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March 22, 2020

92Y Launches Online Film Class Tied to Five Criterion Channel Masterpieces

If you’re looking to take a break from binge-watching garbage television and exercise your brain during quarantine, film historian Annette Insdorf and 92Y might have a perfect solution for you. Beginning Sunday, March 29, you can take the online film course “Reel Pieces Remote: Classic Films with Annette Insdorf,” for five weeks every Sunday at 8 p.m.

The five films she has selected — all of them indisputable masterpieces — can be streamed on The Criterion Channel. (And if you’re a cinephile in quarantine without an account, subscribe, subscribe, subscribe!) You can view the film any time before the Sunday night class, along with a prerecorded introduction from Insdorf, followed by the weekly lecture that will also engage live group discussion. Signing up for the 92Y class includes a free Criterion Channel trial membership good for 45 days. The cost for the five courses altogether is $150 — not free by any means, if you’re in the position to enroll.

Below is the tentative syllabus for the course, which features special attention paid to opening sequences. As three of the films are set against the backdrop of World War II, political intention will also be explored. Complicity and guilt come up in films such as “Z” and “On the Waterfront,” the latter of which served as director Elia Kazan’s doubling down on having given the House Un-American Activities Committee the names of eight actors who had been members of the Communist Party.

Mar 29: “To Be Or Not To Be” (1942), directed by Ernst Lubitsch, starring Carole Lombard, Jack Benny, Robert Stack. The first example of “black comedy” in treating Nazis on screen; here, they are challenged by a clever acting troupe.

Apr 5: “On the Waterfront” (1954), directed by Elia Kazan, starring Marlon Brando, Eva Marie Saint, Karl Malden, Rod Steiger, Lee J. Cobb. The Oscar-winning tale of a boxer “who coulda been a contender,” caught between loyalty to the mob and a growing sense of conscience.

Apr 12: “Ashes and Diamonds” (1958, Poland), directed by Andrzej Wajda, starring Zbigniew Cybulski. Considered one of the greatest films ever made by Francis Coppola as well as Martin Scorsese, this drama unfolds on the last night of World War II: a charismatic young soldier of the Polish Nationalist Army questions the order to kill the representative of the Polish Communist Party.

Apr 19: “Z” (1969), directed by Costa-Gavras, starring Yves Montand, Jean-Louis Trintignant, Irene Pappas. A heart-pounding, Oscar-winning political thriller based on a true story during the Greek military dictatorship: a magistrate investigates an attack on a progressive hero as well as the ensuing cover-up.

Apr 26: “The Tin Drum” (1979, Germany), directed by Volker Schlondorff, starring David Bennent, Charles Aznavour, Angela Winkler, Daniel Olbrychski, Mario Adorf, Heinz Bennent. Winner of the Palme d’or at the 1979 Cannes Film Festival, this epic is adapted from the novel by Gunter Grass. The film adopts the riveting perspective of Oskar, who decides at the age of 3 to stop growing.

Source: IndieWire film

March 22, 2020

Boaz Yakin Got Sick of Hollywood and Made His Most Personal Movie in 30 Years

The 1994 Sundance Film Festival may have been immortalized by Kevin Smith’s “Clerks,” but Boaz Yakin’s debut “Fresh” made out well enough. After scripting “Punisher” and “The Rookie,” Yakin directed a spry African American crime drama that put his career on a steady upward trajectory. That culminated in 2000 football hit “Remember the Titans,” which grossed $136.7 million and suggested a bright future in the studio system.

Yakin, however, wasn’t sure he wanted that. His latest movie, “Aviva,” marks his most personal movie in 30 years — and only would have been possible with those decades of roadblocks behind him. “I was a super-hot director after ‘Remember the Titans,’ and everyone in Hollywood wanted to work with me,” the 53-year-old New Yorker said in a recent interview. “I was being offered gigantic movies. I just had this moment where I was like, oh no, if I go down this road, I’m not going to remember how to be the creative person I want to be.”

Over the last 20 years, that struggle has continued. Yakin’s career has followed an uneven trajectory that includes intimate character studies “Death in Love” and “Boarding School,” as well as the Jason Statham genre indulgence “Safe” and the canine military adventure “Max,” all while the filmmaker has juggled work-for-hire screenwriting gigs ranging from “Prince of Persia: The Sands of Time” to “Now You See Me.”

At long last, Yakin has managed to return to genuine personal filmmaking, by stripping away virtually all potential resources to make a self-financed experimental movie based on his own life. “Aviva” had been scheduled to premiere at last week’s now-canceled SXSW Film Festival, and its still-delayed launch feels oddly appropriate for a movie that speaks to its director’s unsteady path.

A freewheeling blend of dance and surrealist interrogations of gender identity, the movie consolidates Yakin’s various relationship crises and battles with depression into an unclassifiable two-hour odyssey. Littered with fourth-wall breaking indulges and characters played by male and female dancers who switch places throughout, the movie shows what can happen when the floodgates of creativity open wide after decades of pent-up frustration.

“My entire adult creative life has been this very, very upsetting push and pull between trying to succeed in an industry that doesn’t like to do the things I like to do, and trying to find a way to fit myself in that’s sustainable,” Yakin said. “This time, I didn’t want to limit myself at all.”


Yakin teamed up with choreographer Bobbi Jene Smith, whose nimble dance work serves as many of the movie’s high points. At its center, a Yakin stand-in named Eden wrestles with whether or not to marry his Israeli partner Aviva after she moves to New York with him. That scenario stems in part from Yakin’s relationship with ex-wife and “Honey Boy” director Alma Har’el, though Yakin made it clear that much of the ensuing narrative draws from other romances and some of it was pure fiction. “There are elements of my marriage, of course, and experiences with my fiancée, but it really is a work of fiction,” said Yakin. “I’ve always struggled with my own discomfort and frustration with myself and how it’s affected my relationships in general.” (He declined to speak more specifically to Har’el’s role in the project, though sources close to both of them say that he made it with her blessing.)

Among the more unusual twists, “Aviva” finds characters transitioning from male to female at unexpected moments, blurring the nature of a traditional heterosexual romance by transforming it into a stranger meditation on internal battles between masculine and feminine proclivities. Yakin said he was inspired in part by Luis Buñuel’s 1977 “That Obscure Object of Desire,” in which one woman is played at different moments by Carole Bouquet and Ángela Molina. “I wanted to take it to this other place where you basically express both sides of the same person between two different people,” Yakin said. The dance element stemmed from a longstanding desire to tip his hat to his parents, who worked as pantomimes. (His father has taught movement at Juilliard for 50 years.) “Untraditional theater has been a part of my life for a long time and I never really got to express it,” he said. “I wanted to make a movie that had dance and movement in a way people hadn’t seen before.”

