| Hello all,
It's been said that yesterday's weirdness is tomorrow's reason why. It's like Sun Ra wrote -
somebody's idea
caused things to be
as they are today
somebody's idea -
some conception
some damnable conception
caused planet earth to be
in the condition that it is in today
Yep - we are living the dream some idiot dreamed one afternoon long ago. The Grateful Dead sang about this same principle in a more naive and less judgemental hippy way than Sun Ra did. Ra believed it was already "after the end of the world" and that this planet is doomed thanks to the bad dreams it continues to be based on. The Grateful Dead thought that all will be fine once humanity gets groovy, does the right drugs, see's the right sunsets - then we'll just mellow out and dream up a better future that will come like a cool breeze.
Overall, I'm filled with hope these days. It seems like people are dreaming of a better world and it could very well take root before everything blows up. Who would ever think I would philosophically side with the Grateful Dead over Sun Ra on any issue? Cripes....sorry Sonny.
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We are excited to bring you our eleventh newsletter! Beyond our utilitarian Mississippi Records websites and bandcamp, this newsletter is our first and only appearance on the internet. This compromise with the bad new world (that came into being through the demented dreams of tech bro's) was forced on us by the pandemic. We just needed to stay in touch with folks through these damn wires. Though I still generally hate the internet, I grudgingly admit putting this newsletter out has been a very positive experience and I am glad we did it. (and, I like youtube too).
All is well at Mississippi Records. The record shop has been humming along - still open just Thurs - Sun, 12 - 7 PM. As long as covid numbers do not spike again, we plan on opening a full six days a week starting on Thanksgiving and going to New Years in order to accommodate the winter season shoppers.
The shop's been getting great stuff in - focusing more and more on reissues. I've never seen so many amazing records in print at once. All kinds of titles you used to only see once every ten years are now common and easy to buy. It's nuts.You can walk into a shop and walk out with 75 Sun Ra records, 10 Alice Coltrane records, 25 top shelf Ethiopian Records and 300 killer soul records! This has never been so, even back in the day when those records originally came out. I'm telling ya - it's the golden age of reissues! The Mississippi Records label is starting to crank out some really great stuff. In the past month we released reissues of four of our old favorites - Chrissy Zebby Tembo's Zamrock masterpiece "My Ancestors", Dead Moon's classic "Unknown Passage", The Rats "In A Desperate Red", Fred McDowell's first recordings and the old school Mississippi international compilation "I Believe I'll Go Back Home."
In the upcoming couple months, we'll have the following coming your way -
TWO LPs by the virtuosa of theremin, Clara Rockmore (including an album of pieces never before released on vinyl). THANK YOU to everyone who came out to our NYC record release show! We basked in the warmth of live theremin together and raised over $1200 for Red Hook Mutual Aid! |
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A new LP by Abner Jay, and possibly his best - I Don't Have Time To Lie To You |
A brand new LP by the great Sierra Leonean Palm-wine guitarist S.E. Rogie, and a reissue of his out of print classic "The 60s Sounds of S.E. Rogie." See our new interview with Rogie's son, Rogee Rogers, in the issue below... |
A never before released Roscoe Holcomb LP! |
Reissues of our rock n' roll favorites - Blind Owl Wilson and The Human Expression!
If you missed them, we also recently released the gorgeous and hypnotic Tanzanian dance music of Kiko Kids Jazz, the raw, unfiltered and utterly unique Mauritanian electric guitar music of Wallahi Le Zein, and HEAVY 60s era Colombia cumbia fronted by the mysterious six-year old singer Aurita Castillo.
FINALLY - we are distributing reissues of three Cairo soul comps as well as the premier release on Pyramid Records (see below for a pre-order opportunity of this release). See the latest here. |
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In Portland, we also have a ton of truly world class shows coming up at the Hollywood Theater, including -
11/12 & 11/13 - Rebekah Del Rio live with a showing of Mulholland Drive.
1/19 & 1/20 - Two nights with Lonnie Holley and special guests
1/29, 1/30 & 1/31 - Three nights with the Sun Ra Arkestra.
2/17 - Angel Bat Dawid
3/17 - Live "Song Poem" contest between Portland's finest bands with a film showing of "Off The Charts".
