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An American Artist: Catching Up With David Phillips

David Phillips is an American artist whose work has shown at over 50 galleries throughout the United States. You may also know him as wino-strut. Bold, conceptual, avant garde, I've been following his work for the better part of a decade. Multidisciplinary, Phillips medium constantly remains in flux, at any given time, working with canvas, wood, metals, film and beyond.

The following conversation took place over the better part of a year in and around LA -- topics spanning Phillips initial arrival in Los Angeles 15 years ago, his inspiration, the cities changing art scene,  how oil remains "alive" and his native Oklahoma's enduring influence.

Aquarium Drunkard: Let’s start from the beginning. What brought you from your native Oklahoma to LA? What year was it?

David Phillips: I moved to Los Angeles about 15 years ago. I had been making a lot of paintings towards the end of school and there was nowhere to show them in Oklahoma. I packed my Honda Prelude up with a bag of clothes, my guitar, a cooler full of Coors Light, turkey sandwiches, Diet Cokes and a shit ton of Camel Lights. I told my family I wanted to visit LA but in my mind I was already gone. I just knew I’d live here. I had never visited Los Angeles. I had never been to California. I had $500 cash, no cell phone, and nothing to lose. I suppose I was chasing the great American West…or at least the idea of it. I don’t know. At this point it’s kind of a blur. All I knew is that I wanted to show my art to a large audience. I knew something drastic had to be done.

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Peter Buck :: The Aquarium Drunkard Interview

R.E.M. guitarist Peter Buck isn't especially geared toward nostalgia.

Since the pioneering alternative group  disbanded in 2011, Buck has operated at a prolific clip. He's released a string of vinyl-only solo albums on the venerable Mississippi Records label, played with the Baseball Project, and worked with Joseph Arthur. Recently, his band Filthy Friends -- featuring  Corin Tucker of Sleater-Kinney, Scott McCaughey of the Minus 5,   Kurt Bloch of the Fresh Young Fellows and drummer Bill Rieflin (King Crimson, Swans, Ministry) -- released a rager,  "Despierata," as part of Dave Eggers' anti-Trump musical campaign 30 Days, 30 Songs. And just last week saw the release of Alejandro Escovedo's Burn Something Beautiful,  which was co-produced and co-written by Buck.

In the middle of all that, Buck helped assemble the 25th anniversary edition of Out of Time, the record that took R.E.M. from a cult Athens, Georgia, rock band to a pop cultural force. Packed with hits like "Losing My Religion" and "Shiny Happy People," along with  meditative songs like "Belong," "Country Feedback," and "Low," the group's seventh album blended folk, funk, country & western, and power pop influences to help establish the template for what "alternative rock" would become at the start of a new decade. Available November 18th, the deluxe retrospective edition of the album features  alternate takes, demos, music videos, and a live set from Mountain Stage.

Buck admits he's not the most backward looking guy by nature, but still says revisiting the album was "a gift," representative of a shift in the group's career and an increasing willingness to blend genres and styles. Speaking with AD via telephone, Buck discussed his interest in hip-hop, taking on Donald Trump through song, and the experience of revisiting Out of Time. The conversation has been edited for clarity and condensed.

Aquarium Drunkard:  You  seem focused primarily on the present. Was going back and putting the  25th anniversary edition of Out of Time  a strange process for you?

Peter Buck: It's strange but it's also a gift. Because, prior to the band no longer working together, there was a continuum. Each vignette was   dependent on what the previous thing was, and the later thing, and what happened ten years later. Now it's history, for better or worse. It is what it is.

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Sevens (Politiko) :: Drive-by Truckers – Ramon Casiano

(In October of 2008 we flipped the script on our Sevens column with Politiko, focusing solely on political songs until the general election. It’s now 2016…and we’re back.)

"It all started at the border / and that's still where it is today / someone killed Ramon Casiano / and the killer got away." The opening line to "Ramon Casiano" sounds as much like the invocation of a Cormac McCarthy novel as it does the lead track from a Drive-by Truckers album. But the first song on the Truckers' most thoroughly political album, American Band, opens with what seems like ought to be its most salient detail. Instead it becomes something much larger in the details.

The titular person was a 15-year-old Mexican boy killed in a disagreement with a 17-year-old American named Harlon Carter in 1931. Carter was convicted and sentenced to three years before an appeal overturned his sentence based on the judge's instructions to the jury before deliberation. He was never re-tried and the incident itself stayed buried until Carter was confronted about it in 1981.

This doesn't sound like an intensely important event, aside from the lack of justice, until you trace out Carter's life afterward. Throughout his adult life, he served as a border patrol agent and even became the head of all federal border operations during the time of the infamous Operation Wetback during the 1950s. He also became an active member of the National Rifle Association, then a fairly benign group dedicated to promoting sports shooting and hunting activities. But that would change in 1968.