Enter Smith, a veteran of Israel’s Batsheva Dance Company, whose work involves a complex agility and dancers putting their full bodies on display. When her choreography takes over, “Aviva” transforms from doleful romance to something more entrancing and strange, from a swirling barroom dance party to a mystical wedding sequence. “I was trying to take mundane gestures and expand them,” Smith said, “playing with those gestures until they became something supernatural or magical. It was all about trying to understand what would serve the story so it wouldn’t just become music videos.”

The device looped back to one aspect of Yakin’s history with Har’el, as Aviva eventually embarks on shooting a documentary about dancers in the desert. That passage refers to her mesmerizing 2011 debut “Bombay Beach,” a boundary-pushing portrait of isolated lives against the backdrop of the Salton Sea. Yakin, who produced the movie, said it pushed him to consider the potential of working on a micro-budget scale. “It was so inspiring to me to see what she was doing with that,” Yakin said. “There was no studio, no financiers. It’s a homegrown movie she made herself. The thing that’s beautiful about it is that it’s made without any support, so it could be anything.”

And “Aviva” certainly embraces an anything-goes attitude. The movie shows less investment in fusing its disparate parts together than in gathering fragments of ideas to represent a complex life. In a staggering musical sequence that stands out from the rest of the story, Yakin flashes back to his childhood, as a trio of kids rap into the camera and march through the city, ride the subway, and end up in Coney Island.

“We just got out on the street and did it,” Yakin said. “Then we shot on the train going to Coney Island, waited for it to get a little empty, and just started dancing.” He laughed. “I might be getting a little too old for this shit, but it was fun.”

Yakin relished the opportunity to explore the possibilities of guerrilla filmmaking, but wasn’t convinced it could overtake his life. “It’s not a sustainable career model,” he said. “How many movies can you pay for? At some point, you’ve gotta fucking eat.” Yakin continues to work on more commercial projects, and recently scripted the African American western “The Harder They Fall,” a Netflix production currently on hold. He sometimes wonders what might have been, if he’d embraced the opportunities that followed “Titans” and become a full-on studio filmmaker. “I’ll never know if I would’ve been able to take ‘X-Men 3’ or whatever the fuck I was offered at the time and just do it,” he said. “Would I have been able to come back from that and explore the things I wanted to explore? I suspect I wouldn’t have.”

Now, of course, he’s left in the same limbo as countless filmmakers, with a new movie in the bag seeking distribution and other projects delayed for the foreseeable future. In spite of everything, Yakin said he’s staying optimistic about whatever comes next.

“Obviously, in the moment of crisis itself, the priority has to be dealing with people’s health and security,” he said. “But the arts and expressiveness of communication has been at the heart of what makes us people. While we’re in the moment, we have to deal with this, but who we are as people and how we express our experiences will always be valid.”

Source: IndieWire film

March 22, 2020

Movie Theaters Are Closed, but Their Value Isn’t Lost to Us Yet — Analysis

As the COVID-19 pandemic continues to dismantle civilization as we know it, many of the rituals that we once accepted as part of our social contract have already have been reconfigured. Movie theaters may not be a matter of life or death — at least not for those of us who weren’t employed by them — but at a time when most of us have little to do besides sit home and re-evaluate every aspect of our collective existence, film industry pundits have pounced on the idea that theatrical exhibition will soon be unmasked as one of those great American grifts; as an outmoded scam that people will no longer be willing to pay for if and when things ever go back to “normal.” As The Ankler columnist Richard Rushfield recently said in an interview with The Ringer: “It’s not like the average American is going to miss the habit [of going to the movies during the pandemic] and it’s not like they need much reason to stay away from theaters forever.”

Such thinking is the logical conclusion to a story that Hollywood has been telling itself since the early days of streaming, and for now, it fails to convince. Movie theaters are struggling, but their experiential value hasn’t faded, and that’s enough of a reason to assume that they aren’t gone for good.

Consider where we were a few weeks ago. 2019’s domestic box office totaled a staggering $11.4 billion (down four percent from the all-time record set the previous year), and Disney’s undeniably disturbing portion of that was offset by a wide array of original hits like “Once Upon a Time in Hollywood,” “Knives Out,” and “Hustlers.” We’re still only a month removed from the Safdie brothers’ “Uncut Gems” cracking $50 million, and a Korean-language film doubling the local gross of “Cats” before winning Best Picture. (If you somehow still haven’t seen “Parasite,” you have some options.) Netflix itself has proven that people will pay money to see good movies in theaters even if they’re available to stream at home, and the theatrical model has managed to survive a hyper-entitled digital culture that thinks downloading a torrent is no different than buying a ticket.

"Knives Out: Ana de Armas (Marta), Daniel Craig (Benoit Blanc)

“Knives Out”

Claire Folger

There’s an embarrassment of evidence that different modes of viewing can co-exist, but the prevailing wisdom maintains that the future won’t be satisfied until it’s fully cannibalized the past — that people don’t want to go to the movies, and that the studios would rather they didn’t have to worry about it. But while Rushfield is right when he goes on to say that shoddy multiplexes haven’t done themselves any favors over the last few decades (eternal shame on AMC for not masking its screens!), he’s wrong about the rest. People still want to go to the movies, and whenever this pandemic ends, that desire won’t go away.

But first we have to face the facts: This is unquestionably the worst crisis that movie theaters have ever faced. For more than 100 years, American cinemas stayed open during wars, terrorist attacks, and presidential assassinations; it only took this virus just a few days to so completely paralyze the industry that the National Association of Theatre Owners is asking the government for a bailout, boutique chains like the Alamo Drafthouse have furloughed all of their employees, and New York cinephiles have started a charity fund for the city’s beloved cinema workers. Many independent theaters may never be able to open their doors again.

The global film industry on the whole has already lost $7 billion due to the pandemic, and is estimated to have lost $17 billion by the end of May. The bleeding will continue long after that, and when it does finally come to an end, millions of Americans will be out of work and without less disposable income to spend on $20 tickets for “Peter Rabbit 2.” And then you have to factor in the lingering trepidation that will continue to affect theaters after the smoke clears, especially if our inept government isn’t able to account for constant new clusters of the virus or make a vaccine widely available to all people across the socioeconomic spectrum. Lingering trepidation will affect theaters long after. And to think, it was only two weeks ago that it seemed like the 4K restoration of “Come and See” would be the most depressing movie event of the year.

