previous books which have preceded this fine piece of history. Through his research methods, which seem to be exemplary, without all the show off style that can sometimes leave a bitter taste in the reader, and his experience at Rolling Stone magazine, Browne takes us into the forming of the band, their many transformations and delivers portraits of each member with the greatest care and delicacy available. Its a complex story, told with an exacting style.

By the fifth page of The Prologue, the reader is hooked. I personally cannot think of a more easy reading style, chocked with so many actual facts, insights and observations in a very long, long time. Sometimes his acuity is just as strange and off the cuff as the formulas and elements that make up The Grateful Dead's original and one of a kind style of music. For instance, Jerry Garcia's early concerns and fears regarding the Cuban missile crisis in America is a real eye opener, which on first impression seems slightly heavy handed, but upon consideration of Garcia's age and experience, entirely fitting. Browne interviewed surviving members, had access to The Grateful Dead Archive in Santa Cruz as well as a multitude of interviews directly from his office job at Rolling Stone magazine. But he didn't stop there, apparently there has been more literature in connection with the Grateful Dead than one would ever imagine. From sources as diverse as Tom Wolf'e, Electric Kool - Aid Acid Test, written in 1968 to the source that broke Watergate, The Washington Post. Everyone has seemingly spent some time ruminating on the indescribable elements that make up the iconic sound that originated such classic pillars of Rock & Roll History like, Truckin', Casey Jones & Uncle John's Band. Mr. Browne has received attention previously for writing about, brace yourself: The 'Importance' of John Tesch. Lets not hold that against him, maybe, like The Grateful Dead, he was intoxicated or simply mixing and matching inspiration and improvisation. Either way, this author has delved deep down into the facts, the myths and the fiction surrounding Garcia and his band of bad boy compadre's and has surfaced with a nice read that newcomers as well as hardcore fans will surely dig. Mr. Brown has also written about: Sonic Youth, Jeff Buckley and James Taylor. As a writer who occasionally hitchhiked to and from preschool in Northern California, with my mom, and on more than one occasion received rides home from members of The Dead: I wholeheartedly approve of this book. Now available on Da Capo Press. Worth every dollar spent on the 482 pages it offers readers.

DaCapoPress.com RollingStone.com

Emoni Fela

Several years ago, at Sunset Junction Music Festival,I caught the last few songs of a lovely & powerfulAfrican American young lady with a mohawk. She has the vocal power of Tina Turner, the Rage of Nina Simone and the Rhythm of any number of wanna -beRock & Rollers, but she is no wanna - be. She is Emoni Fela . I was blown away by the raw power and properly channeled anger or angst or just plain honest communication that she is able to put forward in her songs, lyrics and performance. Backed by a drummer and single guitar , this young trio of players is the future. In the past, bands like Black Flag and the Sex Pistol shad originally put forward their protest Rock and opened our eyes to what could be done when we rise up and say a word or two about pollution or bad leaders or just stupid war mongering groups through the years. Emoni has been honing her skills since then . I had a chat with her atthis years Sunset Junction.Her trio is still going strong and I believe she is getting ready to record soon. You don't easily forget powerful performers once they catch your eye or ear or heart. I can say without exaggeration that I was startled into a state of awareness when I heard this girl and her trio rip the veil right before our very eyes. She is a force. The only thing true comparison would be the singer of theBell Rays, but even then, Emoni Fela is so young and has so much new music to write and perform that comparisons would not be fair, lets just say that we have an original young talent that television shows would not know what todo with. Let us support these new bands that have the guts and talent and discipline to tell it like it is. As the great Composer Arnold Schoenberg put it back in the day,while fleeing to America from oppressive forces in his homeland, " If it is Art, it is not for the masses. If it is for the masses, It is not Art."' This is ART !They played at The Kibitz recently.

LA FONT

LA Font as in the typeface FONT , though they could be calledLA Funk, LA FUN or even LA Fucked, if ya get my drift. With lyrics like, " It's a fucking Joke..." , " What was I to do ...? "and " It's just not enough .. " as its mainstay, LA Font is tapping into the angst and post Rock & Roll LA Music scene with a tightly sewn package of players , three guitar and a drummer,that pretty much explain where the young folks are at these daze. This group probably rehearses their asses off back home in the garage, but when performing, there is almost a throw away style ,like they could really give a f*ck what you are I think. It's not jaded by any means, in fact it's fun, energetic and a bit experienced. Like the story one hears about James Dean being rather dubious of casting directors who were promising him parts in Rebel without a Cause. He would believe them once the contract was signed kinda thing.The Lead singer has the energy and gusto of a train wreck , while the drummer slams the power and either guitar player sides up like bookends to his extremely excitatory style. These are the kids next door, down the street and in front of the skateboard shop. There was even a touch of Primus as the Bass man every now and then strutted his stuff like aPanther on the loose. These fellas are impressionable and I hope to see more of them in the future. Its rare you find a group that lifts your spirit, but that you could also recommend to your twelve year old nephew, this would be that group. One of the guitar players looks about my nephews age, but promised he was over twenty one when I asked the girl selling t - shirts , " How olds that kid ? " Check out their website for more info. They have Vinyland CD's available, I suggest you buy two. One for you and one for nephew.

www.LAFONTBAND.com

Drunk on Crutches

Drunk on Crutches is Jennifer Whittenburg and Andrew Alekel.I am not sure which one is drunk, nor which one is on crutches.I was neither as I strolled past the weekly Sunday afternoon gig held at The Echo in Echo Park. I heard the tone of a singer with something deep down inside that can't be taught or cajoled. She had something that came from experience , an authenticity that is often missing from many country and rock a billy singers today.A lot of people can sing a song, not so many have lived what they are singing about and you can tell right away whom walks the talk. Hank Williams and Patsy Cline are a good example of authentic people whom wrote from experience, their lives gave them the ability to sing from the gut, which in turn gave our ears an idea of what that life was like. Johnny Cash is a perfect example of what were talking about here as authentic living giving a certain tone. Jennifer Whittenburg has got that authenticity. I had not planned on attending the Sunday traditional Americana Music scene untilI heard that wild wolf in the hills tone that screams of certain winds and wounds that know exactly what they are doing up thereon the stage. Its like a gravity that claims through experience:I can walk on the moon, the earth, mars, Venus and Pluto if I so desire, can you ? Some folks can barely walk on the earth whileDrunk on Crutches is waltzing through a somewhat devastated Music scene with grace. Its not Country - Lite or Rock - a - Sorta ,it's straight up good music. I decided to attend because I heard Jennifer's afore mentioned real tone and was drawn into that mystical circle of music that simply has a way of pulling us into its magic. Only, there were no tricks used here. She simply let it out while absolutely no one did much yammering as people tend to do during concerts these days. Jennifer is someone to look out for. She certainly has gotten my attention, hope she gets yours.

THE LONELY WILD

If music is a healing thing, than I just took the cure for the Monday night blues.It's seldom that we come across a new band, whilst walking home from a quiet dinner at our favorite local eatery, but thank god it happens every decade or so.The last time I entered the silver lake lounge , There was an unknown young poet surrounded by friends and relatives,singing in strange tones and a wholly original style that startled me into remembering her name, little known at the time: Mia Doi Todd.Later, she recorded scores of albums for various labels and broke through from a local talent to international recognition. I was glad to see it happen,I had heard that potential.That hasn't happened again,until last night . When, as usual my neighborhood bar once again showcased a great new band with the wonderful name :The Lonely Wild . Almost every song struck me somewhere in my constitution. Most right to the heart. Their lead singer is a great lyricist and he's backed bya very tight drummer with a keyboard &bass humbly yet energetically keeping the train on the tracks , the range between lead singer &back-up creates a harmonic that at one minute will make you cry and then turn around and raise the hair on the back of your head.There's something sweetly haunting in these stories being sung.I found the band to have the kind of radio playability that's not embarrassingly pop, but deep, lasting and not bad to look at in concert either. They're likable, but that's just the beginning.Each song unfolds like an old LP style Album, Its a novel being told through song, and this novel speaks to our hearts.

They are songs we know somehow, their about us, and about them.They're about the city and the lonely places we go in life. Thereis a happy - sad that we find in great works of art, the kind we want to hear over & over again. Like when your in love but can't figure out what exactly we like about it. I am highly recommendingThe Lonely Wild to radio DJ's , local twitterers and to the world.This is music that grabs you and then lets you go, and then returns with a gem just when you thought it was over. The good thing about music is, its never over, even when the show is completed. The charisma between the players , which perfectly back each other up is rare in a band. Did I mention that the lead singer has a passion and a commitment to his stories that go way beyond the comparisons made by the young man standing at the back of the hall whom thought, ' they sounded like arcade fire '. Which is a compliment, but a slightly back handed one . These stories have an organic quality, hand made but ready for mass consumption.When I asked the fellow behind me if he knew the name of the band, he said," No ", like I told him in return, " What we don't know today, we will know tomorrow." The Lonely Wild proves the point.I just picked up their Album at Origami Record Store in Echo Park.

image : Dina Litovsky Download The Winter 2014 Edition for The Full photo Essay

THE HOUSE THAT TRANE BUILT :

STORY of IMPULSE RECORDS

By ASHLEY KAHN on W. W. NORTON PUBLICATIONS

Review By Joshua A. TRILIEGI / BUREAU of ARTS and CULTURE

Most music fans know who John Coltrane is, and what he did for jazz music, for saxophone players and new music spirituality. What you may not be aware of is that John Coltrane & his version of ' My Favorite Things ' in Nineteen - Sixty - Five, helped to create an entire label that went onto reinvent and support a bevy of new jazz artists. The impulse label, which was originally fueled by funds from ABC & hits by Ray Charles, such as, One Mint Julep, went on to become a leading label with an original look, style and feel. Album covers that opened up & told a story with extended liner notes, helping to create a dialogue and intellectual take on a lot of great new music that helped to fuel new jazz movements.

