Exploring David Lynch’s “Eraserhood” | Hidden City Philadelphia

“Philadelphia, more than any filmmaker, influenced me. It’s the sickest, most corrupt, decaying, fear-ridden city imaginable.” — David Lynch

When David Lynch moved to Philadelphia in the late 1960s to attend PAFA, he discovered a city that was both terrifying and inspiring. Explore the neighborhood that so electrified Lynch’s imagination in the company of two tour guides: Hidden City’s Peter Woodall and Lynch aficionado Bob Bruhin. During this one-and-a-half hour walking tour, we’ll delve into the neighborhood’s pre- and post-Lynch history, as well as the sights and sounds that inspired Lynch’s movies, particularly Eraserhead.

Questions, concerns, conundrums? Contact Hidden City project director Pete Woodall at 267-259-7112 or pwoodall@hiddencityphila.org

Tickets: Exploring David Lynch’s “Eraserhood” | Hidden City Philadelphia

Wes (@someguyinphilly) • Instagram photos and videos

Source: Wes (@someguyinphilly) • Instagram photos and videos

The Early November & The Movielife – Tickets – Union Transfer – Philadelphia, PA, September 19, 2017 | Ticketfly

The Early November & The Movielife with Heart Attack man at Union Transfer

UT Newsletter: http://ticketf.ly/1RqX4bJ

Facebook Event Feed: http://on.fb.me/1Xjri0B

The Early November

Playing ‘The Room’s Too Cold’ in its entirety!

Six years have passed since New Jersey’s The Early November released what, at the time, appeared to be their final album. Sprawling across three discs, The Mother, The Mechanic & The Path was a conceptual, grandiose and challenging record. Challenging for listeners but even more so, for the band that created it. Plagued with recording and creative struggles, it left the band feeling drained and frustrated. More so than anyone, it left songwriter and front-man, Ace Enders, feeling defeated. While proud of the record and response, he knew that it was not what he originally dreamed it would be. Less than seven months after it’s release, the band decided to call it day and announced their “indefinite hiatus” in March of 2007.

Since then, much has happened. Enders immediately set out with a new solo moniker, Ace Enders & A Million Different People, determined to do everything “right” this time. In the music industry, that includes going to Hollywood to work with a hotshot producer and make a “hit” record. A deeply personal and sensitive songwriter, Enders found the experience less than gratifying to have his songs manipulated and contorted. As someone who has always produced their own material, the last straw came when he was asked to leave his own session only to come back and find a song completely re-arranged and re-recorded. The final product was ultimately scrapped and Enders vowed to never again make a record on someone else’s terms. After re-gaining his confidence and recording independence, he went on to release multiple full- lengths and EP’s under multiple project names (…And A Million Different People, I Can Make A Mess Like Nobody’s Business, solo) while keeping a continuous tour schedule.

The other members stayed active as well. Guitarist Joseph Marro moved to California and joined indie-pop band HelloGoodbye. Drummer Jeff Kummer released a solo album, completed college and began working in television production. Bassist Sergio Anello toured with Enders for a period. Guitarist William Lugg worked in organic farming and even dug graves at a point. While still remaining close friends, the members appeared to have completely moved on from the band. Just a couple months before they all took the stage again at the sold-out Electric Factory in Philadelphia, an Early November reunion seemed to be about the most unlikely thing to would happen. Even before playing a second time, the old friends knew that they wanted to make a record together and be a band again.

Things had changed for the little underdog band from the farming town of Hammonton, NJ during all those years. They found themselves with new purpose, drive and knowledge. Having signed their first recording contract at the ripe, old ages of 17, 18 & 19, they knew what they did and did not want to do this time around. They found the perfect partner in Portland, OR label Rise Records and set out to record a new album in Ace Enders recently built, Living Room Recording studio with Enders at the helm.

In Currents is a record that could have only been made by this band, at this specific point in time. The Early November had to have the experiences they did in the past 10 years which are documented on this new album. The good and the bad, the ups and the downs. The tastes of success and the crushing disappointments. The band has grown up, lived life and seen both its beauty and dismay. An atmosphere and tension hovers over the entire record leaving one unsure whether they should smile or sigh. In Currents is an introspective and thought provoking record displaying a gamut of emotional territory. In the opening track, A Stain On The Carpet, Enders recollects a regretful evening and confronts the threat of losing someone to dementia. The alt-country tinged, The Smell Of This Place, reminds himself and his loved ones that those very ups and downs have been worth the ride and are responsible for where and who they are now. In the short but poignant Digital Age, Enders addresses an issue facing every musician; how to survive in a industry that seems to be abandoning its art.