Assessing the carnage, analyst Rich Greenfield predicted that “studios are going to think more and more about why they are relying on third parties to distribute their content.” And like all big ideas, that thinking started with “Trolls: World Tour.”

“Trolls: World Tour”

On March 16, Universal announced that — due to the impending pandemic — the sequel to 2016’s “Trolls” would be skipping its planned theatrical run and going direct to premium VOD. For exhibitors, it surely felt like being kicked when they were down. The original “Trolls” was basically just a feature-length promotional campaign for the hit single Justin Timberlake wrote for it, and yet it still grossed $346 million. Despite that cancelling the wide release of “World Tour” was the only way of calling any real industry attention to it, some journalists responded to the news as though it were the Berlin Wall falling down all over again.

When Universal later announced that it was going to pivot “The Invisible Man,” “Birds of Prey,” and the Focus-released “Emma.” to VOD after the pandemic cut into those movies’ theatrical runs, people acted as though it were some kind of opportunistic Trojan horse attack into viewers’ homes, but it’s exactly like this strategy guarantees a quick fix: As IndieWire’s own Anne Thompson explained: “Traditionally, no studio would favor straight to video; digital rentals and sales are 62% smaller than they were in 2004, and they cannibalize the higher-value channel of theaters.”

Regardless of how the pandemic reshapes the film Industry, the taxonomical gap between theatrical and streaming content will continue to grow wider. But that will only further entrench the need for both to exist, and casual movie fans who think they want to watch everything at home are missing the forest for the trees: They’re forgetting that the way we watch things has a direct effect on the way we make things, and that — as Quibi is threatening to prove — the standards of theatrical entertainment are the last bulwark we have against a corporatized push towards passive viewing. It’s a cultural war based on the premised on the idea of art that only asks for half of your attention, and has the nerve to sell that as a feature instead of a bug.

More importantly — and this bears repeating — people want to go to the movies! People want to go to the movies so badly that drive-in theaters across the country saw an immediate surge in ticket sales as soon as multiplexes began to close their doors. Exhibitors don’t just ask consumers to pay a premium for a bigger screen and louder sound, they offer a fundamentally different viewing phenomenon than you can have at home. They offer a rare pocket of freedom in an overloaded world, a publicly ritualized opportunity to engage with art in its proper frame, and a collective experience that even the most introverted among us will be craving before long.

Streaming technology is a remarkable tool that allows for life-changing levels of exposure and access, but movie theaters have become one of the only affordable places in modern society where people of all backgrounds and political affiliations can reconcile themselves with a shared reality — where we can laugh together, cry together, and experience the indescribable horror of watching “Cats” together. There’s a reason why cinemas have emerged as a bellwether for China’s recovery from the COVID-19 pandemic: “Green Book” may not be the best way to bait people into leaving their houses, but it’s the thought that counts.

Staring at the horizon in the days after this crisis began, Georgetown economics professor James Angel told Variety to think of the pandemic as “a wildfire that comes through. The conditions build up, and there’s very dry brush at the end of an economic cycle. And suddenly, after the fire, everybody starts to rethink ‘Do we really need to rebuild the same house in the same spot?’” If there’s still a film industry when the fog lifts, there’s no doubt that it will be a wildly different place. Some of its proverbial houses will be condemned forever, while others will need to be knocked down and rethought.

But whatever happens in the meantime, it does no good to raze cinemas to the ground and salt the earth where they once stood. Movie theaters aren’t about to be unmasked as an archaic inconvenience that should be consigned to the ruins of our pre-coronavirus world. On the contrary, they’re about to become a painful reminder of how suffocating it can be to experience spectacle in private. And the only way to emerge from this tragedy with a strong foundation on which to rebuild and improve film culture is to embrace the conviction that one day, movie theaters will open their doors again.

Source: IndieWire film

March 20, 2020

Welcome to Quarantine… Now What?

How will filmmakers approach the new normal?

The world, and our industry, has changed dramatically in a very short period of time. We talk through what filmmakers can do with this time, how to weather this storm, and what other major events we’ve witnessed the industry survive.

We want to hear from all of you. In the comments, in our inboxes. On our social media pages. We’re in this together. Let us know how you’re approaching this time.

If you’re feeling up to it, check out and enter our NFS60 challenge. If you just want to watch some movies for now… we totally get that too. Enjoy, and stay healthy.

Read More

Source: NoFilmSchool

March 20, 2020

NAB 2020 Lives On? Digital Express Show Planned For April

The canceled NAB Show 2020 may have new life in digital form.

In an announcement today, NAB President and CEO Gordon Smith said that rather than rescheduling the canceled NAB Show in Las Vegas for later this year, organizers will be unveiling a new digital offering called NAB Show Express that is targeted to launch in April 2020.

Smith pointed out NAB is proceeding with a “two-pronged approach” to bring the industry together online both in the short term and long term.

According to NAB, the digital experience will provide a place for our exhibitors to share product information, announcements, and demos. The experience will also have education content from the original selection of programming slated for the live show in Las Vegas. Organizers are looking for ways for the community to interact virtually. Maybe VR headsets?

Read More

Source: NoFilmSchool

March 20, 2020

Netflix Launches $100 Million Fund for Out-of-Work Film and TV Workers

The COVID-19 outbreak has brought the film and TV industry to a standstill, but Netflix is stepping in to ease the financial burdens of its workers.

Entertainment studios have postponed film and TV productions in hopes to slow the spread of the novel coronavirus in the U.S., leaving industry professionals out of work and fearful of their financial futures.

However, Netflix has just announced the launch of a $100 million fund that aims to support the cast and crew members, including those working on Stranger Things, The Witcher, and Russian Doll, who are now reeling from the effects of the COVID-19 pandemic.

In a statement on the streamer’s blog, Chief Content Officer Ted Sarandos said, “This community has supported Netflix through the good times, and we want to help them through these hard times, especially while governments are still figuring out what economic support they will provide. So we’ve created a $100 million fund to help with hardship in the creative community.”

Read More

Source: NoFilmSchool

March 20, 2020

How to Write Subtext in a Screenplay

How do you write subtext inside a screenplay? We take you through some essential tips.

Ever want to say something but not blurt it out? Your way around it was probably talking about something that mimicked the situation at hand without being too obvious about what was really going on.

That was you using subtext, you passive-aggressive lunatic.

In life, it’s good to say what you mean, but in screenwriting for film and television, you want to use subtext.

Today, we’re going to define subtext, examine its use in entertainment, and look at how it bolsters the themes of the story.

Okay, let’s go!

