In 1983, Alan Bishop of avant-garde freak rock band Sun City Girls was traveling through Morocco when he became obsessed with all of the unusual and "exotic" sounds coming from his transistor radio. He recorded hours of broadcasts and later collaged them into "Radio Morocco," a very strange and compelling CD that was the birth of Bishop's Sublime Frequencies record label. Since then, he's released dozens of recordings and videos of psych rock, traditional folk, ritual, and combinations of those from Indonesia, China, Thailand, Myanmar, Syria, and dozens of other locales. The trailer above is from a film by Bishop and Mark Gergis titled "Sumatran Folk Cinema." I recently raved about the label's new collection of Erkin Koray's pioneering Turkish rock from the 1970s. Another great point-of-entry into Sublime Frequencies is the just-reissued Princess Nicotine: Folk and Pop Sounds of Myanmar (Burma) Vol 1, first released in 1994. The Sublime Frequencies releases are available in the US via Forced Exposure. On a recent episode of the fantastic Expanding Mind podcast, BB pal Erik Davis and Maja D'Aoust spoke with Bishop about extreme travel, otherness, and the "archaeology of global sounds."
I asked Amy Parness, the co-founder of Sparkle Labs, maker of fantastic educational electronics kits, to write a Medium post about gender and the business of being a maker business person. Her terrific essay calls out the problems with “pink girly engineering kits.” From Medium:
Zero UI is the new term for “invisible interfaces”—what happens in the future when all the clicking and tapping and typing is history: “If you look at the history of computing, starting with the jacquard loom in 1801, humans have always had to interact with machines in a really abstract, complex way.” [Fast Company]
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