7/14 - The Truth About Human And Animal Evolution And De-Evolution (a musical perspective on the subject from Mississippi Records)
...and three more shows to be announced, including Zamrock legends WITCH! We'll be announcing ticket sales via this email list soon, so stay tuned.... |
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It may well be "after the end of the world" as Sun Ra told us. The chaos and confusion of the world is obviously not going anywhere too soon. Please keep some hope in your heart and remember "yesterday's weirdness is tomorrow's reason why". So, don't let the right wing own "weird". Just because you believe in science and social justice does not mean you can't also believe in myths, pranks, art, irreverence and the ridiculous. If we do not dream big and have a foot in the mythological, we leave it to tech bro's, fake buddhist/new agers, and right wing whack jobs to define the future through the power of their dreams and myths. Cripes.....
All the love,
Mississippi Records |
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We are preselling 50 copies of the new Pyramid Records compilation with all proceeds going to
Black Alliance for Just Immigration: A national organization advocating for rights of Black migrants, with emphasis on the Haitian Refugee Crisis
Texas Equal Access (TEA) Fund: provides funding to low-income people in the northern region of Texas who are seeking abortion and cannot afford it, while simultaneously working to end barriers to abortion access through community education and shifting the current culture toward reproductive justice
Here's how it works -
Donate between $45 - $100 to either of these links -
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After you donate, forward your donation receipt to
[email protected]
Please include your name and mailing address when you send me the email receipt. (or specify that you can pick up your copy at the Mississippi Records shop in Portland)
THIS OFFER IS AVAILABLE TO RESIDENTS OF THE USA ONLY
Once the record comes out (between October 15th and December 1st) we'll send you a copy for free, shipping included! If you are in Portland, a pickup would be greatly appreciated, but we can mail it if you need. I'll send an email alert once the record arrives from the pressing plant.
WE'LL SEND OUT AN EMAIL ONCE THE 50 PRESALE COPIES ARE SOLD OUT. PLEASE LOOK FOR THIS EMAIL BEFORE YOU GO AHEAD AND DONATE EXPECTING A COPY. ODDS ARE GOOD WE'LL SELL OUT OF THESE IN THE NEXT FEW HOURS. PLEASE DO NOT ORDER BEFORE LOOKING TO SEE IF YOU GOT AN EMAIL STATING THE OFFER IS NOW CLOSED!!!!!!!
Here are details on the compilation we are offering: |
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by Cyrus Moussavi On June 2, 2021 we lost the great Kenyan singer and guitarist Dickson Olima Anditi. He passed away at age 74 at his ancestral home, struck down by malaria and possibly COVID 19.
Olima Anditi’s music was beloved across Kenya. He was especially well-known in the Luo-speaking west of the country, where he had been traveling and playing guitar at bars, funerals, and celebrations since the nation’s independence in 1963.
Blinded by illness at a young age, Olima grew up housebound in a remote village in Migori County, near Kenya’s border with Tanzania. At age 13 his mother took him to hear a traveling guitarist who was passing through the area. This artist, also blind, mesmerized the boy, who took up guitar and quickly learned Luo traditional songs from a neighbor.
With Kenyan independence in 1963, Olima gained his own freedom. Colonial restrictions on movement lifted, a sense of possibility spread across the country, and 16-year-old Olima set out, traveling throughout Kenya and Tanzania. Known for his clear, high voice and incredible memory for songs, names and dates, he quickly gained popularity.
 In his most famous song, Winy Neno, Olima named dozens of birds in the Lake Victoria region. In the chorus he sang “God, why did you give them sight, but took mine.” When playing for audiences, Olima could stretch this song out to half an hour, depending on the crowd and the mood. When he ran out of birds, he named insects, brands of alcohol you could get at a country bar, famous Luo politicians and their mistresses etc. His quick wit and humor kept homebrew-addled crowds in line when they threatened to drown out his guitar and voice. Though his music was broadcast on the radio and his songs are known throughout western Kenya, Olima never received royalties for his recordings. He lived precariously, relying on tips and handouts earned during live performances to survive. He traveled the busy trucking routes up and down Lake Victoria, moving from town to town every few days and playing wherever people gathered. He often traveled alone by bus, carrying his instrument and some personal items in his guitar bag, sleeping where he could.
Olima’s itinerant lifestyle, age, and visual impairment left him vulnerable, but he was assisted and cared for by dozens of people along his route. Often it w fellow musicians, themselves struggling, who made sure Olima had something to eat, that his suit and tie were clean, that no one made off with his trademark cap or his tips. Olima looked sharp no matter how long he spent on the road, his suit jackets lined with secret pockets to tuck away coins and bills, the denominations of which he could distinguish by touch. “The old man is very clever,” one of his touring bandmates once told me, “that’s why he’s still here.”