The Definition of ‘Subtext’

Subtext is the content of an idea or feeling that is not highlighted explicitly by the characters, but is implicit or becomes understood by the viewer as the story unfolds. It’s what people are really talking about when they’re actually speaking about something else.

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Source: NoFilmSchool

March 20, 2020

Is Titantic the Perfect Quarantine Movie?

Remember when the only pandemic we had to worry about was Leomania?

Okay, a bad joke, sure. But there’s something about this nationwide quarantine that’s throwing a lot of us into nostalgia mode, and many of us are turning to disaster films. My Twitter feed has been full of film geeks watching Contagion or 28 Days Later. A few nights ago, my husband and I threw on Armageddon. (I gotta say—that movie is not as good as I remember it. Fun, but a bit jingoistic for my tastes. Also, why is Michael Bay’s version of Middle America stuck in the 1950s? Every child is in overalls. Why?)

Perhaps the very real prospect of having no new movies both big and small for a long time is making us look backward and seek escape, even into the worlds of 12 Monkeys or Pandemic.

So today, when a fellow NFS writer sent me the link to an old BuzzFeed News article about the making of Titanic, I immediately thought, “Oh, man, I should watch Titanic.”

You probably also now want to watch Titanic, but stay with me a second.

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Source: NoFilmSchool

March 20, 2020

Support SXSW 2020 Showcasing Artists with Bandcamp on Friday, March 20

Diatom Deli - Photo by Casey Pierce

This Friday, March 20, our friends at Bandcamp are giving their all to support artists on the platform.

“To raise even more awareness around the pandemic’s impact on musicians everywhere, we’re waiving our revenue share on sales this Friday, March 20 (from midnight to midnight Pacific Time), and rallying the Bandcamp community to put much needed money directly into artists’ pockets.”

In order to rally around our 2020 Showcasing Artists around the world this week, consider buying a new band tee, the vinyl you have been eyeing, or some tunes directly through Bandcamp. Below is a list of Showcasing Artists and Showcase Presenter’s Bandcamp links for you to visit and support.

2020 Showcase Presenters

2020 Showcasing Artists

79.5 (New York NY)

A Giant Dog (Austin TX)

A. Sinclair (Austin TX)

AAerial (Austin TX)

Abhilasha Sinha (New Delhi INDIA)


Ada Lea (Montreal CANADA)

addy (Richmond VA)

Aiming For Enrike (Oslo NORWAY)

Akinyemi (Queens Village NY)

Alex Nicol (Montreal CANADA)

Alex Somers (Los Angeles CA)

Alexander Biggs (Melbourne AUSTRALIA)

Alfred. (Woodbridge VA)

Algiers (Atlanta GA)

Alice Skye (Melbourne AUSTRALIA)

Alien Tango (Murcia SPAIN)

All My Friends Hate Me (Los Angeles CA)

Altamesa (Austin TX)

Altre di B (Bologna ITALY)

alyona alyona (Kyiv UKRAINE)

American Grime (Miami FL)

American Werewolf Academy (Dallas TX)

Amy Root (Amsterdam NETHERLANDS)

Anatole (Sydney AUSTRALIA)

Angela Perley (Columbus OH)

Angelica Garcia (El Monte CA)

Anna Altman (Brooklyn NY)

Anna Burch (Detroit MI)

Annabelle Maginnis (Los Angeles CA)

Annie Hart (New York NY)

Antti Paalanen (Kokkola FINLAND)

Aramis616 (Grand Rapids MI)

Ariel View (Los Angeles CA)

Arlo Parks (London UK-ENGLAND)

Arre! Arre! (Malmö SWEDEN)

Art d’Ecco (Victoria CANADA)

Ase Manual (Newark NJ)

Astragal (Houston TX)

Astrid Sonne (Copenhagen DENMARK)

Atlas Maior (Austin TX)

AURAGRAPH (Los Angeles CA)

Austin Basham (Austin TX)

Automatic (Los Angeles CA)

Automelodi (Montreal CANADA)

Autre Monde (Dublin IRELAND)

Axel Thesleff (Helsinki FINLAND)

bad tuner (Brooklyn NY)

Bad Waitress (Toronto CANADA)

Balming Tiger (Seoul SOUTH KOREA)

Balto (Los Angeles CA)

Banditos (Birmingham AL)

Bandits on the Run (New York NY)

Banny Grove (Joshua Tree CA)

Banoffee (Melbourne AUSTRALIA)

Baseball Gregg (Bologna ITALY)



Beachtape (Brighton UK-ENGLAND)

BeBe Deluxe (Jacksonville FL)

Begonia (Winnipeg CANADA)

Being Dead (Austin TX)

Ben Buck (Austin TX)

Ben Hixon (Dallas TX)

Bethlehem Steel (Brooklyn NY)

Better Person (Berlin GERMANY)

Big Mountain County (Rome ITALY)

Big Search (Los Angeles CA)

Billy King & The Bad Bad Bad (Austin TX)

Billy Raffoul (Leamington CANADA)

Bird Streets (Brooklyn NY)

Birthday Club (Houston TX)


Biznaga (Madrid SPAIN)

Black Lips (Atlanta GA)

Blacks’ Myths (Washington DC)

BLANG (Austin TX)

Bleaker (Huntsville AL)

Blivet (Trabuco Canyon CA)

Blood (Austin TX)

Bluestaeb (Berlin GERMANY)

Blushh (Los Angeles CA)

Blushing (Austin TX)


Bobby Oroza (Helsinki FINLAND)

Bodywash (Montreal CANADA)

Bootblacks (New York NY)

Borzoi (Melbourne AUSTRALIA)

Bottoms (Brooklyn NY)

Boy Scouts (Oakland CA)

BOYO (Los Angeles CA)

Bragglights (Austin TX)

Branjae (Tulsa OK)


Brother Dege (Lafayette LA)

Brother. (Salt Lake City UT)

Buenos Diaz (Austin TX)

BUHU (Austin TX)

Cable Ties (Melbourne AUSTRALIA)

Caleb Caudle (Nashville TN)

Calliope Musicals (Austin TX)

Campfire Social (Wrexham UK-WALES)

Candeleros (Madrid SPAIN)

Capyac (Austin TX)

Caracoles (Canary Islands SPAIN)

Carl Stone (Los Angeles CA)

Carla Geneve (Perth AUSTRALIA)

Carla Morrison (Tecate MEXICO)

Carol (Boston MA)

Carter Vail (Nashville TN)

Casey Neill & The Norway Rats (Portland OR)

Catholic Action (Glasgow UK-SCOTLAND)

Ceci Juno (Guayaquil ECUADOR)