The Gun Control Act of 1968 was the first legislation passed to restrict gun sales and transport in some way since the 1930s. The NRA leadership found itself supporting some parts of the law and not others, but Harlon Carter was insistent that the NRA should opposed all gun legislation at all times. As a piece from the Washington Post noted about Carter: "Asked in 1975 if he would rather let convicted violent felons and the mentally deranged buy guns than endorse a screening process for gun sales, Carter did not hesitate to say yes. That’s the 'price we pay for freedom.'"
Carter would lead a revolt from within the ranks of the NRA, and in 1977 he would become its president. Over the eight years of his leadership, he would push the NRA to become one of the most powerful lobbying organizations in the United States - powerful enough to almost permanently derail more serious consideration of further gun control.

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SIRIUS/XMU :: Aquarium Drunkard Show (Halloween Edition)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 454: Count Chucula - Intro ++ Bob Mcfadden & Dor - The Mummy ++ The Blue Echoes — It’s Witchcraft ++ The Tomko’s - The Spook ++ The Gories - Casting My Spell ++ Screaming Lord Sutch — She’s Fallen In Love With A Monster Man ++ Elvira - End of Side One ++ The Five Blobs - The Blob ++ Baron Daemon & Vampires . . .

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Elvis Presley :: And The Grass Won’t Pay No Mind

Tomorrow sees the limited theatrical release of my first feature film, Shangri-La Suite. It tells the story of two lovers-on-the-run during the summer of 1974. Their names: Jack Blueblood and Karen Bird. Their aim: to kill Elvis Presley. It stars Emily Browning, Luke Grimes, Avan Jogia and Ron Livingston (as the King). Burt Reynolds narrates. The trailer can be . . .

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Aquarium Drunkard Presents: I’m Bored – A Mixtape

“You’re moving so fast, but baby you know not where”. - Wings, “Wild Life"

I'm Bored, a mixtape courtesy of our friend Jess Rotter, whose new book of illustrations by the same name was just published via Hat & Beard Press. Jess, in her own words, below.

This collection of jams is set on turtle speed, so please don’t get bored. Instead, embrace the tone and enjoy the moment. Pour . . .

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Flying Saucers Are Real :: A Discussion with Jack Womack

Recently, science fiction author Jack Womack took a break from his near constant political watchdogging to tweet a quick reminder:

"I don't believe in Flying Saucers; I do believe in people who believe in them."

The tweet was more than just an offhand clarification. It's something of a defining statement from Womack, and necessary to make clear as he recently compiled a rather definitively titled book,  Flying Saucers Are Real, for become a member or log in.

Monsters of Rock: A History of RocknRoll’s Boogeymen Mascots

Diversions, a recurring feature on AD, catches up with our favorite artists as they wax on subjects other than recording and performing. For this installment (Halloween appropriate) we catch up with Zig Zags' Jed Maheu as he runs down a brief history of rocknroll's boogeyman mascots. All hail the Boognish.

When I was growing up outside of Portland, Oregon I had a babysitter named Randy. He was your typical 80’s hesher . . .

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Radio Cramps :: The Purple Knif Show

Lux Interior: inter-dimensional, pan-sexual, time-traveling rock & roll alien. And radio host. As Halloween draws nigh we're revving up for our annual airing of The Purple Knif Show, the one-off radio program hosted by Lux in 1984 deep in the bowels of Hollywood. As master of ceremonies, Lux runs through his personal archives spinning the weird ranging from rockabilly and garage to early punk, campy novelty and exotica. His bag of tricks was the best. So . . .

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Itasca :: Open To Chance

Given the time of year, the temptation with Itasca's  Open To Chance  is to call it the perfect autumnal soundtrack. But the truth is, it would sound just as good had it been released in April, or July or February. Singer-songwriter-guitarist Kayla Cohen has been releasing spare acoustic music under the Itasca moniker for a few years . . .

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MV & EE :: Root/Void

Several years ago, I discovered that MV & EE held the distinction of being the Most Represented Artist in my record collection, nudging out previous record-holders The Fall. I confess this not to assert my authority when it comes to MV & EE music, but to sympathize with those curious listeners who are perhaps intimidated by an enormous and overwhelming discography, not knowing the way “in.” To those listeners I say Root/Void

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Ananda Shankar :: Jumping Jack Flash / Light My Fire

The last time we highlighted a Stones cover was several years back upon the release of Alex Chilton's Free Again Sessions from 1970 - specifically his proto-punk rendering of "Jumping Jack Flash". Here, we find  Bengali musician Ananda Shankar's psychedelic sitar take on that tune (also from 1970) and the Doors' "Light My Fire", both via the Snow Flower lp.

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SIRIUS/XMU :: Aquarium Drunkard Show (Noon EST, Channel 35)

Our weekly two hour show on SIRIUS/XMU, channel 35, can be heard twice every Friday — Noon EST with an encore broadcast at Midnight EST.

SIRIUS 453: Jean Michel Bernard — Générique Stephane ++ The Swamp Rats — I’m Going Home ++ Dennis Wilson / Beach Boys — Lady ++ The Kinks — I Go To Sleep (demo) ++ Le Bain Didonc — 4 Cheveux Dans Le Vent ++ The Brummels — Bof! ++ Nancy Sinatra (w/ Hal Blaine) — Drummer Man ++ The Motions — Beatle Drums ++ Naomi And The . . .

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