With their first new record in six years, The Early November have made an album that strongly and positively represents their entire career. The raw and youthful attitude from 2003’s, The Rooms Too Cold blends with the ambitious, sonic experimentation of The Mother, The Mechanic & The Path. Enders describes In Currents as “a journey through life’s joys and struggles” and “being pulled in a direction you can’t control…like an ocean current or the flow of electricity”. It’s a scenario everyone in this world is in and can relate to. It’s not about where those currents will eventually take you, it’s about the journey you’ll have and the experiences you’ll take with you that matter the most.

Official: The Movielife

“It’s been so long friend, how ya been?”

Don’t call it a comeback because reunion records rarely sound as inspired as The Movielife’s first full-length in 14 years, Cities In Search Of A Heart. This is an album that shows how the group’s songwriters—vocalist Vinnie Caruana and guitarist Brandon Reilly—have grown since 2003’s celebrated full-length Forty Hour Train Back To Penn, and also contains some of their most energized songwriting to date. In other words, whether you’ve loved The Movielife since they were a scrappy Long Island hardcore band in the early 2000s or you’re a recent initiate, it’s difficult not to get caught up in kinetic frenzy that permeates every note of Cities In Search Of A Heart.

The story of this record officially began two years ago when, after spending years on their own projects—Caruana’s I Am The Avalanche and Reilly’s Nightmare Of You—the duo started playing shows together as The Movielife once again. “The two of us became close friends again and we both felt like we had learned so much about songwriting since the early 2000s that we should do another record,” Caruana recalls, speaking from his current home in Brooklyn. “We had a great reaction to the reunion shows in 2014 but felt like instead of keeping it on a nostalgic level we wanted to write a record together that people could get into.” Not wanting to taint the band’s legacy or recycle the past, the duo were faced with the monumental task of figuring out exactly who The Movielife are in 2017, which was no easy task.

Caruana and Reilly struggled with the writing until last year when they realized that they simply had to make a new record that included the punk spark that was so prevalent in all of their previous work. “I knew the tempos had to be up and we had to be energetic because that’s what our shows are like and that element is so important to who we are as a band,” Caruana explains. Eventually the duo ended up with fifteen songs that they ended up trimming down and perfecting until they ended up with the ten songs that made the final cut. “I have to admit that the task of making this record seemed slightly impossible in the beginning but I’m so happy that we pushed ourselves so hard because we ended up making a Movielife record that we’re freaking out about and can’t wait to share with the world,” he adds.

Caruana has good reason to be excited. From the driving, melodic rocker “Mercy Is Asleep At The Wheel” to the fuzzed-out pop perfection of “Laugh Ourselves To Death” and orchestrally-tinged acoustic ballad “Pour Two Glasses,” the album shows that The Movielife have crafted a collection of songs that’s as captivating as it is catchy. “‘Mercy Is Asleep At The Wheel’ is about how it feels to be alive right now during such a crazy time and also musically it feels like a really good place to pick up again,” Caruana says of the aforementioned song. “On the other hand, we’ve come close to having a ballad before but ‘Pour Two Glasses’ is something completely new to us and we put it in the middle just to break things up. There’s a lot of new feelings on this record that you haven’t gotten from this band before.”

In order to capture their vision, the band enlisted new drummer Brett Romnes who also produced the record over the course of a month at Barber Shop Studios in northern New Jersey. “The studio was built inside of an old church from the 1800s on a lake and we just posted up there for a month and banged out the record,” Caruana explains, adding that Reilly took on the bass duties as well. The group also enlisted Brand New’s tone guru Joe Cannetti to help capture the perfect sound and subsequently had Zakk Cervini (Blink-182, All Time Low) mix the results. ‘We had a dream team of me and Brandon on the songwriting side and Joe and Brett on the production side helping us execute and then we brought in Zakk who works more in the pop/rock world and he took what we already had and made it sound absolutely massive,” he continues.

Lyrically, the album sees Caruana once again writing from the heart, about where he is in his life today and about the current state of the world. “The dichotomy of The Movielife has always been upbeat music with sometimes unsettling lyrics and on this record that dark cloud is being addressed throughout the record in different ways,” Caruana says of the album. While lines like, “We’re all gonna die, exploding in a ball of fire” from “Laugh Ourselves To Death” may sound nihilistic, it’s more of a reaction to the uncertainty that plagues the world today as interpreted through the band’s unique approach to songwriting. On the flip side, Cities In Search Of A Heart features some of the band’s most hopeful songs to date such as “You’re The Cure,” keeping the album’s overall sound feel far more inspiring than defeatist.

But ultimately Cities In Search Of A Heart is meant to be listened to, not analyzed, so turn it up because rebirths usually aren’t this catchy. “Calling on the hearts, wear it on the sleeve for all to see,” Caruana sings during the album’s infectious closer “Hearts” and with these words it’s clear that he’s singing as much for himself as he is for the band’s listeners who may not have found their own voices yet. This album speaks to those very simple yet relatable attributes of what it means to be human during an unprecedented time in history, so take it all in and hold on tight.