Céu (Sao Paulo BRAZIL)

Chainska Brassika (London UK-ENGLAND)

Charlotte Rose Benjamin (Brooklyn NY)

Chestnut (Los Angeles CA)

Chicks on Speed (Hamburg GERMANY)

China Bears (London UK-ENGLAND)

Christelle Bofale (Austin TX)

Christina LaRocca (Los Angeles CA)

Chuck Prophet and the Mission Express (San Francisco CA)


Circuit des Yeux (Chicago IL)

Ciudadanos (Santiago CHILE)

Clemente Castillo (Austin TX)

Cloud Rat (Mount Pleasant MI)

Cole Longanecker (Austin TX)

Colin Gilmore & Nicolette Good: Ladder To The Moon (Austin TX)

Color Candy (Austin TX)

Como Las Movies (Austin TX)

Control Top (Philadelphia PA)

Cordoba (Chicago IL)

Corduroi (Austin TX)

Corridor (Montreal CANADA)

Cory Kendrix (Denver CO)

Crisman (Denton TX)

Crunk Witch (Presque Isle ME)

Cuffed Up (Los Angeles CA)


Curse Mackey (Austin TX)

Curtis McMurtry (Austin TX)

Dadabots (Boston MA)

Dan Luke and The Raid (Bowling Green KY)

Daniel Casimir & Tess Hirst (London UK-ENGLAND)

Daniel Romano (Welland CANADA)

Danielle Dahl (Oslo NORWAY)

Danielle Durack (Phoenix AZ)

daphne tunes (Austin TX)

Darkbird (Austin TX)

David Dondero (Duluth MN)

David Wax Museum (Charlottesville VA)

Dead Horses (Milwaukee WI)

Deadbeat Beat (Detroit MI)

Death Of A Dream (Austin TX)

Deau Eyes (Richmond VA)

deca joins (Taipei TAIWAN)

Deeper (Chicago IL)

Deezie Brown (Bastrop TX)

DeGreaser (Miami FL)

Dehd (Chicago IL)

Del Judas (Brooklyn NY)

Delta Spirit (San Diego CA)

Demi Grace (New York NY)

Deserta (Los Angeles CA)

Detalji (Helsinki FINLAND)

Devarrow (Halifax CANADA)

Devours (Vancouver CANADA)

Diatom Deli (Nashville TN)

Did You Die (Vancouver CANADA)

Diego Noguera (Berlin GERMANY)

Dinosaur 88 (Guatemala GUATEMALA)

Dirty Streets (Memphis TN)

Disq (Madison WI)

Divine Interface (Atlanta GA)

Divino Niño (Chicago IL)

DJ Lita (Queens NY)

Dog In The Snow (Brighton UK-ENGLAND)

Dogleg (Detroit MI)

Dolly Valentine (South Chatham MA)

Dom Flemons (Washington DC)

Dominican Jay (Austin TX)

Donna Blue (Amsterdam NETHERLANDS)

Dorio (Austin TX)

DOSSEY (Austin TX)

Dougie Poole (Brooklyn NY)

dread risks (Austin TX)

Dreamcast (Washington DC)

dreamgoth (Austin TX)

Drew Citron (Brooklyn NY)

Drinker (Los Angeles CA)

Drinking Boys and Girls Choir (Daegu SOUTH KOREA)

Dry Cleaning (London UK-ENGLAND)


Dual Core (Austin TX)

Dumbo Gets Mad (Reggio Emilia ITALY)

Duquette Johnston (Birmingham AL)

Early Day Miners (New Orleans LA)

Early James (Birmingham AL)

Earth Boys (Brooklyn NY)

Easy Wanderlings (Pune INDIA)

Eimaral Sol (Killeen TX)

El Dorado (Mexico City MEXICO)

Elephant Stone (Montreal CANADA)

Elijah Ford (Austin TX)

Eliza & The Delusionals (Gold Coast AUSTRALIA)

Elizabeth Moen (Iowa City IA)

Ellis (Hamitlon CANADA)

Emma Jean Thackray (London UK-ENGLAND)

Esme Patterson (Denver CO)

Evelyn Ida Morris (Melbourne AUSTRALIA)

EyeQ (Brooklyn NY)

Ezra Furman (Chicago IL)

Fanclub (Austin TX)

Fat Tony (Houston TX)

Fauvely (Chicago IL)

FEE LION (Chicago IL)

Fennesz (Vienna AUSTRIA)

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FingerFingerrr (Sao Paulo BRAZIL)


Five Eight (Athens GA)

Flamingo (Milan ITALY)

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Flora & Fawna (Austin TX)

Flower (New York NY)

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FOOZOOL (San Francisco CA)

Fraeya (Perth AUSTRALIA)

Fragile Rock (Austin TX)

Fran (Chicago IL)

Frances Quinlan (Philadelphia PA)


Friendship (Philadelphia PA)

Frontier Folk Nebraska (Cincinnati OH)

fuvk (Austin TX)

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Garden Centre (Todmorden UK-ENGLAND)

Gena Rose Bruce (Melbourne AUSTRALIA)

Gewalt (Berlin GERMANY)

Ghetto Kumbé (Bogotá COLOMBIA)

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Gina Chavez (Austin TX)

Ginger Root (Huntington Beach CA)

Girl Friday (Los Angeles CA)

Girlpool (Los Angeles CA)

Gloin (Toronto CANADA)

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Good Dog Nigel (Lynchburg VA)

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Graham Reynolds and Golden Arm Trio (Austin TX)

Grayling (Philadelphia PA)

Greasy Hands (Baltimore MD)

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Greyhounds (Austin TX)

Grivo (Austin TX)

GRLwood (Louisville KY)

Gross Net (Belfast UK-N. IRELAND)

Grrrl Gang (Yogyakarta INDONESIA)

Gully Boys (Minneapolis MN)

Gunner & Smith (Saskatoon CANADA)

h2the (Los Angeles CA)

Hachiku (Melbourne AUSTRALIA)

Hammered Satin (Los Angeles CA)

Harry Edohoukwa (Dallas TX)

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Haviah Mighty (Toronto CANADA)

Hayden Pedigo (Amarillo TX)

Hayfitz (Brooklyn NY)

Hazy Sour Cherry (Tokyo JAPAN)


Heart Bones (Minneapolis MN)

Hearty Har (Los Angeles CA)

Hector Coco Barez (San Juan PUERTO RICO)

Hedonutopia (Istanbul TURKEY)

Henry Brun & The Latin Playerz (San Antonio TX)

Hera (Reykjavik ICELAND)

HERO (Montreal CANADA)