" Kahn is like a Cool Daddy professor who simply loves the Music, the Vibe, the History of Jazz … "

The story of Impulse records is an interesting one. Ashley Kahn' s research, phrasing style and flashback, flash forward writing, suits the subject well. Plenty of photographs, samples of albums and an incredibly thorough discography with just about every album, release date & important phase the label went through. Mr. Kahn has written extensively on Jazz with his books on Miles Davis as well as John Coltrane's infamous Love Supreme. Sonny Rollins, Chico Hamilton, Yusuf Lateef, Elvin Jones, Tom Scott, Charlie Mingus, Coleman Hawkins & Pharaoh Sanders are just a few of the artists that followed Coltrane on Impulse and also honored him with nods to his influence, musically, technically and sometimes simply naming their songs after some type of Coltrane influence.

Kahn is like a cool daddy professor who simply loves the music, the vibe, the history of jazz so much, that the reader, his students, soon find themselves steeped in fun facts that make up what we call jazz. From the inception of tunes, recording, players, dates and places, all bases are covered in this comprehensive jazz companion . From the time John Coltrane came to the label and into his leaving the planet. The story reveals itself as important and informative . Alice Coltrane proudly picked up the mantle and carried it throughout her lifetime.

" The Jazz Solo is Never the Same after John Coltrane, Neither are We. This is a good companion to that legacy and to a very important Jazz Music Label."

As the book reveals in Chapter six, " Died " is not in Alice Coltrane' s vocabulary. You got that right. John Coltrane left. But with Impulse, his legacy, his fans, his family and books such as this one, as well as Kahn' s other works, the Coltrane legend is indeed alive and well. Highly suggested for those who wish to learn more about a great contributor to jazz music and the vocabulary of the great American Arts.

With titles such as A Love Supreme, Ascension, Om and Cosmic Music, Coltrane completely transformed jazz into a totally spiritual idea. From 1962, until his untimely passing, Coltrane recorded albums and songs that have yet to be resolved, understood or entirely digested by any particular critic, audience or movement. He was exorcising his demons, inviting in his angels & taking what we considered as a pastime into a full on religious experience. The jazz solo is never the same after John Coltrane, neither are we. This is a good companion to that legacy and to a very important Jazz Music Label.

www.wwnorton.com

MILES DAVIS : "Jazz Is Like An Attitude"

Can you give ? Can you give yourself ? Do you have the ability to Give ? Miles Davis will be 88 years old this month. I am more than sure that if Miles were on the planet, that somehow, some way, some where, he would be doing what he did best: Giving. That is what we do as Artists, as Writers, as Performers, we give, and you, the audience, take, and if it's really good, you actually get to partake. Miles Davis, probably, one of America's most outspoken, controversial, single-minded and guided musicians in recorded history will be Eighty - Eight this year. Eighty - Eight : The Number of Keys on a Piano. The full spectrum. Before there were 88 keys on a piano, they had called it a harpsichord. Music before Miles Davis is all harpsichord and every thing after, is something totally new. When people called him Be-Bop, he transformed. When people called him a  JAZZ MAN, he transformed again. One thing Miles Davis never did, was Conform. MIles' influences were varied. He loved Dizzy Gillespie more than a man might love his own father. It was Dizzy who got Miles Davis back in the ring after several years of inertia. But Miles also had a deep respect for Classical composers, "I always loved Stravinsky, Stockhausen, Ravel, Rachmaninoff, Chopin." he remarked, upon receiving one of several awards throughout life.

Miles seemed to take the recognition in stride, appreciative, but, a bit aloof. Miles is incomparable, but when forced to parallel, I would say, he is Dylan. Both men battled the system, themselves, sometimes fans and always original. Never the same performance twice. Prodigious outputs . Popular success as well as solid credibility with purists, and then later, angering the purists in search of something else, something new, something truly Pure, something never heard before or something heard before, but never like that. When Dylan or Davis do a ' Cover Version ' of someone else's tune, It is safe to say, it will never sound like anythingbut Dylan or Davis. Listen to Dylan's Grateful Dead renditions. Or Miles', Time after Time. The later example, possibly an equivalent to Miles' long time friend and collaborator John Coltrane's, ' My Favorite Things '. Read The book review in this Edition for more on John Coltrane's influence on The Jazz World. When people called Miles a sell out, he had this to say, "People say, You sold out, and shit like that, I don't know what they're talking about. That's what musicians say when they're lazy, Don't want to learn more things."

Miles Davis is one of the most GIVING performers, that I know of,  In Any Medium. You simply watch & listen to Miles Davis and it is an abject lesson in focus, concentration, offering in absolute terms, a truth, your truth, no one else'e truth. Give your absolute truth. And give it All, NOW. There is nothing else. There is no one else. There is just a performer, an instrument and yes, there is an audience. Though, no audience will return, time & time again, as they did for Miles, if the first two ingredients are insufficient. And No performer can get two ingredients without the first: Giving. " If it's Blues, I play it Blues. If it's a Ballad, I play the Ballad. If it's Funky, I play it Funky. If it's Fast, I play that. Not one style: Jazz is like an Attitude." There are plenty of books on Miles Davis, no need to add to the bibliography, so I will spare the tired facts, numbers, opinions or misinformation. The best way to understand Miles Davis is to simply give yourself to the music. Can You give ? Can You Give Yourself ? Do You have the Ability to GIVE Yourself to MUSIC ? If you are able, then listen to what Miles Davis has to say. It's deep. It's joyful. It's painful. It's authentic. It's passionate. It's enlightened. It's raw. It's refined. It's Africa. It's Asia. It's Europa. It's America. Its unexpurgated, undefinably, unmistakably, undeniably, pure sound. It's the Sound of Miles Davis and this year It's 88. Infinity twice. A double Helix. Good Luck in Chinese. Simply: A man's age.

INTERVIEW: GARY CALAMAR Music Supervisor for Television

Q:What led you to becoming a DJ ?

A: I've always been a big music fan and I love sharing music with people. I grew up in New York listening first to WABC AM Top 40 radio and later moved on to WNEW FM free form progressive radio. I loved listening to the dj's almost as music as the great music.

Q:You have always had a kind of kooky or somewhat comedic take on pop music, what drives you to select the tracks you do ?

A: Kooky … Kooky, how ? Do I amuse you ? Ha, that's my Joe Pesci impersonation. I don't know, I like to have some fun with the music every now and then. Putting certain sets together in interesting ways. I just do it for myself really. I 'm surprised that people catch some of the connections.

Q:Do you pick all your own tunes at this time ? Explain that process when designing a set of music ?

A: Yes, I pick all my own music...at the same time I definitely consider the KCRW audience that I'm playing to and not go all heavy metal or something like that. Only my fellow dj, Henry Rollins. can pull that off. I've been a music fan for a very long time. I've worked in record stores (check out my book Record Store Days), managed bands, and I've been to countless shows so I have a lot of music swimming in my brain to choose from.

Q:The days of the talking DJ have come and gone and returned again, how much of that comes into play for your style ?

A: I don't really think about it too much. I basically try and play great music and then tell the listeners what they have heard.

Q:Does being a DJ actually support your lifestyle and if not what else do you do ?

A: I work one day a week as a dj at KCRW so no, that is not my only means of support. I'm also a music supervisor (True Blood, Dexter, House, Weeds, Entourage, Six Feet Under...) which helps to pay the bills. I'm also a songwriter and will be releasing an album on Atlantic in the fall. I love the music business (for the most part) and happy to work in many different aspects of the business.

Q:If you were not a professional disc jockey, what would you be doing professionally ?

A: Presidential food taster.

Q:You have done extensive work in Film and Television. share with us that process,
for example how you fit a song to a cable series or movie and give us a detailed example.

A:It works in many different ways. Basically I collaborate with the producers of the show to get an overall feel of the type of music that would be appropriate for the production. Some shows like to be obvious with lyrics that comment on the scene and other shows are looking for a texture to help "color" a scene. ....

Who is your favorite disc jockey in history ?

I'm going to have to say Cousin Bruce Morrow. His style is completely different from mine but it sounds like he loves what he does and has a great relationship with his listeners, with Rock and Roll being the common language.

What acts did you personally discover and could you tells us any stories in relation to bands going out of their way to get you recordings ?

My favorite new discovery is an Australian singer-songwriter Courtney Barnett. Check her out. She is a brilliant lyricist and performer.I found the Sia song "Breathe Me" for Six Feet Under and she has been doing very nicely since. I have also put together some nice collaborations on new recordings for True Blood. I brought Nick Cave and Neko Case together for a cover of the Zombies song "She's Not There" Eric Burdon and Jenny Lewis for "Don't Let Me Be Misunderstood" and Iggy Pop and Bethany Cosentino for a song I co-wrote "Let's Boot and Rally". These have all been really fun experiences and turned out some great recordings.

Would you create a list of best songs for this Summer ?

