People, Places, Music, & Gear
<i>Me, holding a very big tube, at Nori Komuro's place in Brooklyn. To my right, Komuro's prototype VT-52 sits quietly. Photo by Michael Lavorgna.</i>
<i>Me, holding a very big tube, at Nori Komuro's place in Brooklyn. To my right, Komuro's prototype VT-52 sits quietly. Photo by Michael Lavorgna.</i>
Even the Onion is reporting on the vinyl revival. CDs are really in trouble now.
Stuff is happening faster than I can responsibly blog. So fast and far and wide, in fact, it makes me wonder if it's actually happening at all. You know how it is when you learn a new word and you suddenly begin hearing that word <i>everywhere</i>?
Marque sus calendarios, vinyl lovers. While I was at Iris Records on Saturday, I learned of the upcoming Brooklyn Record Riot (!!).
I ran into Ashley over the weekend. She had the baby with her. It had been some time since last I saw them—about a year, in fact. It was good to see them.
"I'm a New York kid. The idea of me living in a private home and mowing a lawn is just ridiculous. I was born on the streets of New York, I've lived here all my life, I'm an apartment dweller, and I just identify with the city. Native New Yorkers are like a different breed, and that's just who I am."
Henry Fiol lit up the stage during a tribute to the late sonero, Hector Casanova, held at New York's <a href="http://www.lqny.com/lq/html/index.htm">LQ</a> on November 18, 2007.
Awarded Best Cover Art by <i>Latin New York</i> in 1976.
Of all Fiol's covert art, <i>Macho Mumba</i> stands out as my favorite, depicting a typical Cuban street scene.
An altogether beautiful album. I selected <i>Fe, Esperanza, y Caridad</i> as one of my 2008 "Records to Die For." Fiol's version of the classic Cheo Marquetti tune, "Oriente," brings me straight to tears.