Hiatt dB (San Antonio TX)

High Heavens (Austin TX)


Hikes (Austin TX)

Hiperson (Chengdu CHINA)

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Holy Wave (Austin TX)

Honey Made (Austin TX)

Hooveriii (Los Angeles CA)

Horse Jumper of Love (Boston MA)

Hot Garbage (Toronto CANADA)

House of Kenzo (San Antonio TX)


Humbird (Minneapolis MN)

I’m Glad It’s You (Redlands CA)

Icaro Del Sol (Santiago CHILE)

Ice Cream (Toronto CANADA)

Iguana Death Cult (Rotterdam NETHERLANDS)

II Tone (Memphis TN)

Indigo Bunting (Austin TX)

Indrajit Banerjee (Austin TX)

ings (Seattle WA)

Italia 90 (London UK-ENGLAND)

J. Harcrow (Fort Worth TX)

Jackie Venson (Austin TX)

Jadu Heart (London UK-ENGLAND)

James Swanberg (Chicago IL)

Jane Machine (Joshua Tree CA)

Jane’s Party (Toronto CANADA)

Japanese Breakfast (New York NY)

Jason Hawk Harris (Los Angeles CA)

Jealous (Berlin GERMANY)

Jeannel (Berlin GERMANY)

Jeremie Albino (Toronto CANADA)

Jill Andrews (Nashville TN)

John Carroll Kirby (Los Angeles CA)

Jonathan Ng (Seattle WA)

Jordan Moser (Wimberley TX)

JU4N (Austin TX)

Junior Mesa (Bakersfield CA)

Justus Proffit (Los Angeles CA)

Kadesh Flow (Kansas City MO)

Kælan Mikla (Reykjavik ICELAND)

KAINA (Chicago IL)

Karen Jonas (Fredericksburg VA)

Karma Rivera (Portland OR)

Kate Bollinger (Charlotesville VA)

Kate Davis (New York NY)

Katie Malco (Northampton UK-ENGLAND)

Katy Kirby (Spicewood TX)

Kay Odyssey (Austin TX)

Kevin Krauter (Indianapolis IN)

Kid Koala (Montreal CANADA)

Kiki Valera y su Son Cubano (Seattle WA)

Kings of the Beach (Vigo SPAIN)

Kino Kimino (Brooklyn NY)

Kiwi Jr. (Toronto CANADA)

Knife Wife (Washington DC)

Kokoroko (London UK-ENGLAND)

Komorebi (New Delhi INDIA)

Kool Keith aka Dr. Octagon (The Bronx NY)

Korine (Philadelphia PA)

Kosha Dillz (Yafo ISRAEL)

Kota Banks (Sydney AUSTRALIA)

Kristin Hersh (Providence RI)

Kusht (Glasgow UK-SCOTLAND)

Kydd Jones (Austin TX)

L Twills (Hamburg GERMANY)

La Fragua Band (Medellin COLOMBIA)

La Goony Chonga (Miami FL)

La Meme Gang (Accra GHANA)

LABRYS (Norman OK)

Lady Donli (Abuja NIGERIA)

Lake South (Wellington NEW ZEALAND)

Land of Talk (Montreal CANADA)

Laser Background (Philadelphia PA)

Laveda (Albany NY)

Le Couleur (Montreal CANADA)

LEDEF (San Antonio TX)

Lee Bains III & the Glory Fires (Birmingham AL)

Legal Vertigo (Montreal CANADA)

Leon III (Houston TX)

LEX the Lexicon Artist (New York NY)

Ley Line (Austin TX)

LEYA (New York NY)

Lido Pimienta (Toronto CANADA)

Lightning Bug (Brooklyn NY)

Limboski (Warsaw POLAND)

Lion Heights (Austin TX)

Lisel (Los Angeles CA)

Little Coyote (Whitehorse CANADA)

Little Jesus (Mexico City MEXICO)

Little Mazarn (Austin TX)

Little Stranger (Charleston SC)

Lizzie and The Makers (Brooklyn NY)

LLORA (Dallas TX)

Long Beard (New Brunswick NJ)

Lord Kesseli And The Drums (St. Gallen SWITZERLAND)
Lorelle Meets The Obsolete (Ensenada MEXICO)

Los Bitchos (London UK-ENGLAND)

Los Kurados (Austin TX)

Los Moustros del Espacio Exterior (Culiacan MEXICO)

Los Rakas (Oakland CA)

Los Wálters (New York NY)

Lou Canon (Toronto CANADA)

Lou Rebecca (Paris FRANCE)

Lovelorn (Philadelphia PA)

Lower Tar (Los Angeles CA)

Lowin (Austin TX)

Loyal Lobos (Los Angeles CA)

lucylujah (Detroit MI)

Lug (Austin TX)

Luke De-Sciscio (Bath UK-ENGLAND)

Luke Howard (Melbourne AUSTRALIA)

Luna Li (Toronto CANADA)

Luna Luna (Dallas TX)

Lunar Vacation (Atlanta GA)

Lydia Lunch (Brooklyn NY)

LYTA (Houston TX)


M. Ward (Los Angeles CA)

Macmorfi (Mexico City MEXICO)

Madison McFerrin (Brooklyn NY)

Magnolian (Ulaanbaatar MONGOLIA)

Majeure (Pittsburgh PA)

Making Movies (Kansas City MO)

Mal Blum (Brooklyn NY)

Malin Pettersen (Oslo NORWAY)

Mamalarky (Los Angeles CA)

Mammoth Penguins (Cambridge UK-ENGLAND)

Maneka (Brooklyn NY)

Manifest Destiny’s Child (Denton TX)

Mapache (Los Angeles CA)

Mara Connor (Los Angeles CA)

Marble Arch (Paris FRANCE)

Margaret Glaspy (New York NY)

Maria y Jose (Tijuana MEXICO)

Massar Egbari (Alexandria EGYPT)

Mauskovic Dance Band (Amsterdam NETHERLANDS)

Mavi (Charlotte NC)

Max Pain and the Groovies (Brooklyn NY)

MC Bravado (Baltimore MD)

mc chris (Los Angeles CA)

MC Frontalot (Brooklyn NY)

McKinley Dixon (Richmond VA)

Meatraffle (London UK-ENGLAND)

Mélat (Austin TX)

Meltt (Vancouver CANADA)

menwhopause (New Delhi INDIA)

Mercy Bell (Nashville TN)

Merk (Auckland NEW ZEALAND)

Meryem Saci (Montreal CANADA)

Mexico City Blondes (Santa Barbara CA)

Mia Gladstone (New York NY)