 When he wasn’t playing, Olima rocked back and forth with a battery powered radio to his ear, listening to the latest political news on his beloved Luo language stations. He reflected what he heard back to his audiences in raucous political songs and up-to-the-minute jokes. Among the Luo, who have long felt politically and culturally marginalized in Kenya, Olima’s voice was a tie to a shared past and history. “My grandfather loved his music” people would often say when meeting him on the road. Though it never resulted in any kind of financial stability, he was celebrated and respected when he hit town. He was known to generations. This is also where the trouble began. While researching what would become the Mississippi release “Where Else Would I Be?” (MRP-110), we came across several people who claimed Olima was an imposter - that the artist we met had adopted the songs and name of a much older musician. There were stories of Olima Anditi going back to the 50s. The Olima we knew was old, but not THAT old.
It took several years to return to Kenya, track down Olima again, and get his version of the story. There was no controversy, he claimed. He shares a first name with Pious Olima Anditi, the old blind guitarist he heard with his mother back in Migori as a child (Pious Olima lived 1926 - 1998). The second name, Anditi, is an old Luo word for a musician, Olima explained. It mimics the sound of a finger striking a string - “an-di-ti-ti-ti.” As guitarists named Olima, they could both be known as Olima Anditi.
 Early in his travels, young Olima sought out the elder, who gave him musical and logistical tips for traveling while visually impaired. When Pious Olima converted to the strict Legio Maria sect of Kenyan Catholicism and gave up guitar and the wandering life, he gave his blessing to the young Olima to continue in his stead. Olima Anditi played the original songs and added his own. In popular memory, the two blind musicians morphed into a single artist, carrying the modern history of Luo music with them.
As Olima got older, many around him wondered where he would be buried. Funerals are expensive in Kenya, and for Luos especially, it is important to be buried at the home one builds as a young man. But Olima left home in a rush, never building a permanent structure of his own, and he wasn’t inclined to return to an agrarian lifestyle where his inability to work made him a liability.
After decades on the road, Olima finally did make his way back to Migori in late 2018. He’d run out of money, and was curious to see the family he’d left so long ago. He stayed until COVD travel restrictions shut down the country. In some ways, world events decided the major question in Olima’s life. He never returned to his independent travel, and he passed away after a short illness, attended by one of his two sons.
It was a privilege to know Olima Anditi over the course of a decade. I’ll remember him for his humor and savvy. He showed us how music used to travel, and the very real ways it reflects and shapes the society and history of a region. His music lives on, too. There are rumors that a third Olima Anditi has taken to the road, playing the old songs and adding some of his own. |
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by Eric Isaacson In 1969 a Greek immigrant named Anthony Boosalis took over his fathers Black Light Poster selling stall at the Los Angeles Starlite Swap Meet. Unfortunately, by the time of his takeover everyone who wanted to trip out on a blacklight poster had their fill and new customers for the fringe item were difficult to come by.
 Hustling to find a new star item for his stall, Anthony began to carry a small selection of records, stocking mostly Oldies 45's. He did not stock this genre because he had a special affinity for it but rather because Oldies were out of style with the mainstream, so they were the cheapest thing he could get his hands on. To his surprise, Anthony found a huge customer base for his bins full of out dated doo wop, teen harmony, soul and R&B records amongst LA's Mexican Amercian community.
By the mid 1970's Los Angeles' Black community had moved on from the soul and R&B they created between 1955 and 1973 to a new deep immersion in disco and then later hip hop. LA's white community also ditched Oldies as the soundtrack to their lives in favor of faddish disco and the nightmarish sounds coming out of Laurel Canyon. Meanwhile the Hispanic community holds Oldies soul and R&B close to their hearts to the present day.
Anthony was a shrewd businessman. He paid close attention to which oldies his Mexican American customers were looking for and began to develop an ear for the music himself. He decided to bootleg some of the more sought after oldies 45's and sold these out of his swap meet stall. These bootlegs flew out of his bins, so he decided to make bootleg compilation records with track listings customized to please the customers.
