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    • 26
    • oct

    The Chair In The Doorway Flickr Group

    A potential title for Living Colour’s new album is “The Chair in the Doorway”. The band would like fans, non-fans, and photographers of all levels to submit an original image conveying their interpretation of “The Chair in the Doorway”.

    “The new album will be called The Chair In The Doorway,” Vernon revealed. “I did a press junket for CollideØscope with Corey and whenever something was going wrong Corey would always say the chair is in the doorway. It was just one of these things he would say and I looked at him and said ‘you know that thing you always say that’s going to be the title of our next album.’ I don’t know what that means but that’s it. What I like about The Chair In The Doorway is that it is a concrete image and a very real thing but why is there a chair in the door way, what does it mean? It’s completely abstract, while being a contract, physical manifestation of what it is.”

    All artwork must be submitted in a jpeg format.
    You should incorporate the Living Colour logo, or your version of the logo in the artwork.
    If your submission is selected you will also be required to sign a short agreement.
    All submissions must be submitted by February 1, 2009.
    You may submit as many different versions of the album cover as you like as long as the submitted artwork meet the following criteria

    – Artwork can be hand drawn or created on the computer;
    – The design must be 100% your work;

    By submitting your artwork to Living Colour, entrants hereby represent and warrant that all artwork and images included in the artwork are wholly original and that no image or artwork has been copied from any other source or otherwise violate any third party rights. Living Colour, its individual members, affiliates, licensees and assigns will not be responsible or held liable for any images or artwork which are included in any submitted materials which have been copied from any other source.

    The creator of the selected artwork agrees to license the design to Living Colour on an exclusive basis. The creator of the selected artwork acknowledge that Living Colour may commercially release or otherwise exploit the artwork in any manner it deems fit, now or hereinafter invented, throughout the world, and that creator of the artwork shall not be entitled to any payment of any kind as a result of such use or other exploitation.

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    • 24
    • oct

    10.24.08 Puschkin – Dresden, Germany
    10.25.08 Dachstock – Bern, Switzerland

    10.27.08 Moods – Zurich, Switzerland – StarTickets
    10.28.08 For Sale – Piacenza, Italy

    10.30.08 Faust – Hannover, Germany – Kartenhaus.de
    10.31.08 013 – Tilburg, Netherlands – Ticketmaster.nl
    11.01.08 Paradiso – Amsterdam, Netherlands – Ticketmaster.nl
    11.02.08 Jazz Cafe – London, UK – TICKETS
    11.03.08 Leverkusener Jazztage – Leverkusen, Germany
    11.04.08 Botanique – Brussels, Belgium – Tickets
    11.05.08 New Morning – Paris, France – Tickets

    11.07.08 Atak Poppodium – Enschede, Netherlands
    11.08.08 Rosenhof – Osnabruck, Germany
    11.09.08 Domicil – Dortmund, Germany
    11.10.08 Centralstation – Darmstadt, Germany Karthenhaus.de
    11.11.08 Lido – Berlin, Germany
    11.12.08 Fabrik – Hamburg, Germany

    11.14.08 Stodola – Warsaw, Poland

    The Live CBGB’s : August 15th 2005 CD as well as the Paris Concert DVD will be available at the shows!

    Check out Living Colour’s official Myspace.

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    • 24
    • oct


    Black Rock: An Oral History
    In the 1980s, a brotherhood of bands led by Fishbone and Living Colour refused to let their race dictate the style of music they played. Here’s how they splashed onto the scene, how they struggled to stay afloat, and what they’re doing now.
    By David Browne 10.23.08 5:12 PM

    In 2008, indie-rock bands with black members virtually amount to a genre unto themselves; think TV on the Radio, Black Kids, Bloc Party, the Dirtbombs, Apollo Heights, Earl Greyhound, and Dragons of Zynth, among many others. But that prolificacy was hardly the case 20 years ago, when four African American New York musicians called Living Colour, part of a local movement dubbed the Black Rock Coalition, released their first album, Vivid. Their goal: to assert that a new generation of black musicians could play more than just R&B and hip- hop, and could rock the house as much as Chuck Berry, Little Richard, Arthur Lee, and Jimi Hendrix had done before. Now most of the scene’s bands are either footnotes or forgotten. But in light of their heirs, it’s worth looking back on the successes, struggles, and legacy of ’80s black rockers. This is their story, in their own words.

    VERNON REID (guitarist, Living Colour): I was born in London and my parents are from the Caribbean, so there were all these crosscurrents. My mom was a fan of the Dave Clark Five and British Invasion music.

    CHUCK MOSELY (lead singer, Faith No More, 1983–1988): I was adopted and mixed. I never really fit into anything. But having Creem magazine and hearing the Ramones when I was 14 completely blew me away. The whole alienation aspect of punk spoke to me — I was already alienated.

    ANGELO MOORE (lead singer, Fishbone): I lived in a white neighborhood [in Los Angeles]. In the house we had soul food, black music, and black TV shows like Sanford and Son. Outside of that, I’d go to school with all the white boys and hear Led Zeppelin. “Stairway to Heaven” was one of my favorite songs, and “Strawberry Fields Forever,” too. When my family traveled across country, we’d listen to Billy Joel: “Sing us a song, piano man!” It had energy.

    RICK SKATORE (bassist, 24-7 Spyz): Black music had a different presence [in the ’60s and ’70s]. It was rare that you saw a black act on television. But I remember watching A Hard Day’s Night as a child, and there were four guys with instruments and girls were screaming. I was like, “Wow, I can make girls scream if I get one of those?”

    JIMI HAZEL (guitarist, 24-7 Spyz): I got branded as “odd” early on. In junior high in 1976, my friend and I were the only black kids in school who had the Kiss logo on our jackets. After Jimi Hendrix’s death, I began tying scarves around my leg and head in his honor, and some kids picked on me.

    COREY GLOVER (lead singer, Living Colour): My parents were playing Santana and Return to Forever in our house in Crown Heights [Brooklyn], and as a way to rebel, I turned to the rock station. I found Thin Lizzy, Jeff Beck, and Led Zeppelin. Then I saw [black actor] Carl Anderson in Jesus Christ Superstar. He was singing rock’n’roll. That changed my whole thing.

    GREG TATE (author, musician, Black Rock Coalition cofounder): You had this incredible period between ’69 and ’75 of all these black and multi-ethnic rock bands: Earth, Wind & Fire; Funkadelic; War; Mandrill….

    Read the complete oral history in the Nov. 2008 issue of SPIN, on newsstands now.

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