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All events for the month of February:

regular gallery hours February 2, 2005
12:00PM - 5:00PM

Open Improv February 3, 2005
9:00PM - - -
First Thursday of every month -- monthly open improv night!

This month's theme:
NEW WORLD ORDER: Aliens from Zeta Reticuli landed, destroying all C-Major Chords

Wed Feb 2, 2005 12:57 PM ET
ATLANTA (Reuters)

It has now been confirmed that aliens have taken over certain aspects of American life, starting with a little known art and music gallery in Atlanta Georgia.

EYEDRUM art and music gallery is apparently the epicentre for a plague of events which are just now coming to light. Apparently this unknown force from beyond time and space has found a way to selectively destroy, or at least radically alter, all C-Major chords, and allied musical formations within the human species. Personnel at the aforementioned eyedrum gallery are believed to be somehow infected with a type of nano-structure which facilitates this destruction or alteration. It is unknown exactly how many humans are associated with the gallery, and specifically with the alteration of the C-major chord.

The C-Major chord has long been known to be one of the primary musical structures, along with allied chordings, known to create happiness, prosperity, and a sense of well-being. It is unknown to what degree the humans associated with the little known Atlanta gallery are cooperating with this alien force and whether they are purposely trying to make people 'feel bad' or whether there are other motivations behind the somewhat enigmatic actions at the gallery. Other galleries contacted by reporters were apparently leery of making any public statements. The Atlanta Bureau of Cultural Affairs, who have been known to provide support for events, when contacted said they had no idea what this reporter was talking about and threatened to have us removed if we did not leave the premises. One person who wishes to remain anonymous said "I've seen it coming for quite some time now...none of us involved locally know what to make of it." It is not known however how far the 'infection' has spread since the anonymous informant, not connected with EYEDRUM ART AND MUSIC GALLERY, noticeably flinched during the interview as Brittany Spears and then Usher came on the radio in the background.

It is understood that there will be some sort of gathering at the eyedrum space on Thursday February 3, around 9 pm, said purpose apparently to further promote the alteration and maybe even destruction of the venerated C-Chord. Authorities have viewed the website at http://www.eyedrum.org and found little cause for alarm. However it is thought that the Zeta Reticuli aliens are using some sort of on-line coding (called 'steganography') to spread the unknown cognitive contagion. Potential viewers are warned to use caution and common sense in viewing the site. At the first signs of discomfort, viewers are urged to contact their local philosopher since it is not known how latent the alien structure is in all musicians.

regular gallery hours February 4, 2005
12:00PM - 5:00PM

Ezra Pound Event @ Word+Praxis February 4, 2005
8:00PM - - -
Price:  $4

This event at eyedrum will feature a talk by Catherine Paul, a noted Pound scholar, performance of Pound's work, audio of Pound reading and some creative redeployment of Poundian materials by the APG.

regular gallery hours February 5, 2005
12:00PM - 5:00PM

Small Gallery CHANGED TO FEB 11 - Jeff Rackley February 5, 2005
6:00PM - 8:00PM
Price:  free
Please note that the small gallery opening scheduled for feb 5 has been changed to friday feb 11

CANCELLED!!--Terminal City / performance art night February 5, 2005
9:00PM - - -
will be rescheduled

House Hunting and Match-Making in Terminal City. . .

monthly show on WREK 91.1 FM February 6, 2005
7:00PM - 9:00PM

On the first Sunday of every month, at 7 p.m., Eyedrum does a show on WREK that features nuggets from Eyedrum's archive of live performances.

This month we'll be playing selections from several past performances that give you a taste of events coming up this month. Dragons 1976 are playing next week, so we'll play some of last appearance at Eyedrum (a year ago) along with with an excerpt from NTSC (Adam Brunneau) which is the same person that does Phonepunk. Both Dragons 1976 and Phonepunk are appearing at Eyedrum on Tuesday Feb. 8th. We'll also be playing some material by The Claudia Quintet (performing Thursday Feb. 10th), and some Eugene Chadbourne / Han Bennink (Feb 18th) that we recorded about 5 years ago at Earthshaking Music ... their last previous appearance in Atlanta. Plus we're sure to throw in some other stuff and of course provide the usual witty banter and general commentary about events past and future. If you haven't been listening to the monthly show then make note and tune in -- it's usually pretty damn great if we do say so ourselves.

