LATEST ADDITIONS

Time and time again, Kanye West succeeds in the unexpected. With each album, he overcomes struggles regarding celebrity, ego, family, mental health, and religion, moving forward yet never fully conquering his demons. He married and had four kids with Hollywood socialite/tabloid fixture Kim Kardashian, though still maintained his unfiltered authenticity. A consistently provocative—off-putting, some might say—figure who lives at pop culture’s core, he encapsulates human nature’s duality and contradiction. Kanye West is a rough-edged perfectionist, a master of spectacle, and even if you hate him, the center of attention.

Zesto Audio recently announced this new super-deluxe Andros Téssera phono stage, which features a new 100% tube analog circuit design featuring "optimized" components and a wide variety of performance and convenience upgrades from its previous reference phono preamp.

Thorens today announced two new turntables: the TD1500 and the TD403. The 1500 takes its design cues from the iconic TD 150 introduced in 1965 that according to Thorens's press release featured for the first time in a mass produced turntable a spring suspended sub-chassis with a flat belt driven inner platter. However, the AR-XA introduced in 1961 had this design feature and sold 100s of 1000s so must be considered "mass produced". The TD403 is the "big brother" of the recently introduced TD 402.

In December 1965, Sam Charters (1929-2015) went to Chicago to record Blues musicians who were playing in the clubs of the Black neighborhoods on the south and west sides. Charters, a white man, had written "The Country Blues" published in 1959. It was the first book about rural blues and while it contained many factual inaccuracies, it was entertaining romantic storytelling and helped foster the interest of young White folk fans in acoustic Blues. The glaring failing of "The Country Blues" was Charters’ insistence that “real blues” was dead, that Lightnin’ Hopkins was the last living blues singer (!), that postwar electric Blues was diluted, crude, loud, monotonous and that, “The blues have almost been pushed out of the picture and the singers who have survived at all have had to change their style until they sound enough like rock and roll performers to pass with the teenage audience.” Opinionated, though he may have been, Charters remained open minded and observant and within a few years, realized that the music being played in the small bars in the Black neighborhoods of Chicago was an urban, modernized version of the rural southern blues he admired so much and served the same social purpose for its audience.