Michael Vincent Waller (New York NY)

Miesha & The Spanks (Calgary CANADA)

Mija (Phoenix AZ)

Milly (Los Angeles CA)

Mírame (San Antonio TX)

Miranda and the Beat (Brooklyn NY)

MMYYKK (Inland Empire CA)

Mndsgn (San Diego CA)

Mobley (Austin TX)

Model/Actriz (Boston MA)

Molly with Charles (Berkeley CA)

Momma (Los Angeles CA)

Montañera (Bogotá COLOMBIA)

Moon Kissed (New York NY)

Moon Panda (Copenhagen DENMARK)

Moonchild Sanelly (Port Elizabeth SOUTH AFRICA)

Mother Falcon (Austin TX)

Mountain Time (Austin TX)
Moving Panoramas (Austin TX)

Mr. Lewis and The Funeral 5 (Austin TX)

Mr.Kitty (Austin TX)

Msaki (Johannesburg SOUTH AFRICA)

Mt. Borracho (San Antonio TX)

My Education (Austin TX)

MYNA (Ann Arbor MI)

Nadia Reid (Dunedin NEW ZEALAND)

Naia Izumi (Los Angeles CA)

Naked Giants (Seattle WA)

Narrow Head (Houston TX)

Naya Ali (Montreal CANADA)

Neal Francis (Chicago IL)

Neck of the Woods (Vancouver CANADA)

Necking (Vancouver CANADA)

Negrø (Morelia MEXICO)

Nemegata (Austin TX)

Ness Heads (Chicago IL)

New Natives Brass Band (Lafayette LA)

Neysa Blay (Puerto Rico PUERTO RICO)

Nicolás Molina (Castillos URUGUAY)

Nicotine (Houston TX)

Night Moves (Minneapolis MN)

No Swoon (Brooklyn NY)

Noga Erez (Tel Aviv ISRAEL)

Nordista Freeze (Nashville TN)

Normal Echo (Berlin GERMANY)

Nurrydog (Monterrey MEXICO)

Ohm-I (Brooklyn NY)

Ohmme (Chicago IL)

Otha (Oslo NORWAY)

Otis the Destroyer (Austin TX)

Otoboke Beaver (Kyoto JAPAN)

Ötzi (Oakland CA)

P.E. (Brooklyn NY)

P.H.F (Auckland NEW ZEALAND)

p1nkstar (Tampico TAM)

Painted Zeros (Brooklyn NY)

Paisley Fields (Brooklyn NY)

Pala (Austin TX)

Pale Dian (Austin TX)

Panic Priest (Chicago IL)

Parlor Walls (Brooklyn NY)

Partner (Windsor CANADA)


Patiño (Mexico City MEXICO)

Patio (New York NY)

Patrick Sweany (Nashville TN)

Patti (Brooklyn NY)

Paul Benjaman Band (Tulsa OK)

Peanut Butter Wolf (San Jose CA)

Pearl & the Oysters (Gainesville FL)

Pearla (Brooklyn NY)

Peelander-Z (Austin TX)

Pelvis Wrestley (Austin TX)

Persons Of Interest (Ocho Rios JAMAICA)

Petrol Girls (Graz AUSTRIA)

Peyton (Houston TX)

Photay (Woodstock NY)

Pigs Pigs Pigs Pigs Pigs Pigs Pigs (Newcastle Upon Tyne UK-ENGLAND)

Pillow Queens (Dublin IRELAND)

Pinty (London UK-ENGLAND)

Pizzagirl (Liverpool UK-ENGLAND)

Pleasure Venom (Austin TX)

PNTHN (Texas TX)

Pocket Sounds (Austin TX)

Poder Fantasma (Santiago CHILE)

Pokey LaFarge (Normal IL)

Pom Pom Squad (Brookyln NY)


Poppies (New York NY)

Poppy Jean Crawford (Los Angeles CA)

Porridge Radio (Brighton UK-ENGLAND)

Port Juvee (Calgary CANADA)

Portrait XO (Berlin GERMANY)

Portrayal of Guilt (Austin TX)

Primo (Austin TX)

Propain (Houston TX)

Protomartyr (Detroit MI)

Psychic Bloom (Tehran IRAN)

Purple Pilgrims (Coromandel NEW ZEALAND)

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Quichenight (Nashville TN)

Quiet Company (Austin TX)

Quinn Christopherson (Anchorage AK)

Quivers (Melbourne AUSTRALIA)


Ramesh (Austin TX)

Randy McGill and Eclectic (Dallas TX)

Ratboys (Chicago IL)

Rattletree (Austin TX)

Raye Zaragoza (Los Angeles CA)

Reb Fountain (Auckland NEW ZEALAND)

Reign (Austin TX)

Rejoicer (Tel Aviv ISRAEL)

Reserva Fantasma (San José COSTA RICA)

Richard Spaven (London UK-ENGLAND)

Riders Against the Storm (Austin TX)

Ringo Deathstarr (Austin TX)

Robynn Shayne (Austin TX)

Rollingchild (Atlanta GA)

Roman Clarke (Winnipeg CANADA)

ROOKIE (Chicago IL)

Rosehip Teahouse (Cardiff UK-WALES)

Russian Baths (Brooklyn NY)

Ruth Koleva (Sofia BULGARIA)

Ryder The Eagle (Toulouse FRANCE)

Salt Cathedral (Brooklyn NY)

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Samba De La Muerte (Caen FRANCE)

Sammi Lanzetta (Richmond VA)

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Sara King (Dallas TX)

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Sarah Shook & The Disarmers (Chapel Hill NC)

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Shubzilla x Bill Beats (Renton WA)

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SoundMass (Austin TX)

Sour Widows (Bay Area CA)

SpaceWalker & Moon Magic (Sacramento CA)


Spendtime Palace (Costa Mesa CA)

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STEPHAN (Charleston SC)

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Suburban Living (Philadelphia PA)

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Superfónicos (Austin TX)

Surf Rock is Dead (Brooklyn NY)

Surfer Blood (West Palm Beach FL)

Swallow the Rat (Auckland NEW ZEALAND)

Swampmeat Family Band (Birmingham UK-ENGLAND)

Sweet Crude (New Orleans LA)

Sweet Spirit (Austin TX)

Swimming With Bears (Austin TX)

SwinGrowers (Palermo ITALY)

SWSH (Los Angeles CA)

Sydney Wright (Snyder TX)

T.R.A.C. (Brooklyn NY)

Tallies (Toronto CANADA)

Tamar Aphek (Tel Aviv ISRAEL)