 In 1978, Anthony put together a series of twelve compilation records that codified the Low Rider sound. He called the series "East Side Story." With no budget for cover art, Anthony and his brother-in-law drove around East LA and took pictures of his customers and their cars. For the front cover of each record he hand scrawled the title above these soon to become iconic foggy photos. The back of each record proclaimed, “The East Side Story volumes are destined to be collectors items that will live on forever, because the very nature of the songs goes to the essence of the way of life of the Low Rider.” |
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Though initially he intended for the records to only sell to his limited customers at the LA swap meet, Anthony ended up distributing them worldwide, over time selling over 100,000 of each volume. The records were also bootlegged by others... bootlegs of bootlegs. Who knows how many they sold. Anthony still sells the records and produced a box set version in 2017.
Why soul and R&B recorded from 1955 to 1973 stayed popular in LA's Hispanic community while it faded from view everywhere else is anyone's guess. Here are a few of mine.
Perhaps it's because the years that soul and R&B dominated pop radio in LA were also a golden age for Hispanic culture's pride and self-identity. Labor activist Caesar Chavez's transformation during this period from a zoot suit wearing carrucha driving Pachuco youth to a proud, lowrider-cruising Chicano activist is a symbol of the general cultural and political shift within the Mexican American community.
Maybe the bond between Chicanos and Oldies was established because the minor key harmonies, sentimental lyrics and tight horn riffs of soul music echo Mexican Ranchero, Mariachi, Norteno and Corrido music enough to feel like a cousin to those genres. Maybe the bond is thanks to the Low Rider selected Oldies having the deliberate pace of leisure - the perfect songs to listen to as one proudly cruised slowly through the streets of Los Angeles.
 What bonded Chicano culture to Oldies could be more mundane or more mysterious than all these theories. Songs find their way to where they belong and tracing their path is impossible. Don’t take it serious, it’s too mysterious. Anthony's twelve East Side Story compilations focused on well known hits and B-sides by popular artists. LA's Mexican American Low Riders craved a deeper well of soul beyond the hits and familiar songs that the East Side Story set made available. By the late 1980's industrious record collectors began to make their own oldies mix tapes and CD's, compiling songs from small regional labels released all over America as well as obscure tunes buried in the catalogs of major labels.
During this same time these small press bootlegs were quietly finding their way around LA, the fetish for Northern Soul in England was fed with snoozefest dance compilations. Japan was producing meticulous but lifeless compilations of obscure soul and R&B. In America, major labels had no interest in preserving its own endless catalog of soul and R&B beyond shit oldies compilations featuring a shallow well of radio hits.
 While the rest of the world slept, LA's Low Riders were busy producing these wild and beautiful bootleg compilations of obscure group harmony, deep soul, R&B, girl group and Doo Wop. They sold for exorbitant sums, sometimes costing as much as $100 for a CDR or cassette. Hardcore Low Riders paid up, excited to bump songs no one else had as they drove along. For a good twenty years, it seemed like only these bootleggers preserved and disseminated the best of soul music. By the late 1990's a culture of appreciation for obscure soul and R&B took rise among white people in America and England. Dave Godin produced an incredible set of CD's titled "Deep Soul Treasures" and shortly after labels like Numero Group, Jazzman and Soul Jazz came up with their own uneven but popular releases. The years of Mexican Amercans being the primary contextualizers and historians of the most potent period of Black American music was coming to a close.
The Low Rider culture still flourishes with car club gatherings, musicians recording new beautiful songs in the oldies style and Chicano DJ's taking their rightful place as keepers of the flame. Though no longer alone in appreciating and preserving oldies, Mexican Americans still seem to do it better than everyone else.
I still see the Chicano vision as the best of Black American soul music's history. The Low Riders understand that the best of the music is all about romance, empathetic sorrow and cosmic transcendence. It is not just music to wild out to or for dancing. The hits of the Low Riders are atmospheric, deep and wide. The crux of the matter.
 Growing up in LA in the early 1980's, I first heard soul music as the soundtrack to my Mexican American neighbors lives. It constantly played out of boom boxes on their stoops, at barbeques in the park and in cars slowly passing by. I still vividly remember the first time I heard "Oh Girl" by the Chi -Lites drifting out of a boombox. I had dinner with the family in the apartment next to mine and they played "Angel Baby '' by Rosie And The Originals, lifting the record needle back to play the song again the minute it ended. I wanted these songs to be a part of my life. Starting at around age seven, I would take a boombox to bed with me and wrap my arms around it like most kids hold a Teddy bear. I would have one hand perched over the record button on the tape player and one hand toggling the radio dial, looking for oldies to record. My supply of tapes to record these late night radio compilations came from cassettes I would find laying in the streets. It was strange - there was an enormous amount of discarded cassettes on the streets. Folks just tossed them out of their car windows once they were sick of them. My dad taught me you could take a manufactured cassette not meant to be taped over, cover one hole on the top with scotch tape, and then use the cassette as a blank.
