Organized by art writer and compulsive producer of relationships, Paige K.B., and including friends, "Killed It" is a collection of writing that never made the publisher's chopping block. They include a review of Jay Chung Q Takeki Maeda's Bad Driver that Artforum didn't think was PC (?), expcerpts from Bruno Zhu's dirty diary, a short story from Erin Leland, and more. In Paiges words, "Artists and writers are perhaps preternaturally disposed to producing their works regardless of places to put it. Sometimes there's an overflow, and no one really knows just what to do with it. Or, you just can't reach people sometimes, and if they don't get it, then forget it! Interesting or promising work can get shot down, shelved, sabotaged, scraped off the plate, killed before it could live. Shit happens. But in the spirit of ars longa, vita brevis, a few voices here gather together our rejects and unpublishables with a view towards sparking a little afterlife"

➚LISTEN to the segment.
Listen to another ➚"Loser Anthem"
Or read the dessicated ----------------------->

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➚>Listen on MPR

 

➚>Listen on EwTube

 

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MPR graphic designer, Max, made this video when he visited from Hamburg a while back-- did you know he also runs an ǟƈɨɖ ɦօʊֆɛ !! label with 𝓯𝓻𝓲𝓮𝓷𝓭𝓼 ?

➚THE PRESS GROUP

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.໒( ●ܫฺ ●)ʋ ..... ໒( ̿･ ᴥ ̿･ )ʋ......໒( ●ܫฺ ●)ʋ ..... ໒( ̿･ ᴥ ̿･ )ʋ  ➚STAYYYY!   <--- The Companion Species Manifesto, Donna Haraway

 

 

 

 

 

 

 

 

 

 

 

 

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Kieran Press-Reynolds produced an audio essay/guided tour of zoomer hall of mirrors genres, glitch-hop and Robloxcore. That segment came out on ➚MPR last October and last week he published ➚a piece in the NYT on the Robloxcore side of things. You should R it but TLDR: some kids who met on Roblox ended up creating an absurd and gnarly sounding (but totally loving ,caring, and queer) rap scene for themselves. It recalls a conversation I had with ➚Cade Diehm of ➚New Design Congress on how the design of these social platforms (the UI/UX, their internal economies, the depth of interactions permitted between users) can make for some unintended and sometimes beautiful outcomes. We're familiar with ➚the less pretty places these sorts of social spaces can take us, but this little world feels alright.

Full acknowledgement that it sucks when the NYT catches on to fun stuff kids are doing, but these artists are 16...they'll figure the next thing out soon enough. Also congrats to Kieran who just graduated from Fordham :)

➚>Listen
➚>Listen
➚>Listen
➚>Listen

 

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We’ve been waiting for a chance to bring people together, and H0L0 presented themselves with a perfect opportunity. In the spirit of frequent gatherings and celebrations of music and talk radio that would take place at our 46 Canal Street location - we're bringing the realm shifting artists Celes, HARDCOREBAE, Violence, and SYANIDE to H0l0’s backyard. Making Sunday evening what we all know we deserve and can finally have - a good time. 

 

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Back in September 2019, we had the honor of speaking with novelist, playwright, nonfiction writer, screenwriter and AIDS historian Sarah Schulman, focusing primarily on ideas from her books Conflict Is Not Abuse and Gentrification of the Mind. The transcript from our conversation is below, or you can ➚listen to it in the archive. At the time, she was working on an 800-page history of active New York. Twenty years in the making, Let the Record Show: A Political History of ACT UP New York, 1987-1993 is finally about to be released and can be found ➚here. Thank you Sarah!

Interview with Sarah Schulman
Transcription by Carly Sorenson

Thomas Laprade: This is Montez Press Radio, it’s two o’clock, Saturday afternoon. We have Stacy Skolnik and Sarah Schulman in studio. It’s a pleasure to have you, Sarah. If you don’t know, Sarah is a novelist, playwright, nonfiction writer, screenwriter, and AIDS historian. Stacy Skolnik will be talking to her, I’ll be sitting here, I might chime in here and there, might ask stupid questions.

Stacy Skolnik: Thank you for joining us, Sarah. I feel like it’s really cool to have you here because not only do I respect all the work that you’ve done and appreciate the many hats that you wear, but you have been mentioned perhaps more times across segements than any other. We’ve been on the radio for about a year, and in various segments and various topics in various countries, your work seems to arise.

TL: It came up in London a lot.

Stacy: So it’s really cool to be able to put your work and yourself in conversation with other stuff that we’ve had on air. I first was introduced to you through the Lesbian All-Stars series that was happening through Belladonna*. You organized--

Sarah Schulman: A tribute to Belladonna*, yeah.

Stacy: Yes. That was a great reading. James Loop, who’s been on the radio a bunch, said, “You should totally get Sarah Schulman on the radio.” I approached you, and you were so open to doing it, which is -- Tom and I talk all the time about how we really appreciate the people who say, “Yes.” [laughs]  It’s cool to have you here and thank you for joining us. The first book that I read of yours was Conflict is not Abuse, and I am really intrigued by the ideas that are shared in this work. I thought that maybe we could start today with -- I mean, feel free to decline -- talking a little bit about Conflict is not Abuse. I’m curious if there’s been any pushback to the ideas that you’ve shared in here. Would you like to maybe tell us a little bit about, sort of an annotated version or the main idea of what Conflict is not Abuse is trying to get at?

Sarah: There’s two main constructs in the book. The first is something that we are all witnessing right now when we have Trump say, “It’s a witch hunt!” and it’s so sad and he’s a victim, when actually he’s a perpetrator. He hides behind that. Yet at the same time, he puts blame on immigrants for pain that is caused by the 1%. It’s a deflecting system. So that’s one of the constructions that I look at. The other is the similarities between supremacy and traumatized behavior, and how when people are raised in supremacy they really hate difference. They feel that they have a right to never have to confront difference, so if they’re asked to question themselves in some way, they see that as an abuse or an attack. But when we’re traumatized, sometimes it’s so hard for us to just keep it together that when we’re asked to be self-critical, that can be so overwhelming. That simple difference can appear to be a kind of attack when it’s not. So the similarities there are the other dynamic that I’m dealing with in that book.

Stacy: Did you find that, after this book was released, did people conflate your critique with a type of victim blaming, or…?

Sarah: The biggest attack on the book was before it was published.

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A cool thing that happens on the radio is the way threads organically, unexpectedly develop between different shows in a given month. This month, the thread was friendship  (´・ω・｀)

Listening to people who like each other a lot simply vibe might just be one of the many the secret ingredients in the mysterious recipe for what makes a "good segment". 

Check out a few of the shows from our March broadcast in which the hosts get along really well, and have chemistry that is very, very pleasant to be included in:

➚Craig Kalpakjian and Arto Lindsay: Mise en abîme / stairway to hell episode 3
➚Aria Dean and Emmanuel Olunkwa: The Radio Show: Energy 003
➚Bob Nickas and Adrian Rew: The Singer, Not the Song / Name That Tune
➚The Drunken Canal Attempts to Fill An Hour, with Jacky Flowers
➚Whitney Mallett and Seashell Coker featuring Esther Choi: Mukbangers

Image: Gargoyles at the Cloisters

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