Tamtam (Riyadh SAUDI ARABIA)

Tank Washington (Austin TX)

Tássia Reis (São Paulo BRAZIL)

TC Superstar (Austin TX)


Telefon Tel Aviv (Los Angeles CA)

Tenci (Chicago IL)


Thanya Iyer (Montreal CANADA)

the 4onthefloor (Minneapolis MN)

The Accidentals (Traverse City MI)

The Ansible (Austin TX)

The Aquadolls (Los Angeles CA)

The Bad Man (Minneapolis MN)

The Black Tones (Seattle WA)

The Blind Suns (Angers FRANCE)

The Blowies (Austin TX)

The Bright Light Social Hour (Austin TX)

The Colours That Rise (London UK-ENGLAND)

The Deer (Austin TX)

The Derelicts! (Ernakulam INDIA)

The Electric Mud (Fort Myers FL)

The Exbats (Bisbee AZ)

The fin. (Kobe JAPAN)

The Flytraps (San Clemente CA)

The Foreign Resort (Copenhagen DENMARK)

The Franklin Electric (Montreal CANADA)

The Frights (San Diego CA)

The Ghost Wolves (Austin TX)

The HawtThorns (Los Angeles CA)

The Hunt Sales Memorial (Austin TX)

The Iguanas (New Orleans LA)

The Irons (Austin TX)

The Koreatown Oddity (Los Angeles CA)

The Lazy Eyes (Sydney AUSTRALIA)

The Muckers (Brooklyn NY)

The Orielles (Manchester UK-ENGLAND)

The Paranoyds (Los Angeles CA)

The Philharmonik (Sacramento CA)

The Pinholes (Singapore SINGAPORE)

The Prescriptions (Nashville TN)

The Queendom (Atlanta GA)

The School (Cardiff UK-WALES)

The Shivas (Portland OR)

The Still Tide (Denver CO)

The Talbott Brothers (Imperial NE)

The Underground Youth (Berlin GERMANY)

The Wonder (Melbourne AUSTRALIA)

The Yawpers (Denver CO)

Thee Idylls (Los Angeles CA)

Theon Cross (London UK-ENGLAND)

THICK (Brooklyn NY)

Thigh Master (Brisbane AUSTRALIA)

Thin Lear (Queens NY)

Thomas Mudrick (Silverton OR)

Tim Shiel (Melbourne AUSTRALIA)

Timboletti (Essen GERMANY)

Time Zones (San Francisco CA)

Timo Lassy & Teppo Mäkynen (Helsinki FINLAND)

Tino Drima (San Francisco CA)

Tobin Sprout (Leland MI)

Tom West (Adelaide AUSTRALIA)

Tomar and the FCs (Austin TX)

Tomberlin (Los Angeles CA)

Tone Royal (Austin TX)

Topographies (San Francisco CA)

Torae (Brooklyn NY)

Totemo (Tel Aviv ISRAEL)

Tre Burt (Sacramento CA)

Tres Leches (Seattle WA)

Triptides (Los Angeles CA)

Trouble in The Streets (Austin TX)


Tugboat Captain (London UK-ENGLAND)

Twin Tribes (Brownsville TX)

Ume (Austin TX)

V.V. Lightbody (Chicago IL)

Van Mary (Austin TX)

Vandoliers (Fort Worth TX)

Vanishing Twin (London UK-ENGLAND)

Velvet Starlings (Los Angeles CA)

Very Rich (Austin TX)

Vex Ruffin (Chino CA)

VOLK (Nashville TN)

Vs Colour (Los Angeles CA)

Waco Brothers (Chicago IL)

Wambura Mitaru (Nairobi KENYA)

Warm Star (Austin TX)

Washer (Brooklyn NY)

Wax Charmer (Los Angeles CA)

Weeping Icon (Brooklyn NY)

Weird Milk (London UK-ENGLAND)

Western Youth (Austin TX)

Wet Dip (Austin TX)

White Denim (Austin TX)

White Hills (New York NY)


Why Bonnie (Austin TX)

Wiki (New York NY)

Wiley from Atlanta (Atlanta GA)

William Doyle (Chandlers Ford UK-ENGLAND)

Winter (Los Angeles CA)

Wire (Brighton UK-ENGLAND)

Wire Spine (Vancouver CANADA)

Wordsworth (Brooklyn NY)

Worriers (Brooklyn NY)

Wow (Rome ITALY)

Wreck The System (Riverdale MD)

Xavier Martinex (Cali COLOMBIA)


Yasmin Williams (Woodbridge VA)

Yemi Alade (Lagos NIGERIA)

You Said Strange (Giverny FRANCE)

Young Mister (Tryon NC)

Yumi Zouma (Christchurch NEW ZEALAND)

Zach Winters (Tulsa OK)

Zen Bamboo (Montreal CANADA)

Zenith (Ciudad Juárez MEXICO)

+/- {Plus/Minus} (New York NY)

Diatom Deli – Photo by Casey Pierce

The post Support SXSW 2020 Showcasing Artists with Bandcamp on Friday, March 20 appeared first on SXSW.

Source: SxSW Music

March 18, 2020

StoryCorps’ Response to COVID-19

StoryCorps Pauses Recording Operations

In light of the public health concerns associated with the coronavirus COVID-19, StoryCorps has suspended recording operations (recordings with the public) at our locations. This impacts people with appointments in Atlanta, Chicago, Fresno, CA, Salt Lake City, Utah, and all field recording trips that initiate from these locations.

If you have an appointment in one of these locations between now and April 12, and your appointment needs to be rebooked, StoryCorps will contact you. When possible, we will help you rebook for a later date.

If you would like to record your story using the StoryCorps App, please visit this page where we have links to questions and a video to explain how to use the app.

All StoryCorps staff are working remotely during this time, in order to heed guidance from the CDC and our local health departments in regards to preventing the spread of coronavirus and acute respiratory illnesses.

If you have further questions, please feel free to reach out to StoryCorps Public Support at contactus@storycorps.org

Our call center is open 24/7 at 1-800-850-4406.

Please visit this post for updates in the coming days.


UPDATED March 18, 2:45PM ET

2020 Mobile Tour visit to Salt Lake City is Canceled

In order to ensure the safety and wellbeing of our staff and of participants in Salt Lake City, we are canceling our visit, heeding guidance of health authorities to prevent any potential spread of the coronavirus COVID-9. We understand that it’s disappointing; we’ll do everything we can to with our partners at KUER help you record your story with your loved one using our StoryCorps App and other tools. 

If you had booked an appointment in Salt Lake City, we will contact you.


Source: SNPR Story Corps