As I spent nights listening to the radio hits of Stevie Wonder, The Shirelles, Otis Redding, Al Green and so on, I assumed they were all Mexican American artists. I was shocked the first time I hit the bins of a record store and saw that James Brown was Black!
Thousands of hours of my life have been spent looking for those elusive oldies I heard for a fleeting moment as a Low Rider drove by. Thousands more hours were spent sitting by myself listening to these same songs, sometimes lifting the record needle on "Angel Baby" to replay it the minute the song ends just like my neighbors taught me to do thirty six years ago. |
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Interview by Cyrus Moussavi Over the last year, we've been working with Matt Knowles of Domino Sound on a new album of 60s songs by the great S.E. Rogie, palm wine guitarist of Sierra Leone. Rogie passed away in 1994, leaving behind a remarkable legacy of solo and small-band songs. He entrusted this work to his son Rogee Rogers, an entrepreneur, tech wizard, real estate agent, and celebrated musician in his own right. We've had the pleasure of working closely with Rogee for this new release. As the album went to print, I called Rogee up in LA to ask about his memories of his father, and growing up under what he calls the "S.E. Rogie Factor."
As told by Rogee Rogers:
In Sierra Leone before I was born, and even still today, there are only certain trades that men can do to make money. You go to university, you come out there isn't jobs. So you'll find a lot of guys have their own tailor shop. You buy a little machine, you’re sewing clothes for people. S.E. Rogie was very successful at that.
But in the evenings he’s playing guitar for his friends. There's a story that the friends used to pay him in palm wine. Eventually, the music started bringing in more money than the tailoring. So he became a one-man band. Not just the instrumentation of it, but also the production of the concert, the promotion of the concert. One of my uncles told me he was also the bouncer at the concert.
 He would come to a town and find an open field and put up four sticks and a cloth to obstruct the outside view. Everybody has to pay to come into this little spot. He would take the money in the front, so he’s the gate guy. When it’s full, he’ll close the little gate, go sit in the front, and start playing the guitar for the people. He was doing it all, working harder than James Brown! He sang in different African languages - Mende, Creole, Temne. You can sing in Creole and most people will understand, but when you go into their tribal languages, that’s when you’ve really got them. Being a pure musician, he went into their tribes. He was so popular all over Sierra Leone that different tribes still claim him.
He had his own record label, Rogiephone. That’s what gave him his break - that he recorded the material himself. When “My Lovely Elizabeth” took off, he already knew how to run his own company. I can see how naturally you just progress and convert from a tailoring business to a music business. So he put his little label together called Rogiephone, S.E. Rogie and his Guitar, and that was it.
My dad is traveling all over the place and I was staying with one of his brothers. And as a kid, I didn't know, I thought the brother was my dad. The first time I discovered that, “Oh, my father is a popular musician,” I’m in class one, and they brought us to the assembly hall. All of a sudden this beautiful man, this giant, comes out. He liked to perform with earrings on. He liked to wear white so the black skin would come out. It’s a thing to see. SE Rogie was considered the most handsome man in Sierra Leone at some point. I’m sitting there in the front, six or seven years old, I have no idea who this guy is. All I know is I’m being entertained by him, and you’re looking at him like you’re seeing a mini-God. The performance finishes and they bring me up to him, and he’s treating me like I’m his son. He’s just as dark as me, and people say “Oh that’s your dad.” He comes to the house. And so my uncle makes it official. Yeah, this is your dad. I’m on cloud 9. After that, I had an entourage immediately the next day. When I was in Africa up to the day I was leaving to come to America, people treated me differently because of this SE Rogie factor.
In 1973, he leaves Africa and moves to the US, to the Bay Area. 1986 is when he brings me over. By that time I had become a little star on my own in the West African basin. So now we’re living together and my dad and I were playing around San Francisco. We had the nightclubs we'd do, regular shows and things like that. As you know, the Bay Area is very hippie, so it was basically a hippie crowd who were onto African music. I wouldn't say Woodstock, but everybody would be there, all kinds of people. At the same time, we’re also going to convalescent homes, playing at little schools, just playing the music and bringing joy to people's hearts. It became a highlight of my young life as a musician.
At that time he told me, “When you write a song, you can be complicated if you want, but your chorus should be that anybody can sing it.” If you have a song in which everybody can sing the chorus, that song is going to be popular. I never forgot that.