Jonathan Richman "That Summer Feeling"
The Best Coast "The Only Place"
B52's "Deadbeat Club"
Beach Boys "Do It Again"
NRBQ "Ridin' In My Car"
X "4th of July"
The Last "Every Summer Day"
Katy Perry & Snoop Dogg"California Gurls"
Bruce Springsteen "Girls In Their Summer Clothes"

www.gomusicsupervision.com www.kcrw.com/music/dj-picks

THE BUREAU OF ARTS AND CULTURE SUMMER EDITION 2015 EDITED by JOSHUA TRILIEGI

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THEY CALL IT THE CITY OF ANGELS

The Original Fiction Series: " THEY CALL IT THE CITY OF ANGELS," began two years ago with Season One. An interesting experiment that originally introduced five fictional families, through dozens of characters that came to life before our readers eyes, when Editor Joshua Triliegi, improvised an entire novel on a daily basis and publicly published each chapter on-line. Season Two was an entire smash hit with readers in Los Angeles, where the novel is set and quickly spread to communities around the world through google translations and word of mouth. Season Three begins in August 2015 and the same rules will apply. The entire final season will be improvised and posted publicly on a weekly basis beginning, Friday August the 7th 2015 and continuing each friday to the stories final completion of Book One. "Improvised," in this instance, means: The writer starts and finishes each section without taking any prior notes whatsoever and publishes the completed episode on all Community Sites. Season III is The Finale'.

Contributing Photographers: Norman Seef, Herb Ritts, Jack English, Alex Harris, Gered Mankowitz, Bohnchang Koo, Natsumi Hayashi, Raymond Depardon, T. Enami, Dennis Stock, Dina Litovsky, Guillermo Cervera, Moises Saman, Cathleen Naundorf, Terry Richardson, Phil Stern, Dennis Morris, Henry Diltz, Steve Schapiro, Yousuf Karsh, Ellen Von Unwerth, William Claxton, Robin Holland, Andrew Moore, James Gabbard, Mary Ellen Mark, John Robert Rowlands, Brian Duffy, Robert Frank, Jon Lewis, Sven Hans, David Levinthal, Joshua White, Brian Forrest, Lorna Stovall, Elliott Erwitt, Rene Burri, Susan Wright, David Leventhal, Peter Van Agtmael & The Bureau Editor Joshua Triliegi.

We Thank: Da Capo Press, Cantor Arts Center, Stanford University, Pace/MacGill Gallery, National Gallery of Art, Georgia O'Keefe Museum of Art, Fine Arts Center Colorado Springs, Duke University, Andy Warhol Museum, Phoenix Art Museum, Wadsworth Atheneum Museum of Art, Art Institute of Chicago, Museum of Fine Arts Boston, Crystal Bridges, United Artists, Spot Photo Works, Nasher Sculpture Center, Dallas Museum of Art, Museum of Fine Art Huston Texas, Gallerie Urbane, Mary Boone Gallery, Pace Gallery, Asian Art Museum, Magnum Photo, Chicago Museum of Contemporary Art, Fahey/Klein, Tobey C. Moss, Sandra Gehring, George Billis, Martin - Gropius - Bau Berlin, San Jose Museum of Art, First Run Features, Downtown Records, Koplin Del Rio, Robert Berman, Indie Printing, American Film Institute, SFMOMA, Palm Beverly Hills, KM Fine Arts, LA Art Show, Photo LA, Jewish Contemporary Museum, Cultural Affairs, Yale Collection of Rare Books & Manuscript and Richard Levy.

Contributing Guest Artists: Irby Pace, Jon Swihart, F. Scott Hess, Ho Ryon Lee, Andy Moses, Kahn & Selesnick, Jules Engel, Patrick Lee, David Palumbo, Tom Gregg, Tony Fitzpatrick, Gary Lang, Fabrizio Casetta, DJ Hall, David FeBland, Eric Zener, Seeroon Yeretzian, Dawn Jackson, Charles Dickson, Ernesto DeLaLoza, Diana Wong, Gustavo Godoy, John Weston, Kris Kuksi, Bomonster, Hiroshi Ariyama, Linda Stark, Kota Ezawa, Russell Nachman, Katsushika Hokusai and Xuan Chen Contributing Writers: Robin Holland, Jamar Mar(s) Tucker, Linda Toch, Maria (Mom) Triliegi

BUREAU MUSIC: To Kill a Mockingbird

Elmer Bernstein's score for To Kill a Mockingbird may just be the most perfect understanding of Literature, Cinema and Musical Orchestration ever created. Mr.Bernstein, who was blacklisted, some years later, made a fabulous comeback with, of all things, his score for John Landis's Animal House. By pulling great musical stunts as a straight man to Landis' pranks. Remember the score to that film ? Heroic like anthems, every time Belushi and his cohorts take on the conservative views of The University. It worked wonderfully and Mr Bernstein was back in business again. I recall meeting Elmer Bernstein at The Academy of Motion Pictures Arts & Sciences, where he presented and discussed To Kill a Mockingbird in - depth. It was quite an evening. A wonderful man. Not just his music, not just his understanding of the human drama, nor his ability to forgive an industry that turned it's back on him, but the man himself. He was a winner and after all these years that score still rings true to me and to millions of cinema lovers around the world. Most folks agree that the book written by Harper Lee and the film by Robert Mulligan and Alan Pakula are incredible. But why ? The acting, yes, quite amazing with performances by two incredible children actors. And of course the apex of Gregory Peck's craft as actor, humanist, artist. But it is indeed the music. The opening theme, a sweeping and steady mid west warmth reminiscent of Mr Bernstein's early influences and one of his mentors: Aaron Copland. Copland encouraged the young musician based on his improvisations and suggested teachers, courses and a direction that led to more creativity.

Elmer Bernstein's was a part of a world where, if you were interested in the arts, that meant every facet: he studied acting, dance and performed on Broadway as a child. He was recognized as a painter early on & even approached Clifford Odets on lessons in writing fiction. For over a decade he was a concert pianist and some years later taught at USC's Thornton School of Music. He composed over 200 themes for Television and film and also created some great music for the experimental films of Charles and Ray Eames. He also worked with Martin Scorsese more than a few times. And after his score of Animal house, became a regular for scoring comedies such as Ghostbusters, Airplane!, Stripes and The Blues Brothers.

Elmer talked about his inspiration for the score to To Kill A Mockingbird and how he wanted to pierce the imagination of the child mind. What would a child play ? Listening for a simple melody to draw upon. Especially his theme for the foreboding character of Boo Radley, played simplistically by a young Robert Duvall. Keeping the score simple was Mr Bernstein's entire approach to creating the impetus for the melodies and later building them into orchestrations that simply lift us above the earth and or break our hearts. The gentleness, the drama, the curiosity, the fun & the maddening injustices that the world provides, so well presented musically.

" With Mockingbird, I'd read the book. Robert Mulligan and I were old friends, before we even shot a frame. " He goes on to explain, "Aaron Copland was my biggest single musical influence. Apart from my teacher, he was the first person to hear anything I wrote. Copland was good friends with my teacher who took me to meet him in his apartment. I was 12. Copland was 30, but not yet famous. My teacher made me play for him, asking if he thought I had any talent. Let's give him some lessons and find out! ", he replied. That's really how my composition career started. "

Imagine that you are given a Pulitzer Prize winning novel and told that it is your job to conjure what it sounds like ? Imagine what these words sound like. To pull, out of thin air, sounds, melodies, orchestrations, themes that represent what a classic book might sound like, that's quite a task. Film composers do it daily. Bernstein employs the flute, violin, harp, clarinet, oboe and strings. For a full review in complete detail, check out the work of Craig Lysy whose done a wonderful job of explaining the score in detail and had this to say about the music, "The main lyrical theme is a masterpiece cue that gains Bernstein immortality. It is timeless and in my opinion takes it place in film score lore as one of the most beautiful and memorable themes ever composed." I couldn't agree more. Heres a link : http://moviemusicuk.us/2010/11/06/to-kill-a-mockingbird-elmer-bernstein/

TO KILL A MOCKINGBIRD Soundtrack Track Listing:
Main Title (3:19) / Remember Mama (1:07) / Atticus Accepts the Case/Roll in the Tire (2:05) Creepy Caper/Peek-a-Boo (4:09) / Ewell’s Hatred (3:30) / Jem’s Discovery (3:46)
Tree Treasure (4:22) / Lynch Mob (3:03) / Guilty Verdict (3:09) / Ewell Regret It (2:10)
Footsteps in the Dark (2:07) / Assault in the Shadows (2:25) / Boo Who? (2:59)
End Title (3:25) / Running Time: 41 minutes 57 seconds

Music composed and conducted by Elmer Bernstein. Performed by The Royal Scottish National Orchestra. Featured musical soloists; Penny Haydock, John Grant, Edward Paling, Pauline Dowse, John Clark, John Cushing, Stephane Rancourt and Christophe Sauniere. Recorded and mixed by Jonathan Allen. Album produced by Elmer Bernstein and Robert Townson.

