Welcome to Copper #76! —here we are, halfway through January already, and I guess I’ll find out if January actually exists without the mania of CES. I’ve attended since 1989, I’m done. My favorite newsflash so far has been that an autonomous car ran over an autonomous robot….
But we’re here, and blessedly flu-free…so: Larry Schenbeck continues his look at musical storytellers—vocal ones, this time; we’re revisiting Dan Schwartz’s piece on Steve Reich; Richard Murison tries his hand at haiku—and some ku are hai-er than others; Jay Jay French brings us the second of two stories about meeting John & Yoko; Roy Hall tells his uncommonly-touching story of citizenship; Anne E. Johnson does double duty, with a look at lesser-known cuts from Richie Havens, as well as a Something Old/Something New review of new recordings of not one but two composers named Praetorius; Christian James Hand deconstructs REM‘s “It’s the End of the World…”; and I obsess yet again about CES, and continue with a look at the audio segment of the amazing business empire of Sherman Fairchild.
Industry News continues the never-ending story of—well, guess who. No, it’s a different guess who than last issue’s guess who. Sheesh!
Our friend Fred Schwartz wonders what we’d hear in a certain situation; and we’re pleased to have the first contribution from Jeremy Kipnis, writing about his illustrious ancestor, operatic bass Alexander Kipnis.
Copper #76 wraps up with a scratchy sound from Charles Rodrigues, and a Parting Shot all the way from Argentina.
Enjoy, and we’ll see you soon!