And remember that, after the show airs, you can always listen to this and any recent Sunday Special via WREK's 7-day archive if you forget to tune in (direct links to Sunday Special streams: lo-fi or hi-fi).

DRAGONS 1976, PHONEPUNK, THE MARSH February 8, 2005
9:00PM - - -
Price:  $6

Dragons 1976 is a new Chicago trio featuring drummer Tim Daisy (VANDERMARK 5), bassist Jason Ajemian (chicago underground orchestra, born heller) and saxophonist Aram shelton...this trio's improvisation is deeply informed by a noir-ish sensibility, with dark melodic tones and elliptical solos that are rarely busy. The band's gentle sense of swing creates a nice open scheme, where you can feel the music breathe as one idea unhurriedly moves to the next. It does kick it up a notch (Bam!) on "Humboldt," a static piece that goes the first five minutes without any chord progressions, hovering like a helicopter (thanks to the whirlwind drumming of Daisy), before a tension-releasing groove comes on for the swinging coda attached to the end. A pretty sounding avant-garde trio that's perfect for late-night listening, particularly if you have company."

Phonepunk is Adam Bruneau (SUPER MADRIGAL BROS) and Ben Crumb and their music is made up entirely of noises from phones, creating noises that run the gamut from ambient sounds, space pop boogey-rock all the way to Kid606 style blips. Automated operators, quarters careening down slots, switchboards, receivers being slammed and flicked, touch-pads sequenced melodically and the awe-inducing hum of the dial-tone are fair game for a surprisingly polyphonic embrace of low-tech communications technology.

Atlanta band, The Marsh, return to Eyedrum after playing it's annual fundraiser in the galleries newly acquired 3000 square foot space to much deserved fanfare from Atlanta's arts patrons. Expect to hear explosive, swirly Hammond B3 organ drones, deep bass lines, falsetto yelps and dramatic music arrangements reminiscent of early Bowie and Pink Floyd.


regular gallery hours February 9, 2005
12:00PM - 5:00PM

Claudia Quintet February 10, 2005
9:00PM - - -
Price:  $7
Euphonic Productions
The Claudia Quintet
Thursday, Feb 10
$7 at the door

The Claudia Quintet is:
John Hollenbeck: composition/drums/percussion
Ted Reichman: accordion
Drew Gress: acoustic bass
Chris Speed: clarinet & tenor sax
Matt Moran: vibraphone

The Claudia Quintet’s 2nd release, "I, Claudia" demonstrates that "Innovative jazz does not have to be harsh, angry, loud, shrill or grating; it can be delicate, witty, ethereal and radiantly lyric, as the Claudia Quintet pointed out...." [Chicago Tribune]. Formed by composer/drummer John Hollenbeck in 1997, this New York ensemble creates music that explores the edge in a manner that captivates and enthralls novice listeners, and keeps experienced fans returning for more. ‘Claudia’s’ newest release, "I, Claudia" is a highly seductive work, ripe with compelling, propulsive grooves, dynamic sensitivity and telepathic improvisation.

In the words of Nate Chinen for the Philadelphia City Paper: "It’s impossible to classify The Claudia Quintet (postmodern- ethnic-ambient- chamber- jazz anyone?) but surprisingly easy to understand its language." Perhaps you could call it postjazz, for it is as carefully crafted as anything from contemporary classical music’s minimalist camp, and wouldn’t sound out of place played next to postrock acts such as Tortoise or Stereolab. As the NY Times stated recently: "if this music were a little bit dumber, it would resemble the music of the rock band Tortoise. No disrespect to Tortoise." "I think of it as party music for smart people," says Hollenbeck-though this is the farthest thing from a jam-band set. The solos are tightly structured, the tunes flow in and out of odd time signatures, and the melodic palette draws more from classical, Balkan, and Latin American colors than the predictable rock-funk mélange. Yet in truth, the ingredients are almost too diffuse to be isolated. "The way I write, hopefully, approaches some sort of universal music," says Hollenbeck. "It sounds like everything."