Other film Scores by Bernstein recognized by The American Film Institute:The Man with the Golden Arm (1955) / Summer and Smoke (1961) / Sweet Smell of Success (1957)The Age of Innocence (1993) / Far from Heaven (2002) / The Great Escape (1963) / Hawaii (1966) The Ten Commandments (1956) / Walk on the Wild Side (1962)

Mick Jagger, London by Herb Ritts (American, 1952–2002) 1987 Photograph, gelatin silver print Museum of Fine Arts, Boston.
Gift of Herb Ritts Foundation © Herb Ritts Foundation Photograph © Museum of Fine Arts, Boston BUREAU OF ARTS + CULTURE

It has been over thirty-five years since I first experienced The Rolling Stones perform live. I was ten years old. It was Nineteen-seventy five and our entire family attended. Mom, Dad, older brother, older sister and me. Even back then, I was the artist of the family. So it was my job to paint the famous " Lips and Mouth " logo originally created in 1970 by fellow artist John Pasche. Later, Peter Corriston would go on to design The controversial Some Girls album art as well as Tattoo You. Some Girls led to law suits. I have a copy of the original with celebrities that have since been blacked out. There has always been a very special relationship between art and music. The Rolling Stones have known very well through their personal relationships with interesting artists of their time how art and music intersect. From the fabulous photography of Michael Joseph on Beggars Banquet, which opens up into a centerfold like layout of a 17th Century painter to Sticky Fingers and the infamous Zipper and banana by Andy Warhol. Robert Frank's documentary and photographs used on Exile on Main Street with the help of John Van Hammerveld 's design layout were striking and poignant.

There is a raw and honest intensity within the ethos of The Rolling Stones. An attitude and raunchy style that says, ' Hey man, this is the way it is, this is Rock and Roll. This is what life is like. This is who we are. Mellow out and listen " Experiencing The Rolling Stones at ten years old in a live venue with thousands of people and my family was a trans formative experience. A Ritual of the highest order. While my friends were at home watching The Brady Bunch and The Partridge Family, I was watching Mick Jagger dance down a star shaped stage as the conical shape slowly lowered one petal at a time. " Please allow me to introduce myself, I'm a man of wealth and fame..." Drums, guitar and that bongo like rhythm leading into a raging histrionics explaining what had just happened to America since the death of JFK and the loss of innocence that hovered above our existence, unexplainable except through music, poetry and the like. He swung from a rope high above our heads.He threw buckets of water on the first few rows. He danced astride a plastic inflated erectile shaped instrument that exuded confetti from its pointed top. Mindblowing. Of course he needed no introduction, we had grown up listening to the Stones, glowering over the albums and remembering the lyrics. From the early simple blues influenced love ballads into the post sixties dark tales and on into the seventies rock.Through to The Eighties, Steel Wheels, etc ...

Album covers, album liners, T shirts and memorabilia plays a large part in Rock and Roll.The images that will forever be connected to the music and visa versa. I have designed a few album Covers for musician friends and it's always a special sort of assignment. What will represent the music ? Images and sound wedded to tell a larger story. As we drove to the forum that evening, people began to beep their horns at the artwork on the back window. My parents had proudly taped my version to the back of the vehicle. When people began to react, I was surprised. For me it was just a personal expression, something fun to do, be a part of the scene. For others it was something altogether different. We were all a part of something. We were a family of Rock and Rollers and people wanted us to know, that they too were heading to this ritual. That it was a community and we were all connected through the music. We were connected in this counter culture experience.

It was the first time I realized the power of Art and Music and Ritual and Community in a way that changed my entire perception.I sometimes wonder how many other ten year old were at that concert ? Not too many. How many entire families attended ? Not too many. My old man insisted that we all attend. He is no longer on the planet. But every time The Rolling Stones are being played, he's here all right. He even slightly resembled Jagger and to be honest, Mom resembled Bianca. We sorta were The Rolling Stones. Music has a way of enlivening memories, history, loss, joy, energy, rebellion and the acceptance of the moment.

Music is life. In a way, Mick Jagger is my old man, he's still alive. Still Rocking and Rolling. Still kicking and screaming. Still selling a million albums and reminding us how far we have all come after all these years. The Rolling Stones tell a story of America that is highly influenced by Black America, The Blues, The Working man, The Bikers, The Lovers, The Outsiders, The Struggles. Its a beautiful tradition, Rock and Roll. With a new Documentary on HBO, " Crossfire Hurricane " as well as a new album and a Tour of America,The Rolling Stones are gathering no moss. There is a whole new generation about to discover the Stones. They have kept rock and roll alive. I still get teased from my family for passing out three quarters of the way through the concert. That was way past my bedtime. The next day my friends at school were talking about Fred Flintstones and George Jetson, while I was singing , " Wild Horses " , " Angie " and " Satisfaction". Oh well.

The other day, I heard a radio D.J. say , " This is a new song by The Rolling Stones."Its about time. I turned it up. It was good. Life is good. Rock and Roll is good.

BUREAU MUSIC INTERVIEW: PATRICK RIEGER

Patrick Rieger is the Lead Singer and Songwriter for Whiskey Sunday. On the Two Year Anniversary of an Original Live Interview at The Roxy on The Sunset Strip in Hollywood, we check back in with Mr. Rieger to discuss The Music, The Band, Irish Heritage and Their Newest Album.

Joshua TRILIEGI What does it feel like to play for a live audience ?

Patrick Rieger: Playing for a live audience was the only way music would have happened for me. My training is as an actor, as a kid I was a dancer. I always sang but could never read music, and musical instruments came a little harder to me. What I'm saying is that the live performance is something I know how to do and that might make up for my lack of musicianship sometimes. There are a lot of better guitar players in the world, but a lot of them choose to only play on their couch. If they're not going to take the gig I will because I know how to leave my blood on the floor for an audience, I can tell the stories. It feels like my planet, where I'm from. I come from a long line of storytellers and the live audience is home. Harry Nilsson never played out, virtually never toured or played live. I couldn't believe that when I read it. What an incredible storyteller and he could never share it with a live audience!

Joshua TRILIEGI: What are the challenges presented in keeping a band together ?

Patrick Rieger: I would say keeping a band together has been both the greatest joy and most significant source of anxiety for me throughout this process. I grew up an only child with a single Mom. I was constantly trying to re-create familial relationships with peers, friends, groups, I still do it today. It's a dangerous thing getting a group together and handing over your trust or expecting that you'll be one big happy family. Whiskey Sunday has played with roughly 10 fiddle players just in the last year. Hilarious. We love the fiddle, that sound, but I've stopped expecting that one of them will stick around and join the family. My harpist, banjo player, and my bass player have stuck around through some really tough times, and I am truly grateful for their trust and commitment. Greatest challenge would be letting go of the concept that I have to keep this band together.

Joshua TRILIEGI : Irish heritage plays a big part in your sound, describe that process.

Patrick Rieger : Irish music is how Deidre and I met. Again, this is circles of both Irish actors and musicians in LA, getting together, re-creating what they love about the old country. Many pub sessions later Deidre and I form our own Irish band and we set out to be the hottest in LA. That was the only way we could get this band paid was by having 3 hours of Irish songs ready to go for these pubs! Most bands our age weren't putting in those hours at the bars. Our original material has expanded quite a bit beyond the Irish sound, into an Americana/revved up roots sound. The Irish storytelling, rhythms and melodies will always be this band's backbone, I believe, no matter what we're writing. My Grandmother's maiden name was Gannon and I owe it to her. She took me to Ireland when I was 18 and I fell in love for eternity. I've since developed my own relationship with Ireland beyond my heritage and it has tremendously colored who I am as a human being, the literature, the people, the history.

Joshua TRILIEGI : When we first spoke, two years ago, you performed live at our magazine release party. Whats happened since then and tells us about the new music ?

Patrick Rieger: We are the most exciting to watch Irish/Americana Folk-Rock band in Los Angeles. In 2014 alone we played 44 gigs at over 26 venues throughout the LA area and Southern California. We released our debut album, Holy Water. We were interviewed by the Pasadena Weekly. We played our first major festival, Get Shamrocked in September, 2014, and shared the stage with some of our favorite bands like Old Man Markley, The Mahones and The Young Dubliners. 2015 has brought us our first music video, shot completely on location in Angeles National Forest and one of our favorite Irish pubs, Ireland's 32, where we have a residency. We've also booked our first tour of both Southern California and Northern California for this coming March and May, completely on our own. St. Patrick's Day brings a personal honor for the band, headlining at The Tam O'Shanter Inn, where Whiskey Sunday was born and bred. We're embarking on a momentum-filled year fueled by gratitude for the fans and venues that have showed us so much love and support.

Joshua TRILIEGI : You are also an actor, do the two crafts inform one another ?

Patrick Rieger: I joked for a long time saying, "I'm not a musician, I'm an actor and this is my longest running role." Maybe I still believe that sometimes but I can't tell you what a pleasure the process has been letting one inform the other. When I take on a role I have to bring truth to that story and love to that character. That's what I work for every night onstage and you know what? It's the same with the songs! When you are selling the truth, leaving your blood on the stage, it doesn't matter what the chords are or what lines your reading. The best part is when you yourself are moved, then that audience can't help but feel it. Telling the stories truthfully is what I do.

Joshua TRILIEGI : What do you think are the all time classic Irish Songs ever recorded ?

Patrick Rieger : My Grandma comes from a Bing Crosby, Danny boy generation. a different Ireland. I loved it growing up. The first time I heard The Pogues, Fairytale of New York, I think I cried, and I still cry every time. There is beautiful Irish music filled with history that I can't get enough of, "The Town I loved so well," there is music to come from Ireland that was so important and politically moving, "Alternative Ulster." And sometimes I just want to rock out to Thin Lizzy. Right now I'm devouring Damien Dempsey's whole catalogue, an incredible songwriter both in an Irish capacity and for anyone all over the world.

