Richmond Folk Festival and Spacebomb Records today announce the release of the first single from a special compilation album celebrating the 15th anniversary of the Richmond Folk Festival. The record, titled “All Together Now”: 15 Years of the Richmond Folk Festival Live, includes select tracks recorded live over the years since the National Folk Festival first came to Richmond in 2005.
The full compilation album will be released on October 11, 2019, the first day of the Richmond Folk Festival. It will be available for purchase in multiple formats, including digital download, CD, standard black vinyl and even an orange and green tie-dye pressed vinyl collector’s edition. All proceeds from sales of the album will go directly to support the Richmond Folk Festival.
“We were absolutely floored when Spacebomb reached out to us about producing the album,” said Venture Richmond Director of Events Stephen Lecky. “I have had the pleasure of working with them on various events like TEDxRVA and Fall Line Fest, but this is totally different than anything we have done before. It’s been a thrilling experience throughout, but it’s also an incredibly daunting task to curate a shortlist of the incredible performances recorded at the Richmond Folk Festival over the years. We’re so grateful to our partners at the National Council of the Traditional Arts for their thoughtful guidance on the track selection.”
The record is a specially curated compilation that reflects the diversity of musical traditions presented at Richmond Folk Festival, which embraces cultural expressions from across the nation and the world. NCTA Artistic Director Julia Olin undertook the task of searching through more than 1,300 hours of archived recordings to identify potential selections. “I must have been crazy,” Olin said. “There were so many magical live performances that I couldn’t resist pulling over eight hours of material – even though only a fraction of it could be included in this project. It was incredibly hard to choose; we wanted to share it all.”
Richmond Folk Festival fans can download the single and pre-order the record now online or retailers including Plan 9, Deep Groove, Steady Sounds, 6131, and Small Fiend Records & Books.
CDs and standard black vinyl will be available for sale on-site at the festival’s merchandise tent.
“Richmond’s musical footprint is growing nationally and internationally and the Richmond Folk Festival is an important part of the city’s musical story,” Spacebomb Records CEO Ben Baldwin said. “We’re proud to be working with the Richmond Folk Festival to release an important musical document covering the first 15 years of the festival’s history.”
Listen to the first track below:
Artists on the special compilation album include:
- Clinton Fearon and the Boogie Brown Band – Feel the Spirit
- Lulo Reinhardt and Daniel Stelter – Swing 2012
- Maggie Ingram & The Ingramettes – Family Prayer
- Lunasa – Ryestraw (medley): The New Day March/Reystraw/An Old Woman Would
- Nathalie Pires – Loucura (Madness)
- The Holmes Brothers – Baby What You Want Me To Do
- Peter Rowan Bluegrass Band – Don’t Ask Me Why
- The Quebe Sisters – Speed the Plow Medley: Speed the Plow/The Maid Behind the Bar/Temerance Reel
- Altai Kai – My Native Land, Altai
- Mariachi Los Camperos de Nati Cano – México lindo/¡Viva México!
- Sona Jobarteh – Mamamuso
- Dale Watson and His Lonestars – Real Country Song/A Nashville Rash
- Rare Essence – Overnight Scenario
- BeauSoleil Trio – Le Sud de la Louisiane
- Sammy Shelor and Kirk Sutphin – Angeline the Baker
- Spanish Harlem Orchestra – Son de Corazón
‘World’s largest surf park,’ first on East Coast, coming to Chesterfield County
“Named simply, The Lake, the proposed 105-acre project reflects the lengths developers are going these days to compete for a generation of renters for whom just a pool and gym no longer cuts it. The development has been drawn up to incorporate 150,000 square feet of retail and entertainment, 100,000 square feet of office space, a 170-key hotel, 750 apartments, a 13-acre artificial Wake Lake, an amphitheater and a six-acre water park, capable of generating artificial waves large enough to surf.”
The first surf park on the East Coast – and supposedly the largest of its kind in the world – is coming to Chesterfield County, we’ve learned this morning. The 105-acre project, to be known as “The Lake,” would be a entertainment, retail, and tourism magnet, once developed.
From CoStar, who has the exclusive on the story:
A Virginia developer is planning a new mixed-use project in Richmond where the main attraction will be the first surf park on the East Coast and, upon its completion, the largest in the world.
Named simply, The Lake, the proposed 105-acre project reflects the lengths developers are going these days to compete for a generation of renters for whom just a pool and gym no longer cuts it. The development has been drawn up to incorporate 150,000 square feet of retail and entertainment, 100,000 square feet of office space, a 170-key hotel, 750 apartments, a 13-acre artificial Wake Lake, an amphitheater and a six-acre water park, capable of generating artificial waves large enough to surf.
Flatwater Cos., a firm that counts a real estate development veteran, an investment banker, and a construction manager as its principals, hopes to turn The Lake into a local and regional destination, hosting more 200 events per year.
“We’ve been working on [this development] for a handful of years, going through the permitting process, zoning entitlements,” Brett Burkhart, Flatwater’s director of project development and operations, told CoStar News. “Our firm was started with this project in mind.”
Axe-throwing chain set to open near The Circuit Arcade Bar in Scott’s Addition
The venue will open in the former Nicholson Sprinkler Corp. building at 3100 W. Leigh Street in the heart of the neighborhood.
