Welcome to Copper #72!
It’s a cliche’ that travel expands the mind, but there is truth in it. Having just been in South America where Daylight Savings Time was just beginning and summer was approaching, and then returning to a fallen-back Colorado with snow on the ground–well, it lets one know that it’s a big ol’ world, and one tiny little corner of it doesn’t reflect all that other territory. Thank God for that, says I.
Back to the issue at hand—issue #72, unbelievably enough—we’ve wrapped up our coverage of the recent Rocky Mountain Audio Fest, and now our resident recording engineer John Seetoo takes us around the giant AES convention at Javits Center in NYC. I’ll get there one of these years.
Getting to our unusual usuals, Larry Schenbeck writes about roots in our rootless world; Dan Schwartz is still on hiatus, so we’ll revisit his take on words in music; Richard Murison finds beauty, on sale at Amazon; Jay Jay French writes about blues, both faux and fo’ real; Roy Hall remembers corporal punishment, and not fondly; Anne E. Johnson brings us uncharacteristic work from James Taylor, and doubles up with Something Old/Something New on new recordings of Mozart string quartets; Christian James Hand deconstructs the MTV chestnut, “Take On Me”; Woody Woodward brings us the first part of a series on Bessie Smith; and I continue the (never-ending!) series on phono technology, and think about music in the air.
Industry News looks at two bankruptcies: one, a beginning of sorts; the other, the final shovel of dirt tossed ignominiously on a grave. In My Room returns with the first of several parts on Ken Fritz’s massive speaker/listening room project. You’re not going to believe this one. Seriously.
Copper #72 concludes with sympathy from Charles Rodrigues, and a striking Parting Shot from Utah.
As always: thanks for reading!