"My whole family celebrated life with music and whether it was typical or not for Minnesotans, It was beautifully typical for us."

- Patrick Rieger / Whiskey Sunday

Joshua TRILIEGI : Your from the Mid West, the same city as Prince. is that atmosphere somehow naturally musical ?

Patrick Rieger: You better believe it! South Minneapolis is in my veins every time I step onstage, every time I sit down to write a song. Prince, Dylan, Atmosphere, Jayhawks, Trampled by Turtles. That's not even scratching the surface. You've got to do something with those long winter days and nights. We join forces as a state, as a collective group of people in winter coats to beat seasonal affect disorder down with tunes! In the car, in the living room, in the bars. Keep singing to stay warm ! My whole family celebrated life with music & whether it was typical or not for Minnesotans it was beautifully typical for us.

Joshua TRILIEGI : Thank you for spending time with us, before we go, Tell our readers why we you make music ?

Patrick Rieger: I believe we make music to stay alive. I never thought I'd be doing it professionally. When the acting business got slow for me in LA I had to find another way to tell stories and stay alive. The facts in your life might be a great skeleton or bone, your job, your income, your house. I tell stories though, that's flesh and blood, what's the point otherwise? This is what I'm called to do, tell stories. Bruce Springsteen said the Irish and Italians walk through the door with their fists and their hearts first. It's not the easiest way to live but I couldn't imagine it any other way. Who doesn't want to hear stories, hear music and stay alive with your flesh and blood pumping? If they're out there, I'm not sure those people and I have a lot to talk about.

Joshua TRILIEGI Where can our readers visit you and or see updates for shows ?

Patrick Rieger: New Album here https://itunes.apple.com/bm/album/holy-water/id894217092

New website here: http://www.whiskeysundayband.com

BUREAU of ARTS and CULTURE MAGAZINE SITE LINKS ACROSS AMERICA

TAP LINKS: TUMBLR PININTEREST TWITTER WIX LINKED IN PHOTOBUCKET GOOGLE

BUREAU NEW YORK CITY : MUSIC

CARNEGIEHALL.COM NYPHIL.ORG NYPHILKIDS.ORG

CLUBPLANET.COM RIGHTTHERENYC.COM BITTEREND.COM

ROCKSOFF.COM JALC.ORG THEIRIDIUM.COM

BIGAPPLEJAZZ.COM GOTHAMJAZZ.COM

BUREAU MUSIC: PUNK ROCK

https://www.youtube.com/watch?v=DL1I7DAEqb4&feature=player_embedded#at=932

http://www.youtube.com/watch?v=zeTX_E_ldc4

http://www.youtube.com/watch?v=_OApKTDPByc

http://www.youtube.com/watch?v=fanQHFAxXH0

http://www.youtube.com/watch?v=x5yoj9m-N1M

http://www.youtube.com/playlist?list=PLF97F193E5B390EA2

http://www.youtube.com/watch?v=iNrbQzu0LQI&list=PLF97F193E5B390EA2&index=9

http://www.youtube.com/watch?v=Gpnz4i5rAzo&list=PLF97F193E5B390EA2&index=12

http://boingboing.net/2006/11/14/9-great-old-punk-vid.html

http://blogs.laweekly.com/westcoastsound/2011/12/sst_records_youtube_videos_pul.php

http://flavorwire.com/399939/

http://www.youtube.com/watch?v=3uus2hnYcGs

http://www.youtube.com/watch?v=y1001xArPVk

http://www.youtube.com/watch?v=q3D4jYSQW2s

http://mubi.com/lists/jim-jarmuschs-25-punk-movies-predating-punk

http://punkmusic.about.com/od/blogs/tp/Punkonyoutube1.htm

http://www.youtube.com/watch?v=igfoVyTnz0g

http://www.rollingstone.com/music/videos/the-other-f-word-documentary-explores-punk-fatherhood-20110929

http://theafterword.co.uk/content/punk-movies

http://www.openculture.com/2013/06/ithe_art_of_punki_mocas_series_of_punk_documentaries_begins_with_black_flag.html

http://missoulian.com/entertainer/movies/minutemen-documentary-is-pure-punk/article_555f3771-9c3a-5ddb-9dda-20f7263159f5.html

http://www.altpress.com/features/entry/list_punks_on_film_10_musician_movie_appearances

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Herbie Hancock and The Los Angeles Philharmonic
The All Gershwin Program Opening Season LA Phil

Something happened the other night that was extremely rare and werenot talking about the steaks that were served after cocktails andbefore dessert. Although phonetically speaking the stakes were highas well as rare in this case, for Classical music that is. To have amaster Jazz musician like Herbie Hancock perform piano for The LosAngeles Philharmonics opening season Concert in an all GershwinProgram was indeed a risk. One that payed off plenty for those whombet the long shot.

Mr. Hancock rocked it ! Los Angeles has indeed become the metropoliscity that Rhapsody in Blue has often represented . A seminal piece ofMusic that was inspired by the ephemeral sounds of Metropolitan Citylife itself. To hear it reinterpreted by Herbie Hancock,Gustavo Dudameland the LA Phil was a watershed moment indeed. We spoke to several attendeesdirectly after the Concert.

Bill and Caroline Powers of the Thelonious Monk Institute of Jazz ,enthusiastically expressed that, " Herbie is one of the most talented,laid back , brilliant geniuses of music that there ever was and to beable to go from Jazz to Blues to HipHop to Techno and wrap it all allwith Rhapsody in Blue was just pure talent". Bill expressed a pridein their associations with the Board as well as the acoustics at DisneyHall. Between the two, they have chair positions at the Kennedy Centerin D.C. & The Hollywood Bowl, but admitted that, " Tonight's specialperformance was extra special, and although we attended in D.C. recently,there's really nothing like a performance at home, here at Disney Hall ".

Gloria Molina , " It was fascinating listening to John Williams describehow many great Composers through the years have taken refuge here inLos Angeles. We have always had great arts and culture here in Los Angeles.From the 1940's through to the present time. We have our own culture herein Los Angeles that is very unique and very special. Tonight's performanceis an example of that ".

" We loved the interaction between Herbie and Dudamel and that Jazzyedge they brought to it " exclaimed Ann Colgin and her husband Joe.

Lynne Littman, had this to say, " Herbie Hancock is one of the only people who could have reinvented Gershwin in a way that was just great: the two of them benefited " .

Zev Yaroslavsky, " Herbie did a masterful job in playing Rhapsody in Blue,it was very exciting, I havn' t seen or heard anything like that before ".

Tom Liotta , " It was simply astonishing, almost iconic. It was really incredible. Its my first time here, actually, so it was a great way tohave my first experience here in Los Angeles at the Philharmonic.

Frank Gehry, " Herbie sounded like he was making it up as he was going. That's amazing, it's a miracle. We all try to do that in ourwork. The dude was spectacular as usual. The LA Phil is going to do all kinds of great performances , their going to do all kinds of great experimentation with The Green Umbrella Project and their going to keepspreading the joy. Ernest Fleischmann [Visionary LA Phil Impresario] would be very proud of all of us.

Jerry Sanders, " We thought it was the best one ever. It was very American,a great celebration of American Art. We have some New York people sayingwe beat out Carnegie Hall, they' re older, but were better ".

Jan Perry, " I believe this area is becoming the epicenter for arts and culture and cutting edge art , too. This kind of a performance tonight comes as no surprise because this is the place to put it to the audienceand let them embrace it. There are so many architectural choices, artisticchoices, cultural opportunities, culinary arts, travel , tourism, peoplefrom all over the world coming here now. We are a city with extraordinary people whom are very accessible ".

Matuka Benjamin " Gustavo Dudamel was outstanding , he conducts from the heart, Zubin Mehta, whom I adore, would be very proud to pass the torch tothis young man".

Bernard Fleischer of Vienna described the evening in this way," The LA Phil is different than other orchestras because theytake what's here, in terms of culture and musicianship and bringit out for the openings, so I think it's moving and interesting.There is always an interesting soloist in there. Gustavo and Herbie and Gershwin are a perfect match. There was an electrifying vibration .The LA audience is not so narrow casted when it comes to music making.Which would be different in other cities like New York. LA is more open and less academic. People are use to contemporary music, be it contemporary Classical music or Jazz or the Classical repertoire,if it's done well, that is important. He [ Herbie] is a virtuoso,let's face it".

Quincy Jones " It doesn't get any better than this, Gustavo isamazing, Herbie' s performance tonight was a game changer ".

Larry Schmitt " There was an interplay between Gustavo and Herbie,where Gustavo is looking over his shoulder and they were sort of playingoff each other. Gustavo brings an amazing energy to the orchestra whereyou can see the body language of the players, the excitement is charged."

Bruce Adlhoch " The Concert was Absolutely amazing ."

Vikki Levine, " It was magical, it was inspiring and it was joyous."

Michael and Lesley Suiter, Lesley starts us off with, " The sense ofanticipation in the room was incredible. Herbie would almost take youthere, you were wanting to hear that melody so bad ".