The Claudia Quintet is one of the most promising groups to emerge in recent years from ‘downtown’ NY’s new alt jazz scene, nourished by the venues alt.coffee and its successor, Tonic. The ensemble grew out of the Refuseniks, a collective trio consisting of John Hollenbeck (percussion), Ted Reichman (accordion), and Reuben Radding (bass), that played weekly at alt.coffee. After Radding left, Hollenbeck formed a quintet to perform his own compositions, which he named The Claudia Quintet. He named his quintet "Claudia", after an ephemeral and near-mythic Refusenik fan, because "I wanted to lose myself in the group - emphasizing the ensemble."

Over the past few years, John Hollenbeck has been making waves as one of NYC’s more versatile and passionate musician-composers. He moved to the city in the 1990s, as did The Claudia Quintet’s other members. With degrees in percussion (BM) and jazz composition (MM) from the Eastman School of Music, he has worked with numerous musicians in jazz (Kenny Wheeler, Village Vanguard Orchestra), ambient rock (Cuong Vu Trio), and ethnic music (David Krakauer’s Klezmer Madness; Pablo Ziegler). Besides his work with The Claudia Quintet and other projects, Hollenbeck currently tours and/or records with Theo Bleckmann, Bob Brookmeyer’s New Art Orchestra, Fred Hersch, Meredith Monk and Achim Kaufmann. Hollenbeck made his recorded debut as a composer in the winter of 2001/2002, when he released 3 critically acclaimed CDs on CRI/Blueshift: "no images" - An ambitious composer’s statement that Gary Giddins included in his "best jazz records of the year 2001" list in NYC’s Village Voice. The cast of star players - such as Ray Anderson, Ellery Eskelin, Ben Monder and Dave Liebman - meld into Hollenbeck’s appealing and unusual vision. The disc contains a fitting piece for Martin Luther King Jr. Day airplay - The Drum Major Instinct, a stirring and complex King speech set to equally stirring music by Hollenbeck. "quartet lucy" - "An emotional, spiritual exploration" Skuli Sverrisson, Jonas Tauber on bass and cello and reedsman Dan Willis add texture to a unit that is dominated by vocals (Theo Bleckmann) and percussion. Hollenbeck and Bleckmann forge an ethereal bond born of a long track record of working together on various projects. Hollenbeck has received numerous commissions, grants (NEA, Meet the Composer), and awards for compositions. His chamber piece, "The Cloud of Unknowing", was commissioned by the Bamberg Symphony Choir and issued by Berlin Classics. His Gil Evans Fellowship Commission, "A Blessing", premiered at the IAJE’s 2002 Conference and his IAJE/ASCAP Commission, "Folkmoot", premiered at its 2003 event. Hollenbeck was recently nominated as the "Up and Coming Jazz Musician of the Year" by the Jazz Journalists Association and a 2003 "Rising Star Composer" in Downbeat’s Critic’s Poll.

Drew Gress is one of NYC's most in-demand bassists, performing in numerous ensembles and currently playing with Tim Berne’s Paraphrase, Uri Caine, Don Byron, Fred Hersch Trio, Dave Douglas String Group, Marc Copland Trio, and many others. He has recorded with many artists, including Ray Anderson, Erik Friedlander, and Ellery Eskelin, and was a founding member of Joint Venture, a quartet with 3 albums on Enja. As a composer, Gress has received grants from NEA and Meet the Composer, and leads the group Jagged Sky (Soul Note) and Spin and Drift (Premonition).

Vibraphonist Matt Moran received an MM from the New England Conservatory of Music, studying jazz composition with Joseph Maneri. He leads the group Sideshow (songs of Charles Ives) and works with Mat Maneri Quintet, Butch Morris, Theo Bleckmann, and Zlatne Uste Balkan Brass Band. He has recorded and/or performed with numerous artists, including Lionel Hampton, Combustible Edison and Ellery Eskelin. Moran has received Meet the Composer grants, and recently composed a Balkan inspired piece, "Berance" (2001) for a BAM commission. He is a key figure in New York’s Balkan music scene, leading Slavic Soul Party, performing in Lefteris Bouranas and other traditional bands, teaching and curating a music series.

Woodwind player Chris Speed played piano and clarinet as a child, becoming interested in sax, jazz and improv in high school. Like Moran, he studied at the New England Conservatory of Music, where he co-founded the band Human Feel (New World/Countercurrents). Speed has worked in bands led by Tim Berne, Jim Black, Uri Caine, Dave Douglas, Myra Melford, Erik Friedlander, Mark Dresser, Ben Perowsky, Briggan Krauss, and others. He has recorded for such labels as Arabesque, BMG, Screwgun and Tzadik. In addition, Speed leads several bands with Jim Black and Skuli Sverrisson, including the Balkan-influenced Pachora (Knitting Factory), and Yeah, No (Songlines).

