We at CatSynth are excited to announce the release of our newest app Highway☆ for iPhone and iPad, available on the App Store!
This app comes out of long-term interest in highways and road travel, something we explore periodically on this site. It’s a sort of “Pokemon Go” for travelers and road geeks, where you can discovery and collect highways as you travel.
It also has features for exploring new places on your device, and finding more information about the roads. You can also connect with other users and compete for the top scores.
It is completely free, so please download and have fun, especially if you are planning to hit the road this summer. And please let us know what you think or if you have ideas for new features 😺
And we are currently busy at work on an Android version, which we hope to share soon.
We at CatSynth have a special place in our hearts for art about our home neighborhood in San Francisco, South of Market (SOMA). Means of Exchange is a new project presented by Kearny Street Workshop that teams up artists Weston Teruya and Kimberley Arteche with local businesses in the neighborhood to create storefront artworks that highlight the history and culture of the neighborhood.
SOMA has a rich and diverse history. Long a sprawling district of warehouses and working-class houses with large streets and small alleys, it became a mecca for artists, bars, and clubs. It was a thriving center of gay culture in the city and still includes the “Leather District.” It is a center for the Filipino diaspora in San Francisco, and includes the SoMa Pilipinas historic district. In the 1980s and 1990s some of its most run-down areas were turned into the Moscone Convention Center and a hub for several museums and cultural centers. And more recently, the neighborhood has become home to many large technology companies, as well as a proliferation of luxury high-rises and not-so-luxury-but-still-expensive apartment complexes. With so many different forces at work, the neighborhood means different things to different people, and tensions and conflicts inevitably have arisen between many of the longtime residents and institutions and newcomers.
The publicly viewable artworks will celebrate many of these aspects of the neighborhood. But the history, contradictions, and conflict were also highlighted by the readers and performances and the launch event this past Friday. The evening opened with a reading by Mary Claire Amable, a Filipino-American writer who was raised in SOMA and the adjacent Tenderloin neighborhood.
Amable reflected on her upbringing, including the struggles and challenges faced by her immigrant parents, the small apartments where she lived that are now threatened by redevelopment, and the increasing unaffordability of the neighborhood for many longtime residences, particularly immigrants and people of color. Her story provides a different perspective on places and streets I have come to know well.
Next was a reading by Tony Robles, a longtime poet and activist in San Francisco who was a short-list nominee for poet laureate of SF 2017.
Like Amable, Robles was born and raised in San Francisco, and his writing reflects on the changes in his hometown and the effect it has on his communities, on artists, and on those facing displacement. He spoke both nostalgically and somewhat cynically of San Francisco’s mythic past and of the struggles of people to survive here in the present; but he also shared writings from his visits to the Philippines, including a humorous piece about “The Province.” You can get a feel for his writing Maryam Farnaz Rostami, a San Francisco-based performance artist who has staged several solo and ensemble shows, including her latest Late Stage San Francisco.
Rostami also works as a designer in the architectural world, and her performance cleverly weaves that experience into laments about gentrification and displacement in the city. She decries the traditional “enforced cuteness” of San Francisco architecture, but also questions contemporary minimalism, as it applies both to design and life. She took us on a tour of The Battery, an exclusive club that popped up a few years ago and most of us loved to hate from the moment we heard about it. The descriptions of glass and metal contrast with the ugliness of the institution’s sensibilities and target clientele. But Rostami also offered notes of optimism and hope, such as ways we could organize the city more equitably and sustainability (e.g., more high-rises, but also a lot more natural space). And she did this with a heightened exaggerated style from her drag performances.
We had a large and appreciative audience for the event, full of familiar faces from the KSW community as well as newcomers. I look forward to seeing the full art project as it unfolds on the streets of my neighborhood.
We conclude our reverse-order look at the Hardly Strictly Personal 2017 Festival that took place at the Finnish Kaleva Hall in Berkeley about two months ago. This day featured Vacuum Tree Head among several other acts.
[Photo by Karen de la Cuesta]
This was among the best Vacuum Tree Head shows I have experienced since joining the band, in terms of energy and musical tightness. The rhythm section, anchored by Justin Markovits on drums and John Shiurba on bass functioned well as a unit and provided a foundation for the rest of the band. We had three horn players: Joshua Marshal, Jason Bellenkes and Richard Lesnik. Our guitar section featured Richard Corny, and Michael de la Cuesta, who also was part of the synth/keyboard section of the band with me. And Jason Berry ran the show with new tunes, new arrangements and interstitial entertainment. We will have a full video of our set soon along with a more detailed review, but for now here is a little clip courtesy of our friend Rick Rees.
As mentioned in previous articles the overarching theme of HSP2017 was “A Celebration of Post-Beefheart Art.” The first two acts of the evening took the theme quite seriously. Earspray projected videos along with Beefhart clips mixed with live improvisations.
The group features Ann O’Rourke on electronics and video, Carlos Jennings on electronics, and Mark Pino on percussion. Mark returned in Crow Crash Radio, which also featured Brian Strang on guitar Andrew Joron on theremin along with guest Garrett Caples on vocals.
Like Earspray, Crow Crash Radio worked the Beefhart theme directly into the contact of their set, with Caples channeling him in his vocal sound and style as the band covered Diddy Wah Diddy and other songs. If there was one thing that didn’t work, it was not being able to hear the vocals well, though perhaps that was part of the concept.
The band performances contrasted sharply with a quiet so set by Jakob Pek on guitar. He uses extended techniques on the instrument, preparations, and electronics to create unusual soundscapes. The sound is mostly long tones and timbres, but punctuated by percussive elements as well.
The final set of the evening brought Lost Planet to the stage.
This band, which features Dave Slusser on winds and electronics, Thomas Scandura on drums, and Len Paterson and Steve Clarke on guitars, mixed loud rock elements with space jazz for an energetic set. In some ways, they combined elements prominent in the previous band sets of the evening.
It was fun to play with VTH on this night and hear the other groups, as I also did with CDP on night 3. We would like to thank Mika Pontecorvo for organizing this event, as well as Elijah Ponteocorvo, Kersti Abrams, Mark Pino and everyone else who followed teared to make it a success.
I had not heard of this instrument from Clef Electronic Music until this post. It does look a lot like my Octave CAT, and synth architecture and topology sounds a lot like it as well. From the post on matrixsynth:
“The B30 is a two VCO subtractive analogue synth that was available in kit form during the late seventies and early eighties. The synth was featured in Practical Electronics magazine and provided people with a more affordable way to buy a synthesizer than the extremely expensive ready built moogs etc. There is information available now online about the history of the synth and also the schematics and build instructions. I will also supply with the synth a 17 page printout of the instructions. These are also available here.
These synths are extremely rare and I have only ever seen two for sale on ebay in the last decade, this particular one is the only one I have seen with real wooden end cheeks and also the super cool pointer dials! I got the synth about 15 years ago and always intended to restore it to it’s full glory but have never had the time to do this. A change in my circumstances have prompted a reluctant sale.