Michael chimes in, " I had never quite heard that much Jazz in the work before, but tonight drove it completely home ". Lesley adds, " You felt that urbanfeel, the honking of horns, that sort of feeling of an urban city and you know, here in downtown Los Angeles, it suited the environment, I think it felt right here.We as Angelenos sort of get that same feeling,I think, from our city, its busy, its bustling, we long for it the sameas An American in Paris would long for New York. And pairing it too withthe Cuban Overture, that really brought it home to L.A. You've got urbanL. A. you've got Latin L.A., you've got all of it together, that was really great. "

Jeff Snyder " It was the best performance I have ever attended here.Great. Having Herbie Hancock was like a mix of this earthy side ofGershwin and the orchestra coming in behind was almost ethereal. Ithought it was a beautiful contrast " .

JUDY CARMICHAEL LIVE

You may have heard the work of Judy Carmichael on her incredible radio showand Jazz Interview web site Judy Carmichael's Jazz Inspired . Available onSerius XM Channel 122 or your local NPR. You may not have heard her new albumentitled, ' Come and Get It ' . Since I have, let me tell you about it. It'sgot a very purring quality, a knowing, a winking , a I've been there so I knowkinda thing going for it. First of all , I should admit that I want the musicfor my own film projects, but that should not exclude me from writing abouther work by any means. Without stepping on the toes of legends, I will saythat there's just a bit of that purring mentioned that reminds me of theFabulous Catwoman herself : Eartha Kit.One of my favorite tunes is the appropriately titled, ' All of The Cats ' .It's got a square girl gets fun in her life bounce that stays in your ear forhours after its been heard . Judy is and has been an accomplished pianist, butthis is her vocal collection and it deserves radio play . The title track,' Come and get it ' continues that playful, jaunty style , but takes it a bitfurther .

She's got some great players like Tony Monte who has cut his teethwith Johnny Hartman & Peggy Lee to name a few. All of the players from EdOrnowski , her drummer on this cd and on the tour that supported it as wellas Nik Payton , Mike Hashim , Dan Barnett & Jon-Erik Kellso on brass.Dave Blenkorn on guitar. They all come together to make a playful, teasingalbum that is to me : Happy Jazz. Touring Players change according to Judy'sschedule, so check out whom she may be traveling with on this tour and alwayssupport live Jazz and Touring Jazz Artists.As a pianist, Judy's got Fats Waller down and then some . She also covers DukeEllington with a great version of ' Wanderlust ' & ' Everything but You' .' Gee Baby ' is another fun song as well as her own tune, ' Boisedale Blues ' .

Again, this is happy, walking music, music to flirt by , music to surf by, musicto turf by, its a fun album & you can even drive to it, if thats your thing .Besides the fact that she runs a non profit that supports music in schools.She has interviewed everyone and anyone who has been inspired by Jazz, fromE.L. Doctorow to Robert Redford and many Jazz greats large and small . Thething I respect about her interviewing style is that Judy gives the same attentionto each person regardless of they're status, regardless of their race, regardlessof their fame , yet always regarding the world of JAZZ . I implore radio stationsto consider picking up her show for presentation and meanwhile, to play the musicon her CD. Judy only plays on a Steinway so you know its always top audio quality.Donate to her non profit / Buy Tickets to her Concerts / Definitely listen to her show !

ABOUT THE BUREAU OF ARTS AND CULTURE MAGAZINE:

An Electronic Interactive Version of BUREAU of Arts and Culture Magazine. 'Electronic' meaning you are reading it with a device, 'Interactive' meaning you can actually tap the featured interview or image & listen to extended Audio Interviews & Links. BUREAU Magazine can be read without being on-line, though it is much more useful and interesting if you are actually on-line or you may visit our website and enjoy a compendium of Interviews, Articles, Reviews and Essays. We suggest you view the pdf in the Two Page and Full Screen Mode options which are provided at the top of your menu bar under the VIEW section, simply choose Two Page Layout & Full Screen to enjoy. This format allows for The Magazine to be read as a Paper Edition. The BUREAU of ARTS and CULTURE has been a respected ART Institute since the early Nineteen Nineties. Many of the original BUREAU members have gone on to have stellar careers in The ARTS. Artists, Filmmakers, Musicians such as: Lucas Reiner, Spike Jonze, Alex McDowell, Martin Durazo, James Gabbard, Christina Habberstock, Lorna Stovall, Heather Van Haaften, Chris Greco, Don Harger, Ron Riehel, Joan Schulze all had very early collaborations with The BUREAU Projects. Our relationship with ART spaces who have been interviewed / reviewed by BUREAU: Jack Rutberg, Susanne Vielmetter, Tobey C. Moss, Shoshana Wayne, Known Gallery, Sabina Lee, The Bowers Museum, The Geffen Contemporary, Hammer Museum, RED CAT, The Skirball Cultural Center, Museum of Contemporary Art in L A, San Diego and in Santa Barbara help to create well earned future partnerships, distribution as well as a 'word of mouth' that is priceless. Collectively, they have been in the business for hundreds of years. Not to mention the thousands of public readers that have received the magazine on their door steps. Our coverage of the MIAMI Art Fairs with in depth audio & slide presentations allow us to create a lasting relationship with the ' National Big Tent ' art events that allow for fundraising activity. We recently interviewed the Grammy Museum and are creating a lasting relationship. The same pattern applies for THEATER: Edgemar, LATC, Circle Theater, Cygnet, Robey. MUSIC : The Echo, The Redwood, The Roxy, Grammy Museum, Origami, Vacation, Record Collector, LA Philharmonic & The San Francisco Philharmonic. BUREAU has created relationships with Film, Music and Art festivals, National & Local Radio Stations, continuing the tradition created with BUREAU Film projects and the utilization of Print, Radio and Web to facilitate publicity, fundraising & awareness. Triliegi Film programs were discussed on KCRW 89.9, KPFK 90.7 and Indie 103 FM within the non profit umbrella in the past and we plan to sustain & develop those ties. We were invited to Cumulus Radio's Commercial Rock Formatted KLOS 95.5 FM [ Bureau mentioned on air] to consider an affiliation. We recently interviewed Miles Perlich of KJAZZ 88.1 FM and we were given tickets to Classical Music concerts by K-MOZART Radio & we invited a guest reviewer to attend. The BUREAU of Arts and Culture Magazine will continue to create a lasting relationship with the Art Institutes, Media & Schools that drive the Arts in America. We distributed Paper Editions to OTIS Art School & The Campus at USC to support alignments with faculty, staff & students who will become future entrepreneurs & participants in the Arts. Our upcoming interview with Barbara Morrison and her connection with UCLA Jazz music department with Herbie Hancock & The Thelonius Monk Institute is solid.We delivered the first edition of the magazines to: Beverly Hills, Pacific Palisades, Palos Verdes, West Hollywood, Los Feliz, Malibu and The beach communities: Hermosa, Redondo & Manhattan beaches. We received financial support from the arts & culture communities by creating a dialog about the arts, reviewing their art exhibitions, theater plays & films. Art Galleries from Culver City to Bergamot Station to Glendale approved of and supported Edition One. Now we have an online READERSHIP that grows exponentially. BUREAU sites in cities such as Los Angeles, San Francisco, San Diego, Santa Barbara, New York City and very soon Seattle, allow for anyone, anywhere, to see what is going on in the arts in that particular city. Which we feel will allow for us to apply for support, distribution and grants within those particular cities and for local businesses to buy ads. We add new cities quite often and create a lasting relationship with the established Arts Foundations in ART, MUSIC, THEATER. Which usually includes Classical music, Art Galleries, live Theater and Film. We added Surfing , Skateboarding and Biking to get the interest of a younger readership and indeed it worked. We have also celebrated those subjects with our fundraisers, selling artworks in relation to Biking & Skatng. We partnered with local & national businesses that assisted & we provided logo affiliation & coverage on the web: Chrome Bags, Jarrittos, LA Skate, DTLA Bikes and The Los Angeles Bikers coalition, to name a few. Older Established Artists from diverse cultures also participate in the BUREAU of Arts and Culture Exhibitions and Interviews. We brought together Native American, African American, Chinese American, Armenian American and Mexican American elder artists in a single exhibition: a financial as well as critical success with "Gathering The Tribes: Part One". We hand delivered the first paper Edition throughout Southern California and select neighborhoods in San Francisco. We introduced the magazine & created Popular Cultural Sites. We are an official media Sponsor for L A Art Fair & PHOTO LA Photo Fair. We extensively cover and or interview galleries at Art Fairs such as, Platform LA, Pulse LA, Untitled Art, Basel Miami, Art Miami, Miami Project, LA Art Book Fair. We provide an extensive overview, Audio walk throughs, visual presentations with 100+ images per on-line feature. If that doesn't convince you, nothing ever will.

THE E VERSION BUREAU OF ARTS AND CULTURE MAGAZINE

NEW BUREAU OF ARTS AND CULTURE E MAGAZINE

NEW INTERACTIVE ELECTRONIC EDITION OF BUREAU OF ARTS AND CULTURE MAGAZINE IS EXTREMELY POPULAR WITH A READERSHIP THAT IS LOYAL, HIP, EDUCATED AND BUYS PRODUCT REGULARLY: ART / MUSIC / SPORTS / ETC... THIS NEW EDITION IS MAILED DIRECTLY TO THOUSANDS AND DOWNLOADED AND SHARED BY THOUSANDS MORE VIA SOCIAL MEDIA ...