First trained on piano, Ted Reichman, began playing accordion while studying jazz at Wesleyan with Anthony Braxton. He has performed and recorded with countless artists, playing accordion in an astounding variety of music, including klezmer and avant-klezmer (w/ David Krakauer, Roberto Rodriquez), free (Anthony Braxton, Eugene Chadbourne, Marc Ribot), alt country (Sue Garner), and pop (Paul Simon), appearing on numerous recordings. Reichman has just released his first solo CD, Émigré, on John Zorn’s Tzadik.

For more information on:

The Claudia Quintet, & John Hollenbeck: www.johnhollenbeck.com

Drew Gress: www.drewgress.com

Matt Moran: www.mattmoran.com

Ted Reichman: www.tedreichman.com

Chris Speed: www.chrisspeed.com

regular gallery hours February 11, 2005
12:00PM - 5:00PM

Jeff Rackley small gallery opening February 11, 2005
6:00PM - 9:00PM
Opening reception Runs through Feb. 26th

Jeff Rackley

The inspiration and motivation to work in the idiom of collage has captivated me for many years now. Whether it’s the tactile qualities of the materials that I use, the color, shape, or the unusual nature of the thing, it seems that the possibilities are limitless. I am compelled and inspired by the idea of recycling discarded materials, like pieces of junk mail, old notes, doodles, ticket stubs, receipts and various ephemera, materials that normally are not considered good candidates for constructing a collage. For instance, lately I’ve been moved to work directly on large pieces of sized cardboard, instead of using the more traditional canvas or board. I’m also drawn to certain types of packaging, like large envelopes with interesting labels, packing slips, or even plain envelopes. The notion of ‘making something from nothing’ so to speak, juxtaposing the materials, and seeing these elements transform from their original context into a new one within a composition has motivated me to continue working in this manner. I marvel at the discoveries through the process of experimenting, reconstituting, and working with the materials that I choose to incorporate into an image. Another interesting discovery is how the act of collecting materials, and their eventual use in a collage, seems to bring about the idea of time and place in each piece for me, since I am incorporating real things that I have collected, or that have entered my life, either by mail or by collecting things. This has become an important part of the process for me. In doing this, I may be revealing bits of my own history, or creating a new history, a memory, perhaps revealing the fragmented nature of time. Also, the notion of recycling comes to mind, and this may say something about life in a commodity driven society. It is my goal to transform these unlikely elements into a composition, something relevant and vital in my on-going development as an artist.


Jeff Rackley was born in Rocky Mount, North Carolina in 1960. He briefly studied art and music in the public school system, and studied painting and art history at The Savannah College of Art & Design from 1986 to 1990, receiving his BFA in painting. From 1997 to 1998, he attended the University of Georgia in Athens, receiving his K-12 teacher’s certification.
He has exhibited his work in various group and solo shows in Savannah and Atlanta.
In 2001 and 2002, he collaborated with a variety of artists, mainly in the field of video, sound, and mixed media. In December 2001, he collaborated with Atlanta artist Deborah Kasovitz’ art installation at Eyedrum Art & Music Space, by creating a soundscape based on field recordings collected from the Cabbagetown area of Atlanta by Ms. Kasovitz. From June 9 to August 9, 2002, Jeff collaborated with artist Robert Cheatham on an installation entitled APOCATASTASIS or "the doctrine of reconciliation thru the retrieval of all things" as part of New Media for a New Century: the 2002 Columbus Museum Regional Invitational Exhibition, which featured artists working in Georgia, North Carolina and Florida. This exhibition was the first to be showcased at both the Wynnton Road and uptown locations of the Museum. From September 11 to November 9, 2002, Jeff collaborated with artist Hormuz Minina on an outdoor installation incorporating video and sound housed within two sea containers, as part of the Spruill Gallery's Like Lions Raging: Commemorative Exhibition Presenting Responses to War and Terrorism. Since April 1999, Jeff has been involved with Eyedrum Art & Music Space in Atlanta, as a volunteer and board member, his main role being sound and recording engineer, and music archivist. He also co-hosts "Live at Eyedrum-WREK Sunday Special" radio show the first Sunday of each month on WREK 91.1 FM. In 2003, he returned his focus to collage, and his latest work opens a new chapter in his development as a visual artist.