From Richmond BizSense:
After its first attempt to get into the Richmond market fell flat, a Canadian axe-throwing bar is back with a location coming to Scott’s Addition.
Bad Axe Throwing is preparing to open at 3100 W. Leigh St. in a 5,000-square-foot space in the old Nicholson Sprinkler Corp. building.
Based in Ontario, Bad Axe has nearly 50 locations throughout the U.S., Canada and the U.K. In 2018, it began planning a Richmond location on West Broad Street, across from the forthcoming Whole Foods in Sauer Center.
But those plans fell through last spring. Bad Axe owner Mario Zelaya said there was an issue about the amount of parking available at that location, which caused them to scrap the plans.
VMFA receives more than 8,000 photographs from the Aaron Siskind Foundation
The gift represents the largest single donation of photographs in VMFA’s history; VMFA will take over the administration of the Aaron Siskind Fellowship Prize.
The Virginia Museum of Fine Arts has been given a gift of more than 8,000 photographs by Aaron Siskind (1903–1991) from the Aaron Siskind Foundation in New York. Established by the artist in 1984, the foundation’s mission has been to preserve and protect Siskind’s artistic legacy, as well as to foster knowledge and appreciation for photography through research, publications, exhibitions and an annual fellowship prize for individual artists.
The foundation recently decided to dissolve its operations and transfer the collection to an American art museum that would be willing to administer the annual fellowship prize and care for, interpret, and display the foundation’s core collection of Siskind’s photographs. VMFA was awarded this major gift thanks to the museum’s demonstrated commitment to photography and its outstanding fellowship program. The transfer of the collection to VMFA took place on January 1, 2020.
“After a thorough search of the major art institutions across the country, the Aaron Siskind Foundation was delighted to find that the visionary leadership, ambitious plans for the future, and commitment to carrying on Aaron Siskind’s legacy made VMFA the ideal choice as the new and permanent home for the collection and administration of the Siskind Prize,” says Victor Schrager, President of the Aaron Siskind Foundation.
“With this remarkable donation from the Aaron Siskind Foundation, the Virginia Museum of Fine Arts owns what Siskind and his colleagues considered to be the finest prints of every important work he ever made,” says VMFA Director and CEO Alex Nyerges. “Comparable to the key sets of Paul Strand’s photographs at the Philadelphia Museum of Art and Alfred Stieglitz’s photographs at the National Gallery of Art in Washington, D.C., this gift also allows VMFA to become an important center for the study and appreciation of Siskind’s life and work, as well as photography in general.”
The son of Russian Jewish immigrants, Siskind was born and raised in New York City and graduated from the College of the City of New York in 1926. Three years later, Siskind received a large-format view camera as a wedding gift when he married Sidonie Glatter. He took his first photographs with this camera on their honeymoon in Bermuda in 1930. Siskind later joined the Film and Photo League in New York. Inspired by the social documentary photography that he saw at the Film and Photo League, Siskind spent the next decade working as a street photographer, most notably producing his acclaimed Harlem Document series. In the early 1940s, he shifted to more abstract and symbolic work, often based on found objects.
Siskind supported himself by teaching in the New York public school system until 1949, when he resigned and briefly tried to earn his living as a freelance photographer. Unable to do so, Siskind moved to Chicago at the invitation of fellow photographer Harry Callahan, whom he met in the summer of 1950 at Black Mountain College in Asheville, North Carolina, where they both taught photography. Siskind went on to teach photography at the Institute of Design at Illinois Institute of Technology in Chicago from 1951 to 1970.
By the 1950s, his work had become widely associated with the Abstract Expressionist movement thanks to his acclaimed photographs of the walls of buildings, whose flat, variegated surfaces enlivened by peeling paint or the remnants of torn posters provided a visual counterpart to the work of Franz Kline, Willem de Kooning and other painters of the New York School. Siskind’s photographs were shown alongside the paintings of these artists in a series of exhibitions at the Charles Egan Gallery in New York between 1947 and 1951. At a time when photography rarely achieved equality with painting as a fine art, Siskind’s success in the broader New York art scene signaled an important advancement for the medium.
In 1971, Siskind was appointed as a professor of photography at the Rhode Island School of Design (RISD), a position he held until his retirement in 1976. He spent the next two decades traveling extensively, including extended trips to Italy, Morocco, Mexico and Peru. In 1975, he made an acclaimed series of abstract compositions in Peru based on the tightly packed stone wall at Sacsayhuamán which, with its geometric patterning, continued the artist’s interest in finding visual equivalents for contemporary abstract painting in his stark black and white compositions. When Siskind died in 1991, he held a pre-eminent place in the history of the medium thanks to his career-long dedication to the idea that photography can be an abstract form of expression and an aesthetic end in itself.
The gift includes the core collection of 4,062 photographs that represent the artist’s finest works from every series and period of his career. VMFA will also receive approximately 3,900 duplicate prints which it will donate to other museums, including those in cities and places where Siskind lived and worked, as well as countries he visited at the end of his career. The museum has also agreed to take on the responsibility of administering the Aaron Siskind Individual Photographer’s Fellowship, which provides cash grants to artists working in photography and lens-based media. Siskind established this grant to assist independent photographers to pursue personal projects without bias to any particular form of the medium. VMFA is in an excellent position to administer this annual prize due to its Visual Arts Fellowship Program that has supported Virginia artists for the past 80 years.