'Rope' by Greg Ruth.
Officially licensed 24" x 36" screen print, in a numbered Regular edition of 200 for $80; and a numbered Variant edition of 100 for $100.
On sale Thursday October 26 at 12pm ET through Mad Duck Posters.
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Mary Turner, Mary Turner
Mary Hattie Graham
19 years old and pregnant
Hazel Turner, Hazel Turner
Murdered by a lynch mob
She declares his crime a crime
And running for her life
She is, she is captured, captured at Folsom Bridge
Gasoline and motor oil smeared on her clothes
She is hung up by her ankles from a tree
A match is struck and she is set ablaze
Mary Turner, Mary Turner while still burning
Mary Turner, Mary Turner while still alive
Split open with a knife
Unborn Child falls from her womb
From her womb onto the ground
Looking up, looking up
The first and only light it ever sees
The flames, the flames of its mother’s burning, burning
Reaching out, reaching out
The first and only loving touch it receives
The falling ash of its mommy’s hair on fire
The baby, baby cried in the dirt
Quieted, quieted by a boots heel
Mother and child, mother and child
999 more bullets from the crowd
Mary Turner, Mary Turner buried where they were murdered
A cigar stuffed in a whisky jug, a whisky jug to mark the grave
Fuck your guns, Fuck you wars
Fuck your truck, Fuck your flag
A guide to Xiu Xiu’s Girl with Basket of Fruit
(Photo Credit: left, Sharon Van Etten)
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Jackson Browne at Palace Theatre, Columbus, Ohio, June 3, 2023
With a fat songbook so packed with quality deep cuts and hits that he can’t possibly play all - or even most - of them, Jackson Browne walked on stage unannounced and by his lonesome June 3 in Columbus and kicked off his U.S. tour with …
… a solo-electric cover of Warren Zevon’s “Don’t Let Us Get Sick.”
It was an unexpected, gutsy and successful move that immediately won over the nearly sold-out Palace Theatre. It elicited warm applause as Browne sang Zevon’s prayer and immediately established his 74-year-old voice is much younger than its chronological age:
Don’t let us get sick, don’t let us get old/don’t let us get stupid, all right/just make us be brave and make us play nice/and let us be together tonight
It set the tone for a loose evening that found Browne engaging with the audience, teasing his guitar tech and heaping well-deserved praise upon the members of his freshly pared-down group.
After the Zevon number, Browne brought out his powerhouse “half-full band” - Greg Leisz (Watkins Family Hour, Bob Weir and Wolf Bros) on lap steel, acoustic and electric guitars; his wife, Mai Leisz, (David Crosby) on bass; drummer Mauricio Lewak; and singers Chavonne Stewart and Alethea Mills (who doubled on percussion) - and got right down to business with the show proper, which was generous across 60- and 90-minute sets.
Saying “I wanna play them all,” but knowing he couldn’t possibly do so, Browne, who accompanied his bandmates on acoustic and electric guitars and piano, did cover 49 years of music making, crafting a setlist that spanned from 1972’s “Doctor My Eyes” to 2021’s “Downhill from Everywhere,” a warning about the oceans’ fragile health and one of many highlights of the evening.
The reggae-tinged “I Am a Patriot” was another. Though released in 1985, the song seems to have intuited where the United States was headed. And Browne added some new lyrics - I ain’t no xenophobe, he sang - to place it even more firmly in the context of 2023.
Band members came and went to suit the songs. Stewart and Mills - who sang beautifully on occasional co-leads and in harmony with Browne, with whom they’ve developed an almost-familial blend - left their riser and joined the songwriter down front for “Until Justice is Real.” Greg Leisz and Browne played as a steel-and-piano duo on “Walls and Doors” and the (half) full band dug into “Running on Empty” so deeply that Browne kicked his leg high in the air and turned to stare down Leisz as he offered his take on the solo made famous by David Lindley, who died earlier this year.
Being the first night of the tour with a new band and a new set, there were a few hiccups. A muffed note here. Some not-quite-honed arrangements there. The occasional false start and botched lyrics. And Leisz’s pedal-steel guitar sat lonely and untouched all evening long, suggesting Browne was calling audibles as the night unfolded.
Someone wanting to hear the records in a concert hall might say these things were evidence of Browne losing his edge. Someone out for the without-a-net experience (put Sound Bites in this camp) might revel in the not-set-in-stone nature that led to such surprises as Browne deciding the first set wasn’t long enough and tacking “For Everyman” on to the end and causing Mai Leisz to run back on stage after assuming break time had come.
The same thing happened to Greg Leisz at show’s end, when Browne opted to play “The Load-Out”/“Stay” and the multi-instrumentalist - who wowed Browne and the concertgoers all evening long - struggled to get his lap steel situated on time. He made it with less than a bar to spare and Browne rewarded Leisz by calling on him to extend his solo, which he did to rapturous applause.
See more photos on Sound Bites’ Facebook page.
Grade card: Jackson Browne at Palace Theatre - 6/3/23 - A-
6/4/23
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