 In 1988, a producer at the BBC invited my dad to come over to the UK. In fact the conversation was, “Wow this is my next break.” Don’t call it a comeback! So he moved from the US, migrated to the UK, and that’s when they released the “60s Sound of SE Rogie.” Why the 60s music? Going back to some of his advice to me, there was a realization that the old stuff still is more effective than the new stuff. People were still beholden to that music. The new stuff never got traction like the old stuff, so why insist, you know?
That deal was such a lucrative deal, he bought a beautiful house. He stayed in the UK. But things started going downward. So now he's traveling, he's going to the Ukraine to do shows, he was performing at malls and all that. He went back to the original SE Rogie, him and his guitar and this little pint [percussion bottle] thing. He had one of those four track mixers that were playing just the percussion section while he's playing the guitar over it. And he's traveling all over Europe. He even went to Africa about three, four months before his death, had a tour there, Sierra Leone and all that. He had a good time. From 88 all the way to 94, he lived in the UK and traveled all over Europe.
He had had a bypass surgery and the doctors said, “Hey, let the muscle heal.” Him and I were talking virtually every day, we've made plans. I was going to come to the UK, we're going to tour. You know, "Remember what we used to do back then in 1988, 1986?. We're going to do that in the UK." But in the meantime, he doesn't tell me he is sick. He doesn't tell me he just had surgery. My understanding was there was this project in Russia that he couldn't pass because it was paying too well. In fact, he died there in Russia in 1994. He died in Russia on stage
Maybe he thought he was going to just take it easy and play calmly. Not when you're on stage, man. Not when you have one set of eyeballs looking at you and enjoying it. You want to jump. You want to lay down, you want to run with this music. So I can imagine SE Rogie felt like that. Even at his age, he was never bored with music. When this man is playing, you see him entering the music more than anyone watching him. |
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MIssissippi Records Portland Store
We are now open Thursday - Sunday, 12 to 7 PM!
(our stereo repair and retail shop is open Friday - Sunday, 1 to 6 PM).
WE ARE EXCITED TO BUY YOUR RECORD COLLECTIONS! Please drop by anytime to sell stuff. We always have a buyer on duty and you do not need an appointment. Paying out 50 - 60% of our retail price (NOT - dumb internet prices though....Mississippi store prices)
Email [email protected] if you have any questions about the shop.
Mississippi Records CSR
Our Community Supported Records program directly supports the label. Get each Mississippi LP at a discount as it's released, no matter how limited, plus special schwag and gifts on occasion. Limited to 300 spots. The CSR contributions help us pay for record pressings and generally stay afloat.
More details here:
https://sites.google.com/site/mississippicsr/
Mississippi Records Website
Visit the site to get our label's records and tapes direct from us. We've uploaded some special releases to the site to celebrate this newsletter, and we are constantly rotating our selection of mixtapes, new records from labels we distribute, and discounted out-of-print records! We ship twice a week, every week.
www.mississippirecords.net
Mississippi Records Special Products Division
Alice Coltrane For President and Mississippi Wreckers T shirts and tote bags! Post cards! Posters! Coozies! Oddities! Check us out weekly for new additions.
www.mississippiwreckers.com
Mississippi Records Bandcamp
There are hours and hours worth of albums available for free listening, and a whole lot of the releases are "pay what you want" if you want to download em. Check it out -
https://mississippirecords.bandcamp.com/
Toody Cole / Junkstore Cowboy
Toody Cole has shuttered her Junkstore Cowboy Shop in our basement, but that does not mean you can't get your Dead Moon / Pierced Arrows / Rats / Range Rats / Tombstone schwag and records still from her badass online store.
https://www.deadmoonusa.com/Humboldt Neighborhood AssociationThe neighborhood association for the zone the Mississippi shop rests in recently got taken over by some social activists who are working on mutual aid projects, youth programs, anti gentrification / tenants rights activities, and a community child care circle. If you are in the neighborhood and want to get involved, our first general membership meeting takes place on November 23rd. Check in with the website for a link! We got some work to do....https://humboldtneighborhood.org/ |
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"If you are in a shipwreck and all the boats are gone, a piano top buoyant enough to keep you afloat that comes along makes a fortuitous life preserver. But this is not to say that the best way to design a life preserver is in the form of a piano top. I think that we are clinging to a great many piano tops in accepting yesterday's fortuitous contrivings as constituting the only means for solving a given problem."
- R. Buckminster Fuller |
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