OVER A MILLION READERS AT ALL GOOGLE SITES AND THE BUREAU OF ARTS AND CULTURE NETWORK SITES 5000 + IMMEDIATE DIRECT MAIL and 3500 + THROUGH OUR GOOGLE FOLLOWERS.INTERVIEWS . PHOTOGRAPHIC ESSAYS . LITERATURE . FICTION . FILM REVIEWS . ARCHITECTURE . DESIGN . SURFING . CUISINE . BIKING . TRAVEL . CULTURE THE BUREAU MAGAZINE REGULAR ICON ESSAY . THE GUEST ARTIST INTERVIEWS WITH WELL OVER A MILLION READERS ON ALL SITES COMBINED INCLUDING : L. A. SAN FRANCISCO . NEW YORK . SEATTLE . MIDWEST . SAN DIEGO . SANTA BARBARAAND THE BUREAU OF ARTS AND CULTURE INTERNATIONAL LITERARY SITE AS WELL AS SOCIAL MEDIA AND A HIGH PROFILE MAILING LIST THAT INCLUDES AN UPSCALE AND CULTURALLY ASTUTE GROUP OF ARTISTS . FILMMAKERS . HOME OWNERS AND SOCIALLY CONSCIOUS READERS WHO GET THE E MAG DIRECTLY IN THEIR MAILBOXES IN PDF FORMAT WITH E - LINKS TO ALL OUR ADVERTISERS.EXCLUSIVE INTERVIEWS WITH TOP OF THE LINE ARTISTS, WRITERS, FILM MAKERS AND PHOTOGRAPHERS. THE PHOTO ESSAYS BY WORLD CLASS PHOTOGRAPHERSWE PROVIDE EXTENSIVE AND ORIGINAL CONTENT THAT GETS YOUR PRODUCTS SEEN BY THOUSANDS OF READERS AND BUYERS AND ASSOCIATIONS WITH SOME OF THE MOST INTERESTING ARTISTS AND WRITERS IN THE WORLD TODAY PLUS WE PROVIDE HIP STREET TEAM GIVE AWAYS OF MUSIC . FILM . POSTERS IN AN ABUNDANCE OF LOCATIONS INCLUDING BEVERLY HILLS . SANTA BARBARA . THE BAY AREA . NEW YORK CITY . THE MID WEST: MILWAUKEE . CHICAGO . DETROIT. SAN DIEGO . SEATTLE + WE MAIL DIRECT TO BOOKSTORES THROUGHOUT WORLD.THE FUTURE OF PUBLISHING IS THROUGH ELECTRONIC MEDIA AND WITH OUR PDF EDITION WE HAVE TWICE AS MANY PAGES AS OUR SO CALLED COMPETITION. WE COVER SURFING . ART . FASHION . FILM LIKE NO OTHER SPECIALTY MAGAZINEINTELLECTUALLY HIP CONTENT WITH AN EDGY AND STREET SMART SENSIBILITY.WE EVEN TRANSLATED SPECIAL EDITIONS INTO GERMAN AND SPANISH AND HADAN ABUNDANCE OF READERS THROUGHOUT THE WORLD TRANSLATE THIS SITE !WE ARE OFFICIAL MEDIA SPONSORS AT ART FAIRS . PHOTO FAIRS and FILM FESTS.WE DISTRIBUTE POSTERS . CARDS AND FLYERS DOOR TO DOOR EVERY EDITION.

CONTACT US DIRECT WITH YOUR BUDGET / EVENT DATES / QUESTIONS NOW : Editor JOSHUA TRILIEGI 323 734 2877 / JOHNNYMILWAUKEE@earthlink.net

KATSUSHIKA HOKUSAI: Legendary Print Maker + Painter

Tap To READ: "Art, Music, Literature, Theatre, Film, Design, Architecture, Photography and the other Arts discussed in this publication are regularly viewed through the subjectivity of the reader. Such is the nature of the world. Religion, Politics and Nationalism are ideologies that often shape or attempt to influence our subjective outlook. Here at The BUREAU of Arts and Culture, we ask that you reconsider those viewpoints and allow for a new frame of mind, based on a larger, broader and more liberated idea of living. Today, we look at the Art of Katsushika Hokusai as an example of subjective vs. objective views and how those ideas evolve through the years. " By BUREAU Editor J. A. TRILIEGI

JAMES DEAN : The ACTOR

Tap To READ: "James Dean. He was not simply an actor in search of a project, he was a human in search of a world, a son in search of a father, an orphan in search of a mother, a new kid in search of a friend, a worker in search of wealth, a comedian in search of a tragedy, he was an outsider in search of the inside and when he got inside, he did what anybody with integrity and curiosity does, he searched for the exit and found it. But before that and most of all, James Byron Dean was an American in search of America."

READ Literary 2016 Edition

INTERVIEW with NOVELIST :Irvine WELSH, This New 299 Page Edition Contains The BUREAU ICON Essay on :John STEINBECK, The BUREAU GUEST Visual Artist New YORK City PAINTER:Nathan WALSH Cinema: AMERICAN Director Hal ASHBY & The CLASSIC FILM "BEING THERE," ART Reviews: Emilie CLARK . Michael KAGAN . The Max GINSBURG LECTURE . San FRANCISCO : Photographs Roman VISHNIAC . Bill GRAHAM at The CJM The SouthWest Photographic Essay Winner Rich HELMERPlus Diane ARBUS . NEW FICTION ENCORE: They CALL IT The CITY of ANGELS Selected Chapters INTERVIEWS: Sandy SKOGLUND . Shaun HUSTON on Library Comic BOOKS . MUSIC: The MALLETT Brothers Band . Kehinde WILEY at The SEATTLE Museum . Museums : Arizona . Oklahoma . San Francisco . ART By John MELLENCAMP . BOOKS : ALI & Malcolm X . SPRINGSTEEN . Literature by U.S. Military Veterans . The SEATTLE Photographic Essay and The FIVE Best Bookstores in BERKELEY . LITERARY Events 2016 S.E. Hinton's The OUTSIDERS + WOMEN Writers RULE : RESOURCES

SPECIAL MUSIC Edition

Tap To Download FREE The 300+ Pages Music 2016 Edition BUREAU of ARTS and CULTURE MAGAZINE. Guest ARTIST CHRISTOPHER STOTT . ICON Essay: HANK WILLIAMS . ART SHAY . MATHEW BARNEY Plus BUREAU PROFILE : ANDREW HOLDER . INTERVIEW with LAURA STEVENS . BLUE VELVET at THIRTY . MILES DAVIS "The SHAMAN" . PRINCE . JOSHUA TATE . CÉLESTE BOURSIER - MOUGENOT with CHRISTOPH COX . DESIGN : WALLPAPER . COMEDY with Andre HYLAND . John DOE . Aimee MANN . Chris STAPLETON . BLACK IS BEAUTIFUL : KWAME BRATHWAITE . DANNY LYON . R. CRUMB . RAP MUSIC: TUPAC and ICE CUBE +TRIBUTE TO WRITER : JIM HARRISON +More

The BOB DYLAN ICON Essay

Tap To Read: "For every title, there also came a group of admirers and detractors, who wanted something. They wanted more than the music, more than the lyrics, more than the concert, more than the records, they wanted a symbol they could use for their own parade, their own arcade, their own charade and Dylan denied the puppet strings, denied the sacrificial position, denied the groups that had latched onto him and he remained true to the only thing a human has from the very beginning to the very end: Oneself." - J.A.Triliegi

Nathan WALSH INTERVIEW

Tap To Read BUREAU Guest Artist Explains his technique, Influences and Process : "Somewhere between the very concise, concrete and physical realities of time and place in locales like San Francisco, New York City, Chicago and the Ideas of a Utopian Eye of the Mind, The Painter, Nathan Walsh has produced a series of large scale, time intensive works that equal, in counterpart, in scope, and in end result, the works of a master Novelist, Filmmaker or Architect. Nathan Walsh, is setting the bar, so high, on the painters of his generation, and those who actually have, and will, in the future, participate in this publication, that we here, are now becoming concerned for everyone else."

The Underground Punk Music Scene : A FEMINIST VIEW

By BUREAU Writer SARAH ROSE PERRY TAP to READ The Article: "Like nearly everything else, punk rock began as an all male genre, but with questioning authority and social norms as their main agenda, it was natural for women to step in and take a piece of the spotlight. Inspired by the Sex Pistols, Poly Styrene decided to form her own punk band, X-Ray Spex. Although they only lasted about three years, producing only one album, the band will be remembered by their lead singer screaming, “some people think little girls should be seen and not heard… Oh Bondage Up Yours!” image: ©Melissa Ann Pinney

LYNN SAVILLE: NOCTURNE

READ The Interview: "When working in New York, I walk during different times of day and evening making mental notes and cell phone snapshots of places that attract my interest. Later I return when it’s dawn or twilight and look again at the way these chosen “locations” appear in the shifting light. I might return to a location three or four times to see what I find…always bringing my camera and tripod and any other items such as velvet to minimize reflections if I’m photographing into a window and a small flashlight or headlamp to use if I want to paint some light. "

PARIS,TEXAS at 30 YEARS

Tap To READ BUREAU FILM : "So seldom does a European director truly understand the work of an American writer that he or she can take the original source material and arrive at something as epic, important and truly American as Wim Wenders did with this film. Paris, Texas is loosely based on the Motel Chronicles by Sam Shepard: writer, actor & all around influential poet, playwright, essayist. Author of The Rolling Thunder Logbook, an 'on tour' diary with Bob Dylan. Friend to Patti Smith, author of Fool for Love, True West and countless other original & important plays."