cowboys international/Club Awesome February 11, 2005
9:00PM - - -
Price:  $8
Cowboys International

Cowboys International was always a vehicle for writer Ken Lockie's work.  His most widely known recordings were as writer with Public Image Limited (Second Edition, Metal Box), vocals with Simple Minds (Sons and Fascination), producer and writer with Dominatrix (Sleeps Tonight) and Death Comet Crew (At the Marble Bar). 
During the explosion of punk music in the late 1970's, Cowboys International was one of Virgin Records favorite bands.  Amid the chaos of that time, their music was an advance copy of what was to come in the following years.  Their emphasis on sound and structure gave their records a distinctive sound and illuminated a new path away from the epicenter of blues based rock.  A synthesis of sound, rhythm, melody and lyrical content; occassionally brilliant pop music subverted, in the manner of Brel toward a different dose of reality bathed in lush textures and tones!
Not everything in the pop world was smooth for Cowboys International, having gone through personnel and label changes, the current line up of the band includes Steve McCaffrey, guitars, Lang Murphy, drums, Laura Lockie, guitar and vocals and Ken Lockie, lead vocals and harmonica. 

Club Awesome
Errol (Gemini) aka "Moonrunner" has a keen eye for beauty in his job managing
a downtown art gallery. Blair (Sagittarius) aka "Solar Flare" really
how to work his hands training as a massage therapist. Rick (Libra) aka
"The Comet" practices his signature pout and scruffy "'tude"
behind the
counter at a local coffeeshop. And fresh-faced freshman Lance (Gemini),
aka "Starchild," the youngest of the group, trains his brain at university
studying history and philosophy.

Put them all together, and you just might have "The Perfect Boyfriend."
These dudes wear all the right clothes - and know all the right moves!
Hold on to your hearts, girls and boys, cause this delicious foursome is
about to "blow you away" on a honey-tinged wind of "aural" pleasure!
as sweet as the squirrels' playful lovemaking in the first kiss of spring
... as magickal as dewdrops glinting on rosepetals in the full-moon-light
... as intoxicating as the heady draught of morning-breath on the lips of
a Brazilian underwear model. Your life will never be the same. (You can
thank us in the mor

regular gallery hours February 12, 2005
12:00PM - 5:00PM

JITTER!! February 12, 2005
8:30PM - - -
February 12, 8:30 pm: A collaborative performance by Aaron Miller; Monica Duncan, ACA Visiting Artist and Video Department faculty member; Neil Fried, Video Department faculty member; and Aimee Rydarowski, ACA Digital Video major.

Using the programs MAX/MSP/Jitter, the performers will create a feedback system to explore the mechanisms that map the creation and evolution of memory over time. The piece will combine projected image, sound, music, text, gesture and voice. The performance is sponsored by The Atlanta College of Art Video Department and EyeDrum.


Aaron M. Miller is an artist and technical producer of interactive multimedia performances and installations. He has performed and exhibited his work internationally, including a recent tour of Poland and the Czech Republic with Gary Hill and others. He also worked as Technical Producer and Software Designer for Gary Hill's recent installations at the Pompidou and the Louvre in Paris, France. Miller was the Technical Producer for a recent performance by Hill at the Louvre, a collaboration between Hill, Miller, and Paulina Wallenberg-Olsen. A specialist in Max/MSP and Jitter, Aaron has worked as research assistant, instructor, and lecturer at many institutions including Alfred University in Alfred, New York, the Experimental Television Center in Owego, New York, and Le Fresnoy in Roubaix, France. In 2003 Miller was invited to perform in two international digital art conferences: one in Havana, Cuba as part of Encuentro Digital en La Habana and in Morgantown, West Virginia, as part of E-Poetry 2003: An International Digital Poetry Festival. Miller's career started early. As an undergraduate he met with Tetsu Inoue and Stephen Vitiello which led to an invitation to present his work in the 9th Biennial of Moving Images in Geneva, Switzerland as part of Stephen Vitiello's "Return to Psychadelavison". The next year he performed with Tetsu Inoue and Miller's CD "Modularia" was produced by Inoue's label Otodisc. Recently, he was selected to be a part of the Albright-Knox Art Gallery's Biennial, "Beyond/In Western New York". Miller received his B.A. in Fine Arts from Alfred University in Alfred, New York and the M.A. in Media Studies and Computer Music from the University at Buffalo, in New York. He is also the Assistant Director of the Experimental Television Center's International Student Residency program. This spring, Miller will be assisting Gary Hill with a large-scale installation at the Coliseum in Rome.

