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The Most Lamentable Tragedy is a 29-track, 93-minute rock opera that grapples with Titus leader Patrick Stickles' manic depression. It is their least specific album but their most universal: The music encompasses everything they’ve ever sounded like andrestores their claims to outsized ambition after the somewhat dour Local Business.

If you've been to Brooklyn venue Shea Stadium in the last few years, you might have encountered Patrick Stickles sitting at the door, selling tickets to shows with crowds far more diminished than those drawn by his band, Titus Andronicus. Such remember-your-roots DIY ethoshas always been central to the band’s existence, because at a time when bands are more flexible than ever about taking money to survive,Titus Andronicus are specifically beloved for their refusal to compromise. They start charity funds so their music can be kept out of advertisements; they snidely refer to nike air max 90 essential günstig kaufen
, an attitude both rigidly simplistic and technically true.

The Clash were hyped as the "only band that matters," a dubious claim because it was invented by their record label. But for their fans, Titus Andronicus is this type of group. They turn a great, burning eye upon the world and spare no one from their observations, not even themselves. For listeners attracted to rock'n'roll as both flagellating whip and eternal flame, this is powerfully enticing—especially if you also believe the world is on the perennial edge of collapse. (Ironically, they take a similarly analytical approach to the ugliness in themselves and in the world as Kendrick Lamar—only, of course, they'd never sell any shoes.)

Their status was cemented by 2010 breakthrough The Monitor , a wildly ambitious album that used the Civil War as a metaphor for Stickles' life. It was desperate music made for desperate people, filled with howled lamentations about the sorry state of society wrapped around riffs that forced your shoulders out of their sockets. But the follow-up, 2012's Local Business , was unexpectedly dour. Hesitant to accept his band's new position in the music industry, Stickles pulled back. The first line asserted that everything in the world was "inherently worthless," and only grew more precisely negative as it went onward, critiquing the middle-class bubble that allowed a band like them to exist. Music fans will accept a certain amount of doom-and-gloom—many times they actively court it—but there are limits. Few people want to listen to a rock song about why listening to a rock song is bad. That Stickles spent the next few years telling his Twitter followers that Local Business was better than The Monitor (in a run of tweets now gone after he deleted his timeline earlier this year) seemed to cement its status as metaphorical garlic, meant to ward off the punks-in-name-only who today might discover the band through listening to Beats 1.

So when reports first emerged that the band was writing a 30-track rock opera , it sounded outrageous—a pointed gag from Stickles that would probably culminate in, like, an album full of Crass covers. How do you go bigger than an album that uses the Civil War as a metaphor for one's life? But it wasn't a joke: Almost two years later, they announced The Most Lamentable Tragedy , a 29-track, 93-minute rock opera that immediately restored their claims to outsized ambition, as only a 29-track, 93-minute rock opera might.

The Most Lamentable Tragedy is a story told in five acts that follows the Hero, an unnamed man (who's someone like Stickles) in an unnamed city (which is somewhere like New York) grappling with his neuroses. He's confronted by his doppelgänger—an alternate self that seems to have everything figured out, and pushes him to find solace outside of sin. It’s a protracted allegory for manic depression, which Stickles has publicly struggled with since the band first came to attention. Here, he’s reversed course from the literal transcription of his life’s struggles on Local Business (no "My Eating Disorder"), instead interpreting them to fit his larger vision. The Most Lamentable Tragedy is their least specific album—no granular references to obscure Jersey baseball teams—but their most universal, less dependent on empathizing with the suburban sad sack.

The music encompasses everything they’ve ever sounded like: There are knotty guitar anthems filled with chords like power lines thrumming with electricity ("No Future Part IV", "Stranded"), hot-breathed hardcore exhortations ("Look Alive", "Lookalike"), vamps on musical theater where Stickles sounds somewhere between Billy Joel and Meat Loaf ("I Lost My Mind", "No Future Part V"). They filter the visceral riffage of Thin Lizzy ("Lonely Boy"), the all-hands-on revelry of the E. Street Band ("Fatal Flaw"), and the whiskey-soaked romanticism of the Pogues ("Come On, Siobhán") through a fiery, punk-indebted perspective. True, those are reference points on previous albums, but here the elements blend together like a hearty soup. Fifteen musicians are credited on the record (such as nike air max 90 x premium black and white
, who handled the strings) and there's a feeling of camaraderie in the production; at times, it feels like the album was recorded in one, rambling live take over a long night.


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Voyageur Video Sampler 2016

Voyageur has been on an extraordinary journeysince ourestablishment in 1998. Enjoy this 3-minutevideo sampler of the educational media projects we have produced over the past 18 years, as well as a sneak peak of a few exciting projects in production. Thanks to all of theproduction professionals, artists, scholars, board members andfunders who have collaborated to bring these compelling documentaries, books, artworks and companion websitesto millions of viewers, teachers and students.

Voyageur has produced the introductory video for a newexhibition at the Alice F. and Harris K. Weston Art Gallery in the Aronoff Center in downtown Cincinnati. The eleven minute video is part of a fascinatingexhibition “Sanctuary: Kathy Y. Wilson Living in a Colored Museum,” which runs from December 1, 2017 until January 28, 2018. The exhibition, curated by Emily Buddendeck, presents the art collection of acclaimed writer, performer and educator, Kathy Y. Wilson. Voyageur is pleased to support regional institutions with creative production services as part of our Community Video series. For more information about the exhibition visit: nike womens free 50 v4 ns print metallic labels
, Aronoff Center, Cincinnati.

A Force for Nature: Lucy Braun explores the life and work of E. Lucy Braun (1889-1971) — a groundbreaking 20th century woman of science. The project is a co-production of Meg Hanrahan Media and Voyageur Media Group, Inc. The centerpiece of the project is a one-hour documentary for public television broadcast scheduled for release in early 2018.Support for the Lucy Braun project continues to grow! The project has received a leading $25,000 grant from the Meshewa Farm Foundation, a major $20,000 grant from Ohio Humanities (a state affiliate of the National Endowment for the Humanities), and generous support from the Anness Family Charitable Fund, the Alan B. Lindner Family Fund, the Camden Foundation, and other organizations and donors.

A Force for Nature: Lucy Braun

Born in Cincinnati, Lucy Braun was a pioneer who forged her own unique theories in the developing field of ecology. She discovered new species and documented the deciduous forests of the entire eastern North American continent. A leader in preservation, she led efforts to save Ohio’s and Kentucky’s most sensitive ecological sites. Watch our preview trailers , and read more about Lucy Braun and this educational media project at A Force for Nature: Lucy Braun .


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