A Tilted Tetralogy of Events

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The application for Tilted Axes: Concert of Colors, July 12-13 in Detroit, MI is open.

Here is the link to apply: https://forms.gle/QaUMZo7cQqNAmsqTA

The above application is for electric guitarists, electric bassists, percussionists and support crew to be a part of Tilted Axes: Music for Mobile Electric Guitars appearances at Metro Detroit’s 27th Annual Concert of Colors on July 12 and July 13.

On July 12th Tilted Axes performance highlight will be a musical procession around the cultural campus of The Michigan Science Center, The Charles H Wright Museum of African American History, The Detroit Institute of the Arts, and the Detroit Historical Society. The procession will take place approximately between 5:00-8:00pm

On July 13th Tilted Axes performance highlight will be two musical performances of “MOONWALK,” new music created for the 50th anniversary of the first crewed lunar landing along with other Tilted Axes repertoire. The performances will take place at 1:00pm and 3:00pm and encompass various points inside the museum with a visit to the planetarium as its centerpiece.

Participants are not required to be a part of the TILTED AXES: SPACE CAMP June 8-9 FREE workshops, but if you are new to the ensemble or wish to re-enforce your knowledge of the core repertoire and tilted techniques, it is not a bad to be a part of it if you are able. To apply, please go to this Google Form here: https://forms.gle/WaaFwJZthGFyqTFK7

Meanwhile, in New York City: Tilted Axes NYC has two peformances coming up in June:

Tilted Axes: Make Music Harlem (June 21) – This event is part of a block party on W 119 Street that’s being produced by Milica Paranosic’s organization Paracademia LLC. The event page is HERE. At 5:00pm we’ll be performing a procession to The Apollo Theater and back and will take the stage for a short set at 6:30pm.

Tilted Axes: Rubulad (June 29) – Rubulad is a community of artists, performers and entertainers based in Brooklyn, NY located at 389 Melrose Street. We begin ca. 9:00pm and will perform (perhaps) a foray into the nearby neighborhood, a procession through their garden, and a performance on and around their stage. Many other acts will be a part. It will be Pride Weekend all around, so expect a joyful scene.

For more details, maps, and information on how you can be a part of any these events, please go to our web page: http://tiltedaxes.com/tiltedaxes.html

All of our performances are given free to the public. These events would not be possible without our numerous co-producers and project donors. Won’t you consider making a tax deductible gift through our sponsor Fractured Atlas? Go to:


Tilted Axes thanks the organizations, collaborators, and sponsors that hold everything together: Vox Amps, KORG USA, Midtown Detroit, Alchemical Studios NYC, Brooklyn Battery Works, DIME (Detroit Institute of Music Education), The Concert of Colors, The Michigan Science Center, Paracademia Inc. and Peppergreen Media.

Thank you all,
Patrick Grant & Tilted Axes: Music for Mobile Electric Guitars

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Meet the performers and crew of Tilted Axes NYC Summer 2019 
click link > http://tiltedaxes.com/NYCSummer2019_artists.html


Left to right, top to bottom: Gene Ardor, Angela Babin, Aileen Bunch, Jon Clancy, Dan Cooper, David Demnitz, David Tamura, Patrick Grant, John Ferrari, John Halo, John Lovaas, Sarah Metivier Schadt, Jeremy Nesse, Chad Ossman, Kevin Pfieffer, Sean Satin, Harry Scott, Jocelyn Gonzales


Backtracks: Lynne McVeigh


On this installment of Backtracks, producer/director and film professor Lynne McVeigh describes how a lost astronaut landed in her first sound design class. I was a student in one of those early Sound Image courses, and when I asked Lynne why she chose to open our initial meeting with a song about a doomed space mission, this was her response. Listen to her story below:

Lynne found the David Bowie track as sonically cinematic as any film she could have presented to a bunch of budding storytellers. In the excellent blog “Pushing Ahead of the Dame”, Chris O’Leary has been writing about David Bowie, song by song, “in rough chronological order, with exceptions.” You can find his wonderful history of “Space Oddity” on THIS POST. In it, Mr. O’Leary writes:

“Space Oddity” has come to define Bowie, perhaps because it’s as protean as its creator has tried to be. It’s a breakup song, an existential lullaby, consumer tie-in, product test, an alternate space program history, calculated career move, and a symbolic end to the counterculture dream—the “psychedelic astronaut” drifting off impotently into space (Camille Paglia suggested the last); it’s a kid’s song, drug song, death song, and it marks the birth of the first successful Bowie mythic character, one whose motives and fate are still unknown to us.


The 1969 track introduced listeners to astronaut Major Tom, and the song title alluded to Stanley Kubrick’s 2001: A Space Odyssey. In the lyrics, Major Tom launches into space, but soon loses contact with mission control and journeys into the unknown, sending his love to his wife back on earth.

But we don’t completely lose touch with Major Tom, he makes a reappearance in the “sequel” to his story, Bowie’s “Ashes to Ashes “single off the Scary Monsters LP, although in this case, Major Tom is a “junkie”, and Bowie is likely referring to his own voyage through inner space.

In 1983, German synth-pop sci-fi aficionado Peter Schilling picked up the story of Major Tom, with the astronaut bidding farewell to his wife and saying  “Now the light commands/this is my home/I’m coming home.” But in the music video, the song ends with an image of a fiery object plummeting downward through earth’s atmosphere.

There are numerous references to Major Tom in music and pop culture, including Bowie’s own remix of “Hallo Spaceboy”, which he released with the Pet Shop Boys in 1996.  K.I.A. produced the song “Mrs. Major Tom” on his Adieu Shinjuku Zulu album, telling the story from the point of view of Major Tom’s grieving wife, hopelessly scanning the skies for sign of her lost husband. Incidentally, Sheryl Crow covered this song for the album, Seeking Major Tom, by that other iconic space traveler, William Shatner.

ETA: It should be added that Commander Chris Hadfield, the Canadian astronaut who just ended a five month stint aboard the International Space Station, ended his mission with what must be the most stunning entry into the Major Tom mythos. A real-life spaceman singing to us from far above the world.