regular gallery hours February 16, 2005
12:00PM - 5:00PM

Gas, Food and Lodging - Progressive Dinner February 17, 2005
6:00PM - 8:00PM
also includes GSU School of Art and Design gallery, and Agnes Scott College art gallery

eyedrum's portion of lteh evening will be a soup ktchen and...cupcakes!

desert adn appetizers at the Georgia State gallery and Agnes Scott/Dalton gallery...
also drop in and check out the one night only West Georgia University show in the back.

regular gallery hours February 18, 2005
12:00PM - 5:00PM

Chadbourne/Bennink duo February 18, 2005
9:00PM - - -

Euphonic Productions
Han Bennink & Eugene Chadbourne
9pm, Friday, Feb 18
$10 at the door

In the niche-oriented world of major-league jazz, it's almost unfashionable to be so multi-faceted a player as Han Bennink. Bennink is one of the unfortunately rare musicians whose abilities and interests span the music's entire spectrum, from Dixieland to free. His straight-ahead playing is absolutely convincing -- his time is solid, his sense of swing strong, and his technique flawless. He also possesses the requisite qualities of a free jazz virtuoso; Bennink's ability to interact quickly and creatively with horn players and pianists is great, as is his ear for timbral contrasts. What ultimately makes Bennink special is his manifest love for the music, a love that inclines him to tear down the cardboard walls that too often separate different schools of jazz. At his best, with colleagues who share his all-encompassing stylistic embrace, Bennink plays the continuum of jazz as an instrument unto itself.

Bennink began playing drums while in his teens under the influence of his father, a classical percussionist. He played with hometown musicians in the early '60s. Between 1962 and 1969, Bennink backed local American jazz greats like Dexter Gordon, Sonny Rollins, and Eric Dolphy on their visits to Holland (he was the drummer on Dolphy's Last Date album, from 1964). In 1963, he formed a quartet that included pianist Misha Mengelberg, which played the 1966 Newport Jazz Festival. In the mid-'60s, Bennink began to play free jazz with the likes of Mengelberg and Willem Breuker. In 1967, those three founded the Instant Composer's Pool, a not-for-profit organization designed to promote the Dutch jazz avant-garde. Around that same period, Bennink began continuing associations with the saxophonist Peter Brotzmann, guitarist Derek Bailey, trombonist Alex Schlippenbach, trumpeter Don Cherry, and the Globe Unity Orchestra. In the '70s and '80s, Bennink led and played as sideman on a number of sessions on the FMP, Incus, and Soul Note labels; he made a notable contribution to Steve Lacy's Herbie Nichols tribute album, Regeneration, with Mengelberg, bassist Kent Carter, and trombonist Roswell Rudd. In the late '80s, Bennink started, with cellist Ernst Reijseger and saxophonist Michael Moore, the Clusone Trio, which has since become perhaps the percussionist's most ideal performance vehicle. Both Reijseger and Moore share Bennink's extraordinarily wide range of musical interests, to say nothing of his absurdist sense of humor. It is, in fact, Bennink's rather whimsical theatricality that mitigates -- for some, at least -- the seriousness and depth of his art.
- Chris Kelsey, All Music Guide


A seemingly endless -- and endlessly eclectic -- series of releases made the innovative guitarist Eugene Chadbourne one of the underground community's most well-known and well-regarded eccentrics. Born January 4, 1954 in Mount Vernon, NY, Chadbourne was raised in Boulder, CO, by his mother, a refugee of the Nazi death camps. At the age of 11, the Beatles inspired him to learn guitar; later exposure to Jimi Hendrix prompted him to begin experimenting with distortion pedals and fuzzboxes. Ultimately, however, he became dissatisfied with the conventions of rock and pop, and traded in his electric guitar for an acoustic one, on which he began to learn to play bottleneck blues.