Heart Attack Man

Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123

Source: The Early November & The Movielife – Tickets – Union Transfer – Philadelphia, PA, September 19, 2017 | Ticketfly

CALL FOR ART: Eraserhood Forever 2017 | PhilaMOCA

PhilaMOCA is hosting the sixth annual installment of its critically-acclaimed ERASERHOOD FOREVER exhibit – an artistic celebration of the work of David Lynch. From paintings of your favorite TWIN PEAKS characters to paper mache’d nitrous tanks, we’re looking for anything that celebrates the filmography of one of America’s greatest living filmmakers.

The opening reception will be held on Tuesday, October 10 from 6-9 PM and will be on view for all PhilaMOCA events through Saturday, November 4.  Please note that acceptance into the art show does not grant artists admission to the November 4 Lynch-related event.

Submissions: All mediums are welcome (no hazardous materials); restrictions apply to video/3D pieces/sculptures. Please send digital files or photos of submissions to curator Eric Bresler at curation@philamoca.org. Links are preferred for entries of six or more pieces.

Deadline for submissions is Monday, September 25, 2017.

There will be a $20 participation fee per selected piece of artwork, 100% of sales go to the artists.

Accepted Art Delivery: Drop-offs of accepted art can be made at PhilaMOCA (531 N. 12th Street) on Saturday, October 7 from Noon – 6:00 PM and Sunday, October 8 from Noon – 6:00 PM or by appointment. Work must be ready to hang and prepared for installation. Art delivered by mail must include return postage and must arrive by October 6.

For questions, contact curator Eric Bresler: curation@philamoca.org

About PhilaMOCA:
The Philadelphia Mausoleum of Contemporary Art is a former showroom for tombstones and mausoleums turned multi-purpose art space that specializes in film and live music. PhilaMOCA is located at 531 N. 12th Street and is considered by many to be the “center of weird in Philadelphia”. Winner of Philadelphia Magazine’s “Best of Philly”; recently named one of the “20 Coolest Things About Philadelphia” by the Huffington Post and one of the “20 Must Visit Places in Philadelphia” by Time Out NY.


Source: CALL FOR ART: Eraserhood Forever 2017 | PhilaMOCA

Less Art – Tickets – Underground Arts – Philadelphia, PA, September 17, 2017 | Ticketfly

Less Art at Underground Arts
Sunday, September 17th, 2017
21+ | Doors: 7PM | Show: 8PM

¬¬¬ Less Art ¬¬¬

Members of ThriceKowloon Walled City, & Puig Destroyer and will release their debut on Gilead Media later this year.

¬¬¬ VATTNET ¬¬¬

¬¬¬ Ladder Devils ¬¬¬

Underground Arts
1200 Callowhill Street
Philadelphia PA 19123

Source: Less Art – Tickets – Underground Arts – Philadelphia, PA, September 17, 2017 | Ticketfly

Drawing Tour of PAFA with Patrick Connors Tickets in Philadelphia, PA, United States

Saturday, September 16 at 9:45 AM – 12:30 PM

Furness & Hewitt’s architectural splendor on North Broad Street, the Pennsylvania Academy of the Fine Arts (PAFA), will be the subject of a drawing tour with established artist, Patrick Connors. Completed in 1876, the National Historic Landmark building is the third structure to house PAFA and its exhibition galleries since the Academy’s inception as the country’s oldest art school. PAFA’s graduate roster boasts a who’s who in American art that spans over 200 years – some of whose work can be found in the museum that will constitute part of the tour.

As an artist, PAFA alum, and faculty member, Patrick Connors is uniquely qualified to lead this drawing tour and visit to the PAFA Museum. The event will begin with sketching the building exterior, which amalgamates the Second Empire, Renaissance Revival and Gothic Revival styles. Attendees will then draw the interior, and visit the PAFA museum. Registration for this drawing tour includes access to the museum for the remainder of the day.

Patrick Connors is a painter living in Philadelphia, and a graduate of the Pennsylvania Academy of the Fine Arts and the University of Pennsylvania. Awards include an Oxford Fellowship in Painting and Anatomy; a Franz & Virginia Bader Fund Grant, and a Pollock Krasner Foundation Grant. Teaching and lecturing venues include Yale University Art Gallery, the New York Academy of Art graduate school, and the ICAA Beaux-Arts Atelier: Manhattan & Rome programs. His solo exhibition of landscapes inspired by Fairmount Park was presented by Gross McCleaf Gallery in April 2017.

Source: Drawing Tour of PAFA with Patrick Connors Tickets in Philadelphia, PA, United States