ALEX HARRIS Interview

ARTHUR MILLER at 100

Tap To READ: "Miller went toe to toe with mainstream ideology, with the dilemma's of war, with group thinking and paranoia, with religion, with celebrity machinery and even with the government of the United States of America during one of the worst chapters in our history: The McCarthy years. For those of you too young to remember or too old to want to remember. Senator Joe McCarthy led a witch hunt that was focused on left leaning individuals of all sorts, but specifically, those in the field of entertainment. Directors, writers, actors and producers were demanded to testify against their friends and associates publicly, privately, overtly or with discretion. Arthur Miller did no such thing, he refused to name names. "

FILM: QUIZ SHOW at 20

Tap To READ: "This is a large film, with a brilliant cast, a flawless tone and leading actors that include John Turturro as the whistle-blowing contestant Herb Stempel and Ralph Fiennes as Charlie Van Doren, a wealthy second generation Columbia University teacher who gets sucked into cheating himself, the public and his families reputation simply by allowing the network's television producers of The Quiz Show entitled, "21" to, "… give him the answers." Which are said to be, "… sealed in a bank vault." Enter investigating lawyer and Harvard graduate at the top of his class, Richard Goodwin, played here brilliantly by Rob Morrow."

New York LITERARY EDITION 2016

Tap To Download FREE: This New 299 Page Edition Contains The EXCLUSIVE INTERVIEW with NOVELIST Irvine WELSH, The BUREAU ICON Essay on John STEINBECK, The GUEST Visual Artist New YORK City PAINTER : Nathan WALSH Cinema: AMERICAN Director Hal ASHBY & The CLASSIC FILM "BEING THERE," ART Reviews: Emilie CLARK . Michael KAGAN . The Max GINSBURG LECTURE . San FRANCISCO : Photographs Roman VISHNIAC . Bill GRAHAM at The CJM The SouthWest Photographic Essay Winner Rich HELMER Plus Diane ARBUS . NEW FICTION ENCORE: They CALL IT The CITY of ANGELS Selected Chapters INTERVIEWS: Sandy SKOGLUND . Shaun HUSTON on Library Comic BOOKS . MUSIC: The MALLETT Brothers Band . Kehinde WILEY in SEATTLE . Museums : Arizona . Oklahoma . San Francisco . ART: John MELLENCAMP . BOOKS : ALI & Malcolm X . SPRINGSTEEN . Literature by U.S. Military Veterans . The SEATTLE Photographic Essay and The FIVE Best Bookstores in BERKELEY . LITERARY Events 2016 S.E. Hinton's The OUTSIDERS + WOMEN Writers RULE : RESOURCES with Info and Email Links to 100's of Magazines, Publications and Literary Organizations around The World.

BUY THE NEW BOOK "LIFE IS GOOD: WhenYou Do The WORK" 40 ESSAYS / 176pp Paperback

Tap to BUY Now: $20. Dollars Delivered Direct “Writing this book of essays is my way of encouraging those who read it to experience life with more passion, humor and most importantly, integrity. There are times when I simply want to shout out “pay a little more attention”. This book is that shout out. There is so much beauty and goodness in the world and yet there are so many challenges and concerns. We humans are strong and we humans are fragile. Our planet is strong. Our planet is fragile. It’s our planet. It’s our life. We, our loved ones, our friends, our neighbors and our natural world are all one. We need to learn to better love who and what we can.” - Maria Francesca Triliegi / BUREAU BOOKS 2016

The ROLLING STONES: BARDS

TAP To READ: LITERARY BARDS ? What is Art ? What is a Classic ? What is Literature ? When is something all of the above ? Why is Rock & Roll Music so damn powerful to us ? It could be that great music tells a narrative just as convincingly as a short story, poem or novel. Sometimes it can even tell that story better. Case in point, Mick Jagger & Keith Richards Classic 1968 song entitled, "Sympathy for the Devil." Today, we look at the song, asking the question: Can Music Be Literature And If so, Why ? By J.A. TRILIEGI

MUSIC: To Kill a Mockingbird

Tap To READ: "Elmer Bernstein's score for To Kill a Mockingbird may just be the most perfect understanding of Literature, Cinema and Musical Orchestration ever created. Mr.Bernstein, who was blacklisted, some years later, made a fabulous comeback with, of all things, his score for John Landis's Animal House. By pulling great musical stunts as a straight man to Landis' pranks. Remember the score to that film ? Heroic like anthems, every time Belushi and his cohorts take on the conservative views of The University. It worked wonderfully and Mr Bernstein was back in business again"

INTERVIEW Ryan SCHIERLING

Tap to READ : "I’m drawn to anything that’s visually and aesthetically pleasing, but I think that describes most photographers. The process of translating what I’m seeing into a photograph using a mechanical process of adjusting this and that is what, my style? Visually, I like clean images. I like to fill the frame with precisely what I want, because I don’t crop much. I want exactly what I want to see, and it’s done in camera, zooming a lens, or moving the legs here and there. "

Interview: DAVID BURKE

Tap To READ: "My process involves equal parts control and chaos, and echoes tenuous socio-ecological relationships depicted in the imagery. The use of synthetic material reinforces the commentary on man’s impulse to consume, contain and modify the earth’s resources in order to accommodate our own needs and desires. Contrary to some of the jaded ideas around the work, the paintings are actually quite optimistic in the sense that I am continually awestruck by the resilience of the natural world in the face of such heinous destruction. "

INTERVIEW: PATRICK RIEGER

Tap To READ: "Playing for a live audience was the only way music would have happened for me. My training is as an actor, as a kid I was a dancer. I always sang but could never read music, and musical instruments came a little harder to me. What I'm saying is that the live performance is something I know how to do and that might make up for my lack of musicianship sometimes. There are a lot of better guitar players in the world, but a lot of them choose to only play on their couch. If they're not going to take the gig I will because I know how to leave my blood on the floor for an audience, I can tell the stories."

The IRBY PACE INTERVIEW

NEW YORK SPRING EDITION TAP IMAGE TO DOWNLOAD

BRUCE SPRINGSTEEN . The BUREAU GUEST Artist from CANADA Painter and Sculptor Mr. Erik OLSON . NEW Interviews + Photographic Essays with Three from The United Kingdom: Street Photographers Craig REILLY, Steve COLEMAN and Walter ROTHWELL. BUREAU Dance: Martha GRAHAM, Plus Mathilde GRAFSTROM : CENSORED German Muralist: Hendrik BEIKIRCH, The CLASSICAL Genius: Daniil TRIFONOV. BUREAU NEWS: David GANS on SUPREME COURT, Plus Mexico's DR. LAKRA Daniel GEORGAKAS on HOLLYWOOD BLACKLIST, The OSCARS WHITEOUT, PHOTO ESSAYS: Stephen SOMERSTEIN at The FREEDOM MARCH of 1965, Alex HARRIS showcasing The Afro AMERICANS in North Carolina in The 1970s Artist Tristan EATON + The Post Modern Paintings . BUREAU Film: TRUMBO Plus Film Reviews

NEW YORK RECENT Edition

TAP FOR FREE DOWNLOAD The BUREAU ICON Essay: BOB DYLAN. Interviews + Photographic Essays with Alex HARRIS on The INUIT, Kanayo ADIBE in Baltimore, Lynn SAVILLE in New York City, Mike MILLER on West Coast Style, Ryan SCHIERLING in AUSTIN and BUREAU GUEST Artist: Melissa Ann PINNEY ART Interview with David BURKE in Bay Area. Plus: Michelle HANDELMAN. New FICTION: THEY CALL IT THE CITY of ANGELS Part III MUSIC Contributor: Sarah Rose PERRY on The Femme PUNK Scene. MUSIC Interview with JAHI. Plus US MUSEUMS: Detroit's 30 ARTISTS Exhibit, Milwaukee's Larry SULTAN, Photo LA, BOOK Stores Across US: BookPeople, Anderson's, City Lights, Book Reviews from STRAND NYC. Classical MUSIC and Rock & Roll: Not So Different After All. Elliott Landy and The BAND. Edward Hopper at The Cantor.

Tap Image for FREE Copy SPRING 2015 Edition BUREAU of ARTS + CULTURE Magazine

This Edition includes Photographic Essays by Japan's Master Photographer: T. Enami. From Beijing, China : The Contemporary Art of Yin Xiuzhen, From Korea :The Paintings of Ho Ryan Lee and Photographs by Bohnchang Koo, From Hawaii : Art by Masami Teraoka, Levitations by Natsumi Hayashi, New Mixed Media by Xuan Chen, Sculpture by Jacob Hashimoto, Guest Artist: Katsushika Hokusai, ICON Essay: Akira Kurosawa, Chinese New Years Events across America. We are proud to announce our Newest Media Partners: Asia Art Fair New York and Prints from The Asian Art Museum in San Francisco U.S.A. Magnum Photographer Raymond Depardon Takes You Inside the Anti War Rally of 1968. Bureau Film: A Beautiful Country, Bureau Books: Forbidden City USA, Plus links to our Community Sites in Seven Different Cities, Each Celebrating a Different Language with Translation Options on Our Previous Features in Bureau Editions including: Japanese at The LA site / Chinese at The San Francisco Site / Korean at the New York Site / Vietnamese at The San Diego Site / Philipino at The Santa Barbara Site / Bengali at the Seattle Site / Thai at The Midwest Site. All This and more