Perhaps Chadbourne's most significant formative discovery was jazz; initially drawn to John Coltrane and Roland Kirk, he later became an acolyte of the avant excursions of Derek Bailey and Anthony Braxton. Despite the huge influence music exerted over his life, however, Chadbourne first studied to become a journalist, but his career was derailed when he fled to Canada rather than fight in Vietnam; only President Jimmy Carter's declaration of amnesty for conscientious objectors allowed the vociferously left-wing Chadbourne to return to the U.S. in 1976, at which time he plunged headlong into the New York downtown music scene. After releasing his 1976 debut, Solo Acoustic Guitar, he began collaborating on purely improvisational music with the visionary saxophonist John Zorn and the acclaimed guitarist Henry Kaiser.

Quickly, Chadbourne carved out a singular style, comprised of equal parts protest music, free improvisation, and avant-garde jazz, topped off with his absurd, squeaky vocals. A complete list of Chadbourne's countless subsequent collaborations and genre workouts is far too lengthy and detailed to exhaustively document, although in the early '80s he garnered some of his first significant attention as the frontman of Shockabilly, a demented rockabilly revisionist outfit which also featured the well-known producer Kramer. Following the group's breakup, Chadbourne turned to his own idiosyncratic brand of country and folk, accurately dubbed LSD C&W on a 1987 release, the same year he joined the members of Camper Van Beethoven for a one-off covers project. In addition, he recorded with artists ranging from Fred Frith and Elliott Sharp to Evan Johns and Jimmy Carl Black, the original drummer in the Mothers of Invention; in between, he continued exploring unique styles inspired by music from the four corners of the globe, all the while issuing a seemingly innumerable string of records, most of them on his own Parachute label.
- Jason Ankeny, All Music Guide


regular gallery hours February 19, 2005
12:00PM - 5:00PM

a Night of Oscillators, Strings and Microchips February 19, 2005

Price:  $5
Matt Borghi Maryland) and Jason Sloan (Michigan) collaborative sound piece.

The Subliminator and his optical therimin.

Out of a crate of wires and gear, Suitcases brings the noise.

Jason Sloan is a new media artist working from Baltimore, Md. His visual work explores the various aspects of spirituality and it's connection to
life, death, memory, religion and our transitory time on earth. Through his
performances, installations, sound environments and recordings, he examines the need for transcendence beyond the body through a vehicle of visual ritual and auditory stimulation.

When working strictly with audio in a live context, Jason's performances merge colorful ambient textures with gritty walls of sound to create a beautiful blinding soundscape. These environments are created through the use of laptops, guitars, contact mics, live captured and processed sound and found objects.

Sloan received his BFA from Edinboro University in 1996 and his MFA from
Towson University in 1999. He currently teaches adjunct at The Maryland Institute College of Art and full time at Towson University. He has won numerous awards for his performance, installation & video works which have
been exhibited in various galleries throughout the United States & Europe.

His sound works have been released on various labels and can also be heard
on numerous international radio programs.

Jason's most recent work "birthingofahoneyseed" is on display at the 1912
Gallery at Emory and Henry College in Emory, Virginia until December 18. His new cd "a white, bleeding silence" is due for release on slo bor media early

For further information or to obtain recordings please visit:

Matt Borghi is a multimedia artist, performer and writer. He lives and works in Michigan , but performs and shows his work all over the world. The last few years have seen Matt putting an equal emphasis on
his sound and visual works with Matt putting his still photography and
motion graphics into his live sound shows. Matt also works as a graphic
designer with his collaborative partner Jason Sloan, as they create a variety handmade conceptual packages for their SloBor Media label's releases.
You might even come across some of the articles that Matt Borghi has
written, as he's been a freelance music writer for All Music Guide, Massage, Magazine, Artbyte, BPM Culture, Billboard, and dozens of others. Matt's music has been prominently featured on National Public Radio, Canadian Broadcasing Corporation, and the British Broadcasting Corporation. You
can view Matt still images and listen to his sound work at

Temple of Bon Matin February 20, 2005
9:00PM - - -
Price:  $5
Weirdo out rock, percussion-oriented free jazz unit Temple of Bon Matin just finished up a tour with To Live & Shave in L.A. & on this occasion will be on their way back from the Miami Noise Festival. With all members serving in Arthur Doyle's Eletro-Acoustic Ensemble, T.O.B.M conjure up a mix of Sun City Girls, Sun Ra, and Savage Republic.


+ the oscilations of Ioave!

regular gallery hours February 23, 2005
12:00PM - 5:00PM

regular gallery hours February 25, 2005
12:00PM - 5:00PM

Film Love 3: NOW! February 25, 2005
8:00PM - 10:30PM
Price:  $6

still from "NOW!," directed by Santiago Alvarez

NOW!: Short films on African-American Experience in the 1960s

Show begins promptly at 8 pm

In the third Film Love program, Frequent Small Meals presents a panoply of short films - all made and released during the 1960s, with no later historical commentary added - which detail aspects of African-American experience during this turbulent period in the nation's history.

* "I Have a Dream" documents an iconic historical event of the century: Martin Luther King, Jr.'s speech at the Lincoln Memorial during the 1963 March on Washington.

* "NOW!," by the radical Cuban filmmaker Santiago Alvarez, is a brief, masterful Civil Rights collage film set to a stunning musical track by Lena Horne.

* Stokely Carmichael is seen introducing the phrase "Black Power" to the world at a Mississippi rally in a 1966 CBS broadcast. This clip also contains interviews with Carmichael, Martin Luther King, Jr., Rep. Adam Clayton Powell (and also then-Atlanta mayor Ivan Allen) in a sequence which not only highlights the tensions between the different movements fighting for equality, but also provides a telling glimpse into how the mainstream media portrayed this phase of the Civil Rights movement.

* A tribute to Malcolm X by the pioneer independent black filmmaker Madeline Anderson features an interview with Betty Shabazz and footage of an electrifying speech by Malcolm. This film is an excerpt from an episode of "Black Journal," the first Black-produced and controlled network television series.

* In the mid-1980s, filmmaker Ken Jacobs discovered a discarded reel of outtakes - TV news footage of the aftermath of the assassination of Malcolm X. Titled "Perfect Film," it shows the drama inherent in the conflicting accounts of the event. As Jacobs says, "It was being sold for the reel, the metal reel it was on...I looked at it and said, 'perfect.'"

* Finally, we will show Eugene and Carole Marner's recently rediscovered "Phyllis and Terry." Audacious and forward-looking, this film takes a high-spirited but sensitive look at the close friendship of two teenage girls and their inner-city New York neighborhood.

Frequent Small Meals is proud to present these historic films as part of Black History Month.

The Film Love series exists to provide access to historically and artistically important films that are largely unavailable in consumer formats. The series is programmed and hosted by Andy Ditzler for Frequent Small Meals.

still from "NOW!," directed by Santiago Alvarez

regular gallery hours February 26, 2005
12:00PM - 5:00PM

submedia anniversary February 26, 2005
8:30PM - - -
Atlanta independent media group, subMedia ( www.subMediatv.com ) celebrates 10 and a half years of promoting local visionaries of the sub-culture by cranking out its new zine/DVD Molotov.

Like an urban "Foxfire" for culture jammers, Molotov is a DYI manual for spreading information about how to make a ski mask for protesting to running your car on grease. The zine also includes a DVD of films
that reflect the culture jamming spirit of subMedia. Among the filmmaker are Alex Motlagh of POP Films, David Moore of Eyekiss films and David Bruckner of Versus Media.

The Eyedrum event is as follows:

Entertainment: From El Salvador, live punk rock by BLACK MONA LISA; beats by DJ NAV from the UK; visuals by THE STIMULATOR-ATL subMedia; Fire juggling performances by PROMETHEAN ELEMENT

Films by: POP Films-ATL, Eyekiss Films-ATL, Vacuum Cleaner-UK, Kristy Eby-ATL, Los Originarios-NYC, VS Media-ATL, Psycopia Films-ATL, Electric Valium-CANADA, figure1.1-ATL, Itaki Design Studio-ATL, subMedia-ATL

When I despair, I remember that all through history the way of truth and love has always won. There have been tyrants and murderers and for a time they seem invincible but in the end, they always fall - think of it, ALWAYS.
--Mahatma Gandhi

 February 2005
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© 2001 Eyedrum, Inc. www.eyedrum.org


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